The concept of ‘creative collaboration’, developed by Marcelo Giglio (2015) invites us to reflect on relations between different practices in music education from various perspectives. In homage to the work of Marcelo Giglio (1966-2020) we want to explore his concept as a bridge between artistic and pedagogical practice and research, between schools and communities, between teachers, students, between disciplines and scholars from different cultural backgrounds.As teacher educators and researchers, we all share the common aim to foster creative collaboration to open the reflection on music education for all. Our panel will first give some inputs to reframe the concept and give some milestones of Giglio’s contribution to music education for all. In a second part, we will share insights into our practice and research as examples of creative collaboration. Each presentation will complete and enlarge the vision on ‘creative collaboration’. In the third part, the audience will be invited to share their understanding of the concept. In a short conclusion, ideas and futures directions for creative collaboration in the ISME network will be outlined.IntroductionThe work of Marcelo Giglio, musician, pedagogue and researcher in the ISME communitity was deeply rooted in the core idea of creativity as a way to open music education for all. In this introduction, we shortly come back to our collaboration with him and to the definition of the concept of 'creative collaboration'. Giglio’s interdisciplinary work covered teaching gestures (creative scaffolding) as well as action-research between students, teacher educators and researchers. Various questions linked to actual challenges in music education can be addressed through the concept of creative collaboration.1. 'Creative collaboration' for professional development in an international network The first presentation will explore how 'creative collaboration' can support ongoing professional development for music educators working in diverse and often siloed environments, while also addressing the challenges this entails. Models such as peer learning, mentorship, and community-based practice will be discussed as ways to foster growth and openness to new artistic and pedagogical paradigms. The presentation will also reflect on the tensions and resistance that can arise in navigating intercultural contexts and evolving curricula, using the ISME International Teacher Professional Development Center as a practical case example.2. ‘Creative collaboration’ to develop a framework for secondary music teacher education. Giglio's concept might be understood as a bridge between schools, community and artistic practice. It can be connected to the concept of creative experience. Both perspectives are linked to bodily aspects of creativity and music learning. They influenced our work as teacher educators to build a theoretical framework based on three interconnected dimensions: theoretical models, teaching strategies, and the teacher stance.This presentation connects teacher educators from Switzerland and Spain with the aim to better understand the role of embodiment in creative music teaching. A common qualitative thematic analysis of our respective course design will open the discussion about ways of integrating ‘creative collaboration’ and embodiment in secondary music teacher education.3. Why ‘creative collaboration’ matters for transdisciplinary knowing and enacting educational change. This presentation features an international ‘creative collaboration’ which builds a bridge between the situatedness of transdisciplinary knowledges including Science, MathematicalArts and Music. This requires us to open up how we conceive research, with new methodological questions and stances; to re-search the limitations of our knowing and the possibility of knowing again, knowing differently and knowing how and why ‘creative collaboration’ matters. The emphasis here is on the embodied and situated nature of knowledges, paying close attention to disciplinary integration, multi-modal communication and a redefinition of research territories. Here, we challenge the division between the conceptual and the empirical and invite methodological innovation by weaving together science-arts-humanities. Our ‘creative collaboration’ includes (i) research on science education with the Universities of Aberdeen and San Andres in Buenos Aires, Argentina; (ii) research on MathematicalArt with colleagues at the Nelson Mandela University in South Africa; and (iii) research on music and the material ecologies of possibilities with a colleague from Trinity Laban in London. The presenter will share alternative ways of producing knowledge for enacting societal change and invite a reset of the significance ‘creative collaboration’ to take on an entirely new significance.DiscussionDuring this part, questions raised by the presentations will be discussed. The participants are invited to exchange their views on 'creative collaboration' in their contexts, for example about:- current practice of the participants- new paradigms for transdisciplinary collaboration in a postdigital society- possibilities for new bridges to enhance empathy, connection across cultures, share knowledges and promote a multiplicity of creativities including collaborative creativity, teacher creativity, transdisciplinary creativity and the sculpting of new creativities in music teaching and learningDifferent medias are used to encourage a collective and creative exchange, e.g. drawings, audio recordings, posters, etc.