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Journal articles on the topic 'Artists with disabilities'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Brandfonbrener, Alice G. "Artists with Disabilities." Medical Problems of Performing Artists 15, no. 2 (2000): 49–50. http://dx.doi.org/10.21091/mppa.2000.2010.

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Although the Medical Program for Performing Artists was founded in 1985 at Northwestern Memorial Hospital, since 1990 it has been a part of the Rehabilitation Institute of Chicago (RIC). At the time of the move I felt that this special medical environment would provide an ideal setting for our clinic, and this feeling has been borne out by the experience of the subsequent decade. What I did not anticipate was the nonmedical impact on both my patients and myself from such an institution. Performing arts patients typically have problems that are not readily apparent to the casual observer, albeit their significance to the artists. Furthermore, by and large their problems have minimal impact on their nonartistic lives as well as on their health in general. More typical patients seen at the Rehabilitation Institute have a wide spectrum of disabilities, which, in contrast to the performing artist patients, have disrupted and compromised both their own lives and those of their families.

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Ok, Hye-Sook, and Young-Sim Kang. "Performance Artists' Perception on Inclusive Arts and Artist with Disabilities." Journal of Special Education & Rehabilitation Science 58, no. 3 (2019): 267–94. http://dx.doi.org/10.23944/jsers.2019.0.58.3.12.

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조, 현성. "Artists with Disabilities and Meritocracy." Korean Journal of Humanities and the Social Sciences 47, no. 2 (2023): 189–94. http://dx.doi.org/10.46349/kjhss.2023.06.47.2.189.

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Hullick, James. "Prosthetic Abilities: Conceptualizing Sound Machines for Amplified Elephants." Leonardo 49, no. 2 (2016): 148–55. http://dx.doi.org/10.1162/leon_a_00921.

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This article discusses how an understanding of prosthetic imagining has influenced the making of sound machines for the Amplified Elephants—a group of sound artists living with intellectual disabilities. This research is contextualized through the discussion of relevant precedent artists: performance artist Stelarc and sound artist Ernie Althoff. The article presents the point that sound art (including music) is a predominantly prosthetic art form; sound-making devices (including traditional musical instruments) can be conceived of as prosthetic audio devices. Investigating notions of prosthesis can inform us further on the human condition.

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Hunt, Andrew. "Matthew Higgs interviewed by Andrew Hunt." Journal of Contemporary Painting 8, no. 1 (2023): 59–71. http://dx.doi.org/10.1386/jcp_00039_7.

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This interview considers Matthew Higgs’s role in programming work by self-taught artists and those with developmental disabilities within the context of White Columns, a non-profit artist-run space located in Chelsea, New York City. The conversation describes the active support of work before any critical or institutional consensus emerges around it and explores how painting by self-taught artists and those with developmental disabilities can provide a productive counterpoint to self-reflexive work or art more critical of the narrative of painting as a medium. The term ‘outsider’ is also scrutinized as a useful generalization for painting that operates outside of conventional forms of education and existing foundational narratives in culture. Also discussed is the impact of exemplary historical curators and dealers in the United States and Germany who serve to act as model ‘maverick iconoclasts’.

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Chan, Ada, Suzan Ozkul, Devin Waldie, Bing Cherry, and Alanna Price. "Artworks from BEING Studio." Public 33, no. 66 (2022): 143–51. http://dx.doi.org/10.1386/public_00128_7.

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Bridger, Maggie, Sydney Erlikh, and Chun-shan Yi. "Reverberation! A New Wave in Disability Art." Canadian Journal of Disability Studies 10, no. 2 (2021): 7–26. http://dx.doi.org/10.15353/cjds.v10i2.784.

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   Graduate student scholar/artists Sydney Erlikh, Maggie Bridger, and Sandie Yi reflect on their experiences of having attended VIBE: Challenging Ableism and Audism Through the Arts. The three were struck by the diversity and range of unique experiences reflected in the work of the presenting artists. Each author takes the lead on one of three themes they collectively identified: what constitutes disability art, how community shapes artistic and scholarly practice, and how boundaries of the field are evolving. The article explores the ways in which disabled artists are defining creative processes and aesthetic approaches outside of the mainstream art world and its ableist productivity demands. They also take note of how artists with non- apparent disabilities are actively moving the field in new directions. Finally, they examine the ethical dimensions of artistic “ownership” in the collaboration between artists with and without disabilities, particularly around those with intellectual disabilities and their allies. The authors ultimately offer a description of a new wave of disability art that is pushing the field to think through questions of process, collaboration, ethics, visibility, creative scholarship, and relationship to disability studies. This new work, they argue, is creating space for a more sustainable, community-based practice.  

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Knowles, Ric. "Making a CoMotion." Canadian Theatre Review 193 (February 1, 2023): 90–93. http://dx.doi.org/10.3138/ctr.193.016.

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The inaugural CoMotion: A Deaf and Disability Arts Festival at Toronto’s Harbourfront Centre from 20 April to 1 May 2022, curated by blind theatre artist Alex Bulmer, presented six live and four digital performances, six visual arts exhibitions, and four panels and conversations, a Q&A with Bulmer, and an “every-body-can-dance” workshop. The festival featured blind, Deaf, and neurodivergent artists, amputees, stutterers, and those with chronic pain or fatigue or with degenerative diseases. Some of the work served primarily a community-building function, some adhered to the familiar disability genres of the tragic or inspirational, but most celebrated the disability artist’s refusal of both exclusion and inclusion. The best of the festival’s offerings were not about overcoming disabilities but about joyful, if clear-eyed, engagement with the opportunities disability can offer.

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Żuk, Mariola. "PEOPLE WITH DISABILITIES IN THE ARTISTIC FIELD." Wiadomości Lekarskie 73, no. 9 (2020): 1840–43. http://dx.doi.org/10.36740/wlek202009106.

