Studying contemporary pilgrimage, we are confronted with multiple cultural practices of mobility, which often, but not always, have a religious background. Taking Morinis' definition of pilgrimage as "a journey undertaken by a person in quest of a place or a state that he or she believes to embody a valued ideal" (Morinis 1992), as a starting point, the case of Taiwanese music students in Europe can serve as an interesting example for secular pilgrimage. Identifying themselves as musicians practicing "Western classical music", these East Asian students are often confronted with discourses about being "Asian" and therefore being unable to "authentically" play "Western" classical music. As result, the students seek to acquire the "culturally authentic" way of playing music by studying at the place of "origin". Using pilgrimage as a metaphor to describe their motivation for studying abroad, this paper will analyze the cultural power of "authenticity" and the imaginary European
superiority in global music education as a result of asymmetrical flows of knowledge in the post-colonial period. Moreover, the paper will show how studying abroad entails an individual internal journey, through which students experience, rethink, and reform their own cultural identities. By highlighting the spatiotemporal liminality which these students have created through studying abroad, I furthermore demonstrate how this specific cultural pattern of motivation affects their everyday routines and experiences abroad, and how these transcultural experiences empower them to "disenchant" the mystique of the origin they once believed in.