In tandem with my musical journey, I’ve harbored a profound interest in human development, delving into the realms of psychology, sociology, and beyond. This curiosity has spurred a continual questioning of global dynamics, politics, and social disparities. To me, world music encapsulates cultural diversity and the boundless creativity of humanity. However, historical and political forces have often marginalized this richness.
Growing up in a Western society, akin to many others, I observed an overemphasis on European and American music—classical and pop/rock genres—while the musical traditions of other nations remained largely obscure. This phenomenon, I believe, stems from deeply entrenched ideologies of white supremacy, Eurocentrism, and Americanism. Such ideologies elevate the cultural contributions of certain groups while diminishing those of others, perpetuating unconscious biases and, essentially, racism.
Despite the advent of globalization, which ostensibly broadens cultural horizons, consumerist tendencies and entrenched biases persist. The commodification of world music often reduces it to marketable stereotypes, stripping away its authenticity and intricacies. Mainstream representation of world music tends to conform to Western musical paradigms, neglecting fundamental elements like non-4/4 time signatures and monodic improvisation. Consequently, only artists who align with these Westernized standards receive recognition, perpetuating a cycle of cultural appropriation and exclusion.
Exceptions exist, such as the Womad Festival and RootsWorld Magazine, which strive to showcase diverse musical expressions. However, the broader industry continues to prioritize profit over authenticity, relegating many rich traditions to the sidelines.
Enrique Uxa 