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David Cutler

About the Baring Foundation
The Baring Foundation is an independent grant maker founded in 1969.
Since then it has given over £100 million primarily to strengthen voluntaryorganisations in order to tackle discrimination and disadvantage. Part ofthis funding supports the arts. Since 2010 this has focussed on arts witholder people.

About the Campaign to End Loneliness
The Campaign to End Loneliness’s vision is for fewer people to feel lonelyin older age and for more people to maintain their friendships andconnections through times of life change. Led by a coalition oforganisations: Age UK Oxfordshire, Independent Age, Sense, Manchester
City Council and WRVS and is funded by the Calouste Gulbenkian
Foundation; our campaigns draw on research and practice from across the
UK and are delivered through a small core team in collaboration with awide range of organisations.

About the Author
David Cutler is the Director of the Baring Foundation.

Acknowledgements
Sue Barnes from Skippko Arts Team; Lowri Evans from the Library Theatre;
Laura Ferguson and Anna Goodman from the Campaign to End
Loneliness; Rose Fieber from CLOD Ensemble; Victoria Foord from theSerpentine Gallery; Lilas Fraser from the Scottish Poetry Library;
Jayne Henry and Moya Crowley from Plantation Productions; Deborah
Henry-Pollard from the Oxford Concert Party; Natalie Jode from Creative
Arts East; Poppy Keeling from Complicite; Paul Margrave from the Capital
Age Festival; Janet Morrison and Kate Organ from the Baring Foundation;
Nick Ponsillo from Manchester Camerata; Richard Povall from Aune Head
Arts; David Slater from Entelechy Arts; Alice Thwaite from Equal Arts;
Vicky Twedie from Spare Tyre; Nick Walker from Talking Birds; Ed Watts
from the Whittington Art Gallery; Laura Yates from FACT.

Foreword
In the UK we have an ageing population made up of a diverse
group of people who still have much to offer. At the Baring
Foundation we believe that there is intrinsic value in engaging thetalent, experience and enthusiasm of older people in the creativearts and the pursuit of cultural activities. We want to promote
investment in this area and to demonstrate positive artistic andsocial outcomes. So far we have funded a broad range ofparticipative arts practice some of which is highlighted in thepages that follow. Despite there being much cutting edge goodpractice, the arts and older people has been a largely neglectedarea for funders – whether public, private or corporate.
There are many bodies providing community services and support
that tackle the social care needs of older people, from befriending
and circles of support to day care and lunch clubs. These are vitaland there are fears that many will be tested by the increasingly
challenging funding climate. Prevention works and reduces
downstream health and social care costs. But older people needaccess to a broad range of community activities to help stave offloneliness – from faith groups to leisure, from the arts to fitness
and outdoor pursuits, to education and learning, to hobbies andclubs. Older people also need access to reliable transport, safe
environments and community spaces.
In this rich mix of community activity, the arts can break down
barriers and inspire, they can encourage people to try, sometimes
for the first time in their lives, new activities. They can give voice
to the previously voiceless. Through the arts older people canbuild and grow their confidence and feel valued. There can beenormous social benefits - creating a ‘look forward to’ moment in
the week, bringing people together and fostering new friendships.
Sadly much of our professional life is ‘silo-ed’. Older people’scharities and care suppliers may be very familiar with health andsocial care commissioning but rarely if ever cross paths with arts
organisations and artists. Yet all of us understand that older
1people are as diverse as you or I and have to be engaged with asindividuals who want choice and control over their lives. We needto find more opportunities to bring together the people andorganisations working with older people to share good practiceand build common understanding. We need to understand better
how to reach the most isolated in our communities. We need tosee how the arts can be embedded in other services and settingsand be part of the day to day routine. We need to understand theexpertise of those who care for older people and consider how
their needs are also met. We need to understand the confidence ittakes to simply cross the threshold and embark on new activities.
We need better diversity of provision that recognises genderdifferences, cultural differences and our different preferences for
personal expression. And we need to respect the preferences of
those who prefer to watch from the side-lines or do not wish totake part and those who choose solitude.
This report demonstrates the passion we have for the arts andolder people, gives a window to the variety and quality of the arts
undertaken and highlights the skills of the artists that lead thework. I hope that the voice of older people comes through the art
here in all its eclectic, technicolour glory.
Janet Morrison
TrusteeBaring Foundation
Chief Executive
Independent Age
Founder member
The Campaign to End Loneliness2

Contents
Key messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

The purpose of this report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

What you can do . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Case studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

3

PhotoPhoto courtesy
courtesy ofof Creative
Creative Art
Art East.
East.

4Key messages•

Loneliness is a pressing issue among older people becauseof changes that occur in our older lives that puts us at risk ofloneliness. Over 1 million people over 65 are lonely.

•

Loneliness correlates strongly with other problems and isassociated with poor physical and mental health.

•Older people need a broad range of opportunities andactivities to help tackle loneliness. These can include care andbefriending support, but just as important are opportunities
that connect them to their communities, such as faith,learning, fitness, leisure and cultural activities.

•

The arts are an effective way to tackle loneliness but can beoverlooked by older people’s services.

•

There are many good examples of arts work with older people
including those living with dementia and in care homes.

