News and Events

Article: The January Challenge 2026

Were delighted to be partnering with 64 Million Artists on the 2026 January challenge.

We’ve developed a b(old) creative prompt that should keep the January blues at bay! Are you ready to take a moment to sit comfortably, pause, and connect with yourself? Are you ready to let your imagination lead you?

The January Challenge is organised by the fabulous 64 Million Artists and offers 31 days of quick creative prompts designed to spark confidence, conversation and connection.

Find out more about The January Challenge and sign up for a creativity pack here

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Fanzine: Radical Acts of Creative Ageing with Tayo Akinbode

CADA had the joy of sitting down with renowned composer and musical director Tayo Akinbode, whose four-decade career has taken him from radical political theatre in the 1980s to major stages including the RSC, Shakespeare’s Globe and the Royal Exchange. Despite an impressive body of work, Tayo speaks with the same sense of wonder he felt as an 11-year-old boy discovering music for the first time.

Tayo describes falling into theatre almost by accident. After teaching himself a multitude of instruments and playing in punk and experimental bands, he was invited to compose for Manchester Youth Theatre. “They paid me – and I loved it,” he laughs. That moment sparked a lifelong career defined by openness, experimentation and a commitment to people-powered creative processes.

Today, Tayo’s work remains just as wide-ranging. He is currently composing and arranging music for Bradford 2025, the UK’s City of Culture, where a 200-strong community choir and a large-scale outdoor performance celebrate the people of Bradford. Alongside this, he continues to support emerging writers and small-scale projects, always seeking new perspectives.

When asked about ageing, Tayo resists the word “old” but embraces the idea of becoming an elder – someone shaped by experience and ready to share it. He acknowledges the internal battles many older creatives face, from imposter syndrome to fears of being overlooked, yet insists that “our best work isn’t behind us.” His mantra – abandon the usual devices – is a reminder to stay curious, courageous and committed to evolving.

For Tayo, radical creative ageing means continuing to question, explore and collaborate across generations and cultures. “The richest rooms,” he says, “are the ones full of different ages, different backgrounds, different stories.”

And perhaps that is the message he leaves us with: creativity doesn’t diminish with age – it deepens.

See the Fanzine here.

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Article: Our Reflections on Barrowfull Creative Ageing Event.

CADA Co-Chair Arti Prashar reflects on ‘What Next? Creative Ageing in Barrow and Beyond’, an event that brought together guests for two days of thought-provoking talks and vibrant entertainment. The day explored the future of arts engagement for older people including the vital and often under-recognised role of older artists themselves.

It’s fair to say I was quite excited to visit Barrow-in-Furness for the first time – curiosity really is my middle name! I’d always associated the area with the beauty of Cumbria and the wider Lake District, a place I’ve long loved (and where Kendal mint cake was a childhood favourite).

I’d been invited to Barrow to share a little about myself as an artist and to represent CADA. I’ll admit, talking about myself in public felt a little daunting. I can happily speak about creativity – but talking about me? That feels like stepping into vulnerability.

Daniel Tyler-McTighe is the Artistic Director of BarrowFull (an Arts Council England, Creative People and Projects Programme) and it was clear from the first moment we made contact that he is a very chilled and open person who leads a fabulous team. The phrase he lives by is “its informal, let’s just keep it informal”.

The evening before, all the presenters and performers were invited to a dinner – a kind of meet-and-greet before the big day. That’s where Daniel set the relaxed tone with his phrase: “Let’s just keep it informal – introduce yourselves to each other.” We did as we were told. Well-fed and watered, we got to know one another slowly and gently. It was the perfect start to the days that followed.

The celebration, titled ‘What Next? Creative Ageing in Barrow and Beyond’, featured a thoughtfully curated lineup of speakers and workshops held over several days. These workshops were co-designed with older Barrovians, ensuring their voices and experiences were at the heart of the programme. The celebration was delivered in partnership with Age UK South Cumbria and The Performance Ensemble.

Held on the International Day of Older People (1st October), each speaker brought something different to the day. The technology ran smoothly, and the atmosphere was warm and welcoming. Audiences gathered around tables, with screens placed throughout the space for easy viewing of presentations. Food and drink were available throughout, adding to the relaxed and inclusive environment.

We heard from Raisa Karttunen from Finland about the Armas Festival approaching their 10th year and the “Grand Old Man” graphic designer Erik Bruun who will be 100 years old next year. So BIG celebrations being planned for 30th March 2026 in Finland. Keep an eye out for that.

Professor Yoko Hayashi from Arts Alive! in Japan talked passionately about her visual art and dementia work in Japanese care homes. Much of her participatory work is evidence based and she’s encouraging facilitators to use art as a ‘social prescription’ to counter isolation and loneliness.

Maria Trost from Intergenerational Theatre-Making in Sweden shared with us the beautiful theatre, devised by a diverse company which includes refugees, LBGTQi+ people, young and older people. Maria spoke about wanting to make sure there was an ‘equal room’ so for example the usage of pronouns had to be navigated and that older people were not always given the ‘mentor’ role. It was a journey of trust and respect for those individuals involved.

There was then an interview with Bill Morrison; American comic book artist, writer, and editor of The Simpsons and Futurama. We would love to see a comic book that is just themed around older artists and people!

Throughout the day connections were made with old and new friends scattered across the UK and further afield. The whole day was punctuated with stunning poetic and beautiful performances from Alan Lyddiard’s The Performance Ensemble, older Barrovians and Indian temple dance by Sharmila Biswas and musician Kausik Dutta.

There’s something powerful about live theatre and dance. It elicits emotional response and connections – shared moments of fun and joy simply by being together in the same space. It reminds us that we are not alone, that we have much in common, and that right now, more than ever, we need to witness and show a way towards cohesive communities. A fractured society is a lost one. Here in the United Kingdom, we are a thriving multicultural and multi-religious society, where freedom of voice and expression are proud British values – values that must be protected.

In my presentation, I spoke about my concerns for “What Next” – for older people and for society more widely. I was essentially asking the audience and all older people to take ownership of this fight and to be inspired by the elders who sat in silent demonstration this summer in parliament square. We can’t just sit back and hope that someone else will take on the challenge. To bring people together and keep us united we must – as older people lead the fight.

It’s about understanding another human being from a different place to you – coming together through conversation and creativity, in an atmosphere of mutual respect and trust. It’s about defining the Britishness we want to belong to: a united nation that upholds its freedoms with grace, dignity, and acceptance.

We – older people, not old people are the largest demographic in the United Kingdom. With that comes responsibility: to consider the impact we can have on future policy and on society as a whole.

Yes, it’s complex. I don’t have all the answers, but I do believe that visibility, supportive networks, and participation in decision-making are vital. We are part of the fabric of British society. We must be seen and heard – for our experience, knowledge, wisdom, strengths and even our weaknesses.

We can influence positive change, now and for the future. How can we shape a British identity that embraces curry and chips, that celebrates Diwali, Eid, Hanukkah and Christmas, that recognises and reflects on our colonial history and class system and that uses culture and creativity to influence a greater understanding between us?

Ultimately, the question is: what unites us?

We are living in a time when it is more urgent than ever to come together, for the good of ourselves, our families, our communities and to celebrate both our differences and our connections. The culture of fear cannot be allowed to seep into our communities, or into our United Kingdom.

Let us talk and disagree.
Let us exchange stories and experiences across generations. Let us impart our wisdoms and histories.
Let us dance together, let us sing together, let us create together, let us share food together.
Let our laughter guide us.
Let us as creative people show the way to a more peaceful world.

BarrowFull showed us that it is possible. It was a well organised and generous event, full of laughter with wonderfully informal moments in a most formal and magnificent setting of Barrow Town Hall.

It was inspiring to see our call for greater visibility of older artists being recognised as a positive force alongside older participants and practitioners who work creatively with older people.

Although I couldn’t stay for the following days, the programme sounded fantastic: workshops for older people in juggling, skateboarding, drumming, and Indian dance – go Barrow!

A huge thank you to the older people of Barrow for their warm welcome, and to the BarrowFull team for their vision and energy. Congratulations on securing another three years of ACE CPP funding – we wish you every success on your continuing creative journey.

Fanzine: Radical Acts of Creative Ageing with Greta Mendez.

In conversation with Greta Mendez, we are reminded that creative ageing is not a tidy progression but a radical and often turbulent process. Greta’s story begins with dance as salvation, a lifeline that carried her from an unhappy childhood in Trinidad to a career that challenged exclusion and opened new spaces for Black dancers in Britain. Yet her reflections reveal that ageing brings another layer of resistance, not from society alone, but from the body itself.

What strikes us most is Greta’s courage in refusing invisibility. When her body no longer resembled the athletic dancer she once was, she made the radical choice to place it on stage, belly and breasts unapologetically visible. This act embodies what we at CADA mean by “radical acts” – creativity that makes the heartbeat quicken..

Greta also reminds us that creative ageing is not simply personal. It carries responsibility towards the generations that follow. Her call is clear: young artists must be supported to nurture their creativity without sacrificing their wellbeing, so that they may enter later life with resources and health intact. This is as much a structural challenge as it is an individual one.

Finally, Greta leaves us with uncertainty and hope. She describes herself as being in an “incubation period”, waiting for the next radical shift. At CADA, we believe that this pause is itself a vital part of creative ageing: the stillness before transformation. Greta’s voice affirms that ageing does not mean retreat but reinvention, and that radical creativity can continue to emerge, especially in later years.

See Greta’s interview and Fanzine here.

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Article: National Day of Arts in Care Homes 2025 – Celebrating Creativity in Care Settings

We invited NAPA to be our Guest Writer…

For the past 6years, the National Day of Arts in Care Homes shines a light on the creativity, imagination, connection and joy that the arts bring people living and working in care settings. This year, on 24th September, we once again celebrate the many ways that art in all its forms; music, painting, poetry, dance, theatre, storytelling and beyond; enriches lives and strengthens connections.

The day is not just about celebration, however. It is also a reminder of the importance of embedding creativity into everyday care and activity provision. The arts are not an “extra” or an occasional treat, they are a vital part of wellbeing. They offer opportunities for self-expression, connection and communication, especially for people who may struggle to find their voice in other ways.

We know from countless stories and growing evidence that the arts can reduce loneliness, boost mood, improve physical health and create shared moments of joy and meaning. For staff and families too, creative activities can build bonds, ease stress and provide new ways of relating to one another.

That is why the National Day of Arts in Care Homes matters. It not only raises awareness of the transformative power of creativity but also strengthens the movement to make the arts a natural, everyday part of care. From a song sung at teatime to an intergenerational art project, every creative moment has the potential to bring light and connection into people’s lives.

As we celebrate this year’s National Day, let’s also look ahead, working together to ensure that creativity and culture are woven into the very fabric of care, every single day.

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Article: Creating a Warm Welcome.

How Fegg Hayes is Redefining Community Through Creativity

In Fegg Hayes, (Stoke-on-Trent) a new approach to creative ageing is transforming how older people connect, create, and feel seen in their community. The Creative Ageing Living Lab was developed through a partnership between The Keele Institute for Social Inclusion (KISI), New Vic Theatre Education Department, the Ages and Stages Company of Elders, and the Fegg Hayes Futures Hub, with vital support from Creative Ageing Development Agency (CADA).

The project began by listening. Using a storytelling methodology developed by the Old Fire Station – and strongly supported by CADA as a model for placing lived experience at the centre – five residents aged 50+ shared their personal reflections on community, inclusion, and the concept of a ‘Warm Welcome’. These stories revealed both the strengths of local connection and the barriers many still face, especially in accessing cultural spaces.

