







































 

VOL. 13 
2024–2025 

EDITORIAL 

Make Art as if Your Life Depended on It 
Trauma-Informed Care in the Creative Industries 

Olaf Kuhlke 

Minneapolis College of Art 

and Design 

 

 

 

 

 

 

 I often like to say my job is being vulnerable for sport. 

  —Maggie Rogers, Singer-Songwriter 

The Harsh Landscape of the Arts and Creative Entrepreneurship 
The world of art and design, and the creative industries in general, aren’t for the faint of 

heart. Anyone trying to build a career here—especially as an entrepreneur—faces a 

unique set of challenges that can feel like an obstacle course. The traditional startup world 

might be brutal, but arts entrepreneurship is its own brand of gladiatorial. There’s the 

constant need to push boundaries, stand out, fight for attention in an oversaturated atten-

tion economy, and monetize work that often emerges from deeply personal places. On the 

other hand, many creatives usually channel their trauma into entrepreneurship, and you 

might say that their trauma is at the root of their business endeavors (Shepherd and Wil-

liams, 2020).  

Our current approaches to building successful arts-based businesses, as well as our 

current scholarly foci in arts entrepreneurship, treat artists working alone or collectively 

like independent businesses, ignoring one fundamental factor: trauma. Many artists carry 

deep, personal narratives of struggle, loss, and resilience into their work. These stories 

are often what make their creations powerful. But without support, that same trauma can 

be what causes artists to burn out, lose direction, or even abandon their work entirely 

(Głaziewicz and Golonka, 2024).  

It’s time to start thinking of trauma-informed arts entrepreneurship as not only a 



ARTIVATE 13 

2 

humane approach but a smart one. In a creative economy and art market that is increas-

ingly aware of and calling for authenticity and resilience, the trauma-informed care model 

just might be the competitive advantage we’ve been ignoring. Trauma and art are age-old 

partners.  

A trauma-informed [care] approach reflects adherence to six key principles rather than a 

prescribed set of practices or procedures: 1. Safety, 2. Trustworthiness and Transparency, 

3. Peer Support, 4. Collaboration and Mutuality, 5. Empowerment, Voice and Choice, and 

6. Cultural, Historical, and Gender Issues. A program, organization, or system that is 

trauma-informed realizes the widespread impact of trauma and understands potential 

paths for recovery; recognizes the signs and symptoms of trauma in clients, families, staff, 

and others involved with the system; and responds by fully integrating knowledge about 

trauma into policies, procedures, and practices, and seeks to actively resist re-traumatiza-

tion. (SAMHSA, 2014, p. 10) 

Historically, some of the most celebrated artists have channeled their inner pain into 

work that resonates universally. But while trauma can drive incredible creative output, it 

can also be a barrier to entrepreneurial success. There’s a crucial paradox: the same strug-

gle that makes art relatable and powerful can leave artists vulnerable. These creatives are 

often the first to face issues like impostor syndrome, anxiety, and burnout—all while try-

ing to build a career out of their passion (Carroll, 2022). 

We need to remind ourselves that creativity is an inherently vulnerable act. It’s a form 

of storytelling that connects people, sometimes across massive divides—geographically, 

ideologically, and culturally. But expecting artists to bring that vulnerability to the world 

while also maintaining the sharp skills and relentless energy needed for entrepreneurship 

is unrealistic. When we create space to address trauma, we’re not only helping artists 

thrive; we’re fortifying the cultural impact of their work. 

Why the Creative Economy Should Embrace Trauma-Informed 

Care 
You might be thinking, “Why should the creative economy care?” The answer is simple: 

First, it’s good business—and second, it’s the right thing to do from an economics and eth-

ics perspective (Klamer, 2017). The most successful entrepreneurs are those who can hold 

both vision and resilience in balance. When artists are trauma-informed—when they have 

support networks, mentorship, and resources that recognize the impacts of trauma—

they’re more likely to succeed. This reduces turnover, increases engagement, and 

strengthens loyalty—all essential metrics for sustainable ventures in any industry. 

Businesses that create real support structures that understand the human element in 

productivity outperform those that don’t (Bartram and Casimir, 2007). Creative entrepre-

neurship can follow the same path. A trauma-informed care model doesn’t just “feel good”; 

it has tangible returns. And in a sector where the product is often an extension of the 



ARTIVATE 13 

3 

creator’s inner world, supporting that creator isn’t optional—it’s essential. Trauma-in-

formed care creates healthier, more resilient artists who can sustain their careers long-

term, which means a stronger, more consistent output that audiences will notice and re-

member. 

