C R E AT I V E AG E I N G I N G E R M A N Y
A view from North Rhine-Westphalia
By Harriet LoweT H E B A R I N G F O U N DAT I O N

Acknowledgements
This short report was written by Harriet Lowe,
Communications and Research Officer at the Baring
Foundation, based on a visit to North Rhine-Westphalia in
September 2017. Grateful thanks in particular go to Almuth
Fricke, Director of kubia (Centre of Competence for Creative
Ageing and Inclusive Arts) who hosted and guided mepatiently and expertly around NRW for five days. Thankyou also to all those who spoke to me about their projects,
including Ingrid Berzau and Dieter Scholz; Sybille Kastner;
Jochen Schmauck-Langer; Susanne Düwel; Karin Nell, JörgThomas Alvermann, Corinna Bernshaus and Uscha Urbainski
at Keywork; Birgit Hauska, Sparkasse Stiftung Köln/Bonn; Kimde Groote, Annette Ziegert and the whole team at kubia.

About the Baring Foundation
Since 2010, the Foundation’s arts programme has focusedon participatory arts for older people. This has had many
aspects, including funding partnerships with all four of the
UK’s national arts councils. We have also sought to learn frombest practice abroad. This has included partnerships with theWinston Churchill Memorial Trust on a joint travel fellowshipscheme for nearly 50 creative ageing practitioners and with
the British Council in North East Asia. This report is the third
in a series of short profiles of creative ageing work in different
countries. Much more about our programme can be found in a
new publication Towards the end published in 2017.

Cover photo: Solinger Tanzensemble 55+. Photo © Stephan Haeger.

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Contents
Introduction

1

The context

2

Ageing in Germany
Social care: challenges and innovation
Arts and ageing

Arts in practice: case studies from North Rhine-Westphalia

5

Performance – theatre, dance and music
Visual arts – appreciating and participating
Intergenerational arts

Professional training and development

16

Concluding thoughts

18

Resources on creative ageing20

T H E B A R I N G F O U N DAT I O N

C R E AT I V E AG E I N G I N G E R M A N Y

1Introduction
This publication is part of a series of short reports intending to bring some of therich creative ageing projects and experiences from in other countries to an Englishspeaking audience. It follows two reports by David Cutler, one on Japan (Living
National Treasure) and another more recently on the Netherlands (Dutch Old Masters– and Mistresses). It is based on a series of project visits in North Rhine-Westphalia
in September 2017, kindly organised and hosted by kubia, the Centre of Competence
for Creative Ageing and Inclusive Arts, which is based near Cologne.
This report is based only on observation and some limited desk research and cannot
be regarded as a rigorous evaluation of creative ageing projects in North RhineWestphalia (NRW), let alone in Germany. However, we hope it will give readers in
English more idea about what is happening outside the UK and perhaps inspire themto visit Germany themselves.

Opposite: Art for Care project (see page 10). Photo © Evelyn Duerschlag.

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T H E B A R I N G F O U N DAT I O N

The context

AG E I NG I N G E RM A N Y
Germany is facing similar demographic changes to other countries in Europe withrespect to a rapidly ageing population. UN data reports that one in 20 Germans are
now over 80 and by 2050 it will be one in six. Unlike Britain and France however,where birth rates remain close to or at the replacement rate needed, Germany’s has
been falling for a number of years, heightening concerns among policy-makers andbusinesses alike that the working population will be unable to support the growing
pension and healthcare needs of older generations1 .

S O C I A L C A R E : C H A L L E N G E S A N D I N N O VAT I O N
As in the UK, the social care system in Germany is creaking under the weight ofthese changing demographics. The system is a social insurance model with most
Germans paying into a Long Term Care Fund (Pflegeversicherung) as part ofstatutory social security contributions, but as in the UK, there are concerns overfuture affordability.
However, as in other European countries, innovative new ways of managing the
problem of care provision at both ends of our lives are now starting to develop. For
example, Germany is also experimenting with multigenerational living. ‘Co-habitation’projects like the Amaryllis project in Bonn have created residential communities forpeople of all ages with a co-operative style ethos of community and mutual support 2 .
Another housing complex in Freiburg in the South West also provides care services
for its elderly residents and has a café open to locals and serving home grown foodfrom the gardens3 . There are several such initiatives across the country. This is asimilar model to the recent co-location of nursing homes and nurseries on the same
premises in England, for example at Nightingale House care home in south London.
1 ‘Germany’s demographics: Young people wanted’, Financial Times,
24 August 2015.
2 https://www.amaryllis-bonn.de/
3 http://www.generationen-verbinden.com/

