"The URB_ART project is a response to the COVID19 crisis that has inhibited intercultural exchange and severely affected the cultural and educational sectors. This project aims to support low-skilled adults in marginalized communities through activities and concepts of Urban Arts Education. Possible on-going pandemic constraints and changes will be considered in the project by implementing innovative formats of (digital) education, communication, participation, dissemination, etc. To achieve these goals, the consortium will carry out activities to manifest Urban Arts Education as a tool for social inclusion.URB_ART will stimulate social inclusion and empowerment processes through its project activities and results. By providing scientific studies, technical literature, further trainings, and audio-visual toolkits on the potentials of Urban Arts Education, a sustainable awareness of the different target groups shall be created.The definition of Urban Arts Education is based on the conceptual triangle of arts education, urban adult education and urban arts. Thus, it encompasses the creative and personal development of the individual as well as the understanding of regional and international arts and culture in large, densely populated urban areas with a diverse population. Dealing with arts in the community of low-qualified adults from marginalized groups overcomes socio-cultural barriers and provides access to new social groups. Here, transdisciplinary art disciplines function as communication instruments for intercultural dialogue and social integration. URB_ART will incorporate linguistic concepts such as metro- and multilingualism to classify and implement an intercultural dialogue.URB_ART makes use of the correlation of these three concepts by realizing five project activities that build on each other:IO1: The ""Baseline Survey on Transdisciplinary and Multilingual Urban Arts Education"" will formulate national and transnational needs and challenges regarding marginalization in the fields of culture and education as well as success indicators with regard to Urban Arts Education, taking into account concepts of transdisciplinarity, metro- and multilingualism.IO2: The ""Compendium of Storytelling Resources Through Urban Arts Education"" aims to list success stories for transdisciplinary and multilingual Urban Arts Education based on the Baseline Survey. In this way, the Compendium will create specific knowledge about the resources of storytelling through urban arts and empower cultural and educational actors.IO3: The ""In-Service Training Package on Urban Arts Education"" offers opportunities for further education for adult education providers and community actors. The results generated from IO1 and IO2 are conveyed in a practice-oriented manner in training courses in all five partner countries, whereby the results and recommendations can be directly integrated into the thinking and actions of those involved in practice.IO4: The ""Toolkit of Video Case Studies on Community Urban Arts"" aims to present media-based successful transnational practices for the inclusion of marginalized communities in urban arts programmes and initiatives.IO5: The ""Policy Paper on Promoting Urban Arts Education"" deals with the potentials of Urban Arts Education regarding social inclusion. The aim is to develop operational and policy recommendations for decision-makers and policymakers in the fields of culture, education, and social affairs.In addition to these outputs, the partner consortium will regularly organize transnational meetings, a transnational staff-member training, national multiplier events to disseminate the project results and a European Symposium, to which policy-makers and stakeholders will be invited. In the project activities, artists will be directly involved to actively build a bridge between the educational and the creative sectors.The partner consortium consists of five non-governmental organizations from the United Kingdom, Iceland, Slovenia, Portugal, and Austria. In addition to the project partners, other stakeholders are directly and indirectly addressed by this project:1) associated adult and community educators, social workers, professionals from the cultural sector2) low-skilled adults in marginalized communities3) independent arts educators and artists of different art disciplines4) policymakers and decision-makersWith this transnational and transdisciplinary approach, URB_ART breaks down social barriers in times of COVID19 and promotes social inclusion through the concept of Urban Arts Education. URB_ART offers further training possibilities for associated adult and community educators, social workers, professionals from the artistic and cultural sector as well as for independent arts educators and artists of different art disciplines to establish access to culture and education and to achieve empowerment for low-skilled adults in marginalized urban communities."

