The Transformative Potential of Artful Ageing

Abstract

This article explores the transformative potential of Artful Ageing as a conceptual framework for enriching experiences in later life. By synthesising Manning’s theory of minor gestures with Basting’s creative care approach, the article demonstrates how Artful Ageing fundamentally reconfigures our understanding of the ageing experience. The findings indicate that this framework transforms ageing from a narrative of decline into a dynamic process of becoming, where physical and existential spaces intertwine to create opportunities for emancipatory experiences. The transformative power emerges through what Manning terms “art-as-practice” and Basting describes as “moments of awe”—small, ephemeral encounters that carry profound potential for connection and meaning-making. This study reveals how Artful Ageing transforms conventional care environments into cultural spaces where creativity becomes embedded in everyday interactions rather than isolated to scheduled activities. The author identifies how this approach enables a shift from outcome-oriented interventions focused primarily on physical health to process-oriented engagements that honour the non-rational and in-between elements of ageing lives. The research demonstrates that when implemented, Artful Ageing transforms not only individual experiences but also relational dynamics and institutional structures, challenging biopolitical agendas embedded in current regimes of active ageing. This transformative framework ultimately offers new pathways for understanding and supporting meaningful engagement throughout later life.

1. Introducing Artful Ageing

Artful Ageing [1,2] is a tentative philosophy to orchestrate and support possibilities for longevity, emphasising the notion of “minor gestures of ageing” contrasting and problematising the “major efforts of active ageing”. The argument presented in previous work on Artful Ageing [1,2] proposes that older adults require a broader range of opportunities to explore the manifold ephemeral, non-rational, and in-between elements of an ageing life. The philosophy is rooted in the notion that older adults need space (literally and metaphorically) to explore and process their existence and that engaging in such processes can entail emancipatory effects in everyday life [1,2]. The perspective unfolded throughout previous articles [1,2] is a philosophical venture, or rather, a preliminary work, developing the concept of Artful Ageing as (a) way to rethink and broaden the range of activities occurring in institutional settings dedicated to older adults. Furthermore, the perspective also presents a critical stance towards normative footings and biopolitical agendas embedded in current regimes of active ageing and longevity [1].

Artful Ageing represents the ambition to enable and support artful lives, events, and activities amongst residents and participants in care facilities and other contexts in which the focus is on the process instead of the product when focusing on activities and events in concrete settings. When taking physical and existential spaces into consideration in processes of Artful Ageing, we acknowledge initiatives aimed at maintaining adequate measures of openness, ambiguity, and sensory intimacy—that is, events that allow for the experience of metaphorical cracks and afford artful pockets in which to reside for a while, seek refuge, recharge, stray from the beaten track, and obtain an always partial feeling of emancipation [1].

In qualifying the concept of Artful Ageing and following a more process-oriented path, this article opens new avenues to contemplate and subsequently initiate “the minor gestures in later life” on an existential level—not just orientated towards physical and mental health promotion, i.e., longevity. At the same time, the ambition is to develop a critical perspective aimed at challenging existing notions of active ageing in (re)invigorating the importance of artful processes and experiences as an element inherent to longevity. In doing so, this article weaves Manning’s theory of minor gestures [3] and Basting’s creative care approach [4] into the transformative potential of Artful Ageing. At its heart, the transformative potential manifests through what Manning [3] calls “art-as-practice” and what Basting [4] describes as moments of “awe”. The two approaches intersect in small, often overlooked experiences that carry transformative potential. The space is literal—involving physical environments and material encounters—and metaphorical—encompassing ageing lives’ emotional and experiential dimensions. This dual nature of space, described in Artful Ageing [1,2] as spatial and inclusive, creates opportunities for what Manning [3] terms “autistic perception”—an openness to experience before categorisation. The transformative potential lies in how these spaces allow for what Basting [4] calls “beautiful questions” and “proof of listening” to emerge through creative engagement. When understood through Manning’s [3] lens of minor gestures, these moments become not just isolated instances but part of a continuous flow of becoming. They represent what both theorists recognise as the ongoing potential for growth and transformation, even in contexts of cognitive change or institutional care. Particularly significant is how this framework reconceptualises the relationship between space, creativity, and ageing experience. Rather than viewing ageing spaces (such as care facilities) as merely functional environments, they become what the Artful Ageing [1,2] perspective describes as “emancipatory spaces”—environments that support planned creative activities and spontaneous, meaningful moments. These spaces are understood as physical containers and active participants in the ongoing process of becoming in later life.