•

The arts exemplify the ‘five ways to wellbeing’: connect;
be active; keep learning, take notice and give.

•

Feeling valued, creative expression, using skills and engaging
with other older people all build friendships and enhancefeelings of well being which strengthens resilience in toughtimes.

•

Commissioners and organisations serving older people should
support the arts as part of a spectrum of activities to tackle
loneliness and poor quality of life in older age.

•

Artists and arts organisations should be alive to the social
dimension of their practice in working with older people.

5

The purpose of this report
The Baring Foundation and the Campaign to End Loneliness havecome together to promote the case for the arts as a powerful tool
to tackle the scourge of loneliness among older people. We intend
that this report should be relevant to a wide range people whowork with older people: commissioners of health and social careservices; members of health and wellbeing boards; managers
running residential and day care centres; artists and arts
organisations.
It begins with a short essay looking at the scale and impact ofloneliness among older people which argues that the arts areunder appreciated as a means to tackle the problem. It concludes
with some practical actions for this activity to be increased and alist of resources.
But the majority of this report, and the most important part of it,
is an appended series of ten case studies drawn from some of thearts organisations currently funded by the Baring Foundation.
These illustrate some of the many ways in which the arts can makea difference: in rural locations or in the inner city, in a residential
care home, a community or an arts venue, through reinventing the
tradition of the tea dance for the 21st century or in a major new
festival.

What is loneliness?
Although loneliness and isolation are connected they are separate
concepts. Loneliness is a subjective state with a number of forms.
For example, ‘social loneliness’ is the absence of a social networkor a broad group of friends, neighbours and colleagues.
While ‘emotional loneliness’ is the absence of a significant otherwith whom a close emotional attachment is formed.1 Lonelinesscan be a chronic condition which is exacerbated with age or acondition which flares up in later life in response to life changes
such as bereavement. It can be difficult to measure.
6

In contrast, social isolation is an objective state, measurable by the
number of contacts a person has. Although the terms are often
used interchangeably they do remain distinct from each other.
Social isolation often contributes to loneliness, but does notguarantee it.
So broadly, loneliness can be described as the gap a person feels
between the quality and quantity of social interactions they havecompared with the interactions they would like or expect.
Loneliness can affect people irrespective of age, or class orbackground but can be triggered by key transitions in older age –the onset of major or chronic illness, sensory of cognitive
impairment, becoming a long term carer, bereavement, moving
away from family and friends or going into hospital or moving
into sheltered housing or care homes settings. In addition, theavailability of local facilities and amenities (shops, post offices,
libraries, pharmacies, cafes, pubs and parks), transport, perceptionsof safety and freedom from crime can all effect an individual’sability and readiness to get out and about and maintain theirsocial connections.

How prevalent is loneliness among older people
and why does it matter?
Over several decades research has consistently indicated that 6-13
per cent of older people feel lonely often or always. An increasing
percentage report feeling lonely ‘sometimes’.2 Recent estimatessuggest that more than one million people aged over 65 often oralways feel lonely.3
Key risk factors include: being over 80; on a low income; in poor
physical or mental health; living alone; in isolated rural or
deprived urban communities. The scale of loneliness and isolation
among older people is disturbing:•

12 per cent of older people feel trapped in their own home;•

6 per cent leave their house less than once a week and around
200,000 do not get out of their flat or home at all;7•

17 per cent are in contact with family, friends and neighbours
less than once a week, 11 per cent less than once a month;4•

In 2010, 49 per cent of those aged over 75 in Great Britain
lived alone.5

Given the scale of this problem there is a clear and compelling
moral case for seeking to reduce loneliness among older people.
But beyond this loneliness correlates with a series of conditions
which generate substantial costs to providers of local services.
Loneliness has a significant and lasting effect on health. It is
associated with higher blood pressure and depression and leads tohigher rates of mortality, indeed comparable to those associatedwith smoking and alcohol consumption.
It is also linked to a higher incidence of dementia with one study
reporting a doubled risk of Alzheimer’s disease. Lonely people
tend to make more use of health and social care services and are
more likely to have early admission to residential or nursing care.6

Why are the arts so effective at tackling loneliness?
There are many ways to tackle loneliness. The resources section at
the end of this report signposts a large range of such activities andinterventions. But it is the contention of this report that the arts
tend to be forgotten among these interventions.
The arts are intrinsically worthwhile. They give joy to our lives andbeauty to our environments. They question who we are and why
we are here in a profound and enlivening way. However in
addition to this they produce many other benefits to individuals
and to society in general, especially though improved mental andphysical health.
As this report has shown, older people are particularly at risk of
suffering from loneliness, with all its negative impacts.
Peer reviewed scientific studies on the impact of the arts on older
people, when taken as a group, have led the Mental HealthFoundation to the conclusion, ‘it is evident that engaging with8

