Filmmaking means translating one’s experience and ideas into audiovisual material. In our project Shortcut - reframing the city we would like to encourage our young participants to engage in the process and the accompanying reinterpretation of the reality. The cities we have selected for the project constitute places stereotypically associated with lack of opportunities and social exclusion - war-stricken Belfast, post-industrial, devastated Bytom and Lovetch, a city in the North-central Bulgaria where poor economic and cultural situation rimes with lack of opportunities for young people.They are the places where the young participants of our project grow up, fall in love and develop their passions, the sites of life-changing events that often contradict general perception of the region. In our project students will be invited to prepare their own film portrait of the cities they live in and invited to reflect on the more true to life picture of their city’s community - ambitions and dreams of the local inhabitants, their unique ways of coping with everyday struggles and such challenges as covid epidemic. The project will be carried out in partnership with local organisations which work with young people (as one of their target groups). These institutions will support young participants in gaining deeper and thoughtful insight in the life of their neighbours. Their involvement and the type of provided activity will depend on their profile (school, library, museum, youth centre, culture centre, and others) - e.g. schools will be the site where workshops with short films from the Shortcut toolkit will take place, libraries/youth centres places of meetings with other social groups and inspiring activists, culture centres/museums the sites of creative learning of filmmaking craft. On the top of those meetings and training young people will be challenged to complete social-filmmaking tasks in which they will gather additional information, interview inhabitants, work with found footage, and seek for the visual character of the place. This learning experience will be finalised with a summer camp where the existing footage will be completed with young people’s own personal stories and testimonials and edited. The aim of young people will be to create an intimate film portrait of their cities, a creative attempt to counter the stereotype and unveil the invisible face of their environment.Aims: 1. engaging, connecting and empowering young people from stereotyped environments and increasing social inclusion, by: enabling young people to connect with, express their views and be heard by elected policy-makers, public administrations, interest groups, civil society organisations or individuals active in political or social processes affecting their lives; 2. enhancing critical thinking and media literacy among young people to strengthen democracy and counter manipulation, propaganda and disinformation; 3. broadening and deepening political, civic and social participation of young people at local, regional, national, European or global level; fostering active citizenship and solidarity among young people; 4. promoting intercultural and intergenerational dialogue as well as knowledge about and acceptance of diversity and tolerance in society; 5. strengthening young people's sense of initiative, notably in the social field and to support their communities; 6. equipping young people and adults working with young people with the necessary tools, skills and competences needed to come up with creative and innovative solutions to face unprecedented risks7. unveiling opportunities for creative activities that can be carried out as part of coping with crisis situations8. linking education, training and youth stakeholders with the cultural and creative sector grassroots organisations - networking for the sake of paving new ways of film education also outside school environment 9. training youth workers in using film analysis and filmmaking as their methods of teaching social competences and citizenship skillsActivities: 1. preparation of a toolkit containing educational resources combining film education with social inclusion activities 2. recruitment and work with local partners (e.g. a trio of a school, library, youth centre, or culture centre). Partners support students from the school (7 students per school) in carrying out the tasks. 3. joint staff trainings4. blended learning for youth (school classes, online meetings and tasks plus a physical meeting in form of a summer camp)5. completing the toolkit with good practises regarding conducting film education activities outside schools in a network of coordinating organisations. 6. dissemination events in each country

"The project aims to address the European wide deficit in young people’s uptake of Science, Technology, Engineering and Mathematics. The objectives of the project are to support the growth of the Coderdojo approach, as a means to increase STEM take-up by young people. CoderDojo is a global, volunteer led movement which runs not for profit coding clubs for young people. In the clubs, young people learn how to code, develop websites, apps, programs, games and more.Specifically, the project will 1. Develop best practices drawn from the experience of CoderDojo clubs globally2. Examine means by which evidence of learning gained by CoderDojo participants might be recognised3. Develop a Toolkit which will facilitate the establishment of new CoderDojo groups- known as ""Dojos"". The target groups are A. Youth, in particular youth with an interest in learning new programming and computing skillsB. Local regional, national and European policy makers in the areas of education and trainingC. Industries, educational institutions or community based organisations who can host new CoderDojo chaptersThe Consortium is made up of five partners.1.Cork Institute of Technology, Ireland (Lead Partner, Leading Output 2)2.WiMi5, Spain (Leading Output 1)3.The Nerve Centre, Northern Ireland (Leading Output 3)4.Instytut Badan Edukacyjnych, Poland (Leading Output 4)5.The CoderDojo Foundation, Ireland (Dissemination and Conferences)The results for the project in summary will be1.Exchange and Production of Best Practices for CoderDojo clubs globally2.Policy Contribution on mechanisms to support Europe-wide recognition of evidence of the learning gained through CoderDojo participation3.Development of a CoderDojo Toolkit (digital in the form of a series of videos)The impact of the project will be in the following areas1.Local CoderDojos will be able to avail of best practices to inform their activities as the access to international best practices will inform better models of rollout2.European policy makers will be informed in relation to mechanisms to support Europe wide recognition of evidence of the learning gained through CoderDojo participation3.Local CoderDojos will benefit from using the toolkit to setup and operate effectivelyThe longer term benefits will be as the CoderDojo movement continues to expand across Europe the Best Practice Guide can be used to give local mentors and champions supports and ideas about running their Dojos. The videos can be translated into additional languages through the CoderDojo community."

