ThirdSpace Theatre CIC Safe Touch Policy 

In forming this policy, ThirdSpace Theatre CIC has assessed and reviewed guidance and policies by the DfE, other associated organisations, as well as ThirdSpace’s sister organisations, schools, and childcare settings. ThirdSpace Theatre has researched both educational practice and practice within the performing arts industry, which informs how staff work with children and young adults in a performing arts or youth theatre context. Physical touch is unavoidable in both of these contexts and so it is important that organisations bridging these fields have a policy to enable ‘safe touch’.

ThirdSpace is committed to establishing a safe physical and emotional learning and creative environment where CYP’s basic needs are met; where safety measures are always in place; and staff responses are at once consistent, predictable, and also respectful.

ThirdSpace Theatre backs the DfE’s decision that it is not possible for schools to have a no touch policy. Often, physical intervention has a profound impact on dysregulation and can prevent escalation of situations and the potential need for exclusion or isolation. A “no touch policy” would be depriving children who need this support.

ThirdSpace staff are aware of potential safeguarding implications of physical touch and this policy is reviewed regularly in light of new regulations and guidance.

There are multiple types of safe touch used within ThirdSpace Theatre’s service delivery. These include:

• Reasonable force
• Physical intervention
• Appropriate physical contact

Reasonable Force

DFE 00295-2013 defines the term ‘reasonable force’ to cover the broad range of actions used that involve a degree of physical contact with children and young people. Force is usually used either to control or restrain. This can range from guiding a pupil to safety by the arm through to more extreme circumstances such as breaking up a fight or where a child/young person needs to be restrained to prevent violence or injury. ‘Reasonable in the circumstances’ means using no more force than is needed.

DFE-00023-2014 gives educational staff the legal right and power to use reasonable force in specific circumstances to prevent pupils:

• committing an offence
• injuring themselves or others
• damaging property
• disrupting good order and discipline in the classroom

While ThirdSpace Theatre CIC is not an educational establishment, it operates within a similar context and so the above is relevant to the work of its staff and facilitators.

Physical Intervention

Touch communication is associated with immediate reductions in both behavioural (Stack and Muir, 1990) and physiological (Feldman et al., 2010b) response to stress.

Where touch is used to support a child/young person through reassurance or regulation at an early opportunity it is legally deemed to be ‘physical intervention’. This could be in situations where the CYP requires additional support in order to engage in an activity, demonstrate listening behaviour, or maintain safe boundaries with others.

Where the child’s/young person’s movement is controlled either through passive physical contact, such as standing between pupils or blocking a pupil’s path, or active physical contact such as leading a pupil by the arm out of a classroom, this is legally referred to as ‘restrictive physical intervention’.

DFE 00295-2013 guidance is clear. It is not illegal to touch a pupil. There are occasions when physical contact, other than reasonable force, with a child/young person is proper and necessary. Schools (and youth theatres) should not have a ‘no contact’ policy. There is a real risk that such a policy might place a member of staff in breach of their duty of care towards a child/young person, or prevent them taking action needed to prevent a pupil causing harm.

In the classroom, positive, contingent touch from teachers has been demonstrated to increase on-task behaviour and decrease disruptive behaviour in young children. (Wheldall et al., 1986) This holds true in settings such as those used in ThirdSpace Theatre’s services.

Used in context and with empathy, touch supports the development of strong, nurturing relationships with the children and young people we care for. It can support the development of an effective stress management system, altering a child’s biochemical profile and balancing key emotional systems in the brain (Panksepp and Biven 2012). It can also be key to developing fundamental social, behavioural and attention skills, whilst offering physical support to those children/young people who need it.

DFE 00295-2013 offers examples of appropriate use

• Holding the hand of the child at the front/back of the line when going to assembly or when walking together around the school;
• When comforting a distressed pupil;
• When a pupil is being congratulated or praised;
• To demonstrate how to use a musical instrument;
• To demonstrate exercises or techniques during PE lessons or sports coaching;
• To give first aid or medical support (administering an EPI pen or insulin injection)

In addition, ThirdSpace Theatre supports the use of touch for the following reasons and circumstances:

Communication – touch is an important aspect of communication and plays a significant role in establishing good connection with children and young people at early communication levels. (Nind and Hewett, 2006). Where a child displays difficulty in focusing on the human voice, touch may be necessary to gain attention or reinforce other communication (e.g. hand on shoulder when speaking) or to function as the main form of communication in itself.