participatory art can improve the wellbeing of older people andmediate against the negative effects of becoming older’.7
Not everyone will wish to be involved in the arts. But many older
people will take some interest in the arts and for some people
they can be uniquely enjoyable and meaningful. For some older
age will provide an opportunity to return to a passion which haslain dormant in busier periods of life, while for others, given some
support and encouragement, the latter part of life can lead to acompletely new interest.
Naturally professional artists working with older people tend to
focus on the creative process and product. But when speaking toolder arts participants it is striking how the first thing that they
will mention is usually that an arts project has brought them into
contact with new people, that they have formed new friendships
and that they feel less isolated. A significant example of this comesfrom an evaluation of Bealtaine, the month long arts festival for
older people which has taken place across the Republic of Ireland
since 2000. 98 per cent of participants surveyed said that it
increased their social networking and 94 per cent said that it
increased their engagement in the local community.8
Taking part in the arts can broadly be divided into two modes,
being a member of the audience and taking part in creating apiece of art yourself (whether that is dance, drama, film, the visual
arts, etc.). Both these types of activities are going to bring an older
person in contact with other people and offer opportunities forinteraction and new friendships, though it is likely that the latter,creating art (sometimes called ‘participatory arts’) will be more
prolonged, may be more satisfying, have greater depth and be
more likely to break down isolation and loneliness. The Baring
Foundation funds the latter sort of arts and the case studies andexamples in this report are drawn from participatory arts projects.
It is worth artists and arts organisations remembering that social
interaction may be the most important aspect for an older person
in taking part in an arts project. This needs time and sensitivity by
the artist in creating the right atmosphere and allowing plenty ofopportunities for socialising. It should not be assumed that older
9people living in care homes cannot be lonely because they areliving communally. The arts are particularly good way for people
to tell their story and in itself this can be empowering for an older
person but will also allow a carer (or even family members) to seethat person in a new light and get to know more about them.
This is all likely to deepen and improve relationships. Some of the
projects or activities described have the explicit aim of tacklingloneliness, although most do not set out to tackle loneliness as acore aim. However, all of the case studies show that whether
explicit or not, bringing people together and keeping themconnected is a central part of these arts activities.
Older people who are feeling lonely are likely to also feeldisempowered and one of the great strengths of participatory arts
work, when well used, is its empowering effect. The Hurdles
project by Talking Birds (www.talkingbirds.co.uk) in Coventry
identified the problems that elderly people had faced in their lives
and the ways that they had overcome them. All the groups’
members identified loneliness as one of the five major hurdles intheir lives. Their work was curated into ten large photographic
portraits with poems which were displayed at the Herbert Gallery.
This section would not be complete without noticing the richtradition of intergenerational arts in the UK. A particularly
popular expression of this has been joint arts projects between
primary schools and people living in residential care. Participants
often comment on the energy and joy brought into the carehomes by younger children and how enriching they find theactivities themselves, sometimes involving reminiscence sessions.
Many arts organisations undertake this work but the leading andbest known exponent is Magic Me based in East London(www.magicme.co.uk). Outside the arts, Magic Me has now
extended their work to ‘Cocktails in Care Homes’ which are simply
parties with residents and young adult volunteers, again a good
antidote to loneliness.

People living with dementia engaging in the arts
800,000 people are currently living with dementia in the UK.9
People with dementia often end up lonely and isolated by their
10

Spare Tyre’s ‘Once Upon a Time’. Photo © Patrick Baldwin.

condition. There is a burgeoning interest among artists in working
with people with dementia and some degree of coordination, forinstance, Arts4Dementia (www.arts4dementia.org.uk) and Artz
(Artists for Alzheimers www.artz.org.uk). Much of theparticipatory arts activities funded by the Baring Foundation workwith people living with dementia. Spare Tyre, a theatre company
based in London, has been working in the Nightingale House carehome with new media artists to produce a multi-sensory story
telling piece called Once Upon a Time (www.sparetyre.org).
Another example is the Library Theatre Company in Manchester.
They have been delivering fun, sensory workshops for people
living with dementia called Storybox. Each week two artists andten participants improvise a story around a theme with the help ofprops and music (www.librarytheatre.com).
11

Photo courtesy of Manchester Camerata.

The five ways to wellbeing and the arts
In 2008 the Government commissioned the New Economics
Foundation (NEF www.newecomonmics.org) to review theinterdisciplinary work from 400 scientists from around the world
regarding the factors that lead to wellbeing. The five ways
(connect, be active, keep learning, take notice and give) can beused as a route to combatting loneliness. It is remarkable how wellthey fit an arts-based approach to working with older people.
•

12

Connect Manchester Camerata(www.manchestercamerata.co.uk) is one of the UK’s leading
chamber orchestras. Music in Mind took place in two
community venues partnering a music therapist and orchestralmusicians. Workshops aimed to reveal the person behind thedementia through musical improvisations.

•Be active A growing number of dance companies work witholder people, such as the Green Candle Dance Company(www.greencandledance.com), the Company of Elders at
Sadler’s Wells (www.sadlerswells.com/page/company-of-elders)and East London Dance (www.east.londondance.com).

•Keep Learning Digital arts are a good way for older people tolearn computing and film making skills. FACT (the Foundation
for Arts and Creative Technology (www.fact.co.uk)
in Liverpool has aninternational reputation in
new media art. It set up aninternet TV channel staffedby older tenants in a highrise block. Creative Arts east
Photo courtesy of FACT.
(www.creativeartseast.co.uk)
runs a rural touring programme for live performance andcinema across Norfolk and Suffolk. Its Memories and Moving
Pictures project was an intergenerational project involving
schools looking at the memories of cinema going of older
community members. The resulting short animations again
developed digital skills.

