Ethical ways of working artistically with intimate trauma

Lack of pre-existing methodologies

 

Staging sexual violence requires careful consideration of methods that ensure a trauma-informed approach. Through the considered use of such methods, art can become more accessible for people who have experienced trauma. It can also provide a safe foundation for more in-depth artistic inquiry, influencing not only the artistic process but also the artwork itself.  

When working with traumatic topics, the consideration over ethical methods is particularly relevant. Even if the approach to creating work is solely artistic, one should not deny the existence of therapeutic dimensions. Trauma is stored in the body (see Van Der Kolk, 2015 & Rothschild, 2000). Dance practitioners, who primarily work with the body, should be especially conscious towards the nature of working with trauma and embodiment. In my view, however, it is exactly the shared embodied nature of both trauma and dance, that opens up substantial artistic research potential. 

Performance art lacks established methodologies that could have been readily adapted to my work. Especially in dance the lack of guidelines or best practice recommendations is evident. Thus, a part of the research process was discovering the few practices that do exist. The creation of an actual methodology would require years of further research; thus, I am not able to present one as a part of this exegesis. This research revealed these significant gaps and filling them poses vast future research opportunities, which hold momentous potential in how we work with trauma artistically. 

However, in this chapter I discuss the few existing practices in performance arts and how I experimented adapting them for creating a solo work. 

Safer (braver) space

 

“The safer space policy is an attempt to create practices that make people feel safe, take responsibility for unpleasant situations, and create ways to make unpleasant situations better, rather than just put up with them.” (XR Finland). Creating shared safer space principles that everyone in the group agrees upon is one way to promote accountability within a working environment. The principles are especially used in feminist, anti-racist and LGBTQIA+ scenes. But in Finland the principles are widely implemented, including for example public institutions and the freelance dance scene. Let us take a moment to examine how the term is understood and used today. 

The term safe space is historically connected with women, students of colour and LGBT 1 activist movements from 1960s onwards (Harpalani, 2017).  Today, the more commonly used term is safer space, reflecting the argument that it is impossible to ensure everyone’s experience of safety. 

In response to safer space principles, the term braver space was created (Arao & Clemens, 2013). The concept of braver space emphasizes the importance of bravery and discomfort especially, when speaking about challenging topics. An even newer term accountable space is also in use. Accountable space emphasizes accountability for your words, actions and intentions. Accountable space "guidelines place an equal amount of onus for all to behave equitably and inclusively, to foster a deeper understanding of diverse lived experiences in real-time.” (Woolf, 2024). 

Literary scholar Jacob Herrmann argues that creating a binary between safer and braver space is unproductive, since both are needed in different contexts (2017). I see similarly to Herrmann, that drawing strict distinctions between the three terms (including accountable space) is not the most useful approach. Different people and different contexts require unique set of principles that best serve them.  

Regarding this research, I use the term safer space. Safety has been the starting point which has created space for bravery within this research. For me, creating a safer space does not mean avoiding difficult topics, on the contrary, it enables addressing them. I see safety as a way to build space for bravery which in turn enables taking accountability.

I see using the term safer space particularly relevant with the context of working with trauma. Trauma often shatters a person’s sense of safety toward the world and themselves. An important aspect of recovery is rebuilding this trust (Palosaari, 2007 & Van der Kolk, 2015). Therefore, I believe that creating a safer space is a necessary starting point for working artistically with traumatic themes. 

Intimacy coordination provides interesting insights to the discourse and holds potential in its area of expertise.“Intimacy Coordinator is a creative physical storyteller who is hired to help create accurate intimate dramaturgy, and a safe and respectful work environment” (Rickman, 2021, p. 3). Hiring intimacy coordinators is becoming more common in film, tv and theatre. Yet only four European countries have created intimacy guidelines, Finland having been the first one in 2020. Noteworthy is that in the field of dance there are no existing guidelines, despite the prevalence of working with touch, intimacy and nakedness. Dance proposes special challenges for intimacy coordination: 


