On July 12-13, 2019, Tunisian and Libyan musicians accomplished a series of ma’luf concerts in Sfax and Tunis entitled “Malouf Slam.” Malouf (Fr.) or maluf (Eng., from Arabic dialect) is a genre of Andalusian heritage music that is diversely performed across eastern Algeria, Tunisia, and western Libya, often in an organized suite of melodies, poetic texts, and rhythms. Malouf Slam was an artistic collaborative, involving institutions such as Breaking the Ice (a Tunisian-Libyan arts initiative) and the Goethe Institute of Tunis; Tunisian music faculty and students from the Institut Supérieur de Musique (Sfax); Libyan master maluf musicians; and other artists and musicians from Sfax, Tunis, Sousse, and Tripoli. Many operating fields of Foucauldian force collided producing an artistic presentation dedicated to breaking rigid conceptualizations and social stratifications of Andalusian cultural heritage (Fr. patrimoine; Ar. turath), as articulated in Tunisia and Libya. This paper investigates these performative moments and reflects on how modifying form, repertoire, and venue proposed alternative renderings of listening to and inhabiting maluf social and acoustic space. Organizers, patrons, musicians, and listeners of Malouf Slam provide a wealth of ethnographic data informing this study. This paper is presented jointly by a Tunisian music scholar and an American ethnographer—both Ethnomusicologists and creators of the Malouf Slam collaborative—for the purposes of integrating international research methods and theories. Qualitative analysis of the preparation and implementation of Malouf Slam reveal several fault lines within the shared musical heritage of maluf, demonstrating the pervasive trajectories of nation-state ideologies and institutionalization. Additionally, the sedimentation of musical history between the Tunisian and Libyan participants revealed a re-ordering of cultural affinities towards the rich and historical circulations of Andalusian, Ottoman, and Eastern Mediterranean sound worlds. Attending to regional concerns for the survival of heritage (Rouget 2004) and also scholarship on transnational heritage networks (Meskell 2015), this presentation seeks to contribute perspectives on how to methodologically and analytically engage the movement of these rich, musical traditions in the Mediterranean, as well as investigate authority and resistance connected to heritage musics after their institutional calibration and formation.