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Overview

Supported by Arts Capacity Development Funding Scheme, Arts with the Disabled in Hong Kong' Online Channel and Archive (THE Platform) is the first online platform and database in Hong Kong which researches, documents, and presents the development history, artists and artworks of local arts with the disabled. Aiming to carry on the past and open up the future, THE Platform brings together disabled and non-disabled who engage in the arts with the disabled, and hopes to create a one-stop portal facing towards local and international art sectors and audiences.

 

Research Consultant: Ms Janet Tam

 

前言 2490_1866
Introduction

In recent years, art events related to people with disabilities have flourished in the arts sector, educational and social welfare institutions, however, relevant references are scattered across the Internet. Past publications related to arts with the disabled mainly focused on activity records or working guidelines, stored separately in various organisations, thus lacking an overview and systematic documentation of the development of this industry throughout the years. This research aims to fill this gap by creating a platform that continuously gathers relevant information and facilitates discussions, allowing the public to understand arts with the disabled from multiple perspectives. Additionally, we hope to encourage professionals engaged in arts with the disabled to share their experiences and practices through this platform. By bringing together diverse ideas and opinions, we hope to further promote the practice and research of arts with the disabled in the future.

 

‘Arts with the Disabled Online Archive’ includes:

 

Arts with the Disabled – Timeline and Milestone

  • This research aims to dig into and compile the development of local arts with the disabled. With correspondence to the socio-political, economic, and cultural conditions of different eras, as well as the disability rights movements, past events will be presented in the form of a timeline, relevant historical images and audio-visual materials are also included.
  • This research provides a concise summary to facilitate the public's understanding of arts with the disabled in Hong Kong, especially through the key events and their details.
  • With correspondence to the background of the society and the disability rights movements, this research enables the public to understand the conditions necessary for the development of arts with the disabled.

 

Oral History Interviews

  • Launched interviews with different stakeholders in the local disability arts sector, including artists with disabilities, families and accompanies, instructors, sponsoring organisations and groups.

  • In addition to macro development, the session provides a microscopic view to look into the impact of arts with the disabled on individuals' lives, supplementing historical documents.

  • Explores the differences and similarities in specific experiences, showcases the diversity of development of arts with the disabled, and allows the public to approach and reflect from different perspectives.

 

Research materials recommendation

  • Selected important literature, documents, or audio-visual materials related to local arts with the disabled are provided for public access, allowing for a deeper understanding of this research from various perspectives.

 

Through the three components mentioned above, the research provides readers with a comprehensive historic overview of the development of arts with the disabled in Hong Kong from various perspectives: a macro level, with individual stories: a micro level, as well as extended reference materials. However, due to limitations in the scale and resources, it has not been able to extend the comprenhensive coverage to the achievements of arts with the disabled that have emerged regionally, in community, or even individually. This research is wrapped up to December 2023, which is based on materials, such as published journals, literature, audio-visual records, and insights from different stakeholders, to compile the context of the development of arts with the disabled as comprehensively as possible. Therefore, we welcome all relevant individuals involved in the development of local arts with the disabled to share any undocumented literature with us, allowing aspiring researchers who are interested in in-depth exploration of local arts with the disabled, to approach from a more comprehensive perspective and further promote practice and research in arts in the future.

前言 2490_1866
研究方法 2490_1866
Research Method

'Arts with the Disabled'

The research title is 'Arts with the Disabled in Hong Kong'. 'Arts with the Disabled' is defined as any art events involving people with disabilities. People with disabilities can be the participants, artists, or related staff in these events. And 'arts' refers to any form of artistic expression, including but not limited to various performance and visual art forms, such as drama, music, dance, painting, etc.

 

It is worth mentioning that the concept of 'Disability Art' has long existed abroad, and the development of disability art movement has a very long history. However, our research focuses mainly on the development of 'arts with the disabled' in Hong Kong; therefore, the term 'disability art' has not been employed, aiming to reflect on how its development is closely related to the cultural background and history of Hong Kong.1

 

In addition, this research project might involve the application of art in rehabilitation, therapy, and the enhancement of individual's physical and mental health. However, since this project focuses on the development of 'arts with the disabled', discussions related to art therapy and therapeutic practices are not the main scope of this research.

