"In the 3 years-long TANDEM project, the partners from 7 different countries met to test, develop and share tools and new approaches for people with disabilities to explore museums. The project accomplished the aim to support better understanding of inclusivity in education and ability to creatively deal with diverse groups of learners with and without disabilities. We don’t see any “disability” as a disadvantage, but instead, we see it as an opportunity to work creatively in a diverse European society to support democratic values. The project is developed by the educational departments of museums and by several other organizations closely collaborating with them: mu-zee-um vzw (Belgium), Deaf Museum (Norway), MUSAC - Fundación Siglo para el Turismo y las Artes en Castilla y León (Spain), Estonian Maritime Museum (Estonia), Calouste Gulbenkian Foundation (Portugal), The Berlin Wall Foundation (Germany) and Istituto Per I Beni Artistici Culturali e Naturali della Regione Emilia Romagna (Italy). All partners were experienced in non-formal education, but nevertheless they had different levels of experience in the field of education for people with disabilities. TANDEM was a unique opportunity to share good practices and develop new knowledge together. By developing new programs, interactive methods and the use of new technologies we wanted to make museums and non-formal education accessible for as many adults as possible (visitors with different kind of disabilities such as visual disability, hearing loss, mental disabilities, autism, people with learning difficulties, alzheimer, parkinson,...). We paid special attention to involve learners, who haven’t had an opportunity to participate in museum programs yet (people with fewer opportunities, low-skilled adult learners, unemployed).In the TANDEM project, education met active cultural life which is represented by visiting venues such as museums and galleries locally and abroad. The diverse educational activities followed specializations of participating museums (art, history, science...). The international dimension of the project led to the exploration of multiculturalism (participating in Transnational meetings). The activities were devoted to the education of staff (trainers, teachers) internationally as well as education of learners themselves locally. All partners were working on their local activities in constant contact with partner organizations and meet personally at Transnational meetings. Involved staff is educated to understand better non-formal inclusive education by meeting specialists and collaborating with organizations supporting people with disabilities. Staff of partner's organizations also learnt from each other by communication and by personal meetings. The TANDEM project helped involved staff to understand better specific requirements and needs of each group of learners with different kind of disabilities and it became a way of sharing good practices that brought inspiration to the several partners but also towards organisations/museums locally and internationally. On local level, the staff of each organization developed and tested new methods within one organized homogeneous “core group” of (more or less) 14 adult learners with and without disabilities. Each learner of the ""core group"" participated in the local workshops during the project and in the transnational meeting in their own country. In this way, the learners were directly involved in several phases of the project. All positively evaluated new inclusive educational activities were disseminated to all visitors by integrating them to the permanent programs of museums. Participating organizations organised events open for all public to involve as many people as possible. During all local activities the partners communicate via internet to consult, compare and be inspired by the methods of other partners. They are encouraged to use ICT not as passive receivers, but for their active education and (international) communication. Within the TANDEM project, the interactive website was created. It serves as a communication platform and Help-desk for educational departments, organizations for people with disabilities and public, providing information about inclusive non-formal education.TANDEM project had the following structure: 1st phase 2017: Exploring Year - 2nd phase 2018: Creating Year - 3rd phase 2019 : Disseminating Year"

CHEurope focuses on developing a new integrated theoretical and methodological framework to enhance the academic and professional training and open future job opportunities in cultural heritage preservation, management and promotion. Heritage has commonly been perceived through its contingent relationship to other areas, preventing it to be considered as a ‘legitimate’ scientific discipline. Moreover, research and practice in this field are still too often seen as separate dimensions. Thus, there is an increasing need to address these diverging trends in the expanding heritage industry with a critical approach that situates cultural heritage in its social, economic and political frameworks, as well as in professional practice. Bringing together a network of key European academic and non-academic organisations, the project will explore the processes by which heritage is ‘assembled’ through practice-based research in partner institutions that connect students to their future job markets and publics. Our aim is to inform more conventional aspects of cultural heritage designation, care and management with a strong focus on present and future consumers. We propose an advanced learning strategy based on the emerging field of Critical Heritage Studies, which combines theoretical and instrumental knowledge at a transnational and interdisciplinary level, in a series of research seminars, summer schools and secondments. The program is based on themes where cultural heritage is undergoing profound change, such as Heritage Futures, Curating the City, Digital Heritage, Heritage and Wellbeing and Management and Citizen Participation. In so doing, this research will have a direct impact on future heritage policies and be linked explicitly to new modes of training. These will enable future practitioners to facilitate a more democratic and informed dialogue between and across various heritage industries and their users, promoting entrepreneurship and innovation in this field.

