The City of Swansea and the Swansea Valley is defined by its industrial past, and especially by the rise and decline of the copper industry which became the world's first globally integrated heavy industry during the eighteenth and nineteenth centuries. As Swansea became 'Copperopolis', and the Valley became as important as Coalbrookdale to Britain's Industrial Revolution, the lives of local people and in-coming migrants were profoundly shaped by the development of the workers' communities that supported the rapid growth of the coal and metallurgical industries. Equally, the lives of later generations were shaped first by the painful process of de-industrialisation which ensured that by 1950 the Swansea Valley had become the largest industrial wasteland in Europe; and then by large-scale land reclamation and regeneration projects implemented during the 1960s and 1970s. As a result of these long-run processes, the region has a remarkably rich yet complex industrial-urban-environmental heritage, and research into this informs a better understanding of how the unique historical and cultural context of the region continues to shape the identity, sense of place, and quality of life of the people who live in an area, where 16.8 percent of the population speaks Welsh. This multi-partner, bi-lingual project aims to consolidate and extend collaborations that have been established in recent years by arts and humanities researchers at Swansea University and a range of community groups and organisations across the university's regional hinterland. The project has two major objectives: 1. It seeks to develop collaborative community research projects that will be of great worth in themselves, and 2. It will very considerably enhance a major heritage-led urban regeneration project centred on the Swansea Valley, which brings significant added value. In order to achieve these objectives the research group will work closely with Swansea University's archives, media services, and Arts Centre, as well four external partners, to engage with formal and informal community groups across the region. The external partners are: - National Waterfornt Museum, Swansea; - West Glamorgan Archives Service; - The Libraries Service of City and County of Swansea; - Glamorgan-Gwent Archaeological Trust. A number of different groups will derive benefit from the project. First and foremost, the community groups and organisations engaged by the Research Group and Project Partners will benefit from the research because they will be generating outputs themselves and then disseminating them via different media. This process with greatly enhance the knowledge and skills of community groups across the region. The eventual dissemination of community group research findings will benefit the wider public in Swansea and south-west Wales by enhancing understanding of collective and individual histories. This turn will inform a better understanding of the region's heritage and identity, as well as its sense of place within local, national, and global contexts. The project partners will benefit from this collaborative project because through creative engagement with both HEI and non-HEI researchers. The project will serve to widen access to the partners' resources and will help to facilitate the increased use of their facilities, knowledge, and skills. Postgraduate students involved in the project (through open days, etc) and also community group members (again involved via open days, etc) will directly benefit from the project because it will give them real-world experiences of collaborative projects and enable both groups to identify, develop and also learn new transferable skills, for example - self-awareness, initiative, teamwork, action planning, leadership, communication, networking, problem solving, flexibility, etc. These transferable skills will be essential for students in their future careers.

Abstracts are not currently available in GtR for all funded research. This is normally because the abstract was not required at the time of proposal submission, but may be because it included sensitive information such as personal details.

