About Cultural Mediation

Cultural mediation can be understood through the lens of sociocultural theory, which emphasises that human thinking develops through social interaction and the use of cultural tools such as language, symbols, and artistic expression.

In the context of art and cultural mediation, these tools are not limited to words – they also include images, movement, storytelling, and shared experiences. Meaning is not created individually; it emerges through dialogue – between participants, artworks, and the mediator.

Rather than transmitting knowledge, the mediator creates conditions for reflection, interpretation, and connection. In this sense, cultural mediation supports processes similar to what has been described in research as internalisation – when shared experiences gradually become personal understanding.

This perspective highlights the role of art not only as an object, but as a space for thinking, relating, and collectively making sense of the world.

Source: Science(s) en Occitanie

This MeWell podcast episode explores the meeting point between art, science, technology, and society. It reflects on how artists, researchers, and cultural mediators can work together to make complex scientific ideas more accessible, imaginative, and open to public dialogue.

The episode looks at examples of art-science collaborations, including projects involving artificial intelligence, robotics, sound mediation, and interdisciplinary residencies. It highlights how cultural mediation can create bridges between different forms of knowledge and support audiences in engaging with uncertainty, creativity, and critical reflection.

When we speak about wellbeing, we often speak in simplified terms. We ask whether people feel happy, satisfied, positive, or emotionally balanced. These are important questions, but they may not be enough. Carol Ryff’s influential 1989 article challenged exactly this narrow understanding of wellbeing and argued that psychological wellbeing is much broader than happiness or life satisfaction alone .

For those of us working in cultural mediation and adult learning, this insight remains deeply relevant. If culture is to contribute to wellbeing, then its role cannot be limited to entertainment, distraction, or temporary emotional uplift. Cultural experiences can also support meaning, connection, growth, dignity, and agency.

Beyond Happiness

House of Memories is a unique education programme created by National Museums Liverpool to help museums across the UK, and beyond, support people living with dementia. It’s our mission to help people live well with dementia and it’s a job I’m incredibly passionate about.

A new approach to dementia care

When House of Memories began in 2012, it was unusual for a museum to take a direct and active interest in the lives of people living with dementia, particularly with the goal of developing digital resources and training for families and care providers.

What do railways, forests, Eurovision, and old suitcases have in common? On the surface, not much. But for people living with dementia in Liverpool—and increasingly around the world—these seemingly ordinary touchpoints are proving to be extraordinary tools for connection, memory, and care.

This is the insight driving House of Memories, a dementia awareness programme from National Museums Liverpool. Since 2012, the initiative has turned museums into something more than repositories of the past: they have become engines of empathy, bridges between health and culture, and laboratories for testing what happens when you place personal history at the heart of care.

Why Museums?

In many Western models of wellbeing, there’s a persistent idea that our needs follow a straight line—from survival to fulfillment. This belief, rooted in psychologist Abraham Maslow’s “Hierarchy of Needs,” suggests that we must secure “basic needs” like food, shelter, and safety before we can truly experience “higher needs” like belonging, creativity, or purpose. This hierarchy has been used by policymakers, funders, and health experts alike as a kind of priority list for deciding how to address individual and social problems.

In many ways, this pyramid framework is comforting, offering an orderly, clear starting point to build upon. But real life is rarely that linear. As we’ve seen in recent years, health and wellbeing are deeply interconnected. In reality, human life looks less like a hierarchical pyramid and more like a holistic pie. We live webs of relationships, conditions, and experiences that contribute to our overall wellbeing.

Consider the person juggling multiple jobs who lacks time for rest or connection, versus an entrepreneur embracing financial uncertainty in pursuit of a dream. Or someone living with chronic illness, whose life falls outside of conventional definitions of health and productivity. Are these lives less “actualized” because they don’t fit the pyramid? What about individuals living in poverty or navigating systematic barriers—are they less entitled to purpose, expression, or joy?

How can the Van Gogh Museum remain accessible for the growing group of elderly people in the Netherlands? This is the key question addressed by the Age Friendly Van Gogh Museum programme.