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3Another relatively recent development are the state-supported
Mehrgenerationenhäuser – ‘Multigenerational Houses’. These are non-residential
and more like intergenerational social centres which bring services such as childcare,youth groups, support for young mothers, day care for the elderly and advice centres– all under one roof4 . Each Haus is unique: pensioners may volunteer to read books
to the children once a week, most run a kind of ‘rent a Granny’ service to relieve busy
parents, some have technology surgeries where teenagers help the elderly; others
run arts and theatre courses. The first Mehrgenerationenhaus was established in2003 in Lower Saxony and there are now around 450 across Germany5 . They aresupported financially by grants from the federal government and topped up by local
funding; however, there has been a question mark looming over their future funding
recently.

A RTS A N D AG E I NG
It must be stated again that this research only took in the state of North RhineWestphalia and even in here, there is far more happening than I was able to see in ashort visit. However, it should hopefully give a flavour of the work.

Funding and organisation of arts and culture
In Germany, policy and funding provision for art and culture largely happens at state(Länder) rather than national (Bund) level.
As you might expect in a country which 150 years ago was a collection of
independent states, the cultural infrastructure between them varies considerably.
The history of North Rhine-Westphalia (NRW) has left a particular imprint on thecultural landscape there. The state was formed during the British occupation after
the Second World War out of the old regions of the Rhineland and Westphalia. The
new configuration meant that there was no history of state cultural institutions (nostate opera as there is in Bavaria, for example) and many cultural activities are also
the purview of cities, towns and communities. However, today the state and themunicipalities together spend around 1.6 billion euros per annum on arts and culture.
It is also Germany’s most populous state with 18 million people, with several large
and sprawling urban centres.

4 ‘Germany’s ‘multigeneration’ houses could solve two problems
for Britain’, The Guardian, 2 May 2014.
5 The generation strain, Institute for Public Policy Research, 2014.

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T H E B A R I N G F O U N DAT I O N

North Rhine-Westphalia is a good place to visit for anyone interested in creative
ageing as it has been a pioneer in the field.
This must in large part be due to the support of the State Ministry for the Arts andSciences in Düsseldorf. Specific responsibility for arts and older people lies with
Susanne Düwel who is a keen advocate for the importance of cultural participation inolder age. Her remit has its own budget, which supports the state’s unique training
centre for cultural gerontology, kubia (see page 16) and an open fund of around
100,000 euros a year for the support of arts projects across the state. It also tries toinfluence other parts of the Ministry to integrate consideration of older people into
culture provision more widely.
The flourishing of creative ageing in NRW is also without doubt to due to theestablishment of kubia itself, founded ten years ago, which now acts as an importantregional hub of information and expertise.
It is worth noting here that the funding provided by the Ministry and administeredby kubia also has a strong programmatic emphasis on disability, inclusion andaccess to the arts. This seems to be a response to the recognition that there is quite
a variation in degrees of understanding of inclusive practice in culture. A recently
supported project is the Musiktheater im Revier in Gelsenkirchen. This project aimed
to give people with visual impairments a uniquely barrier-free opera experience.
Teams of visually impaired and sighted people work together to create uniqueaudio descriptions of several current opera productions, which describe the staging
alongside the music and lyrics. Before the performances, visually impaired visitors
can go to special sessions where they can touch and discover the costumes, masks
and props to create their own inner picture of the stage before they see the show.

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5Arts in practice: case studies from North
Rhine-Westphalia
The following project examples are divided into three sections.
•

Performance – theatre, dance and music•

Visual arts – appreciating and participating•

Intergenerational arts

There then follows a section on professional development and training, which is anarea of focus in Germany in a way that has not been in the UK, for example.

