This study aimed to understand how art education teachers and fine arts students based in the Republic of Cyprus (hereafter Cyprus) think about disability issues and whether they can conceptualise disability as a complex issue that is constructed by the society and personal experience. Situated within the theoretical underpinnings of Inclusive Education, the study draws inspiration from scholarly perspectives such as Disability Studies and Disability Studies in Art Education (DSAE) and Disability Arts Movement also contributed in the conceptualization of the study. Utilizing the social model within Disability Studies,our objective is to scrutinize and critique prevalent ableist paradigms of thought. Additionally, a primary focus is directed towards the appreciation and validation of personal experiences of disability, a perspective inherently shaped by feminist approach (Morris, 1991; Oliver, 2013). DSAE converge Disability Studies in exploring disability, prioritizing perspectives and fostering social justice; DSAE rejects the medical model and emphasizes inclusion, while Art Education  centrally concerns itself with respectful integration of people with disabilities in the curriculum (Wexler, 2009). The Disability Art Movement actively promotes the recognition and celebration of disabled artists, challenging societal norms and fostering inclusion. These components provide a solid framework for comprehending, questioning, and transforming perspectives of disability within academic and artistic realms (Swain & French, 2008).

It is widely acknowledged that Cypriot society tends to perceive disability through an individualized lens, resulting in the marginalization and disregard of research findings related to disability due to prevailing stereotypes (Phtiaka, 1997). These stereotypes, coupled with the stigmatization of individuals with disabilities, have become deeply ingrained societal perceptions, perpetuated by ignorance and a lack of comprehensive knowledge about disability issues.

The National Curriculum (NC) in Cyprus is a critical domain influencing understanding of disability issues. Most national curricula inadequately addresses disability, overlooking or misrepresenting key facets (Barnes, Oliver, and Barton, 2014; Symeonidou, 2018). Notably, it disregards the identities and experiences of students with disabilities (Erevelles, 2005; Ware, 2008) and inadvertently endorses pedagogical practices that perpetuate social discrimination across multiple strata (Apple, 2008; Damianidou & Phtiaka, 2018).

A significant challenge lies in the absence of Disability Studies in Art Education within the framework of the National Curriculum, consequently omitting the integration of works and experiences of artists with disabilities into the educational milieu, alongside societal stereotypes. To address this issue, there is a pressing need for the inclusion of Disability Studies in Art Education in the curriculum (Wexler, 2009; Yi, 2018). This integration would provide students, educators, and the broader social context with a nuanced understanding of the concept and personal dimensions of disability, primarily through the contributions of artists actively promoting positive disability identities through their artistic endeavors (Yi, 2018).

A noteworthy deficiency within the educational system is the lack of professional development for Art Education teachers in Disability Studies in Art Education, which would prove beneficial in the context of Visual Arts. Such professional development activities would facilitate the integration of experiences of artists with disabilities into the curriculum, which would contribute in challenging stereotypes and misconceptions about disability. Such an approach would convey essential messages to children regarding equal rights, irrespective of sexuality, race, gender, and disability, thus elevating these issues within the Cypriot context (Goodley et al., 2019).

Within this context, the research questions of the study was: How do Art Education teachers and Fine Arts students think about disability? How can a professional development program based on Disability Studies in Art Education shape their understanding of disability? In this paper, the findings for the second research question will be presented.

A case study was designed to explore the experiences of art education teachers and fine arts students in Cyprus, encompassing a diverse cohort, inclusive of individuals with and without disabilities. Informed consent from all participants and transparent disclosure of data storage and handling protocols (Braun, & Clarke, 2006; Saldana, 2013). The research design was rooted in a nuanced acknowledgment of the inherent intersectionality within human identities, showcasing a keen awareness of the multifaceted nature of participants' diverse identities. Primary data collection methods centered on carefully conducted audio-taped discussions within focus groups. These sessions were meticulously structured to explore various artistic expressions, incorporating artworks, biographies, interviews, and videos portraying the personal experiences of artists with disabilities presented as vignettes. The focus group themes were strategically crafted to foster discourse on personal experiences related to disability and teaching, the formation of identity, social barriers, engagement with the Disability Art Movement, ableism/disablism, and prevailing stereotypes and stigmatization within the Cypriot societal context. In addition to the focus groups, the research integrated audio-taped semi-structured interviews conducted both before and after the focus group sessions. These interviews, along with the researcher's diary/sketchbook and artifacts co-created during the focus group discussions, collectively formed a rich dataset for comprehensive analysis. Α content analysis approach was followed, utilizing a preliminary open coding procedure in strict adherence to methodological guidelines (Saldana, 2013; Αdu, 2019). This method began by establishing an overarching understanding of the data content, systematically enumerating salient points. Subsequent stages involved iterative readings of the data to refine and finalize the coding scheme, addressing key issues related to the Didactics of Art, initial teacher education, teaching methodologies, conceptualizations of disability, and opinions concerning the approaches advocated by the national curriculum. To ensure analysis reliability, 10% of the data underwent independent review by two researchers to ascertain inter-coder consistency (Braun, & Clarke, 2006; Saldana, 2013; Αdu, 2019). The use of ATLAS.ti software facilitated a systematic and comprehensive exploration of emergent themes and patterns. Eventually, the identification of nuanced insights into participants' perspectives on art education, disability, and societal perceptions within the specific context of Cyprus was achieved.

The study has significantly shaped participants' perceptions through the lenses of Disability Studies and Disability Studies in Art Education, using artworks by artists with disabilities to stimulate transformative dialogue. The theoretical, practical, political, and methodological implications highlight the profound impact on advancing the discourse surrounding disability identity in Greek Cypriot society. The findings support the argument that inclusive education can be understood and implemented through the lens of personal experiences of disability depicted in disability arts. Contemporary art practices, particularly the works of artists like Yayoi Kusama, played a crucial role in education by fostering positive identities that challenge societal stereotypes. Participants approached disability from a social model perspective, recognizing the significance of personal experiences in understanding disability (Kusama 2011, 2015). For example, the exploration of Kusama's 'Infinity Mirrored Room' prompted discussions that deepened art teachers' and fine art students' understanding of disability art produced by artists with mental health problems. The presentation will include more examples of how particular works of art and artists’ biographies informed the participants’ perceptions about disability and art education. The implications of these findings are significant for international teacher education and curriculum development. In teacher education, there is a compelling need to enrich the Didactics of Art Education with disability art, examining it not only from an artistic perspective but also through the lens of personal experiences of disability. This approach contributes to a focus on people with disabilities, emphasizing their personal experiences. Regarding the national curriculum, it is imperative to integrate disability art alongside other artworks, avoiding fragmentation and ensuring it is woven into the Didactics of various subjects, including Art Education. The goal is to engage children in disability-related issues and experiences, moving away from portraying people with disabilities solely as admirable figures for their achievements, as commonly seen in existing practices.

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