Beyond the Ghetto: Music & Ministry in Senior Communities

The provision of pastoral care in senior living communities (Seniorenzentren) in today’s Germany presents its own challenges. Nursing homes and community care facilities are often on the margins of society and have a lower status in political and social discourse. However, it is important to remember that we are dealing with vulnerable people who have reached an advanced age. Facilities for the residential care often comprise a range of properties designed to meet the needs of elderly, senior citizens, or disabled people, who choose to move from their own homes into an environment that offers social opportunities, activities and additional services.  These  communities in  Germany typically offer independent living options as well as assisted living, nursing homes and other forms of long-term care facilities.

The purpose of this article is to explore a new angle on pastoral ministry in senior communities, using music as a tool, grounded in practical theology. The use of music, poetry, and the arts as tools for ministry and pastoral care has been shown to be effective in breaking down social barriers, fostering meaningful engagement, and facilitating spiritual development among older residents. By exploring the theological and spiritual implications of integrating popular music, such as Elvis Presley’s gospel music, into pastoral ministry in various German nursing and retirement homes, we have witnessed the transformative power of music in enhancing the well-being and spiritual growth of the elderly. The combination of music and ministry has been found to inspire, uplift, comfort and invigorate residents, ultimately contributing to the overall spiritual and emotional enrichment of community living in old age.

The terms “old people’s home” (Altenheim), “care home” or “nursing home” (Pflegeheim) are gradually being phased out in the senior living sector in Germany. The outdated perception of a hospital-like environment, unappetizing meals and monotonous routines is slowly being replaced as we move away from the old ‘ghetto’ image.  Modern  senior  living  communities  now  offer new horizons: a wide range of vibrant activities, a strong sense of community and a dynamic lifestyle that includes music, art, physical exercise and new forms of pastoral care. Despite the lingering stereotype of nursing homes associated with sterility, silence and fading memories, there is a shift towards a more positive image characterized by spiritual grace, creativity and opportunities for faith. While there may still be some truth in the old image, there is a choice to embrace the full spectrum of life within these communities, as I have seen in my previous experience as a prison chaplain.

A nursing home in Germany may not resemble a prison, but it serves as a microcosm, a small-scale representation of society as a whole. Within this setting, the elderly and infirm grapple with the spiritual and human difficulties that come with aging and illness as they prepare for the inevitable journey towards the end of life. Despite the personal challenges they face, there is a deep-seated need for human connection and a sense of purpose and meaning.6

It is in this context that the combination of music, theological reflection and the practice of diakonía emerges as a powerful force (Stärkung) for pastoral care.7

For the past nine years I have been engaged in a creative exploration of the intersection of music, theology and diakonía in the context of pastoral ministry in the Diocese of Fulda in Central Germany. Based on my extensive interactions with many people, I suggest that music, when approached from a philosophical and theological standpoint and practiced with a diaconal purpose, can serve as a powerful and dynamic tool for fostering relationships, promoting spiritual growth and prayer, and offering comfort to the most marginalized members of society and the church. In addition to my pastoral duties as a deacon and chaplain, my academic research explores the historical and theological foundations of diakonía, its spiritual significance in contemporary settings such as nursing homes, prisons and hospitals, and the particular role of music in enriching these vital aspects within the global church today.

The title of this paper, “Beyond the Ghetto: Music & Ministry in Senior Communities,” is derived from an Elvis song, “In the Ghetto.” This idea of broadening horizons through music and ministry in senior communities explores the potential and innovative diaconal path beyond the ‘ghetto.’ A practical theological approach that could develop into a global musical initiative offering a distinctive way of ministry and spiritual support in senior communities, prisons and other marginalized settings in European societies and elsewhere. By integrating music and pastoral care, this method has demonstrated a positive impact on the wellbeing of people living in these contexts.

My research therefore focuses on exploring how music can facilitate  connections  across  age  groups  and  the  system  of care, enhance cognitive abilities and provide comfort in times of grief and isolation. The primary aim of this research is to construct a framework that will enhance our understanding of the transformative influence of music within the realm of pastoral care and ministry in older communities. Consequently, the intricate relationship between music, theology and diakonía will be closely examined. It will argue that music and the arts have the capacity to enhance the quality of life of residents, to enhance their spiritual encounters and to foster a sense of community within the often isolated environment of institutionalized living.