Working with the New Vic and the Ages and Stages Company of Elders, the stories were developed into a script-in-hand theatre performance. Drawing directly from anonymised quotes, the resulting 30-minute play explored what a ‘Warm Welcome’ really means. The cast added their own experiences, creating a shared, powerful narrative performed at the Fegg Hayes Futures Hub to an audience of residents and local partners.

Post-show discussions revealed key themes: the emotional impact of inclusion, the lasting damage of poor access or insensitive treatment, and the need for cultural spaces to go beyond surface-level gestures of welcome. The performance encouraged deep reflection from both performers and audience members on how to build more genuinely inclusive environments.

As one cast member shared, “This project made me realise how important a warm welcome really is and how small things can make a big difference.” Another participant reflected, “From a place and people that often feel forgotten… this project amplified our voice and reminded us that what we do here matters.”

Five learning themes emerged: the power of human connection; the importance of access (physical and social); the strength of collective community effort; the persistence of stigma; and the danger of social silos. Participants spoke of feeling overlooked – yet also of hope, pride, and a desire to change.

The project sparked recommendations for future work: using the play as a training tool, expanding the storytelling approach, and embedding creativity into the area’s new Cultural Quarter. With CADA’s support, the work will also contribute to national frameworks such as the Age Friendly Standards, and builds new qualitative insights into the barriers older people face when accessing culture.

At its heart, the Creative Ageing Living Lab – with guidance from CADA and funding from KISI/UKRI has shown that listening, storytelling, and co-creation can turn everyday experiences into meaningful change, one warm welcome at a time.

Article: South Asian Heritage Month – July

Visionaries: A South Asian Arts and Ageing Counter Narrative

As we celebrate South Asian Heritage Month, it is a fitting moment to reflect on the lasting impact of a pivotal piece of work that continues to shape inclusive creative ageing practices today.

Four years ago, CADA (Creative Ageing Development Agency) commissioned a scoping report by Arti Prashar OBE and Elizabeth Lynch MBE to explore how creative work with and by older South Asian people could be better understood, supported, and celebrated. The report highlighted the contributions of visionary artists across a wide range of South Asian identities and experiences. It documented their creative journeys and shared examples of projects that connected heritage, community, and wellbeing.

Although the report was a snapshot in time, its findings and recommendations remain highly relevant. It offered essential insights into working with diaspora communities, and underscored the value of a holistic approach – one that centres culture, identity, and care in creative engagement with older people.

As we mark South Asian Heritage Month today, we are reminded of the ongoing need to uplift the voices of older South Asian artists and to recognise the unique role South Asian cultural organisations play in the UK’s creative landscape. The report called for more South Asian-led projects, and five years on, its call to action still resonates.

CADA continues to see this work as a foundation for future growth – encouraging new collaborations, deeper community engagement, and a more inclusive creative ageing movement that reflects the full richness of our society.

Visit South Asian Heritage Month to find out more about the awareness month and https://cadaengland.org/our-projects/ to find out more about the Visionaries Report.

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Poem: The Advent of Ageing. By The RUPT Associates.

To mark Age Without Limits Day, CADA’s RUPT Associates – Maya Chowdhry, Amanda Holiday, and Sama Hunt (three underrepresented, underserved artists) – are proud to launch a bold new poem that reimagines what it means to grow older.

It opens simply: “The advent of ageing begins…with a question.” What follows is a cascade of reflections that move from the visceral to the visionary – “a late life bloom, an evening sunrise that’s right on time.” This poem resists the tired narrative of decline, instead painting ageing as a time of transformation, protest, and deep creativity.

It is both tender and defiant: “This is ageing, before you a fossil that has eons of beauty / in a spiral of wisdom radiating outwards…” The poem reminds us that ageing is not an end, but “a continuum of crescendos, rests and refrains.”

It invites us to reckon, to laugh, to question and above all, to see older age not as retreat, but as a place of emergence.

Listen to the poem on YouTube or Spotify.

Article: Warm Welcome Manifesto Film – A New Short Film from the Creative Ageing Network.

To mark Age Without Limits Day, we’re proud to launch a new short film from the Creative Ageing Network – a collective of people and organisations working together to champion the transformative power of creativity in later life.

In collaboration with CADA, the Network developed a ‘recipe for change’ manifesto, a list of ‘Warm Welcome’ messages for people who run creative ageing groups to use when welcoming new members.

The messages are shaped by those with lived experience of creative ageing. These inspiring individuals are helping shift the narrative around ageing by sharing how creativity can spark connection, confidence, and joy at any age.

Age Without Limits Day is a call for all of us – as individuals, in our communities, and in our workplaces – to challenge ageism and celebrate the richness of later life. Our film is a vibrant response to that call: it captures the energy, talent, and voices of older people engaging in cultural and creative activities, reminding us that creativity has no age limit.

We invite you to watch the film, share it with others, and take action this #AgeWithoutLimitsDay. Together, we can challenge outdated stereotypes and celebrate the creative potential in all of us, at every stage of life.

Watch the film and join the movement.

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Article: Standing on One Leg and Speaking from the Heart.

Reflections on the Creative Ageing Symposium in Lancaster By Arti Prashar Co-Chair of CADA Creative Ageing; Development & Agency

Lancaster welcomed us with sunshine – bright, warm, and full of promise. The short walk from my hotel to the Dukes Theatre felt good, made even better when I spotted a familiar face outside the venue. Everyone was very welcoming.

The symposium was packed with presentations, workshops, and performances that together formed a rich tapestry of creative ageing. One key take away that echoed through many of the sessions was the importance of play and how we should embrace play in all that we do. We need to balance play, creativity, and connection in our lives. Laughter, socialising, and movement.

The second take away was to age well, we must embrace balance – literally and figuratively. Stand on one leg while brushing your teeth, we were told. It helps maintain physical balance, which becomes vital as we grow older.

It was noticeable that during the morning sessions I appeared to be the sole person from the global majority. You’d think I was used to it by now but I’m not – after 40yrs plus in this sector it makes me sigh, it grates with me. It gave me reason to ponder over my presentation.

My keynote ‘Late Style’ was just after lunch. I would be raising questions about inclusion. I wondered if I had the right tone for my presentation or would it be too serious? But when it came time to speak, I surprised myself. The moment the hands free mic was on, I slipped naturally into performance and facilitator mode. I guess some things never leave you!

Stepping off stage, I wasn’t sure how my speech had landed. But then people began to approach me, saying they felt inspired. That my words were refreshing and important. I had a clear message: Fund artists – especially diverse, intersectional artists. Recognise and credit all artists in your projects. Without artists, these initiatives would not shine as they do.

CADA (Creative Ageing; Development Agency) is a vital organisation. Its work and advocacy are clearly needed.

Across the two days, several themes stood out:

· Play as a practice for wellbeing: Emma Rucastle’s workshop on adult play reminded us that creativity and joy aren’t luxuries – they’re necessities.

· Performances weren’t an afterthought: Creative Ageing was woven into the symposium, an integral part of why we were gathered with wonderful poetry, film and theatre performances.

· Venues matter: The success of creative ageing projects in cultural spaces depends on leadership. Chris Lawson, CEO of the Dukes Theatre, showed what it means to put creative ageing at the heart of a venue’s mission.

· Where’s the diversity? Intersectionality was a recurring concern. How do we ensure participation from people with learning disabilities, the global majority, LGBTQ+ communities, and older men?

· The NHS and Age UK are listening: Both organisations in Lancashire are actively seeking partnerships with artists for health and wellbeing. The focus is shifting from simply living longer to living well as we age.

· Older artists want recognition: Not just participation. Not just soft skills. But visibility, opportunity, and validation as professionals.

· Dementia arts go beyond memory: It’s not only about recalling the past, but about experiencing the moment – here and now.

A standout moment for me was Dr Katharine Low’s presentation. She shared a deeply moving intergenerational women’s health project that used creative workshops to open up difficult conversations. The women made bread, drew one another, planted flowers. The process was tender, layered, and rooted in love. One powerful phrase still echoes in my mind: “the secrets my mother never told me.”

David Cutler, Director of the Baring Foundation, gave a thoughtful overview of where the creative ageing sector stands in the UK. He reminded us that this is not a new field – it has decades of history. He spoke of older artists like Hokusai, still learning at 70, and still producing great art in his later life.

The Baring Foundation funds work on the principle that creativity is a human right. And as David Cutler said “ … the UK demographics are changing be properly inclusive – make sure everyone is welcomed”.

He continued by saying there’s been no UK government policy on creative ageing in over 20 years. Are we losing ground, holding steady, or moving forward? David didn’t have a firm answer. But he did point out that arts organisations are often leading the way with how to engage with older people, while older people’s services aren’t always sure how to engage with the arts in return.

So, what do we need next? We need to keep pushing for a sector that is inclusive of everybody, embraces every form of art, and is embedded everywhere. And that includes live performance, digital work, film, dance, music, and visual arts made by older people – not just for them.

The symposium brought this vision to life. It was rich with provocation, fun, laughter, and deep reflection. I reconnected with old friends and made new ones. For me, it was an uplifting two days – one that reaffirmed the value of creative ageing and CADA’s vital role in shaping its future.

Article: “This is a call for systemic change – one that values ageing as a creative force…”

On 30th April and 1st May 2025 The Dukes Theatre, Lancaster is bringing together an exciting mix of people to explore the concept of creative ageing and to debunk common stereotypes of older people.

CADA Co-Chair Arti Prashar is a Keynote speaker. Here’s a summary of her speech.

CADA wants to challenge the invisibility of older, diverse creatives in our arts and funding landscapes. Too often, ageing is medicalised, and older artists are excluded from meaningful opportunities, funding, and narratives – unless they are labelled as “emerging” or aligned with institutions. Through our work at CADA and the Visionaries report, we’ve seen the urgent need to centre voice, visibility, and agency for older artists, particularly those from underrepresented communities. This is a call for systemic change – one that values ageing as a creative force and ensures that all artists, across the life course, are seen, heard, and supported.

The 2-day event will include participation from creative practitioners, health professionals and key contacts from academia, to share best practice and new and innovative responses which address key challenges from the sector.

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Guest Writer: Helen Fountain Age UK Oxfordshire. The Banbury Heritage Project: Connecting Stories and Well-being

Helen Fountain works at Age UK Oxfordshire and brought together the team that worked on the Heritage Project together, Heritage England and Supersum and CADA.

Heritage is more than historic buildings and artefacts—it’s about people, their stories, and experiences. The Banbury Heritage Project, a collaboration between Historic England and Age UK Oxfordshire, aimed to empower older people to engage with their local history. Led by Helen Fountain, Creative Manager at Age UK Oxfordshire, the project demonstrated the deep connection between place, storytelling and well-being.

Helen Fountain champions a lived-experience-led approach, prioritising collaboration over pre-designed programmes. “Why are we doing any of this if we’re not doing it for and with the people we are working with?” she asks. “Older individuals possess a wealth of historical knowledge, adding authenticity to heritage work. Their stories—whether about local landmarks or community events—bring history to life.”

The project highlighted the therapeutic nature of reminiscing. Sharing memories fosters social bonds and mutual understanding. Group discussions often led to unexpected connections, offering participants a sense of belonging and empowerment. “There’s something energising and joyous about those moments,” Helen notes.