CONTEXTECes dernières années les musées ont connu une véritable métamorphose, cependant cela n’a pas suffit à renverser totalement les représentations sociales traditionnelles autour des musées. Ainsi, aujourd’hui, les musées sont confrontés à des défis majeurs que la Mission Musées du XXIème siècle du Ministère Français de la Culture et de la Communication a réparti en 4 axes :- Le musée citoyen : philosophie d’action du musée de demain- Le musée protéiforme : capacité de renouvellement dans ses murs, hors les murs et sur le web- Le musée inclusif et collaboratif : relation aux publics- Le musée comme écosystème professionnel : transformation des métiers et des nouvelles formes d’organisation OBJECTIFSLe premier objectif était de poursuivre et d’améliorer l’offre de formation testée dans le cadre du précédent projet. - Les formations Making Museomix : formation-actions sur les pratiques innovantes- Le programme Maker en résidence : expérimentations de collaboration musées/makersL’idée était de structurer davantage ces offres, de les évaluer afin que les bénéfices apportés pour les participants et surtout pour leurs organisations soient tangibles et valorisés.Le second objectif portait sur l’exploitation et la dissémination des productions et résultats du projet Creative Museum. En effet, les dernières productions du projet Creative Museum ayant été diffusées à la toute fin, il ne restait que très peu de temps pour cette dernière étape importante. C’est par le moyen de différents outils et formats que nous détaillerons plus bas (conférences, ateliers, formations, etc.) que cette étape a été menée.Les rencontres et échanges organisés lors des réunions transnationales ont permis aux partenaires de se nourrir des expertises et des connaissances d’autres professionnels du monde des musées ou d’autres secteurs d’activités, de développer leurs compétences et d’enrichir leur réseau professionnel. NOMBRE ET PROFILS DES PARTICIPANTS Les actions de formations ont regroupé une vingtaine de participants issus du secteur des musées et des communautés de makers inscrites dans des partenariats avec des musées. Ces programmes ont permis aux professionnels d’expérimenter dans des conditions réelles des pratiques créatives et innovantes. Menées dans différents musées partenaires, elles ont également permis aux participants de découvrir de nouveaux environnements, de travailler dans des équipes pluridisciplinaires et de développer leur réseau et de possible collaborations. ACTIVITÉS CONDUITES 4 réunions transnationales qui ont été couplées à des visites d’étude et des rencontres pair-à-pair.- Dublin (novembre 2017) : définition du plan de travail avec un focus sur la dissémination des productions et des résultats : définition des moyens pour collecter les données – Évaluation des actions de dissémination, impact.Visite d’étude : Chocolate factory, lieu hybride dédié aux industries créatives.- Trondheim (juin 2018) : finalisation de l’organisation des différentes formations et travail sur les actions de disséminations Visites d’études : Musée du littoral, Rockeim – Musée de la musique, Centre de sciences, Musées des arts décoratif et du DesignConférence : musées et centres de sciences comme lieu d’innovation + échanges sur des outils et pratiques conjuguant numérique et empowerment (30 participants)- Amsterdam (octobre 2018) : échanges et analyses de pratiques. Visites d’étude : Story House – Belvédère et au Street art museum- Bordeaux (février 2019) : réunion finale des partenaires – bilan général et projection sur de nouvelles collaborations.Visite d’étude : Fabrique Pola lieu partagé dédié aux arts visuels. Sew et Laine : fablab dédié au textile3 formations Making Museomix ont été menées à Lille, Caen et Zagreb.3 programmes Maker en résidence ont été réalisés à Zagreb, Trondheim et à Sèvres RÉSULTATS ET IMPACTLe projet à ouvert de nouvelles perspectives pour les professionnels participants et de leurs organisations et leur a permis de prendre conscience du potentiel de toutes ces nouvelles formes d’engagement des publics.Les partenaires ont acquis de nouvelles méthodes de travail innovantes et créatives qu’ils ont pu intégrer directement dans leur pratique professionnelle. Ils ont partagé, diffusé, formé des partenaires, des collègues, des membres à ces nouvelles méthodes.Le projet Making Museum a également permis de découvrir de nouveaux modèles économiques, notamment dans la coopération entre les musées et le monde des makers et autour des usages du numérique. De part la diversité du partenariat mais aussi grâce aux visites d’études, le projet a fait découvrir aux professionnels des musées de nouvelles formes d’organisation et d’engagement - l'entrepreneuriat social, la citoyenneté active, le développement local ou l’innovation sociale.

