How do we ensure cultural activities are inclusive?
Let's go
How do we make cultural activities accessible and inclusive?
TOUS stands for ‘Tailoring cultural Offers with and for diverse older Users of Social prescribing.’ It was a study led by researchers from the University of Oxford. The CIRCLE tool (Cultural Inclusion, Reflection, Collaboration, Learning & Practice Engagement) has been developed from what we learnt in the TOUS study. We looked at how cultural groups and organisations can involve older people from global majority (ethnic minority) communities, and the benefits this can bring them. We believe that a lot of what we learnt could be related to other groups that might feel underserved by cultural spaces (e.g. people with a learning disability or visual impairment, people from LGBTQIA+ groups).
Learn more about the TOUS study
Next
Back
What we heard in the TOUS study
Structural Inequalities
Intersectionality
Deming
Usha
Eleanor
Next
Back
Learn more about these three characters
Challenges
Eleanor, Usha and Deming had to navigate different challenges to get to the point of entering a building or space where cultural activities take place. The TOUS study looked at what people told us about these challenges. We used this information to develop the CIRCLE tool to help cultural organisations and groups support people to enter cultural spaces and to keep coming back to them.
Material challenges
Invisible challenges
Logistical challenges
Next
Back
Why is this important for cultural sector organisations and groups?
On the next page, we introduce the CIRCLE tool that is based on information we collected during the TOUS study. Within it, we suggest ways to deliver accessible, inclusive cultural provision. The CIRCLE tool can help cultural groups and organisations engage underserved communities in different ways:
Identify – which communities are being missed and why.
Plan – ways to include them.
Overcome – how to tackle engagement challenges.
Evaluate – track progress.
Fund – support applications to work with underserved groups.
The model is built around three steps,
entering the cultural space
benefits from engaging
staying in it
Next
Back
Staying in the space
Benefits
Entering the space
Longer term benefits
Opportunity
Society
Safety + trust
Personal
Intermediate benefits
Power sharing
Broker
Building relationships over time
Finding meaning
Immediate benefits
Hook
Respite from the everyday
Group reflection prompts
Group reflection prompts
Group reflection prompts
Next
Back
Feedback
Thank you for taking the time to explore the CIRCLE tool and we hope it has benefitted your organisation.
We would love to hear how you’ve used it and any thoughts or feedback.
Get in touch by emailing: info.socialprescribing@phc.ox.ac.uk
Online survey
If you are interested in learning more, please take a look at the research papers that helped inform this interactive tool. Visit: socialprescribing.phc.ox.ac.uk/research/projects/tailoring-cultural-offers-with-and-for-diverse-older-users-of-social-prescribing
Next
Back
Credits & Acknowledgement
Project Team
Co -applicants TOUS study:
- Caroline Potter, Harriet Warburton, Beth McDougall (University of Oxford)
- Kerryn Husk (University of Plymouth)
- Shoba Dawson (University of Sheffield)
- Sofia Vougioukalou (Cardiff University
- Ruthanne Baxter (University of Edinburgh)
Debra Westlake
Stephanie Tierney
Geoff Wong
Our thanks to the organisations, groups and individuals who were involved in the TOUS study and knowledge exchange events that developed this tool for generously sharing their thoughts, time and stories. We would also like to thank our funder: UK Research and Innovation
Kamal R. Mahtani
Jordan Gorenberg
Marta Santillo
Funding StatementThe TOUS study was funded by a grant from UK Research and Innovation (MR/Y010000/1). The views expressed are those of the researchers working on this project. They are not necessarily those of the funder or the researchers’ host institutions.
© 2025 University of Oxford. This software is protected by copyright. Free for non-commercial use only. All other rights reserved.
Back
Material and Physical Circumstances
As people age, they may face changes like reduced mobility, memory loss, or other health challenges. Alongside financial struggles, it can make it even harder for them to take part in cultural activities. These overlapping challenges can increase feelings of exclusion.
Meet Usha
Usha, 65, is from Indian heritage and grew up in a mostly white British city. She loved school, but was often bullied and felt unwelcome at local activities, even though she loved music and dance. Life brought further challenges—family rejection due to marrying outside her community, an unhappy and abusive marriage, and raising four children alone whilst also working long hours in the textile industry. These struggles sometimes weighed heavily on her, leaving her feeling isolated and low. However, she received a lot of love from her children and felt a sense of achievement because she brought them up on her own.
