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The purpose of this paper is to reflect upon the process that underpinned and informed the development and delivery of a “creativity-led” credit-bearing teacher training provision and to illuminate key factors of influence for the approaches to teaching and learning.

Based on the assumption that sustaining enterprise education involves developing educator capacity, networks of collaborating educators from different institutions and subject disciplines developed transdisciplinary pedagogical strategies. These were delivered to two pilot programmes, with a cohort of 18 in each.

Feedback from the pilots suggest that creativity-based pedagogies are effective triggers. They motivate educators and enable specialists to develop subject-related content.

The paper highlights the need for a more developed understanding of creativity, innovation and opportunity recognition, so that enterprise education starts with ideas generation, not merely ideas evaluation.

Understanding creativity and innovation is emergent and there is a dearth of understanding, especially in teaching and learning for enterprise. The paper illuminates a developmental process that has responded to this shortfall.

The purpose of this paper is to explore the individual music research projects the authors were working on in Borroloola, Northern Territory of Australia, and the ways in which the lived and inter‐subjective concepts of sisterhood and friendship strengthened the authors’ shared experiences in the field and became the foundations of their method.

Through an auto‐ethnographic and inter‐subjective narrative approach, the authors consider how the intertwined notions of relationship as research and “friendship as method”, underpinned what was being researched, how the research was enacted, and finally how the authors came to further appreciate and understand the role that music‐making plays in facilitating this process.

The authors’ independent and shared experiences during this research were stark reminders that it is indeed the quality of field relationships and friendships, rather than clever theoretical ideas or fancy methodological frameworks, which ultimately determine the quality and depth of their musicological and ethnographic research.

This paper presents original, feminist‐based research which places concepts of sisterhood, friendship and relationships at the centre of music research practice in Australia. More specifically, this research highlights the complexities of such research practice across the boundaries of race, with and in collaboration with, Indigenous Australian women.