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Offering a critical examination of the nature of co-produced research, this important new book draws on materials and case studies from the ESRC funded project ‘Imagine – connecting communities through research’. Outlining a community development approach to co-production, which privileges community agency, the editors link with wider debates about the role of universities within communities. With policy makers in mind, contributors discuss in clear and accessible language what co-production between community groups and academics can achieve. The book will be valuable for practitioners within community contexts, and researchers interested in working with communities, activists, and artists.
Offering a critical examination of the nature of co-produced research, this important new book draws on materials and case studies from the ESRC funded project ‘Imagine – connecting communities through research’. Outlining a community development approach to co-production, which privileges community agency, the editors link with wider debates about the role of universities within communities. With policy makers in mind, contributors discuss in clear and accessible language what co-production between community groups and academics can achieve. The book will be valuable for practitioners within community contexts, and researchers interested in working with communities, activists, and artists.
This chapter draws on arts practice to discuss ways in which artists have collectively re-imagined better futures. It takes the form of a conversation, which has been edited to reflect the ideas of four people who work in the arts with a focus on how the arts can support transformational change in communities. The conversation is situated within theory that looks a the role of arts in communities, and relates to the field of socially engaged arts practice. The role of the arts in effecting change is debated.
This chapter examines the process of researching how to transmit musical heritage through the process of co-writing. The Transmitting Musical Heritage project team involved a number of different partners, all with particularly complex sets of skills. These interrelationships embedded between the academic institution and community partners had a strong impact on the project, its processes and its destinations. It involved varied approaches to practice and research, with the team and the co-producers, at times, occupying an amorphous zone where academics were academics, academics became musicians, musicians became academics, and musicians were also musicians. This community of practice was able to uncover tacit knowledge about playing and the process of making music together, as well as to unfold narratives about which heritage was valuable and why. This enabled a shared vocabulary of practice.
This chapter provides an overview of the value of getting lost in research and refers to arts-based methods as a way to do this. It proposes the idea of ‘unplanning’ as a way of exploring what it is to get lost. Using the concept of the ‘clew’ is helpful in this process. This provides new insights into the processes and practices of doing collaborative research.
In this project the legacies that artists left when they worked with universities on collaborative interdisciplinary projects are explored. This chapter discusses how artists influenced such projects and what kinds of contributions they made. An introduction to the histories of artists working in community projects is provided. Then the approaches to understanding what artists did on these projects is outlined. In order to find out about their practices, the authors drew on a number of methodologies, using experiential as well as empirical methods. It is concluded that artists deployed a number of different ways of knowing to create spaces for co-produced ideas to emerge in collaborative projects. Through a process of analysis it is found that while in some cases artists were devising activities based on ideas that had been constructed in the main by academics, in others, ideas and project directions were jointly constructed, sometimes leading to a new outcome or object. The conclusion to the study was that the effect of artists working in collaborative interdisciplinary projects can be profound and far-reaching for research and the knowledge it produces.
