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The impact and collective threat of climate change is of key concern to all. Music and arts education can play a role by responding to the ongoing climate crisis through the creation of artworks as activism. This paper discusses a collaborative online international music project and its potential contribution to sustainable development education.

10,427 miles and 11 hours apart, music education students undertook the project, working in groups with a mix of students from Aberdeen, Scotland and Melbourne, Australia in each group. Each student collected video footage that captured their experience of climate concerns related to their environment. Students combined and edited the footage then collaboratively composed music to accompany the footage. This research was conceived as a collaborative self-study project undertaken by the authors as music teacher educators.

The results show a range of musical and extra musical outcomes and challenges. Evidence suggests that a collaborative online international music learning experience may contribute to sustainable development education and regenerative practice more broadly. Students began to develop their practice as educators for school and community contexts embedding learning for sustainability and climate consciousness, thus enabling them to develop as active global citizens.

This paper argues for greater attention to the affordances of digital collaborative music technology tools to facilitate creative projects as well as the need to reimagine musical experience, drawing together strands of music, sustainability education, technology and global citizenship. This paper also argues for the importance of embedding the UN Sustainable Development Goals in teaching and learning in Higher Education.

This article identifies some of the key issues that need to be considered when trying to promote positive mental health and well‐being for older people from black and minority ethnic (BME) communities. The authors say that while developing a cultural understanding is important for providing good care for BME elders, it is also important to recognise that a number of structural or organisational issues that go beyond language or culture can affect health and access to health. The article also promotes the significant role of voluntary sector organisations in developing culturally appropriate mental health promotion services for BME elders.

The purpose of this paper is to present a biographical review of the career of the late Caroline Robinson Jones (1942‐2001) in order to understand her challenges and contributions to the advertising profession. Prior to her death, she was considered the foremost African‐American woman in the advertising business. She was the first black woman to serve as a vice president of a major mainstream advertising agency and also established a respected agency bearing her own name. This paper focuses on Jones' contributions to marketing practice and her experiences as a woman of color in the advertising industry.

This paper uses a traditional historical narrative approach largely based on archival materials housed in the Caroline Jones Collection at the Archives Center of the National Museum of American History at the Smithsonian Institution. Relevant secondary literature was also employed to provide appropriate context.

While the advertising industry has historically been noted for its lack of diversity among its professional ranks, Jones made significant contributions to the industry. Yet, despite her trailblazing accomplishments, findings suggest her efforts were constrained by structural oppression in the industry concerning gender and race.

Scholarly literature reflecting the contributions and experiences of women of color in the advertising business is nearly non‐existent. This paper provides an analysis using sources which are valuable in understanding career opportunities and challenges for women of color in advertising professions.

This chapter explores the theoretical foundations of Hazeen, a Muslim blackened death metal band formed in 2015 by the authors - Safdar Ahmed on guitar and vocals, and Can Yalcinkaya on the drums and darbuka. It provides insights into the musical and performative practices of our band that are informed by traditions of black and death metal, but which also re-interpret them through an engagement with anti-fascist, anti-Islamophobic politics as well as Sufi/batini elements. Hazeen responds to a rising tide of Islamophobia in Australia, using our lyrics and performances to attack racist stereotyping and the dehumanisation of Muslims. In our performances, we dress in black, Islamic attire and apply ‘corpse paint’ to become the much feared ‘other’ of the post-9/11 world - the monstrous, rabid, zombie-like Muslim that has haunted the right wing/conservative imagination in the West. Our lyrics address such issues as the inhumane treatment of refugees and asylum seekers in Australia, halal food conspiracies, orientalism and the so-called ‘clash of civilisations’. This chapter presents a critical exegesis of Hazeen’s output in the form of live gigs, art performances and studio recordings. It seeks to identify Hazeen’s place within the broader Australian metal scene, posing questions of authenticity and how metal enables us to question hegemonic notions of identity. Hazeen’s use of art spaces as venues of performance and involvement in the indie/zine community highlights an unconventional position within the local metal scene.

This article examines efforts of late nineteenth century educational reformers in Boston, Massachusetts (USA), to meet the pedagogical needs of an industrial age by balancing manual work and intellectual activity. Led by Swedish educator Gustaf Larsson and Boston philanthropist Pauline Agassiz Shaw, they employed traditional Swedish wood handcrafts (slojd, or ‘sloyd’ in English) to teach theoretical academic subjects and foster individualised learning. The reformers hoped to create, for students in kindergarten through to twelfth grade, a progression of manual work to parallel intellectual activities in the curriculum. That task became difficult as tool work moved from wood to steel, machines replaced hand tools, and artistic handcraft fell victim to efficient production. The school failed to sustain itself following the deaths of Shaw and Larsson. Today sloyd is credited as being a forerunner of technology education as well as an important influence on arts education in the United States.

This paper gives a picture of the development of four new roles in mental health over a two‐year period. It draws on data from the national mapping project to provide a unique perspective on the emergence of the roles of support, time and recovery workers, gateway workers, carer support workers and community development workers for black and minority ethnic communities. The tracking of such roles on a national level reveals a number of issues, in particular the need for clarity of terms if there is to be an undisputed understanding of what mental health services are provided and by whom.