"The Council Recommendation on key competences for lifelong learning of 2018 emphasizes the need for a better integration between formal, non-formal and informal education, ""reinforcing collaboration between education, training and learning settings at all levels, and in different fields, to improve the continuity of learner competence development and the development of innovative learning approaches"".The DREAM - Digital Reality and Educational Activities in Museums project, proposes an innovative methodology to help teachers of the first grade schools to strengthen the key digital competence and cultural awareness and expression competence of students, collaborating with museums and cultural organizations to set up ""museaters"", aka augmented reality stages that transform the visit into a ""museatrical performance"", a participatory transcultural edutainment event. Speaking with Shakespeare ""All the World is a Stage"", the teachers transform the museum into a theater, engaging students in the production and staging of plays, where the showcased items are the trigger to make their own Storyworld materialize as customized immersive digital scenographies that can be revealed by mobile devices.The DREAM project pursues this goal through three actions:• defining a methodology that codifies in a detailed way how to establish a collaboration practice with a museum, from the signing of the initial agreement to the staging of the performance, going through scriptwriting, making the digital scenography and setting it up in augmented reality;• developing a digital platform to support all the processes described in the methodology. The platform also includes a repository of cultural OERs, created by partner museums and made available to teachers to enrich their digital scenographies;• developing a blended course for teachers, that uses exemplary scenarios to guide them step by step up to the staging of their first museatrical performance.The DREAM project involves 45 teachers from Italy, Croatia and Portugal and 900 students, 30 ofthem with learning difficulties. In each participating nation, at the end of the project, each teacher will have staged his/her own museatrical performance at the partner museum. The best ones will be awarded in the final public opening events of each national museater. In a special international event at the Postimuseo of Tampere in Finland, that will be broadcastend in streaming, all partner museums will stage a co-produced transcultural museatrical performance, using materials developed by the schools during the project. The absolute best museatrical performance will also be awarded on this occasion.At the end of the project, the partners aim to activate regular collaboration programs for the staging of museatrical performances between all the participating schools and the three partner museums in Italy, Croatia and Portugal, accrediting them as alternative development environments of the digital and cultural skills of students. The desired outcome is that the presence of these focal points will encourage the spread of regular non-formal and informal learning programs, with mutual benefit for schools in terms of quality of the educational offer to students and for museums in terms of diversification and retention of the audience.In the long term, partners expect that the presence of a meticulously coded methodology equipped with all the tools necessary for its implementation along with the hoped for success of its application in pilot contexts will lead to the diffusion at an European scale of the museatrical format for the development of digital and cultural skills, with its potential expansion to all school cycles and other sectors such as adult education."

Thanks to the Erasmus+ KA2 application, we had the opportunity to get to know each other and learn from each other, exchange good practices, and create new international collaborations. Eight partner institutions (from six different countries) organized programs and trips to get to know each other's culture, professional profile, local practices of education, and methodology of knowledge transfer. Our project formed a network of specialized museums. The organizations built new relationships at international, national, and local levels. Explored and shared best practices of museums that work with VET institutions. Encouraged museums to engage in a permanent and structural form of collaboration with VET institutions. We built our museum professionals' capacity to identify the learning potential of cultural objects in a VET context. In addition to the staff of the partner institutions, representatives of other institutions, schools, museums and vocational training organizations were present at these events. International knowledge sharing has been achieved. The aim of the organized programs was to train and develop the participants and their environment. We communicated in English, learned new information about other European countries, organized training events, and several partners also gave presentations in English for an international audience. New contacts have been established between institutions and professionals. The participating institutions were also active at the local level. We contacted and co-operated with several organizations involved in international training about vocational education. Local programs, museum visits, and lesson plans had been prepared. We widened their educational offer, as well as increased and diversified their audience by working out new education sessions or other activities for the target groups in order to strengthen students' professional identities through historical examples. We built VET teachers' capacity for competence-oriented education in a museum context. We provided VET students with opportunities to discover the cultural heritage of their region and acquire key competencies in an innovative and creative way thus increasing learning satisfaction. We promoted our cultural heritage education as a good opportunity for the competencies required by VET curricula by disseminating collected practices and experiences that we learned from pilot sessions and other activities. We examined some IT tools in museums to support VET because this age group is the most skillful in using IT devices and it seems a “special language” in which they communicate, therefore museums should also learn and use this language. Partners achieved their results, practices, and specific methods used at VET heritage education at eight joint staff training. One of them was canceled, because of the pandemic situation, but thanks to partners’ good cooperation, it was made up in combined training. During these training and learning events, participants experienced an increase in their professional confidence and language skills. Training materials were produced and shared in English. Participating in museums designed museum education sessions, projects, and other activities and tested these with groups. These sessions became part of their regular educational offer. Another tangible outcome of the project is the collection of best practices that are shared in a digital publication. We reached in the project more than 50 museum professionals who work with adult audiences or teenagers in VET. We were not able to measure exactly that how many professionals reached by the project indirectly, but in our training events, meetings, travels, and dissemination activities (Facebook, Instagram, websites, prospects, radio reports, informative emails, discussions personally with colleagues and representatives of VET institutions, and with online shared summaries and final publication, etc.) this number approximately has to be more than thousand. Vocational education teachers also were involved in the project. We directly reached more than one hundred of them and indirectly at least one thousand during the three years. Partners worked week by week with VET students, thousands of them were reached during the project. The E-VOKED project also shaped our thinking. It turned our attention to vocational education, VET students, and teachers. In the future, we want to develop as many programs, projects, and lesson plans as possible for vocational schools, because we learned that supporting vocational education is an essential interest for all European countries. Strong relationships have been built with partner organizations, which will be continued after the project. Most of the project’s results were summarized and disseminated in our final publication.