MentorArts: The Educational Hub for Inclusive Artistic Mentorship

Open-ended arts refer to creative practices that encourage exploration, experimentation, and personal interpretation without a fixed outcome or single "correct" result. Unlike structured artistic activities that follow a step-by-step process or aim to replicate a specific model, open-ended art allows artists—of any age or skill level—to express themselves freely, emphasizing the process over the final product.

This approach fosters imagination, critical thinking, and emotional expression by removing the fear of failure. Children given access to open-ended art materials—like clay, paint, fabric, recycled items, or natural objects—often show increased confidence and inventiveness because they're encouraged to make choices, solve problems, and explore their own ideas.

Open-ended art also plays a crucial role in contemporary artistic practice. Many modern and postmodern artists challenge traditional norms, create interactive works, or leave pieces intentionally incomplete or ambiguous, inviting the audience to become co-creators of meaning. This openness makes art more inclusive and dynamic, allowing for diverse perspectives and continuous reinterpretation.

Ultimately, open-ended arts celebrate the idea that creativity is not about following rules, but about discovering new possibilities. It is a reminder that art can be as much about the journey as it is about the destination.

 

Betty Edwards had a simple but powerful idea: we all have the ability to draw and be creative—it’s just that sometimes, our brains get in the way. She explained this using the idea of the brain's two sides: the left side handles logic, language, and rules, while the right side deals with things like seeing shapes, noticing space, and picking up on visual details.

When we try to make art, especially as beginners, our left brain often takes over. It wants to label things and draw symbols—like a “cartoon” eye or a flat house—because that’s how we’ve learned to represent the world. But Edwards believed that if we could quiet that left-brain chatter and let the right brain lead, we’d start to really see what’s in front of us and draw with much more awareness and confidence.

That’s exactly where open-ended art comes in. Open-ended art isn’t about copying something perfectly or following a set of instructions. It’s about exploring, playing, and letting go of the idea that there’s a right or wrong way to do it. This kind of art naturally invites us into that right-brain space where creativity flows more freely. We stop worrying about the final product and start noticing shapes, patterns, feelings, and possibilities.

So if you’ve ever said “I can’t draw” or “I’m not creative,” maybe you’ve just been stuck in left-brain mode. Open-ended art, inspired by ideas like Edwards’, gives you permission to shift your perspective—to see differently, think differently, and create in a way that feels personal and freeing. It’s not about making “good” art—it’s about discovering what’s possible when you stop trying so hard and just let your creative side take the lead. 

Refer to the diagram from Betty Edwards’ book "Drawing on the Right Side of the Brain", page 48. (see image)

 

In the same way that Edward’s differentiating between brain sides unlocks different approaches to the art, Howard Gardener in the early 90’s came up with a theory that in many aspects has proven to be helpful when detecting the origin of art-making.
Howard Gardener expounded a theory consisting of 9 different intelligences, that the mind can be split into. We find that we hold each one of them in us, but all with a unique combination of dominating and submissive intelligences. 

In relation to open-ended arts especially 3 intelligences are relevant when looking on how (and how to improve) our sense of creating:

Interpersonal Intelligence
This is the ability to understand others and work well with them. In drawing, it means creating art that shows relationships or captures people’s emotions. If you're strong in this intelligence, you might use your right brain (visual-spatial) to observe people and their body language. You can try sketching portraits or scenes where people interact, paying attention to gestures and facial expressions.

Bodily-Kinesthetic Intelligence

This is the ability to express yourself through movement and physical activity. In drawing, it's about using your body and gestures to create—think of drawing large, sweeping lines or creating big pieces. This taps into your right brain's creative side, letting you move freely and express energy through your hands and body. Try drawing while standing or using your whole arm to make large, fluid motions.

Visual-Spatial Intelligence
This intelligence helps you see how objects fit together in space. In drawing, it's about understanding perspective and how things look from different angles. It connects with the right hemisphere’s ability to visualize, seeing the world in shapes and spaces. Try drawing from unusual viewpoints or experimenting with 3D effects, paying attention to how light, shadow, and space interact in your work

Gardner’s intelligences show us that there’s no one right way to be creative. Whether you’re someone who connects easily with others, loves to move and explore with your body, or has a sharp sense of how things fit together in space, your unique intelligence can enhance your drawing practice. The next time you sit down with a pencil or paintbrush, think about which intelligence you want to engage with most. Do you want to draw people and relationships, get your whole body moving with your art or dive deep into the way shapes and spaces come together?

No matter where you start, the key is to embrace the process, explore different approaches, and let your natural strengths guide you in creating something that makes you feel good about yourself!

 

WORKSHEET: Journal

 

Self-expression through art is one of the most instinctive and universal ways we make sense of ourselves and the world. Before we can write or speak fluently, we draw. We scribble, smudge, and swirl shapes that carry meaning far beyond their lines. And for many, this early form of visual language remains the most honest and immediate way to express thoughts and emotions that don’t fit neatly into words.

Unlike technical drawing or realistic painting, expressive visual art isn’t about precision or perfection—it’s about presence. It’s the act of translating inner experience into visual form, making the invisible visible. Whether it is abstract or representational, bold or delicate, visual self-expression allows artists of all ages to communicate feelings, identities, and stories that might otherwise go unspoken.

This approach, much like open-ended art, prioritizes the process over the product. It creates space for exploration, emotional release, and personal meaning—allowing the artwork to serve not as a performance, but as a mirror.

Building on Betty Edwards' idea of shifting from analytical, left-brain thinking to perceptual, right-brain seeing, self-expression in arts takes this one step further. It’s not just about seeing what’s outside us with more clarity—it’s also about tuning into what’s inside. We are invited to observe our emotions, memories, and inner states, and to give them visual form. Rather than aiming to reproduce what we see in front of us, we begin to draw from within.

This inward gaze echoes the work of Carl Jung, who believed that the unconscious mind could communicate through images. Through a method he called active imagination, Jung created hundreds of symbolic drawings and mandalas as a way to explore his own psyche. These works weren’t meant to be art in the traditional sense—they were maps of the inner world, visual expressions of emotions, conflicts, and archetypes that language alone could not capture. In this way, expressive drawing becomes a tool for insight and healing, allowing us to access layers of experience that are often hidden beneath the surface of everyday awareness.

Art is one of the most personal and powerful ways we can express who we are. Whether it’s with lines, colors, shapes, or textures, making art allows us to communicate thoughts and feelings that we may not always have words for. It gives us space to share our stories—our memories, cultures, identities, and dreams—without fear of being wrong!

As mentioned before, in making art we don’t need perfect techniques or fancy tools. What matters is that we make marks that come from ourselves. These marks carry meaning, even if they look simple or messy. Every brushstroke, fingerprint, or splash of color becomes a small trace of who we are and how we see the world.

In a group, this kind of self-expression becomes even more meaningful. When many people create together, something beautiful happens: a space of inclusion and connection. Everyone brings something different to the table—literally, in this case.
When we paint together, we create not just an artwork, but a shared experience. We make room for many voices, many traditions, and many ways of seeing and feeling.

WORKSHEET : 

Self-portrait with a mirror

Creative Dinner Party

Art and craft are often used interchangeably—but they serve different purposes, especially in the context of inclusive artistic mentorship. While art invites self-expression and imagination, craft typically focuses on step-by-step creation, often with a predefined outcome.

In this unit, we will explore how crafts—when introduced with care and flexibility—can become powerful stepping stones to creativity. Especially for individuals with intellectual disabilities, starting with familiar and tactile materials provides a sense of security, while opening doors to self-expression.

Historically, craft has been rooted in function—baskets, textiles, ceramics—while fine art was seen as expressive, emotional, and even elite. This divide became more pronounced in the 19th and 20th centuries, especially with the rise of formal art education.

In disability settings, craft activities were often used for therapeutic or occupational purposes. However, they were not always framed as opportunities for self-expression. Today, inclusive art education pushes this boundary, recognizing that all forms of making—whether guided or free—can hold expressive potential when the process is personalized.

From Steps to Expression: Introducing Crafts as Creative Tools
Crafts offer a low-barrier, familiar, and hands-on experience—making them an ideal starting point when mentoring individuals with intellectual disabilities. They provide comfort through structure while opening doors to creativity when guided with intention.

Here’s how to introduce crafts in a way that supports both confidence and self-expression:

 Start with Structure:
Simple steps and repeated movements offer predictability and reduce anxiety.

Use familiar materials such as paper, fabric, glue, clay, or yarn.

Offer choices in color, texture, or objects—small decisions build ownership.

Encourage variation—remind participants there’s no “right way” to complete a project.

 Example Activity: Start with a magazine collage. Begin by sorting images by theme or feeling. Then, let participants arrange them freely—creating a visual story that is uniquely theirs.

 Open the Door to Expression:
Even step-based crafts can become deeply expressive when you shift the approach.

🔹 Focus on the process, not just the outcome. Let making be the goal.

🔹 Invite storytelling or emotional reflection to guide creative choices. ("What colors feel calm today? What textures remind you of home?")

🔹 Embrace improvisation. If a participant transforms a weaving into a bracelet or sculpture—celebrate it.

🔹 Integrate open-ended materials like found objects, natural elements, or recycled items to expand creative freedom.

The magic lies in freedom within structure. You're not abandoning steps—you're simply inviting personal meaning to live within them. This transforms crafts from a task into a canvas for identity, imagination, and voice.

 

Why Crafts Are an Ideal Starting Point for Disabilities
Crafts offer a sense of:

 Safety and familiarity – Steps are repeatable and predictable
  Physical engagement – Working with hands can regulate emotions and support focus
  Achievement – Tangible results build self-esteem and confidence
  Motor skills practice – Fine motor coordination and sensory exploration
  Social connection – Working side-by-side on shared projects promotes interaction

As ART AND DISABILITY (Harlan, 1992) highlights, “Everyone has the potential to use art materials and be creative—regardless of training, experience, or ‘talent’.”

When adapted well, crafts become more than just projects—they become tools for identity, storytelling, and joy.

This training course has the objective make you part of the process of promoting the access of people with intellectual disabilities in the mainstream art scene as mentee and as artists: as mentors you will offer guidance, feedback, encouragement, and inspiration, helping artists with mental disabilities to develop their skills, refine their craft, expand their network, and navigate the industry.

You are going to work with artists with mental disabilities determined by different types of disorders that can produce equally different degrees of reduction of cognitive, behavioural, social and relational functioning that will be different from one person to another, even if determined by the same health condition.

Approaching something that you don’t know usually generates some uncertainty and fears, so in the next sections we will start from talking about disability and its current definition and vision, to delve into mental disabilities, defining two 2 main categories: disabilities resulting from neurodevelopmental disorders, concentrating on intellectual disabilities and autism spectrum disorders, and disabilities resulting from psychiatric disorders, concentrating on schizophrenia.

 

It has been estimated that 1.3 billion people – about 16% of the global population – currently experience significant disability: disability is part of being human, the concept of disability no longer indicates an absolute of the person as in the past but concerns the relationship between the person and his reference environment.

“Disability results from the interaction between individuals with a health condition, such as cerebral palsy, Down syndrome and depression, with personal and environmental factors including negative attitudes, inaccessible transportation and public buildings, and limited social support.

