Organizing art workshops for people with

intellectual disabilities

Project title: Further Education for People with Intellectual Disabilities (F.E.P.I.D.)Grant number: LLP/AT-430/10/08

Publisher: Bildungshaus Schloss Retzhof, AustriaFor the publisher: Polonca Kosi, Joachim Gruber

Editing: The Partnership of the Grundtvig project Further Education for People withIntellectual Disabilities

©Authors: Andreas Panayiotou, Carlo Falcone, Christoph Sasse, Dörte Bernhard, DusanSilak, Giota Giori, João Cartaxo, Karin Poad, Kata Kostyál, Lara Peralta, Lisa Minichino,Marina Donik, Martine Chopinaud, Michèle Jarraud, Mojca Volk, Panayiota Kyriacou,

Petja Janzekovic, Petra Hamersak, Polonca Kosi, Szilveszter Haller, Vasilios Giannakopoulos and Zooula Poyiatzi

All the subscribed contributions reflect solely the opinions of the author. The authors are responsible for the contents.

Printed by: Reha DruckPlace: GrazYear: 2010

Additional editing: Teja SostericCopyright: The Partnership of the Grundtvig project Further Education for People

with Intellectual DisabilitiesLayout and design: Christine Hofer-Lukic

Photographs: Archive of the project Further Education for People with Intellectual DisabilitiesISBN: 978-3-9502945-1-4

This project has been funded with support from the European Commission. Thispublication reflects the views only of the author, and the Commission cannot be heldresponsible for any use which may be made of the information contained therein.

Organizing art workshops for people with

intellectual disabilities

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Index of contents

Preface PrefaceIntroductionIntroduction of participating institutionsAbout people with intellectual disabilitiesImportant goals of art workshops for people with intellectual disabilitiesExamples of good practice- Painting & drawing- Handcraft- Sculpturing- MusicInternational meeting with several artistic workshopsEvaluationSuggestions, guidelines regarding “How to organize art workshops for people with intellectual disabilities”Interview with an expert in art workshops for people with intellectual disabilities FundraisingEuropean Easy-to-Read standardsConclusion

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Preface

Barrier-Free Education is the main focus of my work as the Styrian RegionalMinister for Education. I was delighted to find that the Styrian EducationalHouse Schloss Retzhof is a successful implementation of such barrier-freeeducation and can serve as an example to many others. Schloss Retzhof is notmerely a barrier-free educational house with a barrier-free guesthouse; thebarrier-free educational concept also reflects in its programme and its com-pleted projects. Therefore it does not strike me as unusual – but rather fillsme with delight – that the Educational House Schloss Retzhof is part of an EU-wide project partnership that focuses on working with people with intellec-tual disabilities. Even though this project is now finished and all participantsare able to take the experience, insight and knowledge they have acquiredhere back to their homelands, an essence of the project will remain here inStyria and through regular exchange it will find its way into the Styrian adulteducation landscape beyond Schloss Retzhof. The project gave us not onlynew know-how, but also the joy and the feeling that we have once againovercome a few barriers that barred our way. Let us continue to overcomebarriers together and prosper through diversity.On this note I would like to sincerely thank all participants and everyoneresponsible for their dedication and congratulate them on a successful project!Sincerely yours,

Elisabeth Grossmann,Styrian Regional Minister for Education

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Preface

It is truly a joyous moment for every publisher to be able to finally hold in his handsthe results of a two-year interdisciplinary and intercultural cooperation. Especially,when looking back on what was accomplished in cooperation with project partners evokes such joy and so many happy memories. Seemingly essential andseemingly unimportant things have accompanied us on this way that we havewalked together. Now, however, when we browse through the pages of the finalreport, so many things seem to have changed: Seemingly essential things becameunimportant and vice versa. Maybe this is the special allure of successful and vitalproject work, which can be compared to a living organism and whose nature it isto constantly change. This final report has granted us awareness and insight thatthere is magic not only to the beginnings, but to the endings of such undertakingsas well. Ultimately, what matters are the encounters between individual personsand the experiences we shared, which came into being, developed and grewduring the course of the project and which often complemented and enrichedeach other. Now, as the written report I am holding seems like a provisional sumtotal of the work that was accomplished in the two years, we at Retzhof wouldonce again like to thank all those who invested so much into the project and helped make the project a success as a whole. At times, the good name of an Institution represents the high-quality work and strong commitment of many individuals: Jugend am Werk Steiermark – as our associated project partner – is oneof them!

Joachim GruberDirector of the Schloss Retzhof

Educational House

Polonca KosiProject Coordinator and Pedagogic Assistant

Schloss Retzhof Educational House

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Introduction of participating institutions

Bildungshaus Schloss Retzhof (Austria)

Retzhof has been a further educational institute since 1948. It is located in thestate of Styria. Due to its decade-long importance for Austrian further educationand its good and varied international contacts the Retzhof has made its mark onfurther education both within Austria and beyond its borders. What makes theRetzhof especially interesting for cross border cooperation and meetings withour neighbours in the Alps-Adriatic region is its location. Retzhof stands for quality and innovation in further education. It promotes international orientationand is non-denominational and cross-cultural.We plan and organize seminars, symposiums, conferences, congresses, work-shops and cultural events on topical themes, as well as stage active days andproject weeks for schools.

The new barrier-free guesthouse and the castle buildings with seminar roomsas well as the Castle Tavern offer disabled individuals the possibility to organiseeducational and cultural events or to participate in them. The Retzhof FurtherEducational Institute strives to maintain the highest possible level of accessibilityby making its infrastructure and educational opportunities available to everyone.In doing so, we are taking a step in a particular direction. As it is said, everyjourney begins with the first step.

Address: Dorfstrasse 17, A-8430 Leitring/Wagna, AustriaTelephone: 0043 3452 827 880Fax: 0043 3452 827 88 400Website: www.retzhof.atDirector: Dr. Joachim GruberContact person: Polonca Kosi, polonca.kosi@stmk.gv.at

Introductionby Polonca Kosi, project coordinator, Bildungshaus Schloss Retzhof

Our institution, Bildungshaus Schloss Retzhof, as an education provider foradults, concerns itself with making education for adults accessible to everybody.That includes people with disabilities. We started the Grundtvig learning partnership two years ago by searching for partner institutions who work either with people with intellectual disabilities or are, like us, education providers for adults. This helped us to see things from a different perspectiveand consequentially to achieve the best compilation of different experiences.

We are a project group of people from ten institutions from nine Europeancountries. The name of our project is “Further Education for People with Intel-lectual Disabilities”. We decided to focus on workshops for people with intellectual disabilities exclusively in an artistic context. We offer art workshopson painting, drawing, sculpture, music and handcraft. Art causes a spontaneous,natural integration and from the perspective of people with intellectual disabi-lities, these activities have nothing but positive results. Having an intellectualdisability does not influence a person’s various abilities and interests. Suchpeople often have the same artistic potential as anyone else and can becomeartists.

As part of the project, the participants had the opportunity to exchange valuable experiences, learn about other European countries, participate in discussions and do a lot of practical work. One of those was an internationalmeeting where people with disabilities from our institutions could participatein several artistic workshops. It was a great experience not only for them butalso for us. Another goal of our project was to publish this anthology. It couldbe called also a handbook, because it should serve as an encouragement forproviders of education for adults. In most cases, people with intellectual disabilities live or spend their days in residential institutions. However, we thinkthat they should also have access to education elsewhere, for example in institutions, accessible to everybody, which provide opportunities to learn andbe creative. Artistic workshops are a good opportunity for inclusive education,where people with and without disabilities can learn together. Of course aredifficulties to consider. The part of this anthology entitled Suggestions and guidelines regarding „How to organize art workshops for people with intellec-tual disabilities” could help you with the planning. In this anthology you willalso find some good practice examples from our workshops, reports, ideas andhopefully enough inspiration to be able to organize workshops for people withintellectual disabilities in the future.

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GIP-FCIP Académie de Limoges (France)

The Public Interest Group for Further Education and Professional Integration ofthe local Education Authority of Limoges with a status of a public agency.

It has the following objectives:• assessment of competences• validation of the results of the experiment• international programs• education for teachers and tutors• advice about expertise and learning• creation of educational tools• animations within the General Insertion Program Framework• educational assistance for work-based learning

Its field of activity covers 3 departments: 87, 23, 19.

Address: 13, rue François Chénieux, 87031 Limoges, FranceTelephone: 0033 555 114 115, Fax: 00386 2 729 35 66Website: www.ac-limoges.frSupervisor: Michèle JarraudContacts: Michèle Jarraud, Martine ChopinaudE-mail: gipac-fcip@ac-limoges.fr

Gesellschaft Erwachsenenbildung und Behinderung / Associationof Adult Education and Handicap (Germany)

„Every human being possesses the right to a life-long education“. – The Asso-ciation of Adult Education and Handicap strives for the realization of the fun-damental right for life-long education. It supports people who work in educa-tion for adults and who have a need for qualification, further education andexchange of experience. It wants to help people with and without disabilitiesto be able to meet as equals. Members join in committees/panels. Additional-ly, the association issues a magazine “Erwachsenenbildung und Behinderung”(Adult Education and Disability) and organizes national and international sym-posia in cooperation with likeminded associations.

Address: Brehmestr. 07, 13187 Berlin, GermanyTelephone: 0049 304 990 70 60Website: www.geseb.deContact person: Karin Poad, karin.poad@t-online.de

St. Loukas - Parent’s Association of Adult Persons with MentalHandicap (Cyprus)

The St. Loukas Parent’s Association of Adult Persons with Mental Handicap is avoluntary organization which provides services to adult persons with mental han-dicap in Limassol. The association is run by a group of parents whose adult chil-dren take part in the programs. There are a total of 12 staff members, includinga social worker, a psychologist, a specialized gym teacher, special educators, jobcoaches and support staff. The Association functions in accordance with the poli-cy of Day Centres and has three Day Centres providing programs of social inte-gration. The association also provides various services including transport to andfrom the participants’ homes as well as breakfast and lunch every day. The finan-cial resources include income from the sales of products made by the people withdisabilities, a monthly subscription paid by the parents, various donations and anannual government funding which covers a third of the yearly expenses.

The goals of the association include preventing institutionalization, promotingsocial integration and combating the conditions which lead to social exclusion.Furthermore, we aim to promote vocational rehabilitation, protection and pro-motion of the persons with mental handicap rights and their obligations as citi-zens in society as well as improving and upgrading the quality of their lives.