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According to statistic reports the number of disabled people in the world is still increasing. Nowadays it’s estimated that one for six citizens in European Union is disabled. New laws are established to improve the social attitude towards the sick and the disabled. The perception of people with disabilities is widely dominated by their limitations that often take priority. Completely different social attitudes concern artists. They are admired. The aim of the paper is to discuss the extent to which the disabled people can contribute to the culture and to reflect on the importance of art for the rehabilitation process as well as for the social integration of artists with disabilities. The conclusion that it implies is, that the art for ages well serves the integration and rehabilitation cause.

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Perego, Sonia, and Sophia Völksen. ""Go-Along" Method in Anthropological Research with Artists with Disabilities." TSANTSA – Journal of the Swiss Anthropological Association 22 (May 1, 2017): 95–99. http://dx.doi.org/10.36950/tsantsa.2017.22.7354.

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Rhodes, Colin. "An Other Academy: Creative Workshops for Artists with Intellectual Disabilities." International Journal of the Arts in Society: Annual Review 3, no. 1 (2008): 129–34. http://dx.doi.org/10.18848/1833-1866/cgp/v03i01/35435.

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Gregoire, M. A. "Factors Affecting the Careers of Women Performing Artists with Disabilities." Music Therapy Perspectives 5, no. 1 (1988): 46–51. http://dx.doi.org/10.1093/mtp/5.1.46.

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Macpherson, Hannah, Alice Fox, Susan Street, et al. "Listening space: Lessons from artists with and without learning disabilities." Environment and Planning D: Society and Space 34, no. 2 (2016): 371–89. http://dx.doi.org/10.1177/0263775815613093.

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Decottignies, Michele. "Mercy Killing or Murder: The Tracy Latimer Story." Canadian Theatre Review 122 (March 2005): 67–73. http://dx.doi.org/10.3138/ctr.122.017.

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The primary intention of this project was to bring together professional artists and members of Calgary’s local disability community. Our ultimate goal was to research, develop, workshop, rehearse and perform a multimedia exploration of the death of Tracy Latimer, a girl with cerebral palsy who was killed by her father in 1993 under the aegis of “mercy killing.” This goal was made possible by a generous grant from the Canada Council’s Artist and Community Collaboration Fund and was achieved through adapted development and rehearsal processes. The endeavour was a true collaboration, with a cast of thirteen people (six with disabilities and seven without), a production team of forty theatre artists and over ten community agencies and/or businesses engaged in the creation and presentation of the story. The end result of this artist—community collaboration was an acclaimed, interdisciplinary performance creation called Mercy Killing or Murder: The Tracy Latimer Story.

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Miller, Sara. "Participatory, art-based appreciative inquiry with artists labelled/with intellectual and developmental disabilities." Journal of Applied Arts & Health 13, no. 1 (2022): 27–43. http://dx.doi.org/10.1386/jaah_00089_1.

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People labelled/with intellectual and developmental disabilities (IDD) participate in community-based studio programming across the United States, yet their experiences and preferences for studio programming are not well known. The goal of this research was to learn what artists in a community-based studio think is important about their studio and what they want to change in the future. Using art-based appreciative inquiry and online methods, the artists were prompted to talk and create artwork about ‘what is most important’ in the studio and ‘what we want for the future’. The artists reported that the most important aspects of the studio are the staff and their friends at the studio and the opportunity to make art that is motivated by their interests. The wishes expressed by the artists included increased opportunities to be social, to make more money, to have more community access and more choice and control in the studio.

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Elliott, Erin. "Abilities Festival: A Celebration of Disability Art and Culture 2005." Canadian Theatre Review 127 (June 2006): 99–101. http://dx.doi.org/10.3138/ctr.127.019.

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The Abilities Festival: A Celebration of Disability Art and Culture made its Toronto debut 27–30 October 2005. This project of the Canadian Abilities Foundation involved four days of multidisciplinary work by artists and performers from around the world. In addition to the gala performances, art exhibitions and concerts, the event included a series of panel discussions and workshops, which covered such broad-ranging topics as storytelling for children, broadcast journalism and career advice for artists with disabilities. Artistic director and producer Sharon Wolfe explains that the interaction made possible by the festival fosters a climate of inclusivity and understanding, as the participants build “bridges that will lead to inclusion. Bridges that will reduce attitudinal barriers and negative perceptions about people with disabilities, bridges that will lead us all to an enriched appreciation for the full spectrum of creative talent that exists here and beyond” (1). These points of contact were directly enabled by the liveness of the festival. Theatre with a Difference, the gala evening held at the Glenn Gould Studio, showcased bold pieces by Chaika, a dance—mime troupe from Moscow; Max Fomitchev, a mime artist from Vancouver who was born in Russia; and American humorist David Roche. Within the live performance setting, there exist tensions, pressures and reactions that serve, in this case, to reveal buried assumptions about persons with disabilities. The festival not only promotes a thriving and creative disabled culture by example but, through its live performances, is able to draw out hidden attitudes so they can be recognized, confronted and ultimately transformed.

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Richardson, Jennifer (Eisenhauer). "The Art and Politics of Artists With Mental Disabilities Experiencing Confinement." Studies in Art Education 59, no. 1 (2018): 8–21. http://dx.doi.org/10.1080/00393541.2017.1401881.

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Vogelaar, Josien. "A RING WITH MAGICAL POWERS: DUTCH ARTISTS WITH INTELLECTUAL DISABILITIES JOIN THE FASHION PROJECT OUTSIDERWEAR." Cadernos CEDES 42, no. 116 (2022): 85–97. http://dx.doi.org/10.1590/cc259067_in.