This network bid builds on a series of meetings at which artists, members of publicly funded Arts institutions, and academics specialising in youth and community work, came together through a shared concern with the persistent inequality in arts participation in England and Wales. Many marginalised groups especially those who also live in poverty are at risk of social isolation, substance misuse, self-harm and civic disengagement. Evidence that involvement in the Arts and arts-based activities can play a positive role in ameliorating these risks has accrued over the past 15 years. Yet, research shows that it is marginalised groups who do not sustain their involvement or benefit from long-term experiences of Arts to enhance their lives. Our meetings led us to ask the question, 'Why, given that participation in Arts has come to be framed increasingly within inclusion agendas, do these often play out in practice, unintentionally, in exclusionary ways?' The network set out to explore what more arts organisations and artists can achieve by attuning to the needs and knowledge of marginalised groups through a multidisciplinary lens. Hitherto, debates about specific approaches to widening participation in the Arts have taken place within fields that have developed independently of each other. For example, the fields of youth and community work draw on arts-based practice to empower marginalised groups, and have developed skills for befriending and working with groups who find themselves on the periphery of society. However, while the Arts disciplines strive to democratise access to the Arts, yet consultations with participants who work in publicly funded Arts organisations, such as national theatres, museums, galleries and arts centres revealed considerable concern about the uneven social participation in the Arts. Lectures on creative media courses in Further Education colleges often teach marginalised young people. While the disciplines of the Arts and the fields of community and youth work have developed independently of each other, there is enormous potential to share different perspectives to understand this complex problem which requires both critical debate and the inclusion of multiple viewpoints. In response, we will create a network to facilitate boundary crossings between hitherto siloed fields that have different approaches and purposes in relation to the Arts. Through a series of regional multidisciplinary, multiagency BarCamp (N=5) style exchange spaces, stakeholders from Arts disciplines as well as those who work in publicly funded theatres, museums, galleries and art centres will come together with academics and practitioners from the fields of community and youth work to critically debate issues such as participation, democracy, enterprise, trust, street work and festivals. Two BarCamps will be hosted by a youth centre and a community centre enabling marginal groups to lead activities. Events will be designed to enable a multiplicity of perspectives through processes of making, attuning, listening and debating. Collectively, we aim to develop new ways to imagine and understand how marginalisation takes place in often-imperceptible ways, and to forge new ways of working that draw on the strengths and creative resources of marginalised groups. A website will enable insights to be gathered incrementally across the BarCamp events and shared publicly. The long terms objective is to create guidance for Arts organisations who are grappling with the Culture White Paper's (CM 9218) expectation for the first time that all museums, theatres, galleries, opera houses or arts groups that receive government money "should reach out to everyone, regardless of their background". The challenge here is to develop new models for effective partnerships that can be adapted in specific local communities based on the values implied, rather than through performative acts such as counting numbers through the door.

The project considers language in Atlantic Europe ('AE'=Britain, Ireland, northwest France, western Iberia) from first metallurgy (c. 2900 BC) to Latin's arrival (Cádiz 206 BC, Ireland c. AD 400). CONTEXT. Many still believe that 'the Celts' spread from Iron Age central Europe (c. 750-100 BC) bringing Hallstatt and La Tène material culture and Celtic speech; so earlier eras further west are non-Celtic by definition. A previous AHRC project showed the inadequacy of this model to explain Hispano-Celtic. Cunliffe's work on maritime networks and Koch's on AE's first written language, Tartessian, led to a shared conclusion: Celtic probably evolved from Indo-European in AE during the Bronze Age. Data bearing on this problem has expanded explosively in recent years, but key research is divided by specialisms and languages (French, German, Portuguese, Spanish). A gulf separates archaeologists and linguists (who use effectively different languages even when speaking the same). Most researchers focus on one period and modern nation. There are compelling reasons to view Metal Age Atlantic Europe as a whole. When AE's pre-Roman languages come into view, most are Indo-European, the majority specifically Celtic. Shared types of prestige metalwork used similarly across AE define the Atlantic Bronze Age (c. 1250-750 BC): complex cultural packages (using exotic raw materials), ideas and technology spread and evolved along Atlantic routes from the 3rd millennium BC onwards. AIM: In an innovative initiative, a team of linguists and archaeologists will collaborate closely, sharing detailed evidence and methodologies, to overcome chronic barriers in Celtic Studies. The team will assemble a large body of archaeological and linguistic data bearing on the question of how, when, and where Proto-Celtic emerged from Indo-European. The evidence will in the first instance be compiled as an extensive GIS (Geographic Information Systems) project, combining: 1) pre-Roman language evidence in AE, contextualizing Celtic names and inscriptions in long temporal archaeological contexts; 2) evidence implying overseas contacts: a) international metalwork and ceramic types and their sites (burials, hoards, settlements, ritual sites); b) scientific evidence for mobility/geographic origin of materials and people; 3) 14C dates, isotope analysis, and ancient DNA. OUTPUTS. We will share the GIS project with partners. The National Library of Wales will host an online version from 2013 (to include Iron Age data from the earlier project), maintained to 2019. International archaeologists and linguists will meet in a workshop in 2013 and conferences in 2014 and 2015. Cunliffe and Koch will edit books based on these events to follow Celtic from the West (2010; 2012). Monograph topics will include: Copper- and Bronze-Age western Iberia by UW RF Gibson (2013); Hispano-Celtic (2015) and Proto-Celtic (2016) by Koch and UW RF Fernández; later Irish prehistory by AHRC RF1. A resource on 14C dates and Bronze Age metal sourcing will be created by AHRC RF2 Bray (2016). The team will co-author a popular illustrated 'Palaeo-Atlantic World' and Welsh version (2015). BENEFITS. Researchers habitually isolated by subject, discipline, and language will cross borders. The GIS project will provide a valuable multidisciplinary, multi-national resource, with open access in the website. We will use data and skills from private-sector archaeology, which in turn will benefit from innovative analysis by academics. Combining philology, heritage, academic and rescue archaeology will promote a rounded approach to the past, widening public access and opening career paths for specialists. Rethinking the history of the Celtic languages will challenge old ideas in the devolved regions. Celtic Studies is popular, but mass Celticism is haunted by passé Romanticism and imagined nations. A fresh approach as 'Palaeo-Atlantic studies' will spur interest and foster constructive new directions.