Broker
A trusted person
A broker can help someone try a cultural activity. They might be a friend, family member, neighbour, community member, or social prescriber, often sharing language, culture, or life experience. A broker can introduce an activity, encourage someone to go, or accompany them along the way.
Deming’s daughter saw an advert for a theatre workshop in the city and encouraged him to join, reminding him of his childhood love of acting. Initially hesitant, he felt reassured when he heard that other Chinese community members would attend with support from a community leader and interpreter. He tried it—and loved it.
“And my daughter said, ‘Pap, go to try!’ [Laughter] Because in China, I did some acting or performance during middle school. But because I needed to find a good job, go get good education, and feed the family, I didn’t really think the acting and performance can do that. And so, my daughter said, ‘Go, go there, (if) you need something, financial, anything, I can support you. And I said, ‘I can try. I can try. I told (my community) ‘It amazing here. From there, you not only make some friends and learn something, not only from the theatre structure, but also for daily life, for your experience’.” Site 6, Storyteller 2, Chinese man, elders’ theatre company
Click to listen along
Logistical barriers
For older people from global majority communities, many things make it hard to join in. In the TOUS study people told us travel distance, transport costs, and entry or membership fees were barriers. Some places had poor physical access for those with mobility problems. Language was another barrier – especially when information was not in someone’s first language or when activities did not reflect a person’s culture or faith.
What we heard in the TOUS study
Older people from global majority communities told us it was often hard to join arts and cultural activities because:
- Past racism or exclusion made them feel unsafe or unwelcome
- They lacked money, time, or transport
- They did not see people from their own communities in these spaces, so it felt they were “not for me”
Building relationships over time
Intermediate benefits
When older people return to cultural activities, they don’t just join in—they build lasting bonds. Friendships grow, support networks form, and a deeper sense of community takes shape. For many, these connections matter as much as the activity itself.
Eleanor has now tried painting and drawing, along with singing and music. She treasures the companionship, which helps ease her loneliness, and looks forward to the weekly meetings. Group members often check in on her with phone calls during the week.
“(It’s) like we are one body together, it’s this togetherness, it means quite a lot to me and it’s extremely important because I’ve never come across any prejudice, nothing like that, because I expected that, but it’s nothing of the sort.” Site 1, Storyteller 4, Black British woman, participant in community arts and theatre programme
Click to listen along
Hook
A reason to join
A hook is what draws someone into a cultural space or activity. It might be something familiar to them, like knitting, singing, or dancing—or something new and exciting, like acting or learning a creative skill. A trusted broker often knows what will spark interest for that person and encourages them to join in.
Although Eleanor had lived a busy life and rarely made time for creative activities, she always enjoyed singing in church. After a fall in church, just after the pandemic, when she felt particularly isolated, a social prescriber at her doctor’s surgery suggested she try a singing group at the local museum. Accustomed to religious music, she was surprised—and delighted—by the variety and was swept up by the group’s enthusiasm. There she discovered crafts, poetry writing and drumming as well.
“Because even to step into a place is incredibly hard […] one of our long-term partners has a real focus on West African drumming and dance movement, and that attracted new members to the group from those backgrounds. Then we have our choir facilitator, who brings people's cultural backgrounds into the sessions, which I think’s really key for people to feel heard and listened to.” Site 1, Storyteller 6, White British woman, producer, community arts and theatre group
Click to listen along
Power sharing
Shaping what happens
Power sharing means that individuals’ voices matter, and can make a difference. It involves creating space for participants to help shape what happens. This can look like:
“We try to let the members own the group collectively. We have meetings where we let everybody know what’s coming up and get their votes on what they think about it. There’s a bank account that they have access to, to manage the funds how they want. If there are activities they want to try, we try and get an artist in. Being in the café space it’s also very visible. Very much just members of the public using a community cafe.” Site 1, Storyteller 9, White British woman, engagement coordinator, community theatre
- Choosing the music or activities
- Sharing personal stories that help shape a performance or project
- Taking the lead—as a volunteer, organiser, or creative contributor
- Giving feedback that is listened to and acted on
At one study site a monthly meeting was held where members were invited to give their views on the programme of activities, music and dance choices and how to involve the local community.
Some organisations do this informally, while others hold regular meetings.
Click to listen along
Reflect as a team
Enabling people to take the first step
Top tip!
1. Opportunity What makes participation possible — and is this the right time?
2. Broker Who makes the
connection possible?
3. Hook What sparks initial interest?
Prompt for reflection: What made it possible for people to take part now — and what might need to change for them to come back in the future?