The processual dimension emerges in how this framework values the ephemeral and often overlooked aspects of experience. Small moments—a shared glance, a creative gesture, a moment of connection through art—become understood as vital elements in the ongoing process of becoming. This attention to the processual aspects of everyday experience aligns with Manning’s [3] emphasis on the transformative potential of minor gestures and Basting’s [4] recognition of how creative engagement can open new possibilities for connection and meaning. This approach to Artful Ageing suggests that later life can be understood not as a period of decline but as an ongoing space of processual becoming, where creative engagement opens new possibilities for experience and connection. It challenges dominant narratives about ageing by emphasising how creative processes and minor gestures can continue to shape and reshape experiences throughout life.

The practical implications of this theoretical synthesis are significant. It suggests designing environments and approaches that support structured creative activities and spontaneous, meaningful moments. It emphasises the importance of creating spaces that allow for what Manning [3] calls “knowing-in-movement” and what Basting [4] describes as moments of shared wonder and connection. Moreover, this framework suggests new ways of understanding and supporting learning and development in later life. Rather than focusing on cognitive achievement or skill acquisition, it emphasises creating opportunities for creative engagement and meaningful connection. This broader understanding acknowledges the continuing potential for growth and development throughout the life course. By attending to the small moments of possibility that Manning [3] describes, creating opportunities for the moments of awe that Basting [4] emphasises, and supporting the spatial and inclusive dimensions highlighted in Artful Ageing [1,2], we can create more humane and practical approaches to supporting people in later life. This framework ultimately suggests that ageing itself can be understood as a way where creative engagement, minor gestures, and meaningful connections continue to create new possibilities for becoming.

2. Research on Arts and Creativity in Ageing

In positioning Artful Ageing, the research conducted by Cohen introduced the concept of “Creative Ageing” as a vital component of ageing and later life [5]. Artful Ageing [1,2] is based on Cohen’s groundbreaking work but is further elaborated in this article, emphasising the efforts of creative ageing through Basting’s creative care approach, which is based on the work of Cohen [6]. Cohen’s work on creative ageing emphasises the potential for creativity to enhance the quality of life for older adults, challenging the traditional view of ageing as a period of decline. His research highlights that creativity can catalyse hope, love, and healing, enabling individuals to transcend the limitations imposed by illness and ageing. This perspective is articulated in the discussion of creative ageing, which posits that engaging in creative activities can make ageing a more meaningful experience than merely a time of deterioration [7]. Cohen’s foundational research, particularly in collaboration with others, has contributed significantly to understanding how creative expression can promote resilience and social engagement among older adults. His concepts explore the intersections of adversity and possibility, suggesting that creative ageing can lead to wisdom and transformative change, making the whole more significant than the sum of its parts [7]. Moreover, Cohen’s work has informed policy and practice in the field of ageing, advocating for strength-based approaches that focus on the potential of older adults through creative expression. This includes developing programmes that leverage the arts and humanities to address issues such as isolation and loneliness, which are prevalent among older adults [8]. Overall, Cohen’s contributions to the field of creative ageing underscore the importance of recognising and fostering the creative capacities of older adults, thereby enhancing their mental well-being and overall health [9,10]. His insights continue to shape contemporary practices and research in promoting healthy ageing through creative arts therapies and initiatives.

Exploring arts and creativity in later life reveals significant benefits for older adults, particularly enhancing their health and well-being. A literature review [10] indicates that active participation in various art forms, including dance, music, theatre, and visual arts, contributes positively to mental and physical health outcomes. For instance, studies have documented improvements in cognitive function, quality of life, and emotional well-being associated with regular engagement in music and singing, while dance has been linked to enhanced balance, strength, and flexibility in older adults [10,11]. Research also highlights the social dimensions of arts engagement. Older adults participating in group-based arts programmes report increased socialisation, enjoyment, and mental stimulation, which are particularly beneficial for those experiencing mild cognitive impairment [12]. The sense of community fostered through these activities can mitigate loneliness and enhance social connectedness, further supporting mental health [12]. Moreover, a nation-wide study in the Netherlands emphasises the intrinsic value of arts engagement, revealing that participants experienced positive feelings, personal growth, and meaningful social interactions as a result of their involvement in arts-based projects [13]. This aligns with findings that suggest professionally taught arts programmes can promote psychosocial well-being and cognitive focus, indicating a potential avenue for therapeutic interventions in nursing practice [14].