There are 32 adults participating in the programs offered by the association.The programs include: • Programs that encourage social integration such as social visits, excursionsand development of social skills

• Programs that help people with disabilities to find employment in the openjob market

• Psycho-educational programs intended to develop communication andemotional development and encourage learning

• Psychological support and counselling for individuals and their families• A theatre group• A gymnastic and exercise program• Program teaching basic life skills• Handcraft workshops• Gardening

Address: P.O.Box 51562, 3506 Limassol , CyprusTelephone: 00357 25-384044, 00357 25-738768Fax: 00357 25-384044E-mail: s.loukasadultsdev.disab@cytanet.com.cy

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- Ceramic art workshop, duration of one year, which is financed by the 3rdCommunity Frame of Support. Young people with mainly intellectual depri-vation aging from 15 - 35 years participate in this program. They attend wee-kly meetings which aim at the expression of sentiments, general collaborati-on and improvement in communication.

Address: NEO Pyrgou-Patron, 27100 Pyrgos, GreeceTelephone: 003026213-60801 & 60824Fax: 003026213-60822Website: www.1597.syzefxis.gov.grContact person: Vasilios Giannakopoulos, bgiannako@gmail.com

Foundation for the Rogers Person-Centered Education (Hungary)

Our mission is to help people, institutions and education facilities that work onthe basic principle of the person-centred approach. We find values of huma-nistic psychology phrased by Carl Rogers (trust, open communication, congru-ence, empathy and unconditional positive regard) relevant to our lives. Wesupport any activity connected to communication, ecology, art and alternati-ve learning programs which help people live at peace with themselves, theothers around them and with their natural and artificial environment. We puta lot of energy into the integration of people with special needs.

Address: Beethoven utca. 6, 1126 Budapest, Hungary Telephone: 00361 27 45 788Fax: 00386 2 729 35 66Website: www.rogersiskola.hu/Contacts: Virag Suhajda, Kata Kostyal, Szilveszter Haller E-mail: rogers_kozepiskola@gmail.com

Arte, Musica… e Caffè / Art Music and Coffee Social CooperativeOrganization (Italy)

Art Music and Coffee Social Cooperative Organization is a social Organizationemploying nine wonderful individuals with disabilities and with a great needto be among other people. They work in a shop selling products such as bread,pizza or chips. They are divided in three groups, each with a shift of six hours.As soon as they arrive at the shop they begin collecting and putting bread andother products in the counter. Afterwards, they clean the shop. Some of themspend some hours in the kitchen trying to learn how to make bread. They

Education Centre and Social Support for People with Disabi-lities - KEKYKAMEA N.ILIAS (Greece)

KEKYKAMEA is a Public Authority under the control of the Ministry of Healthand Social Solidarity of Greece. The goal of KEKYKAMEA is precocious diagno-sis, counselling and briefing of people with disabilities as well as their families,reference in specialized hospitalization and rehabilitation, professional trainingof people with disabilities, their functional rehabilitation, offering support fortheir integration in society and the collaboration with the services of local soci-al care for the coordination of their actions. Social and Psychological Support,Care and Functional Re-establishment Department is one of the five depart-ments of [KEKYKAMEA]. One of the department’s main objectives are the soci-al and psychological support of individuals with infirmity and the growth ofcultural activities.Included in the department‘s activities are the following programs, which arestill in progress or may have already been concluded:- Drama therapy workshop, duration of one year, which is financed by theGeneral Secretariat of New Generation. Young people with mainly intellectualdeprivation aging from 15 - 35 years participate in this program. They attendweekly meetings which aim at the expression of sentiments trough developingroles, imagination and writing stories.

- Photography workshop, duration of two years, which was included in theEuropean Program “YOUTH” of General Secretariat of New Generation andcontinued being financed from the 3rd Community Frame of Support. Youngpeople with mainly intellectual deprivation aging from 15 - 35 years partici-pate in this program. They attend weekly meetings which aim at general col-laboration and the improvement of communication. The young people par-ticipated in the 10 International Panorama of Independent creators of Filmand Video with the photographic video made by the team called “a WALKWITH the FRIENDS” which was created with the support and the collabora-tion of the team’s instructor.- Therapeutic painting workshop, duration of one year, which was financed bythe 3rd Community Frame of Support. Young people with mainly intellectu-al deprivation aging from 15 - 35 years participate in this program. Theyattend weekly meetings which aim at the expression of sentiments troughpainting.- Music therapy workshop, duration of one year, which is financed by the 3rdCommunity Frame of Support. Young people with mainly intellectual depri-vation aging from 15 - 35 years participate in this program. They attend wee-kly meetings which aim at sentiment expression stimulated by music as wellas by producing musical sounds.

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spend altogether 6 hours at the shop, working and learning in the process.Among other skills they have learned to use a knife to cut ham or salami, whichthey now proceed to do happily. At the end of the day they clean the shopagain and collect the bread that has not been sold. A mutual advantage of theshop is the commitment of the employees and the satisfaction of the custo-mers. Art Music and Coffee is a Social Cooperative Organization, which wasborn in 2007 by a group of families motivated to help their relatives affectedby mental problems in order to facilitate their social inclusion into the labourwork. The job opportunities we try to offer consist of catering and banqueting.The aim of the Cooperative is to change the role of the people with mental dis-abilities from passive (nursed person) to ACTIVE (a person able to ...). Thecooperative organization develops their own economic role for the partici-pants, the future generations as well as the social community. Each employeemust strive to improve their working skills, to be creative as well as professio-nal and to be able to cooperate with co-workers and customers.

Address: Via Antonio Mancini 30, 80127 Naples, Italy Telephone: 0039 340 4167509Website: www.artemusicaecaffe.com/cms/Contact person: Carlo Falcone, info@artemusicaecaffe.com

FENACERCI (Portugal)

FENACERCI was founded on April 12 1985. It is a non-profit organisationrepresenting 51 Social Solidarity Cooperatives throughout Portugal. Directly orindirectly, these cooperatives provide service to around 8,000 children, youngpeople and adults with physical and/or intellectual disabilities and their fami-lies.

FENACERCI is the institutional interlocutor between Social Solidarity Coopera-tives and official bodies, promoting dialogue and developing projects with avariety of national and international institutions.

Since its creation in 1985, FENACERCI has been expanding the area of its ope-rations. Their main objectives are:

• Promotion of the recognition of people with intellectual disabilities andtheir rights, defending their interests and the interests of their families.

• Ensuring that services offered to people with intellectual disabilities are

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appropriate, high quality, and treating people with dignity. • Cooperation and engaging in a dialogue with other institutions in order to ensure that political and legal reforms are implemented and appropriate financi-al support is given so that conditions of social integration can be improved.

• Sharing information with and raising awareness among the general publicthrough the media, encouraging a change in attitude that will allow a bet-ter integration of people with intellectual disabilities.

Bearing in mind the importance of art as an area of affirmation of individuali-ty, promotion of citizenship and inclusion, FENACERCI has created an artdepartment in 2005 whose goal is to generate a network in the artistic fieldbetween associates and other similar organizations by training, thematic semi-nars and pedagogic workshops in various art fields. It strives to provide a workoptimization for the staff and for people with intellectual disabilities and to pro-mote social inclusion trough art.

Address: Rua Augusto Macedo 2A, 1600-794 Lisboa, PortugalTelephone: 00351 21 711 25 80Fax: 00351 21 711 25 81Website: www.fenacerci.ptContact person: Lara Peralta, laraperalta@fenacerci.pt

Zavod Hrastovec – Trate (Slovenia)

The institution Hrastovec was established in 1948. It is the largest social insti-tution in Slovenia which provides long-term care for 670 residents.During the last few years we have begun to establish smaller dislocated unitsand searching for alternative ways of independent living in community. This meant resettling residents and helping them in achieving independenceoutside the institution. Currently, there are 250 residents living in approxima-tely 25 residential units. The service of the institution Hrastovec is based onnew methods in psychosocial support for people with intellectual disabilities.There are several long life learning programs available to residents, includingprojects which improve empowerment and social integration.

Address: Hrastovec 22, 2230 Lenart v Slovenskih goricah, SloveniaTelephone: 00386 2 729 35 10, Fax: 00386 2 729 35 66Website: www.hrastovec.orgContacts: Petra Hamersak, petra.hamersak@hrastovec.org andMarina Donik, marina.donik@hrastovec.org

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learn social skills. Such person might also be less able to care for themselves orunable to live on their own. People with intellectual disabilities have some limi-tations in adaptive skills such as:

- Conceptual skills (receptive and expressive language, reading and writing,money concept, self-directions);- Social skills (interpersonal, responsibility, self-esteem, following rules);- Practical skills (personal daily life activities such as eating, dressing and using therestrooms). Intellectual daily life activities such as preparing meals, taking medi-cation, using the telephone, managing money, using transportation and hou-sekeeping, maintaining a safe environment and occupational skills.

People with intellectual disabilities need to receive support early in life in orderto develop to their full potential.

The quality of the support and the environment are closely linked to the deve-lopment of competences and skills of people with intellectual disabilities.

Important goals of art workshops for people withintellectual disabilitiesWritten by Marina Donik, Zavod Hrastovec - Trate

• Participation - increasing the level of participation in creative activities- maintaining good psychophysical condition- developing a feeling of being a part of the group - increasing social integration- developing social skills- creating a person’s role in a group- expressing oneself, showing the capability to do so- success and awareness of satisfaction- confirmation of personality- increasing individual awareness

• Increasing the creativity- giving the participants the opportunity of discovering the beauty, use-fulness and joy of voluntary activities (handicraft and art creative work,music, theatre,..)- motivating the participants- revealing creativity

Javni zavod LJUDSKA UNIVERZA PTUJ / Public institutionPUBLIC UNIVERSITY OF PTUJ – Educational Centre for Adults(Slovenia)

The Folk University of Ptuj was established in the years 1938 and 1938, alt-hough education of adults was being offered from 1925. Following some dif-ficulties in the 80’s, the Folk University of Ptuj was converted into a public insti-tution and changed its name to Public University of Ptuj. With new formal pro-grams, included in the Catalogue for Formal Education in Slovenia, the creati-on of high-level studies (tertiary level) and with modernisation of didacticalapproaches the number of our participants rises each year. Today the PublicUniversity of Ptuj offers several different formal secondary school programs, aprimary school program for adults and two tertiary based faculty programs aswell as one post-graduate program. Additionally, we offer many non-formalworkshops, seminars and workshops.

