Arts 2019, 8, 14 13 of 16 conventionally confined to the roles of singer or manager. Studies focusing on refugee populations note that women are usually invisible and therefore even more vulnerable than men (Emery 2017, p. 65; Refugees Studies Centre 2017, p. 3). Third, the project coordinators are all Belgians, as is the musical director. With one exception,63 the refugee musicians hold various non Belgian nationalities. A racialized division of labor (Stokes 2004) can be observed within the project. One our reviewers rightly pointed out that this article used to include more quotes from Muziekpublique’s workers than from musicians64 . Aware of this problem, Muziekpublique tried to make things change from within, and for example hired one of the band’s musician to work a part-time administratively for the project. Have the musicians really benefited from the project? In light of these elements, one might be tempted to assume that in spite of good intentions, Refugees for Refugees could be an involuntary reinforcement of a situation this project claimed to fight against (Stokes 2004, p. 372). The association advocates “self reliance” but at the same times intervenes in many ways by deciding decide how to communicate around the project, hiring translators during major conflicts or by the presence of a (non-refugee) musical mediator. At the same time, refugee musicians use their agency to build the repertoire, to change the performance conditions when they do not agree with it, and sometimes leave the project for new horizons. Using the term “refugees” in the band’s name clearly conditioned its reception by the media and organizations. This status, which was perceived as a stigma by musicians but as the banner of a struggle by Muziekpublique and the media (Devleeshouwer et al. 2015, p. 113), changed with the formation of musicians as a real ensemble. Some musicians were asked if they would have conducted the project differently, particularly with regard to the choice of the name: some replied that they would have found another name, some said that they do not know, and others that they would probably have chosen the same name, for communication reasons. We hope that this section, considering all the nuances and the heterogeneous nature of the individuals gathered by the project, proved the difficulty to simply oppose Muziekpublique and the “refugee” musicians. 5. Conclusion: Can We Talk about Results? A Project Raising Multiple Issues The initial goals of the project Refugees for Refugees were to produce a high quality album; to help refugee musicians to integrate in professional European music networks; and to promote the cultures carried by “refugees” and to change the way they were socially viewed. As these objectives are multiple, so are the results: some of them seem to be fully accomplished, others to have partially—or totally—failed. Our definition of “success” and “failure” must take into account not only an economic point of view, as we should be tempted to do, but also consider the other dimensions such as social and cultural. Another thing to point out is that despite the institutional weight, the ordinary relationships between people, the situations of diversity people face every day go much faster than politics (Vertovec 2009, p. 28). Given the reviews from the specialized media and the numerous concert proposals, but also the abundant expressions of support from compatriots residing in home countries, the musical quality objective was reached. The evaluation of the second objective is more difficult: if musicians have indeed played on several major European scenes, their participation into the labor market is more or less effective on a case-by-case basis. Few musicians said this project helped them to enter the Belgian market; more face real difficulties to get out of what could be called the vicious circle of social aid. Finally, it is difficult to assess the project’s role in looking at the “refugees” issue in Belgium:65 63 64 65 The percussion player Simon Leleux was hired for his musical skills and his ability to adapt to different repertoires, which no refugee percussionist presented. After having balanced the whole I analyzed this was due to many factors, among which my own experience in the production; my missing skills in Tibetan, Pashto and Urdu language; the fact that musicians who had left the project did no longer want to talk about it (see above). More generally, Georgiou and Zaborowski (2017, p. 3) note that the presentation of refugees by the European media has changed in the course of the year 2015. The sympathetic reaction of a large part of the press during the summer and