Nearly seven years ago, my employer, Michael Spicer, came to me with an ask. Something new was happening in the theatre world, and he wanted to know if I would investigate it and determine whether it was relevant to Theatre Salina. Ever the research-hungry staff member, I was eager to dig deep into this new topic. What I would learn would change my career and Theatre Salina for the foreseeable future.

I learned that this “new role” in theatre wasn’t new at all but had been pushed to the forefront of our attentions as a progressive theatre movement in response to the #MeToo and #TimesUp anti-harassment initiatives in 2018. I learned that what we now call Intimacy Directors (stage) or Intimacy Coordinators (film) were becoming ever-present in the creative teams that work alongside directors. Their job is to create spaces of consent in the performing arts workspaces and reduce the potential trauma or anxiety associated with a culture that is firmly built on power dynamics. Furthermore, this wasn’t a new field; fight choreographers (those individuals who create fight scenes for stage and film) had been pushing for intimacy choreographers for years. Tonia Sina, one of the founders of Intimacy Directors International, wrote her master’s thesis at Virginia Commonwealth University in 2006, based on her experience and education as a fight choreographer. The thought was that we choreograph dance and fighting so that there are organization and continuity in storytelling, and, for the safety of performers, why not intimacy?

When I reported back to Theatre Salina’s executive director with my research and recommendations to implement the practices into what we do, I concluded with, “And I am going to do it, I am going to be an intimacy director”. To which Michael responded with, “How can I help?” and on we went. 

What we know now:

Intimacy Direction introduced performers to the world, showing their ability to care for themselves in the creative process through Consent-Forward Practices. Artists use themselves to tell stories and share information, and often that journey can include trauma. It doesn’t make that storytelling any less necessary. Still, when asking an artist to repeatedly expose themselves to that content, whether through performance or experience, we create a world of risk of activation or further harm.

Think of it this way:

Your boss at your accounting firm assigns you and a colleague a task: you are going to get into an argument where you are expected to cry twice a day, four days a week, for three months. Now imagine that you are asked to kiss that same coworker for a similar duration, and if you say no, you are informed that there is always another accountant who would take your spot in a heartbeat. There are policies in place to protect people in the workplace from harm, but those policies often don’t exist in the arts. It is normal for an artist to be asked to expose themselves or be exposed to content. We are now creating practices in these creative workspaces that not only generate advocacy but also protect creators at all levels, producing experiences that allow for creation without fear because you know you have a right to access your needs.

Looking back:

At the American Association of Community Theatre’s National Directors Conference in 2023, I was asked to speak on Consent Culture and Trauma-Informed practices in theatre. One of the questions posed to me at that conference was, “You use a lot of old references to support our current move towards consent, why is that?” At the time, I wasn’t sure why I supported the work with older references. This year, at the same event, I was asked to speak on it again, and after reflecting on it for two years, I finally had an answer to share:

We have always known that consent-forward practices were necessary, and the works of Viola Spolin and Michael Shurtleff from the 70s and 80s prove it. We knew that performers use themselves, their bodies, emotions, and experiences on stage, and we asked so much of them without protecting them. We know that sociological norms, such as the expectation of inherent power, can restrict an artist and reduce their ability to create because of the fear of a response. Now that we have changed that narrative, we say, "Here is the content of this show," and we analyze how we can deliver that story while protecting the actor's mind, body, and reputation.

Looking ahead:

Theatres throughout the nation are not only embracing intimacy direction as a necessary field, but they are also considering how consent plays a role in the creative process. How do we look at an artist saying “no” as an opportunity to explore an artistic approach we would not have otherwise tried, rather than as an obstacle that is in the way?

What I invite you to consider:

-As human beings, we are often asked how much we are willing to give to our work and then asked to provide more. How can we reframe the ask to keep the artist (or human) in mind to allow them to create at a higher level without fear?

-What would a consent-forward working environment offer you in your workplace?

Resources:

Tonia Sina’s Dissertation

https://scholarscompass.vcu.edu/cgi/viewcontent.cgi?article=2070&context=etd

More on this field from Roundabout Theatre Company

https://www.roundabouttheatre.org/get-tickets/upstage-guides-current/jonah/choreographing-consent-intimacy-direction-in-theatre-and-education

Literature:

• The Approval/Disapproval section of “Improvisation for the Theater” by Viola Spolin explains the creative need for consent and the removal of power in theatrical spaces.
•  “Audition” by Michael Shurtleff discusses how the actor is the instrument in the performance process, using what is inside them.
• "Consent Practices in Performing Arts Education" (Daugherty & Trommer-Beardslee)
•  "Intimacy Directing for Theatre" (Mackie-Stephenson)
• The Theatre Artist's Guide to Consent-Based Pedagogy by Amanda Rose Villarreal & Kim Shively
• Care-full Creativity in Theatre and Dance Education: Consent-Forward, Trauma-Informed, Psychologically Safe Movement Pedagogy by Jessica Perry

GRASSROOTS ART CENTER SEEK

 EXECUTIVE DIRECTOR

The Lucas Arts & Humanities Council, Inc. (LAHC), also known as the Grassroots Art Center, is a non-profit organization whose mission is to educate, exhibit, document, and preserve the grassroots, self-taught, visionary art environments found in Kansas and the Midwest, and exhibit and foster folk art of the region. The organization seeks a new Executive Director who will continue this mission, pursue new initiatives, and maintain the successes of the previous 34 years. As such, a passion for visionary/grassroots art and artists is essential. 

