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This chapter examines the relationship between creative pursuits in later life and personal empowerment. Unfortunately, the relationship between creativity and ageing remains to this very day highly vague and ill-defined. Society tends to have a negative view of ageing, believing that old age brings a decline in adults’ intelligence, and hence, less ability to provide an original solution to a problem or challenge at hand. As a result, research on creativity has generally focused on relatively younger cohorts rather than adults who are in the latter stages of the life course. Moreover, the centre of attention has been largely on the relationship of creativity to intelligence, rather upon the possible linkages between creativity and empowerment. To achieve its goal, this presentation reports upon reminiscence sessions conducted with older adults in Malta in July 2012. Although reminiscence is not typically considered a creative activity, it actually entails cognitive and emotional processes involved in the conception of meaningful solutions to past problems. Research findings demonstrate clearly that creative engagement in later life leads to improved levels of personal empowerment. First, by bringing about changes that enhance more positive attitudes toward life, better problem-solving skills, and greater emotional control (intrapersonal empowerment). And secondly, by stimulating changes in attitudes and skills related to interacting with other people, such as appreciation of other people’s merits, willingness to seek help from others, and eagerness to care for others (interpersonal empowerment)., peer-reviewed

The societal norms of ageing and old age are changing in society today, due todemographic changes that favour a pedagogicalization of society, focusing on the management of human resources throughout the entire lifespan. The discourse on active ageing mot only reveals ‘better’ ways of ageing but it also raises questions as to what constitutes a ‘good’ and ‘active’ life in all societies. The conflicting aspect of the discursive battlefield on active ageing constitutes a fight for authority: Who has the ‘right’ to define the meaning of being ‘active’ and how can ‘activity’ be identified? ‘Active’ is to be understood according to the interpretations available in different knowledge perspectives in order to discipline the future knowledge production of ageing and control the processes of subjectification in later life as the disciplining of ‘Population Ageing’: Becoming a subject to active ageing. Dominant discourses on ‘active ageing’ are challenged by the focus of museums and archives on using heritage and participatory arts as an arena to performAGE in later life by craving creativity as a notion of age and opportunity.