The impact of digital media on museums has been pervasive and profound. The notions of visit and object, collection and exhibition, have all been recoded by the presence and influence of five decades of digital technology. Constructively disruptive, 'digital' has changed the idiom of 'museum' (Parry 2007, 2010). And yet, it is widely recognised that the digital literacy of the museum workforce remains one of the key challenges continuing to impede the adoption of technology within the sector (NMC, 2015; 2016). According to Nesta, the AHRC and Arts Council England (2014; 2015), over a third of museums in the UK still feel that they do not have the in-house skills to meet their digital aspirations, and rather than improving, some digital skills areas have decreased. Addressing this pressing issue, the aim of the 'One by One' project is to leverage interdisciplinary scholarship to understand how to deliver a transformative framework for museum workforce digital literacy. Our project builds upon two years of foundation research and international collaboration, and a call by the international community of digital heritage researchers, enshrined in the 'Baltimore Principles' (NMC 2016), for a shift in the way we think about digital training in museums. Our response is to use the idea of the 'postdigital museum' (Parry 2013) as a conceptual framework in which to use humanities scholarship to design, empirically test and propose an alternative training and development provision. A form of practice-led research, 'One by One' uses the protocols and sequencing of Design Thinking to organise and drive its activities, with Action Research as the method to carry out a series of design experiments (interventions) in an array of localised museum settings across the UK. Having used a series of case studies to review the skills ecosystem for digital skills in the UK museums sector, our project uses a set of 'Literacy Labs' with museum professionals to help generate typologies of museum digital literacy to identify relevant 'activations' for developing each of these digital literacies. Led by our network of six 'Digital Fellows', these typologies of digital literacies and activation are then tested through a series of action research interventions situated in Amgueddfa Cymru - National Museum Wales, National Museums Scotland, The National Army Museum, The Royal Pavilion & Museums Brighton and Hove, Derby Museums Trust, and The Museum of London. 'One by One' will synthesise the findings of this test phase of the project into a refined 'Framework of Museum Digital Literacy', which it will then share at a major national Skills Summit co-hosted with Arts Council England, as well as in a single open online professional development resource, hosted by FutureLearn, free and accessible for the whole museum sector. We aim to produce measurable changes in the confidence and competence of the museums workforce to use technology in their practice, as well as the awareness and understanding of policy makers surrounding the use of digital in museums. This is research that will benefit not just the museum workforce in the UK, but policy makers working in the fields of cultural policy, heritage and creative economy. 'One by One' is an ambitious collaboration between academics, museums and national cultural agencies: the Museums Association; the Association of Independent Museums; the Museum Development Network; Arts Council England; Culture24; the Heritage Lottery Fund; Nesta; the Collections Trust; and the National Museums Directors' Conference. And, as such, our project responds directly to the new Minister of State for Digital and Culture, who in his first major speech on museums, 22 Sept. 2016), called for museums to harness 'academic collaboration', to 'work better together in the digital age'.