 

Methodology

This research mainly explored the history of 'arts with the disabled' in Hong Kong in two aspects:

 

Data collection and organisation

This research gathered documents from various panels of the Legislative Council, as well as publications, news reports, audio-visual archives, from rehabilitation and art organisations. From this, we organised the involvement of different stakeholders in the development of arts with the disabled. At the same time, we also contacted various individuals related to this field, including those working in the rehabilitation sector, arts with the disabled sector, artists with disabilities, and educators. Our aim is to include past events that have not been recorded in publications or news on to the historical timeline. All of this information has been documented in the 'Timeline & Milestones' and 'Collection'.

 

Oral History

We interviewed stakeholders in various roles within local arts with the disabled sector. The interviewees included artists with disabilities such as their family members and carers, art instructors, sponsoring organisations or communities. Our aim is to showcase their work experiences in the sector from a micro perspective, complementing historical literature by vividly presenting individuals' participation experiences and the impact of art on their lives.

 

Limitations

The main limitations of this research project are as follows:

 

Research scale

Even though the government, rehabilitation organisations, and arts organisations have largely dominated the development of local arts with the disabled, there are still many community activities and small-scaled art groups that also have a significant impact on the popularisation of arts with the disabled. These activities are often led by individual social workers or artists and tend to be smaller in scale, making them more challenging to track and investigate. Given the limited resources of the project, this research could not expand the scope of its search and investigation to regional or demographic units. Therefore, the database aims to present relevant information from historical documents and the networks of practitioners as comprehensively as possible within reasonable limits.

 

Archive and Documentation of Art Events

As mentioned above, a large number of art events occur within community networks, reaching only limited audiences and rarely mentioned in literatures or news reports. Some publications for these events may not have been properly archived. The situation was more severe in the era when digitisation and electronic technology were not widely used, resulting in the loss of many valuable historical documents. The immature documentation and archiving process is undoubtedly a challenge for the research, significantly increasing the difficulty of tracing important events or finding related individuals.

 

Arts with the Disabled Events and the Operational Model of the Organisations

Despite the presence of many organisations in Hong Kong that focus on promoting the development of arts with the disabled, the majority of those that have participated in enabling arts activities are large-scale rehabilitation groups or other non-profit organisations. The services provided by these organisations usually cover multiple professional fields, including social services, education, cultural arts, and disability affairs, with enabling arts activities being just one aspect of their numerous services. Therefore, the methods these organisations use to document their development milestones will vary according to their positioning and target audience. Furthermore, these large organisations have many independently operating work units, some of which have evolved over time into social enterprises or brands. These units have different modes of participation and operation in the development of enabling arts, and their participation experiences may also be lost due to personnel changes. These factors make it challenging for the research project to systematically present the overall context of individual organisations.

 

To conquer the aforementioned limitations, efforts have been made to contact various stakeholders in arts with the disabled sector through networks. We have also conducted oral history interviews and surveyed rehabilitation organisations and art organisations involved in the development of arts with the disabled to obtain useful information for the research. Although the information gathered from these methods is quite limited, they still helps fill several historical gaps resulting from incomplete documentation for the research.

 

 1 Research regarding the cultural background and significance of 'arts with the disabled' can be found in the article 'Use of Language'.

研究方法 2490_1866
語言運用 2490_1866
Use of Language

During our research on ‘Arts with the Disabled in Hong Kong,’ we paid special attention to the evolution of language usage related to disabilities. Historically, terms used to describe disability have been deeply shaped by social ideas, ableism, cultural contexts, and various disability models. As disability rights movements, legal terms, and social attitudes evolved over the past few decades, public awareness of how language influences attitudes toward disability has increased. The language we use plays a critical role in shaping perceptions and attitudes toward people with disabilities.