Adress: Mestni trg 2, 2250 Ptuj, SloveniaTel: 00386 2 749 21 50Fax: 00386 2 749 21 56Website: www.lu-ptuj.siContacts: mag. Klavdija Markez, headmistress – general manager; mag. PetjaJanzekovic, project leader; Dusan Silak, Mojca VolkE-mail: petja.janzekovic@luptuj.org

About People with Intellectual DisabilitiesSummarised by Petra Hamersak, Lara Peralta, Dörte Bernhard and Marina Donik

In order to better understand people with intellectual disabilities one mustknow what intellectual disabilities are. It is a way of describing someone’s abi-lity to think, learn, and solve problems. Intellectual disability also means thatsomeone has a lower than average intellectual ability.

People with intellectual disabilities function significantly below average interms of intellect which limits their ability to cope with the activities of normaldaily living. That includes adaptive skills, the ability to communicate, live athome, take care of oneself, making decisions, participating in leisure, social,school and work activities, and awareness of personal health and safety.

A disabled person may have trouble learning and might require more time to

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From this concept we began to develop a project directed to our clients. Oneof our reasons was that we know that activities involving objectives, innovati-on, creativity, organization of tasks and deadlines are extremely motivating.The participants feel valued because they find that their work has a specificpurpose. The importance of their contributions is certainly reason to engagein a more serious, dedicated and responsible way.

Author: Elsa Pinto, 2008 Author: Paula Charréu, 2008

However, to be able to fulfil larger orders – and it is with satisfaction that weachieved the 7000 units in the year 2008 – it is necessary to define strategiesto organize the various stages and the resources available in our institution. Ingeneral terms, they are 4 stages that summarize the whole process:

Tasks Implementation

1 Printing of the cards Composition and pre-printing:with the Christmas Graphic Designer message and logos. Printing: Cercica

2 Painting of a Christmas People with disabilities participating atcard of the size CERCICA from the following programs:6x8 cm. - Occupational Support Center - Official

- Occupational Support Center- Occupational Support Center - Therapeutic- Resource Center for Inclusion

3 Assembly and finishing: Technicians and Monitors from CERCICA- Varnishing the paint- Folding - Bonding of the card, - Identification of the author and year of printing

4 Counting and packaging Technicians and Monitors from CERCICA

- exploring and developing knowledge - possibilities of expressing oneself by using several different techniques- awareness of using both sides of hemispheres- developing motoric and processional skills- spreading the interests to use different handicraft techniques- preserving, renewing and developing the knowledge of handicraftmaterials and techniques, patterns of design, traditions and qualities- strengthening the research connection of handicraft and open up forcross-disciplinary perspectives

• Better economic conditions for the participants - emphasising the importance of handicraft for regional growth and thepossibilities of the participants future employment- promotion of the achievements of the participant

Examples of good practice In this section, good practice examples from our project partner institutionsand our associate partners are presented. The examples will hopefully encou-rage you and give you ideas for practical steps. The good practice examplesare presented summarised. However, if you require further information you cancontact the author of the article. Contact details of our partner organizationsand their contact persons are listed at the beginning of this anthology.

Painting & drawing

Project “Original Christmas Postcards”(CERCICA’s Plastic Expression Atelier, FENACERCIAssociate member) Summarized by Lara Peralta, Fenacerci

The concept of “Original ChristmasPostcards“ appeared in 2005, whenwe decided that we wished to sendall employees and friends of Cercicamore than just a Christmas postcardwith a printed design. Submittingan original work in the form of apostcard is undoubtedly a specialoffer that pleasantly surprises therecipient. Author: Fili pe Cerqueira, 2008

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Material Suggestions: Glue, acrylic varnish, thinner, carve, and setting rulers.

Bonding and inserting the Settlement of margins using a framepainting in the printed card

Final Result

outside inside

Today, the original Christmas Postcards represent another enterprising andsustainable project for Cercica encouraging creative work, which excites andmotivates people with disabilities.Thanks to all participants and the employees of Cercica that made this projectpossible, as well as all companies and institutions – Cascais City Hall, FrustockDuarte Costa and Associates - which valued our work and invested in it.

Presentation of three authors & two interesting projectsDevelopment and Integration of People with Intellectual Disabilities

(CERCICA’s Plastic Expression Studio, FENACERCI Associate member) Summarized by Lara Peralta, Fenacerci

CERCICA is a private institution with a mission of social solidarity and develop-ment of supporting activities in different areas of assistance, aimed at indivi-duals with intellectual disabilities or with socio-professional disabilities in orderto protect their individual and citizenship rights.

Painting of the Christmas Postcards

People who are a part of our organization have a huge creative potential. ThePlastic Expression Studio encourages people with disabilities who have showntalent and consolidated their work through participation in exhibitions andcompetitions. The workshops take place in various rooms of the ResourcesCentre where people with disabilities engage in plastic expression activitieswith commercial goals, which are both recreational and therapeutic.An added plus to this project is allowing all participants to partake in activities,regardless of their abilities, as very simple techniques were developed. We crea-te using crumpled plastic bags, sticks, Lego pieces, wool and masks with richand expressive results. People with disabilities with more autonomy in this area can create symbolsand Christmas themes, using visual references as a starting point.

Material Suggestions:Duplex board, acrylic paints, felt pens, ecolines and decorative paints.

Painting the base of the card Painting with paint-soaked wool

Finishing the Postcard

The hallmark of this project is the quality and accuracy of the finishing. For thisreason and because of the complexity of the tasks, the finishing is mostly per-formed by technicians, which involves the collaboration of the entire team, asnot to impair the normal functioning of all rooms and workshops of theResources Centre. The finishing work consists of the following phases: • varnishing the paint,• folding,• bonding of the card,• identification of the author and year of printing.

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• Participation in the international exhibition “ME, BLUE AND YOU, AGAINSTDISCRIMINATION”, Inclusion Europe 2002.

• Exhibition “3 Artists”, V National Meeting of Cooperatives of Social Solida-rity organized by FENACERCI in Vila Nova de Santo André, 2005.

• First Prize in drawing category on the Cridem Competition in 2006.• First Prize in painting category on the Cridem Competition in 2006.• Participation in the “Speakers Corner, same hour, same place, for change...”exhibition, Gallery of the Ministry of Finance, December 2006.

• “There is no Art Apart”, display of one work of art at the Calouste Gulben-kian Museum, May 2007.

• Participation in the inclusive exhibition “Tightrope – Funambule”, Decem-ber 2008.

2002 - The initial work in the Plastic Expression Studio

2003 - Arc de Almedina in CoimbraThe author begins to experiment with new media and uses images as a star-ting point. The author shows appropriate focus on the spots and the blendingof colours.

CERCICA grew and expanded the services for the community, continuouslyhelping about 400 people with disabilities in areas that cover a wide range ofthe population with special needs living in the Municipality of Cascais;

CERCICA’s Plastic Expression Studio

• Emerged in 2002 as a side project of the Resource Center. • Develops activities in the area of Plastic Expression, especially drawing, pain-ting and modelling.

• It currently offers service to about 50 participants. • An extremely relevant selection criterion is the MOTIVATION of the participants.

Presentation of three authors Since 2002, some participants have shown exceptional motivation and interestin this area, which was being developed over the years. What distinguishedthem from other participants was:• They do not perceive the activities as occupational. • They are aware that their work is appreciated by others, which is reinforcedby the participation in exhibitions and awards received.

• They work in the studio every day, and often work extra hours. • They are fully autonomous in their creative process. • They have an artistic identity: they show consistency, development capaci-ty, originality and good technical performance.

Author “B”-

Author “B” - Author "B" is 35 years old.

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The Portrait of sister Lúcia is atypical for the work of Author “B”, because herarely draws people that he does not know personally.

Portrait of Catarina M., Sofia B. and Cláudia S. (2007/2008)

Author “B” is currently creating compositions with his portraits, trying to makeassociations and connections between the works (an example of a sequence:draws the mother, then the father, brother, sister in law ...). By combining the works he is increasing his awareness of the process. Thatinvolves entitling the final product.

Author “H”Author “H” is 37 years old.

• First Prize in drawing category on the Cridem Competition in 2004. • Participation in the painting exhibition: Magic Firefly Campaign 2004,organized by Fenacerci, Coliseu dos Recreios, Lisbon

• Exhibition “3 Artists”, V National Meeting of Cooperatives of Social Solidari-ty organized by FENACERCI in Vila Nova de Santo André, 2005.

• Participation in the “Speakers Corner, same hour, same place, for change...”exhibition, Gallery of the Ministry of Finance, December 2006.

• “There is no Art Apart”, display of one work of art at the National TheatreMuseum, May 2007.

• Participation in the inclusive exhibition “Tightrope – Funambule”, December2008.

Self-Portrait (2004)

At this point, the author began to paint portraits of family and colleagues.

The author continues painting portraits. The chosen media: dry pastel onpaper. The author examines different parts of the face. The work is less sche-matic and more organic. Here, the author “B” integrates his search of the ele-ment "nose" in his work.

Portrait of Susana P. (2005) Portrait of sister Lúcia (2006)

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Author “H”

2002 - The initial work in the Plastic Expression Studio

2003 - Landscape

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Author "H" began to use photography as an observation exercise. He showstendency to use geometric forms, which are a predominant feature in his work.

Harlequin by Picasso (2004)

Interpretation of the painting "Harlequin" by Pablo Picasso. The author begins to overlap the material and create a multitude of coloursand shades. This is another characteristic of his work, which he explores byusing oil paints.

2004 - Landscape, by Klee

Author "H" discovers his media of choice: oil on canvas. The teacher stresses the tendency towards the clear lines of the geometricforms and the shades of colour, which are more developed in this example.

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Author “J”The Author “J” is 31 years old.

• Participation in the international exhibition “ME, BLUE AND YOU, AGAINSTDISCRIMINATION”, Inclusion Europe 2002.

• Invited Artist by Lindley Group to design postcards for Christmas depictingthe theme Sailing, December 2005 and 2006.

• “There is no Art Apart”, display of one work of art at the Condes de CastroMuseum, May 2007.