In Germany, the terms “theology” (Theologie) and “spirituality” (Spiritualität) are becoming increasingly common in public discourse, yet their precise connotations often remain elusive. Do they represent an expression or symbol of an experience or something that exists beyond the material world? Could it be argued that spirituality refers to an unseen realm, a sense of oneness in existence, or a tangible presence in one’s life? Personally, I found the insights of the German-American philosopher Eric Voegelin very helpful in clarifying the debate. He pointed out that the term “theology” didn’t exist before “philosophy” (love of wisdom), before Plato coined it. This was a real eye-opener for me: the term was concrete, not vague, and actively created for a particular set of experiences. Plato had explicitly used terms like “theology” with the aim of developing a technical vocabulary or language “symbols” to address existential human questions as well as the “truth of existence.” Voegelin argues that the truth of human existence, and this is true for senior communities as well, includes both the act of living and the inevitability of death. This experience is inseparable from the truth of the divine – “the truth of God.” As human beings, we experience and will be in the truth of our existence when we have opened our own psyche  or consciousness to this truth of God. The truth of God will be manifested in our personal and common history when it has formed our consciousness (or conscience), that is, the consciousness of each human person in a receptive and active way. For my own pastoral ministry, I find this thought supportive, especially where Voegelin, in his reading of Plato’s Republic, speaks of a spiritual and existential periagoge.

He defines this divine-human experience, which the elderly may have towards the end of their lives, as “the conversion, the turning away from the untruth of human existence,” as it prevails in today’s human society, “to the truth of God.” He elucidates as follows:

In order to speak of the various types of symbolization, he [Plato] coined the term “theology” and designated them as types  of  theology,  or  “typoi  peri  theologias”. Furthermore, on the same occasion, Plato distinguished the gnoseological component of the problem. If the soul is exposed in its youth to the incorrect type of theology, it will be distorted at its core, where it is aware of the nature of God. It will be susceptible to the “arch-lie,” the alethos pseudos, of misconceptions about the gods. This lie is not an ordinary lie in daily life for which there may be extenuating circumstances; it is the supreme lie of “ignorance, of agnoia, within the soul.” If the terminology of Plato is adopted, it can be said that the anthropological principle in a theoretical interpretation of society requires the theological principle as its correlate. The validity of the standard developed by Plato and Aristotle depends on the conception of the human person who can be the measure of society because God is the measure of the human soul.

If it’s true that God is both the “treasure” and “measure” of the human soul, then the intricate nuances of terms that refer to the divine require careful consideration as we move forward in our ministry to people in long-term care facilities. It is crucial to emphasize that for our purposes “treasure” and “measure” should not be seen in a linear way, but rather as a comprehensive symbol that  encompasses all  divine-human experiences, both  positive and negative, where we connect with the “Presence” and the sacred mystery of life. It can be argued that music, literature, art and religious expression can be seen as vessels for spirituality (Gefäße für Spiritualität),  as living symbols and manifestations of humanity’s experience and inherent capacity to relate to a higher power or authority (mit einer höheren Instanz in Beziehung zu setzen – a relationship with You, God.

As human beings, we interact with and experience the physical world through our senses, but we also long for a connection with the divine. By this I mean, following Levinas and Buber, an encounter with the Other – with You, God. This longing then leads us to look within ourselves for solace, strength and comfort in order to encounter the Thou– for us Christians, Jesus Christ – in our lives. We reflect on the nearness of heaven and the nature of our faith. Music and the arts, as I argue in this article, can help us in our search with the elderly and provide a channel for transcendence and resonance with the sacred in senior communities. We question, we seek and we find courage in You – the presence of a higher power – with the spiritual in music, literature, poetry and art.

As we navigate the complexities of life, our religiosity unfolds as we embrace the wonders of the universe and the depths of the spiritual realm. It would therefore be beneficial to bring a wealth of expertise and experiential knowledge to this adventurous yet intricate exploration of the human condition and interpersonal relationships in senior living communities.

This artistic journey of exploration and connection with the divine presence or essence, even in old age, is a daily pursuit, an existential search for meaning and (self-)understanding (noesis)19  in what Voegelin (following Plato) calls the “in-between” (metaxy):

[W]hen consciousness is a site in which the transcendent and immanent meet, then that consciousness, or [that] man with regard to his consciousness, neither quite belongs to the one nor the other but is in that sphere of the “in-between,” in-between the timeless or eternal and the time of immanent time. [Thus the vocabulary for the in-between develops]. Plato has been very [thorough] in the development of this vocabulary; he called it the metaxy, the “in-between.” We live in the in-between. You remember last evening I explained that “flow of presence” which is neither time nor the timeless, but the flow in which time and the timeless meet. That is the time in which we exist. In this flow of presence, in-between, that is where all the [concerns] of man are transacted.

