Workshops show how to include disabled people in Hong Kong dance and performing arts

A participant, Kelvin Chan, was inspired by this way of thinking. “The word ‘move’ [also] applies to people in wheelchairs or those with varying mobility ... That really struck me.”

This workshop was part of a two-week programme for Hong Kong’s performing and teaching artists. They showed participants how to teach and perform while being inclusive of people with different abilities. The workshops ended earlier this month.

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The programme organiser was No Limits; it is an arts programme that aims to create a barrier-free environment for people of different abilities in Hong Kong.

The workshops were led by Candoco Dance Company from Britain. The instructors were Candoco’s co-artistic director, Dominic Mitchell, and Candoco’s teaching artist, Paulina Porwollik. They combined practical exercises with disability theory.

The focus was on adapting and communicating in classes with disabled and non-disabled students. Participants explored their artistic expression, learned from diverse experiences and broke down barriers.

“We think of inclusive performing arts as a way to ... understand the barriers that people face,” Mitchell said.

“A more inclusive and integrated experience allows everyone to feel comfortable, express themselves freely, and explore artistic expression while gaining a deeper understanding of themselves in relation to others.”

Chan has been working as an instructor of improvisational theatre in Hong Kong for more than a decade. Chan joined the No Limits workshops to improve his work with people of different abilities.

“I’ve always collaborated with people with intellectual disabilities or those who are neurodivergent, so I’m curious about how these methods can help me in my regular work,” he said.

The programme was also useful for his work with the elderly. He teaches them improvisational theatre to help them improve their well-being and memory.

Chan added that the No Limits workshops were a special chance to meet other artists who work with disabled individuals.

“It’s inspiring and fruitful to see how others approach the exercises or use them in their work,” he said.

For Mitchell, the workshops are a two-way conversation. Disabled artists share their ideas with non-disabled artists, who also discuss their experiences.

Mitchell explained that they also focused on changing techniques that are not inclusive for students of all abilities.

“We encourage dancers, teachers and artists to take what resonates with them and leave behind what may not be useful at that moment,” the artist said.

“It’s essential for us to be in a mode of sharing ... as there are many ways to be inclusive.”

While performing artists have become more aware about inclusivity, Mitchell said there was “still a long way to go”. He said: “Our vision is to remove all barriers to ensure everyone can participate in the performing arts.”

Carly Wong is the marketing manager at No Limits. She noted that the group had supported many talented disabled artists, but the city still did not have enough training and resources for them.

“Many are fully capable of pursuing their dreams,” she said.

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