What was your overall impression of the Symposium?
I found the Symposium stimulating, especially because of the school and institutional setting in which it took place. The environment itself created an interesting context for discussions about trauma-informed creative care and its place within broader systems of education and healthcare.
Was there a particular moment that stood out for you?
Paola Luzzatto’s presentation stood out most. I found it exceptionally clear, scientifically grounded, and clinically precise. It was a strong example of how arts therapies can be communicated in a way that bridges theory, research, and clinical practice.
The Symposium aimed to launch a global movement in trauma-informed creative care. How do you see that ambition?
I am not yet sure whether the Symposium, in its current form, can launch a sustainable international movement. The event itself was meaningful, but its structural impact remains to be seen. What matters now is how the conversations initiated in Geneva continue beyond the event.
Where do you see the greatest potential for international collaboration?
I see strong potential in international exchange, particularly when it helps us compare how trauma-informed creative care is embedded within different healthcare and training systems. Learning from diverse national approaches can help strengthen the field as a whole.
What could strengthen future editions of the Symposium?
From my perspective, the involvement of professional associations would be key in countries such as Switzerland and Germany. These organizations play a central role in shaping professional standards and representing practitioners. The planning timeline may have been too short to involve them more substantially in the symposium [while commited to other concurent national events], but their participation could strengthen future initiatives.
How would you describe the current situation of arts therapies in Switzerland?
Arts therapies have an established professional foundation in Switzerland, although their integration into healthcare and education remains uneven. One of the strengths of the Swiss model is its professionalisation through recognised training pathways, professional standards, and insurance-related structures.
What challenges does the field currently face?
One important challenge is that training institutes need to orient themselves more clearly toward medical guidelines and contemporary clinical practice. Trauma-informed practice is present, but it is not yet consistently integrated across training programmes.
In my view, more lecturers with current clinical experience are needed. As someone who has worked for over eleven years in psychiatric settings, including trauma-focused treatment contexts, I believe there is significant value in connecting education more closely with current clinical realities.
Looking ahead, what would you like to see over the next five years?
I would like to see stronger dialogue between training institutes, professional associations, and clinical institutions. Sustainable collaboration between these sectors could support both professional development and the broader integration of trauma-informed creative care within healthcare systems.
________________________________________
Nelson’s reflections highlight both the opportunities and the complexities involved in advancing trauma-informed creative care internationally. As the conversations initiated in Geneva continue to evolve, perspectives from experienced clinicians remain essential in shaping a movement that is both visionary and grounded in practice.
I found the Symposium stimulating, especially because of the school and institutional setting in which it took place. The environment itself created an interesting context for discussions about trauma-informed creative care and its place within broader systems of education and healthcare.
Was there a particular moment that stood out for you?
Paola Luzzatto’s presentation stood out most. I found it exceptionally clear, scientifically grounded, and clinically precise. It was a strong example of how arts therapies can be communicated in a way that bridges theory, research, and clinical practice.
The Symposium aimed to launch a global movement in trauma-informed creative care. How do you see that ambition?
I am not yet sure whether the Symposium, in its current form, can launch a sustainable international movement. The event itself was meaningful, but its structural impact remains to be seen. What matters now is how the conversations initiated in Geneva continue beyond the event.
Where do you see the greatest potential for international collaboration?
I see strong potential in international exchange, particularly when it helps us compare how trauma-informed creative care is embedded within different healthcare and training systems. Learning from diverse national approaches can help strengthen the field as a whole.
What could strengthen future editions of the Symposium?
From my perspective, the involvement of professional associations would be key in countries such as Switzerland and Germany. These organizations play a central role in shaping professional standards and representing practitioners. The planning timeline may have been too short to involve them more substantially in the symposium [while commited to other concurent national events], but their participation could strengthen future initiatives.
How would you describe the current situation of arts therapies in Switzerland?
Arts therapies have an established professional foundation in Switzerland, although their integration into healthcare and education remains uneven. One of the strengths of the Swiss model is its professionalisation through recognised training pathways, professional standards, and insurance-related structures.
What challenges does the field currently face?
One important challenge is that training institutes need to orient themselves more clearly toward medical guidelines and contemporary clinical practice. Trauma-informed practice is present, but it is not yet consistently integrated across training programmes.
In my view, more lecturers with current clinical experience are needed. As someone who has worked for over eleven years in psychiatric settings, including trauma-focused treatment contexts, I believe there is significant value in connecting education more closely with current clinical realities.
Looking ahead, what would you like to see over the next five years?
I would like to see stronger dialogue between training institutes, professional associations, and clinical institutions. Sustainable collaboration between these sectors could support both professional development and the broader integration of trauma-informed creative care within healthcare systems.
________________________________________
Nelson’s reflections highlight both the opportunities and the complexities involved in advancing trauma-informed creative care internationally. As the conversations initiated in Geneva continue to evolve, perspectives from experienced clinicians remain essential in shaping a movement that is both visionary and grounded in practice.
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