Borders in the Mind is a project in the ambit of adult education which promotes the values of being a host and creates opportunities to explore and share the cultural heritage of neighbourhoods. The project was conceived and begun in pre COVID 19 situations with unprecedented mobility within Europe and a hunger to discover the previously unknown sides to cities and towns. Our objectives were to develop clear guidance for communities and organisations on how to create Discovery Events to give guests a genuine experience of the neighbourhood. We promote an inclusive understanding of cultural heritage, embracing both traditional and contemporary expressions, formal and informal.We began our work behind schedule as we had been on the waiting list and as soon as we were given funding, requested and were granted an extension, not as much as requested but we were happy to get to work. Actually most partners did not think the project would move from reserve list to funded and had made their yearly plans without factoring in BiM. The good will and commitment which has characterized this partnership from the outset allowed us to negotiate an accelerated start with a start up meeting, the joint staff training event and three further partnership meetings within the space of nine months. We completed work on our IO1 and IO2 and were well advanced with IO3 when the pandemic hit with its devastating consequences. We requested and were granted extensions to the project in the hope that we could once again bring our project to life and complete as much as possible.During lockdown and subsequent restrictions, partners met on a regular basis to discuss possible digital innovations and keep the spirit of the project alive. Digital meetings are minuted and worked to agenda. A fully digital version of Discovery was proposed where interacting with the public was reduced to the minimum and pre-recorded content could replace live interactions with stakeholders. Once travel restrictions began to ease the partnership decided to try to complete the project with one final mobility in Nicosia, Cyprus. We decided on Cyprus for the symbolic significance of its physical border. All partners agreed to finish their work on IO3 before travel.In our final meeting we plotted the pathway towards this report, finishing all work on time to upload to our website: www.borderinmind.euAll products of the project are stored there, you will find:Our main product, a series of “discovery events“, designed by participating adults to present to visitors from different neighbourhoods, cultures and countries.The process develops skills and self-confidence, enables and supports engagement in adult learning and training, encourages European identity, active citizenship and promotes entrepreneurship.To achieve these objectives we used interactive methodologies, collecting information from stakeholders to undertake audits mapping cultural heritage, social services, political boundaries and attitudes.We used this material to create innovative and entertaining discovery welcome events to the neighbourhoods and cultures of our project partners.Each partner contributed at least two Discovery Events documented in English and host languageWe also produced the following in English and project partner languages– A template for community based learning projects– Audits of the objective and subjective borders defining communities– Templates for “discovery events“ for neighbourhoods or institutions– A practical handbook describing methodology activities opportunities motivation and results– A training course for teachers with innovative methods materials and motivationIn addition we created and distributed a newsletter to coincide with each of our mobilities.We created a ‘digital calling card’, a multimedia short presentation of the project to be sent in advance of meetings or after when stakeholders request further information. This works as a tool in support of our dissemination strategy.All partners have worked to plan in dissemination of the project and its outcome with local, regional, national and international stakeholders. Many of the expected stakeholder and partner benefits from running Discovery Events have been put on hold because COVID restrictions do not allow groups to circulate freely and go into shops and businesses as was designed in IO3.However, the products and relationships are in place and once we can circulate freely the neighbourhood Discoveries will resume. The strong bond between partners encourages us to build future projects and build on the experiences of BiM.