A person’s environment has a huge effect on the experience and extent of disability. Inaccessible environments create barriers that often hinder the full and effective participation of persons with disabilities in society on an equal basis with others. Progress on improving social participation can be made by addressing these barriers and facilitating persons with disabilities in their day to day lives.” (https://www.who.int/health-topics/disability#tab=tab_1)

This is the actual vision that inspired the International Classification of Functioning, Disability and Health (ICF), where disability is described as the result of a difficulty in functioning at a physical, personal or social level, in one or more main domains of life, that a person in a certain health condition finds in the interaction with contextual factors.

The ICF focuses on health and functioning, therefore on the resources of the individual, not on disability.

Disability is considered as a contextual condition in which a person finds himself both for his health condition but also with respect to an unfavourable physical or social environment.

The basic principles that guide this model are:

-universality: it can concern all individuals, in fact each of us can participate throughout life, in a situation of limitation of activities and participation.

-inclusiveness: the individual is not only a person with illnesses or disabilities, but above all his uniqueness is highlighted, in a global and integral vision.

Example: a child with dyslexia is not seen as "external to the class group", but as part of the diversity of the functioning of all students.

-equality: in defining the functioning profile of a person are involved all the actors who are in relationship with that person: family, school, health and/or educational professionals have equal importance in the definition and contribution to support the person with a disability. Example: If a parent says that his child loves to draw or is afraid of noisy places, that information is as important as a medical diagnosis or a psychological evaluation.

- use of neutral language: when approaching a person with a disability stigmatizing language, judgments or labels are not used anymore.

We no longer talk about "impairments", "handicaps", "invalids", but about functioning, activities, participation, and environmental factors.

- follows the biopsychosocial model: disability is seen not only from a "medical" or "individual" perspective but arises from the interaction of personal and contextual characteristics. Example: a deaf person is not "disabled" because of deafness, but if the environment does not provide LIS or subtitles, a barrier to the functioning of the same is created.

Unfortunately, in everyday life, having a disability still involves experiencing limits, often imposed by the environment. The path to full inclusion is still long but this no longer means having no possibilities. In fact, there are several institutions both at European level and in individual countries of the Union that have been committed to promote the rights of people with disabilities so that they can live a life as full and authentic as possible.

The United Nations Convention on the Rights of Persons with Disabilities (2007) is a document shared by the international community that sets out values ​​and objectives to expand the degree of social inclusion of people with disabilities.

In this sense, in recent years, especially with the advent of new technologies, numerous barriers have been removed, reducing the degree of disability, whatever its type. Education and employment are two areas to which the Convention refers, inviting a specific commitment from institutions and civil society. As for every person, the education and training path and work experience represent essential moments for the life of anyone. It is therefore necessary to develop new paths, services and technologies able to adequately ensure equal access. Article 24, letter b) of the Convention reiterates the importance of education for the development, by people with disabilities, of their personality, talents and creativity, as well as their physical and mental abilities, up to their maximum potential and in particular all initiatives that aim to achieve this important goal are promoted.

WORKSHEET: Thought-provoking question

Disabilities resulting from neurodevelopmental disorders appear in the early stages of development and are characterized by developmental deficits; they cause impairment in personal, social, school or work functioning. These include:

- Intellectual disabilities: characterized by limitations in intellectual functioning and adaptive behavior that generally appear before age 18 and compromise the ability to learn and perform daily activities. Intellectual disabilities can have various causes, including genetic factors, prenatal exposure to toxic substances, brain damage or infections during pregnancy. Among the most common intellectual disabilities with genetic causes we have:

Down syndrome: the most common physical characteristics include a round face with a flat profile, almond-shaped eyes with a characteristic epicanthic fold, short neck and short stature. Behavioral characteristics can vary greatly, but some common tendencies include great affection and openness to others, interest in social activities, and possible difficulty managing emotions

Fragile X syndrome: obvious characteristics of the syndrome are an elongated face, large ears, and low muscle tone. Behavioral characteristics may include stereotyped movements (e.g., clapping) and atypical social development, particularly shyness and limited eye contact with the interlocutor.

Autism Spectrum Disorder: is a condition characterized by difficulty in communication and social interaction, with the presence of repetitive behaviors and restricted interests. It is called a "spectrum" because it includes a wide range of manifestations, from mild to severe forms. The most common characteristics are: difficulty in social communication (Poor eye contact or limited facial expressions); difficulty understanding nonverbal language (gestures, tone of voice); problems interpreting emotions and intentions of others. Repetitive behaviors and restricted interests: Stereotyped movements (flapping hands, rocking); rigid routines and consequent difficulty coping with sudden changes; intense and focused interests (e.g., a strong passion for numbers, maps, music). Atypical responses to sensory stimuli: Hypersensitivity (e.g., discomfort with sounds, bright lights); Hyposensitivity (poor recognition of pain or cold).
Disabilities resulting from psychiatric disorders.

Psychiatric disorders can, in some cases, cause forms of psychosocial or cognitive disability. This disability is not linked to an innate intellectual deficit, but derives from persistent difficulties caused by the symptoms of the disorder, which can interfere with daily life, social relationships and autonomy. We therefore speak of mental disability or mental disability resulting from psychiatric disorders when a clinical condition leads to lasting difficulties in the ability to think, communicate or relate. If there are difficulties in personal autonomy and in managing daily activities and finally if there are problems with social adaptation or in entering the workplace.

Among mental disorders, schizophrenia (also called psychosis) is one of those that can cause conditions of disability due to the presence of psychotic episodes. These episodes are held back by:

- delusions: erroneous and immovable beliefs not based on reality (e.g. feeling persecuted or having special powers);

- hallucinations: sensory perceptions without a real stimulus, most often auditory (e.g. hearing voices speaking or commenting on one's actions);

- disorganized thinking: difficulty maintaining coherent speech, sudden switching between unrelated topics or slurred speech.

These characteristics of the disorder can significantly impair the person's ability to manage daily activities, maintain social relationships and participate in work or creative environments.

WORKSHEET: 

Simulation of sensory hypersensitivity

Problem scenario exercise

You have now gained:

- a clear idea of what is disability according to the actual bio-psycho-social model 

- general knowledge and understanding about some types of mental disabilities (and the disorders that can cause them)

CHECK YOU KNOWLEDGE : QUIZ

This unit addresses the topic of interaction with people with mental disabilities. You will discover how to build an educational relationship based on empathy and mutual respect, avoiding falling into the trap of stereotypes and favoring simple, clear and effective communication.

The contents of this unit will allow you to be more self-confident when starting your mentoring activities thanks to clear and easy suggestions and tools.

Stereotypes and prejudices regarding Intellectual Disability result in the adoption of behaviors and attitudes of distinction, differentiation between people, and discrimination. Such attitudes can create obstacles for inclusion.

Stereotypes are cognitive structures that help us orient and guide ourselves on a social level. Some scholars consider stereotypes to be heuristics of the mind that we learn and reuse in social contexts. These are presented as categories, exemplary maps and, for this reason, defined as mental shortcuts that are applied more or less consciously in order to make "our being in the world" easier.

When applied to social groups, a stereotype is a generalized belief about the characteristics that are associated with the members of a social group. In 1922, the journalist Walter Lippmann first popularized the term stereotype, which he described as the image people have in their heads of what a social group is like.

A social stereotype consists in attributing some traits in common to all individuals who are members of a group and also in attributing to these same members some differences compared to members of other groups. They help us to cope with situations by introducing a simplification of social reality. They allow us to preserve the differentiations between our own group and external groups (think for example of stereotypes about people of German culture).

Stereotypes can be negative (e.g. women are gossips), positive (e.g. Austrians love music), neutral (e.g. Japanese take lots of photos).

They can originate from the first interactions with members of groups that we do not know or they can be rooted in the culture, in the values ​​of society and are learned naturally during socialization or through the media.

The most common definition of prejudice is a negative and unjustified attitude toward another individual or group based on that person belonging to a certain social group (ex. specific race, ethnicity, religion, social class or gender). 

Prejudice is a preconceived idea that determines our attitude, predisposing the person to think and/or act in a critical and/or discriminatory way towards groups of people. Prejudice influences our perception and interaction with others.

In this sense, prejudice is a form of discrimination that manifests through the actions of a person toward another individual, or a group of people. It is often based solely on a preconceived idea regarding a person’s background, and the ideas and expectations that the person might have about that background.

Based on the above, stereotypes can be considered normal and unconscious thought patterns and are socially acceptable, while prejudices imply discrimination and mostly have a negative connotation. 

Discrimination occurs when people allow their prejudice to influence their behavior in a negative way. Stereotyping, on the other hand, is to view an entire social or ethnic group as the same, solely based on the actions of a select few. 

In a more schematic way:

• The stereotype (cognitive component) is the basis of prejudice. The cognitive factor is linked to the stereotype, then there is an evaluative factor from which prejudice arises.

• Prejudice (evaluative component) is linked to the affective factor: when I evaluate the feelings that result from it, a behavioral factor follows, thanks to which I discriminate. In fact, it can lead to discrimination.

• discrimination (behavioral component), because based on them, behavior also changes.

There are many common and harmful stereotypes and prejudices about people with mental disabilities that can generate discrimination, for example it is common to believe that people with disabilities:

• Are like children

• Need special services

• Cannot learn, work or be independent

• Suffer from their disability and are a burden to their family

• Always need special assistance.

• Are dangerous (this happens especially to people with mental disorders of a psychiatric nature)

• Have different emotional needs or are devoid of sexual impulses or desires

• Are people who cannot lead a normal life or be successful in the things they do (are to be blamed or should be felt sorry for)

However, it must always be remembered that it is not the disability that defines the person but their being unique as an individual, which is why it is important, even more for those who deal with education and training in various capacities, not to fall into these types of prejudices and stereotypes.

As a mentor, it is your duty to know what your beliefs and values ​​are. Question yourself to understand and recognize any distortions or preconceived ideas that could negatively impact the people you will support. This is why this unit will propose activities for reflection and self-reflection on your beliefs and ideas.

WORKSHEET: Developing self-awareness about stereotypes and prejudices

Implicit Association Test 
Prejudices are within us: even if we declare ourselves against any form of discrimination a distrust towards those who are different remains. This, at least, is what the researchers of the Project Implicit claim. This project, led by the professor of psychology at the University of Washington Anthony G. Greenwald, author of the book “Blindspot: Hidden Biases of Good People” , has developed a test, Iat, or Implicit Association Test, which since the mid-nineties, monitors the associations of ideas between faces and concepts. The test is divided into eight sections, each of which addresses a theme of prejudice: age, race, nationality, gender, disability, skin color, weight, sexual orientation. You can try the test on the theme of disability by clicking on the link below:

TEST

Entering into relationships with other people is always a process that requires a certain openness and the ability to decentralize oneself to leave space for the other, giving them the opportunity to make themselves known for who they really are.