Prompt for reflection: Who helped bring people through the door, and what made them trusted?
Prompt for reflection: What was the spark that got people interested, and did it feel authentic?
Wider society
Longer term benefits: lasting changes
Creative activities can shift how families, friends, and communities see someone. The TOUS study highlighted that taking part in cultural activities can challenge negative views about ageing, ethnicity, gender, or faith—and instead highlight the strengths, talents, and value older people bring to society. This makes older people and their families feel a sense of inclusion and pride.
Usha rediscovered her love of dance and music. The group she was involved with met to move, laugh, and share their lives. Because she speaks Urdu, Hindi and English, she helped other women to join in. She even organised a festival, bringing together songs and dances from different cultures. She was proud to stand up for herself and other older people—and was excited for her grandchildren to see her on stage.
“Just because our South Asian community is a minority they should not be neglected. So, if we ask them to tell their views, to tell how they feel, they will feel like more inclusive environment around the community. I think because our culture is totally different and they want to keep their roots, they want to keep their culture whatever it is.” Site 6, Storyteller 9, Pakistani woman, Community development worker
Click to listen along
Reflect as a team
Benefits of Cultural Participation
Top tip!
1. Connection and Belonging Do people feel recognised, welcomed, and part of something?
2. Respite and Release Do activities offer people space for enjoyment, to talk about their experiences, or feel free from everyday pressures?
3. Creativity and Learning Do people gain confidence or feel pride through creating and learning?
4. Relationships Over Time Are we helping people build and sustain friendships or networks?
5. Lasting Change and Growth Do people see themselves differently — as creative, capable, or confident to try new things?
6. Wider Impact Does participation challenge stereotypes and highlight people’s strengths?
Opportunity
The right time
Opportunity is when the moment feels right to join in—whether through personal readiness or a life change like retirement or the end of caring duties. Organisations can help create opportunity too, by removing barriers such as offering transport, or running activities in places people are familiar with and at flexible times.
Usha cared for her children, then her grandchildren for many years. After she retired and the grandchildren were grown up, she felt a bit lost. The leader of a South Asian women’s group at her local library invited her to a Bollywood workshop. She was a little nervous, but the leader welcomed her at the library door for the first session.
“I lost me a long time ago, but that workshop made me wake up… now I think it’s time for me. I feel now I want to be out of the house. I used to be at home for my children, for the house, for my grandchildren. Now it is my time. I think now it is my time to do something, to see where I am. There is something inside me – I want to build my confidence.” Site 5, Storyteller 8, British Iraqi woman, participant and volunteer at a women’s centre
Click to listen along
Reflect as a team
Enabling people to keep coming back
Top tip!
1. Safety and Trust Do people feel respected and emotionally safe?
2. Power Sharing Are participants' voices heard?
3. Meaning Are activities relevant and important to participants?
Prompt for reflection: When did people show that they felt safe and comfortable to be themselves here?
Prompt for reflection: Where did participants lead, decide, or influence — and how did that change the outcome?
Prompt for reflection: What made this experience meaningful for the people involved — and how do we know?
Structural Inequalities
Structural inequalities are unfair rules or systems built into society. These give more power to some groups and fewer chances to others.
Meet Deming
Deming is a 68-year-old man who described his childhood in China as “very sad.” His grandfather took his own life. He loved acting and creative activities at school. However, focusing on education, work and family responsibilities were the values pressed upon him and he set these interests aside. His early experiences left a deep mark, making him vulnerable to periods of depression, which became especially difficult during the pandemic after losing his wife and several close friends.
Invisible Barriers
In the TOUS study, people found there were invisible barriers that were hard to explain, and which were sometimes even more difficult to overcome than logistical things. These included:
- Not seeing your culture represented
- Fear of discrimination
- Language or communication problems
- Hidden ideas about who belongs
Even when materials are translated, they may not match the community’s style, values, or way of telling stories. This can make them feel less relevant. Some spaces also assume people share the same background, education, or culture. This can make others feel out of place or excluded.
Respite from the everyday
Immediate benefits
People can benefit from cultural activities, even after just one session. For some people short engagement is enough. Information from the TOUS study highlighted three key ways that cultural participation can make an immediate difference:
"Because of my time commitments, I might not continue with the theatre stuff. When you’re talking to someone that you can trust, you can let your hair down a little bit, and that takes a little burden off your chest. I do knitting and sewing groups which have helped me mentally. If theatres, museums or libraries want to get more Asian women involved, it’s good to get everyone sitting together. Somebody’s knitting, somebody’s sewing, somebody’s doing crochet, they’re talking and having a cup of tea and that way they’re all having good communication, plus they’re doing their work.” Site 6, Storyteller 7, Pakistani woman, community theatre project
Usha described how meaningful activities helped her feel more connected, and more valued. She was not sure she could commit long term to all the activities on offer, but had felt the benefit of being involved straight away.
