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The category of World Music has long functioned as a framing device that bridges geographic distance between creative practices and global audiences, creating a framework that centers works that exist outside the dominant commercial and cultural spheres that shape most mainstream global music consumption. This framing carries with it a set of inherent tensions that shape every work filed under its umbrella, tensions that emerge from the gap between the broad, generalizing nature of the category itself and the specific, rooted cultural contexts that give every individual work within it its unique meaning and purpose. To place any sound within World Music is to situate it within a global community of creative expression, while also tying it irrevocably to the specific national and cultural context from which it emerged, a dual positioning that asks listeners to engage with both the work’s connection to global creative currents and its ties to the local context that formed it.
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