The Executive Director is responsible for curating new exhibits, establishing relationships with new grassroots artists, and overseeing staff, programs, and physical structures managed and owned by LAHC, Inc. In addition, the Executive Director works closely with the Board members to build a membership base, create a sustainable funding strategy, and lead continuing outreach efforts to partner groups and the public. The Executive Director is responsible for overseeing the administration, programs, and strategic plan of the organization. 

 Responsibilities and Key Functions 

• Supervise permanent collections of the organization  

• Discover new grassroots artist environments 

• Supervise staff and volunteers, and provide leadership to help them create positive guest experiences 

experiences 

• Plan and oversee fundraising and donor campaigns and events 

• Lead tours of art galleries, interact with visitors in a positive manner, and process art sales 

• Represent the organization through public presentations, and provide regional and national outreach and education about grassroots art and artists  

• Oversee operational and financial management of the organization (QuickBooks) 

• Work closely with the Board of Directors regarding operational, financial, and educational aspects of the organization 

• Research funding opportunities and develop funding proposals 

• Long-range and vision planning for board development, regional collaboration, marketing, and museum operations  

Expectations and Preferred Qualifications  

• Experience in all aspects of budget and financial management, including analysis, decision making, and reporting 

• Proficiency with up-to-date museum technology (Past Perfect), including point-of-sale hardware and software (Square), cataloging (Logly QR Codes), and online marketing (Facebook, Instagram) 

• Strong organizational abilities, including planning, delegating, program development, and task facilitation 

• Creative written and oral communication skills, with the ability to convey a vision of the organization’s strategic future to the board, volunteers, the public, and donors 

• Knowledge of and experience with fundraising strategies and donor relations unique to non-profits 

• Networking and leadership skills to collaborate with and motivate board members and volunteers 

• Proficiency in the use of social media marketing and communication (Facebook, Instagram, using Canva) 

• Grant writing 

• Ability to multitask 

Compensation 

Salary $2000-$2500/month commensurate with experience

30 hours a week, 2 weeks vacation,

Relocation bonus may be available for moving to Lucas, Kansas or Russell County

Questions or further information: 

Rosslyn Schultz- rozz@wtciweb.com 

Jeannie Stramel- jstramel@live.com 

Mike Tucker – mike.tucker@landpride.com 

Applicants should email resume and 2 professional references to the Grassroots Art Center: 

Attention: Executive Director position 

Email address: grassroots@wtciweb.com  

If offered a position, the applicant must agree to a background check. 

Applications will be accepted until position is filled. 

https://www.grassrootsart.net/post/grassroots-art-center-seek-executive-director

VOTW Alaskan artist residency program - application period now open!

The Voices of the Wilderness AIR program is offering 7 different residencies next summer in Alaska, hosted by the US Forest Service, US Fish & Wildlife Service, and National Park Service. This is a chance for artists to work on stewardship projects with wilderness specialists in a backcountry setting, while creating art in some of our nation’s most stunning and wild public lands.

There is 1 application, 7 different opportunities, and it’s free to submit! This year’s hosting wilderness areas include:

US FOREST SERVICE: 

• Kootznoowoo Wilderness, Tongass National Forest
• Nellie Juan-College Fiord Wilderness Study Area (Prince William Sound), Chugach National Forest
• Sitka Ranger District Wilderness Areas: (South Baranof Wilderness or West Chichagof-Yakobi Wilderness), Tongass NF
• Stikine LeConte Wilderness, Tongass National Forest
• Tracy Arm-Ford’s Terror Wilderness, Tongass National Forest

NATIONAL PARK SERVICE

• Glacier Bay Wilderness, Glacier Bay National Park & Preserve

US FISH & WILDLIFE SERVICE

• Aleutian Islands Wilderness, Alaska Maritime National Wildlife Refuge

Artists of all mediums are welcome to apply. In exchange for the opportunity, artists donate a work of art and provide a community extension. Transportation to and from Alaska is the responsibility of the artist.

Find more information here: https://www.fs.usda.gov/media/258773

Link to Application: https://www.fs.usda.gov/media/258772

Applications should be submitted to grace.corrigan@usda.gov by 11:59 pm Alaska time March 1, 2026. 

IMAGE CREDIT: 2024 VOTW artist Claire Giordano,

Tracy Arm-Ford’s Terror Wilderness