SafeHabitus will make farming a safer occupation. Farming is amongst the most dangerous jobs in Europe. European statistics show that the fatality rate in farming is 233% higher than other industries and the accident rate is 18% higher. These figures underestimate the scale of the problem as a significant proportion of farm workplace fatalities, injuries and ill health go unreported, un-investigated, and prevention approaches are not learned. Improving farmers’ and farm workers’ health and safety requires action by a range of stakeholders to empower and support them to change unsafe practices and adopt new, safer and healthier ways of working. SafeHabitus is a multi-actor project that has come together to strengthen Farm Health and Safety Knowledge Innovation Systems (FHS KIS) and support the EU transition to social sustainability in farming. Our premise is that driving health and safety on farms is not about dissemination but changing habitual practices. To achieve this, SafeHabitus applies a range of novel methods; digital story telling methods with people who experienced accidents; application of the multi-actor approach to co-design farm work risk management tools; foresight analysis; analyses of consumer willingness to pay for food production that protects health and safety; bench-marking policies and elite interviews with policy makers. Our consortia include end-users, stakeholders and researchers in case study Member States. These work together in ten national COPs covering a representative variety of countries and sectors. SafeHabitus also engages with European bodies and stakeholders who provide critical bridges between EU and national / regional actors and who can influence EU policy such as the Geopa (Copa-Cogeca), CEJA, EFFAT, Oxfam, SVLFG, and AEIDL. This multi-level and transnational approach will allow SafeHabitus advance safer practices on farms across the EU.

The project MINERVA: MappINg Cultural Heritage. Geosciences VAlue in Higher Education promotes and develops innovative methods and tools for teaching, learning & assessment geotechnologies for cultural heritage in Higher Education contexts. It aims to support European teachers and learners in using geotechnologies for Cultural Heritage (CH) in creative, collaborative and efficient ways. The project is particularly relevant in the current context where effective remote learning (and working) tools as well e-platforms are required.MINERVA is implemented in six European countries (France, Greece, Italy, Serbia, Slovenia, Spain) by a partnership lead by University of Florence (IT) and composed of University St. Etienne (FR), University Castilla-La Mancha (SP), University Nis (RS), Dipylon (GR) and the Research Centre of the Slovenian Academy of Sciences and Arts (SI).It selects as main targets:- Bachelor and Master students in Humanities and Social Sciences, Arts and CH Management (namely Historians, Archaeologists, Geographers and Anthropologists).- Teachers in Higher Education (HE) Institutions of Humanities and Social Sciences, Arts and CH Management (namely Historians, Archaeologists, Geographers and Anthropologists).MINERVA selected targets will be supported on one side (TG2) in the development of learning outcomes oriented courses that better meet the learning needs of students, while also being relevant for the labour market and teaching environment (i.e. cultural institution, CH management), on the other side TG1 will benefit of an innovative didactic offer.Six skilled partners will work for 24 months on three main Intellectual Outputs (IOs) coordinated by History, Archaeology, Geography, Arts and Performing Arts Department of the University of Florence (SAGAS).The first intellectual output is a framework for the teaching of Geotechnologies for Cultural Heritage. The aim of the IO1 is to define the key-competences needed by EU HE learners, define the assessment tools and a detailed matchmaking comparison between the European labour market and the existing academic profiles offered by European universities and related to the CH sector. IO1 is led by ZRC SAZU with active contributions from all partners. The expected outcome of IO2 follows logically IO1 by creating and formalizing an innovative method of teaching geotechnologies and provides for a collection of didactic resources on Geotechnologies for CH Bachelor and Master students. The main axis of the conception and development of the method will be the incorporation of GIScience, Remote Sensing and Digital Cartography into the disciplines of CH (History, Archaeology, Anthropology, Cultural Management). IO2 is led by the University of St. Etienne and SAGAS Department with active contributions of all partners.IO3 is the final output. It will consist of a MOOC (Massive Open Online Course) in Geotechnologies for CH designed for the target of Bachelor and Master students from the academic fields of CH. Dipylon leads IO3 with active contribution from all partners. IO3 will enable the implementation of an innovative didactic method and didactic resources (IO2) in a structured course, offering a more flexible learning and increasing didactic offer variety. Furthermore, it will familiarise the participants with the digital resources and training material available in the e-platform FEDERICA.EU especially designed to provide MOOCs courses.The project is complemented by two intensive learning programmes in Italy and Serbia with a scheduled participation of 24 teaching staff and 30 university learners to test and provide feedback relevant for IO2 and IO3 test and accomplishment. A testing phase for IO3 is also scheduled in each country in order to complete it and finalise it with an holistic and international approach.The active presence of six associated partners will reinforce the action as they will be mainly involved in output quality control-feedback, networking, dissemination actions and on the six multiplier events scheduled in each partner country. Finally, dissemination and sustainability transversal activities complete the expected impacts.