- Connection and Belonging – Feeling welcome, making friends, seeing their culture valued
- Respite and Release – A break from loneliness, stress and pressures
- Enjoyment of Creativity and Learning – Building confidence, skills, and self-expression
Click to listen along
Intersectionality
Intersectionality means people can face more than one type of unfairness at the same time. For example, someone might experience discrimination not just because of their age, but also because of other parts of who they are—like their ethnicity, gender, or disability. These overlapping parts of identity can affect how people are treated and how they experience daily life. Why It Matters... Looking at people in this way helps us to:
- See the barriers they face
- Build spaces where everyone feels welcome
- Notice unfair systems in society
Meet Eleanor
Eleanor is a 90-year-old Black African woman. At 14, she was sent to England to work for a family her parents knew. She was mistreated and forced into domestic labour. Homesick and struggling, she was eventually taken in by a kind woman from her church, who gave her bed and board so she could finish her education. Eleanor went on to build a career as a legal secretary, often defending herself against prejudice and harassment. She travelled widely, earned promotions, and was divorced in her thirties.
Personal growth
Longer term benefits: lasting changes
“The impact is very positive for me. I’m more confident to explore opportunity, to take part in projects. It enhance(s) my mood. I’m happier. When I come from home to the tram station it’s ten minutes of walking and I also do exercise in Tai Chi every day. Before, I’m a bit lazy. When you focus your attention on a subject, you can forget everything. Make your mind calm and clear. This is in Chinese called ‘Zen.’ Another factor, because of the painting, you keep your hand and your brain active, the nerves. Another factor is creativity. If you make something new, this allows your mind to expand. It makes your brain active and alert. Another factor is you need to exchange your opinion with others. Collaborate. So it's quite a number of factors.” Site 6, Storyteller 2, Chinese man, elders theatre company
People may gain self-esteem and confidence, and a stronger sense of identity through repeated engagement with cultural provision. They might explore new parts of themselves, seeing themselves as artists, creatives, or leaders. In the TOUS study, we found one positive experience can act as a ‘springboard’—boosting confidence and opening the door to other types of creative activities or wider engagement with a community.
Through the workshops, Deming gained confidence in his creativity and social skills. He explored acting, set design, and poetry, returned to calligraphy and Tai Chi, and became more physically active to stay fit for performance. These activities helped calm his mind, distracted him from worries, and brought renewed energy and stimulation.
Click to listen along
This is how we did the study:
Observation
Stories
Interviews
We have developed this tool – called CIRCLE (Cultural Inclusion, Reflection, Collaboration, Learning and Engagement) – from what we learnt in the TOUS study.
Safety and trust
Relationships and respect
Safety is about people feeling comfortable and secure. Trust develops over time through genuine relationships with facilitators, artists, and other participants.
For many older people from global majority communities, trust was essential before they could take part. What helps build safety and trust:
“I think first of all, you know, to create a safe space, you need to feel safe. And one of the ways that you can feel safe is if you trust the facilitator, trust not just the facilitator, but trust the people around you as well. They can use things that are familiar, you know, foods and colours and situations that would be familiar in their growing up, you know, plants, and flowers, and herbs.” Site 2 , P2 interview, Black British woman, manager, older person’s day centre
At the theatre group where Deming participated, a safe spaces statement was read out at sessions. It explained that everyone has a right to be respected in an environment free from bullying and harassment. In addition, interpreting was provided and photos showed different heritage groups participating.
- Spaces that reflect and respect people’s culture — through music, language, food, or images.
- Details that show inclusion— such as women-only sessions for some groups.
- Visible cultural markers — like signs or materials in different languages — help people feel seen and respected.