Language choices in discussing disability vary across countries and regions. For instance, in the United States, ‘people-first language’ is common, prioritising the individual before the disability, while in the United Kingdom, concise and direct descriptions are often preferred, reflecting the social model of disability. In Chinese-speaking regions, terms such as zhǎnnéng (展能), cánjí (殘疾), and cánzhàng (殘障) each reflect unique perspectives on disability:

  • Zhǎnnéng (展能): Literally meaning ‘showcasing abilities,’ focusing on the strengths and possibilities of people with disabilities.
  • Cánjí (殘疾): Translating to ‘disability’ or ‘impairment’ (cán 殘 meaning ‘deficiency’ and jí 疾 meaning ‘illness’), this term aligns with the medical model and emphasises individual impairments.
  • Cánzhàng (殘障), which combines cán 殘 (‘deficiency’) and zhàng 障 (‘obstruction’ or ‘barrier’), this term aligns with the social model by focusing on societal barriers faced by people with disabilities.

The differences between the terms zhǎnnéng yìshù (展能藝術, ‘arts showcasing abilities’), cánjí yìshù (殘疾藝術, ‘disability arts’), and cánzhàng yìshù (殘障藝術, ‘disability arts’) reflect society's understanding and perception towards disabilities, as well as the attitude towards them within Hong Kong’s cultural and historical context. For example, the term ‘zhǎnnéng’ (展能 ‘showcasing abilities’) is generally used in work related to people with disabilities and is associated with the rapid development of rehabilitation services in Hong Kong during the 70-80s, particularly the establishment of a number of rehabilitation centers. ‘zhǎnnéng yìshù’  (展能藝術, ‘arts showcasing abilities’) emphasises the ability and possibilities of artists with disabilities, rather than their limitations or barriers. Similarly, ‘showcasing abilities’ focuses on artists’ talent and creativity, rather than their disability or hindrance.

In the context of disability arts, the terms ‘cánjí yìshù’ (殘疾藝術) and ‘cánzhàng yìshù’ (殘障藝術) originated from concepts like ‘Disability Art’ and ‘Crip Art,’ which emerged in the 1980s and 1990s alongside the disability rights movement. ‘Cánjí’ (殘疾) translates to ‘disability’ or ‘impairment’ and traditionally implies both physical and psychological obstacles. When used in ‘cánjí yìshù’ (殘疾藝術), the term carries some connotations from the medical model, focusing on the individual's disability characteristics. This term may often bring attention to the personal experiences and issues related to living with disabilities. Additionally, ‘cánjí’ is seen as less stigmatising than other historical terms like ‘cánfèi’ (殘廢), an older expression that directly translates as ‘useless’ or ‘worthless due to impairment’ (‘殘’ meaning ‘deficiency’ and ‘廢’ meaning ‘discard’ or ‘abolish’).

In contrast, the term ‘cánzhàng’ (殘障), which combines ‘cán’ (deficiency) and ‘zhàng’ (obstruction or barrier), has become more widely used in contemporary settings, especially in Hong Kong and Taiwan. This term aligns with the social model of disability, emphasising the barriers created by societal structures and environments rather than an individual's limitations. ‘Cánzhàng yìshù’ (殘障藝術) thus reflects not only artistic creation but also the broader discourse on social awareness, human rights, and empowerment. Furthermore, during the 1980s and 1990s, an alternative term, ‘ruònéng rénshì’ (弱能人士, ‘persons of limited ability’), was used in Hong Kong to describe people with disabilities, leading to phrases like ‘ruònéng yìshù’ (弱能藝術) to denote disability arts.

Having explored the subtle differences in the language related to disability, our research generally uses the term ‘zhǎnnéng yìshù’ (展能藝術), translated in English as ‘arts with the disabled’, to refer to any artistic activities involving the participation of people with disabilities. This participation may take various forms, including as artists, participants, or related staff. Here, "arts" encompasses all forms of artistic expression, covering a wide array of performance and visual arts, such as drama, music, dance, painting, and beyond.

Moreover, ‘people-first language’ is generally adopted in the Project, underscoring the importance of respecting one’s identity above physical or mental conditions. However, when referring to the names of different organisations, initiatives, and in historical records (especially in our ‘Timeline & Milestone’), we retain the original terminology as it was used by the organisations or programmes at the time. This approach reflects the language and social attitudes of different eras. For example, some organisations have renamed themselves in response to evolving language standards, moving away from outdated terms such as ‘spastics’ or ‘handicapped’ as society’s understanding of disability has progressed. These shifts highlight the changing social and cultural perspectives on disability, mirrored in language choices across different periods.