P E R F O R M A N C E – T H E AT R E , D A N C E A N D M U S I C

Altentheater, Cologne
Tucked away in the cultural southern district of Cologne, the Altentheater is a world
pioneer as much as a German one, having been started almost 40 years in 1979 ago
by Ingrid Berzau and Dieter Scholz. The Altentheater is part of the Freies Werkstatttheatre, a professional theatre established in 1977 with its own productions andperformances of literary works, and an active programme of public engagement withall ages.
Actors in the Altentheater, however, range from their mid-sixties to mid-nineties andpieces are co-created with them. Its productions reflect the current life as well as
the personal history of the actors and deal with the themes of older age. The piece
I was lucky enough to see was a meditation on the theme of ‘heimat’, created outof the actors’ childhood memories. Heimat is a difficult word to translate but means
something like ‘roots’, conjuring up a sense of place, both physical and emotional.
The show was punctuated by folk songs (Lieder), some in the local dialect of Kölsch,
which are well known to the older generation and often deeply entwined with theirconception of home. There was an opportunity for the audience to ask questionsof performers afterwards. That day, two classes of social care students had cometo see the show, which seemed like a good initiative by both the theatre and theircolleges.

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T H E B A R I N G F O U N DAT I O N

The ensemble has performed all over Germany and abroad, organising the first world
festival of older people’s theatre back in 1999 which had 250 participants from fourcontinents.

Dance companies, Solingen and Dortmund
There are a number of dance performance groups for older people in North RhineWestphalia. These include a dance theatre company in Solingen for over-55s, which
has members between the ages of 55 and 80 and performs specially choreographed
pieces, which the members co-create with the director. The Dortmund Ballet has
also established a ballet company for older people with members between 55 and80. The company is led by a professional dance teacher and choreographer andpieces are performed on stage at the Dortmund theatre.

Wir tanzen wieder (We dance again), Cologne
Wir tanzen wieder is a Germany-wide initiative started by Stefan Kleinstück in
Cologne in 2006. Believing it was important that people should have the opportunity
to dance in the places of their youth rather than in institutional settings, hepersuaded dance schools open their doors once a month to people with dementia
and their relatives for an afternoon of dance from the foxtrot to the cha cha cha.
Kleinstück has also taken the project into hospitals for people who are experiencing
an acute dementia crisis. For twenty minutes, in-patients and relatives can waltz
around the hospital ward, providing a welcome relief from the strict structures of thehospital day and allowing them to experience something light-hearted together at adifficult time.

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7V I S U A L A R T S – A P P R E C I AT I N G A N D PA R T I C I PAT I N G

Dementia + Art, Cologne
Dementia + Art is a small organisation set up by Jochen Schmauck-Langer who leads
tours in several of Cologne’s museums and galleries.
Jochen has developed his own methodology for Dementia + Art, which he calls‘Teilhabe-orientierte Vermittlung’ – transmission through sharing rather than throughknowledge. Having dementia can be a constant and wearing discovery of things you
can no longer do. Jochen’s tours are therefore deliberately not about education in art
history but about people bringing and sharing their own resources, perceptions andexperiences. The role of the tour guide is not to educate but to mediate between theindividual and the piece of art.
The tours also include music and singing (sometimes Volkslieder, sometimes fromthe early days of pop) in his tours and often end with what he describes as the best
picture in Cologne – a view of the famous cathedral with its twin spires.
Dementia + Art runs training in art appreciation for people with dementia formuseums and other cultural institutions across German speaking countries. Its
method is intended not only to be for people with dementia but to offer a particularform of engagement with art for others too. Interestingly, the tour I did with Jochen
was attended by people without dementia as well.
It has also developed a partnership with the Westdeutscher Rundfunk (WDR), a
major public broadcasting institution based in Cologne to offer dementia-friendly
concerts with the WDR orchestra for people with dementia, largely from carehomes, and their care-givers. The 50-minute programme consists of short classicalexcerpts and a sing-along at the end. These concerts take place both in concert halls
but have also been organised in care homes as well.

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T H E B A R I N G F O U N DAT I O N

Lehmbruck Museum, Duisburg
The Lehmbruck Museum in Duisburg is a wonderful collection of 20th century
sculpture and art, starting with the collection of Wilhelm Lehmbruck, a late 19thand early 20th century sculptor. The Lehmbruck Museum was the first museum inGermany to offer tours for people with dementia, starting in 2006, only shortly after
the pioneering MoMA in New York. They also run art workshops for people withdementia in the museum’s art studio.
The public engagement team at the museum, led by Sybille Kastner, also initiated a
research project looking at developing effective models of art appreciation for people
with dementia. The research was translated into a practical methodology and a
training workshop offering a qualification for tour guides. As part of the project theMuseum worked with 11 other art galleries and museums across Germany helping
them to develop similar programmes of their own.