This ability to welcome the other is even more important if we are within an educational relationship. The educational relationship is the bond between an educator and a learner, which is established to promote learning and socialization. It can occur in formal contexts, such as school, or informal ones, such as the family. The educational relationship is characterized by affective elements (affiliation, acceptance, understanding, love), and social elements (such as asymmetry, authority, reciprocity). The educator is in a position of greater educational responsibility: he is the mediator of knowledge and the facilitator of interpersonal relationships and even though he acts in function of reciprocity he can never abdicate his role because it is precisely thanks to this awareness of the responsibility to which he is called that it is possible to establish a relationship in which he can transmit and bring out in the 'educated' what is his potential. The educational relationship aims to promote a change, a positive transformation in the 'educated' that allows him to acquire greater awareness of his own potential and the continuous progressive increase of his own abilities. The educator is also invested by the change, in fact, precisely by virtue of the reciprocity that characterizes this type of relationship both subjects are transformed. At the basis of an educational relationship there is respect for the person understood in his fundamental characteristics which according to the pedagogist Victor Garcìa Hoz are: singularity, uniqueness, dignity, unity, unrepeatability, relationality, communicativeness and openness. 

Empathy plays a fundamental role in building a relationship based on mutual exchange that aims to promote the potential of the other. Contrary to popular belief, being empathetic does not mean putting yourself in someone else's shoes but rather being available to support the other, to understand them, being careful not to dispense advice or prepackaged answers based on your own personal experience but perhaps inviting them to describe what they feel at that moment, how they feel and what they need. Questions have a maieutic function and can help not only to get to know the person in front of us better but also to make the other feel important and the object of our attention and care. It is very important to practice active listening, to be present and to try to understand what the other person wants to communicate. Very often, in fact, we are not really present and we practice automatic and passive listening, which often generates a lack of understanding or what we can define as real misunderstandings. To be sure we have understood correctly we must not hesitate to ask our interlocutor for clarifications and in the same way we must be ready to offer explanations on what we wanted to say. Active listening and observation are two activities at the basis of the empathic relationship. Communication is not simply speaking but necessarily presupposes a relationship and therefore an exchange: behavior/action directed towards another person which is followed by a relative and coherent consequence.

The principles on which empathic communication is based are mainly three: active listening, verbal communication and non-verbal communication. In particular, non-verbal communication is the ability to transmit and receive information through body language, that is, gestures, facial expressions, gaze, posture, distance, physical contact, tone and volume of voice. Non-verbal communication is of great importance in empathic communication, because it can strengthen or contradict the verbal message, it can influence the emotions and reactions of the other, it can create or break the relationship. Empathic non-verbal communication is that which is congruent with the verbal message, which expresses openness, acceptance and interest, which creates harmony and closeness with the other.

Not negligible is the development of assertive communication, where two or more people during an educational relationship or simply a dialogue, are able to communicate even when they find themselves having different opinions, beliefs or values. The relationship and therefore the interaction is based on a "win, win" style and both have the objective of finding a compromise where possible to satisfy their needs and/or desires. The development of assertive communication is fundamental to creating effective and fruitful educational, social and working relationships, based on trust, respect, cooperation, and constructiveness.

What has just been said is valid for every communicative exchange we do but it is even more important if the person we are interacting with is a person with a mental disability. The person with a mental disability, in fact, may present changed/reduced/altered communication/understanding skills and a marked sensitivity in capturing non-verbal communication (gestures, glances and postures) this means that it will be necessary to implement precautions in communication that can favor dialogue and mutual understanding.

WORKSHEET: Guided self-reflection

Reflection on a joint Canva : Link

Test your Empathy Quotient (EQ)
The Empathy Quotient (EQ) is an assessment tool created to measure empathy levels in adults. Developed by Simon Baron-Cohen and his team at the Autism Research Centre at the University of Cambridge.This test is designed to gauge the empathetic capabilities of individuals, which involve recognizing and responding appropriately to the emotions of others.

Take the TEST

Positive interaction is an essential skill in creating an inclusive and respectful environment for everyone. This learning unit offers practical tips and guidance on how to interact thoughtfully and empathetically with people with disabilities. By understanding key principles and best practices, you will be better equipped to foster meaningful connections, promote understanding, and support accessibility in various settings. Whether in personal, educational, or professional contexts, developing these skills is crucial for building a more inclusive society where all individuals are valued and empowered.

When interacting with people with disabilities, you should never make them feel “different”. If they are adults, remember to talk to them as you would with any adult: talk directly to them and not through a support person or a family member, make them the protagonists, this will make them feel recognized, increase their self-esteem and ability to believe in themselves. 

Value the small progresses that the person makes and help them recognize what their personal inclinations are, this will give them positive feedback on their skills or abilities and help them get to know themselves better. 

Help the person feel at ease by being friendly, polite and patient. Don’t ask questions about their disability: just as you wouldn’t ask personal questions to a person without a disability about their body and medical history, you shouldn’t ask them to people with disabilities either.

Be focused when you are in a relationship with a person with a disability and practice active listening. Be physically present, use your gaze, your head to nod. If you want to make sure you understood what the person told you or asked you, make a summary of what you understood: you can start the sentence by saying "If I understood correctly, you were telling me ...". If it is useful, ask questions to show that you are sincerely interested in knowing or understanding the person in front of you.

Avoid gesticulating a lot, some people may get annoyed or distracted.

Practical tips on how to interact with people with disabilities related to neurodevelopmental disorders (intellectual disabilities and autism spectrum disorders):

- Use concrete expressions and do not take any concept for granted

- Use short and simple words, avoid directional terms (right/left)

- Avoid giving too much information at a time: a sentence should not contain more than one idea

- Ask one question at a time and give enough time to answer, try to be reassuring

- Consider that the person may have difficulty reading the information: it may be useful to explain in an accessible way or provide it in language that is easy to read and understand

- Consider that people with intellectual disabilities often have coordination difficulties, time management difficulties, attention disorders, reduced processing speed, emotional maturity and memory and have difficulty tolerating change

- people with autism spectrum disorders may face moments of sensory overwhelming: when you see them stressed, allow them to move in a more quiet space, doing a relaxing activity they like. 

Practical tips on how to interact with people with disabilities due to psychiatric disorders:

Instructions may be better understood if broken down into small tasks
- Make sure you do not invade their personal space (this may cause anxiety in some people)

- Do not be evasive and do not invite the person to speak to someone else instead of you, to avoid generating anger

- Sometimes it may be necessary to set limits “I only have 5 minutes to talk to you” or “if you get upset I can't talk to you”

- Try to be welcoming and reassuring

Mental disabilities are often associated with speech disorders. If the person has difficulty articulating words/speech, these simple tips can be useful:

- Do not assume that the person also has intellectual disabilities.

- Be patient, repeat what you have understood and if you do not understand what he or she is saying, let him or her know.

- Do not try to complete sentences if the person speaks slowly.

- If the person has excessive difficulty speaking, ask clear and precise questions that require a short answer.

For example, during an Art session, instead of asking “which colour do you prefer to use here?” You may ask “would you like to use red here?” So that the person has to simply answer yes or no.  

- Learn to know and memorize some peculiar characteristics of the person you are about to work with, for example: their favorite colors, styles, hobbies, specific ways of calling or defining objects (this is possible especially if you work with small groups and you are in the presence of many work materials for which it is necessary to make different choices for their use each time)

These practices facilitate and direct the communicative relationship especially with people with serious disorders of expressive language.

Effective communication is another essential skill in creating an inclusive and respectful environment for everyone.

Easty-to-undertand language is a key tool in helping to ensure that your message is effective and that your audience feels comfortable and engaged. Its goal is to communicate ideas in a way that is straightforward and accessible, so that people with low literacy skills, including elders, migrants, children, and people with disabilities can understand the message without difficulty.

This simplified language is needed to ensure all people can: 

 Learn new things.
 Play an active role in society.
 Know their rights and stand up for them.
 Make their own choices.
Over the years, collective efforts by linguists, government agencies, organizations working with people with intellectual disabilities and advocates for clear communication produced some guidelines for the use of easy to read and to understand language, since it has demonstrated to benefit users with low literacy skills.

How to speak using an easy to understand language?

To be sure to be understood, you need to think about words and phrases:

 use simple words
use shirt phrases
Express one idea in one short sentence.
 explain difficult words
Speak to people directly using words like “you”: for example, you have to take the brush instead of it is necessary to hold the brush. 
Use positive sentences rather than negative ones. 
Use active language rather than passive language. 
Try to always use the same word to refer to the same thing, avoiding synonyms. 
If you need to use difficult words, explain them clearly and use examples. 
Do not use difficult ideas or metaphors. 
Do not use words from other languages. 
Avoid using initials, percentages (63%) or big numbers (1,758,625). 
If an explanation does not seem to be understood, repeat the message but using other words, in a simpler way. 
If giving advice or instructions, phrase them positively.
Remember that these are generic principles, the degree of simplification depends on the cognitive level of the people you are speaking with.

In a spontaneous conversation, you might find it difficult to keep all these requirements in your head; however, you will have a chance of getting immediate feedback from your conversation partner, and you should be able to adapt to them quite naturally. With some practice, you should find it easier to adjust your language, even in spontaneous conversations.

To be sure to be understood, you need to pay attention on how you articulate and compose your speech:

Speak slowly and clearly but naturally, with breaks between each phrase. 
Offer concrete and specific guidelines, avoiding generalities and ambiguities. 
Choose active voice over passive voice. 
Speak calmly and be patient.
When you give instructions, break them down into simple steps and allow the person to finish one small step before giving directions for another step: it may be difficult to remember more than one step and follow it; breaking the directions into small and easy steps and giving them one by one with enough time to finish the previous one before going on may be beneficial. Also, make sure you give directions for every step your listener needs to take, not leaving anything to be inferred.
Indicate keywords as you speak.: repeat the main terms, emphasise that the listener should remember them, and ask questions regarding these keywords. You can also use pictures, objects, sounds, and writings that illustrate the keywords and help your listener to keep them in mind. 
Repeat and summarise important information: frequently repeat and summarise the most important information during the lesson. Also, make sure you repeat the most important things after the explanation.
Accompany your talk with gestures: spontaneous hand gestures, especially illustrators (such as indicating the size or the shape of the object you are talking to), regulators (like head nods), and body movement can help you be more effective.
Represent visually the main line of the argument:  you can draw a scheme of the main argument you are making.  
Always remind yourself of the acronym KISS: Keep it short and simple!

Easy to understand talk: how it sounds? look at this video to understand how to speak in easy language LINK

 TEST YOUR KNOWLEDGE: TEST

WORKSHEET: HOW TO

The deinstitutionalization movement of the late 1960s emphasized the social and human rights dimensions of mental health and disability, advocating for societal evolution towards greater inclusivity. This shift paved the way for integrating arts into the lives of people with disabilities, transforming arts from mere recreation into powerful tools for therapy, education, cultural expression, and career development. From Disability Art and Outsider Art to accessible arts programs and mentorship initiatives, contemporary practices aim to empower artists with disabilities, challenge barriers, and promote recognition within the broader cultural landscape. Celebrated artists like Yayoi Kusama, Stephen Wiltshire, and Judith Scott exemplify how artistic expression can serve as a vital form of identity, communication, and resilience for individuals with diverse disabilities. Understanding these developments highlights the ongoing efforts to foster inclusive artistic environments and recognize the profound contributions of artists with disabilities across history and in contemporary society.

Prior to the 1970’s, there was little discussion about the role of arts in the lives of individuals with intellectual and developmental disabilities. However, with the deinstitutionalization movement in the late 1960’s, many adults with disabilities needed more community-based activities and services. 