In film, we follow protocols like conducting risk assessments for each intimate scene to communicate risks and strategies to prevent trauma or boundary violations. While we might do this for a theatre play, it's challenging for dance since we usually develop scenes progressively rather than having them predetermined. You can't perform a risk assessment without knowing what content will emerge—unless you can anticipate potential risk areas. (Saskia Oidtmann interview)


Oidtmann continues to discuss the unique constantly evolving nature of the creation process in dance. Unlike in theatre and film, where the work focuses on specific pre-determined scenes, the intimacy coordinator needs to be present throughout the entire rehearsal process. More frequent check-ins are necessary, as it may be impossible to know in advance, for example, which body parts will be involved. 

Consent is one key concept intimacy coordinators work with. It can not only function as protection but also create more space for artistic exploration. Intimacy coordinators work with making sure people’s boundaries are not crossed. But they can sometimes also adopt a more therapeutic approach in challenging uncomfort zones (Barclay, 2023).  

All in all, I take a strong stance in favour of creating safe parameters that enable deep and courageous artistic exploration, allowing the artist to challenge themselves and sometimes explore discomfort. Parameters can always be modified and stretched while the process unravels. I argue that a sense of safety results in braver art. 

 

Notes: 
¹ I am purposefully using the historical acronym to refer to a certain era, rather than the current day LGBTQIA+ acronym. 

 

Content notes, trauma and the audience 

 

The use of trigger warnings has caused debate in performance arts, however, most of the arguments are rather based on opinions rather than evidence-based research. Thus, I find it important to examine what the current psychological research says about their use. 

Trigger warnings are notices used before sensitive content, such as violence, suicide or rape. They are meant to flag content that may be distressing especially to people who have for example experienced trauma or have PTSD or other similar mental health conditions. The terms trigger warning, content warning and the more recent content notes are used interchangeably in current discourse.  

Triggers are environmental stimuli that cause intrusive memories and thoughts which in turn can lead to strong emotional and behavioural reactions. They are commonly connected with PTSD, but they also occur with for example phobias, panic disorder and depression. Triggers can be logical connections to the trauma event (for example sounds or pictures similar to the event) but they can also be impossible to predict, having no obvious logical connection (for example sensations or objects) (Boysen, 2017). 

Trigger warnings originally emerged from feminist online forums but have now spread widely across the society, including the arts and theatres. In theatres the use of trigger warnings varies significantly. There are no common guidelines in place for their use. Trigger warning guidelines vary from a short note on the theatre door, to online guides with instructions of all the productions of the theatre, to separate optional links with descriptions in as much as detail as possible. In Finnish theatres the application of trigger warnings varies greatly, the most common practice is to use a general level note. The use of warnings for general physical triggers such as theatrical smoke, strobe lights or loud sounds however are standard practice (Väisänen, 2020).  

Evidence based knowledge in psychology of the use of trigger warnings has been increasing in the past years, but the results are not unambiguous. The common argument supporting the use of trigger warnings is acknowledging people with disabilities. There is research that supports providing warnings before being exposed to trauma-related stimuli benefits people with PTSD (Boysen, 2017).  

On the other hand, there is also research that does not support their use. There is research that indicates trigger warnings can raise short-term anticipatory anxiety (Bridgland et al., 2024), may lead to an increase in experienced distress (Willems et al., 2025) and have no effect on distress caused by the content (Bell et al., 2025). Trigger warnings don’t necessarily lead to an increase in avoidance of the material either (Bridgland et al., 2024). A study which tested how trigger warnings affect the response to visual art, found that they increased negative emotions and decreased positive emotions, as well as reduced the perceived attractiveness and valence of art (Jones et al., 2023).  

Trigger warning language can be problematic, the use of the term trigger itself may cause distress since it presumes that certain content will be universally distressing, even though in reality a trigger can be almost anything. Trigger warnings often use language that indicates an unspecified threat, which can be especially problematic for trauma victims (Bell et al., 2025).  

