This article considers how artists can help highlight the value of negative emotions for care home residents living with dementia. It continues the discussion on arts and health in dementia care by looking at wellbeing beyond mere individual happiness and considering sadness as an integral part of it. This study focuses on Entelechy Arts, a participatory arts company creating cultural programmes for isolated older adults and those in care environments. Focusing on a specific interaction from their Walking Through Walls programme, this article offers a thick description and theoretical analysis of how the creative practitioners fostered solidarity among artists, residents, and staff by validating a resident's feelings of sadness and anger through kinaesthetic attunement. The study argues that by attuning to negative emotions, artists can challenge notions of utopian happiness. This counters the idea that negative emotions must be suppressed to promote wellbeing and enact solidarity as a collective and activist act of care. This is critical in the context of care home residents living with dementia, for whom negative feelings are often interpreted as challenging behaviours that can lead to medication and isolation. Instead, this paper suggests that artists can help re-frame such behaviours as important relational acts that challenge the normalisation of oppressive institutional systems.
The most poignant challenges experienced by South Asian Hijras (the culturally marginalized transgender community in India that is associated with various rituals, roles, and responsibilities) are related to the lack of family support and discrimination due to their gender identity. Family support for the Hijras is usually withdrawn at a very early age, and it becomes even more devastating as they age, leading to their social isolation and causing them emotional distress. Predominant literature on the trans community in India focuses on the young queer body and the triumphant coming of age of trans individuals as young queer adults. In contrast, the representation of older queer individuals in literature is strikingly absent. This paper attempts to demystify the aging experiences of transgender individuals in India through a critical analysis of the landmark photobook of Dayanita Singh's Myself Mona Ahmed (2001) to gain insight about how they cultivate solidarity in the community to imagine a collective trans future. Dayanita Singh documents Mona Ahmed's journey of loneliness when her adopted daughter Ayesha is forcibly taken away; later, she has a falling out with her community, leading her to become an "outcast of an outcast." The cultural significance associated with conventional family structure and inter-generational bonds makes the estrangement from one's family even more devastating for the trans community. Through this paper, we will delve into the story of Mona Ahmed, an upper-class Muslim trans woman who is seen to be constantly oscillating between her identities and repeatedly trying to recreate a family as an aging transgender person.