Starting during and after World War II in Western Europe and North America, various movements emerged to critique the Capitalist System and the concept of “Total Institutions.” These institutions—such as asylums, prisons, concentration camps, and refugee reception centers—are rooted in a capitalist economic model primarily focused on market efficiency and profit. Under this system, individuals deemed “unproductive” are often excluded and institutionalized because they cannot conform to the standardized work rhythms and productivity demands that prioritize profit above all else. Frequently, entire groups—due to social or economic vulnerabilities—find themselves expelled from the market and confined within these “total institutions.”

Core Claims of These Movements:

Diseases and their causes must be analyzed not only medically but also considering their social dimensions.
It is not the “different” (e.g., sick or marginalized) individuals who should adapt to society; rather, society must evolve to become more inclusive and supportive.
People considered “different” should have access to and participate fully in societal resources and opportunities, moving toward liberation from being seen merely as “objects” of care or control.
“Total Institutions” such as asylums, prisons, and detention centers must transform into “Social Enterprises” that promote social integration and human dignity.
These movements have contributed significantly to psychiatric deinstitutionalization—a process widely regarded as a key aspect of modernizing psychiatry. Deinstitutionalization involves two primary components:

The closure or significant reduction of large psychiatric hospitals.
The development of comprehensive community-based mental health services aimed at fostering social inclusion and ensuring full citizenship rights for individuals living with severe mental illnesses.
With the establishment of group homes, sheltered workshops, and day treatment centers, recreational activities for adults with disabilities emerged, and one common activity was arts and crafts. Thus, art became a leisure activity for many adults with disabilities. 

Current types of connections between art and disabilities:

Disability Art: a genre of art that serves to transform or educate others of the culture and identity of disability. Disability Art is art about disabilities, it depicts the experience of living with disability; it comes from the field of Disability Studies, which emphasizes the importance of establishing the identity and culture of disability. It is any art (theatre, fine arts, film, writing, music or club) that takes disability as its theme or whose context relates to disability. An example of it is the sculpture Alison Lapper Pregnant (2005) by Marc Quinn (see it here http://marcquinn.com/studio/studio-diaries/the-making-of-alison-lapper-pregnant). It’s developemnt started in Britain in the 1970s / 80s as a result of the new political activism of the disabled peoples' movement.
Outsider Art: is art made by self-taught individuals who are untrained and untutored in the traditional arts and who often depict their life experience in their work. Across Europe and the United States, there are a number of dedicated Outsider Art galleries and museums, with many including pieces by individuals with disabilities. The term outsider art was coined in 1972 as the title of a book by art critic Roger Cardinal.It is an English equivalent for the French art brut, a label created in the 1940s by French artist Jean Dubuffet to describe art created outside the boundaries of official culture. Dubuffet focused particularly on art by those on the outside of the established art scene, using as examples psychiatric hospital patients, hermits, and spiritualists. Have a look here to famous outsider artists https://www.sleek-mag.com/article/outsider-artists/ 
art as recreation: usually within service providers, art programming is used as a leisure-time activity, based on its well-known psychological and emotional benefits.
art as therapy: art therapy is based on the belief that the creative process involved in artistic self-expression helps people to resolve conflicts and problems, develop interpersonal skills, manage behavior, reduce stress, increase self-esteem, self-awareness, and achieve insight. It is a technique derived from psychoanalytic practices and consists of support paths for traditional therapy. It seems to have been born around the 1940s. Art therapy does not focus on the aesthetic side of the work, but focuses on the communicative and significant side: the patient often has difficulty in verbal communication, while expression with art forms is more immediate. 
accessibility of art: it is a largely discussed concept even at a regulatory level because it is linked to the desire to make it possible for everyone to have full access to the arts and the places where it is preserved, without making distinctions, under the right to culture.
art as education: in more recent history, several adult service providers have expanded their art programming into dedicated creative art studio spaces with socially inclusive studio programs that promote personal choice in self-expression, the power of expression of feelings and emotions, empowerment in creation of self-image, and opportunities to develop social skills. The model also recognizes the potential for persons with disabilities to be included in art museums and galleries, thus allowing for the potential for income: supported art studios supply artists with materials, studio space and mentorship in their artistic practice; studios may also assist in exhibiting and selling artworks in their gallery or online store.This model is sometimes adopted also by independent art centers.
Recently, several national organizations have begun efforts to enhance access to art careers for individuals with disabilities, partly driven by the growing interest in “Outsider Art”: through art classes or working one-on-one with mentors, artists with disabilities can both master their skills and find their artistic niche.

Collaborative brainstorming board: BOARD

Education and experience are fundamental to building a career in the arts—but another powerful, often overlooked influence is mentorship. Mentoring has helped shape creative minds and careers for centuries.

A Tradition of Mentorship
From Socrates mentoring Plato, to Camille Pissarro guiding Paul Cézanne, and Steven Spielberg mentoring J.J. Abrams, mentorship has long been an essential force in the arts. It's not only about knowledge transfer—it's about presence, encouragement, and opportunity.

Why Mentorship Matters for Disability Artists
Art is a universal language. It belongs to everyone. Yet, artists with disabilities often face systemic barriers to participation: lack of access, underrepresentation, and limited recognition. Inclusive mentorship practices can bridge these gaps—fostering growth, visibility, and professional development.

Best Practices in Inclusive Mentorship
Arts Project Australia: “I Am an Artist” (2020)
At this studio, artists with disabilities are treated as professionals in their own right. Staff act as facilitators rather than instructors, supporting independent creative exploration and peer collaboration. The nurturing environment emphasizes trust, shared studio practice, and community belonging.

“It’s not about directing them… it’s about being a nurturing environment.”
“It’s a two-way learning process that also enriches external collaborators.”
📖 READ MORE: LINK

 Disability Arts Online (UK)
This UK-based platform offers a Talent Development Program that supports disabled creatives at all stages of their careers. Artists can access one-on-one Artist Development Sessions, workshops, funding guidance, and tools for visibility and promotion.

📖 READ MORE: LINK

🟢 Create – Ireland’s Artist Mentor Panel
Create’s Artist in the Community Scheme offers an Artist Mentoring Award, pairing emerging artists with experienced socially engaged practitioners. The goal: capacity-building, mentorship, and inclusion for artists from underrepresented or marginalized communities.

📖 READ MORE: LINK

 PIK – Programme for Inclusive Artistic Practice (Germany)
PIK offers a cross-disciplinary mentoring programme that supports disabled artists in leadership roles across artistic fields. Mentorships involve career planning, overcoming barriers, and fostering inclusive leadership in cultural institutions. Many mentors are disabled artists themselves.

📖 READ MORE: LINK

Final Reflection
Mentorship isn't just about improving skills—it's about belonging, visibility, and building futures. By supporting artists with disabilities through responsive, relational mentorship, we build a more inclusive and vibrant arts sector—where every voice has the tools and space to be heard.

Disabled people continue to be significantly underrepresented across the arts. A 2023 report commissioned by the British Council revealed that 48% of European arts organisations surveyed presented work by disabled artists less than once a year, while 23% never did so at all. Among them, artists with intellectual and mental disability are even more underrepresented: 

When discussing artists with disabilities, it is often noted that throughout art history, many artists have distinguished themselves through exceptional talent despite experiencing physical or psychological challenges. Examples include Michelangelo, Goya, Toulouse-Lautrec, Van Gogh, Henri Matisse, Paul Klee, and Frida Kahlo. Most of these artists experienced sensory or physical disabilities, with Van Gogh being the only one thought to have had bipolar disorder.
Online research about contemporary artists with disabilities produces mainly results about artists with physical disabilities and, until more recently, persons with intellectual disabilities have not been included in empirical research about participation in the arts to the same extent as their peers with physical or sensory disabilities.
Here's an overview of some of the most renowned artists who are living with a mental disability:

Yayoi Kusama is one of the most important and famous Japanese artists and one of the most successful disabled artists living today. She has been experiencing regular hallucinations since she was a child, and she started to represent them through art.  Her family didn’t supported her passion for art and her mother was destroying her drowings before she could finishe them: that’s way she started to use dots in her early stages: quick elements to draw! She was so much inspired by the artist Georgia O'Keeffe, that she wrote her a letter: after getting a reply by the artist (can we consider her, Yayoi Kusama’s mentor?) she moved in the United States. There, after some years, she manages to show her works in a Gallery and to gain the critics attention. After achieving international fame for her polka dots and her colourful installations with unusual shapes, such as pumpkins., in the ‘70s Kusama returned to Japan where she voluntarily admitted herself to a psychiatric institution, where she still resides today continuing her artistic work.
Stephen Wiltshire is one of Britain’s best-known artists: he creates stunningly detailed cityscapes each done from memory with hundreds of streets, landmarks, and other minutiae in perfect scale. He drew cities around the world, from Jerusalem to Sydney. His latest project brought Mexico City to life on a 13-foot canvas.. His works are not just art; they are masterpieces that capture the essence of cities like New York, Tokyo, and London. Born in 1974, Stephen was diagnosed with autism at the age of three and did not speak his first word, "paper," until he was five. Despite early challenges, he demonstrated remarkable talent—creating highly detailed sketches of wildlife and caricatures of his teachers as a child. At just eight years old, he received his first art commission from the British Prime Minister. Although language acquisition was slow, by age 13, Stephen had published his first book of drawings. His extraordinary memory captivated the public and media alike. In 2006, Prince Charles honored him with the Member of the Order of the British Empire for his contributions to art. That same year, Stephen opened his own gallery in central London. Today, his photograph greets visitors at Heathrow Airport, a testament to his inspiring journey.
Judith Scott is known for her intuitively assembled mixed-media sculptures that envelope found objects with dense layers of fiber threads and fabric scraps.Born in Ohio, in 1943, she has been isolated as a result of being institutionalized for most of her life due to Down syndrome and deafness. She began creating art at age forty-three, after being introduced to Oakland’s Creative Growth Art Center, a nonprofit studio and gallery program designed for artists with developmental disabilities.This unprecedented environment sparked Scott’s exploration of creativity as a self-directed form of expression. In late 1987, she discovered her medium through a fiber class led by artist Sylvia Seventy. Over the next eighteen years, Scott crafted sculptures from yarn, twine, and fabric strips, wrapping and knotting them around found objects such as keys, plastic tubing, bicycle wheels, and shopping carts. Her work often explores themes of isolation and connection, using materials to convey her unique perspective. Described as hermetic and intricate, her wrapping suggests both protection and concealment. Scott’s pieces are part of permanent collections at the Museum of Modern Art, the San Francisco Museum of Modern Art, the American Folk Art Museum, the Museum of Everything, and the Collection de l’Art Brut in Switzerland. Her work has been exhibited worldwide, including at the 57th Venice Biennale in 2017. She passed away in 2005.

Learn more about Yayoi Kusama: LINK

Explore Yayoi Kusama main art works: LINK

Learn more about Stephen Wiltshire and his works:LINK

Visit Stephen Wiltshire‘s YouTube channel: LINK

Learn more about Judith Scott and her works: LINK

A mentor is not a lecturer, an evaluator, or someone who holds all the answers. A mentor is a companion on a journey, walking beside the artist, not ahead of them. They don’t shape the clay—they hold the space for the artist to shape it themselves.

