different means and having various legal statuses [Figure 1]. As the recordings began, this heterogeneity also became a musical problem: how to combine various repertoires, musical systems, and languages? Muziekpublique looked for a musical mediator and director they already knew to coordinate the project. After a Syrian ‘ūd player they had proposed Arts 2019, to 8, 14 5 of 16 refused play this role, they eventually asked the Belgian ‘ūd player Tristan Driessens, experienced in conducting transcultural ensembles. Figure forfor Refugees during the the CD CD release concert (Muziekpublique, Brussels, 13 May Figure 1. 1.Refugees Refugees Refugees during release concert (Muziekpublique, Brussels, 132016). May On stage: musicians from 8 countries playingplaying 15 different types oftypes musical instruments and singing 2016). On17 stage: 17 musicians from 8 countries 15 different of musical instruments and in 3 languages. Among them: 5 asylum seekers waiting for a decision, 8 having obtained the singing in 3 languages. Among them: 5 asylum seekers waiting for a decision, 8 having obtained administrative “refugee” status, 3 Belgians, 1 stateless person. Credits: Jean-Luc Goffinet and the administrative “refugee” status, 3 Belgians, 1 stateless person. Credits: Jean-Luc Goffinet Muziekpublique (used by permission). Needing aa start-up start-up capital, capital, Looking for financial support also happened to be faster than usual. Needing 23 association used crowdfunding crowdfunding for the first time, which met the association met and and even even exceeded exceeded its its objective. objective.23 An interest was also felt on the the institutional institutional side: side: the European Commission provided a support budget; the Wallonia-Brussels Federation, Federation, normally normally not not entitled entitled to support musicians musicians not residing budget; was the case of the majority of the group’s musicians—granted an legally on its territory—which territory—which was exceptionally high budget for the recording of the album. Simultaneously, the mainstream media, usually not much interested in world music, paid particular attention to the project.24 Several articles and major programs were devoted to Refugees for Refugees before the release of the album:25 this interest would never decrease.26 The project coordinator Lynn Dewitte, also regrets that it was not directed towards the musical project for itself but rather towards 21 Syria, Iraq, Pakistan,and Afghanistan, and Tibet. Despite the non-recognition of their country on the official its political dimension the musicians’ personal stories: 23 24 22 25 23 26 level, the musicians participating in the project consider themselves as “Tibetans”. Muziekpublique then chose to indicate this geographical area at the same level as the other nations in the description of the project, a militant choice that sometimes prevented the project from being programmed for important institutional €15.755, 126% of the initial goal, were collected in one month thanks to 272 supporters. events. The week of the recordings in December 2015 was a real media marathon. While lack of skills is generally notbyanmusic], obstacle, Muziekpublique used 2015; translators on several “Des réfugiés unislanguage par la musique” [Refugees united La Libre Belgique, 14 December “The Musician from occasions: during initial contacts2015; with“Tout musicians; or during major conflicts involving members the band. Diyala”, Al Jazeera (UK), 24 December le Baz’Art” [The whole baz’Art], Arte/La Trois, 1 March 2016; of “Les Festivals de musique ouvrent leurs scènesgoal, aux artistes réfugiés” in [Music open their to refugee artists], Télérama, 22 June €15.755, 126% of the initial were collected one festivals month thanks to stage 272 supporters. 2016; “De la musique en mémoire d’Alep” [Music in the memory of Aleppo], Le Soir, 21 April 2016; “Virtuoze vluchtelingen” [Virtuoso refugees], De Standaard, 13 May 2016; “L’Invitation” [The invitation], RTBF—La Trois, 16 May 2016. Recently “Des réfugiés jouent pour les réfugiés, au gré des marées” [Refugees play for refugees, at the discretion of the tides], Le Monde, 16 August 2018; “Quand on est sur scène, je ne sens pas que nous sommes réfugiés” [When we are on stage I don’t feel we are refugees], Libération, 21 August 2018.