The body of research underscores the importance of arts and creativity in later life, demonstrating their role in promoting health, enhancing the quality of life, and fostering social connections among older adults. These findings advocate for integrating arts engagement into health and community programmes aimed at supporting the ageing population and longevity. Swinnen’s [15] work on creative ageing is reflected in various studies that explore the intersection of arts, creativity, and the experiences of older adults. One significant aspect is examining how older professional writers, particularly Dutch poets, perceive creativity in later life [15]. This study highlights themes such as maintaining sustainable writing practices, negotiating the literary field, and viewing writing as an art of living. The poets expressed a desire to reinvent themselves and adapt their writing practices while confronting challenges related to visibility and acceptance in the literary community [15].

Additionally, the role of arts and creativity interventions in enhancing the health and well-being of older adults has been investigated. A systematic review [16] of economic evaluations indicates that while evidence supports such interventions’ positive impact, the cost-effectiveness remains unclear. The review emphasises the need for further research to capture the value of these interventions, which could inform public health strategies aimed at older populations [16]. Moreover, the adaptations of older artists and craftspeople to age-related changes have been explored. Interviews with visual artists revealed that they often face health-related challenges but employ various strategies to adapt their artistic practices. These strategies include modifying their work pace and engaging in collaboration, which underscores the resilience and adaptability of older creatives [17]. Swinnen’s work aligns with the broader discourse on the therapeutic effects of creative writing and visual art therapy. Studies indicate that these forms of expression can significantly improve older adults’ cognitive function and psychological well-being, suggesting that creative practices serve as valuable non-pharmacological interventions in gerontological care [18,19]. Swinnen’s contributions to the field of creative ageing highlight the complex relationship between artistic engagement and the ageing process, emphasising the need for continued exploration of these themes in future research.

3. Art as (A) Way—Exploration of Process and Becoming

In contemporary discourse, art is often conceived primarily through its objects—paintings, sculptures, and installations that are completed works awaiting appreciation. However, this object-centred view obscures a more fundamental understanding of “art as way or manner” [3], a perspective that opens compelling theoretical possibilities for reconceptualising artistic practice [3]. By examining the etymological roots of art (die Art) in German, meaning manner or mode, we can begin to recover an understanding of art as processual becoming rather than static objecthood [3]. This recovery requires a theoretical framework that foregrounds process over product, becoming over being, and central to this framework is the concept of “intuition”, which operates not merely as a subjective feeling but as a rigorous philosophical tool for engaging with “the not-yet-thought” [3]. Intuition, in this context, initiates the artistic process and activates what can be termed “productive openings”—spaces where new possibilities for experience and expression emerge [3]. This intuitive dimension of artistic practice exists in dynamic relation with temporality and spatiality, creating complex interactions between present experience and future potential.

The temporal dynamics at play here demand particular attention. Rather than operating within linear time, artistic practice engages with what can be termed “event-time”—a qualitative expression of experience in its becoming [3]. Crucially, this reorientation challenges traditional understandings of artistic participation. Rather than viewing participation as secondary to artistic creation—something that happens after the work is complete—participation becomes inherent to the artistic process itself and suggests instead a field of collective becoming where art emerges through multiple forms of engagement. The implications of this framework extend beyond purely philosophical concerns to reshape our understanding of artistic practice. By emphasising the transformation of technique into technicity—the capacity to exceed predetermined limitations—this approach highlights the importance of what Manning terms “minor gestures” [3]. These subtle modulations within artistic practice open new possibilities for experience and expression. The focus shifts from producing objects to creating conditions where new modes of existence might emerge.

Mannings reconceptualisation of “art as way” [3] requires synthesising multiple philosophical traditions. Understanding “art as way” rather than an object opens new possibilities for thinking about creativity, time, and collective experience. It suggests that art’s primary function is not to produce static works for contemplation but to create openings for new forms of life and experience to emerge. Manning’s theoretical reorientation has profound implications for how we approach artistic practice, suggesting that art’s value lies not in what it makes but in how it operates—in its capacity to generate new modes of existence and understanding. Through this lens, art becomes less about individual genius or discrete objects and more about creating conditions where collective becoming might flourish. It suggests that artistic practice is fundamentally about manner or way—about how rather than what—and that this shift in perspective might help us better understand art’s role in human experience and social transformation. In doing so, it opens new avenues for thinking about creativity, collectivity, and the role of artistic practice in human life in general and in later life in particular.

