This paper discusses the twofold role of music as a means to manifest border-induced (cultural) difference and simultaneously foster alternative modes of belonging. The author draws on her ethnographic research, consisting of participant observation, desktop research, and interviews, and reflects on her auto-ethnographic recordings of engaging with refugee musicians. The discussion unfolds around vignettes that exemplify moments of musical encounters among refugees and between refugees and people from the host society. The vignettes are narrated from the refugee interlocutors’ point of view, who are engaged in the musicking instances as listeners and musicians. It discusses how they devise music to cope with their estrangement from home and to articulate narratives of belonging. It illuminates how refugees challenge stereotyped representations of themselves, reinforcing the terms under which they can become “visible” and “audible.” Finally, the article argues that refugees’ narratives suggest understandings of reality as a continuum in ways that challenge the linear reifications produced by nation-state bordering practices and displacement-induced ruptures These understandings are embedded in music’s mobilities and their intersections with human movement, informal networks, and the cultural industry

中文翻译：

---

在家的隔阂与主人的边缘化之间：通过音乐追寻归属感

本文讨论了音乐的双重作用，作为一种手段来体现边界引起的（文化）差异，同时培养替代的归属模式。作者借鉴了她的民族志研究，包括参与观察、桌面研究和访谈，并反思了她与难民音乐家互动的自动民族志记录。讨论围绕小插曲展开，这些小插曲体现了难民之间以及难民与东道国社会人士之间的音乐相遇时刻。这些小插曲是从难民对话者的角度来叙述的，他们作为听众和音乐家参与音乐表演。它讨论了他们如何设计音乐来应对他们与家的疏远并表达归属感。它阐明了难民如何挑战对自己的刻板印象，强化了他们可以变得“可见”和“可听”的条件。最后，文章认为，难民的叙述表明将现实理解为一个连续体，以挑战民族国家边界实践和流离失所引起的破裂所产生的线性具体化的方式。这些理解嵌入在音乐的流动性及其与人类运动的交叉点，非正式的网络、文化产业