Co-producing CARE: Community Asset-based Research & Enterprise

每年都有数以百万计的人从事创造性的爱好，这些活动是自愿从事的娱乐活动，涉及高水平的聪明才智、能力和创造力。对于任何探索共同创建社区研究方法和方法论的项目来说，爱好的价值在于它们代表了社区资产和优势的重要领域。这些技能、知识、专门知识和能力即使得到承认，也常常被那些实践它们的人忽视和贬低，但它们可以通过志愿服务、培训、社区活动、小企业或社会企业得到更广泛的发展和应用。“CARE”汇集了一个跨学科的研究团队：从事参与式实践和共同设计的学者，以及具有长期与社区团体合作工作经验的社区共同研究人员，以制定一种方法，通过促进自我反思和反思的业余爱好，共同生产社区学习和技能分享。它旨在开发一种从基层、从社区内部发展起来的方法。根据爱好历史学家Steven Gelber的说法，对手工艺品和较小程度的收藏的关注是爱好活动最纯粹的形式，为一种综合的参与式方法提供了机会，这种方法可以扩大规模并应用于其他“兴趣社区”，例如。体育俱乐部、商业团体、生态社团、表演者、舞蹈爱好者、园丁（Wenger 2002）。爱好工艺品的制作有其独特的品质。虽然小组环境促进了对话，但制作的经验，无论是绘画、建筑、编织还是缝纫，都带来了更多的东西，可以增强信任和集中注意力（Csikszentmihayli 1979）。此外，制作与叙述有关。在缝纫小组和缝制蜜蜂中，女人们边做边聊天、交换秘密、讲述她们的生活史，这已经有很长的历史了；艺术家苏珊娜·莱西（Suzanne Lacy）的具有社会意义的项目《水晶被子》（the Crystal Quilt, 1987）。泰特2012)揭示了这一点，因为它为老年女性提供了发言权和能见度。该项目旨在共同创造一种方法，围绕制作、叙述和分享作为一种发声的手段，并以建立和发展社区优势、技能和创造力的方式促进自我反思和反思。行动研究（Crouch & Pearce 2012）、参与式实践（Ledwith & Springett 2010）、视觉方法（Rose 2007）、数字叙事（Lambert 2002）、共同生产的创意过程（Matarasso 1997），以及作为物质文化和设计民族志组成部分的制作（Miller 2008），为思考制作、交谈、分享和连接业余爱好所涉及的过程提供了一个框架。电影、录音、数字标签、视觉叙事、播客、日记、地图和其他视觉和材料方法将被用来促进反身性，帮助个人解开爱好工艺品中涉及的更深层次的含义。对自己的能力有信心是掌握新技能的一个有力的立场，并且相信通过社区参与者和项目团队之间的应用学习（通过实践学习）来实现代际技能共享的价值，这支撑了项目的共同创造精神。

Millions engage in creative hobbies each year, activities that are undertaken voluntarily for pleasure and involve high levels of ingenuity, competence and creativity. The value of hobbies for any project exploring a method and a methodology for co-created community research is that they represent an important area of community assets and strengths. The skills, knowledge, expertise and capabilities, if recognized at all, are often dismissed and devalued even by those who practice them, but they might be developed and applied more widely through volunteering, training, community activism, small business or social enterprise. 'CARE' brings together an interdisciplinary team of researchers: academics working on participatory practice and co-design, and a community co-researcher with long experience of collaborative work with community groups, to develop a methodology for co-produced community learning and skill-sharing through hobbycrafts that promotes self-reflection and reflexivity. It aims to develop a methodology that grows from the grass roots, from within communities. A focus on handicrafts and to a lesser extent collecting, the purest form of hobby activities according to the hobbies historian Steven Gelber, offers opportunities for an integrated participatory methodology that could be up-scaled and applied to other 'communities of interest', eg. sports clubs, business groups, ecological societies, performers, dance enthusiasts, gardeners (Wenger 2002). The making involved in hobby crafts has particular qualities. While small group settings foster dialogue, the experience of making, whether drawing, construction, knitting or sewing, brings something more and can enhance trust and focus concentration (Csikszentmihayli 1979). Making, moreover, is connected with narration. There is a long history of women talking while they make, exchanging confidences and telling their life histories in sewing groups and quilting bees; the artist Suzanne Lacy's socially purposeful project The Crystal Quilt (1987. Tate 2012) reveals this as it gives voice and visibility to older women. This project aims to co-create a methodology around making, narrating and sharing as a means of giving voice, and promoting self-reflection and reflexivity in ways that build on and develop community strengths, skills and creativity. Action research (Crouch & Pearce 2012), participatory practice (Ledwith & Springett 2010), visual methodologies (Rose 2007), digital storytelling (Lambert 2002), co-produced creative processes (Matarasso 1997), and making as a component of material culture and design ethnography (Miller 2008), provide a framework for thinking about the processes of making, talking, sharing and connecting that hobbycrafts involve. Film, aural recordings, digital tagging, visual storytelling, podcast, diaries, mapping and other visual and material methods will be used to promote reflexivity helping individuals to unpack the deeper meanings involved in hobby crafts. Having confidence in one's own abilities is a powerful position from which to take on new skills, and a belief in the value of intergenerational skill-sharing through applied learning (learning through doing) between community participants and the project team underpins the project's co-creational ethos.