“Exoticism” is often used as a passe-partout concept in order to describe music referring to geographic Others. But it becomes especially problematic when applied to Ravel’s music, in which the Other is frequently evoked (whether as a geographical, chronological or stylistic other). Therefore Ravel’s positions and compositional choices should be considered on a case-by-case basis when interpreting his music. By adhering to issues raised by Ralph Locke regarding exoticism and reflecting on how musical topics might be perceived, this essay proposes a reading of Chansons madécasses that goes beyond their exoticism. Ravel’s decisions suggest a reading that accentuates modernist and expressive (and especially erotic) parameters more than exotic ones.