Click to listen along
Meaning
Connecting with identities
Cultural activities need to be more than enjoyable — they must feel meaningful and personally relevant. Meaning often relates to people’s lives, values, and identities, shaping why they take part and what keeps them engaged. What helps create meaning:
"But what we hadn’t realised before we set out on this [museum activity] was that there’s actually quite a high Afro-Caribbean population in that area across the road, but they had never ever engaged with the museum. One of the guys that comes regularly now, lived across the road for 50 years and had never been in the museum! To me that is one of the really important markers of success, because they’ve never felt welcome, it’s never felt like a place for them before. But now we’re offering them something that they want, they’re able to come and make it their home." Site 4, P1 interview, White British woman, museum manager
- Activities that reflect people’s heritage, traditions, and languages help them feel recognised and valued
- A sense of purpose or routine — give something to look forward to and feel part of each week
- Facilitators who understand and respect cultural and faith values, adapting activities to fit people’s lives
- Spaces that honour and celebrate identity, creating pride and connection through shared stories or creativity
At one museum the manager found that by enabling a local organisation to lead drumming sessions, African-Caribbean community members started to come along to weekly sessions. They then collaborated together to develop a full programme of different activities.
Click to listen along
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Transcript
How do we ensure cultural activities are inclusive?
Let's go
How do we make cultural activities accessible and inclusive?
TOUS stands for ‘Tailoring cultural Offers with and for diverse older Users of Social prescribing.’ It was a study led by researchers from the University of Oxford. The CIRCLE tool (Cultural Inclusion, Reflection, Collaboration, Learning & Practice Engagement) has been developed from what we learnt in the TOUS study. We looked at how cultural groups and organisations can involve older people from global majority (ethnic minority) communities, and the benefits this can bring them. We believe that a lot of what we learnt could be related to other groups that might feel underserved by cultural spaces (e.g. people with a learning disability or visual impairment, people from LGBTQIA+ groups).
Learn more about the TOUS study
Next
Back
What we heard in the TOUS study
Structural Inequalities
Intersectionality
Deming
Usha
Eleanor
Next
Back
Learn more about these three characters
Challenges
Eleanor, Usha and Deming had to navigate different challenges to get to the point of entering a building or space where cultural activities take place. The TOUS study looked at what people told us about these challenges. We used this information to develop the CIRCLE tool to help cultural organisations and groups support people to enter cultural spaces and to keep coming back to them.
Material challenges
Invisible challenges
Logistical challenges
Next
Back
Why is this important for cultural sector organisations and groups?
On the next page, we introduce the CIRCLE tool that is based on information we collected during the TOUS study. Within it, we suggest ways to deliver accessible, inclusive cultural provision. The CIRCLE tool can help cultural groups and organisations engage underserved communities in different ways:
Identify – which communities are being missed and why.
Plan – ways to include them.
Overcome – how to tackle engagement challenges.
Evaluate – track progress.
Fund – support applications to work with underserved groups.
The model is built around three steps,
entering the cultural space
benefits from engaging
staying in it
Next
Back
Staying in the space
Benefits
Entering the space
Longer term benefits
Opportunity
Society
Safety + trust
Personal
Intermediate benefits
Power sharing
Broker
Building relationships over time
Finding meaning
Immediate benefits
Hook
Respite from the everyday
Group reflection prompts
Group reflection prompts
Group reflection prompts
Next
Back
Feedback
Thank you for taking the time to explore the CIRCLE tool and we hope it has benefitted your organisation.
We would love to hear how you’ve used it and any thoughts or feedback.
Get in touch by emailing: info.socialprescribing@phc.ox.ac.uk
Online survey
If you are interested in learning more, please take a look at the research papers that helped inform this interactive tool. Visit: socialprescribing.phc.ox.ac.uk/research/projects/tailoring-cultural-offers-with-and-for-diverse-older-users-of-social-prescribing
Next
Back
Credits & Acknowledgement
Project Team
Co -applicants TOUS study:
Debra Westlake
Stephanie Tierney
Geoff Wong
Our thanks to the organisations, groups and individuals who were involved in the TOUS study and knowledge exchange events that developed this tool for generously sharing their thoughts, time and stories. We would also like to thank our funder: UK Research and Innovation
Kamal R. Mahtani
Jordan Gorenberg
Marta Santillo
Funding StatementThe TOUS study was funded by a grant from UK Research and Innovation (MR/Y010000/1). The views expressed are those of the researchers working on this project. They are not necessarily those of the funder or the researchers’ host institutions.
© 2025 University of Oxford. This software is protected by copyright. Free for non-commercial use only. All other rights reserved.
Back
Material and Physical Circumstances
As people age, they may face changes like reduced mobility, memory loss, or other health challenges. Alongside financial struggles, it can make it even harder for them to take part in cultural activities. These overlapping challenges can increase feelings of exclusion.
