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Driven by the solidarity movements following the "refugee crisis" of 2015, the Brussels-based non-profit organization Muziekpublique, specialized in the promotion of so-called "world music", initiated the Refugees for Refugees project. This album and performance tour featured traditional musicians who had found asylum in Belgium and had artistic, political, and social goals. In comparison to the other projects conducted by the organization, each step of the project benefited from exceptional coverage and financial support. At the same time, the association and the musicians were facing administrative, musical, and ethical problems they had never encountered before. Three years after its creation, the band Refugees for Refugees is still touring the Belgian and international scenes and is going to release a new album, following the will of all actors to go on with the project and demonstrating the important social mobilization it aroused. Through this case study, we aim at questioning the complexity of elaborating a project staging a common identity of "refugees" while valuing their diversity; understanding the reasons for the exceptional success the project has encountered; and determining to what extent and at what level it helped—or not—the musicians to rebuild their lives in Belgium. ; info:eu-repo/semantics/published

This study explores the consequences of the theory of necessity for the interpretation of key concepts of refugee law and concludes that a generous refugee practice can be conceived and logically justified even if a restrictive immigration policy is a political reality

Above is an excerpt from a letter sent to me by the Canadian Foundation for Refugees. Why is the Foundation planning to produce such a newsletter when Refuge is already being published? Further, the proposed contents of the newsletter overlap ours. This is a waste of government funds. One or the other should not be published. We would like to hear the views of our readers.