This paper explores movement, affect, and the space-shaping potentialities of the sonic through the work and reception of Dania Ben Sassi, a singer who became famous in Libya in 2011 after she recorded a series of songs in Tamazight (an indigenous language violently repressed during the Gaddafi era) dedicated to the February Revolution. Ben Sassi, who was not a professional singer prior to the revolution, recorded her first song in her hometown of Belgrade, Serbia. Her father, a Libyan political exile, carried that recording to Libyan refugee camps in Djerba, Tunisia, where it quickly gained popularity. The song soon traveled into the western part of Libya, at that time still under Gaddafi control, and circulated among Imazighen (Berbers) participating in the fight to overthrow the government. Through an examination of Ben Sassi’s music and it’s spread, this paper employs the concept of choreography to talk about movement of two sorts: the dual, multi-directional movement of Libyan refugees and diasporic “returners,” and the non-commercialized and often illicit movement of recorded music, both in the context of widespread protest, civil war, and revolution. In so doing, it explores power via shifting dynamics around contested identities, choreography’s dialogic relationship to improvisation, frameworks of collaboration, and the choreographic function of constructing meaning through reference. It considers the way that the discursive practices of overlapping nationalisms shape physical and imagined spaces in North Africa and in diaspora. It engages with scholarship on kinesthesia by attending to music performances, which I argue operated as affective transmitters throughout the revolution, linking individual experiences of altered possibility to the shared.