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ABSTRACT This article presents a collaborative project carried out with these outsider artists and a group of young Dutch creatives. The project initiated by the cultural entrepreneur Jan Hoek consists of creating a fashion label Outsiderwear, in which young creatives, mostly fashion designers, were matched with outsider artists from Outsider Art Studios in Amsterdam; working together, the pair developed a collection. The idea was to establish a structural collaboration between professional creatives and outsider artists. Data is presented using interviews in order to construct a case study.

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Freiberga, Sarma. "Cilvēku ar īpašām vajadzībām kultūra kā integrācijas veicinātājfaktors Latvijā." Sabiedrība un kultūra: rakstu krājums = Society and Culture: conference proceedings, no. XXII (January 6, 2021): 177–82. http://dx.doi.org/10.37384/sk.2020.22.177.

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Although nearly 30 years have passed since the collapse of the Soviet Union, the Soviet stereotypes about the people with disabilities, including their ability to be active consumers and developers of culture, still are alive in the post-Soviet countries. Until today, In Latvia there is no research conducted on the opportunities for this group of people to experience their rights to be involved in cultural life both as cultural consumers and creators. Therefore, my research subject is people with disabilities, their artistic practices and their interaction with audience leaving impact on their social integration process. During the case study the survey results of participants are analysed after three concerts with the participation of people with disabilities. The survey results reflect the attitude of the audience towards the ability of this group to discover themselves as artists on the stage . We can confidently say that the concert goers acquire more information about people with disabilities and that this information helps them to be accepted as members of an inclusive society. The survey results also confirm that people with disabilities implementing artistic practices also indirectly contribute to the promotion of social and psychological well-being as well as health functions. These factors contribute to their social inclusion process. A report will also be provided on the feedback received from the electronic surveying of audience of the concerts where people with disabilities took part as artists, as well as from in-depth interviews.

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Kanari, Charikleia, and Anastasia Zoi Souliotou. "When Children with Disabilities “Meet” Artists with Disabilities in a Museum: A Platform for Creativity and Cultural Dialogue." Journal of Museum Education 48, no. 3 (2023): 293–305. http://dx.doi.org/10.1080/10598650.2022.2122666.

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Tillyer, Michael D., and Michael P. Accordino. "Painting with a broad brush: Professional careers for artists with psychiatric disabilities." Psychiatric Rehabilitation Journal 25, no. 3 (2002): 265–72. http://dx.doi.org/10.1037/h0095016.

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Salonen, Hanna, and Olav van den Brekel. "Transforming images: A collaborative art exercise to debunk biases." International Journal of Education Through Art 16, no. 3 (2020): 417–33. http://dx.doi.org/10.1386/eta_00042_1.

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In the Netherlands, art academies offering teacher training courses in visual arts and design pay little attention to diverse learners, such as pupils with learning disabilities, in their curricula. To form a picture of the existing perceptions of students concerning persons with intellectual and/or psychological disabilities, this study was set up to map the views of a group of first-year teacher training students of visual arts and design at the Amsterdam University of the Arts. The focus of the study was to see whether student perceptions changed after an active encounter with persons with intellectual and/or psychological disabilities ‐ in this case, a group of visiting artists with learning disabilities. The motivation for this study was influenced by the United Nations Convention on the Rights of Persons with Disabilities. As this mandate was adopted in the Netherlands in 2017, we have been intrigued by the consequences it would have for current educational settings and teacher training courses focusing on the subjects of art and design.

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Fauziah, Ekky Ulfah, Yanti Setianti, and Yustikasari Yustikasari. "Personal Branding of Hana Madness as an Mental Disability Doodle Artist." JCommsci - Journal of Media and Communication Science 1, no. 3 (2019): 132. http://dx.doi.org/10.29303/jcommsci.v1i3.52.

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Nowadays, there are still many people who consider that people with mental disabilities are helpless and tends to endanger for the other. Lack of information and education for the community still causes a lot of negative stigma to emerge. Hana Madness, who is a doodle artist with a mental disability background named schizoaffective, then emerged and tried to change the stigma by doing personal branding. The purpose of this study was to find out how the Hana Madness figure then tried to do personal branding activities to change the stigma that still exists. The method used in this study is a type of narrative study with qualitative data. The results of the study show that Hana has a good characteristic in terms of the work she made and also the figure of Hana as an artist. There are not many types of pictures made by Hana in Indonesia, as an artist Hana also focuses more on social impact than money and popularity. Hana has been consistent with the vision and mission that she has, which is to change the stigma that still exists in society towards people with mental disabilities. The conclusion of this study is that personal branding carried out by Hana Madness is based on the abilities she has and with distinctive characteristics from other artists with mental disability backgrounds. Keywords: Personal branding; mental disability; Hana Madness; Doodle art

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Fernandez, Stephen. "“Ich Bin Ein Schauspieler”: Making Crip Performance in Toronto with Theater HORA’s Disabled Theater." Canadian Journal of Disability Studies 7, no. 3 (2018): 1–30. http://dx.doi.org/10.15353/cjds.v7i3.449.

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This paper attends to the making of crip performance in the 2015 production of Disabled Theater in Toronto, where eleven performers with intellectual and physical disabilities took to the stage to perform a series of dance solos set to popular music. The performance was directed by the French choreographer Jérôme Bel and produced by the Zurich-based Theater HORA, a professional theatre company that is fully comprised of performers with disabilities. As an experienced choreographer, Bel is portrayed in the performance program as the “brains” behind Disabled Theater. It seems as though the performers were simply executing Bel’s artistic ideas through the embodied materiality of their dance performances. As such, the performers’ desire to be seen as proper artists exists amid the specter of an ableist ideology in “normative” culture that could potentially influence the audience members’ interpretation of their dance solos. Drawing on the work of Rosemarie Garland-Thomson, Carrie Sandahl, and Robert McRuer on the intersection of disability and performance, as well as the Italian dramaturge Eugenio Barba’s concept of the “pre-expressive state” of the actor’s body, I argue that the inclusion of persons with disabilities who confidently describe themselves as “actors” through the German phrase, “Ich Bin Ein Schauspieler”, unfolds the possibility of crip performance in Disabled Theater, which, unlike an ableist conception of performance, acknowledges disability as a reality that is constitutive of everyday life. Through crip performance, persons with disabilities do not need to downplay their disability in order to be publicly acknowledged as artists.