4. Creative Care

A compelling study from Norway’s Artful Dementia Research Lab [20] engenders how aesthetic experiences and creative activities can transform the perceived “gap” between people with dementia and their environment and transform it into a space of connection and possibility. The researchers conducted their work in two residential care homes, using various artistic mediums, including visual art, poetry, and applied theatre. Through careful observation and analysis of these creative encounters, they documented how artistic engagement created moments of genuine connection and mutual understanding. In the Norwegian study, they discovered that when people with dementia engaged in artistic activities, the “gap” often dissolved into what they term a “space of becoming”—where traditional limitations fell away, and new possibilities for connection emerged [20]. Rather than focusing on the cognitive decline associated with dementia, this approach emphasises the ongoing human capacity for creativity, expression, and meaningful interaction. The research demonstrated that through artistic engagement, people with dementia could actively participate and contribute to shared aesthetic experiences. These moments of connection often transcended verbal communication, operating instead through movement, gesture, shared focus, and creative expression. This work represents an important shift in approaching dementia care and research. Instead of viewing people with dementia primarily through the lens of their condition, it suggests we can create environments and opportunities where creative engagement allows new forms of relationship and understanding to emerge.

The Norwegian study follows Basting’s “creative care” approach, representing a paradigm shift in understanding and providing care for people with dementia [4]. At its core, creative care is built on the fundamental belief that imagination, creativity, and meaningful connection remain possible throughout all stages of cognitive change. Rather than focusing on loss and limitation, Basting’s [4] approach emphasises possibility, growth, and shared moments of joy. The foundation of creative care rests on several key elements.

First is the concept of “beautiful questions”—carefully crafted open-ended inquiries that invite people into shared paths of wonder and discovery. Unlike traditional questions that might test memory or cognition, beautiful questions have no right or wrong answers. They create spaces for imagination and meaningful engagement, allowing people to contribute freely from their current capabilities and experiences. Central to this approach is what Basting [4] calls “proof of listening”—the active demonstration that one is genuinely hearing and valuing what the person with dementia communicates. This goes beyond mere attention to echoing, mirroring, and incorporating responses into shared creative experiences. As demonstrated in her work with Dorothy, even when verbal communication is limited, proof of listening can create profound moments of connection and recognition. The concept of “awe” plays a vital role in creative care.

Basting [4] defines awe as an experience of vastness that invites us to reconsider what we know and understand. In care settings, awe emerges through the intersection of creativity, nature, and spiritual practice, creating moments where both care partners and people with dementia can experience something larger than themselves. These moments of awe can reduce anxiety, increase well-being, and create meaningful connections between people.

Basting [4] emphasises transforming care environments into cultural spaces where creativity and beauty are everyday experiences. Rather than limiting creative engagement to scheduled activities, creative care can infuse all moments of daily life, from sharing meals to walking down hallways. This transformation benefits not only people with dementia but also care partners, family members, and staff, creating more fulfilling and meaningful care relationships. Practically, creative care manifests through various artistic modalities—storytelling, theatre, visual arts, and music—but it is important to note that the approach is not about artistic skill or production. Instead, it is about creating agreements between people to imagine themselves and their world differently. This reimagining can happen in grand projects, like the “Wendy’s Neverland” production in Kentucky nursing homes, or intimate moments of shared wonder over simple observations. The impact of creative care extends beyond individual moments of engagement. Research has shown significant reductions in loneliness and isolation among participants, with one programme demonstrating a 41% decrease in loneliness measures [4]. These results suggest that creative care is not just about providing activities or entertainment but about fostering fundamental human connections and maintaining personhood through creative engagement.

Perhaps most importantly, Basting’s [4] approach reminds us that joy and growth remain possible even in the context of cognitive change and loss. Creative care offers a way to maintain meaningful connections and create new ones, challenging traditional narratives about dementia that focus solely on decline. By emphasising creativity, imagination, and shared discovery, creative care opens new possibilities for meaningful engagement that benefit both people living with dementia and those who care for them. The success of this approach in various settings—from nursing homes to family care situations—demonstrates its versatility and potential for widespread implementation. As healthcare systems begin to recognise the importance of addressing social and emotional well-being alongside physical care, creative care offers a proven methodology for enhancing quality of life and maintaining meaningful connections throughout cognitive change.

