info@juuso-matias.fi | 040 717 2486

Juuso-Matias – An Artist-Expert

I am Juuso-Matias (they/them), a Finland-based performing arts professional.

In productions I use my skills as an intimacy director or fight director. Whatever the role I take, my artistic practice is based on collaboration. Processes behind the scenes of intimacy and violence have in their core a collaborative choreographical work, practical safety protocols and specialized story-telling techniques. Still, they are two specialities with very different notion of risk-management, different priorities and basic techniques. Weaving violence and intimacy together in one scene is complicated and takes its time.

I am also a performing arts educator. I often even describe my work as mainly pedagogical and didactical – teaching buzzwords that simply mean that I weave together various practices, skillsets and threads of knowledges of the people in the room. My main focus is to give tools to others so they can do their best possible work with the help of my expertise. In the optimal situation, the different performing arts experts I work with can use their original artistic and technical skillsets to meet the specific demands of intimate or violent scenes they work with. I most often teach skills useful to the scenes of heightened physicality. I have taught future professionals on University of the Arts, University of Applied Sciences and Folk high school levels. I have at basic theatre education and at amateur theaters. As a part of my teaching practices, I direct and fight direct various scenes with specific learning goals in mind.

Juuso-Matias Maijanen

Juuso-Matias Maijanen

Artist-Expert

+358 40 717 2486
info@juuso-matias.fi

”Let’s collaborate for the best possible stories.”

Juuso-Matias

Master of Fine Arts
Intimacy Director
Fight Director
Performing Arts Pedagogue
Physical Actor

I have built my artistic practice on movement-based acting skills. I have spent one-and-half decade to study different skills, and have spent ten years adapt the skills specifically to the challenges of theatrical intimacy and dramatic violence. I then continued studying pedagogy and artistic research to further develop my practice. That is, these studies form the foundation of my work.

MFA in Performing Arts and Media at Stockholm University of the Arts (SKH) - 2025

I did my Degree of Master in Fine Arts in Performing Arts and Media at Stockholm University of the Arts 2023-2025. These studies concentrated in developing my own practice with the tools of artistic research and thematic research areas of SKH.

Intimacy Director* at Intimacy Directors and Coordinators (IDC)

I have studied intimacy direction with Intimacy Directors and Coordinators. I have finished my level 3, but have been checking boxes for my official graduation since 2025. Before IDC I studied with their predecessor Intimacy Directors International from 2017 onwards, and have worked continuously with intimacy since then.

A Teacher-Student at Nordic Stage Fight Society (NSFS)

I have studied stage combat pedagogy since 2023 in the mentor program of Nordic Stage Fight Society (NSFS) under Iiro Heikkilä, a teacher at Dramatic Combat Finland (DCF). My studies with NSFS and DCF span all the way to 2015, but I have been crafting different pieces of fight choreography since early 2011.

Performing Arts Instructor at Novia University of Applied Sciences (Novia) - 2019

I graduated a bachelor in performing arts pedagogy (scenkonstpedagogi) at Novia University of Applied Sciences in 2019. Besides my two areas of expertise (violence and intimacy), I teach classes in mime, pantomime, physical acting and movement. I also teach other basic classes in theatre.

Bachelor of Culture and Arts at Novia University of Applied Sciences (Novia) - 2015

My degree in physical theatre from Novia University of Applied Sciences is from 2015. The program concentrated heavily on physical acting techniques, but spent a lot of time in co-skills of sharing, directing, choreographing and teaching.

Text: Movement Direction and Movement Coordination: Crafting the illusions of violence and intimacy.<br />
Juuso-Matias forming a hand gesture.

Performance-weaver

In contrast to my educational work, the tools I choose with a production serve the working group and the production plans, and the practical, physical choices we need to make to tell the story. Even if I value the effective use of time and energy, art is often a journey of learning and experimentation, and these processes take their time and need their side-journeys. There is often not much time in a production process, but naturally I can combine my intimacy direction or fight direction with meaningful pedagogical processes in order to make sure that the people understand the technical demands of the chosen solutions depending on the style of heightened physicality we work with.

Text Portrayed Violence - fight direction and education. In the picture there are two people who are fighting, one tries to the hit the other with a sword, the defender puts up a parry, on a small stage, also Juuso-Matias' headshot where Juuso-Matias forms a triangle with their hands, this picture describes the focus that is created on these special areas

Portrayal of violence

When using terms like portrayed violence, dramatic violence, or stage combat and screen combat, I mean an approach where we collaborate to create different magic tricks, illusions, to portray violence in a sustainable way. I would prefer using term ”portrayed violence” or ”fake violence” when speaking of the speciality to avoid confusions with real-life violence. 