While teaching often focuses on skills, correction, and knowledge transfer, mentoring centers around listening, reflecting, and empowering. In mentoring, the process is not about perfecting technique—it’s about helping someone hear their own voice, and trust it.

 

What does it truly mean to be a mentor in the arts, especially when working with individuals with intellectual disabilities? Many professional artists come to this role with years of teaching experience, deep technical knowledge, and an instinct to instruct. But mentoring is something different. It is not about showing how to do something "right," but about standing beside someone as they discover their own way of doing it.

A teacher brings knowledge. A mentor brings presence. While teaching often follows a curriculum, mentoring follows a person. The mentor does not direct the path—they walk alongside it, offering tools, encouragement, and reflection. A teacher might demonstrate the correct way to shade a figure or mix a color. A mentor might ask, “What do you want to say with this?” or “How does it feel when you use that color?”

The metaphor of the mentor as the wind and the teacher as the flame illustrates this well. A teacher is like a flame—stable, focused, illuminating one specific direction. A mentor is like the wind—gentle or strong, invisible but always felt. They fan the flame, helping it grow, dance, and move freely.

Similarly, the teacher might be seen as a gardener—planting in rows, shaping and pruning. The mentor is a forest guide—inviting the artist to notice the wild, the unexpected, and the personal. One cultivates; the other invites exploration.

🧭 The Mentor’s Role in Inclusive Creativity
This distinction is especially important in inclusive creative work. Individuals with intellectual disabilities often experience years of correction, direction, and structure. What they often lack is someone who sees their inner world as valid—who allows space for that world to be expressed without interference. In this context, being a mentor means resisting the urge to fix, perfect, or take over. It means honoring each person's pace, choices, and creative voice—even when that voice is abstract, chaotic, or quiet.

In A Guide To Setting Up a Creative Art Experiences Program for Older Adults with Developmental Disabilities by Jane E. Harlan, the group leader’s role is described clearly as a facilitator, not a teacher. Their job is not to shape the artwork but to create an environment where self-expression is possible. That means encouraging trial and error, avoiding unnecessary correction, and never working on someone else’s art without permission. “The leader encourages independent functioning and does not pass judgment on the art work”¹. The mentor’s job is to help the artist make their own decisions—and to respect them.

This also means focusing on the creative process more than the product. When someone is fully immersed in the act of creating, they are expressing something deeply personal. The mentor supports that process by asking reflective questions, showing interest in the experience rather than judging the result, and offering reassurance through presence rather than praise. As Harlan explains, “The finished work belongs to the individual, who may do with it as he or she wishes”¹.

🎨 Mentorship as Mirror, Not Map
From a symbolic perspective, the mentor is not holding a map but a mirror. They are not saying, “Follow this route.” They are saying, “Look—this is who you are becoming.” Their presence is grounding but not imposing. They offer suggestions, not answers. They create safety, not certainty.

In Disability and Art Creation: From a Subject to Authorship, Pavel Sochor offers a powerful framework for thinking about disability not as a deficit, but as a creative divergence. He describes the role of art as a dialogical space—where the individual’s inner reality meets the external world in symbolic and expressive form. “Art is a living proof of a dialogue between an individual and his/her internal and external environment… capable of preserving what has been realized and experienced”². In this space, the mentor becomes the protector of that dialogue, ensuring it’s not interrupted by imposed expectations or interpretations.

For individuals whose verbal communication may be limited, this is more than artistic—it is essential. It is identity, autonomy, and communication made visible. The mentor, then, is not a technician or instructor, but a kind of translator—listening closely, witnessing deeply, and reflecting back the value of what they see.

In closing, mentoring is about listening more than speaking, observing more than instructing, and trusting more than correcting. It is a mutual journey—an act of solidarity and humility. As a professional artist stepping into this role, you don’t need to give up what you know. You simply need to hold it lightly, and offer it when it’s truly asked for.

“A good mentor doesn’t carve the marble. They hand over the chisel and help you listen for what’s waiting to be revealed.”

 Footnotes
¹ Harlan, Jane E. A Guide To Setting Up a Creative Art Experiences Program for Older Adults with Developmental Disabilities. Indiana University, Institute for the Study of Developmental Disabilities, 1992.

READ MORE

² Sochor, Pavel. Disability and Art Creation: From a Subject to Authorship. Masaryk University, Brno, 2014. ISBN 978-80-210-7579-5.

READ MORE

 

Empathy is not just an emotional reaction—it's a powerful tool in inclusive artistic mentorship. It allows mentors to connect across differences, build trust, and support individuals in expressing their authentic selves. In the context of working with individuals with intellectual disabilities, empathy shifts from a soft skill to a core methodology: a mindset that guides how we listen, observe, and respond.

While technical instruction might help someone paint within the lines, empathy enables them to tell their story in ways that feel personal, safe, and dignified.

Seeing Beyond: Empathy vs. Stereotypes
A mentor guided by empathy doesn’t see “a diagnosis,” “a limitation,” or “a behavior.” Instead, they see a human being, full of experience, potential, and emotion. Empathy helps us unlearn the labels society imposes, creating space for each individual to define themselves on their own terms.

As emphasized in the Arts Equity Toolkit, created by Skye Louis & Leah Burns, equity is not about treating everyone the same—it’s about recognizing unique needs, honoring differences, and making space for meaningful participation​.

Empathy as a Mirror: How to Practice it in Mentorship
Observe with openness – Notice what lights someone up when they work. Are they soothed by repetition? Excited by chaos? Watch and respond accordingly.

Validate their world – Individuals with intellectual disabilities are often talked about but not with. Show that their inner world—emotions, dreams, imagination—is worthy of being seen and heard.

Hold space, don’t fill it – Instead of rushing to help or correct, give time. Silence can be an invitation to expression.

 

Unique and Reflective Exercises for Developing Empathy

1. The Reverse Art Critique
Ask the mentee to critique your unfinished artwork. What do they see? What does it remind them of?

This not only levels the power dynamic—it reveals how they perceive the world, which builds mutual respect and understanding.

 

2. The Silent Studio
Work side-by-side in complete silence for 30 minutes.

Afterward, reflect nonverbally by swapping your creations and adding one small element to each other’s work.

Discuss the feelings that arose. This strengthens attunement and communication beyond language.

 

3. Story Through Objects
Ask mentees to bring an object that means something to them.

Use the object as a starting point for a drawing, painting, or clay piece—no explanation needed.

The mentor’s role is to mirror what they see in the piece, offering reflection rather than interpretation.

 WORKSHEET: Empathy_Mapping_Collage

 

In the journey of artistic mentorship, especially when working with individuals with intellectual disabilities, one of the most powerful gifts a mentor can offer is not a lesson or a correction—but their presence. This is the essence of holding space.

What Does It Mean to Hold Space?
To hold space means to be fully present with another person—without judgment, without control, and without inserting your own needs. It is a conscious act of offering someone a safe emotional and mental container in which they can explore, express, and simply be.

As described in “Holding Space: The Art of Being Present with Others” by Adam Brady (Chopra Center), this role involves multiple qualities:

Safety – creating an environment where vulnerability is welcomed.

Suspending self-importance – putting aside ego and becoming an anchor for someone else’s emotional experience.

Non-judgment and acceptance – allowing others to feel, create, or express however they need.

Witnessing – being present not to guide, but to reflect and support.

"You are not the sculptor—you are the soft earth under their feet."
— Adapted from the concept of the earth as a witness in Buddhist tradition

 

Why Holding Space Matters in Inclusive Mentorship
For many individuals with intellectual disabilities, the world can be a place of over-correction, misunderstanding, or pressure to conform. Artistic creation may be one of the only spaces where they feel free to express without explanation.

Holding space shifts the mentor’s role from instructor to facilitator of freedom. When we hold space, we are not asking: “What are you making?” We are asking: “How are you feeling in this process?” It is about seeing the person before we ever see the product.

As described in Jane Harlan’s guide on art and disabilities, the goal is not to shape the art but to shape the environment in which art happens. This kind of mentorship says:
"I trust you to explore. I’m here if you need me."

Practical Ways to Hold Space in Artistic Settings
Start with silence. Let the artist set the pace. Don’t rush to explain or define.

Offer materials, not instructions. Encourage exploration by offering a range of tools without setting fixed expectations.

Name feelings, not outcomes. Say things like, “This color feels very strong,” instead of “That’s good” or “Well done.”

Ask reflective questions.

“What did this piece feel like to make?”

“What made you choose this shape or color?”

Let go of the need to teach. Offer support only when invited. Trust that the process is the learning.

FURTHER READING : the-art-of-being-present-with-others 

This unit will provide you with some suggestions and tools on how to structure the artistic sessions to ensure an inclusive and enriching experience - a broad framework that can be adapted to various forms of art:

1. Definition of the objective

Clarify the purpose of the sessions: technique, expression, collective work, etc.
The objective must be: clear, specific, measurable, relevant, realistic and time-bound.

2. Composition of the group of participants

Depends on: type of activity, available space, support, objectives.
Gather information 
Assess specific needs
Promote diversity and plan inclusive and personalized activities.

3. Creation of an action plan

Choose a coherent and accessible guiding theme (e.g. "The journey", "Emotions").
Develop a detailed plan: objectives, calendar, activities.

4. General program

Establish location, duration, budget, registrations.
Plan practical activities (ex. welcome, group games, moments of discussion and feedback).
Time and resources (staff and necessary tools) management plan.

5. Structure of each session

Introduction: explanation of the theme, examples, visual stimuli.
Games and energizers: knowledge and activation of the group.
Practical artistic activities: individual or in group, with breaks and support.
Final feedback: sharing, discussion, reflection.

6. Welcoming environment

Create an accessible, stimulating and safe place.
Promote relaxation, creativity and freedom of expression.
What is the goal of the art sessions you want to plan?

The starting point of the planning phase is to establish what the main goal of your art sessions is. Only by having a clear goal is it possible to build a well-structured path suitable for achieving it. Having a well-defined goal will help maintain focus, guide and motivate participants. Do you want to teach a specific technique or explore a particular artistic style? Do you want to guide the group in the creation of a collective work? Would you like to provide a space for creative expression in which to stimulate participants to bring out even more or discover their personal style?

Here are some suggestions to help you define your SMART goal:

An effective goal must be clear and Specific. Understand the needs of the participants: Who will attend the workshop? What are their current skills and what skills do they want to acquire?
Set a goal that is Measurable. This will help you evaluate the success of the workshop. For example: at the end of the course "Participants will be able to…
Set a realistic objective, make sure that the objective is Achievable in time and with the resources available.
The objective must be Relevant to both the participants and the organization that proposes it.
Set a specific Time for achieving the objective. For example, "By the end of the first session, participants will be able to…"

Who will be the recipients of your workshops? What are their needs?

To plan artistic sessions that are suitable for the recipients, it is necessary to have at least a general picture of the group of participants from the beginning so as to be able to understand and respond to their needs: knowing the characteristics of the participants allows you to build the activities taking into account their abilities, interests and specific needs.

Collect information on age, background, educational/scholastic path, previous experiences in similar activities, learning needs.

Knowing where the participants live will allow you, for example, to establish a timetable for the activities that allows them to be easily accessible or to advise participants on the shortest and easiest route to reach the place.