5. Rethinking Perception, Experience, and Creativity

Manning’s [3] philosophical project represents a radical reimagining of how we understand perception, experience, and creativity in the contemporary world. Through her innovative concepts of “art”, “artfulness”, and “the minor gesture”, Manning [3] challenges traditional understandings of artistic practice and human subjectivity, offering new ways to think about how we engage with and experience the world. At the heart of Manning’s [3] philosophy is a reconceptualisation of “art” not as a product or object but as a way of being in the world. She defines art as “the way”—a process or approach to experience that opens new modes of perception and possibilities for existence. This shifts our understanding from art as a finished product to art as an active, transformative force. This reconceptualisation is crucial for understanding how creative engagement can shape our experience of reality.

‘Artfulness’ emerges from this understanding as a particular quality or state that manifests when art as a process fully unfolds. It represents a form of sensibility or openness to the multiplicity and potential of experience, characterised by attention to subtle nuances and variations in our experiences. Manning [3] describes this as an engagement with “the more-than”—the surplus of potential in any given situation. Perhaps Manning’s [3] most innovative contribution is her concept of “the minor gesture”. These small, often unnoticed movements or tendencies can potentially redirect or transform events. The minor gesture operates in contrast to what Manning [3] calls “the major”—the dominant structures, discourses, and practices that define conventional ways of thinking and acting. This relationship between minor and major is central to her thinking, with the minor representing forces constantly challenging and destabilising established structures.

Manning’s [3] work gives particular attention to the temporal aspects of experience through what she calls “rhythms of the minor”. These rhythms are irregular, spontaneous, and often fleeting, representing moments where habitual patterns break and new possibilities emerge. This temporal understanding is closely linked to her broader conception of movement, which she sees as physical displacement and a fundamental existential condition. Manning’s [3] understanding of experience significantly differs from traditional philosophical approaches. Rather than viewing experience as something that happens to an already constituted subject, Manning [3] sees it as a process through which subjectivity is constantly created and recreated. This perspective emphasises the relational and situated nature of experience, always open to what she terms “the more-than”.

Manning’s [3] concepts have significant epistemological implications, challenging traditional understandings of knowledge as fixed and fully representable. Instead, she proposes a form of “knowing-in-movement”—knowledge that is processual, embodied, and always open to revision. This aligns with contemporary developments in embodied cognition and enactivism, suggesting new ways of understanding how we know and learn. The interrelation between Manning’s [3] concepts reveals a coherent philosophical framework. While “art” represents an overall approach to experience, “artfulness” describes the resulting state or quality, and “the minor gesture” provides the specific manifestation or intervention. Together, these concepts offer a rich vocabulary for discussing the subtle, often overlooked aspects of human experience and engagement with the world. Concerning broader philosophical movements, Manning’s [3] work contributes significantly to posthumanist thinking by decentring the human subject. However, her emphasis on lived, bodily experience provides a distinctive approach that maintains a connection with embodied human experience while challenging anthropocentric assumptions. While Manning’s [3] conceptual framework offers powerful tools for understanding experience and creativity, it also presents certain challenges. Her concepts’ abstract nature and complexity can make them difficult to operationalise in concrete situations.

Nevertheless, their potential applications are vast, offering new ways to think about creativity, innovation, and social change in an era of rapid technological and social transformation. Manning’s [3] work ultimately opens new possibilities for philosophical investigation and practical application. Her concepts invite us to reconsider fundamental questions about experience, creativity, and human potential while offering tools for navigating an increasingly complex and rapidly changing world. Through her philosophical framework, we gain new ways of understanding and engaging with the subtle, transformative aspects of human experience.

6. Art as (A) Way in Creative Care

The concepts of “awe” (Basting) [4] and “minor gestures” (Manning) [3] offer complementary frameworks for understanding creative engagement in dementia care. While Basting [4] describes awe as transformative moments that invite people with dementia into meaningful relationships with the world, Manning’s [3] minor gestures refer to subtle, often overlooked movements and interactions that carry significant potential for change and connection. These concepts intersect particularly well in the realm of creative care. Basting’s [4] awe often emerges through what Manning [3] would identify as minor gestures—small movements, subtle shifts in attention, or seemingly insignificant moments of connection that carry profound importance. For instance, in dementia care settings, a slight turn of the head, a shared glance, or a tentative reach toward an art material might represent what Manning [3] calls “threshold experiences”—moments where new possibilities for relationship and understanding emerge.