We might use these tools to tell stories of a fencing match, of a war or of a near-relation violence. I am especially interested in the performances where we create an impression of threat of violence or of psychological violence.

My fight director path

In the role of fight director, I work as the artist-expert of violent material. I have done dramatic combat in its different forms since 2011. Since 2015 I have done my formal studies mainly with instructors of Nordic Stage Fight Society and Dramatic Combat Finland. I officially started in NSFS teacher program under Iiro Heikkilä in May 2024. 

Text Portrayed Intimacy - Intimacy direction and and education. In the picture, there are two characters wearing theatre masks, the one on the right is smiling and giving the other a flower. One on the left is looking at the camera bewildered. also Juuso-Matias' headshot where Juuso-Matias forms a triangle with their hands, this picture describes the focus that is created on these special areas

Portrayal of intimacy

In portrayed intimacy, intimacy for the stage or staged intimacy I speak about making these kinds of scenes sustainable. Intimate scenes can take a form of sex, touch or nudity, but intimacy director can be useful for scenes that portray other forms of emotional intimacy like family, friends or companionship. My skills work through sensitive, accurate and comprehensive approaches to different aspects of a performance for the whole working group. 

With my approach of portrayed intimacy, I prefer to use an intimacy director with a low threshold. In camera work I will use term intimacy coordinator as these are two completely different professions with drastically different processes.

My path with staging intimacy

I have learned my Intimacy Director skills with Intimacy Director International and through level 3 specialist studies with Intimacy Directors and Coordinators. I am currently working with Intimacy Directors and Coordinators through their level 4 certification. This means that currently, I can lean on one of the leading intimacy directors in the world as a mentor and discussion partner for any production I work with. I also cross-use the tools I have learned from the world of portrayal of violence in both worlds.

Various Productions I have worked with

Here I list productions I have done in some role since 2011. 

Turku Medieval Market: Medieval Ferry

I co-choreoghed and co-directed a simple fight performance for Turun suurtorin keskiaika.

LINK

Suomen Musiikkiteatteri Akatemia: Merry Wives of Windsor

I was a physical theatre teacher at Suomen musiikkiteatteri Akatemia 2014-2017 before the school declared bankruptcy. During this time, I also fight directed for all their student productions. Merry wives of Windsor was one of these.

Åbolands Teaterskola: Om allt bara var bra

I directed a performance for the students at basic theatre education group that I also taught.

Åbolands Teaterskola: Världen runt i åttio dagar

I directed a performance for the students at basic theatre education group that I also taught.

Turun suurtorin keskiaika: Medieval Market Online

I directed several short films about the daily lives of people in medieval Turku.

Teatteri Soittorasia: Lumikuningatar

I fight directed several pieces of choreography for the theatre performance that is part of the basic education in theatre program.

Teatteri Iris: Tyttö ja Herra K

I worked as a physical actor in Teatteri Iris piece.

Kanervakuoro: Rauhan laulut

I did help the choir I was part of to craft a a simple dramaturgy for their live performance Rauhan laulut.

Kanervakuoro: Lauluja Metsäpolulta

I took part in a choir performance as a singer

Kompastusjoukko: Lepus (R)evolution

I was one of the creators of Kompastusjoukko’s third physical theatre performance which combined lights, origami masks and music.

Kompastusjoukko: Jäävuorivaara (Icebergdanger)

Kompastusjoukko’s second physical theatre performance was ordered for Earth Hour.  It included a huge piece of sewn-together cloth, live lanterns, cardboard houses and several physical actors.

Kompastusjoukko: More Amore

Kompastusjoukko’s first physical theatre performance was created for Häme Medieval Market. There we simply told a silly story of love and contact with the use of classical commedia dell’arte masks.

Jyväskylän kansannäyttämö: Saaren kätköissä – A 50-year anniversary play

I directed an hour-long mask theatre adaptation of Treasure Island for five actors.

LINK TO A REVIEW

Novia University of Applied Sciences: Om et DrömSpel

I performed in a student production directed by Tom Fjordefalk as part of my physical theatre studies.

Novia University of Applied Sciences: Tuikesilmäd

I performed and created a solo piece for Peeled – theatre festival as part of my physical theatre studies.