Touch enables staff and pupils to respond non-verbally or to respond to another person’s own use of physical contact for communication and to make social connections. Touch may steady a child/young person who desperately seeks connection with an adult, confirming they have been seen and heard.

Educational, Health and Care Tasks – Touch can also be used to direct children in educational tasks and developing skills. Physical prompting and support, gestural and physical prompts during learning activities such as hand-over-hand support and hand-under-hand support (particularly for children who have profound or complex additional needs) Play activities naturally include touch. ThirdSpace Theatre supports the use of attachment play activities as targeted interventions to build and develop supportive, nurturing relationships with children and young people. These activities involve appropriate physical contact.

Emotional and Physical Regulation – touch is an effective way to communicate acceptance and emotional warmth. It can provide containment and reassurance, communicating safety and comfort. Touch affecting both tactile and pressure receptors stimulates the central nervous system into a state of relaxation and calm. It affects both behavioural and neurochemical indicators of stress – decreased heart rate, blood pressure, cortisol and oxytocin levels (Field 2016) resulting in a more relaxed, attentive state. Cautionary touch should be used with pupils who are sensitive to touch, touch defensive or may have a history of receiving negative touch.

Appropriate Physical Contact

There are occasions where it may be entirely appropriate and proper for staff to have physical contact with students, particularly in a performing arts environment, but it is crucial that they only do so in ways appropriate to their professional role.

Physical instruction which involves safe touch towards certain areas of training is sometimes key to aid effective teaching and learning, i.e., awareness of correct muscle usage, correct posture, correct line and breathing techniques.

For example, physical contact between staff and students may be appropriate in the following types of circumstances:

• when a teacher needs to make physical contact in order to illustrate a concept or to adjust a student’s alignment or posture, improve awareness of correct muscle usage, correct line or breathing techniques;
• when a student needs encouragement or support to attempt a new challenge e.g., instruction or correction in a physical theatre class;
• to demonstrate safe practice, for example in partner work or stage combat;
• when there is a need to take urgent action to avoid an incident or injury;
• In instances where a physical lift is required, where teachers may demonstrate ways which will involve supporting and lifting with students;
• in choreographic / ensemble teaching, where teachers may demonstrate positions and movements to the students by moving parts of the students’ bodies and by moving them in relation to each other: this often involves a good deal of contact with students.

Students may be required to contact each other, for example in partner work, ensemble work, or during contact improvisation, physical theatre, stage combat, or in intimate acting scenes.

3) Procedures

• For subjects that may include physical contact, staff should ensure that they include an initial briefing that sets out expectations.
• Students have a right to let staff know if something makes them feel uncomfortable.
• Staff should ensure that students are clearly briefed on safe and appropriate touch as relevant to the subject / topic being studied, e.g., safe practice in lifting or partner work.
• Staff should not have unnecessary physical contact with students and should be alert to the fact that minor forms of friendly physical contact can be misconstrued by students or onlookers.
• Staff should be aware that even well-intentioned physical contact may be misconstrued by the student, an observer, or by anyone to whom this action is described.
• Staff must be sensitive to an individual’s cultural background and any special educational needs. All staff will treat any physical contact with due sensitivity and care and with due regard for the wishes of the student.
• When physical contact is made with students it should be in response to their needs at that time, of limited duration and appropriate to their age, stage of development, gender, ethnicity, and background. It must never threaten or be sexually inappropriate.
• Where feasible, staff should seek the student’s permission before initiating contact.
• Staff should listen, observe and take note of the student’s reaction or feelings and as far as is possible, use a level of contact which is acceptable to the student for the minimum time necessary.
• It is not always possible to be specific about the appropriateness of each physical contact, since an action that is appropriate with one student in one set of circumstances may be inappropriate in another, or with a different student. Staff should therefore use their professional judgement at all times.
• Staff should never touch a student in a way which may be considered indecent. Always be prepared to explain actions and accept that all physical contact can be open to scrutiny.
• Staff must not engage in rough play, tickling, or fun fights with students/students.
• Extra caution should be exercised where a student is known to have suffered previous abuse or neglect. Such experiences may sometimes make a student exceptionally needy and demanding of physical contact and staff should respond sensitively by deterring the student through helping them to understand the importance of personal boundaries.
• Staff may be required to initiate physical contact with students/students to support a student to perform a task safely, to demonstrate the use of a particular piece of equipment or movement(s) or to assist them with an exercise. Contact under these circumstances should be done with the student’s agreement, for the minimum time necessary, and in an open environment.
• Staff should remain sensitive to any discomfort expressed verbally or non-verbally by the pupil/student.
• Physical contact must never be secretive, for the gratification of the adult, or represent a misuse of authority.