Tour for people with dementia, Lehmbruck Museum, Duisburg. Photo © Michael Hagedorn.

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9Atelier D, Düsseldorf
Atelier D (Studio D) is a regular art workshop for people with dementia. It was thebrainchild of, and is run by, Corinna Bernshaus, a ceramic artist. She and fellow artist
Uscha Urbainski both have their own studios in the Kunstschule Werksetzen, an‘art school’ where they do their own work as well as run the sessions. People withdementia attend usually with a relative or carer – there is usually no specific theme
but they can use the materials there to do what they feel inspired to do. Atelier D isa separate room, offering a quiet retreat, but participants can mingle with whatever
activities are going on in the main room as well.
Atelier D is hosted by community arts organisation, Keywork, see also page 13.

Atelier D art studio for people with dementia, Düsseldorf. Photo © Corinna Bernshaus.

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T H E B A R I N G F O U N DAT I O N

Art for Care, Essen and beyond
Art for Care is run by Evelyn Duerschlag, a visual artist and graduate of theKulturgeragogik professional training course run by kubia and University of Applied
Science in Münster (see page 16). Evelyn goes into care homes and works withresidents to create intricate wall murals. The murals are often of familiar local
landmarks and deliberately designed to look how they would have looked in the
1950s and 60s when residents were young. In a care home in Essen, for example,
they have created a mural of the concert venue where the Beatles played in 1966,
and there are lively street scenes from the city centre. The paintings often featurecameo appearances by the residents themselves. The point is co-creation and Evelyn
works not only with residents but also with staff and management.
The projects have many positive outcomes for the homes involved – staff reportthat residents with dementia are more relaxed, for example, and stronger bonds are
created through reminiscence. The murals even function as signposts within thehome, with residents saying for example ‘I live near the apple tree, or near the coalmine’. Art for Care operates across Germany and in Switzerland.

Art for Care project, Essen. Photo © Evelyn Duerschlag.

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11I N T E R G E N E R AT I O N A L A R T S

Generational blog, Sparkasse Foundation, Cologne
There is a branch of the Sparkasse bank in pretty much every town and village inGermany. The Sparkasse also has 8,000 local foundations which each fund projects
in their local areas. Since 2012, the Cologne/Bonn Sparkasse Foundation, one of thelargest and wealthiest of the foundations, has been running intergenerational art
projects.
A recent project is called Generationen Blog or ‘Generational blog’. Older people andlocal schoolchildren are grouped into threes and spend a week doing various artistic
tasks around a central theme (e.g. where will I live in the future, ‘money’ or ‘work’…)
which they then photograph and upload to a dedicated ‘blog’.

‘Generationen Blog’, Cologne. Photo © SK Stiftung Kultur.

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T H E B A R I N G F O U N DAT I O N

The core purpose is artistic and aims to strengthen self-expression and identity
for both groups. However, a happy side benefit for older participants is learningtechnical skills and becoming more confident in using them (for example, how to use
an i-pad, how to upload photos to a blog site).
The projects take place all year around in schools, generally in less affluent areas of
the city, high-rise estates for example, where there is less social infrastructure andfew cultural opportunities for either group. Older volunteers tend to come from thelocal community around the school. The project has become so popular there is now
a waiting list for volunteers.
The end products from the projects are usually displayed through exhibitions in local
spaces like churches and community venues.

Lehmbruck Museum Artgenossen (art lovers), Duisburg
The Lehmbruck Museum has an established group of older ‘volunteers’. The group
emerged from a specific intergenerational project, called Hey Alter! which paired
up older people with school pupils blind-date style to talk about what they thought
about particular works of art on show. However, the older participants havesince become a permanent part of the museum. Rather than just being ‘helpers’
or recipients of programmes, they come up with their own ideas for community
engagement and carry them out themselves. For example:•

They developed a visitors’ audio guide to the museum’s collections featuring
the perspectives of both old and young people on objects in the permanent
exhibition.