Meet Usha
Usha, 65, is from Indian heritage and grew up in a mostly white British city. She loved school, but was often bullied and felt unwelcome at local activities, even though she loved music and dance. Life brought further challenges—family rejection due to marrying outside her community, an unhappy and abusive marriage, and raising four children alone whilst also working long hours in the textile industry. These struggles sometimes weighed heavily on her, leaving her feeling isolated and low. However, she received a lot of love from her children and felt a sense of achievement because she brought them up on her own.
Broker
A trusted person
A broker can help someone try a cultural activity. They might be a friend, family member, neighbour, community member, or social prescriber, often sharing language, culture, or life experience. A broker can introduce an activity, encourage someone to go, or accompany them along the way.
Deming’s daughter saw an advert for a theatre workshop in the city and encouraged him to join, reminding him of his childhood love of acting. Initially hesitant, he felt reassured when he heard that other Chinese community members would attend with support from a community leader and interpreter. He tried it—and loved it.
“And my daughter said, ‘Pap, go to try!’ [Laughter] Because in China, I did some acting or performance during middle school. But because I needed to find a good job, go get good education, and feed the family, I didn’t really think the acting and performance can do that. And so, my daughter said, ‘Go, go there, (if) you need something, financial, anything, I can support you. And I said, ‘I can try. I can try. I told (my community) ‘It amazing here. From there, you not only make some friends and learn something, not only from the theatre structure, but also for daily life, for your experience’.” Site 6, Storyteller 2, Chinese man, elders’ theatre company
Click to listen along
Logistical barriers
For older people from global majority communities, many things make it hard to join in. In the TOUS study people told us travel distance, transport costs, and entry or membership fees were barriers. Some places had poor physical access for those with mobility problems. Language was another barrier – especially when information was not in someone’s first language or when activities did not reflect a person’s culture or faith.
What we heard in the TOUS study
Older people from global majority communities told us it was often hard to join arts and cultural activities because:
Building relationships over time
Intermediate benefits
When older people return to cultural activities, they don’t just join in—they build lasting bonds. Friendships grow, support networks form, and a deeper sense of community takes shape. For many, these connections matter as much as the activity itself.
Eleanor has now tried painting and drawing, along with singing and music. She treasures the companionship, which helps ease her loneliness, and looks forward to the weekly meetings. Group members often check in on her with phone calls during the week.
“(It’s) like we are one body together, it’s this togetherness, it means quite a lot to me and it’s extremely important because I’ve never come across any prejudice, nothing like that, because I expected that, but it’s nothing of the sort.” Site 1, Storyteller 4, Black British woman, participant in community arts and theatre programme
Click to listen along
Hook
A reason to join
A hook is what draws someone into a cultural space or activity. It might be something familiar to them, like knitting, singing, or dancing—or something new and exciting, like acting or learning a creative skill. A trusted broker often knows what will spark interest for that person and encourages them to join in.
Although Eleanor had lived a busy life and rarely made time for creative activities, she always enjoyed singing in church. After a fall in church, just after the pandemic, when she felt particularly isolated, a social prescriber at her doctor’s surgery suggested she try a singing group at the local museum. Accustomed to religious music, she was surprised—and delighted—by the variety and was swept up by the group’s enthusiasm. There she discovered crafts, poetry writing and drumming as well.
“Because even to step into a place is incredibly hard […] one of our long-term partners has a real focus on West African drumming and dance movement, and that attracted new members to the group from those backgrounds. Then we have our choir facilitator, who brings people's cultural backgrounds into the sessions, which I think’s really key for people to feel heard and listened to.” Site 1, Storyteller 6, White British woman, producer, community arts and theatre group
Click to listen along
Power sharing
Shaping what happens
Power sharing means that individuals’ voices matter, and can make a difference. It involves creating space for participants to help shape what happens. This can look like:
“We try to let the members own the group collectively. We have meetings where we let everybody know what’s coming up and get their votes on what they think about it. There’s a bank account that they have access to, to manage the funds how they want. If there are activities they want to try, we try and get an artist in. Being in the café space it’s also very visible. Very much just members of the public using a community cafe.” Site 1, Storyteller 9, White British woman, engagement coordinator, community theatre
At one study site a monthly meeting was held where members were invited to give their views on the programme of activities, music and dance choices and how to involve the local community.
Some organisations do this informally, while others hold regular meetings.
Click to listen along
Reflect as a team
Enabling people to take the first step
Top tip!