The Creative Museum project was a three-year Strategic Partnership running from 2014 to 2017 and is funded via Erasmus+, Key Action 2 (Cooperation for innovation and the exchange of good practices) - Vocational and Educational Training (VET).It gathered nine partner organisations: from museum associations to sciences centers through heritage, art museums and a maker space.The initial project proposal outlined the potential role of both digital engagement and the maker community in light of the European economic downturn. With reference to the Council of Europe 2014 report, the project sought to explore ‘new opportunities brought by globalisation, digitisation and new technologies which were changing the way cultural heritage is created, accessed and used’.The project addressed two main challenges for museums. Firstly, to become significant agents in the local economy as research centres, tourist destinations, places of employment and training. Secondly, to engage with more diverse audiences, emphasising their mission of serving the society with socio-cultural and educational purposes. As some older models of interaction no longer work, museum staff need to step outside their comfort zone and seek innovative ways to collaborate with their communities. The project was created in response to the need to provide training for museum professionals and their partners to accommodate a perceived shift in the dynamic of museum public programmes, where museums find themselves working collaboratively outside the sector, creating a new language of participation and engagement.As the Creative Museum project has developed and evolved we have seen digital technology as one of the tools that might be used as a means or method of interpreting collections, but the focus of the project has become to be as much about learning from and through the maker community about creative practices. Throughout the three years of The Creative Museum project, museum professionals have been encouraged to learn from each other through the partner meetings and the Museomix training sessions, to test new ways of interacting with audiences and create partnerships through the Maker-in-Residence training programme, to share practices and experiences, as well as disseminate the processes and outcomes via the website, social media and all conferences and workshops which have been organised by the project’s partners.The Creative Museum project had been designed as a space for prototyping, experimenting and documenting new ways of learning from organisations and individuals outside of the sector. Through training, discussion and experiementation it encouraged staff to take risks and to develop new ways of engaging with audiences; it was a dedicated space for projects where people had the right to make mistakes and to learn from the process. The Creative Museum project can be seen as a ‘laboratory for innovation’: it has encouraged discussion, reflection, brainstorming and experimentation amongst museum professionals, it has contributed to open up museums and transform them into more creative, participatory and lively environments.

Mu.SA – Museum Sector Alliance project addressed the increasing disconnection between formal education and training and the world of work because of the emergence of new job roles and associated skill needs due to the quickening pace of the adoption of ICT in the museum sector. The project examined the supply and demand of skills for museum professionals, identified and documented 4 job-role profiles, based on extensive research in Greece, Italy and Portugal, encompassing the opinions of various professionals (through focus groups and quantitative surveys), so as to validate the profiles developed.The partnership developed a modular VET curricula methodology, aligned with ECVET and taking into account the EQAVET principles, focusing on learning outcomes. The development methodology of training modules included three stages; (a) definition of learning outcomes, (b) content (learning objects) design, (c) content (learning objects) development. This approach facilitates the recognition of learning and mobility and was used to design and implement the four VET curricula for museum and cultural organizations professionals for the future.The training was offered in three stages. First, current and prospective museum professionals were openly invited to participate in a MOOC. In total, 5291 people from all over the world enrolled and 1371 finished successfully receiving their certificate. Subsequently, all alumni from the three project countries were invited to participate to one of the four specialization courses. Of the 281 people who applied, 120 were selected, with the 80% of them already working in museums and cultural organizations. The specialization courses included online and face-to-face training and, in parallel, workplace learning. In total 82 trainees finished (79 successfully) and received their Job Role certificate with 30 ECVET points.To deliver the VET curricula, Mu.SA partners developed a large set of OERs, enabling the delivery of 64 competence modules through the MOOC and the blended learning, plus a set of indicative workplace learning activities. The competence modules originated from the e-CF 3.0 and the DigComp 2.1 frameworks, amplified by transversal competences / 21st century skills. To teach these competences, 600 learning outcomes were specified. The courses were delivered through a dedicated MOOC platform and an online platform developed especially for Mu.SA, which supported the collaboration between the trainees and their tutors, and the initial establishment of communities of practice.All project results were evaluated using quantitative and qualitative approaches, revealing the demanding but priceless value of the effort. Minor changes were proposed and implement before the finalization of the VET curricula and OERs, and set the route towards the future exploitation of the effort. All four Mu.SA VET curricula were mapped to the ESCO, EQF and the NQFs of the participating countries, addressing the level 5 of the EQF.The project results were disseminated extensively through various means, online and physical. Totally 70 dissemination and communication activities were conducted and 37 events were implemented throughout the project lifecycle and a final (online due to the pandemic) conference where 746 people participated. Lastly, a book was published to record the main project results and lessons learned.Mu.SA has been included in the DigComp User Guide (2018) as one of the 38 existing inspiring practices of DigComp implementations, it has been selected as a global practice of particular interest that uses DigComp in a context which has a strong link to the labour market (DigComp into action), and was identified under the “Training Actions for young people” of the “Innovation Pillar 8: Skills for Heritage: enhancing education and training for the traditional and new professions”, of the European Initiatives of the European Year of Cultural Heritage 2018.