The Trauma-Informed Entrepreneurial Advantage: From the 

Individual to the Economy 
So, what does it mean to be “trauma-informed” in the context of creative entrepreneur-

ship? Essentially, it’s a model that considers the mental, emotional, and physical impacts 

of trauma on an individual’s ability to succeed. It means recognizing that, sometimes, the 

most successful way forward isn’t pushing harder but working more compassionately—

with empathy and intention. 

When you bring a trauma-informed lens to creative entrepreneurship, you’re not just 

providing counsel or patting artists on the back. You’re investing in the long-term success 

of their work. This doesn’t just mean fewer dropouts; it means better work, work that 

resonates, work that can stand the test of time. Trauma-informed entrepreneurship con-

siders the artist’s journey as a whole, which allows individuals to create a more durable 

impact and body of work. An artist who feels supported and understood will put out work 

that’s more innovative, more meaningful, and ultimately more valuable. 

At a community level, trauma-informed creative entrepreneurship can become a cor-

nerstone of local creative economies. In regions where the arts are critical to the cultural 

fabric—places like Minneapolis or Austin—supporting artists isn’t just about personal 

success. It’s about building an economy where creatives can sustain themselves and con-

tribute to the cultural and economic vitality of their communities. 

Fostering healthier, more resilient artists has ripple effects beyond individual suc-

cess. When artists are supported, they’re more likely to give back, teach, collaborate, and 

build networks that make their communities more vibrant (Densmore-Bey, 2023). 

Trauma-informed approaches aren’t just about keeping artists afloat—they’re about ena-

bling these individuals to become cultural leaders. That’s a form of economic resilience 

that’s hard to find elsewhere. There’s an emerging market opportunity in supporting not 

just the production of art but the person behind it. 

A Call to Action—Strategies and Research Directions to Make it 

Work 
The call for trauma-informed practices in arts entrepreneurship opens a wide range of 

research opportunities that can support more sustainable and resilient creative indus-

tries. Here, I’d like to outline key areas where further research is needed and connect them 

with ongoing scholarly work and emerging trends in the field. 



ARTIVATE 13 

4 

1. Longitudinal Studies on the Impact of Trauma-Informed Practices 

There is a growing body of literature suggesting that trauma-informed care in other fields, 

such as education and healthcare, leads to improved outcomes (SAMHSA 2014). However, 

the creative industries lack comprehensive longitudinal studies to evaluate how trauma-

informed approaches impact the long-term success of artists and creative entrepreneurs. 

Research that tracks artists over several years, examining metrics like career longevity, 

mental health, productivity, and business growth, is crucial. 

For example, researchers could investigate the effectiveness of trauma-informed pro-

grams in arts incubators, tracking participants’ mental health outcomes and business sus-

tainability over time. Programs such as Creatives Care (https://www.creativescare.org/) 

and similar initiatives offer fertile ground for such studies. 

2. Efficacy of Mental Health Integration in Creative Industry Accelerators 

Incorporating mental health support into entrepreneurship programs is an emerging 

practice, but empirical research on its efficacy in the creative sector is limited. Studies 

could explore how different types of mental health interventions—such as therapy, mind-

fulness training, and trauma-informed coaching—affect artists’ ability to navigate entre-

preneurial challenges. Relevant ongoing research includes the work of Głaziewicz and 

Golonka (2024), who explore the relationship between mental health and creative output. 

Expanding this to include structured mental health programs in arts accelerators could 

yield actionable insights. 

3. Trauma-Informed Training for Stakeholders 

Research is needed to design, implement, and evaluate trauma-informed training for gal-

lery owners, investors, managers, and other stakeholders in the creative economy. Studies 

could measure how such training influences stakeholder interactions with artists and im-

pacts artists’ career satisfaction and business outcomes. 

For instance, Bartram and Casimir (2007) highlight how management practices that 

consider employee well-being improve productivity. Applying these principles to creative 

entrepreneurship and testing their effectiveness could help develop best practices for the 

creative industries. 

4. Community-building and Peer Support Models 

Isolation is a significant barrier for many artists. Research into community-building initi-

atives—such as peer support networks, mentorship programs, and collective work-

spaces—can provide insights into how these models mitigate trauma and enhance resili-

ence. Future studies should analyze whether and how artists in trauma-informed 

communities experience lower rates of burnout and higher levels of innovation compared 

to those working in isolation. 

https://www.creativescare.org/


ARTIVATE 13 

5 

5. Neurodivergence and Trauma-Informed Practices 

Artists who are neurodivergent often face unique challenges and may benefit significantly 

from trauma-informed approaches. Research into how trauma-informed practices can be 

tailored to neurodivergent creatives is needed.  