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Nagrani, Menka. "Raising the Bar in Disability Arts." Canadian Journal of Disability Studies 10, no. 2 (2021): 269–82. http://dx.doi.org/10.15353/cjds.v10i2.802.

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This article discusses my pedagogical approach towards teaching dance, movement, and theatre to artists with cognitive disabilities. I have developed a training method for artists participating in my classes and productions that invites individual creative exploration and professional rigour. My inclusive dance-theatre company, Les Productions des pieds des mains, creates productions that are presented on professional artistic platforms and not limited to the context of disabled art presentations. Our productions are regularly subject to the same selection criteria as would be a non-inclusive company. With this in mind, I aim for excellence. I work towards creating high quality shows while helping artists with a disability push past their perceived limits and surpass themselves. In this article I will share my findings and strategies, perfected throughout my many years of experimentation, explaining how to reach a high-level of quality in inclusive productions, as well as how I help artists with a disability reach a level of quality in their performances which allows them to find gainful employment within the artistic domain.

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Watt, Jennifer. "Splashes of light: Parents of children with dyslexia explore experiences through visual arts." International Journal of Education Through Art 16, no. 1 (2020): 115–28. http://dx.doi.org/10.1386/eta_00020_1.

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Abstract This article examines the critical disability praxis grounding a research study that explored the lived experiences of parents of children with dyslexia through in-depth interviews and arts-based focus group. The participants engaged in visual arts practices to create provoking images of the issues facing themselves or their families. This multimodal experience became an opportunity for the participants to raise awareness of the needs of families with learning disabilities. This article focuses on two parent-artists who created visual pieces that shared a thematic focus on darkness and light. Both pieces contribute to a deeper understanding of the challenges and difficulties that these parent-artists encountered, but also gave them the opportunity to voice the more affirmative and empowering aspects of their experiences.

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Miller, Sara Michelle. "Disability Art: Potential Intersections in Studio Practice With Artists Labeled/With Intellectual and Developmental Disabilities." Art Therapy 37, no. 2 (2020): 93–96. http://dx.doi.org/10.1080/07421656.2020.1756136.

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Vogelaar, Josien. "UM ANEL COM PODERES MÁGICOS: ARTISTAS HOLANDESES COM DEFICIÊNCIA INTELECTUAL UNEM-SE AO PROJETO OUTSIDERWEAR." Cadernos CEDES 42, no. 116 (2022): 85–97. http://dx.doi.org/10.1590/cc259067_pt.

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RESUMO Este artigo apresenta um projeto de colaboração realizado com estes artistas outsiders e um grupo de criativos jovens holandeses. O projeto iniciado pelo empresário cultural Jan Hoek consiste na criação da marca de moda Outsiderwear, na qual jovens criativos, em sua maioria estilistas de moda, foram combinados com artistas dos Outsider Art Studios em Amsterdã; trabalhando juntos, a dupla desenvolveu uma coleção. A ideia era estabelecer uma colaboração estrutural entre criativos profissionais e artistas outsiders. Os dados são apresentados utilizando entrevistas para a construção de um estudo de caso.

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Park, Ju-Young. "Analysis of Ordinance of Local Governments on Support for Culture and Artistic Activities of Artists with Disabilities." Journal of the Korean society for Wellness 19, no. 2 (2024): 1–9. http://dx.doi.org/10.21097/ksw.2024.5.19.2.1.

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Santos, Roseane. "Quer dançar comigo? A pessoa com deficiência na cena contemporânea tucuruiense através da experimentação do movimento." Arteriais - Revista do Programa de Pós-Gradução em Artes 4, no. 7 (2019): 68. http://dx.doi.org/10.18542/arteriais.v4i7.6931.

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ResumoA temática abordada neste projeto de criação/experimentação ora apresentada reflete um interesse em contribuir na discussão que tem como alicerce o contexto dos pressupostos teóricos de Ann Cooper Albright, a qual discute a inserção das pessoas com deficiência física na cena artística, propondo ao mundo a visualização dessas pessoas enquanto efetivamente artistas da cena, além da chamada dança inclusiva. Objetivo: Investigar através da experimentação, movimentos artísticos-cultu-rais propostos por pessoas com e sem deficiência para a cena contemporânea tucuruiense. Metodologia: Baseia-se em uma pesquisa-ação. A amostra foi constituída de 05 (cinco) pessoas, sendo estas: 02 (duas) com deficiência física, 1 (uma) de baixa visão e 02 (duas) sem deficiência. Para coleta e análise dos dados usamos o diário de campo, observação, grupo focal e laboratórios de criação. Resultados: As investigações resultaram em descobertas e ressignificações dos corpos-sujeitos envolvidos, com superações corporais e psicológicas com rica troca de ações. Conclusão: As experimentações foram além do esperado, mas foi constatado que a sociedade e os próprios artistas em Tucuruí têm dificuldade em ver além da chamada dança inclusiva.AbstractThe theme discussed in this creation / experimentation project presented here, reflects an interest in contributing to the discussion that builds on the context of the theoretical assumptions of Ann Cooper Albright which discusses the insertion of people with physical disabilities into the art scene, proposing to the world the visualization of these people as effectively performers of the scene, in addition to the so-called inclusive dance.Objective: To investigate, through experimentation, artistic-cultural movements proposed by people with and without disabilities for the contemporary scene in Tucuruí. Methodology: It was based on an action research. The sample consisted of 05 (five) persons, of whom: 02 (two) with physical disabilities, 1 (one) of low vision and 02 (two) without disability. For data collection and analysis, we used the field diary, observation, focus group and breeding laboratories. Results: The investigations resulted in discoveries and re-significances of the involved subjects-bodies, with corporal and psychological surpasses with rich exchange of actions. Conclusion:The experiments were more than expected, but it was found that society and the artists themselves in Tucuruí have difficulty seeing beyond the so-called inclusive dance.

