Choi Jeong Won

1.1 Background

It is evident that the Singapore government places significant emphasis on special education (SPED) in recent years. According to the Ministry of Education (2026), there are currently over 20 SPED schools, with further expansion planned from the second half of 2026 through the early 2030s.

However, this level of support is a relatively recent development. Prior to 1988, special education in Singapore was largely managed by voluntary welfare organisations, with only 11 SPED schools operated by seven associations.

Government involvement at the time was limited to per capita funding, subsidised school facilities, and the provision of primary-trained teachers at a ratio of 1:25 (Ling, 1990). Although the Compulsory Education Act was introduced in 2003, it initially applied only to children attending mainstream primary schools and excluded those with special needs. It was not until 2019 that children with special needs were formally included, beginning with the Primary 1 cohort (The Straits Times, 2021).

These historical gaps raise important questions about individuals born before such policy developments. As noted by Goh (2021), Singapore’s population aged 80 and above has increased by approximately 60 per cent over the past decade. Consequently, there is likely a significant group of older adults with intellectual disabilities who had limited access to formal education and may remain socially and educationally marginalised today.

1.2 Research Agenda and Questions

Within this context, art experiences for individuals with intellectual disabilities are often framed as therapeutic or recreational. While enjoyment and emotional expression are valuable, such positioning can unintentionally lower expectations, reducing art to enrichment rather than recognising it as a legitimate educational and intellectual practice. Equal access to the arts should include opportunities for skill development, critical engagement, creative ownership, and artistic growth.

Although research in inclusive art education and intellectual disability studies exists, much of it focuses on children. Adults, and especially seniors, with intellectual disabilities remain significantly underrepresented in both scholarship and practice. In my work, I engage with older adults who experience marginalisation not only due to disability but also due to age. This intersection of age and disability places them among the most overlooked groups within inclusive education and art discourse.

As a researcher, I investigate how visual art education can be meaningfully designed and implemented for seniors with intellectual disabilities. My aim is to provide equitable exposure and structured learning opportunities, recognising that each individual possesses unique creative potential. While past educational opportunities may not be recoverable, lifelong learning remains possible. This study therefore seeks to challenge ongoing social and educational exclusion and to advocate for sustained, equitable access to art education in later life.

Accordingly, this study asks: 

• How can visual art education be meaningfully designed and implemented for seniors with intellectual disabilities to support equitable creative and educational experiences and foster autonomy in artistic practice?

To address this, the study explores the following sub-questions:

• How do seniors with intellectual disabilities experience participation in visual art learning activities?

• What teaching approaches and adaptations are effective for this group?

• In what ways can visual art education support creative ownership and self-expression?

• What challenges arise when implementing inclusive visual art education for this population?

• How does framing art as an educational practice (rather than therapy or recreation) influence participation and learning outcomes?