Bell et al. suggest aligning trigger warning language with a more productive therapeutical approach, starting with not using the word “trigger” or “warning”.They question the goal of trigger warnings in trying to reduce or eliminate emotional distress of the content and suggest a more therapeutic approach (2025). 

Willems et al. (2025) suggests when the goal of trigger warnings is to make people with traumas feel respected, one should opt for using a detailed description with high valence which also results in more likely avoidance of the material. An example from their study is:  


The video you are about to see depicts physical and sexual violence and death. You might find this content disturbing, and you may experience a negative mood or an anxiety response. Some people also experienced distressing memories and reactions in the week after watching the movie, although these reactions generally subside quickly (Table 1: Description of the Different Trigger Warnings (TWs)). 

 

All in all, the research on the psychological impact of using trigger warnings does not currently offer strong evidence to support their effectiveness. However, as an artist, I remain deeply reluctant to abandon their use, especially in the absence of alternative, evidence-based protocols. Allowing an audience member to enter a performance unaware that it contains for example a violent rape scene, and without any procedures in place to address potential trauma responses, strikes me as highly irresponsible. 

It is notable that existing research focuses primarily on visual media, such as images, films, and texts, rather than on performance art. In live performance, the act of leaving is far more complicated than simply pausing a video. Especially for those experiencing a trauma responsethe act of squeezing through seats and crossing the performance space to leave, is no small feat. Therefore, I argue that performance artists working with sensitive material must approach their practice with particular precision and responsibility. 

Watching something on a stage, happening physically in the same space is a very different experience to watching something from a screen. Porn Horror Musical 2 (2023) is a theatre piece which replicates a porn scene of two Daddys and two stepdaughters in a rural cabin on stage. The performance includes high physicality simulation of porn scenes. To quote one of the makers Martin Paul: “they're not watching us like they're watching porn, which becomes really interesting. Because I mean, people don't sit there and masturbate or feel safe behind the camera to just like objectify a human being on a screen.” (Glitcher interview). 

Majority of the population do not need trigger warnings, but we need to make sure the people who need them have access to them. Glitcher provides content notes as voluntary content one can take part in beforehand. The notes can be found online behind a separate link as well as printed out in the space face down.  


It's about the audience being self-aware enough to know if they want to know exactly what's in this show, if they might get triggered or not. Some people want to go in blindly and experience it without any indications of what might happen. I think that freedom is important - to make that choice for yourself as an adult attending a performance. (Glitcher interview) 

 

Josefine brings up a crucial point: the freedom of choice. Trigger warnings have been criticized artistically for making important plot reveals. When one is offered the choice to either read or pass the warnings as optional content, it is no longer an issue. I do not find the research findings that trigger warnings do not reduce emotional distress as an indication not to use them. I do not see the role of trigger warnings to mitigate or eliminate negative emotions. I also do not find the criticism of the warnings leading to potential harmful avoidance behaviour as something I should concern myself with as someone making the warnings. My job as an artist is to provide sufficient information about the piece and its content beforehand to inform people making their choice if they want to come and see a show or not.  

With After I chose to use language, which is as informative and as precise as possible, without being unnecessarily alerting. The choices were especially influenced by the research by Bell et al., (2025) and Willems et al. (2025). Their goal is to provide sufficient information for potential audience members who are survivors of sexual violence or people who have experienced similar trauma, to make an informed decision if they want to see the performance or not.  

The marketing materials have a text saying: "Content notes: sexual violence, partial nudity and not suitable for children” and similarly to Glitcher a more detailed description can be found behind a separate link and will be available in the space as optional content to partake in. Also, the audience is reminded of the choice to leave the space if needed. 

I view content notes as a way of increasing accessibility in art and taking into consideration people who have experienced trauma or have mental health conditions. I suggest one way to measure their effectiveness, would be to count the people who decide not to come to a performance. Another would be to collect feedback from the people who took part in the detailed content notes. There is also a clear gap with having no shared national or international framework of their use in performance arts. For now, the research remains inconclusive and common guidelines are lacking. 

