Three case studies, on Guatemalan, Mexican, and Native American music performed at San Francisco's 1915 Panama-Pacific International Exposition, illustrate the complex and varied ways that music can both reflect and challenge dominant and local ideologies of cultural value. The Guatemalan Commission made a claim for cultural significance through the Hurtado Royal Marimba Band's residency in their pavilion. This claim, however, was made through a Euro-American framework of cultural progress; the band's performances thus obscured the important role of Afro-Guatemalans and indigenous groups in the nation's marimba tradition. Although the “Mexican Village” depicted Mexico as exotic and primitive, the daily performances of the Orquesta Típica Torreblanca in the village showcased the country's cosmopolitan side. Native Americans were frequently subjected to exoticizing and racist musical ventriloquism at the PPIE, yet on at least one occasion a group of Blackfoot people refused this imposition and used music to push for control over their representation. The presence of these musics and musicians, largely ignored in the exposition's official administrative record, demonstrates the shifting power dynamics that shaped the performance and reception of music on the fairgrounds, and reveals that even in environments heavily shaped by dominant ideologies of race, gender, and class, multiple discourses of power and value can circulate.