Participants unearthed fascinating details about Banbury’s past. One recalled Spencer’s corset factory, vividly describing its flamboyant owner. Another, a former farmer, brought Banbury’s historic cattle market to life with first hand stories. These personal accounts enrich local history, making it more tangible and relatable.

A significant aim was ensuring accessibility, particularly for those living with sight loss. While historic sites often pose physical challenges, the team found creative solutions. At Broughton Castle, where upper floors were inaccessible, alternative activities in the café allowed all participants to engage meaningfully. An audio describer enhanced the experience, while a tactile mosaic created by the participants provides a hands-on connection to history.

Unexpected talents emerged throughout the project. Some participants meticulously documented Banbury’s history through photography and research, impressing heritage professionals. Others contributed through storytelling, re-enactments, or warmly welcoming newcomers. The initiative proved that everyone has something valuable to offer.

The Banbury Heritage Project’s influence extends beyond its sessions. Many participants have joined other local creative and heritage groups, continuing their engagement and connection. The project’s outputs—including an audiobook and a project film—ensure that these stories are preserved for future generations.

By focusing on lived experiences, the project has made heritage more inclusive, demonstrating that history is not just to be studied but lived and shared.

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Article: What if the art of the possible begins with a question?

CADA Director Farrell Renowden reflects on the RUPT programme. 3-4 minutes read

In January 2024, CADA began with just that, a question for ourselves and the wider field of creative ageing: why are there still so many under-represented/ served older creatives and communities?

Despite all our collective efforts over many years, the dial just isn’t turning fast enough when it comes to increasing the representation of those who experience barriers to creativity due to age/ ethnicity/disability/class. So what is the art of the possible?

A year ago, we took the bold step to recruit a small group of experts by experience with the specific remit of disRUPTing the status quo. Enter our RUPT Associates, four formidable creative practitioners with lived experience of age/ethnicity/disability/class barriers to explore the art of the possible and help us dream the ‘new possible’.

The RUPTees began this journey by co-creating an ‘Immersive Gathering’ in partnership with the Whitworth, and Artivists Group, fellow champions of the cause. Our ‘Passion and Practice’ event in July 2024, invited colleagues and creatives to join us in exploring ‘Radical Creative Ageing’. As Stella Duffy said in our first Radical Creative Ageing Fanzine, ‘Creativity is thinking by doing, together’, and as Dominic Campbell said in our second Fanzine, ‘Radical is something that makes your heartbeat faster’, our event had big ambitions, and we learned a huge amount.

For me, two key moments continue to take up space in my mind:

The first, was the real (and emotional) push back during the event, about the idea of ‘celebrating our ageing’ and the sense that, not only was it not possible, but it was, in some ways ‘tone deaf’ in the current climate. The idea that ‘ageing’ (that we are all doing, every second) is an inevitable decline, to be feared, with no potential for celebration, has stayed with me. You see, what this event achieved was deep, complex, honest conversations… the RUPT created the conditions for discord, and it was…challenging. I’m still reflecting on this complex discussion on the day, but recognising our own internalised barriers, is a good place to start.

The second (of many) stand out moments, was a recurring discussion about how people felt that ageism was impacting the number opportunities for older creatives and communities to develop. Delegates described the acute undertone that if you haven’t found your creative passion or ‘made it’ by the time you’re 30 then you’re not worth investing in… that innovation is reserved for the young. So many of the internships, mentoring, coaching, and funding opportunities that seek to make positive action to increase representation are reserved for those aged under 30 years old. As the RUPTee’s describe it in their collective poem:

“We are all far too beautiful to be told who can and who can’t make and participate in what is an innate human endeavour”

These are just two examples of how the RUPT have challenged me to think deeply about internal and systemic ageism playing a role in under-representation, but this is just the start- we’ve been awarded funding to co-create a new ‘Manifesto for Change’, so watch this space!

If, as our RUPT suggest, the art of the possible begins with a question, then what is your question for 2025? if you would benefit from reimagining ‘creativity’ and ageing’ and the work of our incredible RUPT Associates, then get in touch using our new ‘partnerships’ email.

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Article: Empowering the Creative Ageing Community: How We’ll Make a Difference in 2025. By Farrell Renowden – Director of CADA

This year, I have spent a lot of time thinking about what a ‘Warm Welcome’ really means for people with complex lives – perhaps the holy grail of creative inclusion and social justice.

We all know the phrase, and can probably give an example of when we have personally experienced it, but what does it mean- and how can we make sure that people who don’t take part in cultural opportunities feel the warmth of a creative welcome?

During the last 12 months, I’ve listened to people describe it as “a safe space” with “all the good people”, “when they remember your name and how you take your brew the second time you go”, but I’ve also heard numerous examples of why people can’t or won’t take part in creative opportunities because the barriers are just too much. People who would benefit greatly from the work we do, put off before they have even picked up a leaflet or stepped foot in the door.

CADA’s focus is on under-represented/ under-served older people and we are committed to being ‘radical’, which we define as to ‘root out/ be fundamental’, and this is why we have chosen to focus on people who experience the most complex lives and barriers. We have spent time listening, reflecting, and learning from their lived experience, to better understand the fundamental barriers they experience, before exploring what a sustainable solution might be.

CADA’s research shows that ‘97% of older audiences in England are White British’ and ‘the least culturally engaged group experience […] a raft of health, access and resource barriers’ often in places that are highest on the index of deprivation. It comes as no surprise then, that some older people experience a creative ‘warm welcome’ and other don’t, but our question is: ‘what is the sustainable solution- and what needs to change locally and nationally?’.

If you have been reading our monthly E- News, then you will know that CADA has three delivery strands, co-designed with a wide range of partners, which focus on this line of enquiry:

First, is our RUPT Associates and ‘Representing the Possible programme’, artistic activism that aims to ‘reclaim creativity and ageing’ by challenging us to think differently.
Second, is our Living Labs and ‘Catalyst Learning programme’, which co-creates sustainable solutions with older people with complex lives, in priority places.
Third, is our Celebrating our Ageing and ‘Moments for Change programme’, presenting opportunities for us to reflect on our work and share ‘next practice’ nationally.

Over the last year, we have worked hard to identify what our collective priorities are, and how we can be useful to the wider creative ageing community, and we are excited about the work emerging in 2025. Here are a few teasers for you:

In January, we are recording a national podcast to explore ‘co-production, heritage, and wellbeing’ as a learning tool for embedding lived experience in research and practice.
In February, we are delivering an online ‘Radical Creative Ageing Evaluation’ event, exploring how we might meaningfully measure the impact of creativity in a creative way.
In March, our local Living Labs are exploring ‘Creating A Warm Welcome’ through a legislative Theatre performance in Stoke and Carnival Flag making project in Tameside.
In April, we will share a call to action from the ‘Creative Ageing Network’, a lived-experience led group who are co-creating a new national ‘Recipe for Change’, in partnership with CADA.

My reflections on a ‘Warm Welcome’ have not just been confined to our projects, I’ve also been thinking deeply about how we can connect with partners across the field of creative ageing as a “safe space” with “all the good people”. It has been, and continues to be a challenging time for those in the arts, culture, age, care, health, community sectors and there is benefit in us working more closely together, sharing our learning, and supporting each other.

During 2024, we have had the pleasure of co-creating so many ‘Radical Creative Ageing’ projects with different partners – and we want to do more!

I will leave you with three key highlights of the year:

In February, we co-created a Radical Creative Ageing Fanzine, with Dominic Campbell, founder of Creative Aging International. He described ‘radical’ as “Something that makes your heart beat faster.”
In July, we co-produced our ‘For Passion and Practice Immersive Gathering’ with our RUPT Associates, The Whitworth, and Artivist group.
In November, we began co-designing learning resources with Historic England, Age UK Oxon, and Supersum – The Wicked Problems Agency… which are coming very soon!

We’ve been privileged to partner on so many incredible events, projects, and commissions this year—too many to name individually! Wishing you all a Merry Christmas, and we look forward to connecting and collaborating even more in 2025.

Article: “A beacon for under-represented communities and artists” by Arti Prashar and Elizabeth Lynch – Co-Chairs of CADA

During 2024, in an immensely difficult financial and political climate we are delighted to see CADA begin to find its place within the creative ageing sector in England with partners from academia, voluntary, arts and culture sectors.

Under our leadership we believe that it is vital that CADA becomes a beacon for under-represented communities and artists aged 60+. They need not only to tell their stories but have them heard, and to be able to influence the policies that affect them as citizens, currently and in the future.

Highlights for us during 2024 include recruiting four highly experienced diverse older artists out of 50 applications. Many applicants reported on the ageism that they experience and how welcome it is to have an organisation such as CADA to support them and echo their voice. Our four RUPT associates – will do just that, disrupt our thinking and challenge the status quo. The RUPT associates are influencing our new manifesto and will deliver a range of strategic creative projects for CADA. Our co-created event in July at The Whitworth in Manchester ‘For Passion & Practice’ opened with their collaborative poem, performed to open the event which began: “What if the art of the possible begins with a question?’

Funding for older people in under-represented communities, e.g. South Asian, Caribbean and other diaspora groups, is scarce. In addition, art activities are often invisible to them, as they are themselves invisible to mainstream provision, or designated ‘hard to reach’. As our research for Visionaries: A South Asian arts and ageing counter narrative identified:

Programming work that can resonate with South Asian communities is important, especially if they are not currently attending these spaces
Programming ambitious South Asian arts and culture can attract audiences from all cultural backgrounds and connect older people with a shared history of place, work and community
Artists can emerge at a later stage in life, their creative interests having been discouraged in their youth, aspirations hijacked by life experiences, lack of money or simply never having had the opportunity to learn skills and develop artistic expression.

From 2024-25 our new radical creative Living Labs are exploring the barriers to creative participation by older under-represented communities who experience ‘a raft of health, access and resource barriers’.

It is our hope that these Labs will enable partners to establish new regular opportunities for older people in their areas and that the insights gained from hearing their lived experiences will influence strategic and systemic change across a range of sectors including transport, health, and culture.

We are determined to do what it says in our name – ‘Creative Ageing: Development & Agency’. Agency must be at the very heart of all our work for present and future generations of older people and older creatives.

We hope you will join us, watch our journey and our voice grow from strength to strength as we celebrate our collective creative ageing.

Find our latest edition here.

Article: Our Radically different Living Lab – providing a ‘Warm Welcome’ in Stoke.

Professor David Amigoni FEA, Pro Vice-Chancellor, Research and Innovation | Professor of Victorian Literature | Chair, Editorial Board, The Conversation UK, at Keele University is our Guest Blogger on our theme of the month: Radical Living Labs

Talk to people – everything comes down to relationships, it is the most valuable time, time you put into people is the time best spent.” – Zoe Robinson, Director of Education for Sustainability

Living Lab Guide: Keele University Case Study | Sustainability Exchange

I work at Keele University, a beautiful campus setting, the size of a small town, located to the west of the post-industrial district known as the Potteries. Because of the university’s interest in and commitment to solving the ‘wicked’ problem of energy sustainability, researchers, educationists, estate managers, energy technologists and businesses have re-created the real-life environment of the campus as a ‘living lab’, a real-time experiment in energy generation, storage and behavioural use.

Consequently, the opportunity for Keele’s Institute for Social Inclusion to pilot with CADA the development of a radical creative ageing living lab was truly exciting, even radical. Keeping energy pipelines active, plentiful yet sustainable is surely as wicked a problem as keeping the lights of later life creative activity bright, thriving and sustainable in community settings that may be disconnected, yet aspire for connection.