This 'follow-on' project builds on the success of the original project 'Documentary film and the public communication of historical knowledge in Northern Ireland'. It does so in order to engage with new audiences and forge new pathways to impact. It proceeds from the assumption that to maximise the potential of film to facilitate historical understanding in a post-conflict context we need to forge more effective partnerships between historians, film-makers, broadcasters and educationalists. This entails building on existing partnerships and working with new partners in order to exploit new opportunities for public engagement. The question of how we make sense of our past always looms large in Northern Ireland. One of the major challenges presently facing Northern Ireland is how to remove the barriers to engagement with our shared history that exist within a divided society and a largely segregated second-level education sector. In a contested society - albeit one that has reached certain political accommodations - the interrogation of history can play an important role in the process of reconciliation. Knowledge transfer in this case is intimately linked to a broader social pedagogy of reconciliation. Film and the moving image have an important role to play in promoting knowledge and understanding about the past in a post-conflict society, with documentary film playing a key role in this. Documentaries addressing historical topics have long been a staple of British and Irish public-service broadcasting and have provided a valuable means by which historians bring their scholarly research to the attention of a non-academic audience. Indeed the evidence is that the general public, and in particular young people, increasingly get their historical information from broadcast and film sources (and from the internet). But are the current models of collaboration originated by broadcasters the best ones to maximise this knowledge-exchange process? If historians are to engage with television history on a more effective basis - particularly when this involves understanding history in a divided society - then perhaps we need more effective model of collaboration between historians, media makers and educationalists. The follow-on project has the following key elements: 1. Wider dissemination of the original project outcomes through film-festival screenings, broadcast, DVD/blu-ray publication of the film element and enhanced website provision of interpretative material for educational use. 2. Partnerships with a major EU-funded curriculum project and educational initiative 'Teaching Divided Histories' to utilise the initial project outcomes and additional curriculum material in secondary education in Ireland, north and south. 3. Exploiting the international platform and community nexus provided by the Derry-Londonderry City of Culture 2013 programme for a series of events concerned with public history, popular memory and film. 4. Development of a further 'live project' case study 'Rebel Voices: Easter 1916' linking the historical research of Dr.McGarry (Rebels: Voices from the Easter Rising (Penguin, 2011) and The Rising. Ireland: Easter Rising (Oxford University Press, 2010) with the film-making of Professor Des Bell in a knowledge transfer project designed both to address the issues arising from public commemoration of the centenary of the Easter Rising, and to further elaborate a model of good practice guiding collaborations between historians, film-makers and educationalists.

This multidisciplinary project aims to understand how urban design influenced by historical and heritage data can be used to address issues such as environmental sustainability, public health, and ethic/religious/class segregation in cities. The research brings a team of academic investigators (history, architecture, peace and conflict studies) together with local government officials (planning, environment, museums and heritage service) and social enterprise (design, digital fabrication) to collect a wide array of data that will then be used to aid the design of a multi-million pound public landscaping project in the city of Derry/Londonderry. Research by the World Heart Federation (Smith et al, 2012) has established a strong link between urbanisation and cardiovascular disease, while also identifying urban design as an essential pillar in its recommendations for improving public health in cities. In particular, the engaged development of infrastructure, parks and green corridors were outlined as an essential part of a strategy to improve public health along with public information campaigns, access to healthcare, and stakeholder engagement. Working from the premise that urban design can contribute to not only an improvement in public health, but also to environmental sustainability and community cohesion in divided cities, the project intends to build a bank of historical and heritage data that can be used to ensure that future urban design projects will reflect the cultural and architectural heritage of the area under development. In so doing, the community ownership and use of such projects and facilities can be increased through the formation of a partnership between academic researchers, local government officials, community activists, and residents. The city of Derry/Londonderry has a history of violent division stretching back hundreds of years and urban design has been at the centre of attempts to both divide and integrate from the erection of the city walls in the seventeenth century to the construction of the pedestrian Peace Bridge linking the unionist east to the nationalist west of the city in 2011. The project combines methods from history and historical anthropology (oral history interviews, archival and statistical research), geography (GIS mapping), design (digital fabrication), and the wider social sciences (walking interviews) to collate data relating to space and place, and how people have interacted with a changing built environment over time in a divided city with a violent past. Borrowing from the thinking behind the emerging discipline of design anthropology, in which ethnographic engagement leads to better design solutions for products and services, the research attempts to harness history, cultural/architectural heritage and social memory to help provide urban design solutions that are more reflective of people and their often dearly held personal and environmental histories. An official partnership between the project investigators and Derry City and Strabane District Council will result in the research data being used to inform large-scale landscape and urban design projects to be developed during the lifetime of the research project as part of the Northern Ireland Executive's Urban Villages scheme. A similar partnership with the Nerve Centre FabLab (a community based digital fabrication centre) will result in the grassroots production of 3D city model plans that will be exhibited in the Tower Museum and be further used to inform the projects due to be developed in the city in the coming years. The project will also contribute to the developing historiography of the Troubles through the production of a co-authored book and journal articles on the history of how people in the city of Derry/Londonderry interacted with their built and environmental surroundings before and since the implementation of the Londonderry Development Plan (1968) and the onset of violence at the same time.