Steinmetz et al. criticizes the ethics and power structures of how Beecroft’s works are made and specifically how the performers are mistreated. The role of a choreographer is a leadership position and there is a history of abusing the power, even if the work is framed as feminist.   

In 2022, an article (see Helin, 2022) discussing the mistreatment of dancers by two prominent Finnish choreographers, Sanna Kekäläinen and Susanna Leinonen, took the Finnish dance scene by storm. It was the first time in Finland choreographers were called out this publicly on their misconduct. Kekäläinen is known for using nudity in her works and Leinonen is known for her works from the recent years that claim a feminist message. Enduring misconduct towards workplace safety and well-being is a sadly common phenomenon in performance arts (see Visuri et al. 2021 & Visuri et al. 2023).  

Identifying as a feminist and having started my career around the time #MeToo reached Finland (which signified the start of increasing awareness of these issues) means I am extremely critical of power structures and work environments. As a choreographer if I were to work with other performers than myself on this topic, it would take careful consideration of my leadership, power and creating ethical trauma-informed ways of working. To present an ethical methodology for transferring and working with other bodies besides my own, is beyond the scope of this research. Especially given the fact that barely any applicable pre-existing methodologies exist in my field. These questions present potential for future research. 

To access the movement research of embodied trauma of violent penetration of the skin, I used my own body as a source. Without a solid methodology in place, I would find it intolerable, even if I was able to find another professional dancer who has experienced similar traumas to ask them to dive deeply into it in the studio. I am an expert in my own experience, but in no way in general artistic trauma work. A question for the future is, would it be possible by carefully dissecting the movement research and by finding suitable tools of transmission, to transfer it to other professional dancers who have not been similarly traumatized, and yet maintain the deepest essence of it?  

Self-experimentation informed by ethics 

 

The decision to research with my own body rather than inviting other dancers to work with me was mainly informed by questions of ethics. The creation of a safer space and an ethical working environment while working with trauma, sexuality and violence raises important questions.  

There is a history of performance artists using their own bodies in sexualized or objectified positions within a feminist framework. Working with one's own body (even if the body is sexualized), the artist embodies subjectivity and control over her own image as the author of the work (Steinmetz, et al., 2006). When working with other bodies instead of one’s own, the questions of power and ethics are heightened. Steinmetz et al. discusses the ethics of Vanessa Beecroft’s work and how she uses other women in her work: “Rather than using her own body as an ethical ground for experimentation, exploring its power and vulnerability, Beecroft uses her status in the artworld in order to wield power over other women” (2006, p.767).

   Studio ritual

  1. Warm up and tuning in 
    I started each day with a rather intense physical warm up with energizing music to prepare myself for the work. The movement demands quite a lot in its specific physicality, requiring for example warming up the core and neck thoroughly. Preparing my body also allowed me to listen to how it was feeling that day and making sure I take proper care of its needs. 

  1. Dance sketch 
    I would put on an inspirational song and allow myself to surrender to a moment of improvisation free of judgement and goals. I allowed myself to have a moment whatever I need in that moment to connect with myself and allow space to open up my creative mind and body. 

  1. Work session 
    Working on whatever I as the choreographer had mapped out. I moved between working with improvisation and setting the material for showings. In the beginning the process was about finding the embodiment and the movement material. There was for example exploration with costumes and props, such as high heels, wife beaters and a gown. At later stages of working the process became about honing into the single quality of embodiment of violent penetration. I did lengthy improvisations to explore a single simple task, first focusing on single elements, such as one position. Then I explored trying out different combinations of positions, qualities, ways of doing and songs. For the showings I experimented with composing different combinations and choreographing the songs more in detail, so I had anchors when positions changed, or the intensity shifted.  

  1. Tuning out 
    I put on relaxing music and took a moment to stretch to let go of the physical state. Interestingly this was surprisingly easy. I did not struggle with carrying it with me outside the studio. The feeling was a similar release as after performing a high-intensity workout. This discovery supports the nature of the material, not being about dwelling on trauma but rather releasing it. 