•

Take Notice The Clod Ensemble (www.clodensemble.com)
based in East London creates performance projects.
For several years its Extravagant
Acts for Mature People
programme has offered highquality shows in day care centres.
The diverse range of music andperformance comes from all over
Photo courtesy of Helen Marshall/
the world.
Extravagant Acts/Clod Ensemble.

•

Give Read Aloud is a volunteer-based project started by
Edinburgh City Libraries and the Scottish Poetry Library(www.scottishpoetrylibrary.org.uk). Volunteers visit Edinburgh
care homes monthly, reading familiar and new poems andsongs as a trigger for reminiscence and conversation.

13

The arts and older people’s service providers
There is a tendency for arts organisations and commissioners andproviders of services for older people to live in two different
worlds with little exchange. It is not surprising, therefore, that thearts may not be at the forefront of commissioners’ minds when
thinking about combatting loneliness.
There are some impressive exceptions to this. Manchester City
Council is leading the way in seeking to make their city ‘agefriendly’ for all people. Amongst many other things, the Council
has established a unique ‘cultural offer’ for older people, which is
supported by the Baring Foundation.
Manchester has a particularly rich cultural life including great
museums, the Royal Exchange Theatre and the Halle Orchestra.
As part of the new ‘cultural offer’ a total of 22 arts organisationsin the City come together to offer a wide range of artistic
opportunities to older people including through the use of
Cultural Champions(www.allaboutaudiences.com/projects/valuingolderpeople/culturaloffergroup).
There have been several examples of ‘arts on prescription’ or socialprescribing (e.g. www.equalarts.org.uk/pages/posts/autumnprogramme-launched-for-creative-ageing-arts-on-prescriptionscheme-11.php) where GPs have referred patients to arts projects
aware of the positive effect that these are likely to have on theirmorale and sense of enjoyment in life at very low cost.
The next section of this publication gives some quick first steps forboth commissioners and providers of older people’s services andartists and arts organisations to use the power of the arts intackling loneliness among older people.

14

What you can do
If you are a health and wellbeing board member orcommissioner of services for older people:•

consider whether loneliness is a significant issue for the older
people whom you are serving (through your joint strategicneeds assessment or other mapping exercises) and if sowhether the arts could play apart on tackling this;•find out about the relevant art provision in your area. A new
website www.ageofcreativity.co.uk should help in this;•meet with local arts organisations to discover how they thinkthey can improve health, wellbeing and social connections ofolder populations;•visit or take part in an arts activity involving older people andtalk to them and the artists about it.

If you run services for older people, for instancea care home:•

ask residents or service users if they want to participate in thearts, and what they enjoyed when younger;•

find out about local arts provision throughwww.ageofcreativity.co.uk and other sources such as Arts
Development UK which includes 265 local authority members(www.artsdevelopmentuk.org);•

explore specific sources of advice for work in care homes such
as Creative Homes available from the Baring Foundation;•

learn from others and find out about how they are using
different themes and activities to tackle loneliness: join theCampaign to End Loneliness.
15

If you are an artist or work for an arts organisation:•

consider what your offer is for older people and how youreach them;•ask how your arts practice with older people can focus onbuilding long term friendships and break down isolation andloneliness;•

join the Campaign to End Loneliness;•become a member of www.ageofcreativity.co.uk and send in
examples of your work;•

consider how to reach the most isolated in your communityand how to reduce the barriers to participation;•

consider the confidence and resilience required for individuals
to cross the threshold and take part and look at ways toreduce the barriers to getting involved;•

bear in mind the diversity of older people, their culturalexperiences, their varying sensory and cognitive abilities theirdiffering desires, needs and interests;•

engage families, carers, friends and communities in theactivities or the work that’s produced;•

ensure you are aware of social care best practice and how youractivities will complement other services, get fluent in thelanguage of social care commissioners and providers andconsider how your work contributes to their goals.

16Resources
Arts and Older People
www.ageofcreativity.co.uk a new national website dedicated toarts and older people.
The National Association for Providers of Activities forOlder People (NAPA) is the leading charity dedicated toincreasing the profile and understanding of the activity needs ofolder people and equipping staff to meet these while living in caresettings, www.nanpa-activities.co.uk
All Baring Foundation publications are free and available atwww.baringfoundation.org.uk
Ageing Artfully; Older people and professional participatory arts
in the UK, Baring Foundation, 2009 – a mapping study used by theFoundation in initiating its five year programme.
Creative Homes; how the arts can contribute to quality of life inresidential care, Baring Foundation, 2011 – lists examples of goodpractice as well as pointers for Care Home Managers and Arts
Practitioners.

Loneliness in older age
Loneliness and isolation: a toolkit for health and wellbeing boards,
Campaign to End Loneliness, 2012
http://www.campaigntoendloneliness.org.uk/toolkit/
Combating loneliness – a guide for local authorities,
Local Government Association and the Campaign to End
Loneliness, 2012.
Safeguarding the Convoy – a call to action from the Campaign to
End Loneliness, Age UK Oxfordshire, 2011.
17

Theatre de Complicite Tea Project, Dora House.
Photo courtesy of Ainsley So and Sarah Ainslie.