In other words, when considering pastoral ministry in the metaxy, in the “in-between,” and the spiritual needs of the elderly and those nearing the end of their lives, it is crucial to consider how we perceive and interact with our fellow human beings in a way that promotes true life.

It is essential to show how a spiritual “grammar” of life can be developed “in this flow of presence,”  as well as a symbolic language and translation aid for the innermost dimension of human consciousness and being human in “the intersection of time and the timeless.” Voegelin explains:

If you think of consciousness with the tension between God and man and if, as is usually done (even by Plato and Aristotle), you call one pole the “timeless pole” and call the other a “pole of time,” then you get a peculiar problem. Existence in tension which is consciousness moves in two dimensions at the same time; it is eternal and mundanely timebound.

So you can express this existence only by the term (I usually use it) the flow of presence, meaning thereby the intersection of time and the timeless. That is called the presence.

Providing concrete care and support to the elderly in the flow of presence can be a profound spiritual and existential experience, literally between everything. In order to engage effectively, it is necessary to cultivate an inner attitude and a passionate commitment to discern the underlying reality behind the symbols that emerge in our human experiences and encounters with elderly communities. It is imperative that ministers become attuned to the spiritual and theological dimensions not only in others but also in themselves, as this is a crucial aspect of their daily work and interactions, as well as their pastoral care and creative activities. In these contexts, spiritual care and pastoral ministry arguably need to be integrated with the arts, including the power and intimate experience of music. This is a position I have argued previously in my work on prison chaplaincy entitled Theology, Empowerment, and Prison Ministry: Karl Rahner and the Contemporary Exploration for Meaning.

In 2017, while working as a prison chaplain in two German security prisons and doing my doctorate in theology at Trinity College Dublin I initiated the diaconal music project ‘Divine Concern’ as a practical illustration of this existential approach to empowering ministry with You in the flow of presence. This means that the project is situated in the in-between (metaxy), where all the divine-human concerns unfold in people’s lives, even behind bars or in nursing homes. This distinctive diaconal and pastoral project, which now incorporates the gospel music of Elvis Presley, is available in 17 care homes in Germany as part of the “Elvis im Altenheim” (“Elvis in Senior Living Communities”) initiative.

The use of music, especially gospel music, for spiritual care and pastoral ministry is not a common practice in German care facilities. However, as I learnt during my philosophy studies in Ireland at the turn of the millennium, music serves as a “metaxy-medium” par excellence that can evoke deep emotions in individuals, touching on their “identity,” “spirituality” and perhaps even the ultimate “mystery” of their lives as they approach the end of their lives in old age.

Music transcends and is not merely symbolic or conceptual; it is not simply a language or a system of signs. From a philosophical and theological perspective, music can be seen as pathos, a form of “divine attentiveness.” This idea is exemplified by Abraham Joshua Heschel (1907-1972), a Polish-born American rabbi and Jewish theologian, who identifies a different mode of spiritual thought in the Hebrew prophets and develops a biblical philosophy based on the prophetic experience of “divine concern.” This means that God’s attitude towards humanity is “pathos,” he is, so to speak, “in search” of humanity.  God is concerned with humanity and therefore with each individual, regardless of age, wealth, nationality or any other factor. This implies pathos, being moved or affected by others, which is sometimes reflected in a song or a musical composition. Consequently, God, whose “concern is infinite,” is deeply “affected by objects of divine concern,” especially by us human beings.

As a permanent deacon, former prison chaplain and now deanery coordinator for pastoral care in senior living communities, I  have observed that the entire biblical message resonates with this intimate awareness, which is reflected in the spiritual and compassionate aspect and experience of music and the arts. As Voegelin and Heschel have shown, throughout the annals of human history, various forms of artistic expression have served as conduits for the Presence, for divine messages and spiritual insights. These include the Song of Solomon, the Psalms of David, the prophetic utterances, as well as the works of many artists, writers and poets throughout the centuries, and even contemporary musicians such as Elvis Presley. Together they have contributed to the rich tapestry of divine-human communication in the metaxy, between time and the timeless on this earthly journey.