The power of this theoretical intersection becomes evident when examining creative encounters. A minor gesture—such as the hesitant dipping of a brush in paint—can open into a moment of awe when it becomes part of a shared artistic experience. Similarly, what Basting [4] would identify as moments of awe often begin with what Manning [3] would recognise as minor gestures: the small, easily overlooked movements and responses that initiate more significant transformations in relationship and understanding. Both concepts challenge traditional approaches to dementia care by emphasising the significance of what might otherwise be dismissed as incidental or unimportant. Manning’s [3] minor gestures help us recognise the importance of subtle interactions that could easily be overlooked in care settings, while Basting’s [4] concept of awe helps us understand how these small moments can expand into transformative experiences of connection and meaning.

In practice, this theoretical intersection suggests the importance of creating environments and opportunities where minor gestures can flourish and potentially develop into moments of awe involving (1) paying attention to subtle forms of communication and response; (2) creating spaces where small movements and interactions are valued; (3) recognising how minor gestures can initiate more significant transformations; (4) understanding how moments of awe often emerge from seemingly insignificant interactions; and (5) appreciating the role of art and creativity in amplifying both minor gestures and experiences of awe. The relationship between these concepts also highlights the temporal aspect of creative care. Manning’s [3] minor gestures often operate in what she calls the “immediacy of the event”, while Basting’s [4] awe suggests a kind of temporal expansion—moments where time seems to stand still or take on new qualities. They offer a rich understanding of how creative engagement can work across different temporal scales in dementia care.

Moreover, both concepts emphasise the relational nature of care and creativity. Manning’s [3] minor gestures are inherently relational, emerging in the spaces between people and things, while Basting’s [4] awe often manifests in moments of shared wonder and connection. This relational emphasis helps us understand how creative care can foster new forms of connection and understanding, even in the context of cognitive change. Understanding the relationship between these concepts can enhance our approach to creative care by (1) highlighting the importance of subtle, easily overlooked interactions; (2) recognising how small gestures can develop into significant moments of connection; (3) appreciating the role of creativity in fostering both minor gestures and experiences of awe; (4) understanding how these interactions can transform care relationships; and (5) suggesting ways to create environments that support both types of experience.

The intersection of Basting’s [4] awe and Manning’s [3] minor gestures offers a rich theoretical framework for understanding and implementing creative care approaches. By recognising how minor gestures can open into moments of awe and how experiences of awe often emerge through minor gestures, we can develop more nuanced and practical approaches to creative engagement in dementia care. This theoretical synthesis suggests the importance of attending to both the subtle and the transformative aspects of creative care, recognising how they work together to create meaningful experiences of connection and understanding.

7. Artful Ageing as (A) Way in Creative Caring

Artful Ageing represents a sophisticated theoretical bridge between Basting’s [4] creative care approach and Manning’s [3] philosophy of minor gestures, offering a new framework for understanding and supporting meaningful experiences in later life. This philosophical synthesis challenges dominant narratives of “successful ageing” by emphasising the significance of small, often overlooked moments and experiences in facilitated care settings.

The connection to Basting’s [4] creative care is evident in Artful Ageing’s emphasis on creative engagement and meaningful moments. Like Basting’s [4] approach, it recognises that meaningful experiences are not limited to organised activities but can emerge in subtle, everyday interactions. However, Artful Ageing [1,2] extends this concept by incorporating Manning’s [3] notion of “minor gestures”—those small, often unnoticed movements or tendencies with transformative potential.

Manning’s [3] influence is particularly apparent in how Artful Ageing [1,2] conceptualises experience. The approach adopts Manning’s [3] understanding of “art-as-practice” and transforms it into “ageing-as-practice,” emphasising the processual and relational nature of ageing experiences. This perspective views ageing not as a series of losses or decline but as ongoing moments of potential transformation and connection. The synthesis is particularly evident in three key areas:

1. Spatial Understanding: Artful Ageing [1,2] incorporates physical and metaphorical spaces, engendering spatial and inclusive dimensions. This dual understanding of space aligns with Basting’s [4] emphasis on creating environments for creative engagement and Manning’s [3] attention to how minor gestures operate within and transform spaces.