•

The park surrounding the museum is a gathering place for often young homelesspeople and drug addicts. The Artgenossen decided that they should invite
them in, engage them in conversations about the works of art and generally
involve them in the life of the museum. These sessions take place every second
month and are of course served up with coffee and cake. The project was also
supported by a local AIDS charity, which helped build initial trust. Although thedrug problem persists, Sybille Kastner, co-director of public engagement, thinks
there has been a marked change in the way that these two very different groupsof people interact.

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13Keywork, ‘School workshop project’, Düsseldorf
Keywork is a community arts organisation in Düsseldorf which runs a rangeof participatory arts projects including Atelier D (see above). It has a particular
philosophy, strongly influenced by art theorist Josef Beuys and his concept of‘Sozialplastik’ – that the practice of art can transform our social relations. The
main strands of its approach are: art with people rather than for them; equality
between ‘artist’ and other participants; art at the fringes, in ‘unusual’ places; andstrengthening a sense of community through cultural participation.
The Schulwerkstatt (School workshop) project is run in collaboration with two local
primary schools. Art studios have been set up on the school premises. Primaryschool pupils in Germany have various activities available to them after formal
teaching is over and before parents pick them up. The Keywork studios are open to
all – children can come and make whatever they like, as long as they come with an
idea. The studios are staffed by an artist and local retired volunteers who have craft
skills and can help the children use some of the woodworking tools in particular.
Other locals can also come into the studio to get something repaired.

The Art Lovers group at the Lehmbruck Museum, Duisburg. Photo © Klaus Dieter Brüggenwerth.

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Sock puppet theatre, Düsseldorf. Photo © Stefan Eichler.

T H E B A R I N G F O U N DAT I O N

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Keywork, Cultural Driving Licence
Keywork also runs a ‘Culture Driving Licence’ scheme which local, usually retired,people can undertake. Participants take part in training and as part of the Licence,must devise a project which they develop and organise themselves. One group of
retired teachers developed a sock puppet theatre, which has been very successful,and has worked with refugee children with German as a second language to help
them learn the language.

15

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T H E B A R I N G F O U N DAT I O NProfessional training and development
A unique feature of the arts and older people scene in North Rhine-Westphalia andin Germany is the Centre of Competence for Creative Ageing and Inclusive Arts
(kubia).
kubia is a training and information institution for Kulturgeragogik or ‘culturalgerontology’. kubia, together with the University of Applied Sciences in Münster,has been instrumental in efforts to build Kulturgeragogik as a professional and an
academic discipline. It emerged from thestrong belief that pedagogy (theory oflearning) is linguistically and in practice
What is ‘Kulturgeragogik’?
inextricably linked to children’s learningand there needed to be ways of working
Kulturgeragogik is a relatively
better suited to the lives, experiences,
new professional discipline which
capabilities and interests of older people.
focuses on engagement with anddelivery of art and culture for older
kubia runs a wide range of shortpeople. In terms of teaching, it isworkshops and webinars forvery practical and designed toprofessionals, amounting to about 14
help students and practitioners
a year attracting a total of around 200
from both the arts and social carepeople. The topics covered are very
fields to deliver high-quality arts
varied – its 2017 schedule, for example,
and culture programmes for older
included using video in storytelling withpeople.
older people, leading an older people’s
choir, moderating a storytelling café,
and using humour with people withdementia. The workshops are intended to be very practical and give somethingpeople can take away back to their work. They are run by practitioners and aredesigned to be opportunities to exchange experiences and ideas.
kubia and the University at Münster together offer a year-long professional
qualification in Kulturgeragogik. Participants on this course come from social care,from the arts, and from local and regional authorities (often people in cultural sphere
who want to widen their public programmes to include older people). The course ispart-time, achievable alongside employment, and involves a practical project and a
viva at the end of the course.
The university is also hoping to offer a Masters course from 2018.
As well as training, kubia manages the funding provided by the Ministry, dispensing

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17funds for innovative projects around the state. It also conducts research and tries
to identify gaps in provision. For example, noting that older people’s theatre groups
are largely female and need performance material for large casts but that there wasa lack of contemporary writing that met these criteria, it funded a competition foraspiring scriptwriters challenging them to fill the gap.
kubia also acts as an information hub and promoter of good practice, for example,
running ‘action days’ where funded projects can meet, present their work andexchange ideas. Its long-running Theatergold (Theatre Gold) programme runs abiennial theatre festival WILDwest for older people’s theatre in the region – withproductions, workshops and seminars. Its website provides a calendar of relevant
events for older people and for professionals and its well-produced magazine offers
both inspiration and good practice.