18Case studies
Transforming a Residential Centre
Around 400,000 people live in residential care. While residents are
not socially isolated, as they have regular contact with a range of
people, loneliness remains a serious issue for many.10 Although anincreasing number of arts organisations are seeking to work incare homes, provision overall is sparse and there are far too few
examples of good work for such a large part of society.
This caused the Baring Foundation to focus its last grants roundon these settings and to publish a good practice guide with ourpartners the National Care Forum and NAPA called Creative
Homes: How the arts can contribute to quality of life in residentialcare. Here is one inspiring example from those grants.

Theatre de Complicite
In May and June 2012 Complicite, a touring theatre company
based in London, and Geraldine Pilgrim, an installation artist
specialising in performances in unusual buildings, collaborated tocreate Tea.
Tea was an intergenerational arts project that brought older andyounger people together to recapture the stories and traditions
passed down through families. Piloted at Dora House Sheltered
Housing, a Central and Cecil Housing Trust scheme in St John’s
Wood, Complicite and Geraldine used a focus on afternoon tea tobring 30 tenants together with five young design students from
Wimbledon College of Art and Central St Martins.
Five trainee chefs from Le Cordon Bleu cookery school transformed
the communal lounge at Dora House into a fully functioning
tearoom. Then, over 8 weeks, tenants shared their memories ofteatimes past – of Lyons’ Corner Houses, sugar rationing and the
avocado pear – collected recipes and designed a perfect afternoon
tea menu with the students.
19

Theatre de Complicite Tea Project, Dora House. Photo courtesy of Ainsley So and Sarah Ainslie.

The communal lounge was also re-designed, decorated and thenopened to the public for three days, becoming the setting for a
performance inspired by the memories of afternoon tea.
Seven young actors performed as waiters and tearoom guests in‘Tea at Dora’s House’ and more than 250 people were served at
the performance.
The project was evaluated by Central and Cecil. Participants
reported the project generated a positive atmosphere andincreased sense of community that lasted after it had finished.
Tenants also felt it had brought people together who did notnormally meet and they knew their neighbours better as a result.
One tenant said “it brought life back into Dora House”.
Although sheltered accommodation schemes appear to provide aconvenient community for older people, isolation remains
prevalent. Projects such as Tea have demonstrated their ability tobuild long-lasting community in care settings, reducing lonelinessand improving health and wellbeing.
www.complicite.org
20

Rural Isolation
Rural areas are ageing at a faster rate than urban areas.
The fastest rate of growth is amongst the oldest old (age 85 years
and over). These parts of the country continue to become
depopulated and suffer from poor public transport and the lack ofother amenities, including access to the arts. A number oforganisations have dedicated themselves to working in rural areas
and are aware of the particular needs of older people. Here are
two examples from Devon and Buckinghamshire.

Aune Head Arts
Aune Head Arts is a contemporary arts organisation thatspecialises in working with rural lives and rural places. As part of
the Arts and Health South West REACH initiative11, Aune Head Arts
worked with Villages in Action and the NHS Devon Partnership
Trust to develop a project called ‘soundings’.12 This projecttargeted older people at risk of developing mental healthproblems as a result of isolation or lack of engagement with theircommunities and the mental health system.
The work took place in three communities Milton Abbot,
Princetown and Chudleigh with professional artists bringing
residents, both young and old, together to create a series of
autobiographical audio recordings. A mental health support
worker was engaged for each phase of the project to provide
advice and information to the artists where required.
Although the three areas varied in size and demography, all three
have significant older populations and face problems withisolation and poor access to services.
With each community, the lead artists created a radio programmethat covered topics including memory, listening, exchange, care,home and loss. The programmes were designed to celebrate theageing process as well as sharing some of the trials, fears, andtribulations the participants were facing.
An informal evaluation of the project showed that for some older
participants benefits included, a reduced sense of isolation and21increased sense of connection to own
community, increased sense of wellbeing
and being valued by others and reduced
stigma and discrimination.
In Chudleigh, a group formed throughthe project has continued to meet, andare continuing to get together socially,
with new members joining too. Aune
Head Arts hope to be able to support
them further with new arts workshops in
the future.
www.auneheadarts.org.uk

The Oxford Concert Party(OCP) ‘Food for Thought’programme
The Oxford Concert Party use music,
poetry and art to improve people’s lives,
aiming to reach those isolated bydisability or illness and older people
living in rural communities throughout
the United Kingdom.
The Food for Thought project was a six
week interactive programme for older
people attending day centres in
Buckinghamshire. The project using a
mix of creative arts, based around thetheme of food, combining music, song,
drama, storytelling, visual and decorativearts and reminiscence.
For many of the participants, this wastheir only social activity in a week andall had very limited access to arts
activities. Despite regularly attending
the day centre, 40% of the participants
22

Photo courtesy of
Aune Head Arts 2012.