2. Experiential Focus: The approach emphasises what Manning [3] terms “autistic perception”—an openness to experience before categorisation—while also incorporating Basting’s [4] emphasis on meaningful engagement. This creates a framework that values structured creative activities and spontaneous moments of connection.

3. Relational Perspective: Like Basting [4] and Manning [3], Artful Ageing [1,2] emphasises the relational nature of experience. It views ageing experiences as emerging through interactions between people, spaces, and materials rather than individual phenomena.

The approach innovates beyond both theoretical foundations by introducing the “emancipatory design” concept—creating physical and social spaces that support planned creative activities and spontaneous, meaningful moments. This practical application helps bridge Manning’s [3] theoretical insights with Basting’s [4] care-focused approach.

Significantly, Artful Ageing [1,2] extends both theoretical frameworks by (1) applying them specifically to ageing contexts; (2) emphasising the importance of both structured and unstructured creative experiences; (3) recognising the role of the physical environment in shaping experience; and (4) acknowledging the need for both stability and novelty in care settings. The synthesis also addresses a key limitation in both original frameworks: while Basting [4] focuses primarily on structured creative engagement and Manning [3] on spontaneous moments of transformation, Artful Ageing [1,2] creates a synthesised framework that values and supports both.

Artful Ageing [1,2] elaborates on Basting’s [4] creative care and Manning’s [3] minor gestures by creating a comprehensive framework that recognises the importance of structured creative engagement and spontaneous, meaningful moments in later life and care facilities. This synthesis offers practical insights for improving creative care while maintaining theoretical sophistication, suggesting new ways to understand and support meaningful experiences in later life. The theoretical bridging could have important implications for practice, suggesting that care environments should be designed to support planned creative activities and spontaneous, meaningful interactions while recognising the significance of minor, often overlooked moments in creating meaningful experiences for older adults [2].

8. The Transformative Potential of Artful Ageing

Artful Ageing [1,2] offers a perspective on lifelong learning that transcends traditional educational frameworks to embrace a more holistic and experiential understanding of learning in later life. Integrating Manning’s [3] concept of “minor gestures” with Basting’s [4] creative care approach, Artful Ageing [1,2] reconceptualises how we understand development and growth throughout the ageing process. At its core, Artful Ageing [1,2] challenges conventional approaches to lifelong learning by emphasising the value of “small ageing experiences”—those subtle moments of discovery, connection, and creative expression that emerge through daily life. Rather than focusing solely on formal education or structured learning programmes, this approach recognises learning as an embodied, relational process that occurs through multiple channels of engagement with the world.

The approach’s emphasis on embodied knowledge represents a significant departure from traditional cognitive-focused learning models. It recognises that learning occurs through mental processes, sensory engagement, creative expression, and physical interaction with the environment. This “knowing-in-movement”, as Manning [3] describes it, validates forms of knowledge that have often been overlooked in conventional educational frameworks. Spatial dimensions play a crucial role in this understanding of learning. Artful Ageing [1,2] emphasises how physical and social spaces shape learning opportunities, advocating for “emancipatory design”—creating environments that support spontaneous discovery and creative engagement. This attention to spatial dynamics recognises that learning environments are not neutral containers but active participants in the learning process.

The relational aspect of learning is particularly emphasised in Artful Ageing [1,2]. Learning is understood not as an individual achievement but as something that emerges through interactions with others, materials, and spaces. This perspective aligns with Manning’s [3] emphasis on relationality and Basting’s [4] focus on creative care, suggesting that meaningful learning occurs through collaborative creative practices and shared experiences. This reconceptualisation of lifelong learning has significant practical implications. It suggests the need for new approaches to programme design that integrate creative practices and emphasise experiential learning. It calls for different ways of understanding and evaluating learning outcomes, moving away from standardised measures to appreciate the significance of qualitative experiences and personal meaning-making. For professionals working with older adults, Artful Ageing [1,2] suggests the importance of developing sensitivity to minor moments and recognising creative potential. It emphasises the need to understand both spatial dynamics and relational aspects of learning, suggesting that successful facilitation of learning requires attention to multiple dimensions of experience. The approach also opens new areas for research and policy development. It invites investigation into informal learning processes, creative engagement in later life, and the influence of spatial and relational factors on learning. Policy implications include the need for greater recognition and support of diverse forms of learning and investment in environments that enable creative engagement.