1. Opportunity What makes participation possible — and is this the right time?
2. Broker Who makes the connection possible?
3. Hook What sparks initial interest?
Prompt for reflection: What made it possible for people to take part now — and what might need to change for them to come back in the future?
Prompt for reflection: Who helped bring people through the door, and what made them trusted?
Prompt for reflection: What was the spark that got people interested, and did it feel authentic?
Wider society
Longer term benefits: lasting changes
Creative activities can shift how families, friends, and communities see someone. The TOUS study highlighted that taking part in cultural activities can challenge negative views about ageing, ethnicity, gender, or faith—and instead highlight the strengths, talents, and value older people bring to society. This makes older people and their families feel a sense of inclusion and pride.
Usha rediscovered her love of dance and music. The group she was involved with met to move, laugh, and share their lives. Because she speaks Urdu, Hindi and English, she helped other women to join in. She even organised a festival, bringing together songs and dances from different cultures. She was proud to stand up for herself and other older people—and was excited for her grandchildren to see her on stage.
“Just because our South Asian community is a minority they should not be neglected. So, if we ask them to tell their views, to tell how they feel, they will feel like more inclusive environment around the community. I think because our culture is totally different and they want to keep their roots, they want to keep their culture whatever it is.” Site 6, Storyteller 9, Pakistani woman, Community development worker
Click to listen along
Reflect as a team
Benefits of Cultural Participation
Top tip!
1. Connection and Belonging Do people feel recognised, welcomed, and part of something?
2. Respite and Release Do activities offer people space for enjoyment, to talk about their experiences, or feel free from everyday pressures?
3. Creativity and Learning Do people gain confidence or feel pride through creating and learning?
4. Relationships Over Time Are we helping people build and sustain friendships or networks?
5. Lasting Change and Growth Do people see themselves differently — as creative, capable, or confident to try new things?
6. Wider Impact Does participation challenge stereotypes and highlight people’s strengths?
Opportunity
The right time
Opportunity is when the moment feels right to join in—whether through personal readiness or a life change like retirement or the end of caring duties. Organisations can help create opportunity too, by removing barriers such as offering transport, or running activities in places people are familiar with and at flexible times.
Usha cared for her children, then her grandchildren for many years. After she retired and the grandchildren were grown up, she felt a bit lost. The leader of a South Asian women’s group at her local library invited her to a Bollywood workshop. She was a little nervous, but the leader welcomed her at the library door for the first session.
“I lost me a long time ago, but that workshop made me wake up… now I think it’s time for me. I feel now I want to be out of the house. I used to be at home for my children, for the house, for my grandchildren. Now it is my time. I think now it is my time to do something, to see where I am. There is something inside me – I want to build my confidence.” Site 5, Storyteller 8, British Iraqi woman, participant and volunteer at a women’s centre
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Reflect as a team
Enabling people to keep coming back
Top tip!
1. Safety and Trust Do people feel respected and emotionally safe?
2. Power Sharing Are participants' voices heard?
3. Meaning Are activities relevant and important to participants?
Prompt for reflection: When did people show that they felt safe and comfortable to be themselves here?
Prompt for reflection: Where did participants lead, decide, or influence — and how did that change the outcome?
Prompt for reflection: What made this experience meaningful for the people involved — and how do we know?
Structural Inequalities
Structural inequalities are unfair rules or systems built into society. These give more power to some groups and fewer chances to others.
Meet Deming
Deming is a 68-year-old man who described his childhood in China as “very sad.” His grandfather took his own life. He loved acting and creative activities at school. However, focusing on education, work and family responsibilities were the values pressed upon him and he set these interests aside. His early experiences left a deep mark, making him vulnerable to periods of depression, which became especially difficult during the pandemic after losing his wife and several close friends.
Invisible Barriers
In the TOUS study, people found there were invisible barriers that were hard to explain, and which were sometimes even more difficult to overcome than logistical things. These included:
Even when materials are translated, they may not match the community’s style, values, or way of telling stories. This can make them feel less relevant. Some spaces also assume people share the same background, education, or culture. This can make others feel out of place or excluded.