The Van Gogh Museum is dedicated to being accessible to everyone, and inclusion is the primary concern. The museum’s inclusion policy is geared towards young people, young residents of Amsterdam, people with a physical disability and the growing group of elderly people in the Netherlands. In addition to focusing on the group of active over-70s, in recent years, the museum has also turned its attention specifically to vulnerable elderly people. It can be difficult for this group of people to experience art independently.

Inclusion for the elderly

This special day is designed for seniors who face challenges in experiencing art independently, connecting them with the work and life of Vincent van Gogh. Through this collaboration, Hyundai and the Van Gogh Museum aim to improve accessibility at the museum.

Connection Day

Connection Day is more than just a museum visit: it offers a meaningful moment of contact for seniors who are often sidelined due to physical or social limitations. Feelings of loneliness are particularly common during the summer months, when friends and family are often on holiday, and many community groups and clubs close their doors.

From Amsterdam to Liverpool and Brussels to Montreal, creative aging activities in cultural institutions are changing older adults’ relationships to art and to museums, and paving the way for wider recognition and support for older adult creativity.

Museum leaders the world over are realizing that creative aging’s intersection with public health, community planning, and participatory arts is a powerful and positive catalyst for change in the cultural sector.

The impact of private funding on creative aging in the US and UK

The Victoria and Albert Museum in South Kensington is setting an inspiring precedent for how museums can support people living with dementia.

In a recent conference presentation for the Museums, Health & Well-Being Summit, Abigail Perry, Polly Harknett and Holly Power—representing the learning, interpretation, and audience insights teams—shared the museum’s efforts to deliver meaningful dementia-friendly programming and redesign gallery spaces to be more accessible.

This initiative highlights the transformative role museums can play in fostering wellbeing and inclusivity.

Supporting the work of contemporary artists has always been integral to the mission of the V&A: to champion creativity and inspire makers, creators and innovators everywhere. Since 1869—when the V&A’s first Director Henry Cole offered an onsite studio to the pioneering photographer Julia Margaret Cameron—the museum has hosted over 70 artists in residence.

The Adobe Creative Residency Programme at the V&A was initiated in 2024. Each year, three artists spend 12 months in residence in dedicated studios onsite at the V&A South Kensington. They take inspiration from the world-class collection and collaborate with the Learning Team to expand public programming with schools, young people, and families. The residencies bring making into the core of the museum, and gives artists and creators unprecedented access, with the opportunity to display their work at the V&A at the end of the programme.

Ciara (left) sitting on one of her ceramic stools. In the joyful form of a jelly mould, they provide a place for rest and conversation. Ciara’s work uses the ‘nerikomi’ technique of layering coloured clays to create vibrant patterns. Photos by Ciara Neufeldt.

Worldwide, the general population is getting older. In EU countries, for example, 19.2 per cent of the population was over the age of 65 in 2016. This is an increase of 2.4 per cent since 2006. There are also more people living over the age of 80, as life expectancy rates rise higher than before. People are choosing to have children later in life. Also, the number of children being born is decreasing in developed countries. This means that the old age dependency ratio is changing. Quality of life has also increased, of course. Many of these older adults are enjoying active, healthy lives. But others are experiencing a variety of deteriorating health conditions, such as dementia.

In 2018, the World Alzheimer’s Report found that there were 50 million people globally living with dementia. One person develops dementia every three seconds. This number is expected to rise as the population continues to age. Helping these people to continue living an active life is a key part of their health and wellbeing.

There is a wide range of mediums, materials, techniques, and strategies that you can use within art-making programs. Projects will depend on the educator's areas of interest and expertise, as well as the interests and abilities of participants. This portion of the guide provides an outline for general planning and implementation of art-making programs both at your museum and off-site. For sample projects related to specific themes, see the Art Modules.

