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PART III Co- production

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74 7 Who owns co-production? Sarah Carr Introduction In order to answer the question in the title, this chapter presents a brief investigation into the origins of the concept of ‘co-production’ and an exploration of how it has functioned in UK social policy rhetoric since the mid-2000s. In doing so, it traces what could be termed its ‘ownership records’, to examine how the policy concept is being, or can be, implemented in practice. Critical questions, informed by international literature on the topic, are asked about the true potential of ‘co-production

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97 11 Co- producing virtual co- production Adapting to change Alison Allam, Scott Ballard- Ridley, Katherine Barrett, Lizzie Cain, Cristina Serrao, and Niccola Hutchinson- Pascal (authors listed alphabetically) Introduction Along with everyone else in 2020, Co- Production Collective (https:// www.coproductioncollective.co.uk/ ) had to adapt to the changes, challenges, and uncertainty that arose, and continue to develop due to the COVID- 19 pandemic. We needed to respond to these ‘unprecedented times’, keep on track with the plans leading to our launch in

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From Community Engagement to Social Justice
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Bringing together academics, artists, practitioners and ‘community activists’, this book explores the possibilities for, and tensions of, social justice work under the contemporary drive for community-orientated ‘impact’ in the academy.

Threading a line between celebratory accounts of institutionalised community engagement, self-professed ‘radical’ scholarship for social change and critical accounts of the governmentalisation of community, the book makes an original contribution to all three fields of scholarship.

Showcasing experimental research and co-production practices taking place in the UK, Australia, Sweden and Canada and within universities, independent research organisations and internationally prestigious museums and galleries, the book considers what research impact could look like for a wide range of audiences and how universities could engage with different publics in ways that would be relevant and useful, but may not necessarily be easily measurable.

Asking hard questions of the current impact agenda, the book offers an insight into emerging routes towards co-production for social justice.

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Co-production as a research approach Co-production of knowledge as an approach has evolved since the 1970s. The objective has been to bring different stakeholder groups together in an attempt to improve outcomes, whether of services or research, and their legitimacy and to overcome often longstanding antagonisms and wide asymmetries of power by working or researching together (Jasanoff, 2004 ; Joshi and Moore, 2004 ; Mitlin, 2008 ; Polk, 2015a ). Co-production is generally seen as good for society, at least in relevant fields of research, as co-production

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135 Evidence & Policy • vol 13 • no 1 • 135–51 • © Policy Press 2017 • #EVPOL Print ISSN 1744 2648 • Online ISSN 1744 2656 • http://dx.doi.org/10.1332/174426415X14440619792955 This article is distributed under the terms of the Creative Commons Attribution 4.0 license (http:// creativecommons.org/licenses/by/4.0/) which permits adaptation, alteration, reproduction and distribution without further permission provided the original work is attributed. The derivative works do not need to be licensed on the same terms. Generating ‘good enough’ evidence for co-production

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3 1 The challenges and necessity of co- production Introduction to Volume 1 Peter Beresford, Michelle Farr, Gary Hickey, Meerat Kaur, Josephine Ocloo, Doreen Tembo, and Oli Williams (authors listed alphabetically) The COVID- 19 pandemic has drastically altered people’s lives. While pandemics have of course occurred before, for modern times COVID- 19 has been unusually destructive and inhibitory in scale. However, what this pandemic shares with previous ones is having a disproportionately detrimental impact on people who were already disadvantaged by

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Theory, practice and change

This important book is a response to crises of public policy. Offering an original contribution to a growing debate, the authors argue that traditional technocratic ways of designing policy are inadequate to cope with increasingly complex challenges, and suggest co-production as a more democratic alternative. Drawing on 12 compelling international contributions from practitioners, policy makers, activists and actively engaged academics, ideas of power are used to explore how genuine democratic involvement in the policy process from those outside the elites of politics can shape society for the better. The authors present insights on why and how to generate change in policy processes, arguing for increased experimentation in policy design. The book will be a valuable resource for researchers and students in public policy, public administration, sociology and politics.

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serve us in the future. For us, key among these alternative approaches is co-production. Predictably, those most severely affected by COVID-19 are the people and groups who are now largely being ignored in developing responses to the pandemic and consequently are further detrimentally impacted by it – in many cases fatally. Co-production offers an alternative. It is consistent with efforts to challenge the exclusionary nature of much ideology underpinning health and social care policy and practice and to move to more inclusive and participatory approaches

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35 4 Insider- outsider positions during co- production Reflections from the Candomblé terreiros in Brazil Clarice Mota, Leny Trad, and Lisa Dikomitis We are three female anthropologists collaborating in global health research. Across languages, cultures, and ethnicities, we are connected through our social engagement with, and our commitment to, the Brazilian communities where we conduct research. In this chapter, we share our reflections on a ‘COVID- 19 Control Committee’ composed of Candomblé terreiros in the Brazilian city of Salvador (from here

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