jats:titleAbstract</jats:title>jats:pThe notion of a shared history across the Mediterranean is central to a number of Spanish-Moroccan musical collaborations, which draw on the notion ofjats:italicconvivencia</jats:italic>: the alleged peaceful coexistence between Christians, Jews, and Muslims in medieval Spain. In this article, I explore the relationship between a ‘musical’jats:italicconvivencia</jats:italic>and Moroccan immigration in Spain, focusing on two prominent case studies:jats:italicMacama jonda</jats:italic>(1983) andjats:italicInmigración</jats:italic>(2003). Spanning a twenty-year period, I argue that these two productions illustrate shifting responses to Moroccan immigration at distinct historical moments: the post-Franco era and post-9/11. These two productions illustrate the malleability of thejats:italicconvivencia</jats:italic>myth, employing it for distinct social and political purposes. I argue thatjats:italicMacama jonda</jats:italic>andjats:italicInmigración</jats:italic>should be read as products of shifting political and cultural relations between Spain and Morocco, and Spain's negotiation of its Muslim past.</jats:p>