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T H E B A R I N G F O U N DAT I O NConcluding thoughts
Whilst it can only ever be a snapshot, this research has revealed both parallels andcontrasts with work happening in the UK and elsewhere.
To start with the parallels.
The professionally led dance groups in Solingen and Dortmund are in excellent
company with programmes for older dancers in the UK (such as Ballet Rambertand Sadlers Wells’ Company of Elders) and the range of initiatives springing up
to engage older people with health conditions in dance (Dance for Parkinsons,for example). Cologne’s Altentheater and kubia’s Theatergold programme are awonderful illustration of the flourishing older people’s theatre scene developingin many countries. Saitama in Japan and Stagebridge in California are two shining
international examples, and A new form of theatre by Kate Organ provides manyother examples from the UK. The Lehmbruck Museum in Duisburg and the Ludwig
Museum in Cologne join the ranks of the increasing numbers of museums andgalleries in the UK which regard catering for the needs and interests of older visitors
and particularly people with dementia as a vital part of their public mandate. Thereis clearly a strong degree of collaboration across the museum sector and the German
Association of Museum Educators has a special interest group called ‘Generation
60-plus’, which aims to provide a platform for learning and exchange, as the AgeFriendly Museums Network does here. Finally, the inspiring ways the Lehmbruck
Museum and Keywork in Düsseldorf have found to involve and empower enthusiastic
older volunteers to work with other, often marginalised, community groups has aparallel in recent initiatives both in Manchester (Culture Champions) and in Hull (Cityof Culture volunteers).
The contrast with the UK is in the emphasis in Germany on training andprofessionalisation for people working in the arts with older people. This reflects its
quite different education system, which places higher value on formal accreditationin more walks of life, including in the arts and cultural spheres. There is aninteresting parallel with Helsinki, however, which has recently developed formal
training and accreditation for care workers to become cultural coordinators. It may
also reflect a cultural inclination to see artists in particular as integral to the social
fabric, with for example, a longstanding policy of the state contributing to social
security for all self-employed artists earning over 3,900 euros a year from artistic
activity, which is hard to conceive of in the UK.

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19

Staff at kubia like to quote the gerontologist, Professor Ursula Lehr: Es kommt nicht
darauf an, wie alt man wird, sondern wie man alt wird – it doesn’t matter how old youare; what matters is how you grow old. This small window into the creative ageing
scene in Germany suggests that arts and cultural institutions and their committed
creative ageing practitioners are living up to this advice.

‘Generationen Blog’, Cologne. Photo © SK Stiftung Kultur.

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T H E B A R I N G F O U N DAT I O NResources on creative ageing
All resources can be found on our website at www.baringfoundation.org.uk

Ageing artfully: older people and professional participatory arts in
the UK (David Cutler, 2009)

Living national treasure: arts and older people in Japan (David
Cutler, 2015)

A new form of theatre: older people’s involvement in theatre anddrama (Kate Organ, 2016)

West Yorkshire Playhouse Guide to Dementia Friendly
Performances (2016)

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21Growing the creative ageing movement: international lessons for
the UK (Alice Thwaite, 2017)

The role of local authorities in creative ageing (David Cutler, 2017)

Late opening: arts and older people in Scotland (Andrew EatonLewis, 2017)

Dutch old masters – and mistresses: creative ageing in the
Netherlands (David Cutler, 2017)

Towards the end: The Baring Foundation’s Arts and Older People
Programme 2010-2017 (David Cutler, 2017)

“Es kommt nicht darauf an, wie alt
man wird, sondern wie man alt wird”“It doesn’t matter how old you are;what matters is how you grow old”
Ursula Lehr

The Baring Foundation
8-10 Moorgate
London EC2R 6DA
020 7767 1348
Twitter: @Baring_Found

November 2017
ISBN: 978-1-906172-32-9