The ARIADNEplus project is the extension of the previous ARIADNE Integrating Activity, which successfully integrated archaeological data infrastructures in Europe, indexing in its registry about 2.000.000 datasets. ARIADNEplus will build on the ARIADNE results, extending and supporting the research community that the previous project created and further developing the relationships with key stakeholders such as the most important European archaeological associations, researchers, heritage professionals, national heritage agencies and so on. The new enlarged partnership of ARIADNEplus covers all of Europe. It now includes leaders in different archaeological domains like palaeoanthropology, bioarchaeology and environmental archaeology as well as other sectors of archaeological sciences, including all periods of human presence from the appearance of hominids to present times. Transnational Activities together with the planned training will further reinforce the presence of ARIADNEplus as a key actor. The technology underlying the project is state-of-art. The ARIADNEplus data infrastructure will be embedded in a cloud that will offer the availability of Virtual Research Environments where data-based archaeological research may be carried out. The project will furthermore develop a Linked Data approach to data discovery. Innovative services will be made available to users, such as visualization, annotation, text mining and geo-temporal data management. Innovative pilots will be developed to test and demonstrate the innovation potential of the ARIADNEplus approach. Fostering innovation will be a key aspect of the project, with dedicated activities led by the project Innovation Manager.

While the factors leading to early school leaving vary from country to country (Recommendation on policies to reduce early school leaving, EC, 2011), the causes of ineffective policies can be boiled down to three typical deficiencies: 1. lack of a comprehensive strategy; 2. lack of evidence-based policy-making ; and 3. insufficient prevention and early intervention. Learning music enhances a cognitive, emotional, physical and social development of youngsters and is a main source of creativity. Musical education and more generally artistic education as soon as possible is most necessary for children to become adults open on the world, with the relevant knowledge and critical thinking for sharing values with the future generations (Suzana Kubik, France Musique, 2016). In an approach based on praxis, according to David J. Elliot, rhetorician in education and musician, education to music is more pragmatic than esthetic. Antti Juvonen states that « in the heart of pedagogy is the musical experience. Pupils are asked to play the instruments and to sing in order to better understand the music not as an abstraction, but through practice and sensations it reveals. Acting for feeling and understanding before learning a theoretical knowledge, this is the methodological principle». At school, education to music is part of compulsory education. Musical education tackles three main objectives: listening to music; playing and/or composing the music; building a musical and artistic education. Three main pedagogical actions are implemented: listening, playing and composing. In complement of the formal education, many extra-curricular activities are offered such as choirs in the framework of schools or outside schools with annual concerts to play the work done all the yearlong. Moreover, education to music combines much knowledge: history, literature, or sciences. Therefore it plays a specific role in transversal pedagogical strategies and multidisciplinary learning (such as history of arts). Many opportunities are offered to youngsters outside school to play the music: in association, in conservatories... Education to opera allows an opening of youngsters to artistic culture (most favored by Key competence 8) with a cultural practice which used to be a popular one. This pedagogical approach is a main asset for creativity (key competence 7) and therefore for a harmonious personal development. The opera involves disciplines such as music, drawing, sports, dance. Education to Opera may reveal hidden talents, it enhances a collective and team spirit, it improves culture and knowledge, it allows to acquire various competences, to master one’s body, concentration and breathing, it stimulates memory, it combines written and oral expression in mother tongue or a foreign language (key competence 1 & 2) , it develops the personality of the teenagers, it is a main asset for empowerment. The EducOpera means to struggle against Earlys School Leavin (ESL) through the acquisition of skills & competences by the means of Education to Opera. To achieve this aim, it intents to design 3 main intellectual outputs: 1- A tool & method (IO1) to identify and assess the competences acquired by teenagers thanks to an education to music in general and Opera in particular which might be relevant skills & competences required at school 2- A training for professionals (IO2) - educators being trained to this pedagogical & innovative approach to enrich their professional practice and being able to use the IO1 in their assessment 3- A guidance for professionals in order for them to be able to explain the EducOpera approach to other teachers/educators (at school and outside school) teaching musical education (IO3) making the link with the struggle against Early School Leaving (ESL) ; learning to learn making the link between formal, non-formal and informal learning On the basis of national experiences and pedagogies already implemented , the EducOpera project is meant to offer a general pedagogical strategy to enhance education to Opera as an innovative way to struggle against Early School Leaving (ESL) in Europe.