• Invited Artist at the Smart Parade, May 2008

2002 - The initial work in the Plastic Expression Studio

2005 – Tapestry I

The author begins a series ofpieces with geometric composi-tions from the “square unit."The fact that the author workedin the area of tapestry for manyyears, particularly in the makingof carpets of Arraiolos, deter-mined his creative process inpainting.

2008 –From “The Umbrella” by Goya

The author is currently using works of art as “point of departure” for his ownwork. He shows an extraordinary ability to interpret and transform other artists’images by highlighting or eliminating certain aspects, providing the observerwith his personal vision of the works of art that interest him.

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2007 - Plants In recent years, "J"’s theme has become nature (especially painting landscapes).

"J“ has been working in the field of horticulture and gardening for many years. It has been noted that the technical quality of his work has increased over theyears. For "J", painting is an important goal in his life and a project that he takesvery seriously. The author currently also paints at home and sells his works.

Two interesting projectsIn addition to the activities involving people with disabilities who participate indaily activities, various artistic projects which promote collaboration with otherunits of Cercica have also been developed.

• Fulfilments of orders from companies or institutions• Projects of entrepreneurship of Cercica

OBJECTIVES: • Stimulating and developing the creative potential of the participants, encouraging a spirit of sharing and collaborationbetween employees and participants.

• Promotion of stability and expansion of Cercica.

Project 1: Message in a BottleThe agency “Cascais Atlântico” is the initiator of the “Artemar Cascais” project,which was created with the goal to promote walks on the beaches of the muni-cipality and to encourage creativity in the participants by offering them anopportunity to create a sculpture with a theme of the sea and its surrounding(cliffs, debris).

The sculpture was placed in the Citadel of Cascais as part of the Agency “CascaisAtlântico” exhibition on June 8 2007.

2005 – Composition

Author "J" started to work with oil on canvas, material whose characteristicssuch as density (more resistance / better motor control) and slow drying (pos-sibility to correct the strokes), allow a better performance.

2006 – Canvas of deceit

A special challenge to "J" was to paint a canvas in which the author could hidehis purpose. "J" is a perfectionist, working restlessly. “J” is always very concer-ned with the end result and the opinions of others.

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Project 2: Smart Parade (2008)

• The Smart Advertising created the Smart Parade, a social responsibility initia-tive, with the objective of raising funds for the CADIN - Support Centre forChild Development.

• Various visual artists and public figures have been invited to help decorate60 Smart cars.

• The Municipality of Cascais, a partner in this initiative, invited one of the Cercica’s artists to display one of his works of art in the Smart Parade.

• A major appreciation of the artist and his work has been expressed.

“Les Papillons Blancs” – Art Workshops observation Summarized by Martine Chopinaud and Michèle Jarraud, GIP-FCIP Académie de Limoges

Les Papillons Blancs (translated: “The white butterflies”) is an institution whoprovides care for people with intellectual disabilities. We have visited the orga-nisation during our project meeting in France. There, we attended a presenta-tion of painting workshops for adults with intellectual disabilities. Description :8 residents participated in the painting workshop session. All of the residentsvolunteered to participate in the workshops. The workshops take place everyweek in the same room and at the same time in order to maintain a consistentspatial and temporal framework. The residents’ participation in this workshopis part of their individual projects.

The objectives of these workshops are: • Verbal expression• Development of skills (colour, form, skill, motivation) • Verbalization of feelings (anguish, envy)

The Concept: Sea / Communication / Debris A "message in the bottle" is a form of communication, in which a message issealed in a bottle and released to the ocean, with hope that it will be found bysomeone.

The objective was to communicate by sending a message in a bottle.

The sculpture

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HandcraftSummarized by Panayiota Kyriacou and Zooula Poyiatzi, St. Loukas

1. When our organization started organizing workshops, the handicraft activi-ties the participants were involved in included basket weaving, makingchairs, knitting and sewing. These were offered as a past time activity.

2. As time progressed, we have come to realise that handicraft could be morethan merely a past time activity. They can also be used as an educational tool to teach new skills and improveconcentration, and as an opportunity to create and to gain the satisfactionof the end result through originality.

3. When deciding on the activities we always keep the capabilities and interestsof the participants in mind. If the objective is a complex product or work ofart it will be broken down into smaller tasks, so that those who are less caba-ble will also be able to participate.

CollageThe first step is to decide on the drawing and the materials that are required. Forexample, the coloured stones must be sorted by the different colours. The tissuepaper must be cut up and rolled up into little balls; we even go into the fields tocollect wood and other natural materials. These tasks are usually done by the lesscapable participants. Once the material is prepared the rest of the team can begingluing and creating.

• Expression of passion (for certain residents with proven aptitudes)• Profiting from a calm and reassuring environment (small room)

Contents: Each resident receives the materials (pot, paint, paintbrush, paper)at the beginning of the painting workshop. They choose the materials them-selves and then work by following instructions or their imagination. The work-shop leader is there to guide, help and encourage them. At the end of the ses-sion the workshop leader evaluates their work.

Methods:• The workshop leaders provide the material for the participants and give instructions

• The participants are then encouraged to follow their inspiration

Number of participants: 8 to 10 people

Painting material: • Paints• Paintbrush• Different types of paper or cardboard• Easel• Photos, prints, books

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Basket weaving There are two stages in basket weaving. First, the straw has to be folded andthen soaked. After that, it is ready to be weaved into a basket. Once again,everyone contributes with their abilities taken into consideration.

HouseThe building of the model house was a team effort. As it can be seen from thepicture, a lot of different materials and methods were used. Those with finerhand motor coordination did the more detailed work, like the sewing of cur-tains, tablecloth and mat. A participant who enjoys drawing did the art work– pictures hanging on the walls. The less complicated tasks of breaking apartthe pegs and gluing them together as a wall as well as the formation of thelawn and the swimming pool were done by the rest of the team. In this wayeveryone was able to participate.

Tapestries Tapestries are a prerogative of the female participants. The tapestries are madeto decorate the centres, but many of the girls have also taken the opportunityto make gifts for their families. The patterns are usually pre-prepared, but ori-ginal patterns are created occasionally. Because of varying skill levels differenttypes of material and patterns are used.

Modeling with DoughHaving collected all the materials needed, the process begins.Everyone helps to prepare the mixture. The other ingredients are added andthe dough is kneaded. When the dough is ready the modelling begins.While some are making flowers others are preparing the stems. The final pro-duct is then varnished.

A similar process is the making of paper mâché eggs. The newspaper is cut up intostrips and soaked for a few hours in water mixed with some glue and pollyfila.

The mixture is then ready to be modelled. The egg shape is created by placingthe strips of newspaper in a spoon and left to dry.

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Mask made from paper plates and various other materials.Mask made from paper mâché.

Christmas

These were created to decorate the centre. Many of the Christmas products aresold at our annual Xmas fête.Easter:Since it is an Easter tradition to take candles to church, everyone decoratedtheir own candle to take to mass.

The goalOur purpose has always been to look for new ideas. The activities need to bepractical and simple so that the people with disabilities can participate andmost importantly enjoy themselves during the process.

Special occasions As one of the main goals of our organization is social integration we feel thatit is important that our learners are aware of any special occasions and festivi-ties and are given the opportunity to create products and works of art to cele-brate them.

Carnival Mask

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The activities were all well balanced. We had enough time for working withclay as well as for conversation with all participants. By attending the exhibiti-on we experienced an excellent opportunity to be involved in social activities.We had enough leisure time during which we had coffee brakes or visited thelocal community. As a result of the workshop, a lot of works of art were produ-ced. Final products include masks, animal statues (elephants, dogs, cats, sna-kes…), pictures, bowls, cups and other. Methods we used: demonstration bythe workshop leader, observation, attendance and support by the workshopleader, receiving and giving suggestions and help and creating individually. Wealso evaluated the workshop by distributing questionnaires. An example can befound in this anthology (see index of contents Evaluation). We decided to stayin contact so we exchanged addresses and e-mails at the end of the workshop.We took pictures of all participants and all the products that were made duringthe workshop of the workshop. We are convinced that crea-tivity has no limits. We allenjoyed ourselves while notletting ourselves be limitedby any disabilities. As aresult of the workshop wealso got to become morefamiliar with nearby as wellas foreign institutions. Animportant observation wasthat people with intellectu-al disabilities enjoyed them-selves while participating inthe workshops. But themost important fact is thatthose activities were alsoheld outside of the instituti-ons as part of the localcommunity. We talkedabout that we will continuewith bilateral workshops inAustria and Slovenia. Wewill continue to exchangeknowledge as it was a greatexperience to continue thework even after the projecthas ended.

Sculpturing

Sculpturing workshop at Bildungshaus Schloss RetzhofSummarized by Petra Hamersak, Zavod Hrastovec – Trate and Polonca Kosi, BildungshausSchloss Retzhof

Number of participants: 16 (from Austria and Slovenia)Communication language: German and English

Before the beginning of the workshop we needed to discuss the length of theworkshop and who should be involved. We employed Taja Lojk as a sculptu-ring instructor, as she already has some experience in working with peoplewith disabilities. Taja Lojk is a graduate specialist in sculpturing from Ljubljana,Slovenia. We invited people with intellectual disabilities and their support per-sons to participate in the workshop. We had also thought about the languagebarriers and assigned German and English as communication languages.Before the trip we presented the workshop to the residents. This was a greatopportunity for residents from Slovenia to go abroad. The staff from the wardswhere the residents stayed was also included in the preparations as we neededto be informed about the use of medications and any special needs of the par-ticipants. Materials needed for the workshop were: modelling clay, sticks forsupport (wooden or plastic), tables, water, aprons (plastic or textile). Our goals: encouraging creativity and movement, social interaction, socialgathering and relaxation. On the first day the participants were assignedrooms where they would be staying for the next two days. In the afternoon,we met at the workroom and the workshop started.

First our teacher Taja Lojk, sculpture artist, introduced herself. She explained allabout clay and about the working methods that we will be using in the work-shop. Afterwards, we introduced ourselves and our institutions. Then we pro-ceeded to work with clay. Since it was only the first day, we decided to start ata slower pace and allow ourselves to get to know each other and give oursel-ves a chance to get used to the new environment. We started the next day by enjoying breakfast together. Afterwards we conti-nued sculpturing. During the day we made sure that the participants hadenough breaks and spare time. The time spent while working in the shop wasalso enjoyable for everyone: not only did we find that we have a lot in com-mon but also that clay is a great material for developing creativity and has agreat therapeutic effect. In the evening we attended an exhibition opening atRetzhof where three photographers presented their art on the theme “Barrier-free”. We were all impressed by their work. On the next morning we continu-ed sculpturing. We created pictures by adding clay or taking some away.