However, to think this way would mean that we would not see the campus as the locus of the living lab. Instead, we would need to see the university as part of a cultural eco-system, co-located in regional space with CADA’s key partner, the Fegg Hayes creative hub in North Stoke on the edge of the Moorlands, the former mining community of Chatterley Whitfield. Matthew Bowcock, a local tech entrepreneur and now philanthropist with a love for arts and culture (and a record of working with Arts Council England to prove it) recalls his childhood in the 1970s, growing up in the Staffordshire Moorlands, and being taken by his mother to the cultural ‘beacon’ of Keele: the concerts, the art exhibitions, the poetry readings. Fegg Hayes, and the rest of Stoke-on-Trent, was a hinterland for passing through. This ‘hinterland’ now needs to be re-imagined and welcomed culturally.

Working with CADA on our ‘Warm Welcome’ creative ageing Living Lab with our Fegg Hayes partners is radical because it further advances the regionally regenerative cultural journey on which Keele finds itself, playing a catalytic but democratically inclusive partner role in the North Staffordshire cultural ecosystem. Keele is catalytic because of our expertise in ageing research, and our cultural assets: but these are much better mobilised when working with CADA, and the multi-stakeholder and active user engagement that the real-life environment of the living lab enables. As our project develops and grows, we intend to collaborate with many additional partners from that eco-system. What about the multi-method approach and co-creative techniques that are key components of the living lab as a change-maker? I can see clearly from the radical story collecting techniques that CADA Director Farrell Renowden is employing with her Fegg Hayes co-workers, that older people’s story-telling energies about a ‘warm welcome’ are already illuminating the ‘wicked’ social complexities and opportunities. Indeed, these can only be realised, as Zoe Robinson observes in connection with Keele’s ongoing living lab work around energy, through spending time with people, developing relationships, listening, then working for change.

Article: How ‘Radical Kindness’ has helped us to reach new people, develop creativity, and create space for under-represented older people on our stages.

Andy Barry, Elders Programme Producer for the Royal Exchange Theatre in Manchester is our Guest Blogger on our theme of the month: Radical Kindness

Radical Kindness is a new phrase to me, but once I understood more about it, I realised that there are many examples of radical kindness in the way The Elders works and has evolved.

Earlier this month, we hosted EldersFest to celebrate ten years of radical creative ageing at the Royal Exchange Theatre in Manchester. Since 2014, The Elders has been promoting creativity into later life, challenging ageism and stereotypes of ageing, and be a hub for older people who want to develop their own unique artistic voices.

EldersFest included performances, film screenings, stand-up comedy, live radio broadcasts, a Tai Chi demonstration, choir performance, activity sessions and an installation called The Lab: Elders Coming of Age, which explored the impact of taking part. It shone a light on the talents of the elders we work with.

Two of the events were new performances 10acity! and The Runion, created by legacy companies ExEl and DDO respectively. Both Companies were founded by graduates of our Elders Company and both are tribute to the fact we actively encourage and support social and artistic connections to continue beyond the life of our projects. The models, working ethos and creative outputs of both companies reflect learning they have undertaken while taking part in our programmes. The Elders encourages imagination, creative thinking, interaction, new ideas and supports people to make connections and develop their own creative voice and agency. We didn’t produce 10acity! or The Reunion for the Festival, we simply commissioned them. Being in the audience for those events was electric – I could see how both were a reflection of what we have been doing here and seeing those particular older people empowered to flourish, were two of my personal highlights from EldersFest.

“The opportunities and contacts it has given me, especially when I thought there wasn’t much left, has been absolutely incredible and certainly things that I had never dreamed of.” ExEL performer

We have always been proactive at trying to involve older people who are representative of the city-region we live in. Our recruitment taster sessions take place in areas of the city where we know participation in our artistic offer is low and over many years we develop meaningful relationships with those communities through our Local Exchange programme. Our Elders Dream Project has been created to specifically address the under-representation of global majority communities and over time this is starting to impact the make-up of our regular elders demographic. Participants from our first Dream Project have created the above company DDO, which is a great legacy of that project. The elders we work with often tell us they value the opportunities to meet and work with people they might not otherwise get to interact with. As an organisation we have also been greatly enriched and learnt so much from the diversity of people taking part.

This diversity was reflected in our latest production Acts of Love which was central to EldersFest. I had the privilege to devise the show with 15 of the Elders Company. The performers were all elders graduates and included people who had been with us from between one and ten years. Over this time, trust, connection and understanding develops, which means that as we created the show, we were able to mine a broad and authentic range of real-life experience. The show included a combination of real and imagined stories, but all were rooted in the lived experience of The Elders. Stories spanned time and cultures. Lesley told her own story about her grandmother’s act of love in 1962 when she brought her to Hong Kong from China for a better life. Eileen’s personal story was about her family’s act of love in accepting her as gay in 1980s Britian under the shadow of the AIDS crisis and Section 28. Dorretta crafted Francesca’s story starting with her arrival in 1971 from St Kitts as part of the Windrush generation. While Julie and Alan’s story of siblings reunited after their mother had had to give her oldest child up for adoption in 1954 explored letting go and walking away as acts of love.

Over time we have, with our Elders programme, been intentionally building bridges across different lived experiences, finding shared ground, and promoting social connection between different groups and communities. This might be described as an act of radical kindness, or a way to broaden participation. I would also describe it as a winning formula for making compelling new theatre. “…just phenomenal. Heartbreaking, funny and desperately moving stories of humanity and generosity. Bravo.” Audience feedback on Acts of Love.

Fanzine: Radical Creative Ageing Practice & Passion Event Special

This interactive fanzine is a creative evaluation of the event, designed to give you a flavour of what took place on the day, and present key outcomes that will inform CADA’s long term strategic plan. Click the links featured on each page to explore our podcast and short film, to experience accessible content on different themes. Find it here.

Article: Live Music Now attended our Passion and Practice Event – Here’s their review.

We couldn’t have said it better ourselves! Here’s a wonderful article from Live Music Now, reviewing our Passion and Practice event which took place in July 2024. Event coverage here.

Live Music Now musician, Mickey Bryan, recently attended a symposium hosted by the Creative Ageing Development Agency (CADA) at the Whitworth Gallery in Manchester. Entitled ‘Radical Creative Ageing: Passion and Practice,’

The event was aimed towards both established and emerging older artists and comprised of a variety of performances, workshops and forums designed to explore concepts around older age, ageism, diversity and creativity.

“Radical Creative Ageing: An Immersive Gathering was co-created by our RUPT Associates, designed to disRUPT the status quo when it comes to creativity, diversity, and ageing. Delegates were invited to question their assumptions, think deeply about the role of creativity as a fundamental human right, and ‘think, by doing, creatively, together. As an organisation that recognises the value of co-creation, and champions the musical potential of everyone, it was a privilege to have Mickey from Live Music Now at our event, to contribute in such a meaningful and considered way.” Farrell Renowden, Director of CADA- Creative Ageing: Development & Agency

At Live Music Now we aim to deliver our work though co-creation, and collaboration, nurturing and giving space for the expression of individuals’ creativity and musical identity. In the space of older people and the arts there is danger that the voice, agency and leadership in creativity of older people themselves is not embraced and given space or is even underestimated, excluded or ignored .

This can lead to an uninformed approach based on unconscious bias or assumptions, that is more doing to than doing with and that does not realise the opportunity for the full potential of a rich creative exchange and process.

The idea that everyone is musical and has a musical identity is vital to the success, quality and impact of our work. We train our musicians to work in a way that gives space and opportunity for this to be expressed, nurtured and grown in participants, making something new together which would not otherwise happen. Of course some of our musicians might identify themselves as older people, and our revamped approach to recruitment, has over the last couple of years increased the number of professional musicians over the age of 50 who work with us.

Engaging with this event brings new lived experience, expertise, ideas and provocations into our thinking and practice and helps to advance our ongoing equity diversity and inclusion journey. It supports us to question and consider attitudinal and practice barriers that may be in place, and how we proactively work to overcome them .

Mickey writes: The event began with a spoken word piece jointly orated by CADA’s four RUPT associate artists: Amanda Holiday, Bunmi Ogunsiji, Maya Chowdhry and Sama Hunt. It posed a series of unanswered ‘what if?’ questions, provoking the audience to begin thinking about ageism and identity in the arts, thus setting the tone and preparing the ground for the day’s activities and lively discussions. Following this, we were invited to design and create our own placards with emblazoned with anti-ageist messages which we later used as part of a group demonstration/performance art piece around the gallery space.

Splitting up into smaller groups, we then attended a series of workshops, each delivered by one of the RUPT associates. The first workshop I attended was led by Maya, an interdisciplinary sound artist, in which we created soundscapes employing a variety of interesting and unusual methods of sound production. These methods included using contact microphones to amplify the sounds of water, uncooked rice and moss, as well as sonification processes whereby the electric signals of a variety of organic materials (such as mushrooms and chilli peppers!) were translated into synthesised drone-like textures. Our improvisation set out to create ‘a sonic interpretation on radical creative ageing’ which Maya recorded and subsequently played back to us while we reflected on the work and its meaning.

The second workshop, ‘A Cross Sticky Poem’, involved writing poetry which sought to challenge uncomfortable ideas and harmful stereotypes concerning ageing. We were first asked to consider and reflect on different words associated with ageism as part of a group discussion. Listening to these perspectives from older artists, their negative experiences and the various external pressures and internalised negative messages related to being an artist in later life was both illuminating and poignant. We then each picked a word and wrote an acrostic poem, juxtaposing our chosen word with poetic lines which directly undermined its negative meanings and connotations.

Having frequently worked with older people and people living with dementia in songwriting projects, I decided that my poem would aim to refute the harmful notion that the artistic voices of people from these communities are sometimes deemed less relevant than those of younger people. Using the word ‘IRRELEVANCE’, I thus set out to comment on the enormous creative potential and the rich and insightful perspectives that can be produced through collaborating with older people.

Finally, the event concluded with an evening session which endeavoured to draft a framework towards an ambitious and radical creative ageing ‘manifesto’. As with the earlier workshops, I took the opportunity to listen to the experiences and viewpoints from the many older artists in attendance. It uncovered a number of aspects which I had perhaps underexplored or even overlooked, both in terms of my work as a practitioner working with older adults but perhaps to a greater extent, as a musician who will possibly at some point also self-identify as an ageing artist.

For example, I had not fully appreciated what was described as the dwindling sense of peer experience and connection to an artistic community that can occur as artists grow older which can engender feelings of isolation and alienation. More generally, reflecting on what it may mean to be an older artist/musician was a particularly thought-provoking experience for me personally and, truthfully, an area I clearly had not spent enough time reflecting on previously.

It brought into focus the idea that we each have our own musical identities which we attribute to our personhood and how our relationship to these identities changes and evolves as we age. For music practitioners, it is clear that reflecting on these changes in relation to our own future selves as artists, and learning from older artists and how they are affected is incredibly valuable. In doing so, it can only help develop a better understanding and deeper sense of empathy when working creatively with older people.

In summary, CADA’s Radical Creative Ageing event was a provocative and eye-opening experience I would encourage anyone working creatively with older people to check out their work and also consider what being an older artist or arts practitioner, whether now or in the future, might mean for one’s practice and broader sense of self.

CADA writes: We thank Live Music Now for this thoughtful and intricate review of our event. It was a please to have you there on the day.