Having knowledge of their previous experiences with the chosen artistic medium enables you to identify an appropriate starting point for your activities. This understanding helps tailor the approach to match their skill levels and familiarity, ensuring a more effective and engaging creative process.

Understanding each participant's unique artistic journey and personal artistic language enables a tailored approach that nurtures their individual strengths and creative expression. By recognizing their distinct styles, influences, and perspectives, you can provide customized guidance and support that encourages authentic growth. This personalized approach helps participants develop their talent more effectively, fostering confidence and originality as they progress along their artistic path.

Asking participants what they would like to learn, what they expect from the artistic sessions helps tailor the sessions to their interests and needs. This personalized approach can boost engagement, ensure the content is relevant, and ultimately increase their satisfaction with the training or workshop. It also encourages active participation and demonstrates that their preferences are valued, leading to a more positive and effective learning experience. For example in a participant form, you could simply ask: "Why did you choose to participate?" "Is there anything in particular that you would like to experience or learn during the artistic sessions?"

Having a heterogeneous group of participants can be a great advantage in artistic sessions. Diversity enriches the overall experience and allows you to explore concepts from different points of view, promoting mutual learning.

However, it should be considered that it is generally reassuring and pleasant for participants to immediately recognize some affinity with the other participants, for example closeness of age or common interests; it will therefore be very useful to also plan simple games of acquaintance that pass the message that after all we all have something in common.

The mentor must diligently assess and understand the individual needs of each participant, including the ones that could be connected with their disabilities. Preparation is essential to effectively intervene during moments of increased difficulty or need. This involves engaging directly with participants to build rapport and gather firsthand insights prior the starting of the sessions, as well as, if considered necessary, collecting relevant information through preliminary interviews with tutors, family members, and the educators or operators involved in their care. Such a collaborative approach ensures a tailored and responsive support strategy that promotes the participants' well-being and development.

Using participant forms that identify specific needs can significantly streamline the analysis process. These forms help gather targeted information upfront, allowing for more organized and focused data collection. As a result, it becomes easier to categorize and interpret the data, identify common themes or individual requirements, and tailor subsequent actions or interventions accordingly, allowing the best creative, inclusive and stimulating environment, in which everyone feels welcomed and valued. Understanding individual needs will facilitate the design of artistic sessions taking into account individual and group well-being and growth, making the artistic experience meaningful and enriching for everyone.

What is the ideal number of participants?

There are several things to consider when determining the ideal number of participants for an art workshop:

Type of art activity: Some activities require more concentration or space.
Available support: The availability of support staff has a significant impact. It is important to have enough staff to provide the necessary assistance to each participant.
Space: The size of the venue must ensure comfort and safety for all participants.
Objectives: If the activity involves interaction and collaboration, for example in drama or artistic performances in general, a larger number of participants can be beneficial. If the aim is to have a more personalized experience, smaller groups are preferable.
In general, for art sessions designed for people with intellectual disabilities, it is recommended to have a group of 6-10 participants per session.

This approach will help ensure that each participant receives sufficient attention, promote active interaction and collaboration among participants, and enable facilitators to manage the group efficiently.

After establishing a clear objective and having an overview of the needs of the group, it will be time to develop a detailed action plan that describes how to to effectively achieve your goals.

The Theme
Choosing a theme or a common thread helps to give coherence and can stimulate creativity.

Always keep in mind the group of participants you wish to involve. An abstract or conceptual theme like "Identity and Transformation" might not resonate equally with everyone or not be easily accessible to everyone. Instead, selecting a shared thread—something relatable through memory, desire, or a clear, tangible idea—can be more comforting and inspiring. Examples might include themes such as "The Journey," "A Day in My Life," or "Emotions."

The general program
Begin by outlining the overall pathway in broad terms, and then proceed to delve into the specifics to clarify the dynamics of each session.

Preliminary planning
Establish duration, period of time and location. 💡 Consider including the development of a timetable for the organization all the activities and deadlines: it will greatly simplify both planning and implementation.

Establish what the available budget is.

Promotion and registrations
Evaluate how to promote your artistic sessions: for example, through the creation of a poster or web page, promotion on social media, and direct contact with local organizations.

Consider how to efficiently handle reservations and confirmations, as well as streamline the collection of required documents and insurance coverage for participants.

Type of activities and contents
Begin by providing a clear overview of the activities and content of the artistic sessions; subsequently, develop a detailed program for each session.

Workshop facilitation
Establish how the sessions will take place. Think about how to welcome participants. Create a structure for Time Management and to monitor the dynamics of the group. Establish a plan for Supervision and support during the activities.

Necessary resources and tools
Make a list of all the equipment (projector, tables, chairs, lights), necessary artistic materials (colors, brushes, supports, theatrical costumes). 

Determine the appropriate types and quantities of support staff required, including assistants, tutors, photographers, camera operators, and audio and lighting technicians, volunteers etc..

Monitoring and evaluation
Develop a systematic approach and a consistent schedule for tracking the progress of the artistic sessions. Regular monitoring will help you identify what’s working effectively and pinpoint areas that may need improvement throughout the artistic journey. It enables you to gather essential insights that can assist in guiding participants toward accomplishing the desired objective. Useful information may include: 

identifying the moments when the participants are most productive and/or inspired and making the most of them; 
discovering through which techniques, tools or methods you can obtain the best results with the participants; 
paying attention to which emotions or situations positively or negatively influence the creative process; 
tracking progresses.
Plan a Feedback/evaluation activity that brings out the emotions of the participants, their level of satisfaction, reflections, awareness of learning processes and/or personal growth, level of involvement etc...

Conclusion and follow-up
Plan a modality for a final debriefing and the  dissemination of results. It could be a final event open to the public, or publishing your work and participants’ results online, or simply a final internal session with the delivery of certificates of attendance and some celebration.

Choosing the right art medium is not simply about offering options—it’s about offering invitations. Each material holds its own voice, its own emotional resonance, and its own way of engaging the senses. For adults with intellectual disabilities, who may experience the world through a unique set of perceptual, cognitive, and emotional filters, the medium becomes more than a tool—it becomes a channel.

Different materials awaken different ways of thinking, expressing, and processing. Soft clay may ground and soothe. Oil pastels may encourage bold gestures and freedom of movement. Collage may offer a quiet, layered way to explore complex ideas. A mentor’s role is not to direct the process but to observe with curiosity, propose with sensitivity, and respond with empathy. It is less about “teaching a technique” and more about facilitating a relationship—between the individual and the material, and ultimately between the individual and their inner world.

As noted in the research by Harpazi, Regev & Snir (2024), art therapy functions as a non-verbal bridge for adults with intellectual disabilities, enabling them to communicate thoughts and feelings that may be inaccessible through language​Being attentive to them…. Art materials become extensions of voice, memory, and desire. This capacity for expression is not just therapeutic—it is transformative. It supports the development of identity, self-worth, and social connection.

When we introduce a new medium, we are not just placing a tool on the table—we are offering possibility. Possibility for new ways of seeing, feeling, and being seen. Our attentiveness to this moment of introduction can determine whether a person feels overwhelmed, indifferent, or creatively empowered.

In inclusive mentorship, then, the goal is not to provide materials, but to offer access to expression. To see materials not for what they are, but for what they might unlock.
Introducing Art Mediums with Attunement
 1. Gauge Readiness with Curiosity
Before introducing a new art material, take a moment to tune in. The introduction of something new should never be forced—it should come from a place of attunement to the individual's rhythm, interest, and expressive needs.

Ask yourself:

🔄 Is the artist repeating the same materials out of comfort or disinterest?

👀 Is there openness to exploring, even tentatively?

🎭 Is the current medium still supporting authentic expression, or has it become limiting?

Sometimes, repetition is a sign of creative flow. Other times, it’s a sign of creative stagnation. The mentor’s role is to observe with care and curiosity—not to disrupt what’s working, but to gently invite growth when it’s welcomed.

 2. Offer the “Open Buffet” Approach
As described in the Harpazi et al. study (Being Attentive to Them, 2024), therapists gradually shifted from structured sessions to a more exploratory, self-led model—the Open Buffet. This method allows the artist to choose from a diverse set of materials, with no fixed outcome in mind. It encourages:

🧭 Autonomy – The freedom to choose fosters ownership.

🎨 Creative Risk-Taking – Trying new materials without judgment.

🛠 Personalization – Artists can mix, combine, or ignore mediums based on their own instinct.

“We take our time introducing new mediums… Otherwise, the work can become stuck in repetition.” – Participating Art Therapist

As a mentor, your job is to set the stage—not direct the play.

WORKSHEET: OPEN BUFFET

Choose Materials Based on Sensory and Emotional Fit

Introducing a new art medium is not just a technical decision—it’s an emotional and sensory invitation. For adults with intellectual disabilities, the way a material feels, looks, moves, or even smells can deeply affect how accessible and comfortable it is to engage with. The mentor's role is to observe not just preferences, but reactions—both physical and emotional—and to adapt accordingly.

🔹 Sensory Considerations:
Tactile sensitivity: Some individuals may avoid materials that are sticky (like glue), wet (like paint), or gritty (like sand). Others may seek out those very textures for sensory stimulation.

Motor skills: If someone has limited fine motor control, tools like thick markers, sponge brushes, or finger paint can increase access and reduce frustration.

Noise level: Quiet materials like collage or fabric may be preferred in overstimulating environments, while louder or more physical mediums like stamping or sculpture might help release energy in a focused way.

🔹 Emotional Tone of Materials:
Clay and fabric often encourage grounding and calmness through repetitive motion and tactile feedback.

Watercolor can feel flowing, expressive, and less controlled—good for artists exploring emotion or spontaneity.

Oil pastels can feel bold and immediate, giving strong feedback and emotional punch through color and pressure.

Collage can be helpful for individuals processing complex or layered experiences—symbolic and reflective by nature.

Beyond the Brush: Introducing Expanded Art Mediums in Inclusive Mentorship

Art does not live only on paper or canvas. It breathes in movement, voice, gesture, and light. For mentors working with adults with intellectual disabilities, it is vital to recognize that not all creativity flows through visual media. Some individuals think and feel in images, some in movement, some in rhythm, and some through the lens of a camera. The mentor’s task is to open the doors to all these languages.

 1. Visual Arts (Drawing, Painting, Collage, 3D, etc.)
As previously discussed, each material carries emotional weight and sensory feedback. The choice of medium can unlock different emotional tones—calm, release, excitement, or reflection. The mentor helps guide not by instructing, but by noticing—where comfort lives, where frustration shows up, and where curiosity sparks.

👉 Best for: Those who enjoy tactile exploration, symbolic thinking, quiet concentration, or repetition.

 2. Performance Arts: Dance, Movement & Theatre
Movement is memory, storytelling, and emotion. Some individuals express themselves best not through a brushstroke but through a gesture, a pose, or a rhythm. Introducing theatre and dance-based activities taps into kinesthetic intelligence and offers opportunities for storytelling, social connection, and embodied creativity.

How to Introduce:
Begin with mirroring exercises: “I move, you follow.” Simple gestures allow nonverbal communication.

Try tableau work: Use still poses to express emotions or characters.

Use music as a prompt for movement—respond with body, face, posture.