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should make their own musical instruments, so that music could become anintegral part of each person and not something alien.

The first step was to understand what the participants perceived as music. Theparticipants were asked what they think about music and how they feel whenthey are listening to it. We talked about different aspects of music, the melodyand about musical instruments. The participants were asked if they wished tomake their own musical instruments and to create music with them. They allagreed with great enthusiasm. The next step was to choose the materials forthe making of the musical instruments. After a discussion with the participants,it was decided to use simple, everyday materials. That way they could createsomething original and very personal which reflected every individual’s perso-nality. In this way they were encouraged to use their imagination and theircreativity. We began by collecting empty tins, bottle lids, pieces of wood, sto-nes, coins, pieces of elastic and other similar materials that the participantswere familiar with and feel comfortable working with. As music is somethingthey all enjoy very much, they were all very excited. During the program, theylooked forward to the time when they could work on their own musical instru-ments. They concentrated well and tried very hard. When each participant’sinstrument was finished and they realized they were able to produce soundwith them they felt a sense of satisfaction and pride. They experimented withall of the musical instruments. As part of the workshop, we also discussed whateach person had created and what kind of sound it made. The participantsunderstood the difference between melody and noise and they gave a nameto each instrument they had made.

After many attempts at using all the musical instruments that were created, alittle piece of music was composed. Through this experience the participantswere given a chance to learn new things about music and musical instrumentsand to gain new insight about something that held such an important role intheir lives. Additionally, the arrival of our partners to Cyprus provided us withthe opportunity to teach the participants about the musical instruments offoreign countries. The basic goal of the whole activity was for the participantsto become actively involved in the program and to understand music in a moreexperiential way. We are happy to report that our objective has been achieved.The project had a positive impact on the expression of emotions and positiveattitude and it gave the participants a sense of achievement and pride. Becau-se the creations were a success and will be used as part of some of our otherprograms, the workshop has also proved to be important in the developmentof the participants’ self-esteem. Through this experience music became morepersonal and familiar. The participants came to understand that music canspontaneously arise from within each person.

Here are some comments from the participants:

• “I am doing very well in this project!”• “I liked it very much!”• “It was a lot of fun!”• “I like to work with clay and to work in a group!”• “The days passed very quickly. I liked it a lot!”

Happy faces:

MusicMusic differentlyWritten by Andreas Panayiotou, St. Loukas

Music is a basic way of emotional expression and a way to encourage commu-nication among the people with special needs, especially those with intellectu-al disabilities. In our association music is listened to during relaxation, but alsoduring gym sessions and theatre programs.

As the theme of the workshop was music, we wanted the participants with dis-abilities to be involved as an active part in the experience and to begin to com-prehend music in a different way. With this in mind, we decided that they

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Music is always like Hans-Joachim Koellreuter wrote „ o musico era um repre-sentante do individualismo social e da ideologia de uma elite privilegiada“.Therefore no music is music because it is individual in every way. It is veryimportant to remember this when you work with people with disabilities, asthe so-called quality standards in our own minds do not matter anymorebecause music becomes a product created by someone different than us. Themost motivational part of music is the rhythm (a measured movement; therecurrence of an action or function at regular intervals. The basic temporal ele-ment of music is concerned with duration and with stresses or accents whetherirregular or organized into regular patterns ... The rhythmic tension is of impor-tance in eliciting an emotional response from the hearer.) From this angle, onehas the most possibilities to organize a music workshop for beginners. Perfecti-on is not what we think but what the participants think it is. When planning andpreparing a workshop several things have to be thought of:

What kind of workshop is it going to be?

Theoretical workshop?

Practical workshop?

Where will the workshop take place? (Is it barrier-free? Is it equipped for peoplewith special needs?)

Is the room appropriate for a music workshop? (Can people move, is thereenough space?)

What is the intention of the workshop? (Leisure, fun, learning?)

How much assistance do the participants need (shuttle services for transporta-tion, special rest rooms, help for blind people) before, during and after theworkshop?

How familiar are the interested participants with music? Are they beginners orused/able to sing/play, how experienced are they?

Singing? (Specific songs, solo, choir?)

Playing with instruments? (Solo, group)

List of needed materials and instruments?

What is my role in the workshop?

Do I have/need a co-leader of the workshop?

What will be the expenses?

„From Jungle telephone to mathematical construct“Written by Christoph Sasse, Gesellschaft Erwachsenenbildung und Behinderung

Since man discovered sound thousands of years ago, music has developedfrom an simple but important signal-communication system to a structuredsystem of a high complexity of rhythm, harmony, (harmonic function), melo-dy, structure, form and texture following its own rules and depending on eachother to establish „how long is now“. It has become one of the most expressi-ve arts to create effects on the whole. In the best case it is a heart touchingemotional bandwidth with a fixed place in our daily life. Music is a uniquelanguage which does not need vocal expression for interactive communicati-on. Musicians can measure the pieces or they work and get inspired by expe-rimental inputs. The created effect differs depending on the individual emoti-ons of the listeners. It can therefore affect happiness or sadness or motivate tomove or dance.

„Come together - theoretical and practical experiences“

Important facts:

While working with people with disabilities one always has to familiarize one-self with about their own knowledge of musical theory, structure and their ownpossibilities, capabilities, talents and experiences. If you are not touched by music you should not try to organize such a work-shop – it will not produce great results.

If you are still in doubt sure join a workshop yourself and find out.

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About the Organization’s missionAs an organization of support for particularly vulnerable groups, it is dedicatedto providing services that enhance the quality of life of people with disabilitiesand their families and enabling conditions for access to their rights as citizenswith equal opportunities.

About the Organization’s visionThe vision is to actively participate in building a society that promotes equali-ty trough diversity while striving for better quality of life and social integration.

About the Organization’s valuesRespect for each individual Continuous improvementEntrepreneurship CompetenceParticipation AccuracyPersistence Cooperation

About the services

A sheet with several questions for the participants given to them before theworkshop starts is always helpful. That way you can find out what kind of assi-stance they need and how much experience they have. Ask all you need toknow for your workshop to avoid bad surprises and to be able to prepare theworkshop as best as possible for participants and mentor.

Always keep in mind that the most important thing in the workshop is havingfun being together while doing something creative and original. Therefore itcan also be a good idea to provide the participants with a certificate at the endof the workshop to give them a sense of accomplishment. If you have the pos-sibility, it is advised to record the musical results of the workshop and put it ona CD to be given to each participant.

Naturally, the list above is not complete and every workshop needs its ownextensions. However, one can find this database helpful while trying to deve-lop a workshop for people with disabilities. We all learn continuously and always will – being willing to learn from eachother will bring us new experience and knowledge.

Good practice example byCEERDL - Centro de Educação Especial D. Leonor**FENACERCI Associate memberWritten by João Cartaxo, CEERDL

About the Organization

The Special Education Centre (CEERDL) it’s a social solidarity cooperative foun-ded in 1976. By the nature of its activities, the institution has legal status com-parable to the Portuguese Private Institution for Social Solidarity.

The organization has regional coverage, providing service for residents of thenearby municipalities of Caldas da Rainha, Óbidos, Bombarral and Cadaval.

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In these facilities we develop activities related to drama and body expression, which areincluded in a work plan that aims to enhance skills, self-knowledge and body recognition,communication, interpersonal relations and behavioural adaptation in a playful, relaxingand motivational environment.

The creation of dramatic plays, choreography, karaoke and music is the intervention basisto achieve the goals set for each client individually. An interesting detail is that each dra-matic play is adapted from the stories created for this purpose by the participants.

About the community servicesGreen Spaces - Design and creation of green spaces; contracts for maintenan-ce of gardensCanteen - Portuguese cuisine; self-service (quickly prepared meals)Laundry Queen - laundry serviceFloriculture and Greenhouse - Production and marketing of Coroa Imperial(Imperial Crown)Pool Queen - Hydro bike; hydro gymnastics; adaptation to the aquatic envi-ronment, hydrotherapy, hydro massage; swimming for babiesWe promote equality trough diversity!

Movement, Animation & Creative Drama is an intervention space where theparticipants are able to develop skills, learn and educate themselves in a play-ful and secure environment. The body and movement are the basic toolswhere each participant recognizes himself as well as where the relationshipwith the environment and the others begins.

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In “Music Therapy for Mentally Disabled Persons” by Clarice Moura Costa

“The goal is to create, at any time, improvised music to support a wide range of emotions.”(Moreno, 2004)

Karaoke and contemporarydance choreography are suppor-ted by the screening work conducted in previous phases.

“Music Box” choreography rehearsal

MusicThe rhythm, which is music in movement, develops exercise in time and spaceand thus opens a rich field of motor re-education and a perception of space-time functions.

Exercises with the body and instruments will give the participants the idea ofchronometrically measured “real” time.

Movements and displacements exercises will give the participants a physiolo-gical and subjective sense of space and time.

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Construction of instruments using of waste material

Training rhythms

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“Instruments for all” workshop consisted of an extended team of musicians and educatorswith instruments created specially for people with special needs, taking into account thespecific physical or mental health of each participant. (Casa da Música – Porto)

Body Sounds! (Raising awareness

for introduction and construction

of “musical instruments”)

Drawings made in the instrumentbuilding room.(Drawings by Ana Marta Santos,Social Education intern)

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CERCIARTE

Dance and music

Discovering Music! (Sound beam)

Several rhythms simultaneously

Gathering of natural elements forthe construction of instruments

Rhythms Rhythms Body sounds

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International meeting with several artistic workshopsDay one Summarized by Petja Janzekovic, Dusan Silak and Mojca Volk

The international meeting with workshops for people with disabilities wasorganised in the institute Hrastovec. The institute is known for its long standingtradition of educating and protecting the rights of people with special needsand for its highly qualified trained specialists.

At the second meeting in France, an agreement was reached that the partici-pating institutes are going to include the disabled in their care into variousworkshops which were part of the meeting. The Portuguese partners broughttwo participants, the Italian three, the Austrians six and the Slovenians a largergroup from the institute Hrastovec.

