We are seeking STFC funding to help us enhance the range and impact of free activities in our MakeSpace, Cheltenham Science Festival's first interactive zone dedicated to the material world and the joy of making. Linked to this, it will also enable us to expand and improve our 'Around Town' programme of free making activities around the streets of Cheltenham. Our goal is to bring together scientists, artists and makers to engage the public in exploring the material world, while highlighting the role of engineering, technology, creativity and collaboration in exploring our universe. STFC funding will enable us to build on the success and popularity of our free 2016 SpaceZone, by embedding astronomy and astrophysics into these interactive activities and enabling us to train and work with early-career researchers within STFC-funded fields. We aim to inspire the next generation of scientists and makers by enabling children, young people and their families to meet and interact with scientists who are working in the fields of astronomy and astrophysics research. Both the MakeSpace and Around Town support Cheltenham Science Festival's strategic goal to expand and improve its provision of free, on-site interactive experiences and free activities in Cheltenham town centre. They will ensure we achieve our goal of reaching new audiences, both within the Festival grounds (Imperial Gardens) but also those who do not visit the Science Festival site. We were encouraged to see that the STFC aims to reach audiences with low 'science capital' and we believe this project complements this aim. Another aim is to support the development of early-career researchers' engagement and communication skills through training and ongoing support. Using our network of science communication experts, we will work with scientists in STFC-funded fields to upskill participating scientists, to make sure the delivery of activities is of the very high standard expected at Cheltenham. We want participating scientists to have a fantastic learning opportunity and a chance to improve their own confidence and skills. Equally, this process will ensure that we also learn from them: that their knowledge of contemporary research is thoroughly embedded in the development and delivery of the activities. The impacts of this project can therefore be summarised as: - Through participation and dialogue with 'real life' experts, Gloucestershire's children, young people and their families are inspired by astronomy and astrophysics and inspired to make, invent, hack or tinker in their own time - Audiences gain an understanding of the synergy between scientists, technologists, engineers, artists and makers in contemporary research into our material universe - Audiences gain a better understanding of science as a creative, fun and exciting discipline and profession - breaking down the barriers between the arts and science/engineering - Cheltenham Science Festival reaches new audiences, on site and throughout the town - Greater number of early-career scientists in the fields of astrophysics and astronomy are involved in developing and delivering interactives at Cheltenham Science Festival - Early-career scientists working in STFC-funded areas of research have improved communication skills and are confident talking about their fields of expertise In terms of a practical legacy, the workshops, activities and interactive demonstrations that are developed as part of this project will become a resource which can be used by participating scientists in schools, events and other festivals around the UK. The cohort of trained scientists (and engineers) with whom we work will be able to deliver high quality, interactive experiences in the future.

'JUPITER: Mozart in the 19th-Century Drawing Room' challenges our preconceptions about the way in which Mozart's music was consumed in the early 19th century in two important ways: it confronts us with arrangements for piano, flute, violin and 'cello (the 'JUPITER' ensemble) of Mozart's best-known symphonies, concertos and overtures and sets them in the performance context of the 19th-century drawing room. The project takes the knowledge that has been gained from the AHRC-funded 'Mozart's Ghosts' (three related projects), and engages with communities on which the original project had little or no opportunity to make any impact. The original research undertook a wide-ranging approach to questions of Mozart reception, and along the way identified a repertory of Mozart's large-scale concerted music (concertos, symphonies and overtures) that was arranged and published, almost exclusively in London, for the JUPITER ensemble. The music thus arranged was the basis of the ways in which these works were experienced in early 19th-century Britain, whether in luxurious townhouses or the provincial homes of the more modest gentry. 'JUPITER' takes the opportunity to reveal to beneficiaries and user-groups a musical culture that is completely unknown today, and to explain how Mozart's large-scale works were consumed outside the rarefied, and largely urban culture of the city concert. With a project team consisting of PI Everist, RA Hewlett and four artist-researchers, 'JUPITER' will take AHRC-funded research and transform the experience of a variety of beneficiaries. The original project made its impact via conventional verbal presentations, largely in response to requests to speak rather than as a coherent project of engagement; it uncovered significant amounts of material that revealed a key question that should be legitimately asked of early 19th-century musical culture: how was Mozart's large-scale concerted music performed beyond the simple piano arrangement? The answer emerged in the form of the 'JUPITER' ensemble. The