It is important to determine the participants' interest in making art. Some adults who have not made art regularly throughout their lives may not be comfortable with this type of expression, while others may be very keen to get involved. When determining whether you will offer art-making programs, take the following into consideration:

The experience and comfort-level of your staff. Are the educators comfortable facilitating both art-looking and art-making programs? Are they interested in working with the same group over time, if requested? Are they available to work off-site at a care organization, if necessary?
The size of the groups. Is the group too large? Will members be sufficiently interested and engaged? Will group size affect their ability to participate?
Logistical considerations related to the art-making program or to a program that includes both art-making and art-looking components. For example, if you are thinking of looking and discussing art in the galleries followed by an art-making activity, will you have enough time? (A program should not exceed two hours.) Will a studio space be available? Are the studios close to the galleries and easily accessible?

This guide details how to establish a museum program for individuals with Alzheimer's disease and their caregivers. Educational programming is at the heart of a museum's public mission and serves as a gateway for exploring works of art and cultural history. Offerings should extend to all audiences, including individuals with cognitive disabilities. The program should focus on participants' abilities in order to create an accepting and engaging environment in which the disease is a nonissue.

Designing a Program

Program Goals

In our example, a daughter (D.) and her father (F.) plan to go to the The Museum of Modern Art together. F. has always had a passing interest in art, but has a hard time "appreciating" contemporary art because, he says, "I don't really understand much of what's going on in the works."

Logistical Considerations

D. and F. had previously attended a Meet Me at MoMA program and received passes that allowed them to come to MoMA for free with three other family members (up to five people). D's husband and his sister are also interested in attending and making the Museum visit a meaningful and enriching family experience. They decide to go to MoMA later in the afternoon, around 3:00 P.M. They commit to leaving to leaving at 5:00 P.M. at the latest, in order to prevent fatigue from setting in, and plan an early dinner to complete the outing. Luckily, D.'s sister-in-law has a car, so they decide to drive on a Wednesday afternoon and park in one of the parking lots that provide discounts to MoMA visitors.

Engaging with art at home can also be enriching and rewarding. Because this experience is between the caregiver and the person with dementia, there is plenty of leeway to adjust and adapt the parameters and the components set forth in this section. Since there is a deep intimacy between you and the person you will be sharing these experiences with, feel free to transform the guidelines to best serve the psychological, emotional, and intellectual needs of both of you.

Logistical Considerations

Participants

Visits to art museums and galleries can be rich and rewarding experiences. Viewing original works of art in quiet, contemplative spaces that allow for social interaction can be beneficial for everyone involved and provide an opportunity for self-reflection and self-expression. There are many ways to visit a museum or gallery, and you can involve a variety of people in your experience.

Independent Visits and Programs

Family visits to museums and galleries

To create a multiweek program for participants in your organization, refer to the Art Modules. You have the option of sequencing multiple existing modules to create a multipart program that includes both art-looking and art-making components, or you can mix images from the Images section. If possible, you may incorporate trips to a museum into the program.

The following example features a four-part program at a care organization that includes both art-looking and art-making sessions. This program was conducted by a MoMA educator with a group of individuals with early-stage Alzheimer's disease.

The program was divided into separate art-looking and art-making, or studio, sessions. At the beginning of each studio session, the educator introduced reproductions of images from the previous art-looking session to incorporate the ideas discussed then into the art-making process. Although some participants who are in the early stages of the disease may be able to recall the artworks from the earlier discussion with little difficulty, it is always useful to reintroduce the images.

This guide focuses on the structure and set-up of off-site programs at museums or art galleries and on-site programs at your facility. Programs at your facility can be a source of pleasure and pride for participants. They also allow everyone to engage with art in a safe and familiar environment and might allow for greater participation, as some individuals may not be physically capable of making a trip off-site. Museum visits can also provide intellectual stimulation brief primer on issues to consider when planning a trip to a museum.

General Planning

Logistical Considerations

This example shows how educators can design a structured yet flexible museum session around a clear theme, combining art discussion with personal reflection. The approach can be adapted to any museum collection or cultural context.

1. Choosing a Theme

Select a theme that is both accessible and meaningful across cultures. In this case, the theme “The City” was chosen because most participants have personal experiences of urban life—whether through living, working, or visiting cities. This creates immediate entry points for conversation.