The accommodation was organised in the hotel Mitra in Ptuj where the guestswere welcomed. Upon their arrival, they reviewed the program for the follo-wing days.Because of the proximity of the castle Hrastovec (about 20km away from Ptuj),a regular transport was organised for the duration of the workshop.

The workshops regularly organised in the institution Hrastovec are intended forpersonal expression of individuals to encourage personal growth, socializingand therapeutic purposes. Additionally, the product created at the workshopscan also be put for sale, for example at fairs.

Some of the residents could live a normal life outside the walls of the instituti-on, but most of them remain in the institute, because here they have muchbetter possibilities to lead a proper and appreciated human life. An importantnotion is also that the staff of the institute Hrastovec is extremely motivated tomake it possible for their patients to be included in the society. As it has beenpreviously mentioned, however, most of them stay in Hrastovec, where someeven find partners.

In addition to having a great therapeutic effect, social contact is very impor-tant for people with disabilities. The lower the abilities of an individual, themore personal contact they need. Therefore in Hrastovec special attention isdevoted to people whose disabilities are more severe and who are constrictedto bed than to the patients who suffer minor deficiencies. The high quality ofhealth care is, obviously, equal for all.

“Grooms" Choreography

Choreography with a musician

All the work has COMMUNICATIONat its core. It is through this, mani-fested in any way that WE can,sometimes, understand and interactwith each other!

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2. Making kitchenware – clay

There was no special skill required to participate in this workshop. The indi-viduals were able to create freely. Clay is pleasing to the touch with endlessforming possibilities. Consequentially, this kind of workshops have the mostparticipants. Although there was an emphasis on making kitchenware,there were also some other interesting products created. The kitchenwarewas made freely by hand, by assembling rings, on the potter’s wheel orwith the help of either plastic or glass models which the participants thencovered with clay.

3. Branding images into wood

The workshop was mainly visited by the more skilled participants who arenot afraid of branding tools. In this workshop, the participants created qua-lity portraits, animals, landscape or buildings branded on either a woodensurface or on useful wooden objects like caskets. Some even coloured theirproducts. The products can be used for decoration or other purposes.One of the participant’s wood products with branded images show a particularly high quality since he has been making useful objects fromwood for about 15 years.

The topic of the workshop is changed about once a week, as to ensure varie-ty. The most popular workshop is cooking, which the patients enjoy immense-ly. Of course a member of the staff supervises all activities so that safety at workis ensured at all times

Various workshops are organised in different wards, led by educated and skil-led mentors. Regular breaks and recess are provided to ensure the comfort ofthe participants.

The focus of the workshops is not so much on the painting or sculpturing skillsof the patients but rather on their motivation and desires. Mentors aid the par-ticipants in any way possible and make sure that no one is excluded.

It is important that everyone participating in the workshops is able to do some-thing they enjoy and to become aware of the positive results of their work aswell as their own abilities and to receive praise for their efforts. This is anotherproof of the importance of human contact.

The patients can enjoy a room dedicated to relaxation with walls painted incalming colours which is equipped with a stereo. There is also a recreationalpool available.

The staff of the institute Hrastovec organised eight different workshops for theparticipants of the third meeting:

1. Painting on silksilk and colours – painting large details

The participants joined the workshop according to their personal interest.Under the leadership of mentors they became acquainted with the qualityof the material, in this case silk. They were informed of the possible purpo-ses of painted silk: for scarves, ties, handkerchiefs, decoration ... the parti-cipants also became acquainted with the paints used for the painting ofsilk. They painted either freely or with the help of templates.

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7. Painting and printing on T-shirts

This was a very popular activity among the participants of the workshop.Printing models had to be made beforehand with an appropriate type ofcolour used for each cloth. Some used pre-prepared models (rubberstamps) to print on the T-shirts. Others decided to make their own productand drew something freehand on the T-shirt. They mainly drew flower pat-terns, although some tried abstract ones. Of course all the T-shirts that havebeen created can be worn normally.

8. Workshop – clay

In the clay workshop the participants created various products from clay.The workshop was organised because of the popularity of the material.They mainly produced useful objects or gifts like butterflies, hearts, flowers,etc. All objects had to be dried and coloured. Some of them were burnt ina clay kiln for finishing.

Most of the products that have been created in the eight workshops are goingto be presented at the final meeting of the project group in Austria in June 2010. It was made possible for the participants to choose which workshop they wishedto attend. That was decided while taking their individual skills and abilities intoconsideration. Some of them may require more help than the others but arenonetheless very successful in painting and creating sculptures.

4. Making picture frames

The participants were divided into small groups. Each of them were given somewood precisely pieces of bark and different painting material. The pieces were cutto adequate length and glued on a wooden surface. Thus they made a framed padwhere they could glue a pre-painted picture or paint a picture into it afterwards.

5. Drawing

The participants of this workshop could graphically express themselves byusing pencils, crayons, wax crayons and felt tip pens. They drew portraits,landscape, stylized flowers, arabesques and created very interesting pro-ducts which could be used as drafts in painting on canvas.

6. Painting on canvas

The name itself indicates that in this workshop the participants could paintwith oil paint on canvas. Some of the canvases were sketched on by men-tors and the participants were required to only colour them. Others pain-ted independently. The workshop also included fitting the canvas in aframe which the participants were able to do by themselves.

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Some statements from the participants about the workshop and the meeting in general:

Olivia, Austria: „It was a beautiful conclusion for me. I always wanted to dosomething like this.”

Olivia: „This project is a dream – I have been looking forward to itfor weeks.”

Olivia: „Great anticipation (Picnic, sleeping in a hotel, nice peoplefrom other countries)!”

Susanne, Austria: „I feel well in the deepest sense.”Lisa, Austria: „Jolly! A lot of fun!”Gerlinde, Austria: „I drew a lot today, it was fun!” Helmut Sch., Austria: „Nice!” Helmut P., Austria: „Great!”

Participantsfrom Austria (Jugend am Werk Steiermark)

Marco, Italy: “I really enjoyed myself because I had the opportunity tomeet new people and see new and wonderful places.”

Enrico, Italy: “The hotel was comfortable and even the food was good.I liked the activities developed in the building we visited.”

Antonio, Italy: “I liked trying new food and painting.”Luigi, Italy: “I am enjoying it.”

Participantsfrom Italy (Arte, Musica…e Caffè)

Some of the workshops took place in other locations which are part of the insti-tute Hrastovec, namely in the castle Trate. We visited the institute there wherewe were given a tour of the premises and the staff explained the activities. Theyare mainly carried out under agreement made by the staff of Hrastovec. A smallnumber of patients reside in Trate. They also took us to their farm where thepatients have their own garden and look after animals. All activities are of cour-se being controlled by a mentor.They also prepared a picnic in the courtyard of the old castle Cmurek which wasmeant for relaxation and for the socialisation of the participants.

Day twoOn the second day of our international meeting we were given two options tochoose from. One option was to take part in a painting and drawing workshopin the village of Scavnica, in a rural environment. The second option was tovisit a farm (see the articles below).

In Scavnica, the workshop took place outside. The nature inspired our creativi-ty. Everybody picked up some brushes, paint, crayons, canvases and sketchblocks and started to paint and to draw.

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The participants worked in the farm, garden, stables, fields and henhouse.

The following materials and small equipment were at the residents’ disposal forthe workshops:- Salt dough- Paint- Cookie cutters- Seeds and grains (coffee, wheat, rice…)- Glue- Wood- Cardboard- Scissors- Painting brush

At the end of the afternoon the residents, members of the staff and Europeanpartners shared a snack of homemade Slovenian specialties.

Workshop with natural materials on a farm residence of theHrastovec institutionSummarized by Martine Chopinaud and Michèle Jarraud, GIP-FCIP Académie de Limoges

The following open-air workshops were suggested:- salt dough- decoration- pinwheel production

The residents seemed very proud and delighted to receive us. The resident in charge of animal care took great pleasure in showing us theanimals: rabbits, fallow-deer, horses… and informing us that it is him whofeeds them. The visit finished with a snack prepared by the residents consistingof the farm’s own products.

For the European partners, the aim of this visit was to see facilities that helpintellectually disabled adults live less stressfully and help them achieve a certainamount of autonomy concerning their daily lives:

- The residents are able to organise themselves easier within a limited envi-ronment

- The presence of animals calms and relaxes them. The animal care carriedout by the residents helps them to develop a better judgment of time. Thecontact with the animals allows them to express their tensions or discom-fort.

- The residents can develop further autonomy by taking charge of daily acti-vities either at the farm (outside) or inside the house.

Working and living at the farm is an essential part of the residents’ pathtowards autonomy. The members of the staff are there to help them with the farm work and tosuggest different workshops. The maintenance of the garden, the proximity of the animals, the life outsideand the pleasant environment is reassuring to the residents.

The workshop:- The members of the staff gave instructions- The residents listened and experimented- Little by little the members of the staff let the residents act independently

Number of participants: 7 per workshop

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at it as a more temporary arrangement. It helps them to give meaning to theirlives and to reinforce their basic values.

Interdependence reinforces natural roles. The complementary characteristics offeminine and masculine roles offer support and reinforce the feeling of impor-tance.

Rural life – one of the most important characteristics of rural life is living in har-mony with nature. The experience of the circulation of life includes the forma-tion of elementary substance, the complementary characteristics of differentlifestyles and studying the metamorphosis of substances. Everyday work is adirect value producing resource. The important features of it include the con-centration needed to finish tasks, acquirement of new skills and learning as abasic part of work itself. The residents of the farm feel satisfaction when obser-ving the results of their labour. They mainly work in groups and engage inrepetitive activities.

The selling of the products has a meaning on a deeper level: it encouragesresponsibility and it presents prosperity as a value created while being a partof a group. The capabilities of individual members are of course taken into consideration.

Important features for the participants are also welcoming visitors and introdu-cing themselves. This helps them to realize that making plans produces results.In the context of the work, they are able to cooperate, make decisions, findand fix problems, produce different products and follow objectives. When wel-coming visitors, they can present their way of life and help others to under-stand it.

People with intellectual disabilities living and working on a farmSummarized by Kata Kostyál and Szilveszter Haller, Foundation for the Rogers Person-Centered Education

Ideal natural environment; a place suitable for community activities; possibilitiesfor household farming; smiling faces and real personal connections.

If I had to sum up my impressions about the rehabilitation farm, these are thethings what I would think of first. And what do they represent? Thorough socialplace combinations; consistent activity-system, efforts made to become an unaf-fected, conscious community which is creating with the purpose of rehabilitation.