As  the  French  philosopher  Vladimir  Jankélévitch  (1903- 1985) observed, music possesses an ineffable quality that defies precise definition, yet has the ability to resonate deeply across various timeless spheres of human experience.  With its ability to transcend physical and cultural boundaries, music serves as a powerful tool for spiritual care and pastoral ministry in the interstices of our lives, helping individuals to unlock the mysteries of  their  existence. This  spiritual  dimension  of  music  reflects not only pathos but also a deep, ineffable engagement between humanity and the divine, offering a timeless gift of presence that accompanies people throughout their lives, even in moments of illness and death in hospital wards. The Dutch Jewish writer Etty Hillesum (1914-1943), who courageously faced her own death at a young age in Camp Westerbork in the Netherlands and was later deported to Auschwitz, emphasizes the importance of singing and music in facing the truth of one’s own existence:

“Of course, it is our complete destruction they want! But let us bear it with grace. There is no hidden poet in me, just a little piece of God that might grow into poetry. And a camp needs a poet, one who experiences life there, even there, as a bard and is able to sing about it.” And towards the end she wrote: “We left the camp singing […] we shall be traveling for three days. Thank you for all your kindness and care […] Good-bye for now […]”

“And a camp needs a poet,” as Hillesum says, a prison needs a poet; even old people’s homes need a poet! Music is a gift that we all need at certain times in our lives. Singing and making music together lifts people up, this is also true in German old people’s homes, but people want to know: “Why bring the music of Elvis into an old people’s home?” I simply answer, “Why not?” I do not have to explain that Elvis Presley was a legendary figure in the world of rock and roll. He still holds a special place in the hearts of those who were teenagers in the 1960s. His deep love and devotion to rock ‘n’ roll and gospel music, which earned him three Grammy Awards in the latter genre, changed the landscape of American and world music, including Germany. Memories of first dance dates and the exhilarating music of Elvis are fondly remembered by many.  In the Diocese of Fulda, our pastoral initiative “Elvis in Senior Living Communities,” entitled Elvis im Altenheim, is being developed for a good reason, namely the aim to revive and recapture these nostalgic divine-human “metaxy-memories” as I call them, in old people’s homes.

It is conceivable that by tapping into the Timeless Presence in the present moment, we can connect with the Timeless Presence of the past and all the events that have unfolded in our lives. This idea may require a leap of faith,  but as I have witnessed during our musical gatherings, engaging in the act of listening and dancing to Elvis’ music has a profound effect on individuals. It seems to provide a unique platform for people, including those with dementia, to connect through shared emotional experiences. In the context of pastoral care, the ability to make non-verbal connections is essential for both carers and chaplains. I have observed that audiences often respond by smiling, singing along, or even shedding tears, as exemplified by an elderly lady who nostalgically remarked, “Oh, Elvis, he was the heartthrob of my youth!” Nursing staff have also expressed their gratitude for the positive change in atmosphere brought about by such musical interludes.

When older people speak of Elvis, they often symbolically evoke their youth and perhaps the good old days. The music of Elvis allows older people to relive their own personal experiences that may have been forgotten. In doing so, they reconnect with their own lives, emotions, identity and spirituality – i.e., with the flow of presence. If Elvis Presley were alive today, he would be over 89. It is believed that his passion for music would remain undiminished, even in a nursing home. As a Catholic deacon with a particular interest in Elvis Presley’s Christmas and gospel songs, I provide ministry with musical elements for the elderly residents of long- term care facilities in Fulda as part of the Divine Concern music project.  Our live performances with the band at church services and local events bring back memories of joy and demonstrate the profound impact of music on the elderly.

We have seen in our local and diocesan communities that Elvis Presley’s record-breaking success and timeless gospel songs have left a lasting impression on several generations, especially today’s older people. His influence reached into various aspects of culture and became part of people’s lives in Germany. Some young people in East Germany in the 1950s and 1960s were even imprisoned for listening to Elvis and Western capitalist music. These events were transformative for those involved and are now symbolic stories for the older generation. The creation of an ‘Elvis Blessing’ tailored for care and retirement homes aims to bring joy,  entertainment and  spiritual  nourishment to  the  residents.   Elvis’ music  has a timeless appeal that transcends age barriers and continues to resonate with people around the world. Our Elvis im Altenheim initiative highlights the power of music to build connections, lift spirits and spread positivity within senior living communities.