6. Economic Impact of Trauma-Informed Creative Entrepreneurship 

Empirical research on the economic outcomes of trauma-informed models is essential to 

demonstrate their value beyond anecdotal evidence. Studies could investigate how 

trauma-informed practices influence key financial indicators, such as revenue growth, au-

dience engagement, and market expansion. 

Building on the work of Klamer (2017), who emphasizes the economic significance of 

cultural value, researchers can explore how supporting artists’ mental health contributes 

to a more vibrant and economically resilient creative sector. 

7. Cross-Disciplinary Approaches to Trauma-Informed Creative 

Entrepreneurship 

The intersection of creative entrepreneurship with psychology, business, and social work 

offers a rich area for interdisciplinary research. Collaborations between researchers in 

these fields can yield holistic models for trauma-informed entrepreneurship at large.  

Conclusion: Charting the Path Forward 
The research implications outlined here are not just theoretical exercises; they are essen-

tial steps toward creating a sustainable and humane model for arts entrepreneurship. By 

building an evidence base for trauma-informed practices, we can support artists as whole 

people and fortify the creative industry as a vital part of our economy and culture. 

If the creative industry wants to remain relevant and commercially viable, trauma-

informed practices can’t be an afterthought. They’re essential to building the kind of eco-

system that draws in and retains talent, produces work with impact, and makes the arts a 

thriving part of our economy. The future of creative entrepreneurship isn’t just about cre-

ating more artists—it’s about creating a system where artists can thrive, where their work 

can resonate, and where they’re supported as whole people.  

I teach and research at an art and design college—the Minneapolis College of Art and 

Design—where we have embedded a new course, “Creating Valued Workplaces,” into our 

Bachelor of Science degree program in Creative Entrepreneurship. This course felt essen-

tial because we believe that attending to each other’s mental and physical health is not an 

afterthought of entrepreneurship but a centerpiece that reduces stress, burnout, and the 

development of other traumas that impact artists as they navigate their careers.  

 

 



ARTIVATE 13 

6 

With a trauma-informed foundation, arts entrepreneurship can drive meaningful 

change in our communities and beyond. Let’s envision a future where art is an even more 

powerful pathway to healing, a community-builder, and an economic force.  



ARTIVATE 13 

7 

References  

Bartram, T., & Casimir, G. (2007). The relationship between leader-
ship and follower in-role performance and satisfaction with the 
leader: The mediating effects of empowerment and trust in the 
leader. Leadership & Organization Development Journal, 28(1), 
4–19. https://doi.org/10.1108/01437730710718218\ 

Carroll, M. (2022). For art’s sake: An exploration of the persistence 
of imposter syndrome and low confidence in creative fields 
[University honors thesis]. https://doi.org/10.15760/hon-
ors.1280 

Densmore-Bey, A. S. (2023). The artist-developer: A case study of 
impact through art-centered community development in neigh-
borhoods of color (Doctoral dissertation, Harvard University). 

Głaziewicz, K., & Golonka, K. (2024). When the creative well dries 
up–Burnout syndrome and art block in artists’ sample. Think-
ing Skills and Creativity, 54, 101692. 
https://doi.org/10.1016/j.tsc.2024.101692 

Klamer, A. (2017). Doing the right thing: A value-based economy. 
Ubiquity Press. https://www.jstor.org/stable/j.ctv3t5r85 

Kuhlke, O. (2024, December 13). Trauma-informed businesses and 
entrepreneurship – Part 1 – The people | LinkedIn. Retrieved 
from https://www.linkedin.com/pulse/trauma-informed-busi-
nesses-entrepreneurship-part-1-people-olaf-kuhlke 

Shepherd, D. A., & Williams, T. (2020). Entrepreneurship respond-
ing to adversity: Equilibrating adverse events and disequili-
brating persistent adversity. Organization Theory, 1(4), 
2631787720967678. 

U.S. Department of Health and Human Services. (2014). SAMHSA’s 
concept of trauma and guidance for a trauma-informed ap-
proach. 

 
 
 
 
 
 
 
 
Photo by cottonbro studio, www.pexels.com/photo/20-us-dollar-

bill-5909813/ 
 

https://doi.org/10.1108/01437730710718218/
https://doi.org/10.15760/honors.1280
https://doi.org/10.15760/honors.1280
https://doi.org/10.1016/j.tsc.2024.101692
https://www.jstor.org/stable/j.ctv3t5r85
https://www.linkedin.com/pulse/trauma-informed-businesses-entrepreneurship-part-1-people-olaf-kuhlke
https://www.linkedin.com/pulse/trauma-informed-businesses-entrepreneurship-part-1-people-olaf-kuhlke
http://www.pexels.com/photo/20-us-dollar-bill-5909813/
http://www.pexels.com/photo/20-us-dollar-bill-5909813/