23

Photo courtesy of Isabel Knowland.

felt they did not get together enough with other attendees.
The artists found the participants needed the sessions to help tocreate friendships in the day centre. 67% of participants said thegroup was both enjoyable and enabled them to get to know theirfellow day centre attendees better. The staff also benefited,learning more about their members life history as they exchanged
memories and stories in the sessions.
www.oxfordconcertparty.org

Urban isolation
Towns and cities can also be lonely and alienating places for older
people. Sometimes friends and family move on or die, transport
can be difficult to navigate and the night time city intimidating.
Here are two case studies from major cities, Glasgow and Leeds.
24Plantation Productions
Plantation Productions is a community based media company
based in Govan, one of Scotland’s most socially and economicallydeprived cities. They offer community groups of all ages theopportunity to learn about film making, media and the arts.
The Portal Seniors’ Film Club has been running at The Portal in
Govan, Glasgow, for the past five years. A mixed group of around
15 pensioners aged 65-94 meet for two hours every Thursday
afternoon to explore their creativity, enjoy the company of others
and produce some compelling film works after learning the film
making process of research, script writing, interview skills, acting,filming and editing. The finished films vary in genre from social
history documentaries to investigative journalism and mostrecently a comedy sketch show. Each completed film is given a red
carpet premiere, allowing the group to celebrate the culminationof their hard work and proudly share their achievements.
In 2010 the group embarked on art classes, learning to draw andultimately exhibiting their works in the Glasgow Museum ofModern Art (GOMA). For some group members, this was the firsttime they had ever tried drawing in their lives. This fascinating
project was documented in a film entitled ‘From Govan to GOMA’,
and the film was played as part of the exhibition.
The Portal Seniors’ Film Club is not formally evaluated but
Plantation Productions describe the group as lively andadventurous, and report that they enjoy each other’s company andare mentally and physically stimulated. Many of the group havecreated friendships and meet out with the film club either onother projects, or at cultural events that they find out about
through The Portal.
www.plantation.org.uk

25

Skippko Tall Tales ‘Gone with the Windows’ art work with Doreen Hamilton Day Centre.
Photo courtesy of SKIPPKO.

Skippko Arts Team
Skippko run visual arts projects with individuals, groups andcommunities across Yorkshire. Their projects range from one-off
sessions to large programmes of work over two to three years.
Tall Tales was a two year visual arts project with older people in
Leeds that ran from November 2005 to March 2008 using a themeof ‘Books and Stories’. The project aimed to reduce social isolationand loneliness in older people and improve confidence and selfesteem. Skippko was particularly keen to work with groups who
had had little or no access to creative arts activities, and to reachthe most isolated members of the community.
Tall Tales encouraged group members to share their life
experiences and tell them in creative and unique ways, and thengathered the stories in visual and written ways. It wanted tocelebrate the knowledge and experience that older people haveand share that with others.
26

As part of the project, groups made links with local schools andmade further visual artworks with the children, to raise awarenessof each other’s lives. A wide range of artwork was created by theparticipants, from a giant fabric book to a series of spoof movie
posters starring group members. At the end of the project a
Tall Tales exhibition was held in Leeds Central Library.
Skippko partnered with Leeds’ Neighbourhood Network schemes
to work with 22 different older people’s groups in a range ofsettings including care homes, sheltered housing and in thecommunity.
A qualitative evaluation on the project’s impact on loneliness andisolation was gathered through project diaries and through casestudies of a selection of individual group members.
At the start one participant said “I have felt isolated and lonely
recently with being ill.” By the end of the project, the same
participant said “it has helped to bring my confidence back, I took
part in the first schools sessions, the kids were lovely, it has been
lovely since. Four children in the street said hello after the session.
One little boy lives in these flats and I have spoken to him.”
Another participant said at the beginning “I sleep mostly, I
suppose I want to sleep away my troubles. My wife is very poorly
and has dementia, it’s sad for me. I do get depressed all the time.”
And at the end said: “I have made friends, yes definitely, we meetin the corridor. I didn’t have friendships in the group before.”www.skippko.org.uk

Festivals for Creativity and Older People
There are a gradually increasing number of arts festivals for older
people, and the Baring Foundation has joined forces with Creative
Scotland to commission a major new Scotland wide month longfestival beginning in October 2012. Below is an example of what
has been achieved by a longer standing festival.

27

Capital Age Festival
Capital Age Festival is London’s arts festival run by older people.
The organisation produces an annual festival of creative work
made by, for and with older Londoners. The festival showcases andpromotes work of arts organisations and older people in venues
across the capital.
In 2012, Capital Age Festival showcased over 50 events andactivities aimed at, or performed by, older Londoners. The festival
brought together professional artists, experienced participatory
performers and those who had never taken part in arts activity
before. Activity took place across London featuring a diverse rangeof art forms including theatre, music, dance, comedy, visual art,
poetry and film.
Headline events took place at the Albany in Lewisham andartsdepot in Barnet, both of which brought together over 100
performers from a variety of arts organisations. The sharedexperience of performing creates a common bond and qualitative
feedback has demonstrated a high level of interaction between
performers and many friendships formed.
Contributing artists and groups also spend time coming together
and working creatively to prepare for the festival, creating deep
connections through shared experiences and collectively sharing
ideas and life stories.
For many older audience members, the festival has acted as aninspiration to become involved in creative activity. The festival
brochure contained listings of events and activities led by externalarts organisations working with older people. The motivationengendered by festival events was strengthened by these listings,
signposting to local opportunities for participation.
As a regular and long-term event, the festival has become a muchanticipated opportunity to connect with old friends and withother older participatory performers. Feedback from previous
festivals indicates that many older participants look forward to thefestival as a highlight in their summer calendar and a chance to re28

connect with peers and friends that may otherwise be difficult tomaintain contact with.
There are a growing number of professional arts organisations in
London working in the community with older people. Most ofthese struggle to secure even a moderate profile or findappropriate platforms to showcase their work. The festival plays aunique role meeting the needs of arts groups and brings together
a large number of stakeholders and older artists in one place at
one time. The focus this creates works to tackle the on-going
isolation of not only the performers but also the large numbers ofolder Londoners that attend the festival.
www.capitalagefestival.org.uk