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Almqvist, Cecilia Ferm, and Linn Hentschel. "Becoming musical performance artists – Challenging organisational norms and traditional Municipal Arts School structures." Journal for Research in Arts and Sports Education 6, no. 3 (2022): 11–26. http://dx.doi.org/10.23865/jased.v6.3586.

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Music educational researchers in the Nordic countries have pointed out how municipal arts schools are organised based on, and tend to reproduce, anthropocentric values and approaches, and that such unequal norms and structures are to be challenged. Taking a border-crossing musical comedy project as a starting point, the specific aim of the current study is to illuminate how, and on what levels, organisational norms and traditional structures can be challenged, and what possibilities and new challenges that occur in a project taking place beyond the Anthropocene. To be able to grasp the aspects of becoming within the project and how that is related to aspects of organisation, we created a research entanglement based on post-human theory. Hence, situations seen as webs of relations were created, including the actors: humans with intellectual disabilities, musical performance students, educators, artists, researchers, and varied digital communication tools. Observations, video recordings, collaborative writing, qualitative surveys, and interviews produced material for analysis. Actor-network theory was applied aiming to describe how the constantly performed intra-active networks were constituted, as well as how the actors influenced each other. The results identify significant actors and trajectories in Sammankonst, that in turn challenge anthropocentric organisational structures of municipal arts schools.

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Nieduziak, Edyta. "Twórczość Innego – nowa wartość w sztuce i w społeczeństwie?" Interdyscyplinarne Konteksty Pedagogiki Specjalnej, no. 16 (September 9, 2018): 163–83. http://dx.doi.org/10.14746/ikps.2017.16.10.

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This article deals with the issues of creativity of people with disabilities and their social values. The starting point is the category of Another as saturated with pejorative meanings – in a social but positive context in the study of creativity. The combination of these contradictory approaches is reflected in the art brut, represented by artists with mental incompetence. Their creativity dictated by internal compulsion is presented as the work of marginalized people. The social context, as well as the type of disability that determines the way in which this art is treated: from the rejection of, for example, the early time of Nikifor's works, to the complete recognition of, for example, F. Kahlo's painting. The basic question, however, comes down to the question of the value of this art for man. Referring to the philosophy of E. Levinas, the author seeks to show that despite the assumption of the unknowability of another human being, the greatest value of the Other art is the ability to experience, to see though a fragment of the world of artists determined by the disability.

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KRAVETS, NINA, and IRYNA MATIUSHCHENKO. "THE INFLUENCE OF FICTION ON SOCIALIZATION OF STUDENTS WITH INTELLECTUAL DISABILITIES." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy 1, no. 2 (2021): 171–78. http://dx.doi.org/10.25128/2415-3605.21.2.22.

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The views aimed at the stability of socialization are analyzed, paying attention to the peculiarities of psychophysical development of students with intellectual disabilities, which leads to a weakening of socialization. Difficulty in socialization depends on the presence of a navigator of mispersonal communication, unformed needs in such communication, inadequacy of self-esteem, negative perception of other people. It is noted that the effectiveness of primary socialization of students with intellectual disabilities affects the formation of its components: socio-psychological adaptation and empathy. In this regard, the research of scientists on the essence of socio-psychological adaptation and empathy is taken into account. It is pointed out that the process of socialization includes not only adaptation, but also maladaptation. It is stressed on the role of empathy as a component of socio-psychological adaptation and its impact on the formation of socialization of students with intellectual disabilities in the future with works of art, since the components of empathy are sympathy and compassion. Adolescents with intellectual disabilities perceive the information better during the Ukrainian literature lessons, where they work with fiction literature. It has been substantiated, that works of fiction, studied by students at the lessons of the Ukrainian literature serve as particularly important means of teaching, correction and socialization of students with intellectual disabilities. Fiction is the only art form promoting the development of visual thinking. While studying at the lessons of the Ukrainian literature on fiction texts, students with intellectual disabilities intellectual develop thinking, connected speech, overcome communicative phobia, master social competencies, become socialized. The expediency of using interactive teaching methods for the formation of social skills in students with intellectual disabilities in the process of working with works of art during the Ukrainian literature lessons, in particular: discussion, ethical conversation, role play; such methods as «microphone», «chain of thoughts», «unfinished sentence». While working with works of art during the Ukrainian literature lessons, adolescents with intellectual disabilities learn basic morals through interactive teaching methods, learn to disseminate information, emotions, thoughts about the read and the environment learn to evaluate behavior and teach people who pay attention to other problems. The lessons create appropriate conditions for optimizing the socialization of students with intellectual disabilities and social maladaptation, which threaten to subordinate adolescents to the content and meaning of the artists with whom they work.

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Perera, Dharani, R. T. Jim Eales, and Kathy Blashki. "Supporting the creative drive: investigating paralinguistic voice as a mode of interaction for artists with upper limb disabilities." Universal Access in the Information Society 8, no. 2 (2008): 77–88. http://dx.doi.org/10.1007/s10209-008-0130-3.

