This strategic partnership was based on years of collaboration of several European conservatoires where the music master programme for New Audiences and Innovative Practice (NAIP) was developed and implemented. The partnership also included new partners, which had in the years before the start of the project witnessed the progress of the NAIP programme and thus gained interest in its methodologies and ideology. This partnership project consisted of several events over two years period aimed at further development, improvement and promoting of methodology and joint curriculum using mobility in the form of two intensive study programmes, three working groups, two joint staff training events and two periods of staff development. The core of the NAIP programme is creative collaborative learning, where mentoring and practice based research play a major role. The aim is to be a platform for professional integration, entrepreneurship, creative collaborative practice, cross-arts and cross-sector practice and community engagement within the domain of higher education. This is particularly relevant as the music world is increasingly in need of more variety of skillful and flexible musicians capable of relating to society and finding new roles and carriers, at the same time as traditional employment opportunities are less and less accessible. The programme calls for creative musicians who have achieved a high standard of performance and show strong potential of entrepreneurship, leadership and communication skills. This project has strengthened the foundations of developing and promoting creative collaborative learning with enhanced quality, utilizing cross border collaboration and extensive dissemination and thereby making way for greater relevance of higher music education in Europe and beyond.

The innovative project Tussentijd/Interlude strengthens the connection between scientific psychiatry and society through cocreation. With a new form of science communication, via music and composing, the fundamentals of psychiatry are communicated to hard-to-reach target groups: patients with severe mental illness, experience experts and their loved ones. Through music sessions, live music cafes and digital dialogue sessions, exchanges are created in which the target groups scientific literacy is enhanced, as they learn to assess the value of scientific knowledge for their own lives. With extensive communication activities (podcasts, videos, digital tools, media coverage), this process is shared with a wide audience.

"The project VIOLANET - European Viola da Gamba Network was born to create a network between all those who study and teach the Viola da Gamba at an academic level. The Viola da Gamba, which in many conservatories has only recently been able to gain a fully recognised place, suffers from an isolation that urgently needed to be overcome. The experience of the ""Giornata italiana della viola da gamba"" promoted by the Scuola di Musica di Fiesole showed how much the need for meetings, exchanges and comparisons between all those involved with the instrument is felt and how fruitful these can be in increasing its teaching and performance quality. The ultimate goal of the project was therefore to lay the foundations for a lasting collaboration between all those who deal with the Viola da Gamba professionally.Six universities and institutes of higher education that had already distinguished themselves for innovative didactics and for particular activities around the Viola da Gamba were chosen as partners: the Scuola di Musica di Fiesole as the lead institution, the University Mozarteum of Salzburg (Austria), the Conservatoire National Superieur de Musique et de Danse de Lyon (France), the Conservatorio Superior de Música of Vigo (Spain), the Koninklijk Conservatorium of The Hague (The Netherlands), and the Hochschule für Musik Franz Liszt of Weimar (Germany). These institutions involved teachers and students of Viola da Gamba, teachers and students of other instruments and subjects, including those outside the early music departments, and the staff of the Erasmus and International Relations offices; from outside collaborated specialised luthiers, musicologists, teachers and students from other institutions, etc.The project included a variety of activities, all characterised by a concrete involvement in musical and didactic life. Many of these activities took place during the five teacher-student meetings: transnational masterclasses, conferences, luthiers' exhibitions, ensemble music, dell'European Union Youth Viol Consort (EUYVC) rehearsals and concerts, student and teacher concerts, experimental teaching workshops, teacher exchanges. Other activities planned and carried out wereIO1: Design of European Guidelines for Viola da Gamba high educational pathways.IO2: Specialisation workshops of 150 hours within the university curricula with subsequent recognition of ECTS credits. Their overall objective, beyond the beneficial effects of the individual activities, was to implement and modernise the viola da gamba curriculum, making it better suited to the professional world through innovative teaching proposals.IO3 Creation of a European Union Youth Viol Consort (EUYVC), composed of students from Violanet institutions, and its concert activity.IO4: Creation of a digital resource centre as a common platform for students and teachers, with documents, teaching tools, methods, research tools and a virtual meeting space.All these activities planned by the initial project have been fully realised and implemented, in many cases exceeding initial expectations; they promise to have positive effects well beyond the end of the project. The transnational meetings and mobilities have created strong professional links, which are already materialising in new inter-European proposals and activities. Particularly beneficial in this respect has been the creation of the EUYVC, which has been noted for the quality of its musical proposal and which has experimented with unusual formations and repertoires that will remain as a reference. The specialisation workshops have proved to be so fruitful and useful that most of them will be continued in the years to come; they have created innovative methodologies whose benefits the teachers involved will hardly want to do without in their future teaching. The digital resource centre not only includes – as planned – the ""Catalogue of solo and chamber music for viola da gamba"" and numerous teaching and research materials, but is already considered a place where it is a privilege to be invited to publish musical and research material. The platform will therefore certainly be expanded further in the future. The work on the ""Guidelines for a European academic curriculum for viola da gamba"" has produced a text published on the web and appreciated and debated by viola da gamba teachers from all over the world; it has also been an opportunity for teachers to exchange ideas and discuss teaching methods."

Society continues to place an exaggerated emphasis on womens skins, judging the value of lives lived within, by the colour and condition of these surfaces. This artistic research will explore how the skin of a painting might unpack this site of judgement, highlight its objectification, and offer women alternative visualizations of their own sense of embodiment. This speculative renovation of traditional concepts of portrayal will explore how painting, as an aesthetic body whose material skin is both its surface and its inner content (its representations) can help us imagine our portrayal in a different way, focusing, not on what we look like to others, but on how we sense, touch, and experience. How might we visualise skin from its ghostly inner side? This feminist enquiry will unfold alongside archival research on The Ten Largest (1906-07), a painting series by Swedish Modernist Hilma af Klint. Initial findings suggest the artist was mapping traditional clothing designs into a spectral, painterly idea of a body in time. Fundamental methods research, and access to newly available Af Klint archives, will expand upon these roots in maps and women’s craft practices and explore them as political acts, linked to Swedish Life Reform, and knowingly sidestepping a non-inclusive art history. Blending archival study with a contemporary practice informed by eco-feminism is an approach to artistic research that re-vivifies an historical paradigm that seems remote today, but which may offer a new understanding of the past that allows us to also re-think our present. This mutuality, and Af Klint’s rhizomatic approach to image-making, will therefore also inform the pedagogical development of a Methods Research programme, as part of this post-doc. This will extend across MA and PhD study, and be further enriched by pedagogy research at Cal-Arts, Los Angeles, and Konstfack, Stockholm.

The idea is to experiment with a combination of emerging digital and artistic methods of inquiry in order to reframe the photographs and films produced by Dutch anthropologist Paul Julien during the last decades of colonisation of various countries on the African continent. This reframing will be done in several ways. Firstly through crowd-sourcing information with those whose communities and (now) histories were depicted by Julien by sharing his pictures on social media. Secondly by the production of artistic responses to the collection with members of several of these communities. And thirdly, the process and an analysis of it will be made public in an experimental mode of academic publishing, which in turn will be subjected to reflection and analysis by the applicants and other peers.