We met Martina Di Liberto, an artist and graphic designer who coordinates inclusive artistic activities at Uniamoci APS. During our conversation, she shared insights from her experience in facilitating art workshops and generously offered us valuable tips and thoughtful reflections.

First and foremost, she emphasized the importance of the approach, highlighting non-formal education and its benefits in fostering equal relationships with learners. It creates a space where participants feel free to express their viewpoints and personalities through speaking, painting, acting, or any other chosen medium—encouraging experimentation without fear of mistakes or judgment. Confidentiality and trust are fundamental to establishing an effective and supportive relationship between the facilitator and the participants.

A quote we like to share is: “Art requires sincerity and involvement.” This means that the facilitator must be flexible, continuously adjusting their approach to tailor the activity to the participants’ needs and interests, thereby stimulating their passion. Martina warns to be prepared for unexpected results, as in a non-formal workshop, nothing can be rigidly pre-shaped. Instead, everything comes to life through the interaction among participants and their unique way of engaging with the medium. The artist’s role is that of a facilitator of this evolving process, which can take multiple unpredictable directions. While providing detailed instructions at the start is important, the facilitator should also remain patient and open, waiting until more information or guidance is requested by the participants.

But how to adapt the teaching style to meet diverse needs?

it is important to focus both on the group as a whole and on each individual participant. Effective communication is key—using simple language and practical examples helps ensure everyone understands. Since nobody likes to admit confusion by saying “I don’t understand,” the facilitator should observe participants closely and ask targeted questions. This allows for offering specific stimuli or instructions tailored to their needs.

Creativity can be stifled if participants feel frustrated or overwhelmed. If a project seems too big or difficult, breaking it down into smaller, manageable steps—one per session—can help build confidence and maintain motivation.

“While I was working in a project about theater, one participant said that the group wouldn’t be able to make it and that it would have been better to stop. All the group immediately started to accept this idea and to think that they couldn’t do it. The feeling of sadness and surrender was soon shared by the whole group. This episode highlights how a single insecure opinion can undermine the motivation of everyone. In that situation, addressing the group’s self-esteem and motivation was crucial before proceeding. Once confidence was restored, the performance turned out to be a real success.”

What about duration and time frame of a workshop?

There is not a general rule to follow, it depends on how long the participants can be focused on the activity: allow short breaks whenever is necessary.

I had the experience of some learners who, after one week, were not anymore able to remember how to continue the work they started during the previous session: they had already forgotten what their ideas and planned goal were. Do not let too many days from one session and the next one and always start each new session with a brief summary of what was covered previously, including the ideas, goals, and progress made. This helps participants reconnect with their work, reinforce their memory, and re-engage with the activity effectively. Consistent follow-up and continuity are key to maintaining momentum and ensuring that the learning or creative process remains alive and productive.

In terms of personal resources, could you list the most valuable qualities or skills an artist should have when facilitating an art workshop for people with intellectual disabilities?

• Utilizing simple and accessible language for effective communication.
• The ability to invent, adapt, and modify techniques and tools to meet the individual needs of participants.
• Incorporating fun exercises to foster collaboration, build trust, and create connections among participants.
• Using brainstorming sessions to initiate group activities.
• Presenting images, photos, or videos as visual examples to inspire and guide participants.
• Collaboratively planning activities with participants, allowing them to contribute creatively—whether through collective painting or group performances—while guiding them to become active creators of their work.

These approaches will encourage participants to discover and nurture their talents, fostering a sense of passion and active engagement.

Would you like to share with us an impactful personal story about the facilitation of an art workshop involving participants with disabilities?

“I cannot forget my first experience leading art activities with a group of participants with mental and physical disability. I was young, it was a workshop about painting and creativity, each participant was working on their own painting and on the table there were colors, brushes and a small jar with white spirit (to clean the brushes because we were experimenting with oil painting). I explained several times that those materials were toxic and how they had to be used, and it was clear to everyone. Everybody was excited to discover the technique used by the great painters in the history of art. While I was helping a participant with some details, I heard a surprised voice saying: “what is Giovanni [invented name] doing? Does Giovanni want to drink?” And I saw Giovanni with the jar with white spirit in his hand, he was going to drink it! Luckily Giovanni listened to me right away when I told him to put the jar on the table.
On that occasion I realized that even if I thought I knew the participants well enough, their behavior could always be unpredictable. It doesn’t means that with people with disabilities you can use only natural materials, but the facilitator should be sure to have the situation fully under control and, if needed, to have the collaboration of other educators or volunteers. After this experience I led artistic activities with greater risks than oil painting, but with more awareness.”