While many academic disciplines have only recently embraced the “turn to practice”, ethnomusicology has long been distinguished by its integration of music performance and research. Many researchers are themselves musical performers or dancers, and artistic expertise and scholarly approaches constitute mutually overlapping fields that have shaped various strands of our discipline. Additionally, the transmission of
music is often part of ethnomusicology departments’ teaching agendas worldwide. These institutions fill a crucial gap by offering performance training in styles historically excluded from higher music education—including “folk,” “traditional,” and “global” music and dance forms. This roundtable brings together international perspectives, including voices from the Global South, to examine the benefits and challenges of integrating scholarship, performance, and transmission in music and dance research. The discussion will explore the multifaceted roles of researchers and musicians/dancers, the complex
power dynamics involved in teaching folk, traditional, or global traditions within academia, and the possibilities for decolonizing knowledge production and musical practice in higher music education.  Evelyn Fink elaborates on "The Center for Folk and Folk Music Research in the Lake Constance Region” as a place of research and research-led teaching and performing; Silvia Bruinders shares Juggling Acts: Balancing Research, Teaching and Performance in Academic Life; Urmimala Sarkar discusses ‚Living [a] tradition‘: Community knowledge encountering global scholarship; Amin Farid elaborates on Choreocurating Otherwise: Scholar-Activist Reflections on Critical Dance Artistic Research.