**8. Conclusions**

By focusing on 'Andalusian' music, particularly Andalusian–Moroccan fusions, this article has explored the use of interculturalism by regional institutional actors as a tool for creating a novel framework of tolerance and coexistence. Myths, whether supported by historical research or not, play a central role in shaping political cultures, social policies and good governance. As recognized across the social sciences, particularly in nationalism studies (Leerssen 2015; Leoussi and Grosby 2006; Martin 2014; Smith 1991, 1998, 1999), myths play a key function in building cohesive societies based on trust and mutual understanding, so that the organization of vital matters that shape the day-to-day life can proceed smoothly. We should also understand that politically successful ideas and policies are generally based on myths and subconscious assumptions (Billig 1995).

According to the al-Andalus and regionalist narrative, music is a 'core value' of regional identity, so that fusions between flamenco and Arab Andalusian music work as a bridge between cultures

<sup>26</sup> 'No es la base ... . bueno, la base política seguramente en este momento sería, porque así es como España se vende a si misma, España se vende a si misma como nosotros somos un lugar de encuentro, un lugar de convivencia [ ... .] es cierto que resuena [the idea of al-Andalus] con muchísima gente. Pero también es cierto que la misma persona, mi madre te puede decir qué bonita al-Andalus pero no soporta tener un vecino musulmán'.

<sup>27</sup> The interviewee was using the term *moor*, a pejorative term often used to refer to Muslims or Moroccans, but also to refer to the Arabs and Berbers that conquered Spain in 711AD. Ironically, this is a term that some Spaniards might use when referring to a Moroccan neighbour or colleague.

<sup>28</sup> 'Prefiero enseñar algo contemporáneo para que el moro que tienes adelante, no sea un moro que va con la chilaba, tocando música antigua pero es un tío que ves como tu hijo. [ ... ] Es el problema ... alimentar este mito de al-Andalus y este tipo de proyecto musical descabellado alimenta el mito de que todo era perfecto, pero no era'.

and geopolitical spaces, as well as providing continuity with a usable past and mythical Golden Age. Pre-1492 Andalusia is certainly not unique in being presented as a Golden Age of plural coexistence and interfaith encounter. The pathbreaking work of Mark Mazower (Salonica, City of Ghosts: Christians, Muslims and Jews, 1430–1950) identifies with outstanding clarity how religious, ethnic, cultural and linguistic pluralism was for over five centuries a defining feature of daily life in the region and city of Salonica until the advent of twentieth century homogenizing nationalism (Mazower 2005). Nonetheless, the andalusí narrative carries considerable cultural and political weight in the promotion of intercultural exchange between di fferent communities.

However, we have also explored some of the limits of this narrative: first, its message of tolerance does not always reach areas of the lower-class population in Andalusia and so cannot avert an opposing homogenizing Christian-only narrative and mono-cultural nationalism, as expressed by the rise of far-right populism. Secondly, we have noted the confinement of the myth to specific cultural, institutional and upper class niches, who are already familiar with its message of tolerance. This poses limits to the use of al-Andalus (in the musical domain at least) as a tool for integration.

Thirdly, we need to pose some new questions: How far can the al-Andalus myth provide an ideal framework for integration? Can it withstand the new challenges looming on the horizon? What if migration trends change radically? So far, resettlement pattern from Morocco have been mostly dictated by the original problems of social justice and the distribution of wealth in the places of origin. Thus, migratory movements have been connected to power relations and economic accumulation. However, most recent research on global migration has revealed how asylum applications respond to temperature fluctuations (Missirian and Schlenker 2017). In Morocco, recent climate trends have already forced people to abandon rural areas due to sharp increases in the absolute warmest and coldest temperatures of the year—particularly in the spring and summer seasons (Filahi et al. 2016). Moreover, the 'vertiginous' pace of the climate crisis, largely due to mass consumption and deforestation, could alter the demographic balance leading to a shift from relatively free-to-move economic migrants to displaced climate refugees who have nowhere to go (Fernández et al. 2019)—a phenomenon already identified with a separate term, *climigration* (Ketola 2015). When the numbers become unmanageable, it might be easy for parties like Vox to transform the already perceived threat of demographic invasion into a mobilizing tool for a profoundly alarmed population (Conversi and Moreno 2019; Conversi 2020). Could a multicultural myth like al-Andalus hold on in such a context?

Despite the limitations of both the al-Andalus myth and regionalist interculturalism that is built on that myth, there is space for hope. Ultimately, beyond the rhetoric, bridge-building initiatives that seek to facilitate mutual understanding and intercultural interaction will remain in high demand in these uncertain times. For instance, cross-Mediterranean musical encounters are not simply about displaying otherness but about crafting a space in which Andalusian and Moroccan cultures might interact and converge. Music provides such a space for coming together and a unique point of contact between communities that can rise above perceived cultural or religious incompatibilities. Finally, more research needs to be carried out on strengthening cultural and musical bridges, their relative successes and ultimate consequences. As vast areas of knowledge need to be brought together to address the existential problems of the new millennium, disciplinary bridges need also to be crossed to achieve this vital task.

**Author Contributions:** Authors both co-wrote the paper and shared equally in its creation. All authors have read and agreed to the published version of the manuscript.

**Funding:** Some of this research received funding as part of the project 'Un modelo de prosopografía parlamentaria en perspectiva comparada' (HAR2014-53974-P), and the European Research Council-funded project 'Past and Present Musical Encounters across the Strait of Gibraltar' (MESG\_758221).

**Acknowledgments:** We would like to warmly thank Tariq Modood for kindly providing highly relevant advice on the issue of multiculturalism versus interculturalism. Also we would like to thank members of the *Fundación Tres Culturas* for their insights and time, and the reviewers for their useful comments.

**Conflicts of Interest:** The authors declare no conflict of interest.