Novia University of Applied Sciences: Den skalliga förtrollerskan

I directed Eugene Ionesco’s text as a part of my physical theatre studies at Novia University of Applied Sciences

Vaasa Market of Possibilities: Gorou

I performed a dance from classical Nihon Buyou repertoire at the market event.

Teatteri Outolintu: Vaudeville Noir

I was one of the physical performers and choreographers for the Dinner Show Performance in Vaasa.

LINK

Teatteri Outolintu: Vaudeville Moustache

I was one of the physical performers and choreographers for the Dinner Show Performance in Vaasa.

LINK

Sampei Fes: Kurokami, Gorou and others

I performed several dances from classical Nihon Buyou repertoire at SampeiFes festival in Kyoto, Japan as part of my exchange studies there.

Novia University of Applied Sciences: Kurokami

I performed a dance from classical Nihon Buyou repertoire Beats and Prayers festival as part of my physical theatre studies.

Gin!the Musical

I fight directed, intimacy directed and worked as an acting coach for the second version of the fan musical based on Ginga: Nagareboshi Gin.

LINK TO RECORDING

Vaasa Lunch Picnic: physical theatre pieces

I worked as a summer actor for the Vasa Lunch Picnic where I created several live performances for the picnic-goers. These included a music-theatre performance and several clown numbers.

Jyväskylän työväenteatteri: Prinsessa Ruusunen

This adaptation of Sleeping Beauty was my first work as a fight director, and I also performed a simple faked kiss on stage. I created several pieces of fencing choreography.

Yellow Film & TV: Kiitos elämä

Autoin Kiitos elämä -televisiosarjan joidenkin läheisyyskohtausten koordinoinnissa.

Turun Suurtorin keskiaika ry: Elävöitetty Pyhiinvaellus

Keskiaikamarkkinoiden yhteyteen tilattiin minulta esityskokonaisuus, joka punoutui osaksi Elävöitettyä pyhiinvaellusta. Rakensimme neljä esityksellistä, fyysistä kohtausta, joiden tehtävä oli kutsua vaeltajat pysähtymään matkan varrella luonnon ja oman itsen kuuntelemisen pariin kevyen huumorin ja kauneuden siivittämänä.

Helsinki-filmi: Jään vangit (Icebreaker)
In Icebreaker I worked as an intimacy coordinator supporting some actors in choreography-creation to better portray the intensity of character relationships: IMDB LINK.
coffee n’ movies: Neon Moon

Neon Moon was an indie film by coffee’n’movies. It was a cyberpunk short, where I helped with the most important relationships dramaturgies and with several choreographical choices to tell a specific story.

LINK TO RECORDING

Tampereen Ylioppilasteatteri: MacBeth-musikaali

Osallistuin Tampereen ylioppilasteatterin MacBeth-musikaalin päämiekkataisteluiden rakentamiseen. Tämän lisäksi annoin joitain ohjeita miekkailun dynamiikasta osaksi joukkotaistelukohtausta.

Fyr Films: The Demon of Midday

In this student production I worked online in supporting the cast in Praque with both their scenes of violence and intimacy mainly giving them protocols for nudity and relationship dramaturgy.

IMDB LINK

Love Simulation EVE: Water Spirits
I worked as an intimacy director for an indie experience about human connection in VR. This piece later became a part of Love Simulation EVE.
LINK
Turku University of Applied Sciences: Eräänä… Zombietrilogia

I was part in crafting the fight choreographies for this post-apocalyptic student film.

Kaiho Republic: Swang (2nd season)

I supported the young actors with choreographical and structural tools in their scenes including squabbles, falling in love and playful togetherness.

Warner Bros Finland: Aallonmurtaja (4th season)

I supported some actors in finding their movement choices and support structures in order to sharpen and add playfulness to their intimate scenes.

Avatar’s Journey Travel Agency and &-theatre: Love Simulation EVE

Love Simulation EVE was an indie piece combining virtual reality and immersive live-performance. I participated in the process already from the script phase to the very end in the role of an intimacy director.

Juuso-Matias doing a mind gesture of 'wall'. Text: Education - Special Techniques for Performing Arts.

The purpose of my educational work is to share techniques without the time-pressure of a production. That prepares people for more advanced artistic solutions when working in a production. I have taught future professionals on University of the Arts, University of Applied Sciences and Folk High School levels. I also have experience with Basic Theatre Education and with Amateur Theaters. As a part of my teaching practices, I often direct and fight direct scenes with a variety of methods as most of the material I teach needs clear artistic contexts to function.