Article: Unlock playfulness and connection in your care home with Upswing’s new Digital Toolkit

Upswing is a pioneering circus arts company with a mission to amplify diverse voices and discover each other’s potential through shared experiences. Since 2013, we have explored the benefits of circus with and for older people and our most recent project, Homemade Circus, recognizes care homes as unique, creative spaces. Over the past 2 years we’ve witnessed the profound impact that circus arts can have on connection, imagination, and creativity in these settings. With our new Homemade Circus Digital Toolkit, we want to help more care homes benefit from circus activities. This online resource teaches simple, fun circus activities that care staff can easily learn to do with residents.

Our Homemade Circus project has been developed and trialled in over 25 care homes across the UK, training staff to deliver this joyful creative practice to their residents. Rather than simply providing one-off sessions, our aim was to embed circus into the fabric of care home communities in a self-sustaining way. We focused on training staff to facilitate their own engaging circus activities using simple yet imaginative props and techniques. A key outlook that we wanted to ingrain in the culture of the care homes we worked in was: ‘let yourself be surprised, try not to ‘presume’ anyone’s ability’.

By shifting this mindset and tailoring activities to individual needs, we opened up new possibilities for expression, growth and meaningful interactions. Residents previously thought disinterested, unable to participate or who had retreated into themselves came out of their shells and got involved. We adapted activities to residents who were bedbound or living with dementia and were amazed by their reactions as they took part through playful movement and sensory engagement. Care staff too were rejuvenated, bonding with residents through these new shared experiences.

As one care assistant expressed, “Terry wasn’t like that before. He was very quiet and silent. But last week we all noticed that Terry was very active, and he was laughing and smiling throughout the activity. And even this week, he waved his hands, and he gave me a handshake. And he called me by my name.”

To make this life-enriching creativity accessible to all, we’ve created the Homemade Circus Digital Toolkit – a comprehensive online resource designed to support the delivery of creative circus sessions in care settings. Whether you are an experienced instructor or total beginner, the toolkit will guide you step-by-step towards tailoring sessions precisely for your participants with instructional videos, activity plans and expert insights. We want anyone working in a care setting to have the tools and confidence to be able to unlock the physical, mental, social and emotional potential of circus.

Homemade Circus celebrates that creative expression is a fundamental human right at every stage of life. By empowering care staff and residents to explore circus skills together, we can reveal the power and value of play, creativity and experimentation as we age.

Find out more about Upswing.

CADA Event News. Passion & Practice

CADA warmly welcomes you to join us for a Radical Creative Ageing participatory experience, co-designed by our RUPT Associates – four older diverse creatives recruited to disRUPT the status quo and liberate the concept of ‘Creativity’ and ‘Ageing’.

This event is led by CADA, in partnership with The Whitworth and The Artivists, a lived experience-led group of older creatives.

The event is designed for those who have an opinion on what needs to happen right now to increase the authentic voice and visibility of older diverse creatives and communities**.

CADA acknowledges how identity intersects in ways that further impact access.

** The term ‘older diverse’ is self-defined, but we are keen to connect with both individual creatives, and those organisations that specialise in working with people aged over 50, who live in England and identify as under-represented in the Cultural Sector based on one or more protected characteristic (Equality Act 2010):

Gender
Race
Disability
Religion or belief
Sexual orientation
Gender reassignment
Marriage or civil partnerships
Pregnancy and maternity

Find out more here

E-News Special – CADA’s Passion and Practice Event

Featuring CADA’s new Passion and Practice Event and an introduction to our new RUPT Associates. Find it here

E-News – Our April edition is out!

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Fanzine – Radical Acts of Creative Ageing with Dominic Campbell

We’re excited to bring you the second instalment of Radical Acts of Creative Ageing where we invite creative ageing activists to inspire and challenge our thinking. For this episode, we speak to Dominic Campbell – the originator and co-leader of Creative Aging International – using celebration as a strategy for transformational change around the world. Find it here

Article – Could you be our RUPT Associate?

We are looking for three older diverse creative practitioners to join us for a paid opportunity of 9 months, to share their practice and lived experience to help us to scope a long-term plan to increase voice, visibility and positive action. We need help to disRUPT business as usual when it comes to creativity, ageing, representation. This is why we have named the programme RUPT because we are looking for people to disrupt, interrupt, erupt, rupture the status quo.

Why are we focussing on older diverse creatives? Well because we know that that inequality exists in who accesses, makes, and leads creativity and culture in England- and this inequality often increases as we age, exacerbating over a lifetime- and we want to do something about it. As a national charity, CADA exists to drive systematic change for creatives and communities that are under-represented and under-served and challenge the narrative by using radical approaches that celebrate our ageing.

Being Radical is something we are fully committed to. Its origins mean ‘to root out, fundamental’, a creative ageing activist recently described it as ‘things that make your heart beat faster’. To us, it is more than a single act, it is a state of mind, and this is where we need YOUR help.

So, who are we looking for? Someone with a creative practice. Someone who is aged over 50. Someone who is confident and willing to share their ideas and challenge the status quo. Someone with a diverse perspective on creativity and ageing. And what do we mean by that?- we certainly encourage people whose protected characteristics have created a barrier, which includes gender, sexuality, race, ethnicity, disability, but there may be other reasons why your life experiences might differ from the people we normally see in our institutions and through the media- you might have experienced challenges because of class, education, caring responsibilities, or because of where you live or where you were born. Its complex but we want to learn – and to share.

The final requirement we have for our RUPT Associates is a willingness to come on a journey with us and be passionate about using this role to explore the complexities that other under-represented creatives and communities experience too. This radical platform is designed to celebrate our ageing. Interested? – or know someone who is? Check out the terms and conditions of the offer on our website and socials. Everyone who expresses an interest will be added to a list and sent details of any more opportunities that emerge, so it’s worth your while. The deadline for applications is the 7th of March. We look forward to hearing from you.

Find out more

E-News – Our January edition is out!

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Article – CADA2024: Supporting older emerging artists to challenge, disrupt and innovate!

David Slater, Founder Director of UK participatory arts company Entelechy Arts, and Trustee of CADA is our Guest Writer.

New year, renewed ambition. As we step into 2024 CADA remains passionately committed to celebrating and championing the myriad ways that older people can make dynamic and powerful cultural contributions to the well-being of the communities within which they live and far beyond. There is much to be done.

The Centre for Ageing Better’s recent 23/24 ‘The State of Ageing’ report illustrates that negative attitudes to ageing are still very much in evidence in the UK. One in three people over fifty report having experienced ageism. The UK is found to be the most ageist among twenty English speaking countries. ‘Ageism’, the report outlines, ‘leads people to limit their lives, activities and aspirations, damaging their health and wellbeing.’ There is also growing divide in experiences of ageing, with the poorest people living shorter lives and spending many more years in bad health. People from minority ethnic backgrounds, it states, experience some of the greatest inequalities.

Engrained attitudes and perceptions can be difficult to shift. Conventional channels of communication often struggle to maintain a connection with existing audiences, let alone breakthrough to new ones. Entrenched circumstances often demand radical responses. We need to go back to basics. The element of surprise is often a vital transformational tool provoking curiosity; demanding attention and supporting new ways of listening. Sometimes, you’ve just got to take to the streets.

A couple of years ago I was sitting on a draughty platform at Leeds Station waiting for a connection to Bradford with Nelly Adoh. We were both part of a company of older Londoners touring a street theatre show about ageing and isolation. The experience was new to Nelly who had never acted before in her life. In her mid-seventies and living in south London, her doctor had suggested that she joined a social group. “It’ll be good for your health” she said. Many of her friends happened to be members of a community theatre company and they invited her to join. So now, suddenly and surprisingly, she found herself on tour in the north of England. Her doctor’s prescription was proving spot on. ‘I thought I’d finished with life’, she reflected, ‘but this is waking me up again. It makes you feel you’re not dead. You’re not worthless. You can do something and still be a part the world’.

The street performance work that Nelly and her friends developed became hugely successful and continues to provoke interest nationally and internationally. The model demonstrated how participation in performance art activities offers powerful communication tools to enable older people to weave their experiences and aspirations into the cultural and social fabric of their neighbourhoods. Creative Ageing affords numerous ways of supporting the new generation of older emerging artists to challenge, to disrupt: to innovate. The year has only just begun. Breathe in deeply. It promises to be an exciting ride.

David Slater was Founder Director of UK participatory arts company Entelechy Arts, based in Deptford, southeast London. He remains an Associate of the company, he is also a Trustee for CADA. David has extensive experience of working with participatory arts practice in both urban and rural communities with a particular interest in programmes that support older, old people to connect and contribute to the cultural life of their communities.

Article – CADA’s Radical Creative Ageing
Must-Reads

This month CADA Director Farrell Renowden reviews Building Moonshots: 50+ Ways To Turn Radical Ideas Into Reality.

This book contains ‘a variety of practical tips, stories, and reminders’ to help innovators take leaps into areas of uncertainty and explore ‘the worlds most intractable problems’. The author’s offer us a chance to use ’audacity, bravery, and determination to leave the world 10X better than you found it.’

Spoiler Alert: This a radical book review, which means ‘fundamental; to root out’, so for the next 500 words, you will not read a balanced critique with a carefully constructed beginning, middle and end. I will start with what moved me, challenged me, and end with what left me wanting more- if it resonates with you, then I suggest you buy and read the book for yourself. In this case, you can purchase it here: Building Moonshots book

What Moved Me:

Moonshots: ‘Although the term’s origin refers to literally going to the moon as the world’s first lunar landing […] a moonshot today has come to signify much more than this type of government project. Moonshots are world-changing breakthrough. It couples the almost impossible vision to actual achievement.’ Wow. This book literally invites us to think up the ‘almost impossible’ and make the world a better place, then gives a step-by-step guide on how to achieve it. I originally came across this book when it was promoted by NESTA and it doesn’t disappoint, it provides a delicious deep dive into how to ‘feed your curiosity’, ‘invent the future’, and …’galvanise your team.’

What Challenged Me:

There is so much, but perhaps the most pertinent, recurring theme, is the idea of investing resource in curiosity, not simply allowing the mind to wander or jumping into social media black holes, but purposefully, productively being curious about innovation that exists outside your immediate field of knowledge. We are so conditioned to focus on SMART projects (Specific, Measurable, Achievable, Realistic, Time-bound) and, even as creatives, it can feel ‘unproductive’ to step away from mission/ vision/ outcomes, but this book makes the case for investing 20% of time and resource in pushing the boundaries of your work and taking more informed risks: ‘Instead of waiting for eureka moments, teams can proactively build a discipline of curiosity.’

There are many examples of this in the book, but one of these is prototyping horses:

Dark horse: What version of our idea has the least chance of succeeding, but if it were to succeed, would change everything?
Green horse: What version of our idea goes beyond merely protecting the earth, to actively saving it?

Red horse: Which version of our idea would push the status quo too far and make our peers want to kill us?

Another example is ‘imagine you are a new director in your company, what is the first thing you would do differently- do it’, and another is ‘approaching financing as seeking opportunity, not minimising risk’… there really is so much. And as a creative, the practical steps really speak to the way I like to work, through play, imagination, co-design and thinking outside the box.

