ICARe-Alumni 2021 delivered a nanocourse to substitute its annual conference. With the planning committee and trainers, we developed the course to guide participants in developing an engagement strategy in support of their institutional missions. The course comprised of three separate interactive workshops: (1) Building Blocks for a Strategy, (2) Defining Purpose, (3) Developing a Road Map. Each workshop was delivered every two weeks with a separate feedback session which participants could use to ask questions and share their journey. The workshops were delivered on a Tuesday while the feedback sessions on a Friday. The main learning objectives for the workshops were to:1. Recognize why developing a strategy is important for successful alumni relations and career development programs.2. Identify and apply the essential building blocks for a strategy to your own organization.3. Create a roadmap with clear purpose, key performance indicators that align with the needs of the alumni and the institution.

This research focused on the interpretation of works for the violin by Nicolau Medina Ribas, a Spanish violinist who lived in Porto during the nineteenth century, addressing the interpretive styles of that period. There are no extant recordings by Nicolau Ribas or his students. Recordings by early twentieth-century violinists were analyzed in order to assess specific aspects that could be applied to Ribas’ work, in particular the use of portamenti. Portamento, as an expressive resource, was a key element of the violin technique since the mid-nineteenth century to the first decades of the twentieth century. This research related the different types of portamenti, their context and frequency in recordings from the early twentieth century, with Ribas’ implicit performance style, as registered in the scores.

Building on the tradition of music being used as a political tool, for her is an interdisciplinary proposal using a piano recital as a tool to raise awareness about trafficking and sexual exploitation of children. The work presents three structural elements: piano performance, testimonies, and dolls scattered among the audience. In order to open additional channels of perception, the “defamiliarization” technique was explored through the visual element of placed dolls. Results from experimental performances raised questions about the unity of the work, strategies to enhance engagement and the performer figure. This work intends to encourage an investigation of the sensorial impact of the blending of varied elements within the performance space, whilst simultaneously inviting a social reflection through an artistic experience.

This article aims to study the performing questions arising when the author interprets the second series of Images for piano of C. Debussy. As the composer himself explicitly in the title of this work - Images, the composition is full of scenes of nature. The sounds were created as color and paint poetically "the bellinging through the leaves," "fall of moonlight on the remote temple" and "goldfish floating in the water." These auditory / visual descriptions provide the author a recreational outlook and at the same time, they also raise questions, including how the mind of a pianist plays a combination of descriptive picture, sound and performing movement. This combination will be motivated by audiovisual sensory synesthesia and externalized through the touch sense, to form movements and gestures to get an individual performance? Having regard to the poetic aspect, the author understands that Debussy created a metaphorical charm, coupled with a philosophical conception close to oriental Buddhism. On this aspect, the musical continuity, there is the expression of "melancholy diffuse" in order to invoke the feeling of loss and sadness, which is sublimated later, the emptiness and eternity through symbols - moonlight and remote temple; the expression of "lively" is nominated for a cycle of rebirth, and once again, through symbolization - goldfish and water. In fact, this poetic and (or) philosophical understanding gives the author a consciousness and an interpretative horizon of music, but this will be the main factor to transform feelings in performing actions? If so, how this interacts with the auditory and visual sensations? So, all these questions are studied in the article in order to understand the importance of movement and their technical and musical components in performance, thus creating an interactive form that links between intellectual awareness, the sensory elements and the Kinetic mechanism.