Besides physical movement skills, I teach communication skills that make the work lighter. These include extending our common physical and dramaturgical languages that make the production work smoother. 

I have been actively teaching in various forms for 15 years now. My original background is in physical, movement-based acting, specifically in Lecoq-tradition, several mime techniques, mask theatre, movement-analysis and in several traditional and historical movement styles from Asia and Europe. After my basic training, I have spent a decade in the world of heightened physicality. I have learned the pedagogy and didactics of intimate storytelling with Intimacy Directors and Coordinators and am studying the similar skills relevant to the portrayal of violence with Nordic Stage Fight Society and with Dramatic Combat Finland

Teaching Experiences

Here I list teaching some of the teaching contexts I have worked in.

Suomen Musiikkiteatteri Akatemia

I worked as the physical theatre teacher at this community college during 2014-2017 teaching a weekly lesson of three hours covering various forms of physical theatre.

Åbolands Teaterskola

I worked as a main teacher for several courses (classes 1-2, 5-6, 7-8 and 9+) in swedish-language basic arts education at Åbolands Teaterskola during academic year 2018-2019.

Teatteri Iris: Tyttö ja Herra K

I worked as a physical actor in Teatteri Iris piece.

University of the Arts Helsinki: Consent Day

I taught a day-long workshop of consent, its anatomy and mechanics, to the first year master-students of all the programs at the university of the arts.

University of the Arts Helsinki: Intimacy Choreography

I was one of the guest teachers at University of the Arts Intimacy Choreography course taught by Marjo-Riikka Mäkelä.

Turku University of Applied Sciences: Physical Expression 1

I taught a simple physical theatre course, delving through different forms and approaches to the expressive and communicative qualities of the course

Turku Finnish Language Community College: Humane Theatre

I taught a course in so-called humane theatre, an approach of mine where we use the some accesible, easy to learn physical theatre techniques to the simple versions of lights, sounds, costumes and other technical areas to create total performances. 

Varsinais-Suomen kansanopisto: Teatteri- ja maskeerauslinja

I worked as a stand-in for the main teacheer at at Varsinais-Suomen kansanopisto during spring 2020.

Suomen teatteriopisto: special course in intimate violence

I taught a two-week course in intimate violence at Suomen teatteriopisto’s second year students. 

Teatteri Iris: Intimate Moments

I taught a weekend course in staging intimacy to Teatteri Iris, a small independent theatre in Tampere.

Koskikotikeskus: Humane Theatre

I taught my first ever humane theatre course to the 55+ group of Koskikotikeskus. This was part of my paid internship during my pedagogical studies at Novia University of Applied Sciences.

Pirkan opisto: Stagefight course

I taught a three-weekend stagefighting course to the theatre students at Pirkan opisto.

Turku Dansart: Physical Theatre, Mime and Pantomime

I taught several weekly lessons in general physical theatre, mime (acting technique) and pantomime (technique of gesture language) at Turku Dansart, an association for professional performers in Turku.

Turku Swedish-language Community College: Mänsklig teater med din egen kropp

I taught a Swedish-language version in Humane Theatre course at Åbo Svenska Arbetarinstitut.

Teatteri Soittorasia: Stage Combat Basics

I have taught bi-yearly day courses in stage combat as part of their basic theatre education program since 2020.

Intimacy Directors and Coordinators: assistant teacher

I visited the US in 2019, and worked there as an assistant-teacher for few intimacy courses organized by Intimacy Directors International and their intimacy directors. I also shadowed a few working professionals in their teaching.

Turku Student Theatre: Stage Combat and Intimacy for the Stage courses

I taught two day courses for Turku Student theatre in 2019. 

Tampere Contact Improv

I taught regurlarly at Tampere Contact Improvisation (TreKI) during 2015-2018.

Vaasa Fencers Society (VaMi)

I researched, studied and taught HEMA at Vaasa Fencers Society (VaMi) in 2011-2015.

Jyväskylä Swordfighting Society

I practiced and finally started to studied leadin HEMA classes at Jyväskylä Swordfighting Society between 2010-2011.

Vaasa Historical Dance Group

I researched, studied and taught historical dance in Vaasa 2011-2015 with the local dance group.