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Barness, Lewis A. "A POSITIVE APPROACH FOR CHILDREN." Pediatrics 77, no. 3 (1986): 408. http://dx.doi.org/10.1542/peds.77.3.408.

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Children are the country's future workers and taxpayers, its future leaders, artists, teachers and scientists. Today's children must shoulder tomorrow's national debt, finance its Social Security system and lead this country into the 21st century. Wise investment in children now is sound economic policy in a time of fiscal restraint. Research proves that children's programs that provide services like prenatal cane and immunization save us more money than we spend on them. It costs about ten dollars to provide a baby with a series of immunizations, compared to hundreds of thousands of dollars for a lifetime of care for a child with severe disabilities caused by preventable sickness.

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Zheurova, V. K. "ON THE 135TH ANNIVERSARY OF ZOYA LODIY'S BIRTH: ART THROUGH OVERCOMING." Arts education and science 2, no. 31 (2022): 172–78. http://dx.doi.org/10.36871/hon.202202022.

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The article is devoted to the creative activity of chamber singer and teacher Zoya Petrovna Lodiy (1886–1957). Honored Artist of the RSFSR, chamber singer Zoya Lodiy was the greatgranddaughter of philosopher P. D. Lodiy, granddaughter of opera singer A. P. Lodiy, daughter of singer P. A. Lodiy and pianist E. M. Lodiy-Eliseeva. She made a significant contribution to the development of Russian vocal art. Meanwhile, few people know that the entire creative path of Z. P. Lodiy was marked by the constant overcoming of herself due to a severe spinal disease that appeared in early childhood. Despite the importance of Zoya Lodiy in the domestic musical art, her name has been undeservedly forgotten today. However, for half a century the singer's creativity has not only been an integral part of the national culture, but she herself set an example of persistent overcoming her disease, creating unsurpassed examples of high art in the genre of chamber singing. A special appeal to this topic showed that the life and work of Z. P. Lodiy has achieved such great results that it can be considered as one of the inspiring examples for young performers today, including artists with disabilities.

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Pohjola, Hanna. "Ruumiillinen erilaisuus: tanssi ammattina?" Nordic Journal of Dance 9, no. 2 (2018): 24–36. http://dx.doi.org/10.2478/njd-2018-0009.

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Abstract Over the past three decades Western theatrical dance has been experiencing time of growth, development and change in its ontology. As a part of this shift of paradigm, dancers with bodily differences have made an entrance and initiatives across various contexts in dance: on stage, education and research. Most commonly, inclusive and integrated discourse of dance and disability research has been focusing on access and participation in dance. Dance artists with disabilities, and their experiences on bodily difference has been under-researched. Hence, emphasis on bodily difference has been on social meaning, instead of dancer’s movement. This article focuses on professional dancers with disability within the context of socialization. Thus, factors such as dance ontology and its normative expectations, education, employment and spectators’ gaze that may facilitate or hinder dancer with disability are discussed. In short, the change for disabled dancer has been gradual, and obstacles partly still remain. Thus, it is essential to ensure that this progression continues. One possibility could be in utilising knowledge and experience existing in disabled dance artists as well as acknowledging the art behind the hypervisibility of bodily difference. Therefore, dance as an art form would be valued in its all existence.

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Natan, Defri Harianto, and Wahyuni Kristinawati. "FLOURISHING PADA PELUKIS DISABILITAS FISIK YANG TERGABUNG DALAM AMFPA." KRITIS 30, no. 1 (2021): 35–51. http://dx.doi.org/10.24246/kritis.v30i1p35-51.

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Flourishing is a subjective experience when positive emotion, engagement, positive relationships, meaning and accomplishment combine effectively (Seligman, 2011). Previous research found that engagement is not related to artistic activity (D'raven & Pasha-Zaidi, 2016), even though painting is an artistic experience with a sense of emotion, happiness, etc. (Winarno & Aryanto, 2016). The Association of Mouth and Foot Painting Artists (AMFPA) is an international association of painters with physical disabilities in which painters do not have hands and therefore rely on their mouths or feet when painting. This study aims to describe the flourishing of painters with physical disabilities who [the] are members of AMFPA. The method used in this research is a qualitative method with a phenomenological approach to capture the phenomena experienced by the participants as closely as possible (Smith, 2009). Interviews by telephone (conducted during the Covid-19 pandemic situation) and limited observation were carried out on 3 participants (male, aged 41-54 years) during March - November 2020, only once. Each interview session lasts 90-120 minutes by telephone. The validity of the data was tested using data triangulation, namely interviewing the significant other (Bachri, 2010), such as spouse, siblings and co-workers of the participants. The results of this study indicate that one of the elements of flourishing, namely engagement, is also experienced by painters with physical disabilities. Other findings show that the different backgrounds and experiences of each painter can have an impact on their flourishing experiences.

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Vanyaev, Vladimir Alexandrovich. "Pedagogical conditions of correctional and developmental education of children with mental retardation of puberty by means of visual arts as an element of socialization." KANT 38, no. 1 (2021): 208–13. http://dx.doi.org/10.24923/2222-243x.2021-38.42.

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In this paper, the author addresses the problem of socialisation of children with a history of disabilities and mental retardation by means of visual arts. It is important to look at the very sphere of life of these categories of children. As a rule, these children, for the most part, live in dysfunctional families, which makes it almost impossible to provide them with a form of socialization. This article focuses on the extent to which and how a programme of socialisation of these children can be achieved through the medium of visual arts. At the moment there are works of modern pedagogues who have devoted their scientific researches to this problem, but there are few teachers-artists who deal with this problem. In this article the author devotes his creative attention to this issue and reflects on what means of fine arts and visual literacy can develop and guide in the right direction the socialization of children and young people with disabilities by means of fine arts. A number of scientific works devoted to this problem are seriously reviewed. The author is actively trying to draw the attention of the teaching community to the problem of prevailing social conditions, to reach an educational and cognitive level and, as a consequence, to a better product of the set task of socialization of children with special needs and disabilities in the learning process by means of subject disciplines: drawing, painting, composition, printmaking, etc.