  1. Reflection 
    Not having other people in the studio with me meant I did not have the option of doing check-ins and check-outs, which are astandard in my practice. So, I decided to do a self-checkout with a sketchbook. After each session I would sit down in the studio in silence to reflect on what remains afterwards and fill a page. They form a collection of doodles, most of them do not have any words. I would sometimes flip through the book to see how the process was developing.  The content of the sketchbook brought me reassurance that in fact I was doing well and didn’t have to worry about myself or what the artistic process was doing to me. The book displays a meeting point for the personal and artistic processes (see the sketch book pages above).

 

This studio ritual informed the form of the ritual in the performance After. I adapted tuning in and out through music and having a point of reflection afterwards. For the future, working with other dancers would demand the adaptation and creation of a new ritual to best serve their needs. I would consider my experience of working as successful regarding artistic and ethical processes and it creates a sound basis for future development.

A study in dance education, Trauma-Informed Frameworks for Dance in Non-Clinical Settings (Schwartz & Page, 2023), supports my argument of highlighting the importance of creating a safe space when working with sexual violence trauma and dance. The study identifies key components such as consent, open dialogue and communication, empowerment through community and educating dance educators to create a more trauma-informed curriculum. Although, I do not work in a pedagogical setting, these considerations could certainly be adapted to professional contexts as well. These together with collaboration with dance therapists and an exploration of their working methods and my experience from this artistic research points toward future directions for developing a methodology.

Creating the right working conditions

 

Even when working by yourself, the questions of safety and ethics do not disappear. When creating a solo piece, it is quite an interesting relationship to consider how one ensures their consent as a performer to themselves as a choreographer. Especially, as Oidtmann discussed working with dance, there is no script beforehand, and the artistic process reveals itself as you go. One can affect however the framework of working. Thus,I created working conditions for myself informed by the sense of safety. 

The primary factor was choosing a form of production that supported the artistic process and my needs. A key factor was time. I worked on the artistic research and creation of the piece for a year. This piece could not have been created by working intensively for two months and rushing it out, as is the case with most freelance works in Finland due to funding structures. Another discovery about time, was that having intense periods of working in residencies, did not serve the nature of the process. Instead, I decided to do the most intense working period from home and worked 1-3 days a week for about 3,5 months in my own studio.  

Having time and being in my home environment allowed me to dive deeply into the research without force. Being at home allowed me to have my everyday life around me, including the people in it. Even though I did have my personal process running parallel with the artistic one, it did not take over. The therapeutic effects were side products of the artistic research.  I was even surprised that the personal aspect of the work did not become a prominent aspect of the artistic inquiry.  

Inside the studio, I worked as a performer and allowed myself to dive deep into the embodiment of the work without the interference of the choreographic process. I used notetaking and taking video as ways of documentation. Outside the studio, I would go over my studio notes and videos, analyse them and decide which direction to take next.  

An important part of my choreographic process was the several work-in-process showings I did, as well as sessions with both my artistic coach Elina Pirinen and dramaturg Meri-Maija Näykki. The discussions and feedback allowed me to consider the lived experience of the spectator sharing the space as a body with the body performing, which a video recording does not reveal. 

Another important outcome of the sharings was gaining bravery as a dancer and choreographer through affirmative audience reactions. In the beginning I was full of questions about how the work would be perceived and how could I be ethical towards the audience. Also, I questioned if I could trust the audience to be respectful and considerate towards me as a person. I cannot escape the fact that I am placing myself personally in a vulnerable position with the work. However, the affirmation I received through the showings allowed me to build confidence in the work and its point of view. I am conscious that the work in the future might cause all kinds of reactions, but I feel more prepared to encounter them. 

Routines can create safety, which is why I ended up creating a ritual for studio work. It allowed me to engage and disengage from the work. Notably, I enter and exit the work through the pure physicality of it. The ritual consists of first taking time, however long is needed, to take care of oneself and the body. I am a believer in the idea that when the needs are addressed in a non-rushed manner, it removes potential blockages for creativity.