Jyväskylän kansannäyttämö: Several Physical Theatre courses

I taught several courses at Jyväskylän Kansannäyttämö from 2013 onwards, after which I was asked to direct their 50-year anniversary performance Saaren kätköissä.

Resources

Here are some useful resources for anyone working with heightened physicality. First I present some contacts for people for real-life problems specific to intimacy or violence. After that I will present several essays and other expositions that I have myself created or find a useful source when creating meaningful portrayals of darker or brighter tones of heightened human communication.

Safety First – Support Resources

Intimate scenes and violent scenes do always contain their risks. It can be heavy to work with such a scene without proper support structures. They might trigger memories from real-life situation, or you might simply need someone to talk to after working with heavy material. If you feel like it, always search for professional help.

Mental Health Crisis Center (Pirkanmaa area in English), Victim Support Finland (in English) and Nollalinja are places  that give advice when you are in a crisis or in an unclear situation. Both are low-threshold contact places, so please be in contact with them if you even suspect that something might be wrong. Besides them, we have a general emergency number 112 which should be contacted if the situation is threatening or you need urgent help. See their website for an excellent application with all relevant numbers and their text-message service if you are not able to speak. 

If you work professionally, you should be aware of the reporting chains of your workplace . On the list there is often an occupational safety and health representative or some other person who has responsibility of safety (these can be intimacy director, fight director or stunt director), your direct superior or direct superior’s superior. Naturally, you can always be in contact with the Occupational Safety and Health Office in Finland or be in contact with Ombudsman of Equality (especially with cases of harassment). It is also a very good idea to be in contact with your own trade union. In most cases in Finland this could be Teme, Actors Union, Journalistiliitto or Taku.  

Besides acute crisis situations, there are several useful resources for general mental health support with Mieli ry and for people who have experienced violence with Nollalinja

Story then – Resources for Artistic Research

For me, artistic research means the kind of research which uses the intrinsic qualities of the art: where any part of traditional research process is replaced with art. Naturally, as a form of research, it exists in discussion with the world, creates new information and bears its responsibility.

My own professional background is in performing arts and in performing arts pedagogy, specifically in the portrayal of heightened physicality. I also meddle a bit with natural sciences and psychology. 

My values lie with soft, humane structures that make collaborations possible. I have a soft spot especially for the union activities and for independent performing arts organizations. I would personally love to create a more sustainable and fairer structures for all of the human beings in the field. My belief is that everyone should be able to work with performing arts whoever they are – and still thrive and flourish.

I am in the process of defining my own artistic practice and the ways I work in different contexts. I am currently describing, defining and mapping my different identities and tools I use. These mapping processes naturally affect my practice, but they also are a part of my practice forming a network of processes for constant learning and curiosity for new tools and solutions, new people and their practices.

Collaboration appears to form a core to my practice: I support others, we craft solutions together, I hone others’ ideas, combine and fulfill them. Collaboration is simply the key to my working methods. 

The  processes of expression in the forms of writing, conceptualizing and discussions are also labour-heavy. I will try to do my best to take part in discussions, but as it often is, I only have two hands to work with, and the world is full of fascinating things to do.

I wanted to write down these as they all affect my identity as an artist and as a researcher, and influence the directions, sidejourneys and shortcuts I take with research. Most of the essays I write here are also no strictly peer-reviewed scientific papers but simply thoughts and observations put to the paper in the process of sense-making. The purpose of most of these expositions is to express these processes and to hopefully share the information. I am also in the process of gathering interesting research to this page. That takes some time as I want to frame the research in a more pedagogical way. 

Now, enough framing and let’s get to the resources.

Considering the Complexity of Consent (2025, Stockholm University of the Arts)

Considering the Complexity of Consent is a Research Catalogue Exposition I created based on a performance/presentation. These recordings were part of my in-person exposition as a part of Site, Event, Encounter course at Stockholm University of the Arts.

A Search for Inner Dragon (2015, Novia University of the Applied Sciences)

My written final thesis for the physical theatre studies at Novia University of Applied Sciences.
Link: Theseus-database

My Virtual Sidejourney - An Exploration into the Pedagogy of Feedback (2025, Stockholm University of the Arts)

As part of my dissertation at Stockholm University of the Arts, I ended up doing a sidejourney to the world of VR and its applications as a pedagogical tool. This was an interesting short study, and actually offered me an interesting sidejourney.