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Sharma, Poonam. "ROLE OF COLORS IN PAINTINGS OF DISABLED PAINTERS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3638.

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Life is incomplete without colors. Colors have special importance in the paintings of disabled painters. Forced to live a dull life, these artists, even after physical disabilities, adopt specific combinations of colors in their paintings, giving them life, giving them life, the silent expression of the pictures is so strong. Even the dreamer cannot think that the person making this painting is handicapped.The selection of colors of such special artists is very unique. Due to the different colors of the characters, we are able to find the name of the particular character. Special attention is placed on the value of colors in the paintings of these artists, the use of aura and shadow is visible through the medium of light and darkness. रंगों के बिना जीवन अपूर्ण है। विकलांग चित्रकारों के चित्रों में रंगों का विशेष महत्व है नीरस जीवन जीने को मजबूर ये कलाकार शारीरिक अक्षमताओं के उपरांत भी अपनें चित्रों में रंगों के विशिष्ट संयोजन कर, उन्हें जीवित रुप प्रदान कर , प्राण डाल देते हैं ,चित्रों द्वारा मूक अभिव्यक्ति इतनी सशक्त होती है कि देखने वाला स्वप्न में भी यह नहीं सोच पाता कि इस चित्र को बनाने वाला विकलांग है।ऐसे विशेष कलाकारों के रंगों का चयन अति विलक्षण होता है। वर्णों की विभिन्न रंगतों के कारण ही हम वर्ण विशेष का नाम ज्ञात कर पाते हैं। इन कलाकारों के चित्रों में रंगों के मान का विशेष घ्यान रखा गया है, प्रकाश व अंधकार के माघ्यम से आभा एवं छाया का प्रयोग दर्शनीय है चित्रों में सधनता युति-द्युति का अनुपम प्रयोग किया गया है।

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Бондаренко, Юлія, та Олена Воротинцева. "МЕРЕЖЕВА ФОРМА ЗДОБУТТЯ ОСВІТИ ЯК МОДЕЛЬ РЕАЛІЗАЦІЇ ІНДИВІДУАЛЬНОЇ ОСВІТНЬОЇ ТРАЄКТОРІЇ ДИТИНИ З ПОРУШЕННЯМИ ІНТЕЛЕКТУАЛЬНОГО РОЗВИТКУ". Педагогічні науки: теорія, історія, інноваційні технології, № 7(101) (28 вересня 2020): 286–97. http://dx.doi.org/10.24139/2312-5993/2020.07/286-297.

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The paper presents an analysis of the mechanism of introduction of the network form of education as tool for the interaction of subjects of educational activity in the implementation of the individual educational trajectory of children with intellectual disabilities. Emphasis is placed on this group of children as one of the most vulnerable groups of students who need balanced approach to the design and implementation of the educational trajectory. It is online education that is designed to take this aspect into account, to give everyone the opportunity to get an education according to their uniqueness.The authors provide proposals for the involvement in the online form of education for children with intellectual disabilities of special education institutions, as they concentrate valuable material and technical human resources – qualified teachers and special educators with experience. In addition, this paper describes the order of interaction of participants in the educational process in organizing a network form of education. In particular, specialists of inclusive resource centers, who, as direct participants in the implementation of individual educational trajectory of a child with intellectual disabilities, should tell parents, teachers, and partners about online education opportunities. The child will effectively pass the way to the end point of his own outlined individual educational trajectory. This paper also provides recommendations for the participants of the network cooperation in the same order as when working in a team of psychological and pedagogical support in organizing “classical” inclusive education. Online education provides an opportunity to involve the educational process of therapists, psychologists, coaches, artists who have techniques to increase creativity and formation in children with intellectual disabilities of life and key competences. In the end, this will expand their access to various resources and opportunities.

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Hochman, Arthur, and Kelli J. Esteves. "Art And Exceptionality: Addressing Art Fear And Fear Of Difference In An Introductory Art Course." Canadian Review of Art Education 48, no. 1 (2021): 38–52. http://dx.doi.org/10.26443/crae.v48i1.106.

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Abstract: University educators designed and co-taught a course which involved collaborative artmaking and learning with a community-based arts organization that serves individuals with disabilities. Their goal was to help university students examine the potential of art and how it applies to their personal and professional lives. They sought to better understand how to nurture a feeling of artistic agency in undergraduate students who do not define themselves as artists. Educators found that students benefited from an exploration of art fear through an inclusive approach to art creation. Keywords: Art fear; Disability; Collaborative artmaking; Higher education; Experiential learning. Résumé : Des éducatrices et éducateurs universitaires ont conçu et co-enseigné un cours axé sur la création artistique et l’apprentissage coopératif au sein d’un organisme communautaire voué aux arts qui dessert des personnes en situation de handicap. Leur objectif était d’aider les étudiant.e.s universitaires à analyser le potentiel de l’art et son impact sur leur vie personnelle et professionnelle. Ils voulaient savoir comment alimenter une volonté d’action artistique chez des étudiant.e.s de premier cycle qui ne se considèrent pas des artistes. Les éducatrices et les éducateurs ont remarqué qu’aborder la peur de l’art sous une optique de création artistique inclusive était bénéfique. Mots-clés : peur de l’art, handicap, création artistique collaborative, éducation supérieure, apprentissage expérientiel.

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Macpherson, Hannah, and Mary Bleasdale. "Journeys in ink: re-presenting the spaces of inclusive arts practice." cultural geographies 19, no. 4 (2012): 523–34. http://dx.doi.org/10.1177/1474474012442820.

