This exegesis investigates the dynamic relationship between trauma and the practice of musical improvisation through the lens of a practice-led research framework. Central to the inquiry is the question: What is the nature of the mutually interactive relationship between trauma and the artistic practice of musical improvisation? Drawing from my own experiences as a Korean-born vocalist engaged in experimental musical improvisation and informed by interdisciplinary trauma studies, I explore how trauma both shapes and is transformed through creative musical processes.

The research includes the development of two original projects—MotherTongue MotherLand and Agony in Lines—which serve as artistic works that bridge personal and collective narratives of trauma and resilience. These works, created in collaboration with a diverse array of artists, examine how trauma-informed and -focused improvisation can foster personal growth, enable social connection, and act as a catalyst for collective healing. Challenges such as managing compassion fatigue and navigating the ethics of disclosure are discussed, highlighting the complexity of trauma-focused artistic practice.

The findings affirm that trauma-informed and -focused artistic practices can extend beyond therapeutic benefits to create platforms for meaningful dialogue and transformative experiences, offering new possibilities for interdisciplinary approaches that intertwine trauma, art-making, and social change. This research not only contributes a replicable framework for trauma-informed artistic research but also underscores the profound potential of artistic collaboration as a vehicle for healing and expression.