Respite from the everyday
Immediate benefits
People can benefit from cultural activities, even after just one session. For some people short engagement is enough. Information from the TOUS study highlighted three key ways that cultural participation can make an immediate difference:
"Because of my time commitments, I might not continue with the theatre stuff. When you’re talking to someone that you can trust, you can let your hair down a little bit, and that takes a little burden off your chest. I do knitting and sewing groups which have helped me mentally. If theatres, museums or libraries want to get more Asian women involved, it’s good to get everyone sitting together. Somebody’s knitting, somebody’s sewing, somebody’s doing crochet, they’re talking and having a cup of tea and that way they’re all having good communication, plus they’re doing their work.” Site 6, Storyteller 7, Pakistani woman, community theatre project
Usha described how meaningful activities helped her feel more connected, and more valued. She was not sure she could commit long term to all the activities on offer, but had felt the benefit of being involved straight away.
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Intersectionality
Intersectionality means people can face more than one type of unfairness at the same time. For example, someone might experience discrimination not just because of their age, but also because of other parts of who they are—like their ethnicity, gender, or disability. These overlapping parts of identity can affect how people are treated and how they experience daily life. Why It Matters... Looking at people in this way helps us to:
Meet Eleanor
Eleanor is a 90-year-old Black African woman. At 14, she was sent to England to work for a family her parents knew. She was mistreated and forced into domestic labour. Homesick and struggling, she was eventually taken in by a kind woman from her church, who gave her bed and board so she could finish her education. Eleanor went on to build a career as a legal secretary, often defending herself against prejudice and harassment. She travelled widely, earned promotions, and was divorced in her thirties.
Personal growth
Longer term benefits: lasting changes
“The impact is very positive for me. I’m more confident to explore opportunity, to take part in projects. It enhance(s) my mood. I’m happier. When I come from home to the tram station it’s ten minutes of walking and I also do exercise in Tai Chi every day. Before, I’m a bit lazy. When you focus your attention on a subject, you can forget everything. Make your mind calm and clear. This is in Chinese called ‘Zen.’ Another factor, because of the painting, you keep your hand and your brain active, the nerves. Another factor is creativity. If you make something new, this allows your mind to expand. It makes your brain active and alert. Another factor is you need to exchange your opinion with others. Collaborate. So it's quite a number of factors.” Site 6, Storyteller 2, Chinese man, elders theatre company
People may gain self-esteem and confidence, and a stronger sense of identity through repeated engagement with cultural provision. They might explore new parts of themselves, seeing themselves as artists, creatives, or leaders. In the TOUS study, we found one positive experience can act as a ‘springboard’—boosting confidence and opening the door to other types of creative activities or wider engagement with a community.
Through the workshops, Deming gained confidence in his creativity and social skills. He explored acting, set design, and poetry, returned to calligraphy and Tai Chi, and became more physically active to stay fit for performance. These activities helped calm his mind, distracted him from worries, and brought renewed energy and stimulation.
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This is how we did the study:
Observation
Stories
Interviews
We have developed this tool – called CIRCLE (Cultural Inclusion, Reflection, Collaboration, Learning and Engagement) – from what we learnt in the TOUS study.
Safety and trust
Relationships and respect
Safety is about people feeling comfortable and secure. Trust develops over time through genuine relationships with facilitators, artists, and other participants. For many older people from global majority communities, trust was essential before they could take part. What helps build safety and trust:
“I think first of all, you know, to create a safe space, you need to feel safe. And one of the ways that you can feel safe is if you trust the facilitator, trust not just the facilitator, but trust the people around you as well. They can use things that are familiar, you know, foods and colours and situations that would be familiar in their growing up, you know, plants, and flowers, and herbs.” Site 2 , P2 interview, Black British woman, manager, older person’s day centre
At the theatre group where Deming participated, a safe spaces statement was read out at sessions. It explained that everyone has a right to be respected in an environment free from bullying and harassment. In addition, interpreting was provided and photos showed different heritage groups participating.
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Meaning
Connecting with identities
Cultural activities need to be more than enjoyable — they must feel meaningful and personally relevant. Meaning often relates to people’s lives, values, and identities, shaping why they take part and what keeps them engaged. What helps create meaning:
"But what we hadn’t realised before we set out on this [museum activity] was that there’s actually quite a high Afro-Caribbean population in that area across the road, but they had never ever engaged with the museum. One of the guys that comes regularly now, lived across the road for 50 years and had never been in the museum! To me that is one of the really important markers of success, because they’ve never felt welcome, it’s never felt like a place for them before. But now we’re offering them something that they want, they’re able to come and make it their home." Site 4, P1 interview, White British woman, museum manager
At one museum the manager found that by enabling a local organisation to lead drumming sessions, African-Caribbean community members started to come along to weekly sessions. They then collaborated together to develop a full programme of different activities.
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