What Left Me Wanting More:

The book includes 50+ practical ways to take radical ideas and turn them in reality, and each chapter includes case studies of how this has worked in a wide range of companies across the world, from government agencies, to silicon valley, and the largest manufacturers on Earth, but interestingly it doesn’t include examples from the cultural industries or creative companies. Perhaps its because the authors are both based in the business innovation sector, but I find it hard to believe that cultural organisations aren’t already using some of these techniques in the day job, and creative thinkers aren’t already consciously embedding curiosity in their leadership.

However, perhaps the most interesting element of this book is the fact that the ‘process’ and the ‘product’ are seen as part of the whole; optimism, risk-taking, and being visionary are not segregated into roles for those in leadership, or the products that are on sale, the ideology of ‘Moon Shot’ is to embed it in the DNA of everything, at every level. So, for instance, the finance policy is as radical as the team meetings, the commitment to curiosity is an expectation for all staff, and everyone is invested in ‘The Story’ of a collected vision; this idea of organisational power-sharing is the message of the moment, and one that I intend to adopt as CADA adopts radical approaches that celebrate our ageing.

Fanzine – Radical Acts of Creative Ageing with Stella Duffy OBE

We’re excited to bring you the first instalment of Radical Acts of Creative Ageing where we invite creative ageing activists to inspire and challenge our thinking. For this instalment, we are featuring Stella Duffy a creative and activist on so many levels. In the words of Stella “creativity is thinking by doing” and this interview is just that. Find it here

E-News – Our November edition is out!

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Article – A review of the National Creative Ageing Conference 2023

Douglas Hunter, Equal Arts Chief Executive Officer is our guest editor.

The National Creative Ageing Conference, Newcastle 2023 – six months in the planning and then the day disappeared in a flash. But what a day, it felt amazing, so many people, the chat and real buzz of enthusiasm. Conference organiser Kerry Wood and everyone involved here at Equal Arts worked incredibly hard to pull everything together. More than 90 presenters delivering 20+ hours of content. It was a full-on day, but genuinely it was the sense of collaboration, the inspiring work and everyone there that made it such an amazing one.

From the opening words of the always impressive Anne Walton, our Chair of Trustees, welcoming us all to artist and poet Leah Thorn taking to the stage to introduce older women from three different groups across Tyneside for the catwalk of handmade costumes, stitched together with their life experiences. Together with performing their own poetry it made for an impressive, emotional and provocative first 20 minutes! It had an immediate impact, older women saying “we are here, we are creative and we have a voice” and they set the tone for the conference and the rest of the day unfolded.

There hadn’t been a Creative Ageing Conference for three years and in the planning everyone wanted to contribute, get involved and make a positive contribution. Peers across the creative, care and health sectors were up for trying slightly new things.

Sharing the platform proved one way to get more people actively involved, bringing together different organisations to talk about the issues they faced, not just their polished best practice case studies. Combining organisations and individuals for the workshops helped create an added energy to the whole event. Yes, it did make schedule timings tight and provided only a limited time window for individuals and projects that have great stories to tell. But some amazing groups and individuals worked together who may not normally get the opportunity to do so. Unfolding Theatre from Newcastle working with The Royal Exchange Manchester, London Bubble and Magic Me, Moving Memory Dance and Dance Yorkshire, The Performance Ensemble and Hoot Creative. Great organisations doing great work and talking to each other about what works and what the challenges are. Those listed above and many others deserve great credit and thanks for bringing an energy and willingness to the day!

Reflecting on the day, delegates gave a resounding ‘yes!’ to the catwalk and everyone loved listening to Jackie Kay. Her ease, her insight, her humour and empathy. So many people said how emotional they felt, how moved they were, eyes welling up while laughing simultaneously. Listening to her session and her contribution to the closing remarks was poignant and a pleasure.

Other delegate reflections included:

“Greater equality for creative ageing amongst other underserved communities.”

“Redress the funder imbalance in favour of other underserved communities including Young People.”

“Challenge the desperately thin rationale of ‘invest in young people invest in the future.”

And on more than one occasion: “Bigger plates!!”

What would I like to have been different at the conference? I would’ve liked to have helped more third sector older people’s ‘community’ organisations from outside the region attend. In amongst a diverse delegate segmentation, the lack of Age UK’s and other comparative organisations was a noticeable ‘gap’.

What would I like to see going forward? I know we have some great cultural partners but I would ask ‘can they do more? Is their offer to older people comparative to their offer to other underserved groups?’ And my caveat to this question is ‘Can we all do more?’ That might not be a popular thing to say but I heard at an Ageing Well conference recently ‘This does not always have to be a polite conversation!’

Conference feedback.

One thing you really liked about the conference?

34% Fashion Catwalk & Poetry

31% Jackie Kay

18% Meeting people in person

17% a variety of other responses

One thing you would like to take forward?

26% Work towards greater equality for creative ageing activity amongst other underserved communities

24% Build on the conversations and develop partnership working

16% Involve more ways to gain user voice and decision making

34% a variety of other responses

One thing you’d like to see change or see more of across the creative ageing sector?

28% Challenge the preoccupation of Invest in Young People Invest in the future cliché.

23% See a redress in funder priorities seeing creative ageing given an equality amongst other underserved groups

18% Be given more and regular opportunities for the sector to enjoy in person networking and shared learning

18% To have the opportunity for more meaningful cross generational partnerships

13% a variety of other responses.

Article – CADA’s Radical Creative Ageing
Must-Reads

This month CADA Director Farrell Renowden reviews Eighty-Something: a lifetime of conversation, by Sue Gill and John Fox.

Spoiler Alert: This a radical book review, which means ‘fundamental; to root out’, so for next 500 words, you will not read a balanced critique with a carefully constructed beginning, middle and end. I will start with what moved me, challenged me, and end with what left me wanting more- if it resonates with you, then I suggest you buy and read the book for yourself. In this case, you can purchase it here

This book was commissioned by Performance Ensemble for 1001 STORIES, a takeover of Leeds Playhouse in 2023. Artists Sue Gill and John Fox MBE are two 80-year-olds, whose life-long creative partnership has been spent seeking a role for art that weaves into the fabric of our lives. Framing significant episodes rooted in memory, it is an idiosyncratic collection of personal values, anecdotes, sorrows, and surprises.

What moved me:

‘At long last I have found the work that uses all of me.’

If this was a meme, instead of a beautifully handwritten, deeply personal reflection on a creative career spanning decades, then you might be tempted to respond with ‘#lifegoals’. In a world of consumerist content, where quotes like this are more likely to be cynically used by recruitment companies to go viral, than someone authentically describing their creative practice, it was an utter joy to absorb myself in the stories, poems, songs, recipes, and anecdotes described in this book.

I fell in love with the chapter entitled ‘Worth Waiting For’. This page turner includes the poem ‘Garment’, and the lines: ‘I have been wearing this garment next to my skin for as long as I can remember […] this garment is my life.’ And the story ‘Stumbling Across Stanley’, in which we are treated to an extract of Stanley Spencer’s notebooks: ‘I love my life. I would like to cover every sheet of paper with it. Writing is my way of giving praise; I don’t know to whom either but that doesn’t stop me from giving. Thank you to Stanley’, but also thank you the co-authors for collecting these beautiful moments and sharing them so generously.

What challenged me:

The text is bursting with the age positive content, but there is also a recurring theme of age and creativity that cuts deeper, and focusses on the question of mortality, legacy, and time. In ‘Sea Washed Glass’ we are presented with a reflection of a poem by Bruce Dawe, entitled ‘Happiness is the Art of Being Broken’: ‘[He] sees similarities between older people- ground smooth by circumstance-and the sea washed glass. He writes with warmth and sadness about ageing and approaching death- all identity lost- yet ends the poem with children roaming beaches, picking up green glass, holding it up to the light and seeing the same transformed world that we knew.’

Similarly, in ‘Wave From The Ocean’, the idea of the inevitability of death as a natural phenomenon is explored, this time in a reference to John F Kennedy and his suggestion that the reason we are ‘so committed to the sea […] is because all of us have in our veins, the exact same percentage of salt in our blood as exists in the ocean’. In many ways, this book takes me to the sea and is the ‘green glass, holding it up to the light and seeing the same transformed world that we knew.’

What left me wanting more:

The books ends with a helpfully entitled section called ‘Who Wrote What’ which was a brain teaser! As a two-hander, written by husband and wife, and co-founders of Welfare State International in Leeds, it was remarkably easy to hear the writer in so many of the stories, but be equally surprised by others. Perhaps the fact their lives are so entwined, it’s no wonder I was confounded by who wrote some of the content, but it was fascinating to reflect on this. One story that I know was written by Jill, and will stay with me forever, is how she picked her surname- a radical creative ageing act, if ever I saw one. To find out for yourself, just read the book- you won’t be disappointed.

E-News – Our October edition is out!

Please find our National Creative Ageing Conference special edition here

Article – Elizabeth Lynch MBE- Speech from the National Creative Ageing Conference.

(transcript)
It’s been so great listening to you all to hear about the ideas, the examples of fantastic practise and the pressing issues that we’re facing in this sector. It’s lovely to be here in this beautiful building and it’s really great to see Srijoni and Sangini here on the front row. CADA worked with them on our research project Visionaries about South Asian artists and artistic communities. And it’s so great to see you in person, and I want to talk to you later.

So, CADA began in 2019 as a partnership between Manchester Museum and the Ageing Hub at Greater Manchester Combined Authority, and it was generously supported by Baring Foundation and Arts Council England. We’re now a registered charity thanks to the efforts of our first director, Virginia Tandy, and myself and Arti Prashar are the new Co-chairs of the board and we have a new Director, Farrell Renowden.

And we have a new radical approach to developing creative ageing across England. CADA stands for Creative Ageing: Development and Agency, with the strap line radical approaches celebrating our creativity.

So, since formerly registering the charity, we’ve spent the summer reflecting on the unfinished business identified by Baring Foundation at the end of the 10-year investment programme. We carefully considered where our capacity and our resource should be best placed. A lot has changed since 2019, but the visibility and representation of underserved diverse creatives for example, global majority, disabled, LGBTQ plus creatives and their communities, is still an urgent issue.

We want to drive systemic change which relies on increased voice and visibility, positive action and a change for business as usual. This is more than a project.

To achieve this, we’re focusing on two key strands of work. First is our Soapbox series inviting underrepresented creatives to respond to the provocation ‘What does radical creative ageing look like?’ with a focus on diverse voices, as indicated earlier. So, to connect with this work, find us on socials, Instagram, X, LinkedIn and read our regular e-news. We’re also planning an event to discuss how we can collectively respond in more detail to what we find from these conversations.

Strand two is CADA’s development of our creative ageing Living Labs in which we explore challenging issues with the communities that experience them first hand and co-design radical responses that have a national impact.

Members of the board, for example, David Slater do have some form in terms of radical approaches that upends the status quo. The slide shows David Slaters production for Entelechy Arts ‘Bed’ performed in public spaces, which startled and engaged audiences all over the country. I think a lot of you would be familiar with this.

So our new three-year programme doesn’t shy away from the complexities of the work we do and a lot of those complexities have been described by the previous speakers. So if you’re interested in exploring radical approaches and please note we haven’t defined radical, we want to allow the people to define that. But I think getting down to the root of things is what we’re talking about. If you’re interested in exploring those practical approaches to the urgent issues that face us then get in touch.

We’re also keen to know more about the work that you do in this space, so to the potential partners and funders in the room. Let’s connect.

Thank you very much.

Article – ‘What Next For Creative Ageing in England?’