In the picturesque mountain settlement fences are built only for animals. Aslocal practice allows, anyone interested can visit the farm. We too were welco-med with sincere kindness. People at the farm spoke about their daily livesunaffectedly, and what is most important of all: handicapped people can leada normal daily life on the farm. They engage in activities which fill their dailyroutine and enrich their existence.

Well-known and less known realizations – the activity-oriented farm and thecommunity receive a lot of support.

Anthropologists proved that the human race can coordinate a group of around30 people in close relationship.

Research studies of psychologists and neurologists proved that the righthemisphere is in charge of intuition and creativity. Applying these abilities toevery day life has a beneficial effect on any activities and other efforts. The righthemisphere can be developed by practicing manual, kinetic activities or activi-ties based on breathing and rhythm, or by doing other, even artistic jobs. Anenjoyable and systematic work practice has proven to be an endless empiricaltreasure.

Additionally, educational researches and special education teachers provedthat taking care of animals has a positive effect on the rehabilitation of peoplewith disabilities.

A normal communityThe system of the community and its daily rhythm is essential to the way of lifeof its residents.

To belong to a youth community is important even if those involved perceive

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Questionnaire example

Answer to each of these questions making a "cross" in the face that you thinkits true, according to this classification:

Unhappy / Sad

Indifferent

Happy

Very Happy

1. How was your mood in the morning when you woke up?

2. How did you feel when you arrived to Slovenia?

3. How do you feel about the welcome in Hrastovec?

4. How do you feel when you draw?

5. How do you feel when you paint?

6. How do you feel now?

7. How do you feel about this place?

8. How do you feel when you do painting with this people around you

9. Drawing with colouring pencils makes me feel…

10. Drawing with pastels makes me feel…

Evaluation We wished to evaluate the work done in the workshops. In order to do that,we had to think about different evaluation possibilities. Finally, we decided ona questionnaire.

The questionnaire was produced by following the “European Guidelines for theproduction of Easy-to-Read Information”*. The goal of these guidelines is tomake information services and documentation accessible to everyone.

People with intellectual disabilities need accessible information to be able tofully participate in society.

This information should be easy to read and to understand. Following the gui-delines while writing the document helped in the production of a questionnai-re which was easy to read and understand, and which allows the participantsto share their opinion about the workshops.

* Project developed by Inclusion Europe*, in cooperation with some of its members.

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Suggestions and guidelines regarding „How to organizeart workshops for people with intellectual disabilities”

Phase IPreparing an offer for a workshop/education for adultsPerson or institution in charge must:

- Define the goal of the workshop- Define the theme, which needs to be clearly stated in the title of theworkshop

- Develop a general framework for the workshop and decide about thedifferent steps and activities,

- Define the time spent on a specific theme/subject while bearing thefinal goal in mind

- Differentiate whether the workshop takes place every week or over aweekend

- Have a co-moderator or build a team of mentors and discuss the ideasfor the workshop

- Find an appropriate place where the workshop can take place andconsider the number of participants as well as consider a barrier-freeenvironment/infrastructure

- Find funding for the workshop while considering the financial abilitiesof the participants

- Advertise the workshop, use of icons, easy-to-read-language, cardsand pictures (the objective is that everybody can understand the goalof the workshop)

- Provide information on the content of the workshop before its begin-ning (preferably a week before), which includes presenting the mate-rials and letting the participants feel and explore them.

People with disabilities:- Reflecting my own role as a teacher/educator: What am I able to achie-ve with the workshop? How far can I go? Who can help me?

- Awareness of the individual needs of the participants (medical care,help with the use of restrooms etc.)

- Additional assistance staff must attend the workshops at all times- Considering previous learning experience of the participants (personalinterests of the participants, consider the ideas of the participant)

- Personal freedom of choice of attending the workshop – it is importantthat the person in charge of the workshop knows about the back-ground and the personal situations of the participants

- Talking to the participants (interview, questionnaire) or his/her parents

11. Drawing with pencil makes me feel…

12. Drawing with charcoal makes me feel…

13. Doing glass colouring makes me feel…

14. Doing paper collages makes me feel…

15. Painting or drawing by myself makes me feel…

16. Painting or drawing with other people makes me feel…

17. Painting or drawing my ideas makes me feel…

18. Painting or drawing specific topics makes me feel…

If you have any further comments, please write them here:

__________________________________________________________________________________________________________________________________________

Please write down some thoughts about today:

__________________________________________________________________________________________________________________________________________

Please write your name and country.

Name & Country:_______________________________________

Thank you for taking the time to complete our questionnaire.

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Interview with an expert in art workshops for peoplewith intellectual disabilitiesSummarized by Giori Giota- Speech and language therapist and GiannakopoulosVasilios - Sociologist, KEKYKAMEA N.ILIAS

1. How do you think the art workshops for people with intellectual disabi-lities can contribute to their personal development?

I believe that art workshops contribute to their personal development because ofthe degree of participation in the program increases as the level of interest gradual-ly grows, especially when providing practical applications. I also believe that thesatisfaction they feel upon viewing the results of their efforts in combination withthe rewards they receive are the required conditions for their personal develop-ment.

2. Do you believe that art workshops for people with intellectual disabili-ties enhance their personal abilities, skills and attitudes?

Yes, especially ceramic, which is not an art with a high skill requirement, can in thecase of intellectual disabled people improve both the skills as well as the requiredprowess (by the use of tools, forming blocks, drawings, clay). They also learn todesign, to use tools, their fingers and models. Through group projects, they learnhow to behave in groups, how to help each other and how to accept limitationsand regulations.

3. Could you say that art workshops for people with intellectual disabilitiesare also a creative activity?

A ceramics workshop is primarily a very creative activity, where most people firstcome in contact with clay and learn through the constructional possibilities of thismaterial while they slowly improve their technical skills. All these are essential to acreative activity, of course in combination with an individualised plan for each par-ticipant, which is decided at the beginning of the workshop.

4. Do you think that art workshops for people with intellectual disabilitiespromote the concept of equal participation, diversity, social inclusionand awareness of society? If yes, tell us your experiences so far.

Through the thematic programs and through the received reports we believe thatthe participation of these children is considered equal to that of children withoutdisabilities. Many times children with intellectual disabilities can pleasantly surpri-

to get the required information- Be aware who is participating in the workshop, for example considergender.

Phase IIExecution of the workshopSetting:

- “Ice-Breaker”/Warm up: Getting to know the participants, participantsget to know each other

- Have a agenda/time plan and explain it to the participants- Visualize/use pictures, icons and easy-to-read language- “mood indicator”, marked with stickers on a poster- “flashlight” – Introducing a stone as a communication tool – the one who hasthe stone has the right to talk in order to assess how each participant feels

- Defining what happens with the products created at the workshop(selling it, exhibition, taking it home)

- Music during the workshop the choice of which depends on thegroup.

People with disabilities:- Abilities of the participants: What kind of needs to the participantshave? Be aware of the needs of the participants

- Educate the participants about techniques and products; the level ofknowledge should depend on the abilities of the participants

- Let the participants choose the motives themselves.

Phase IIIAfter the workshop/ evaluation of the workshopSetting:

- Evaluation of the workshop: different possibilities:- Did I reach my goals as a teacher/mentor- Did the participants achieve their goal?- What about the finances?- Write a report- Have a “flashlight”: short oral evaluation of the participants- Reflecting upon the workshop’s setting- Prepare a presentation, publish articles about events and workshops- Create a final product: publish a calendar or a book

People with disabilities:- It is advisable to give a certificate to the participants so they havesomething to show to other people

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you had with an intellectually disabled person who was participating inan art workshop?

I have a short story about Dionissis, an adolescent with Down’s syndrome. I metDionissis for the first time 12 years ago in a pottery workshop. This year at ourmeeting, I was informed about some problems he has encountered over the years.At the beginning of the workshop he refused to cooperate and he presented a lowdegree of willingness to participate. However, by acknowledging the experience hehad acquired throughout the years and by offering him a responsible positionamong the other participants, he changed his attitude and now he is participatingactively and assisting other team members.

11. Do you believe that personnel that participates in these workshopsshould be ready to manage, at all time, any conflicts that may arise?

The personnel should definitely be able to manage any conflicts by choosing thecorrect techniques, since people with intellectual disabilities need a different tech-nical approach. So, by each time evaluating the abilities of the confronted people,a personalised approach to each individual should take place.

12. What is your opinion on the methodology of cooperation betweenpeople with and people without disabilities during an art workshop?

According to my experience, the blended participation during ceramics workshopsis considered as a good practice because we manage, through the respect to thediversity of people, to intensify their efforts, thus achieving a further developmentof their skills.

FundraisingSummarized by Carlo Falcone, Lisa Minichino, AMC (Arte, Musica… e Caffè)

Fundraising is a science.But its rules are more like a rainbow than a formula. You need to paint with themost delicate shades of colors and moods. “Ekaterina Kim”

IntroductionBecause there is a direct relation between fundraising and the provision of goodsor services in compliance with their own goals and objectives, gathering funds isan important task for non-profit organizations.

se us by expressing their emotions through their creations. Also, by watching theefforts of these children, society certainly becomes more sensitive and rewarding.

5. Do you think that art workshops for people with intellectual disabilitiesmay be a link between the disability group and the local community?

Our experience shows that groups of people with disabilities can improve relations-hips with the local community through workshops. The social events, the contactsbetween them, the sharing of their feelings and the reward for their efforts bringthe local community much closer to that group of individuals.

6. Do you believe that European governments contribute to the promoti-on of art workshops for people with intellectual disabilities by providingthe necessary financial support?

I believe that the contribution of the European governments to such workshops is very small.

7. Do you believe that there are practical difficulties for the implementati-on of such workshops in Greece and if so, which is the main reason forthis? (such as lack of educated personnel, lack of structure, lack of finan-cial resources or alternative means of financial support)

There are definitely many practical difficulties for implementing such workshops inGreece, difficulties which are mainly related to both the lack of financial resourcesas well as the lack of interest among the persons concerned.

8. Do you think that art workshops for people with intellectual disabilitiescould become a business activity?

In most cases such activities are not carried out, but could occur if there we wereoffered a complete business proposal. Also, there is definitely a requirement for aprofessional education of people with disabilities, combining and other technicalsupport of the request (voluntary support of the project, financial, etc.).

