The study presents the adaptation and investigation of an art program tailored to the developmental focus of children/students with intellectual disabilities. Klára Kokas's music reception method is well-known to music teachers. The structure of the ritual-like sessions is constant, while the content varies, and it includes several creative elements—creative singing, improvisational dance, and visual creation. With modifications, this technique may be suitable for the language development of students with intellectual disabilities. From the art program, the improvisational movement and dance—among the creative components of the Kokas method—were retained, following motivating and engaging preliminary singing that differed from the original Kokas instructions. Instead of creative singing, the emphasis was placed on incorporating ritual elements adopted from folk tradition, which are tailored to the structure of the specific abilities of the participants. The musicality and cathartic effect of folk rhymes and children's games do not contradict Kokas pedagogy; rather, they harmonize with it. Their repetition provides security for the participants, and the recurring elements act with the joy of recognition. Visual creation was omitted due to time constraints imposed by the 45-minute school class structure. The study is based on modern theoretical frameworks, e.g., the principle of transfer, the theory of Embodied Cognition, and the OPERA theory.