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This article documents some of the imaginative and physical journeys taken by a group of performance makers during a two-week course at Northbrook College, West Sussex in July 2011. Text, photographs and artworks are used to re-present some of the journeys we have taken together as a group and the modes of marking, map making and documentation used. MB: is an inclusive arts practitioner who works with artists with learning disabilities. Mary was coordinating the course and HM: was participating as an interested Cultural Geographer. The article is written as a dialogue and is likely to be of interest to readers interested in the geographies of performance, disability, non-representational research, innovative non-verbal methods or inclusive arts practice.

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Whalen, David S., Henry Lowengard, and Jonas Braasch. "Electronic wind instruments for mobility-restricted musicians." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A149. http://dx.doi.org/10.1121/10.0027121.

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One of the earliest applications of analog music synthesizers was the simulation of orchestral instruments. Electronic wind instrument sounds were played through piano-like keyboards or interfaces with breath controllers that mimicked physical wind instruments. Synthesizers are also often the best alternative for artists with disabilities to play a musical instrument. This talk focuses on methods and experiences the authors were involved with to design electronic alternatives to wind instruments for people who lost control of their arms. The Jamboxx is a USB controller that was specifically designed as a head-only interface using a breath controller to simulate airflow but also operates as a suck/puff device to activate menus and buttons, a slider to manipulate pitch, and a tilt-sensor to control expression parameters. The Jamboxx also addressed musicians seeking a harmonica-type interface to augment their guitar performance. The AUMI instrument is a touchless device based on camera tracking. This talk will address different sound synthesis methods to achieve realistic wind instruments, the ability to integrate these instruments with other off-the-shelf products (e.g., VST plugins), and special requirements for artists with special needs to play these instruments without too much fatigue. [Work supported by the Craig H. Neilsen Foundation.]

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Spînu, Dan. "MODERN TECHNOLOGIES FOR REMOTE PERFORMING IN MUSICAL ENSEMBLES." Review of Artistic Education 27 (April 1, 2024): 34–42. http://dx.doi.org/10.35218/rae-2024-0005.

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During the pandemic, the issue of remote education was seriously raised for the first time, through the use of Internet. Music education has specific activities, such as performing in ensembles, where the usual internet solutions have proven inadequate, especially due to the very high latency. The article presents the results of the research project entitled “Development of solutions for remote musical education”, carried out in the “George Enescu” National University of Arts in Iași, whose first objective was to find technical solutions suitable for remote performing in ensembles, solutions which also offers new opportunities for collaboration between institutions located at a great distance, ensuring access to music education for those with disabilities, for those located at a great distance from university centers, as well as streamlining musical productions involving artists located at a distance.

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ELFLEIN, DIETMAR. "A popular music project and people with disabilities community in Hamburg, Germany: the case of Station 17." Popular Music 28, no. 3 (2009): 397–410. http://dx.doi.org/10.1017/s0261143009990134.

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AbstractIn this article I discuss the past and present of Station 17, a project made up of disabled and non-disabled musicians, which was founded in Hamburg, Germany in 1988. Station 17 refuse to regard themselves as a pedagogic or therapeutic project. My specific interest is to show how they attempt to solve artistic and economic problems that arise out of this decision. In artistic terms they developed two major modes of production, which both led to a dead end. As a consequence they merged these two modes in order to regain the flexibility of improvisation without losing the benefits of sequencer-based electronic music. Within the pop market the lyrics, which are exclusively provided by disabled members of the project, serve as a unique selling proposition. In economic terms they succeeded in creating themselves a niche within a therapeutic structure that allows them to act as professional artists.

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French, Jade, and Leah Jones. "Recipe for a Good Life." Journal of Literary & Cultural Disability Studies: Volume 15, Issue 3 15, no. 3 (2021): 307–27. http://dx.doi.org/10.3828/jlcds.2021.25.

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Recipe for a Good Life (2019) was an art exhibition at the Brindley in Cheshire which explored what it means to live a “good life” to local learning disabled people. Curated by self-advocate Leah Jones, it featured artworks created via a public participatory arts programme, where self-advocates, SEND schools, disability professionals, families, carers, and gallery visitors came together to share their different visions of what living a good life meant to them. This article documents and reflects on this exhibition using a life story approach. By describing the exhibition from Leah’s own perspective, this article offers an account of how this exhibition was curated, and furthermore, how her curatorial work and life as a self-advocate intersect, demonstrating the important role people with learning disabilities have the potential to play in culture as artists, communicators, and curators.

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Roehr, Johanna. "Sharing meaning across the neurodivide: Research through illustration alongside people with profound intellectual and multiple disabilities (PIMD)." Journal of Illustration 10, no. 2 (2023): 235–56. http://dx.doi.org/10.1386/jill_00072_1.

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The perspectives of people labelled with profound intellectual and multiple disabilities (PIMD) remain significantly underrepresented in academic research. This article introduces a developing research methodology that explores how illustration-based methods might assist researchers in attuning to, and amplifying, non-linguistic contributions to knowledge made by people who do not use conventional language to communicate. As a medium that champions alternative forms of communication and aims to make complex subjects accessible to a wide range of audiences, illustration offers additional opportunities to open up the research arena to people with PIMD. This potential is discussed here within the framework of the author’s ongoing Ph.D. research. The methodology outlined in this article is developed within the Sensory Studio, a mobile workspace purpose-built for artistic exchange and co-creation between artists with PIMD and Frozen Light Theatre, a Norwich-based organization creating multi-sensory shows specifically for PIMD audiences. Reflecting on the ethical considerations that shaped the design of this methodology, the author shares some of the unanticipated findings that research through illustration has so far brought to light.

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