9. Do you believe that after the completion of the art workshops difficul-ties regarding the publicity and promotion of the group's products willbe encountered at a local as well as at a national level? If yes, can yousuggest some specific methods of promotion?

To inform local and national media, public and private agencies as well as creating posters,radio and television spots in order to disclose the report of creations of the participants.

10. Would you like to briefly describe to us a “good” or a “bad” experience

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strategies, which invite potential donators to include Amnesty International intheir wills. This activity guarantees the organization a steady and significant inco-me.

Who or what is a fundraiser?

A fundraiser is a person responsible for a specific area of fundraising including cor-porate fundraising and sponsorship related marketing.

Their mission is to conduct in an affective and successful way a specific activityproviding techniques and operational aspects as well as giving information ofimplementation according to the analysis of achieved outcomes. The coordinati-on and strategic management of activities are usually referred to the personresponsible for fundraising.

A few guidelines on competences essential for a successful fundraiser should beset. It is actually all about developing special skills – the same as in any other pro-fession. The skills are as follows:

- knowledge competences (widely spread knowledge and insight on non-profit organizations in the region, their needs, growth and the inclinationof their non-profit sector; in order to deepen the insight of operational andfunctional aspects of fundraising)

- techniques competences (preparation is essential; the fundraiser shouldspend a lot of time considering and creating a database of any potentialsubjects; before the actual start there should be a research about whatsteps should be taken to achieve our pre-arranged amount of funds;organizational planning for evaluation of time and resources needed forthe action)

- outcomes and results (at the end of the fundraising process we should beable to read the outcomes and achievements and prepare them for imple-mentation into the organizational structure)

- relational and attitudinal competences (to be able to work effectively andoften with simple means without loosing sight of the final goal. Spirit ofobservation, initiative and capability of analysis are the main elements forthose who work in this rapidly growing sector. Team work, positive attitu-de towards cooperation, flexible commitment to the mission and to therespect of the professional ethics are becoming the keywords for betterwork in achieving a good outcome)

- managerial competences (to be able to motivate and coordinate the colla-borators and dealers in order to develop activities)

Raising funds enables organizations to finance marketing, management and otheractivities that are not financed by previously approved or gathered means. Bydoing so, organizations become more and more independent, and at the sametime able to provide a valid and reliable service to their users.

For organizations which organize such activities, fundraising is becoming an essen-tial function rather than a struggle for survival. In any case, the fundraising shouldbe an additional value of the organization and it should be well prepared andthought over. Many organization set up an internal service of professionalization aswell as acquisition of scientific tools that vary from voluntary to professional com-petences useful for their growth and their development.

Having a person in charge of fundraising in the organization enables the organi-zation to become more competitive in comparison to others in the market or toaccomplish a particular mission and be able to define the framework of interven-tions. How should the funds be raised? Both public and private organizations mustaccept this new and increasingly growing sector of activities. The rising competi-tiveness brings up identification competences, techniques and tools to gather theapprovals needed to reach the target - which means to raise as much funds aspossible. This, of course, should be monitored and supervised by the authoritiesas well as by the fundraising institution. Therefore both the ethic and the organi-zational objectives are checking and monitoring the activities of fundraising, pay-ing the attention to both concerning the truth of information, the appropriate useof tools, the detailed statement of outcomes achieved and the choice of detailedoperational frameworks.

To achieve the means mentioned above the essential development of internal fun-draising can follow two different paths:

a) training a person in charge of fundraising or b) research and selection of an internal figure with the help of a strategic con-

sultancy of an external professional.

The second option includes the desire to develop internal competences, mainlyspecialized in the framework of intervention, with the help of contributions madeby individuals to the intervention organization or by requesting a big donation inorder to research business contributions.

Many examples of organizations which encouraged their staff to specialize in spe-cific frameworks of intervention can be found in international non-profit organi-zations. Amnesty International has appointed several specialized fundraisers in thedevelopment of legacy campaigns. This is an implementation and idealization of

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A job can give a meaning to life, can help regain dignity and help the individualto regain their position in the society as a person with rights and responsibilities.

“Less bed seats and more job opportunities” could be a significant slogan sum-marizing a concept and an experience already giving excellent results in manyorganizations in the country.

European Easy-to-Read standards

For a number of years, organisations working with people with intellectual disabi-lities have developed different approaches to providing what is often called “easy-to-read” information, in order to ensure this group of people an equal access to theinformation on society.

Unfortunately, this development of a new format of information adapted to theneeds of people with intellectual disabilities has been created without any generalstandards and without quality criteria that would formalise the level of accessibilityof learning material for people with disabilities.

In 1998 Inclusion Europe, the European Association of Societies of Persons withIntellectual Disabilities and their Families together with some of its members deve-loped the project “European Guidelines for the Production of Easy to Read Information”.

Operational framework – why the fundraisers?The development of a non-profit sector led to new approaches towards ideas offundraising. Nowadays fundraisers are actually considered to have one of themost important positions in a native organization. Operational frameworks, ofcourse, differ from organization to organization: social cooperatives, hospitals,non-government organizations, universities, voluntary associations, museums – allorganizations involved in fundraising activities. The reasons are usually the samefor all – lack of government funds, increased reduction of public financing, andespecially following models and good practices of foreign organizations. Thesereasons pushed many public subjects towards activities for raising extra funds tosupport themselves.

AMC Best practiceIn our organization we work with associates with mental disabilities as people whohave capabilities just as we do but whose capabilities differ from ours in order toreach an objective. They have the capability of problem solving but use strategiesdifferently than a person of an average intelligence.

Striving to make their diversity a resource, the job of the educators working forthe cooperative is above all to observe their non-verbal language and to listen tothem in order to familiarize themselves with not only their social and familiar con-text but also to show belief in them and to help them understand the considera-tion and esteem bestowed upon them.

Thanks to their observation and listening skills, the educators can perceive the lackof confidence in a disabled person and help them achieve self-esteem and trusttrough continuous positive support.

The social and labour integration means we want to encourage are: job as a shopassistant, assistant-chef, catering in the shop “Sfizzicariello” and also the prepara-tion of banquet rooms and services for waiters (banqueting) during the organiza-tion of weddings, parties and conventions.

We began by providing them with playful and educative moments, gradually pas-sing on to longer education/training time in form of simulations and job training.Today all of our associates participate in all kinds of banqueting and catering acti-vities.

The important role that having a job presents in a life of a disabled person mustbe continually emphasised. It is an important rehabilitation factor for the mental-ly disabled and their educators.

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In 2007, Inclusion Europe and partners developed the “Pathways” project aimedat setting up the European Easy-to-Read standards for education of adults and e-learning material. The existing literature and material were reviewed, several insti-tutions were contacted and people with intellectual disabilities themselves were ofcourse given the role of key partners in the development of such standards. Thefinal objective was to agree on standards that allow the assessment of an easy-to-read level of a text in the context of education for adults.

While these standards concentrate mainly on how to produce reading materialadapted for people with intellectual disabilities, the production of material for otherpeople with literacy and comprehension problems can mainly follow the same pro-cedures.

You can find further information on the European standards on how to make infor-mation easy to read and understand in: http://www.inclusion-europe.org

ConclusionInclusive education is based on the right of all people with disabilities to a qualityeducation that meets basic learning needs and enriches lives (UNESCO). In thepast, people with intellectual disabilities have been marginalized, misunderstoodand mistreated by society. Fortunately the situation is changing and more andmore people and institutions are aware of inclusive education. Through project likeours first steps can be taken towards creating quality education for adults with dis-abilities. It is of great importance that this specific group of people should not be excludedfrom educational opportunities and social life but should be able to participateequally. Their disability is not a difficulty but diversity.

The basic profit for people with intellectual disabilities included in our project is thehelp provided regarding their personal and social skills. The active use of creativeexpression is important. It strengthens their self-confidence, it encourages them totake initiative, express sentiments and opinion and recognize their part in the pro-ject. It helps them realize that with some suitable support and knowledge activitiesthat may have seemed complex at first can turn out to be achievable. This especi-ally relates to artistic expression and the use of tools in the workshops. Moreover,participating in workshops strengthens communication, promotes collaborationand teamwork and has a positive impact on the local community. A unique oppor-tunity also presented itself by providing the participants with the possibility to goabroad and meet peers from other countries.

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Meeting staff members and project partners from other European countries was agreat experience for us and our organisations. Furthermore, it was interesting toexperience how every country works with people with disabilities and to see thatevery country finds different solutions with respect to its socio-political context. Ourproject was collaboration between organisations that work with people with intel-lectual disabilities and education institutions for adults. Since we had the chance tolook at the matter from different perspectives and to widen our horizon the situa-tion proved to be beneficial. The possibility of visiting other European countries andbeing able to observe their techniques in the education of people with intellectualdisabilities was particularly interesting. The ascertainment that all countries followsimilar practice and methodology regarding people with intellectual disabilities wasimportant. Trough these findings, we were able to strengthen a sense of commonidentity of European citizens. An additional positive result of the collaboration is thefact that a group of people with different experiences can create something uni-que and that they can come up with original ideas. Finally this project opened pro-spects for future collaborations.

A lot of progress is still to be made. Our wish for the future is that this anthologywill become sustainable and put to practice. We hope that we can somehow sti-mulate education providers for adults to develop activities accessible to people withintellectual disabilities and to start partnerships with similar organisations. This pro-ject had nothing but positive results in the opinion of all of the involved.

The project work group:

Website: www.fepid.eu

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Our project group:

Andreas Panayiotou

Vasilios Giannakopoulos

Christoph Sasse

Elena Ioannou

Joachim Gruber

Carlo Falcone & Lisa Minichino

Polonca Kosi

Gaby Kagemann-Harnack

Kata Kostyál

Karin Poad

Kathrin Krüger

Lara Peralta

Michèle Jarraud

Marina Donik

Mojca Volk

João Cartaxo Martine

Chopinaud

Dörte Bernhard

Szilveszter Haller

Francisco Brás

Zooula Poyiatzi

PetraHamersak

^

DusanSilak

^

^

Giota Giori

Petja Janzekovic

^ ^

Panayiota Kyriacou

Zoi Chantzi

ISBN: 978-3-9502945-1-4

This project has been funded with support from the European Commission. Thispublication reflects the views only of the author, and the Commission cannot be heldresponsible for any use which may be made of the information contained therein.

RetzhofAustrian

barrier-free educational house!