Arts 2019, 8, 14 3 of 16 “Integration” is often used along with diversity in policy and public debates. Whereas it indicates “social, political, cultural and economic processes that occur when migrants arrive in a new society” (Martiniello 2006, p. 4), it is often thought of as a linear process leading from the “migrant” status to the “integrated” foreigner, without considering potential stops or steps back. To nuance it, Martiniello and Rea (2014) propose the concept of “migratory careers”, that implies status changes as well as identity changes at each step of the career, breaks with the linear path concept and the migration/integration dichotomy. Martiniello proposes to replace integration with the term fair participation, that concerns “target individuals and groups in the social, economic, cultural and political spheres of the host European societies. In this perspective, a satisfactory level of immigrant integration is achieved when immigrants have similar participation patterns than non-immigrant citizens.” (Martiniello 2006, p. 9). Can we approach refugees’ musical practices as usual migrants’ practices? There is a lack of literature on the music of refugees, who are specific migrants since the musical life of their country of origin is difficult if not destroyed, and as they have no possibility of returning to their country of origin.14 The definition of the object “refugee” is also problematic, because this status can be mobilized by people who do not possess this recognition but consider themselves as belonging to the “refugee” group, like Afghan individuals who were told by the Foreigners Office that the place they escaped is on the “safe areas list” and therefore cannot be granted the status legally (Tahri 2016). Lambert (2018) notes that cultural heritage in the countries of origin is endangered by the destruction of archives, concert halls, the hunt for musicians and the exile of populations. Tahri (2016, p. 102) emphasizes the role that music, as poetry or dance, can play in “promoting the well-being of refugees”. Several studies have been carried out in migrant camps (Öğüt 2015; Tahri 2016; Emery 2017) and/or within specific communities (Diehl 2002; El-Ghadban 2005; Öğüt 2015). Most studies present these musical practices as part of the transit migration: musicians in refugee camps are not intended to settle there and are often on their way to other places. This influences their musical practices: “The feeling of being “unsettled” restricts the social and cultural relationships that can be formed with the local culture” (Öğüt 2015, p. 273). Though, Capone (2004, p. 11) notes that almost any deterritorialization process is followed by a re-territorialization process. While it seems difficult to leave aside the problematic concept of “community” in ethnomusicology (Salzbrunn 2014), the “refugee” category encompasses heterogeneous populations in terms of nationality, religion, language . . . Therefore, we will here use the event lenses and study the different actors gathered by a particular event, rather than the ethnic lenses, which would focus on a particular social group defined with reference to ethnicity not relevant in the framework of this project. 3. Refugees for Refugees, from the Idea to the Stage 2.1. A Musical Metaphor Muziekpublique launched the production of Refugees for Refugees, an album featuring refugee musicians living in Belgium. Its aim was and still is simultaneously artistic, political, symbolic, and social: to bring the voices of refugee musicians to the media through an album while helping them to integrate in European professional networks. Peter Van Rompaey, director of Muziekpublique, sets the context: The purpose of our label is to support artists to develop their careers from A to Z. Here, the initial aim was to show that among refugees there are very good musicians, to show an 14 The “refugee” status may be withdrawn from an individual who has been granted it if he or she travels to his or her country of origin. Source: General Commission for Refugees and Stateless Persons, leaflet “Vous êtes reconnu réfugié en Belgique. Vos droits et vos obligations” [You are recognized as a refugee in Belgium. Your rights and obligations], November 2016, p. 10. Available online: https://www.cgra.be/sites/default/files/brochures/2016-11-25_brochure_reconnu-en-belgique_fr_0.pdf (accessed on 16 October 2016).