Arts 2019, 8, 14 4 of 16 image of refugee artists as a metaphor that they are also doctors, chemists . . . All refugees have talents, they are not items to reject.15 The first exchanges around the project raised questions about the composition of the band: which “refugees” did the project want to feature? Muziekpublique eventually decided to follow its usual artistic line and to work with high-skilled musicians from classical and popular traditions, located in Belgium. As musicians were in a precarious situation, the decision was made to produce the album in a very short time:16 the speed made it also possible to guarantee media attention since the issue of refugees was a top media priority. The project was called Refugees for Refugees because part of its profits would be donated to social organizations promoting refugees’ expression, well-being and fair participation through amateur artistic practice.17 To find musicians, Muziekpublique contacted its usual artistic networks, but also organizations working in the associative field.18 Four artists simply refused to take part in the project, and three withdrew later for various reasons:19 the conditions of the recordings did not suit them;20 they could not find time to play music between administrative interviews, training, professional and family obligations. Some others expressed doubts about the project itself, first because its aims and results were very unclear when they were contacted, but also because many musicians were reluctant to be labelled as “refugees”. In one month, a very heterogeneous group was brought together, made of some twenty musicians from different countries,21 sometimes speaking no common language,22 arrived by 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 refused to play this role, they eventually asked the Belgian ‘ūd player Tristan Driessens, experienced in conducting transcultural ensembles. 15 16 17 18 19 20 21 22 Interview with Peter Van Rompaey, Brussels, 30 August 2018 [our translation]. Seven months separated the first discussion on the project from the CD release: the search for musicians began in October 2015, funding requests were sent in November, recordings took place in December 2015 and February 2016, and the CD was released in May 2016. Two Brussels non-profit organisations, Globe Aroma and Synergie 14, are given 1€ each per CD sold. Humanitarian organizations, welcome centers, language schools for newcomers, and citizen initiatives. Unfortunately, due to the poor conditions in which the collaboration stopped with these musicians, they did not wish to answer the questions asked in the context of this article, probably no longer wishing to be associated with it. Muziekpublique, not having large resources, proceeds for this project as it does for others: the recordings take place in “live” conditions and not in a studio; some musicians, thinking they will be included in a full classical orchestra, realize that they can only work with the musicians on board; the association cannot provide accommodation for musicians coming from far away during the recordings period. Syria, Iraq, Pakistan, Afghanistan, and Tibet. Despite the non-recognition of their country on the official 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 events. While lack of language skills is generally not an obstacle, Muziekpublique used translators on several occasions: during initial contacts with musicians; or during major conflicts involving members of the band.