4) Good Practice in Safe Touch

• Always be prepared to explain how or why you are making physical contact for example, postural adjustment in voice work or in choreography or ensemble work. This applies to both staff to student and peer-to-peer contact.
• Use common sense and awareness, for example, ask permission where appropriate e.g., where a touch may be uncomfortable or unexpected.
• Use a firm and specific touch, e.g., flat of the hand, so that touch is always unambiguous and cannot be misconstrued.
• Set out clear boundaries / guidelines at the start of topic study.
• In exercises requiring contact between students, for example, stage fights, duet work or intimacy, aim to use a staged process to build trust and ensure safety. Set out and explain guidelines and boundaries clearly and encourage open evaluation of the process.
• When blocking fight scenes, acting / physical theatre scenes or scenes involving intimacy where contact between students may be involved, encourage students to choreograph or plan and walk through the movements, so all students involved are clear and secure on the details of the sequence and contact.
• Ensure safe working practice and rehearsal is followed in stage combat / slapstick exploration / partner work, and any lifts or falls.
• Ensure current safe practice in relation to Covid guidelines is followed at all times.

5) One-to-one situations

• When working individually with students, staff should be aware of the potential vulnerability of both students and staff in such situations.
• Staff should manage these situations and take reasonable and sensible precautions to ensure the safety and security of the student and staff alike.
• Where possible, individual work with students should not be undertaken in isolated areas or rooms where there is no external viewing panel. Where it is necessary to close doors for reasons of confidentiality a colleague should be made aware of this and asked to remain vigilant.
• Where possible, a gap or barrier should be maintained between teacher and student at all times. Any physical contact should be the minimum required for care, instruction, or restraint.

6) Students with disabilities

• Staff should be aware of students with physical disabilities. Staff should use LoveAdmin to inform themselves of any reasonable adjustments that need to be in place for a particular student.
• Staff should understand where it is appropriate to touch in relation to the student’s disability. If unclear about specific movement/choreography, staff should hold discrete conversations with the student prior to a lesson to discuss considerations, limitations, and alternatives in order to work in an anticipatory way. Some touching and adjusting of movement may be considered safe for the majority, but in the case of a physically disabled student, could cause harm.
• Students and parents/carers are encouraged to share details of any temporary disabilities and injuries. Staff should be aware of limitations, and alternatives in order to work in an anticipatory way. Some touching and adjusting of movement may be considered safe for the majority, but in the case of a temporary disability or injury, could cause harm.

7) Guidelines for the adjustment of clothing and costumes in fitting, rehearsal, performance and for side stage quick changes

• Where possible, there should be two people present: one to clear clothing, the other to assist the performer with the change.
• Provide as little assistance as possible, i.e. only as necessary.
• The dresser should not pull up or change undergarments/ tights/ lingerie – this must be left to the performer.
• Agree and rehearse the process before the show with the performer.

8) Fitting microphones side stage

• Agree/rehearse the process before the show with the performer.
• Two people present wherever possible.
• Use as little skin contact as possible except to tape.
• Where wires need to be threaded under clothing, agree the process before the show with the performer.

9) Reporting

• Students have a right to let staff know if something makes them feel uncomfortable and should be encouraged to discuss any worries with any member of staff.
• If a member of staff believes that an action could be misinterpreted, the incident and circumstances should be reported to your line manager, recorded and, if appropriate, a copy placed on the student’s file.

Policy last updated: Jan 2025

Signed: Tanushka Marah – Designated Safeguarding Lead 

Next Review Date: Jan 2026