This article explores how it might be possible to engage in world music ethically. I examine ways that traditional engagements can be problematic in order to push towards new possibilities for encounters and engagement. I begin by considering my own experience with world music. Moving to the theoretical, I consider "world music" study and the ways in which it defines the white, bourgeois subject, both socially and professionally. My conception of world music is spatial and temporal, as it represents journey into a culture in order to learn its music. From identity formation, I then consider curriculum and pedagogy, concluding by offering several alternative practices that may allow for an ethical, non-essentializing approach to the study of world music. I align these culminating suggestions, in some ways, with principles of critical pedagogy.