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Mexican composer Ernesto Elorduy , an upper-class white male with extensive knowledge of European culture and yet a member of a former colonial nation, wrote a number of orientalist compositions-including the zarzuela Zulema (on a Turkish-captivity topic) and several alhambrista (Moorish/Gyspsy) piano pieces-that present a dislocation with regard to the subject positions of the European composers we usually study, a dislocation that allows us to examine afresh the relationship between exoticism and nationalism. Asking questions about who is representing, who is being represented, how and to whom, within increasingly larger cultural and political contexts argues for the use of exoticism-and the power of representation in it-as a strategy to construct a particular personal and national identity.

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