Article by Farrell Renowden – Director of CADA

‘What Next For Creative Ageing in England?’ has been a preoccupation since I started my new role at CADA, so it was wonderful to be in a room full of colleagues, partners, and friends to explore this question together, at the National Conference in Newcastle this month. As we were reminded at the beginning of the event, the last time we had the opportunity to come together like this was in pre-covid times… and a lot has changed, for all of us, since then.

As a newly established charity, with new Co-Chairs, Director and an opportunity to develop a fresh approach to developing Creative Ageing across England, we felt it was important to reflect on the changes that have happened since then and the Baring Foundation’s Report ‘Older and Wiser? Creative Ageing In the UK 2010-19’ was written, identifying CADA as a legacy from a decade of investment in the Creative Ageing field. The ‘Unfinished Business’ section of the report made for interesting reading, and an opportunity to analyse what ‘business’ might be urgently in need of finishing.

For the last six months, CADA has been thinking deeply about these questions: ‘What Next For Creative Ageing’ and what ‘business’ is a national focus for CADA right now? One aspect of the 2019 report stands out:

‘David Cutler articulated the hope that creative ageing 2.0 would pay more attention to diversity and encourage greater participation by minority communities in response to changing demographics.’

Baring Foundation’s later report ‘On Diversity and Creative Ageing’ was launched at the last National Conference in 2020, focusing on: ethnic diversity, disability, sex and gender, language, and class:

‘Our impression is that providing for the full diversity of the older population is unfinished business and a future challenge for the creative ageing sector and more widely arts and culture organisations, funders and policy-makers.’

In 2022, during the pandemic, CADA commissioned Arti Prashar and Elizabeth Lynch (CADA’s new Co-Chairs) to author ‘Visionaries: A South Asian Arts And Ageing Counter-Narrative’ to further our understanding of this work. We know that there is a lot to do and the issues are complex and intersectional; those older people who are under-served and under-represented in the sector are predominantly those who are marginalised in the creative and cultural sectors at every age – only with the added burden of a lifetime of inequality and ageism. The foreword by Sara Wajid puts it perfectly when she wrote:

‘Creative ageing is about the quality of everyone’s later lives and all our futures.’

So, what has changed since the pandemic? At the conference in 2023, we heard that the Celebrating Age funding programme (the largest investment of its kind by Arts Council England and Baring Foundation) reached 85% White British participants and 15% ethnic groups, but the data set was a challenge to analyse further due to Covid-19. Rebecca Blackman (ACE) announced a significant shift in the number of older people engaging in the arts and culture more generally, reflected in the national Taking Part survey, but it is not clear who is represented here either, as the data is yet to be shared more widely. The issue of data is an important one, but the question of whether ‘Creative Ageing 2.0’ and a focus on diversity is still ‘Unfinished Business’ and an issue CADA to respond to is an obvious one.

So, ‘What Next for Creative Ageing in England’ and what next for CADA? We are new charity, with a new approach: CADA: Creative Ageing: Development & Agency- radical approaches to celebrate our ageing.

Over the next three years, we are committed to the increasing the representation of diverse older creatives and communities, not shying away from the complexity and intersectionality of the issue. To do this, we will drive systemic change by increasing voice and visibility, engendering positive action, and challenging business as usual through three key strands of delivery:

Soapbox Series

Working with a range of older diverse creatives, we are asking them to ‘get on their soapbox’ and share what ‘radical creative ageing’ means to them. A new series of interactive content will be launched soon – with an event planned for May 2024.

2. Creative Ageing Living Labs

Using an international change-maker model ‘Living Labs’, we will work with diverse older creative communities that experience ‘wicked problems’ within the creative ageing field and work in partnership to co-design solutions.

3. Strategic Partnerships

We will continue to develop and respond to partnerships that meet our radical (which means to ‘root out; fundamental’) new approach. If you are working on this agenda, then we want to connect. My first six months with CADA has been fast-paced and inspiring, and the next three years are set to be creatively progressive, disruptive and challenging- in all the right ways. To get involved, be sure to join us on socials, share your ideas for positive change, and get in touch!

Event – National Creative Ageing Conference

National Creative Ageing Conference Directory.

We’re hugely honoured to host the Directory of speakers and supporters for this year’s conference.

Click here to go to the directory.

Article – The Creative Industries and Older People.

(vlog transcript)

Hello, my name is Farrell Renowden and I’m the Director of CADA Creative Ageing Development and Agency and this month in our E newsletter, we are looking at the creative industries and older people.

So, I’ve been thinking a lot about this and I came across something that you might find interesting too. So, on the 15th of June this year in the House of Lords, under the heading of Arts and Creative industries, freelancers and self-employed workers.
Lord Hannon of King’s Clear, who happens to be Conservative, said. And I quote, what we still think of as atypical jobs are ceasing to be atypical. I look at my children, who range in ages from 5 to 21, and I do not think that any of them will ever have a job as we understood that word in the 20th century. They are likely to go through life constantly re skilling and freelancing, adapting to a rapidly accelerating technological revolution we should not be frightened of that.

Are we frightened of that, or is that almost all of the creative industries already happening that we are re skilling and freelancing and adapting? I think that’s probably true. So why is it that in the House of Lords those voices, OUR voices of experience are not there? Why are they waiting for the next generation of workers to be able to reskill and freelance and adapt?

Because when I look around, I see exhibitions and digital technologies they are being driven by those already in our sector, many of whom happen to be over 50 and older and not represented in what we’re listening to in the current dialogue. So, if you think like me that maybe we need to do something about that, maybe we need to be in the agenda then I’d love to hear your thoughts. We will be there on the 10th of October at the National Creative Ageing Conference, and we’d love to hear ideas.

But before that, please do read our latest article by Performance Ensemble, who are based in Leeds and they are already smashing some of those ageist ideas about who is and who isn’t adapting, reskilling and freelancing in our sector, so I look forward to seeing you soon. Enjoy the read.

Article – “We’ve come so far with lived experience but there’s still a long way to go.”

Farrell Renowden tells us her thoughts on the importance of lived experience in her second vlog (transcript)

Hello and welcome to my second blog, I’m Farrell Renowdon and the director of CADA, the Creative Ageing Development Agency. So in my last blog, I reflected on what hasn’t happened since the last Creative Ageing National conference, and for this session I would like to focus on the positive. What has changed as a result of COVID and all of the lockdowns that we’ve seen and the developments that have happened since? So the key thing I think has changed has been around lived experience and coproduction and that can only be a positive thing. They say that innovation comes from necessity and never was it more so and more necessary for us to change and develop our practise during covid.

So when I think about the next conference, it just feels really a wonderful that there are going to be so many older people, older practitioners, those who have been really flying the flag for creative ageing during the last few years coming together to share our news, developments, projects, inspiration and ideas for the future. So if you haven’t already registered for the national conference, then I really urge you to do so. We’re going to be there and we can’t wait to see you.

Article – Lived experience, leadership and the power of co-creation. By Tot Foster – Connecting Through Culture As We Age.

For the last two years a research project at Bristol University has been pushing the boundaries of co-production with older people in the field of creative technology. Connecting Through Culture As We Age is led by Professor Helen Manchester and brings together a multidisciplinary academic team, local community organisations and eighteen older co-researchers who have experienced minoritisation due to their race, disability and/or socio-economic status.

The project took as its starting point the lived experiences and everyday lives of co-researchers. They undertook creative activities, individually and as a group, to support reflection upon cultural lives past and present, social connections, and their use of various digital technologies. We also explored together what co-researchers want from their lives moving on – what excites them? What makes them feel connected? What do they want to be able to do with phone or tablet? These activities have enabled later stages of research to be nuanced around co-researchers wants and needs and has helped the university researchers to learn how to support them to take centre stage in a co-production process which is the focus of this year; the ‘demonstrator projects’. After a period exploring co-design, building knowledge, relationships and digital literacies, co-researchers began work with people from the creative, cultural and digital sector to develop ideas for digital cultural experiences or services that aimed to support social connection and wellbeing in later life. Through this period of the project their identities shifted from co-researchers to co-designers. Six of the ideas that emerged from a series of workshops were funded and prototypes are being completed over the next month or so. These range from kits with digital instructions for those in care homes to make their own ‘Expressive Pockets’ using fabric image transfer technology, to an interactive book ‘Retirement Reloaded’ featuring writing by older women, to an augmented reality tool ‘Recycle City’ which can visually place structures made from waste products in local streets – supporting a re-think of how we live in urban areas.

As the project progressed it’s interesting that ‘age’ has become less of a topic of conversation. A non-hierarchical structure within demonstrator project teams has led to all involved relating to one another personally and individually; encapsulating our diverse identities and our lived experiences, and moving beyond assumptions related to chronological age. We have collectively explored the boundaries of what is possible in terms of supporting those who rarely lead on creative projects to be able to make key decisions, iterate ideas and see them through to a working prototype. The creative directions of the projects respond to the wisdom of long lives lived, and experiences of minoritisation and invisibility relating to the intersections of class, race, gender, disability, age and sexuality. As they come together, the projects have an overwhelming positivity, freshness and honest strength. In the longer term, not only have the university research team learned a huge amount about process and practices of co-design, but the future work of the creative and technology professionals involved has also benefitted from seeing their practices through a different lens; one which is more inclusive and relevant to minoritised older adults. And many of the co-researchers have been having a wonderful time, feel re-invigorated, heard and seen. As the project begins its final stage we are hoping to establish a means of the co-

researcher group sharing their experiences as co-designers with others in policy, arts and health in the future.

Find out more at https://connectingthroughcultureasweage.info/ or join us at a showcase of the research and the six demonstrator projects on 17th October in Bristol. Tickets available soon through Eventbrite.

Article – “Are we asking the right questions, to the right people, at the right time?

Farrell Renowden – July’s Vlog Transcript

Hello, my name’s Farrell Renowden and I’m the new director of CADA, the Creative Ageing Development Agency. So welcome to our new look e newsletter. It’s lovely to see you. So for those of you who don’t already know me, I’ve worked in the creative ageing sector for ever, since before I knew it existed. But the chances are you probably do know me because they do say that the creative ageing sector is like a village where we all know one another. And I think that’s probably true.

So as I approached this new role, it’s got me thinking about ‘are we asking the right questions to the right people at the right time?’ Or are we talking to each other?

So when I talk about creative ageing, about three or four years ago, I talked about a zeitgeist moment where it felt as though we were in the spotlight. The visibility we were having, new funding streams and people were talking about policy but fast forward and right now it honestly feels like there’s no funding and none on the horizon, there’s no policy. It feels as though that spotlight moment has gone.

And it’s got me thinking, why?
So over the next few weeks, we’re going to be asking some really critical questions, some provocations about what is CADA’s role in trying to get that spotlight back to get some momentum and development for our sector.

So if you’ve got any questions or provocations or thoughts or reflections, then we would love to hear of them. We’re on Twitter, Instagram, LinkedIn or you can just simply e-mail me and let me know your thoughts.

So we’ll be coming to the national conference in October to represent CADA and will be sharing some of our thoughts then. So look forward to seeing you then.

Article – 3rd Annual International Creative Aging Summit fuels global collaboration to advance older adults’ cultural rights.