Alastonkohtaukset ja läheisyyden koreografiointi (2020, Trade Union for Theatre and Media Finland: Meteli-paper)

I did write an article of my intimacy coordinator colleague, Pia Rickman. The purpose of this was to give a picture of Pia’s views on intimacy coordination for film techniques for a larger audience.
Link: Juuso-Matias Maijanen: Alastonkohtaukset ja läheisyyden koreografiointi

The Materiality of a Complex Inter-Woven and Extending Process - My
Own Intimacy Director Process in Terms of Different Materialities? (2024, Stockholm University of the Arts)

As part of my studies at Stockholm University of the Arts I wrote two interesting essays as a part of Technology and Materiality course. This essay goes into the details of how my own process influences the other processes in a production.

Intimacy in Translation: Bridging Consent in Culture and Language (2022, Intimacy Directors and Coordinators Inc)

I took part as a co-discussed with Lauren Kiele DeLeon ja Neha Vyaso around our thoughts of intimacy in our specific languages and the word choices we make.
Link: Intimacy in Translation: Bridging Consent in Culture and Language

GALLERY

Some pictures from different working contexts and from more formal photoshoots throughout the years

Rakensin kummallisia liikekoreografioita Vaudeville Moustache esitykseen (2013)
Ohjasin ja koreografioin liikepohjaisen esityksen Saaren kätköissä Jyväskylän kansannäyttämölle (2017)
Kompastusjoukko on tamperelainen liikepohjaisen, fyysisen teatterin ryhmä (2015)
Opetin Suomen Musiikkiteatteri Akatemian liikepohjaiset näyttämötaistelu- ja fyysisen ilmaisun kurssit kolmen lukuvuoden ajan (2016)
Tanssiviuhkoja perinteisen liikepohjaisen japanilaisen teatterin nihon buyoun harjoitteluun (2013)
"Ei tavallisia tyyppejä" on työpaja, jossa paneudutaan monipuolisesti liikepohjaisiin hahmotekniikoihin (kuva 2017)
Kompastusjoukon Jäävuorivaara oli liikepohjainen teatteriesitys, joka hyödynsi monia kierrätysmateriaaleja (2017)

Searching for my own art

Love Simulation EVE (2023). A character in a white jacket is putting a VR headset on another character with similar jacket
Love Simulation EVE (2023). Butterfly logo and text Love Simulation EVE.
Love Simulation EVE (2023). Character in the middle of the space. Heart is shining red through clothes. Behind the character a blazing light.
Stockholm University of the Arts (2023). Juuso-Matias stands wearing a orange scarf in front of the school's sign and smiles.
Stockholm University of the Arts (2023). Repeating text in the frame "The Blog". A Text A memory lane to analyze the physicality. Planning the research. Juuso-atias in the background holding a frame in blue shirt.
Intimacy in Translation: Bridging Consent in Culture and Language 15.11.2022 Picture of three people. Juuso-Matias, Neha Byaso and Lauren Kiele Deleon. November 15th 2022
Text. Suostumuskoulutuspäivä SamtyckesdagTaideyliopiston Teatterikorkeakoulu Konstuniversitetens TeaterhögskolaPedagogisk konstnär  Taiteiljaopettaja Juuso-Matias Maijanen . In the picture a sleeping lion with their puppies.
Summer Clash 2022 - Nordic Stage Fight Society and Dramatic Combat Finland
Analysing the Physicality of the Performing Arts Processes - Research Plan 13.6.2023
Juuso-Matias in the middle of a pile of 360 degree cameras and VR headsets for their MA study (2024)
A draft of a front page in Research Catalogue publication system Finding the Limits of using Immersive Video as a Self-Analysis Tool in Creative Process

Teach and
Learn

with

Turku as a Base

Teatteria ihmisille - inhimillisen teatterin kurssi Turun suomenkielisellä työväenopistolla
Japanilaisia tanssiviuhkoja perinteisen liikepohjaisen japanilaisen teatterin nihon buyoun harjoitteluun (2013)

Collaborations as an Aspiring Artist

Suomen musiikkiteatteri Akatemia (2017)
Kompastusjoukon kokoonpano Jäävuorivaaraesityksessä
Kompastusjoukon kokoonpano Jäävuorivaaraesityksessä
Suomen musiikkiteatteri Akatemia (2017)

Basic skills that I still use in my work

Japanilaisia tanssiviuhkoja perinteisen liikepohjaisen japanilaisen teatterin nihon buyoun harjoitteluun (2013)