Meaning: This quote by Miriam Makeba, the renowned South African musician and civil rights activist, touches upon the term "world music" and its implications. Makeba suggests that the label "world music" is a polite way of referring to music from the so-called "third world" or "developing countries." Her statement sheds light on the power dynamics and biases inherent in the categorization of music and culture.

The term "world music" emerged in the late 20th century as a marketing and commercial classification for non-Western music. It encompasses a wide range of traditional, folk, and popular music from diverse global regions, often outside of the Western mainstream. While initially intended to celebrate and promote cultural diversity, the term has been criticized for its homogenizing effect and for perpetuating stereotypes about non-Western music.

Miriam Makeba's critique of the term "world music" resonates with broader discussions about cultural representation and power dynamics. By highlighting the shift from "underdeveloped countries" to "developing countries," she draws attention to the evolving language used to describe global inequalities and challenges the underlying connotations of these terms.

Makeba's perspective invites us to critically examine the ways in which music and culture from non-Western societies are framed and perceived in the global arena. The use of labels such as "world music" can be seen as a reflection of Western-centric perspectives and a tendency to exoticize or "other" non-Western art forms.

Furthermore, Makeba's statement prompts us to consider the impact of such categorizations on the visibility and recognition of artists and musicians from these regions. The designation of "world music" can sometimes relegate non-Western musicians to a niche or peripheral position within the global music industry, limiting their access to mainstream audiences and commercial opportunities.

In recent years, there has been a growing call for a more nuanced and respectful approach to the presentation and appreciation of non-Western music. Advocates for change emphasize the importance of acknowledging the specific cultural and historical contexts of musical traditions, rather than lumping them together under a broad, catch-all category like "world music."

As a response to these critiques, some music scholars and industry professionals have advocated for using more specific and culturally sensitive terminology when discussing non-Western music. This includes referring to music by its specific regional or national origins, acknowledging the rich diversity and complexity of musical traditions around the world.

In conclusion, Miriam Makeba's quote serves as a thought-provoking commentary on the complexities of categorizing and labeling music from different parts of the world. It challenges us to be mindful of the language we use and the implications of how we frame and represent diverse musical traditions. Moving forward, a more inclusive and respectful approach to discussing and promoting non-Western music can contribute to a more equitable and enriching global music landscape.