Arts 2019, 8, 14 14 of 16 we do not know how many people have been affected by the project, nor whether they were already convinced by the cause before the project started or whether it really helped to improve the visibility of the refugees’ struggle for their rights. The analysis through migratory careers points out the interest of considering the resettlement of migrants not only through the economic dimension, but also through their social, cultural, and other needs (Tahri 2016; Refugees Studies Centre 2017; Martiniello 2014). The examination of several levels that were influenced by the project helps to reflect the complexity of the situation, evolving at different speeds. The use of music allowed a certain kind of participation into the host society: musicians found their place in a group and the pleasure of playing music; they have had access to a professional activity; and some of them see it as an ideological involvement (“crossing borders on stage”). Music makes it possible to build links “beyond identity” (Bennett 2011, p. 473). It might seem strange that in this article about a musical project, co-written by a musicologist, music is so little mentioned; however, that is finally what this project was all about: moving people with an aesthetic shock. Nevertheless, the host society in which we would like musicians to participate fairly (or “integrate”) has structural problems at the root: racism and sexism; overestimation of the activity of “work” even though the professional sector is difficult to access; and considering that work is a major path to participation while there are many others. Moreover, the “othering” of refugees can be identified as an encouragement to substantialize them as “extra-territorials” and thus justify their different treatment by medias, policies, and institutions (Glick Schiller 2010, p. 109). Paradoxically, while work is overestimated in speeches, there is a great disorder in the modes of professional integration for world music artists, whether they are refugees or not (Laborde 2012, p. 11). If musicians and their projects are symbolically valued by society, there is a need for another form of institutional support that would allow artists to take into account the specificity of their situation—especially when they come to take refuge in a country about which they do not know anything. The bridge between the migratory career and the musical career still needs to be built. Author Contributions: Writing—original draft, H.S.; Writing—review & editing, M.M. Funding: This research received no external funding. Acknowledgments: Heartfelt thanks to the anonymous reviewers and Anne Damon-Guillot for their sharp and precious comments; to Marco Martiniello who took over the supervision as soon as it was needed; to Nastasia Dahuron for her review of the translation; to Stéphanie Weisser whose participation was missed; and to the Muziekpublique team and musicians who work hard to make music happen. Conflicts of Interest: The authors declare no conflicts of interest. References Appadurai, Arjun. 2001. Après le colonialisme. Les conséquences culturelles de la globalisation [Modernity At Large: Cultural Dimensions of Globalization]. Paris: Payot & Rivages. First published 1996. Aubert, Laurent, ed. 2005. Musiques migrantes, de l’exil à la consécration. Genève: Musée d’ethnographie. Aubert, Laurent. 2011. La musique de l’autre. Les nouveaux défis de l’ethnomusicologie. Genève: Georg. Bachir-Loopuyt, Talia. 2008. Le tour du monde en musique. Les musiques du monde, de la scène des festivals à l’arène politique. Cahiers d’ethnomusicologie 21: 11–34. Baily, John, and Michael Collyer. 2006. Introduction and Special Issue, Music and Migration. Journal of Ethnic and Migration Studies 32: 11–17. [CrossRef] Bennett, Jill. 2011. Migratory Aesthetics: Art and politics beyond identity. Directed by Mieke Bal and Miguel A. Navarro Hernandez. In Art and Visibility in Migratory Culture: Conflict, Resistance, and Agency. Amsterdam: Rodopi, pp. 450–75. Bouët, Jacques, and Makis Solomos, eds. 2011. Musique et Globalisation: Musicologie–Ethnomusicologie. Paris: L’Harmattan. particularly in early autumn 2015 has gradually given way to mistrust and, in some cases, hostility towards refugees and migrants.