Museums and Galleries in Action
There is a growing movement across the UK of museums andgalleries which are seeking to engage with older audiences indifferent ways, for instance through events for people withdementia, taking objects and archive material out into care homes
for reminiscence work, and offering arts classes to older people
and many other projects. Here are examples from London andManchester.

Whitworth Art Gallery
The Whitworth Art Gallery and Johnnie Johnson Housing havebeen collaborating for just under a year to run the Art
Appreciation group with JJ Housing residents. These are monthly
art workshops and gallery visits have seen the residents of two
schemes engage with a variety of art practices, from experimental
drawing to screen printing and weaving. The idea behind thisproject was to explore the role of technology in the lives of older
people through visual art but the groups have developed sociallyand have focused on experimentation, discussion and building
friendship before the digital elements are introduced.
The Whitworth Art Gallery design the programme and the groups
meet once a week with an lead artist, regularly touring the gallery
to inform their work.
29Art Appreciation with JJ Housing residents. Photo courtesy of Whitworth Art Gallery.

One of the project objectives is to tackle loneliness and the artists
have created a social group dynamic where the group has
ownership of their own learning. The digital elements are due tobe integrated into the project the autumn of 2012 with a blog,
digital cameras and iPads being used to develop new skills andartwork.
Informal evaluation of the sessions demonstrate a range ofbenefits for the sheltered housing scheme community.
As discussions often start with sharing memories, the workshops
have stimulated discussions and friendship groups in a community
where it is all too easy to stay in separate flats. Many participantsquote this as being their main reason for continuing to attend
these workshops, often the art is taken for granted and it’s thesocial feel to the sessions that make them thrive.
www.whitworth.manchester.ac.uk
30Serpentine Gallery London
Serpentine Gallery is one of London’s most prominent galleries formodern and contemporary art. It’s Exhibition, Architecture,
Education and Public Programmes attracts up to 800,000 visitors in
any one year.
Skills Exchange was the Serpentine’s collaborative art and social
research project that took place between January 2007 and April
2012. Through five, multi-year residencies, Skills Exchange tested
the idea that isolation and discrimination are decreased whenartists, older people and care-workers exchange their skills on
equal ground, altering roles and well-rehearsed relations throughprocesses of creative exchange.
Projects ranged from artist-residencies working with elderly
residents of Woodberry Down Estate, patients of St John’s Hospiceand Inspire community group at St Peter’s Church to artistresidencies with residents of care homes in Camden andWestminster.
One residency brought design collective Abake to Westmead
Elderly Resource Centre and Care Home in Westminster. Westmead
provides residential care for 42 older people, many of whom havedementia and experience few or no visits.
Throughout their residency, Abake set up a series of group
discussions between Westmead residents, care workers, artists andgallery staff. These discussions led to a series of exchanges
designed to bridge the gap between the care home and the wider
community, including a bus tour through London narrated byWestmead residents, commissioning portraits of the residents andSkype exchanges between residents of Westmead and visitors to
the Serpentine.
A birthday party was held at the Serpentine Gallery for 98-year old
Ellen, the home’s oldest resident, and an ‘Art Swap’ was curated,
where works from the walls of Westmead were swapped with
contemporary prints from the Serpentine Gallery.
31

Photo courtesy of Serpentine Gallery.

It was anticipated that for many residents the ‘Art Swap’ would
result in dis-orientation. However, a Goldsmiths University
evaluation of Skills Exchange found the presentation ofcontemporary artworks in the home opened up new memory
pathways and conversations about the future between residents
and carers.
The evaluation also found that many care workers had been told
“not to get attached” but the Skills Exchange projects helped
32

demonstrate the need to build relationship and empathy in theircare homes, helping to reduce loneliness of residents.
The Goldsmiths report concluded that older participants benefited
most from projects that lasted for one to two years, allowing
artists to build relationships with residents and staff, and involve
them in deciding the aims and activities of the residencies.13
www.serpentinegallery.org
33

The needs of carers
Carers are absolutely vital for a particularly vulnerable section ofolder people. Professional carers are usually poorly paid and often
do not have the time and resources they need. Family carers canthemselves be older people and feel that their responsibilities areheavy and preclude time for themselves. They can become almost
as isolated as the person for whom they are caring.

34

Photos courtesy of Equal Arts.

Equal Arts
Equal Arts is a registered charity based in the North East of
England which specialises in developing creative projects witholder people. They aim to combat the isolation of older people
through creative engagement and run projects in care homes, arts
venues, community venues.