Create story circles: one person adds movement to a shared narrative.

👉 Best for: Those who are physically expressive, less verbal, emotionally attuned, or respond strongly to rhythm and sound.

Sensory and Emotional Fit:
Movement helps discharge anxiety, improve coordination, and build body confidence.

Theatre games can build social interaction, eye contact, and group cohesion without pressure.

3. Media Arts: Photography & Film
The lens can be a powerful mirror. Film and photography offer individuals a way to frame the world, tell their story, and see themselves reflected back—often with dignity and clarity not always granted in daily life.

How to Introduce:
Provide instant cameras, tablets, or smartphones with camera functions.

Begin with guided photo prompts: “Take a photo of something that makes you feel safe.”

Invite them to create a photo story or a video diary.

Explore short film creation using stop-motion, puppet theatre, or acted scenes.

 Best for: Individuals who like technology, storytelling, observing, or creating narratives with structure.

Sensory and Emotional Fit:
Photography offers structure and framing—ideal for those who seek visual logic or narrative order.

Film can support role-play, identity exploration, and the empowerment of “directing” a story.

 

 Tips for Mentors Across All Mediums:
Offer Invitations, Not Instructions
“Would you like to move to this music?” is more powerful than “Dance now.”

Honor the Medium They Gravitate Toward
Just because someone hasn’t picked up a paintbrush doesn’t mean they’re not an artist. Let them find their medium.

Combine and Cross-Pollinate
Allow photography and poetry. Combine movement and painting (e.g., painting with feet or movement prompts to start drawing). Art is not confined to categories.

Be Attentive to Energy, Not Output
Where does their attention settle? Where does joy emerge? That’s the direction to follow.

Visual art has long been a central way humans express how they see and feel about the world. Like photography and film, these forms also involve framing, perspective, and storytelling—but rather than using a lens, they rely on the movement of the hand, the rhythm of the body, and the inner eye of imagination. Where a camera captures what’s already there, visual art allows us to reshape, invent, and interpret reality from the inside out.

These practices begin not with technology, but with a mark of some sort: a line on a wall, a color on a surface or maybe a gesture that says I see this or I feel this. Whether it’s a cave painting or a contemporary mural, visual art allows people to represent not only what is visible but also what is remembered, hoped for, or dreamed.

For participants in inclusive creative workshops drawing and painting offer an immediate, physical, and intuitive way to communicate. These mediums don’t require complex tools or training. A pencil and paper can be enough. The accessibility of drawing and painting makes them especially powerful for self-expression across different languages, cultures, and cognitive styles.

 

Despite this openness, the target group of this project have often historically been excluded from traditional art institutions or reduced to outsider status in the art world. Yet, history offers many examples that challenge these limitations. Judith Scott, for instance, was a self-taught artist born with Down syndrome and deafness. She became internationally recognized for her complex, wrapped sculptures, which some critics liken to drawing in three dimensions—layered, symbolic, and deeply personal. Though she did not speak or use written language, Scott’s art became her voice.

In the realm of painting, artists like Maud Lewis—who lived with arthritis and other physical challenges—created vivid, joyful images of the rural life in Nova Scotia. Her small, brightly colored works, painted on scraps of wood and cardboard, are now beloved for their sincerity and sense of wonder. These artists remind us that expression doesn’t depend on academic training or verbal fluency, but on the courage to make a mark and share something of yourself.

Introducing drawing and painting in community art workshops offers a chance for participants to explore their own visual language. Some will enjoy detailed line work, others bold colors or expressive gestures. Some will focus on memory or fantasy, others on things they see in front of them. There is no right or wrong way—only different ways of seeing and responding.

WORKSHOP SCENARIO: WORKSHOP

WORKSHOP SCENARIO: WORKSHOP

The Convention for Safeguarding of Intangible Cultural Heritage, signed in Paris on 17 October 2003, in the section dedicated to the “Performing Arts” (Article 2 – Definitions), states: «The performing arts range from vocal and instrumental music, dance and theatre to pantomime, sung verse and beyond. They include numerous cultural expressions that reflect human creativity … ».

Performing art is far more than mere entertainment; it is a profound form of human expression that has enriched our lives for thousands of years. While it varies across cultures and historical periods, one constant remains: the arts serve as a vital bridge that unites people across differences and fosters a shared sense of connection.

Performing arts are a creative form of art performed by individuals or groups (artists, also called performers) that use their voices, bodies or inanimate objects to convey artistic expression and use their skills and talents to convey stories, emotions, and ideas to a live audience. Differently from visual arts which involves the use of paint, canvas or various materials to create physical or static art objects, performing arts involve movement, sound and storytelling. The performing arts is an umbrella term which covers many disciplines including music, dance and drama often performed to a live audience, though can be pre-recorded and performed professionally. These art forms create a dynamic relationship between performers and their viewers, making them a cornerstone of cultural expression. 

A performance involves 4 elements: 

• Time

• Space

• the performer’s body or presence in a medium 

• the relationship between the performer and audience.

Performance can be in purpose-built buildings, such as theatres and opera houses; on open air stages at festivals; on stages in tents, as in circuses; or on the street. The development of audio and video recording has allowed for private consumption of the performing arts.

The five main types of performing arts — theatre, dance, music, opera, and circus arts — represent the breadth and depth of human creativity. Each discipline offers unique ways to connect with audiences, preserve cultural traditions, and explore new frontiers of expression. Together, they form a vibrant tapestry of artistic endeavours that continue to inspire and enrich lives worldwide.

From theatre and dance to music and spoken word, performing arts enriches our lives. It can challenge stereotypes and perspectives, bringing stories to life and making us feel emotions that words alone might not be able to express.

This comes in many forms, including:

Theatre: Like acting, playwriting and stage performance
Dance: Including ballet, jazz, tap, contemporary, and commercial 
Music: Both vocal and instrumental
Musical theatre: A blend of dance, singing and acting
Physical theatre: Including mime and movement-based performance
Spoken word/poetry: The art of performing prose with rhythm
Performing arts also include many other forms of expression such as magic, illusion, puppetry, circus arts, stand-up comedy, improv, professional wrestling and performance art.

Theatre, dance, music, opera, and circus arts represent the core forms of performative arts, each uniquely enriching the cultural landscape. Together, they provide audiences with diverse and immersive experiences that honor the boundless creativity and expressive spirit of humanity.

THEATRE

Theatre is one of the oldest forms of performing arts, with roots tracing back to ancient civilizations.

Theatre is the branch of performing arts concerned with acting out stories in front of an audience: it involves live performances by actors who use speech, dialogue, gestures, movement, music, dance or sound and visuals to convey narratives. A collaborative art form which combines the elements listed above to express meaning.

Theatre can be live improvisation or highly scripted. 

Theatre has evolved significantly over time, encompassing various genres and styles.

There are different types of theatre including:

- drama, which is fiction represented in a performance 

- musical theatre which combines music and spoken dialogue and dance

- comedy, which uses humour to tell a story and provide humor and social commentary as Oscar Wilde’s The Importance of Being Earnest

- tragedy which refers to a specific tradition of drama Originating in ancient Greece, it explore themes of human suffering and moral dilemmas and includes works of Shakespeare for example 

- improvisation, which is an alternative to a scripted performance and is a form of situational comedy

- experimental theatre: modern productions often challenge traditional conventions, as seen in Samuel Beckett’s Waiting for Godot, and immersive theatre experiences breaking the norms of traditional theatre

- applied theatre uses theatre techniques to explore community issues, identify problems, rehearse solutions, and promote social change.

In addition to the standard narrative dialogue style of plays, theatre takes such forms as musicals, opera, ballet, illusion, puppetry, mime, classical Indian dance, kabuki, mummers' plays, pantomime, and non-conventional or contemporary forms like postmodern theatre, post dramatic theatre, or performance art.

The theatre continues to thrive as a medium of entertainment, education, and social reflection, adapting to contemporary issues while preserving its classical roots.

It also includes dramatic forms such as film, TV and electronic media. 

Key Characteristics:

    •    Live Performance: The immediacy of live theater creates a unique connection between performers and the audience. 

•    Storytelling: Theater often revolves around a central plot, conveyed through spoken words and actions.

    •    Visual Elements: Costumes, sets, and lighting enhance the storytelling experience.

DANCE

Dance is a popular and universal form of performing art. It involves moving the body in a rhythmic or purposeful way, usually to music, within space to express emotions or tell stories, and generally used as a form of audience entertainment in a performance setting.  Apart from its physical aspect connected with the enjoyment of movement, the rhythmic movements, steps and gestures of dance often express an idea, emotion or illustrate a specific event or daily act (such as religious dances and those representing hunting, warfare or sexual activity).

Skilful performers can channel their emotions into a performance that is expressive and delights and moves the audience. It can be a skilfully choreographed performance. It can be elegant and classical, or it can be contemporary. It can be highly aesthetic. It can be graceful, harmonious or very spontaneous. It can be described as a physical expression of an inner emotion. Dance can convey a story. 

Dance movements can be organised into spatial or rhythmic patterns, conforming to a pattern of regular accents or stresses. The audience is drawn into these patterns created by the dancer’s movements and shares in the emotions being expressed.

Its origins date back to prehistoric rituals and celebrations, evolving into a diverse array of styles and traditions. 

Key Characteristics:

    •    Movement: Dance relies on physical movements to communicate meaning - from functional movement (such as in folk dance) to codified, virtuoso techniques such as in ballet.

    •    Music and Rhythm: Most dance styles are accompanied by music, emphasizing rhythm and synchronization.

    •    Cultural Significance: Dance often reflects the traditions and values of the communities from which it originates.

Examples of Dance:

  •    Ballet: A classical form characterized by grace and precision, exemplified by iconic works like Swan Lake and The Nutcracker.

    •    Modern Dance: Pioneered by artists like Martha Graham, modern dance emphasizes creativity and emotional expression.

    •    Cultural and Folk Dances: Flamenco from Spain, Indian classical dance forms like Bharatanatyam, and African tribal dances showcase the diversity of global traditions.

  •    Contemporary Dance: This genre blends elements of ballet, modern, and jazz dance, offering innovative and expressive performances.

    •    Hip-Hop and Street Dance: Popularized in urban environments, styles like breaking and popping have become global phenomena.

Dance bridges cultural divides and provides a powerful means of storytelling, making it an enduring and dynamic art form.

Dance is a profound impulse, but the true artistry lies in how skilled performers channel that impulse into something deeply expressive—captivating audiences who may have no desire to dance themselves yet are moved by the beauty and emotion conveyed.

Choreography is the art of making dances, and the person who practices this art is called a choreographer.

MUSIC

Music is perhaps the most universal, pervasive and beloved of the performing arts transcending cultural and linguistic barriers. It is found in every society, most often as an integral part of other performing art forms and other domains of intangible cultural heritage including rituals, festive events or oral traditions. Music’s versatility and emotional depth make it an integral part of human expression and celebration. It can be found in the most diverse contexts: sacred or profane, classical or popular, closely connected to work or entertainment. 

It combines melodies, harmonies, and rhythms to create sound and evoke emotions, shape human behaviours and connect people across the globe.

Music can range from organised composition up to improvisational music and can be performed by an instrument, which includes the voice as well as many orchestral and other instruments. It is divided into genres such as folk, jazz, hip hop, pop, and rock, etc.. 

