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Although the purpose of schools can be (and has been) debated, one common goal that most people agree upon is that schools can and should play a role in preparing young people for the complexities of the future. This goal is somewhat paradoxical in that the future is unknown. So how might schools prepare young people for the unknowable? The prototypical response has been to design learning experiences based on what is already known in the hope that the knowledge, skills, and experiences in school will be durable enough to equip students for navigating the complexities of the problems they will encounter in the future. Consequently, most of what students learn in schools is predetermined. Although we recognize that some of these experiences can be beneficial for helping students in the future, we assert in this concept paper that schools can (and need to) get smarter about the kinds of educational experiences that students engage with if we are to prepare them for addressing the uncertainty of complex problems that they face now and into the future. More specifically, we open this concept paper by briefly discussing the prototypical curricular experience that schools provide young people and how these experiences sometimes fall short in providing students with the opportunities, experience, and confidence necessary to creatively engage with, resolve, and communicate about their experiences addressing complex problems. We then introduce a collaborative creative curricular experience called Journalistic Legacy Challenges (JLC). JLCs can support students in learning how to identify, address, document and communicate about complex problems that can make a difference in their communities and in their own and others' lives. The experiences offered by JLCs differ from prototypical learning experiences because they require young people to identify problems that matter to them, collaborate with skilled others to address those problems, develop their creative confidence, and learn how to use journalistic learning to document and communicate about their work to broader audiences.

Studies of creativity emerging from cultural psychology and social psychology perspectives challenge individualist conceptions of creativity to argue that social interaction, communication, and collaboration are key elements in creativity. In recent work creative collaboration has been proposed to be "distributed" between audiences, materials, embodied actions, and the historico-socio-cultural affordances of the creative activity and environment, thus expanding the potentialities of creative collaboration beyond instances of direct human interaction and engagement. Music performance, improvisation and composition may be viewed as exemplary "laboratories" of creative collaboration through the combined elements of audiences, materials, embodied actions and historico-socio-cultural affordances and constraints. This article reports the findings of a systematic literature review of creative collaboration and collaborative creativity in music. We sought to identify what has been currently investigated in relation to these terms and concepts in music, with what methodologies and in what settings. Findings indicate that studies were undertaken in higher education, professional development and professional practice predominantly, leading to an emergent phenomenon of interest, collaborative creative learning. Musical genres were jazz, popular, western classical, contemporary and world musics across the musical processes of composing, improvising and performing. Studies in higher education and professional development settings focused on identifying those practices that supported learning rather than the nature of collaborative creative approaches or the outcomes of creative collaboration. Participants were primarily male, with small sample sizes. Methodologies were largely qualitative with an emphasis on case study using observation, interview and reflective diary methods. Further areas for research include: the investigation of gendered approaches to creative collaboration, collaborative creativity, and collaborative creative learning; the use of more diverse research methodologies and methods and techniques including large-scale quantitative studies and arts-based and arts-led approaches; and the investigation of more diverse music settings., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2021 Barrett, Creech and Zhukov.)

A potential path for enabling greater creativity and collaboration is through increased arts and science, technology, engineering, and mathematics (STEM) integration in education and research. This approach has been a growing discussion in US national forums and is the foundation of the science, technology, engineering, and mathematics plus arts and design (STEAM) education movement. Developing authentic artistic integrations with STEM fields (or vice versa) is challenging, particularly in higher education, where traditional disciplinary structures and incentives can impede the creation of integrated programs. Measuring and assessing the outcomes of such integration efforts can be even more challenging, since traditional metrics do not necessarily capture new opportunities created for students and faculty, and the greatest impact may occur over a long period (a career). At Drexel University, we created the Expressive & Creative Interaction Technologies (ExCITe) Center as a standalone institute to pursue and enable such transdisciplinary arts-STEM collaborations, particularly with external arts and education partners. In this perspectives paper, we highlight a range of projects and outcomes resulting from such external collaborations, including graduate research with professional artists, undergraduate student work experiences, and STEAM-based education programs for kindergarten through 12th-grade (K-12) students. While each project has its own specific objectives and outcomes, we believe that they collectively demonstrate this integrated transdisciplinary approach to be impactful and potentially transformative for all levels of learning., Competing Interests: The authors declare no conflict of interest.