Photo courtesy of Equal Arts.

Equal Art’s Carers’ Adventures project involves family carers in adiverse arts programme – the group have already worked withmany of the arts venues in the Tyne & Wear area including theTheatre Royal and BALTIC Centre for Contemporary Art. The Carers
35Adventures group is designed to provide much needed respite tocarers, as well as enable them to make new friends and try new
things.
One of the carers described the programme as “a chance to findyourself again, you get lost being a carer and being creative andbeing part of something helps you remember who you are.”
The group has been running for 6 years and meet weekly.
Carers joining the group choose a programme each year and Equal
Arts help fundraise to enable them to work with a variety of art
forms, including theatre, sculpture and design. They also help
venues make their buildings more accessible to older people.
Equal Arts report many close friendships have been formed.
One member said recently in a radio interview “Equal Arts saved
my life… the group has given me so many new experiences anda chance to meet new people. I was exhausted by caring and had
lost everybody – but now I have new interests and a reason to
go on.”
www.equalarts.org.uk

Reinventing traditions; the 21st century tea dance
The arts are good at reinvention and creating new adventures.
Traditions with which older people have grown up can beplayfully re-examined and renewed in exciting ways for the artist
as well as the older person.

Entelechy Arts
Entelechy Arts works with a diversity of groups living in south east
London. The company works with marginalised and excluded
communities including older people who have learning or ageacquired disabilities. Entelechy works across art forms including
theatre, dance, music, the spoken word, craft work and digital
media.

36

Photo courtesy of Entelechy Arts

Entelechy’s 21st Century Tea Dance programme has become an
important and re-occurring event in the lives of many lonely andisolated people in Deptford. For many, for whom the pattern of
one day very much resembles the next, it has become something
to make plans for and an opportunity to be valued andunderstood.
The Tea Dance Programme comprises of a loose confederation of
about 150 individuals; about a quarter of that number experienceloneliness. They may be living in an institutional setting where no
one really knows who they are or they may be living on their own.
The life stories that bought them to this situation often include
the onset of chronic illness or loss of a partner. Many find it
impossible to leave their homes without the help of others.
Entelechy Arts identify the most isolated and lonely people in theircommunity through a regular programme of small-scaleinterventions, events and activities. For example, Entelechy artists
work in hospital wards, alongside adult social care teams, insheltered housing units, care homes and with small voluntary runclubs in church halls and other community settings. This enables
37them to reach individuals who are typically excluded from or
unaware of social support available.
The Tea Dance is both a social event and a shared act of creatinglarge scale performance event. This brings isolated individuals into
contact with many others: active older people, young people,
artists and performers an exciting scoop of people who reflect thediversity of south London streets.
The Tea Dance events now happen in a range of venues, including
large art houses, local theatres and community centres. In one
residential care home, residents and staff now co-curate a Dance.
During an evaluation, one carer commented:“There are not many people who have visitors there. It reallyshocked me. Only arts projects like Entelechy lighten the load”.
www.entelechyarts.org.uk

38

References
1

Burholt, V (2011) in Safeguarding the Convoy – A Call to Action,
Campaign to End Loneliness, Age UK Oxfordshire.

2

Victor, C (2011) ‘Loneliness in Old Age: the UK Perspective’ in Age
UK Oxfordshire (2011) Safeguarding the Convoy: a call to action
from the Campaign to End Loneliness (Age UK Oxfordshire:
Oxford).

3

Age Concern and Help the Aged (2009). One Voice: shaping ourageing society, (Age Concern and Help the Aged: London)
http://www.ageuk.org.uk/documents/en-gb/forprofessionals/research/one%20voice%20%282009%29_pro.pdf?
dtrk=true

4

Combatting loneliness; a guide for local authorities (2012),
Campaign to End Loneliness.

5

Table 3.4 in General Lifestyle Survey – Household tables 2010
http://www.ons.gov.uk/ons/rel/ghs/general-lifestylesurvey/2010/households.xls

6Windle, K, Francis, J, Coomber, C, Preventing loneliness and social
isolation: interventions and outcomes, Social Care Institute for
Excellence, 2011.

7

An Evidence Review of the Impact of Participatory Arts on Older
People, Mental Health Foundation, 2011.

8

Ni Leme, A, and O’Shea, E, An Evaluation of the Bealtinae
Festival, Irish Centre for Gerontology, National University of
Ireland, Galway.

9

Dementia 2102 – A National Challenge, Alzheimers’ Society, 2012.

39

10

Slettebø, Åshild (2008) Safe, but lonely: Living in a nursing home
Vard Norden 87 vol 28 no 1 pp. 22-25
https://oda.hio.no/jspui/bitstream/10642/487/2/416616.pdf

11

REACH Case Study
http://www.artsandhealthsouthwest.org.uk/studies.aspx?id=37

12

www.auneheadarts.org.uk/site/projects/reach13

Rooke, A (2012) Modalities of Exchange: A Summary Report on
the Serpentine Gallery Project Skills Exchange
http://www.gold.ac.uk/media/modalities_inners_single_02%20%2
82%29.pdf (Goldsmiths University: London).

40October 2012

ISBN 978-1-906172-17-6