When selecting the English name for this project, we found that there is currently no fully equivalent English term in Hong Kong that conveys the full meaning of the Chinese concept of ‘zhǎnnéng yìshù’ (展能藝術), particularly its emphasis on showcasing the abilities of people with disabilities. In English-speaking contexts, terms such as ‘arts and disability’ or ‘disability arts’ are used, but each reflects distinct social perspectives, ableism, cultural backgrounds, and influences from various disability models. For this project, we adopted “Arts with the Disabled in Hong Kong” as our English name, mirroring the terminology used by the Arts with the Disabled Association Hong Kong since its founding and translating zhǎnnéng yìshù (展能藝術) directly as “Arts with the Disabled.”

As one oral history interviewee noted in Once Upon a Time, we chose to use “with” rather than “by” or “for,” as it underscores inclusiveness and accessibility—not limiting the meaning to ‘art created by people with disabilities’ or ‘art created for people with disabilities,’ but rather positioning them as equal participants in the arts.

 

 

1 ‘Crip Art’ emerged from disability culture and activism, carrying distinct cultural and linguistic implications in English that do not have a direct or widely accepted Chinese translation. It is sometimes rendered as ‘cánzhàng yìshù’ (殘障藝術 or disability art) in Chinese, though this translation often loses the empowering nuance of the term ‘Crip,’ originally a reclaiming of the derogatory word ‘cripple.’ In English, this reclamation has turned ‘Crip’ into a term of identity and empowerment, yet such cultural nuances are challenging to replicate in Chinese. In 2024, the Hong Kong art collective C.95d8 translated ‘Crip Art’ as ‘夬兒藝術’ (kyut3 yìshù), referencing the 43rd hexagram of the I Ching, 夬, which denotes breakthrough or decisive action. The character 夬 serves as the root for multiple Chinese words, such as 決 (decision), 玦 (jade ornament), 訣 (parting), 抉 (choice), and 缺 (shortcoming), reflecting ideas of choice, resilience, and finding potential in perceived imperfections.

語言運用 2490_1866
鳴謝及聲明 2490_1866
Acknowledgement & Disclaimer

The Project ‘Arts with the Disabled Online Archive’ has been successfully completed, and we would like to express our heartfelt gratitude to the following individuals and organisations for their continuous support and assistance:

 

First, we would like to thank all rehabilitation centres and art groups for their publications, archives, literatures and audio-visual material, and these are crucial data foundation for our research. Different stakeholders’ hard work and effort of documenting have ensured that the history of local arts with the disabled is well recorded, providing extremely valuable references for this project, helps narrate the full story of how local arts with the disabled has grown over time.

 

At the meantime, we would also like to thank all who participated in both recorded and private oral history interviews. They generously shared their experiences and insights from working in the field. These individual experiences and professional knowledge that had never been documented provided new research angles for the project, made up for what could not be fully presented by documentation alone in conveying the full record of history, allowing us to look at the whole picture from different perspectives and thoroughly present the findings in this research.

 

All literatures, publications, pictures and audio-visual material, etc, are to be used solely for academic research and public education purposes. The copyright holders of the aforementioned materials include various rehabilitation centres, arts groups, social workers, artists with disabilities or scholars, etc. If you would like to cite any of the contents, please directly contact the copyright holders. Please do not republish these contents in any form without permission, do not use the materials or links for any commercial advertisements or profit-making activities.

 

When organising and presenting the timeline and materials regarding local arts with the disabled, we try to ensure the accuracy and completeness of the content in the database as much as possible. Yet, if you notice any errors or have any questions, please feel free to let us know. We greatly appreciate all the valuable feedbacks.

 

Our team hopes that this research can provide valuable insights and contributions to the development of arts with the disabled in Hong Kong. At the same time, we also hope to provide inspiration and references for future research and practice, so that this database not only serves as a starting point for documenting the development of local arts with the disabled, but also becomes an important platform that continues to update and influence the development of local arts with the disabled. We sincerely invite all of you to enrich the content of the database with us by adding diverse materials. If you have any ideas or studies you would love to share, please contact Arts with the Disabled Association Hong Kong. Your participation and contributions will greatly facilitate the development of local arts with the disabled, together let’s create long-lasting influences in this field.

鳴謝及聲明 2490_1866
參考資料 2490_1866
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參考資料 2490_1866
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