Abstract: With music album Isqun , nine in Quechua and meaning mirror of the soul, Quechua singer Renata Flores aims to trace the journey of Indigenous women from the Andes in Peruvian history: the Inca era, colonialism, independence, and Republic. Combining sounds of the Andean countryside and the beats of Latin rap, trap, and hip-hop, her nine songs written in Quechua and Spanish represent a decolonial turn towards undoing westernized epistemologies of knowledge. This article explores Flores's potential contributions to decolonial feminism through the lens of Gloria Anzaldúa's theoretical framework of Nepantla (in-between), María Lugones's fractured locus, and Catherine Walsh's decolonial insurgency. The author argues that Flores's feminist ch'ixi+art music and songs "Chañan Cori Coca," "Beatriz Clara Coya," "María Parado de Bellido," and "Rita Puma Justo" not only reclaim spaces for the language of Quechua in contemporary Peru, but also contribute to remapping Indigenous women's herstories of resistance, disobedience, survivance, and empowerment. Ultimately this article illustrates how Flores's feminist decolonial pedagogies of interweaving memorias cortas and memorias largas denote an action of creation and intervention, opening paths to resignify historically excluded Indigenous women in Peru.