“Creativity is a human right. Older people are not just volunteers, but also are producers of culture. They don’t just consume. They produce.” Julie McCarthy, Strategic Lead for Creative Health, Greater Manchester Health and Social Care Partnership in the United Kingdom

Nearly 440 arts and aging leaders from 24+ countries were engaged in the 3rd annual International Creative Aging Summit, held virtually on June 6 and 7. The Summit was organized by Lifetime Arts (United States) in collaboration with Creative Ageing Development Agency (CADA) in England and Armas-festival, City of Helsinki, and Koy Kaapelitalo in Finland. Collectively, Summit participants investigated the profound shifts needed –individually and collectively–to champion and adequately invest in older adults’ creativity and cultural agency.

Creative aging approaches are diverse internationally and priorities vary based on available resources and infrastructure, national policies, diverse cultural and historical contexts and other factors.

“What connects us is the shared belief that creativity is an essential driver in creating communities that celebrate age and aging…When we step outside of our own national contexts, we expand our frame of what is possible,” said Heather Ikemire from Lifetime Arts. “We begin to see that what we think are limitations are actually constructs that we have the ability and the responsibility to disrupt in order to create something more just.”

Summit Day One focused on what drives the creative aging movement globally and examined diverse, national approaches and their impact.

Activist and author Ashton Applewhite kicked-off the Summit with a rousing call for creative aging leaders to address systemic discrimination by examining the intersections of ageism, ableism and other factors in all of our efforts.
Leaders from Finland, the United States, and Australia shared case stories of diverse creative approaches in their countries, focused on civic engagement, arts education, and community care respectively. They discussed how these creative aging approaches were effecting changes in attitude, behavior and even policy at the national and local levels
Paulene Mackell’s “video postcard” documenting Aboriginal and Torres Strait Islander community-controlled arts centers in Australia underscored that Elders have long been revered as culture bearers in many communities. Transformation includes honoring the Indigenous roots of creative aging’s holistic and communal practices and strengthening the well-being of Indigenous people who carry forward the traditions of their ancestors.
“How does creative aging connect to other efforts in your country to become more age-friendly?” was the guiding discussion for our small group breakout conversations.

Day Two focused on how creative aging supports positive outcomes for older people in allied sectors, including health, technology, and public libraries, and on the importance of centering older people’s voices and decision-making in the creative process.

Leaders from the United Kingdom and United States discussed how creative aging practices and cultural agency within the health, technology, and library sectors are increasing engagement, advancing equity, and leveraging new investments to improve the lives of older adults. “Without culture, we stop at technology and doing this work loses its purpose,” said Tom Kamber, Founder & Executive Director, Older Adults Technology Services (OATS) and Senior Planet (Affiliates of AARP) in the United States.
Helen Manchester’s “video postcard” documented the three-year project, “Connecting Through Culture as We Age.” Co-designed with older adults with disabilities and those who identify as socioeconomically and racially minoritized, this cross-sectoral collaboration explored the impact of well-being and social connectivity for older adults through new arts and cultural experiences.
The closing keynote from Kunle Adewale, Founder & Executive Director of Arts in Medicine Projects, highlighted his innovative work using VR programming to co-create creative experiences with older adults in Nigeria. “Our work is not to govern, but to allow freedom of expression!” Kunle said during his keynote. “Let’s create a future where every person is recognized as a valuable contributor to our cultural agency.”

“Summits like this help magnify terrific work, of all kinds, happening internationally, and persuade even the subject-initiated that we are witnessing a movement that is percolating, ready to explode into recognition and go mainstream worldwide.” – Participant

News – Exciting News for CADA

After three years our chair Paul McGarry steps down and Arti Prashar OBE and Elizabeth Lynch MBE, co-authors of our nationally significant report Visionaries: A South Asian Arts and Ageing Counter Narrative step up as co-chairs for our next exciting chapter. As creative practitioners with long careers in the cultural sector, they each bring a wealth of lived experience and industry perspectives to the role.

We are hugely grateful to Paul for providing leadership from an age perspective and we are pleased to say that he won’t be leaving CADA altogether. As a sector support organisation, CADA is keen to represent the many different intersections of creative ageing as possible and this is an important development as we begin life as an independent charity.

News – Farewell from Virginia Tandy

Dr Virginia Tandy OBE completes her work at CADA in mid April and offers the following observations on her three years work:

‘I was thrilled to be appointed as the founding director in 2020. Developing CADA over the last three years from a great idea into an independent charity championing creative ageing across England, has been an amazing experience for me. Work on creating CADA started just before the pandemic hit the UK, but despite this we managed to do the groundwork, informed by a range of older people and practitioners, creating national and international relationships and events and commissioning insightful research.

The Manchester Museum, which is part of the University of Manchester and a member of the Manchester Museums Partnership, working with the Ageing Hub at Greater Manchester Combined Authority, secured the seed funding for CADA from the Baring Foundation in 2019. I’m grateful to all the brilliant people that I have worked with, especially Paul McGarry and Phil Cave who have chaired the Board and the Advisory Group and to Esme Ward at Manchester Museum, which was our generous host in CADA’s formative years.

I couldn’t have got CADA this far without the support of all the Board and Advisory Group members and the generosity of colleagues working in the sector across the world. We have also benefitted from valuable financial support from Greater Manchester Combined Authority and Arts Council England.

CADA’s creation is timely. The 2021 census revealed that there are now more people in the UK over 65 than under 15. This demographic change requires us all to adjust to becoming an ageing society and respond to the needs and opportunities that later life presents. Creative ageing, at its best, offers agency, purpose, skills development and social connection. It recognises and respects the value of art with the experience of age and can be a vehicle for activism, challenging ageism and amplifying the voice of older people.

The pandemic, which disproportionately affected older people, demonstrated the value of creativity to people of all ages. As we learn to live with the virus and navigate the current cost of living crisis, opportunities for creativity that recognise the diversity of experience of later life are needed more than ever. As the proportion of older people in the population increases, the cultural sector has to embrace this approach to secure its future resilience and relevance.

With luck, we will all live long active lives and we should expect to be able to end our days as creative citizens. Creative ageing is about the quality of life for older people now and the quality of all our futures. I am delighted that CADA, led by my successor, Farrell Renowden and the Board of trustees will be shaping the next chapter of this important work working alongside practitioners and informed by the diverse lived experience and creative ambition of older people.’

News – CADA Appoints New Trustees

We are delighted to announce three newly appointed trustees for CADA, the Creative Ageing Development Agency: David Slater, Arti Prashar OBE and Elizabeth Lynch MBE. They bring with them a wealth of experience in the field at a significant time as CADA celebrates its first three fantastic years of operation and looks ahead to its next phase. Working with a new incoming Director, Farrell Renowden, the Board of Trustees will continue building on CADA’s commitment to championing creative ageing.

The three new trustees will work alongside existing Board members Paul McGarry, Phil Cave, Sarah Roper and Esme Ward.

The current Chair of CADA’s Board Paul McGarry said “This is an incredibly exciting time to join the organisation. With the continuing support of the Baring Foundation, CADA has exciting plans to consolidate its national and international work to date and begin our next chapter as an independent charity. The new Trustees will be an asset to the CADA Board, and we are pleased to welcome them.”

News – CADA Announces New Director

We are delighted to announce the appointment of Farrell Renowden to Director of CADA (Creative Ageing Development Agency). Farrell is currently Head of Cultural Partnerships and Age of Creativity Festival Director at Age UK Oxfordshire. She brings to the role a wealth of experience of work with older people and a commitment to equality, diversity and inclusion. She says, “I am extremely excited to join CADA in May and to continue the remarkable work of CADA that Virginia has developed over the last three years”.

CADA Board Chair Paul McGarry says “After a thorough recruitment process, the trustees are delighted to announce the appointment of Farrell from May 2023. This year with the continuing support of the Baring Foundation, CADA has exciting plans to consolidate its national and international work to date and begin our next chapter as an independent charity. We look forward to working with Farrell and on behalf of the CADA Board members, I wish her a warm welcome.

Virginia Tandy OBE steps down to return to her work as an independent arts and heritage consultant.

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Creative Ageing Development Ltd working as CADA the Creative Ageing Development Agency a company limited by guarantee. Registered in England and Wales No 13863570. Registered office 200 Drake St, Rochdale OL16 1PJ. Charity number 1200477

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Article: The January Challenge 2026

E-News: Our November newsletter is out!

Fanzine: Radical Acts of Creative Ageing with Tayo Akinbode

E-News: Our October newsletter is out!

Article: Our Reflections on Barrowfull Creative Ageing Event.

Fanzine: Radical Acts of Creative Ageing with Greta Mendez.

E-News: Our September newsletter is out!

Article: National Day of Arts in Care Homes 2025 – Celebrating Creativity in Care Settings

E-News: Our July newsletter is out!

Article: Creating a Warm Welcome.

Article: South Asian Heritage Month – July

E-News: Our June newsletter is out!

Poem: The Advent of Ageing. By The RUPT Associates.

Article: Warm Welcome Manifesto Film – A New Short Film from the Creative Ageing Network.

E-News: Our May newsletter is out

Article: Standing on One Leg and Speaking from the Heart.

Article: “This is a call for systemic change – one that values ageing as a creative force…”

E-News: Our April newsletter is out

E-News: Our March newsletter is out

Guest Writer: Helen Fountain Age UK Oxfordshire. The Banbury Heritage Project: Connecting Stories and Well-being

E-News: Our February newsletter is out

E-News: Our January newsletter is out!

Article: What if the art of the possible begins with a question?

E-News: Our December newsletter is out!

Article: Empowering the Creative Ageing Community: How We’ll Make a Difference in 2025. By Farrell Renowden – Director of CADA

Article: “A beacon for under-represented communities and artists” by Arti Prashar and Elizabeth Lynch – Co-Chairs of CADA

E-News: Our November newsletter is out!

Article: Our Radically different Living Lab – providing a ‘Warm Welcome’ in Stoke.

Article: How ‘Radical Kindness’ has helped us to reach new people, develop creativity, and create space for under-represented older people on our stages.

Fanzine: Radical Creative Ageing Practice & Passion Event Special

Article: Live Music Now attended our Passion and Practice Event – Here’s their review.

Article: Unlock playfulness and connection in your care home with Upswing’s new Digital Toolkit

CADA Event News. Passion & Practice

E-News Special – CADA’s Passion and Practice Event

E-News – Our April edition is out!

Fanzine – Radical Acts of Creative Ageing with Dominic Campbell

Article – Could you be our RUPT Associate?

E-News – Our January edition is out!

Article – CADA2024: Supporting older emerging artists to challenge, disrupt and innovate!

Article – CADA’s Radical Creative AgeingMust-Reads

Fanzine – Radical Acts of Creative Ageing with Stella Duffy OBE

E-News – Our November edition is out!

Article – A review of the National Creative Ageing Conference 2023

Article – CADA’s Radical Creative AgeingMust-Reads

E-News – Our October edition is out!

Article – Elizabeth Lynch MBE- Speech from the National Creative Ageing Conference.

Article – ‘What Next For Creative Ageing in England?’

Event – National Creative Ageing Conference

Article – The Creative Industries and Older People.

Article – “We’ve come so far with lived experience but there’s still a long way to go.”

Article – Lived experience, leadership and the power of co-creation. By Tot Foster – Connecting Through Culture As We Age.

Article – “Are we asking the right questions, to the right people, at the right time?

Article – 3rd Annual International Creative Aging Summit fuels global collaboration to advance older adults’ cultural rights.

News – Exciting News for CADA

News – Farewell from Virginia Tandy

News – CADA Appoints New Trustees

News – CADA Announces New Director

Article – CADA’s Radical Creative Ageing
Must-Reads

Article – CADA’s Radical Creative Ageing
Must-Reads