ensemble takes its name from the edition of Mozart's last symphony that first used the now-unassailable title 'Jupiter'; the print was published in London in 1822 and the work arranged by Clementi for the JUPITER ensemble. A tiny number of these arrangements have been published in modern times, but the performance medium has yet to make any impact, a situation that the current project transforms. The key pathways to impact consist of a network of partnerships, a series of innovative and interactive workshops, together with audio and video engagements. All our concert promoters or festival managers have responsibilities both for developing audiences and for promoting public engagement with other bodies. A series of workshops will explore various routes to engage with communities that extend beyond those who consumed the textual outputs produced by the original research. To do this we will approach questions of comparison (between originals and arrangements), organology and cultural environment, as well as presenting introductions that characterise the current form of lecture recitals and similar events. While this part of the project will engage in depth with some of our user groups, a commercial CD recording will increase the reach of the impact, and a web-mounted video will further explain the nature of music-making and the audience in the early 19th-century drawing room to further groups of beneficiaries. We will monitor, evaluate and document the impact that the research makes. Our central tools are the anonymous questionnaire, the one-to-one interview, the CD and the video recording; these documents and their analysis will form the lasting legacy of the project, and will be mounted on its website to serve as materials and a prompt for other ensembles wishing to undertake similar work, or will be made commercially available.

With the launch of the Coalition's plans to mark the centenary of the Great War, the Communities Secretary observed: 'As the First World War moves out of common memory into history, we're determined to make sure these memories are retained', but which common memories did he have in mind? Remembering, just like forgetting, is always a political act. The war was a global conflict which left its mark on the local. Was it experienced differently in urban and rural areas? What were the relationships between soldiers and civilians during and after the war? Did it shape individual and community identities? Did it have different meanings for contemporaries? There was a consensus that the dead were to be commemorated and remembered, but there was less agreement over how the example of sacrifice was to be understood and the meanings to be attributed to and experiences to be drawn from acts of commemoration. How have these meanings changed over time? How will it be understood today? Is it a truism that 'the past is a foreign country: they do things differently there'? Certainly, Britain today is a very different country to that of 1914 and has been described by Parekh (2000) as 'a community of communities.' What sense will young people make of the local memorials to the dead which sit in the urban and rural landscapes and the acts of commemoration organised by an older generation which will centre upon them? What meaning will the war have for young people who have grown up in a society where live reports of conflict are readily available on a smartphone and where the return of the dead from Afghanistan is instantly reported in the media? How will they connect the past with their present and their future? As the First World War moves out of memory into history, what will be the record of commemoration they will have experienced that will be left after 2018 for future historians to reflect upon? These are just some of the questions which have been generated by reflecting on the joint Arts and Humanities Research Council/Heritage Lottery Fund commemorative project. These reflections have in turn shaped the 'Voices of War and Peace: the Great War and its Legacy' project proposal. At the core of this cross disciplinary project is an institutional commitment to community engagement with research and a professional commitment 'in a mission of understanding' to investigate, analyse, apprehend, criticize and judge and thereby translate Edward Said's idea of 'communities of interpretation' into practice (Said 2003). Using Birmingham, the UK's second city, as its primary place of memory, the project will reach out to multiple communities/publics both local and national to explore through dialogue issues around memory, remembering and commemoration. The research network will respond to community requests for support in terms of capacity building and support community driven research agenda. Working with other funded centres and the National Coordinating Centre for Public Engagement (NCCPE) the project will invest in developing the community engagement experience of early career researchers. A strength of the network beyond its relevant knowledge expertise is the experience embedded within its membership of effective partnership working. As an internationally engaged network, it will seek out relations with cultural institutions in Birmingham's sister cities and through the Universitas 21 network to understand other national and local processes of commemoration and thereby further illuminate our understanding of memorial activities in the UK. Sharing knowledge, expertise and resources, it is intended that the project will leave its own legacy for community/academy relations in terms of the capacity for the co-design and co-production of research, an understanding of the complicated relationship between remembering and forgetting and a desire to continue to 'think forward through the past'.