Music has an important place in worship and spiritual encounter when   viewed  through  a   pastoral  lens.  Throughout  Jewish culture and the Old Testament, music was a fundamental part of religious rituals, with psalms and hymns serving as expressions of devotion and worship to Thee, God (Psalm 150:3-5).42 In the New Testament, music is presented as a divine gift of the Holy Spirit that promotes happiness and solidarity among members of the Christian community (Ephesians 5:19).  In addition, music has a remarkable ability to transcend linguistic and cultural barriers, forging deep connections between people (Revelation 5:9). This universal appeal makes music an invaluable tool for engaging and ministering to older people from diverse cultural backgrounds, especially those with limited verbal communication skills. However, the transformative power of music could be more fully embraced in the pastoral care of the elderly, especially in the German context. Throughout history, music has been recognized as a transformative spiritual force that can uplift the human spirit and connect people to something greater than themselves. Whether through traditional hymns or contemporary melodies, music has the ability to inspire, uplift and bring people closer to the divine presence – to You, God. This transformative power of music in the in-between (metaxy) forms the theological basis for its use in pastoral ministry today. Accordingly, I would like to highlight and conclude with three main points where music and pastoral ministry can help people to move beyond the ‘ghetto feeling’ of institutional living in facilities for the residential care of older people, senior citizens, or disabled people:

(i)    Music  as  a  living  bridge  to  the  divine  –  Focusing  on “healing and wholeness,” letting music bring “community and connection,” while fostering a sense of “hope and transformation.” Music is a powerful tool for healing and unity, bringing people together and comforting those in need. It fosters a sense of community and connection (homonoia or likemindedness), reflecting the experience of believers united in love and fellowship. In addition, music has the capacity to inspire hope and transformation, in keeping with the belief in God’s ability, pathos, and search for humanity to bring new life and opportunity to all in difficult times.

(ii)   Music as pastoral tool for diakonía – Exploring different “forms of compassionate care,” using music as a “catalyst for personal healing” and as a tool for “remembering or connecting with the past.” The idea of diakonía, which means “service” in Greek, is an important part of practical theology in terms of the reality of divine-human participation. It shows that we should help others. Music is a gift for the listener in the in-between (metaxy). This shows why music can be used as an empowering tool in care homes. Music can help people who are lonely, isolated or in pain. It can help us to (re-)connect to God and feel that we belong. Music can also help people to reconcile. Music therapy can support people with  physical  and  mental  illnesses.  It  can  alleviate  and reduce anxiety, relieve pain, improve cognitive function and promote emotional well-being. Music can also encourage people to remember things and feel connected to their past (anamnesis).  For  people in  care homes who  are losing their memory, music can help them to remember things, feel emotions and feel like they are still who they are.

(iii)  Music as a means of breaking down barriers – Making music and “connecting with the wider world” through “dialogue and  connection”  and  “creating  meaning  and  purpose.” Music plays a crucial role in breaking down barriers and fostering  connections  within  care  and  nursing  homes. These barriers include not only the physical boundaries of the facility, but also the emotional distance that residents may experience. Introducing music into nursing homes and retirement communities allows residents to engage with the world beyond their immediate surroundings, exposing them to  different  cultures,  musical  genres  and  historical  eras. This exposure can combat feelings of alienation, loneliness and detachment. Music is also a powerful medium for sparking pastoral conversations and building relationships between residents, staff and volunteers, creating a common platform for bonding and empathy. Music enables residents to find meaning and purpose in their lives, transcending the challenges of ageing and the limitations of their environment. Whether through making music together or listening to songs (e.g. Elvis) that resonate with their personal values, residents can derive happiness, fulfilment and a sense of belonging from music ministry.

The  integration  of   music  into  pastoral  ministry  in   senior communities  in  Germany  represents  a  remarkable  shift  and development from its previously marginalized status, facilitating a transformative and empowering experience for residents. This integration of music into pastoral care for the elderly offers a wide range of benefits, as highlighted in this article, encompassing both spiritual and emotional dimensions. Music, as a means of expressing deep emotion and connecting with the divine, has the potential to cultivate a genuine sense of community and personal development. By recognizing the flow of presence through music in our lives, we also become aware of the in-between (metaxy) nature of reality, where time and timelessness intersect, and where the concerns of the elderly are addressed. In essence, music allows us to evoke memories, convey emotions, alleviate suffering, and provide comfort in end-of-life situations. As music transcends barriers and resonates deeply with residents, pastoral ministry and spiritual care in senior living communities is evolving from traditional visits to a transformative, creative, and musical journey of spiritual support and growth – that is, the ineffable pathos of divine concern. In the words of an old Irish proverb, “Dance as if no one is watching, sing as if no one is listening, and live each day as if it were your last!”

NOTE: The original version of this article was published in The Furrow, November 2024.

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