Perhaps most significantly, Artful Ageing [1,2] challenges predominant narratives about ageing and learning that often focus on decline and loss. Instead, it presents a vision of later life as rich with opportunities for meaningful engagement, creative expression, and ongoing development. This reframing has profound implications for understanding and supporting learning throughout life. The approach suggests that learning in later life is not just about acquiring new skills or knowledge but about creating opportunities for meaningful engagement that recognise and build upon the unique characteristics and potential of ageing. It emphasises the importance of creating environments and opportunities supporting diverse forms of learning and development, acknowledging that learning can occur in structured and spontaneous ways. Artful Ageing [1,2] offers a transformative perspective on lifelong learning that has the potential to significantly impact how we approach education and development in later life. By emphasising the importance of creative engagement, relational experiences, and spatial dynamics, it suggests new ways to create meaningful learning experiences that honour the complexity and richness of ageing. This reimagining of lifelong learning through the lens of Artful Ageing [1,2] provides a valuable framework for developing more inclusive, meaningful, and practical approaches to supporting learning throughout life.

The convergence of Basting’s [4] creative care approach, Manning’s [3] concept of minor gestures, and the emerging framework of Artful Ageing [1,2] represent a significant reimagining of how we understand and support meaningful experiences in later life. This synthesis offers a powerful alternative to traditional biomedical and deficit-focused approaches to ageing and dementia care, emphasising the continuous potential for creativity, connection, and growth instead. At its foundation, creative care, as developed by Basting [4], demonstrates how artistic engagement can transform relationships in dementia care. Her approach emphasises the importance of “beautiful questions” and “proof of listening”—techniques that create opportunities for meaningful connection even when traditional communication becomes challenging. The concept of “awe” plays a central role in this approach, describing moments where participants experience something larger than themselves, creating profound connections that transcend cognitive limitations.

Manning’s [3] philosophical framework of minor gestures complements this approach by drawing attention to the small, often overlooked movements and interactions with significant transformative potential. Her understanding of “art” not as a product but as a process and her emphasis on “knowing-in-movement” provide theoretical grounding for valuing subtle forms of engagement and expression. Artful Ageing [1,2] emerges as a synthesis of these approaches, offering a comprehensive framework that acknowledges both the spatial and inclusive dimensions of ageing experiences. This framework challenges dominant narratives of active ageing by emphasising the importance of small, everyday moments of meaning and connection. It suggests that creativity and growth remain possible throughout life, occurring not just in structured activities but in the subtle interactions of daily life.

When applied to lifelong learning, this synthetic approach suggests new ways of understanding development and education in later life. It moves beyond traditional cognitive-focused models to embrace embodied knowledge, relational learning, and the importance of spatial dynamics. This reconceptualisation emphasises learning as an ongoing process embedded in daily life rather than confined to formal educational settings.

9. The Practical Implications of Artful Ageing

The practical implications of Artful Ageing’s theoretical synthesis can be significant, as they suggest the importance of creating spaces supporting planned creative activities and spontaneous, meaningful interactions in care environments.

1. For practitioners, they emphasise the need to develop sensitivity to subtle moments of connection and to value different forms of expression and engagement.

2. For policymakers, they suggest the need to broaden our understanding of meaningful activity, active ageing, and learning in later life.

This integrated approach also has important implications for understanding and supporting learning throughout life. Rather than focusing solely on cognitive achievement or skill acquisition, it suggests the importance of creating opportunities for creative engagement, relational experiences, and meaningful connection. This broader understanding of learning acknowledges the continuing potential for growth and development in later life, even in the context of cognitive change.

Perhaps most importantly, this synthesis offers a hopeful alternative to prevalent deficit-focused narratives about ageing and dementia. It suggests that meaningful connection, creative expression, and personal growth remain possible throughout life, even in the context of significant challenges. By attending to the small moments of possibility that Manning [3] describes, creating opportunities for the moments of awe that Basting [4] emphasises, and supporting the spatial and inclusive dimensions highlighted in Artful Ageing [1,2], we can create more humane and practical approaches to supporting people in later life.

The intersection of creative care, minor gestures, and Artful Ageing offers a rich theoretical and practical framework for reimagining how we understand and support ageing experiences. This theoretical synthesis suggests new ways of valuing and supporting the continuing potential for meaning, connection, growth, and learning throughout life. The provision of practical guidance for creating environments and interactions that support these possibilities will be further elaborated in future work on implementing Artful Ageing in Danish long-term care facilities.