Key Characteristics:

    •    Universal Appeal: Music resonates with people of all backgrounds, often serving as a unifying force.

    •    Variety of Genres: From classical to contemporary, music encompasses an incredible range of styles.

    •    Expressive Power: Through lyrics, melodies, and instrumentation, music conveys a wide spectrum of emotions.

Examples of Music:

    •    Classical Music: Compositions by Mozart, Beethoven, and Bach have shaped the foundation of Western musical traditions.

    •    Jazz: Known for its improvisation and swing rhythms, jazz features legendary artists like Louis Armstrong and Miles Davis.

    •    Pop and Rock: Modern genres with global appeal, represented by icons such as The Beatles, Michael Jackson, and Adele.

    •    Traditional and Folk Music: Indigenous music forms, such as Native American chants and Irish folk songs, preserve cultural heritage.

    •    Electronic Music: Contemporary artists like Daft Punk and Avicii use technology to create innovative soundscapes.

As music is a protean art, it easily coordinates with words for songs as physical movements do in dance. 

OPERA

Opera is a versatile and immersive performing art that seamlessly integrates music, theatre, and often dance to craft compelling and emotionally resonant stories. Originating in Italy in the late 16th century, opera has evolved into a worldwide cultural phenomenon, renowned for its powerful vocals and dramatic narratives.

Key Features:

Exceptional Vocal Performance: Opera singers undergo rigorous training to master intricate arias and sustain impressive vocal ranges.
Dramatic Storytelling: Operas frequently explore timeless themes of love, tragedy, heroism, and human complexity.
Rich Orchestral Accompaniment: Live orchestras provide a lush and dynamic musical foundation that enhances the storytelling.
Notable Examples:

Classical Masterpieces: Iconic works like Mozart’s The Magic Flute and Bizet’s Carmen are cornerstones of the operatic canon.
Contemporary Innovations: Modern operas, such as Philip Glass’ Einstein on the Beach, push traditional boundaries and introduce innovative approaches.
Operettas: Lighthearted and humorous, operettas like Gilbert and Sullivan’s The Pirates of Penzance appeal to a wider audience with their charm and wit.
With its grandeur, emotional depth, and artistic excellence, opera continues to enchant audiences worldwide, reaffirming its status as a premier and enduring performing art.

CIRCUS ART

Circus arts encompass physically demanding performances that highlight human strength, agility, and creativity. While traditional circuses have evolved into modern spectacles, they continue to blend acrobatics, clowning, and theatrical storytelling to captivate audiences.

Key Characteristics:

Physical Skill: Performers showcase extraordinary feats of strength, balance, and coordination.
Visual Spectacle: The use of elaborate costumes, props, and staging enhances the overall theatrical experience.
Family-Friendly Entertainment: Circus acts are designed to entertain audiences of all ages, offering accessible and enjoyable experiences.
Examples of Circus Arts:

Traditional Circus: Features classic acts such as trapeze artists, tightrope walkers, and animal performances.
Contemporary Circus: Companies like Cirque du Soleil fuse acrobatics with compelling narratives and theatrical elements.
Clowning: From traditional slapstick to modern interpretations, humor remains a core component of circus entertainment.
Aerial Arts: Performances utilizing silks, hoops, and other aerial apparatuses demonstrate gravity-defying talent and artistry.
Over time, circus arts have transformed from humble beginnings into a celebrated global phenomenon, enchanting audiences worldwide with their unique blend of artistry, athleticism, and innovation.

WORKSHOP SCENARIO: WORKSHOPS

WORKSHOP SCENARIO: WORKSHOP

WORKSHOP SCENARIO: WORKSHOP

 

Photography and film are deeply intertwined art forms. Both share the same foundation: capturing the world through a lens, framing reality, and inviting the viewer to see from a particular perspective. Photography captures moments—still, reflective, often intimate. Film, by contrast, transforms these moments into motion, layering time, sound, and narrative to create dynamic visual stories.

The evolution from still photography to motion pictures was both a technological and artistic journey. Early devices like the zoetrope and the thaumatrope introduced the principle of persistence of vision, showing that a sequence of static images, when presented rapidly, creates the illusion of movement. These simple tools marked the beginning of cinema, giving way to complex filmmaking that would later evolve into one of the most collaborative art forms.

In the context of artistic mentorship for adults with intellectual disabilities, introducing both photography and film together allows participants to explore how stories can be told in both stillness and movement. While photography often offers a personal, solitary form of expression, filmmaking involves additional layers of sequencing, timing, and often teamwork. This structural demand may explain why, historically, there have been few recognized photographers and filmmakers with intellectual disabilities, particularly within the traditional, hierarchical systems of cinema production.

Nevertheless, there are important examples that challenge this perception. Canadian experimental filmmaker Arthur Lipsett, diagnosed with schizophrenia, created highly influential films that disrupted conventional narrative cinema. His first short film, Very Nice, Very Nice (1961), was assembled using scraps of film he found on the cutting room floor, forming a powerful and unsettling montage that immediately established his name in the experimental film community. His innovative approach to film collage and sound manipulation broke new artistic ground and went on to inspire generations of filmmakers, including a young George Lucas. Lipsett’s work stands as an example of how neurodivergent perspectives can offer fresh and groundbreaking approaches to visual storytelling. His film remains accessible today and can be viewed online: Video

In photography, Dorothea Lange’s story is also significant, though her disability was physical. After contracting polio as a child, Lange walked with a limp for the rest of her life. Her experiences of being ‘othered’ deeply informed her empathetic lens, capturing images of marginalized communities with striking humanity and dignity. Her work reminds us that disability—whether visible or invisible—has always been part of the artistic landscape, even if historically overlooked or erased.

As we introduce photography and film in our workshops, it is important to acknowledge these histories while encouraging participants to explore these mediums on their own terms. Whether through a still image, a photo sequence, or a short experimental film, the act of capturing and framing the world can be a powerful, accessible, and deeply personal experience for everyone.     

When introducing photography and film to adults with intellectual disabilities, mentors must first develop an awareness of the complexities of the medium—and then intentionally adapt those complexities to fit the group’s capacities, needs, and preferences. Photography and film can be highly technical, process-heavy, and equipment-reliant art forms. In their purest industry forms, they can feel inaccessible, both in terms of skills and tools.

However, as mentors, the challenge—and the opportunity—is to lower the barriers without lowering the creative potential. This requires letting go of personal artistic standards and expectations, and reframing photography and film as playful, sensory, exploratory tools, rather than highly structured crafts.

Adapting Photography for Accessibility
Photography does not have to mean expensive cameras, perfect framing, or technical mastery. The core of photography is observation, framing, and storytelling, all of which can be approached in a simplified, hands-on way.

One highly accessible and engaging method is cyanotype printing. This early photographic process uses light-sensitive paper and found objects (like leaves, fabric, or cut-out shapes) to create blue-toned prints. It requires no cameras and offers immediate, tactile interaction with materials and natural light.

This process introduces key photographic concepts:

Exposure (placing objects on the paper and exposing them to sunlight)

Framing (deciding how objects are placed)

Negative space and contrast

It allows participants to explore the magic of light and shadow without the cognitive load of operating a camera.

Adapting Film for Accessibility
Film, as a moving image medium, is inherently complex. It involves sequencing, timing, and often teamwork. However, its essence—creating the illusion of motion from still images—can be introduced simply and effectively through stop motion or basic flipbooks.

Simple stop-motion activities using a smartphone or tablet, along with everyday objects (toys, clay, cut-outs), allow participants to create short sequences of movement frame by frame. Apps designed for stop-motion are intuitive and accessible, providing immediate feedback as images are stitched into short clips.

Alternatively, creating paper flipbooks introduces the basic principle of persistence of vision—turning still drawings into motion—while offering an accessible, individual creative experience.

Letting Go of Artistic Standards as Mentors
As professional artists, it is important to recognize and release personal standards of perfection, technical excellence, or cinematic polish when working in these contexts. The goal is not to create industry-quality photographs or films, but to enable authentic personal expression, exploration, and joy.

Good examples to share include:

Simple mobile phone photography projects (e.g., photographing favorite objects or textures)

Community-based participatory films made with basic stop motion or voice-over storytelling

Art brut or outsider art photography projects where the focus is on raw, emotional storytelling, not aesthetics

These examples validate the idea that photography and film can be messy, imperfect, playful, and deeply meaningful.

Key Awareness Tips for Mentors
Always start by simplifying the tools and the process

Focus on process over product

Use tactile, sensory-rich methods where possible (e.g., cyanotypes, photograms, stop motion with objects)

Use examples of low-barrier, expressive works, not polished industry films or fine art photography

Encourage group co-creation and exploration, even if results are abstract or chaotic

The role of the mentor is not to bring complex art to the group, but to bring the group into the art in ways that feel accessible, validating, and joyful.

WORKSHOP SCENARIO: Photography multi day workshop

WORKSHOP SCENARIO: Stop motion multi-day workshop

 

Introduction – Closing the Circle
As we reach the final chapter of this course, we take a moment to pause, breathe, and look at everything we’ve experienced, created, and shared. This is not just the end of a workshop—it’s the start of a new way of seeing, listening, and supporting creative growth.

Whether you are a mentor, artist, support worker, or facilitator, one of your most powerful tools is communication—and especially the way you give and receive feedback.

Feedback is not about correcting. It’s about noticing, affirming, and guiding gently. It’s a form of presence. And in inclusive art-making, it can mean the difference between someone feeling seen, or someone feeling invisible.

Why Feedback Matters
For many adults with intellectual disabilities, communication has often been filtered through correction, instruction, or silence. In creative environments, we can change that. We can make space for feedback that:

Encourages instead of evaluates

Responds instead of instructs

Invites instead of directs

Feedback is a way to say:

“I saw that.”
“You made something meaningful.”
“Let’s keep exploring that together.”

In inclusive mentorship, feedback is not just about the art—it’s about the person behind the art.

Communicating with Care
Here are some simple feedback principles to carry forward:

Be specific and descriptive: Instead of “That’s great,” say, “I noticed the way you used blue to show the sky—it feels peaceful.”

Ask open-ended questions: “What part did you enjoy most?” or “Is there anything you’d change next time?”

Make space for non-verbal feedback: Smiles, gestures, even quiet observation are valid and valuable responses.

Let feedback flow both ways: Invite participants to give you feedback, too. “Did you like how we worked today?” “Was anything too fast or confusing?”

Reflecting as a Mentor
As a mentor or facilitator, take time to reflect on your own growth as well:

What did you learn about how you give support?

Did anything surprise you in the creative process?

What do you want to do differently—or continue—in your future workshops?

Even a small moment of reflection after a session can deepen your practice and strengthen your connection to the people you’re mentoring.

Closing the Journey
This course was not designed to give you all the answers. It was built to give you tools, ideas, and space to listen differently—to others and to yourself. The creative process is never finished. Each image, sound, or story leads to another.

As you step out of this course and back into your work, remember: you are a creative collaborator, not just a guide. You walk beside. You hold space. You encourage others not just to make art, but to make meaning.

Thank you for sharing this journey.

“Creativity doesn't ask for perfection. It asks for presence.”
— Course Closing Reflection