Healing in Harmony: Why Cultural Ownership is at the Heart of Trauma Recovery
Q&A with Justin Cikuru
What began in eastern Democratic Republic of Congo (DRC) as a psychosocial support model for survivors of sexual and gender-based violence has since evolved into a flexible, culturally grounded approach supporting vulnerable youth, displaced communities, and other marginalized and conflict-affected populations. Healing in Harmony (HiH) has now been delivered in nine countries, and our team is actively exploring new partnerships in Syria and Colombia.
As we continue to strengthen our training infrastructure and support systems so that more partner organisations can lead HiH programs in their communities, we sat down with Justin Cikuru, Make Music Matter’s Lead Therapist and Trainer. Justin played an instrumental role in designing the original model and has been involved in multiple research initiatives evaluating its impact. We asked him to share what makes Healing in Harmony so powerful, and why cultural ownership remains at the heart of what makes it work.
Healing in Harmony began in eastern DRC, supporting survivors of sexual and gender-based violence. What did you learn early on about what survivors needed most and how did that shape the model you helped design?
Women were living in constant survival mode, disconnected from their emotions, families and community because of shame, fear, and stigma. Traditional talk-based approaches alone were often insufficient, especially for those who did not yet have the language, or the readiness, to tell their stories.
This shaped the model by placing music and collective expression at the centre of healing. We designed Healing in Harmony as a psychosocial approach that is body-based, relational, and culturally familiar, drawing on local musical traditions that participants already trusted. The goal was not only emotional release, but the restoration of agency, belonging, and dignity.
“Traditional talk-based approaches alone were often insufficient, especially for those who did not yet have the language, or the readiness, to tell their stories.”
Many organizations use music or arts activities in psychosocial programming. What makes HiH fundamentally different from informal arts programming or even traditional music therapy approaches?
Healing in Harmony is not simply an arts activity; it is a structured therapeutic process. Unlike informal arts programming, every activity has a clinical and psychosocial intention, carefully sequenced to support emotional regulation, trust-building, expression, and integration.
What also distinguishes Healing in Harmony from traditional music therapy approaches is its community-rooted and culturally embedded design. It does not rely on imported techniques alone; instead, it integrates local rhythms, songs, and collective traditions into a trauma-informed framework. It is both evidence-informed and culturally grounded, making it accessible and deeply meaningful to participants.
In your experience facilitating groups, what does “healing” actually look like during a session? What are the early signs that someone is moving from survival into agency?
Healing does not always look dramatic; it often appears in small but powerful shifts.
It may look like a participant who begins by sitting silently at the edge of the group, seeming less interested in the program, perhaps crying during verbalisation, and weeks later joins the rhythm, lifts her voice, starts smiling and makes eye contact with others and the practitioners (therapist and music producer). It looks like laughter returning to the lips. It looks like a body that was tense becoming more relaxed, or an artist beginning to take initiative in songwriting suggesting lyrics, suggesting a rhythm, leading a song, or encouraging others and providing some suggestions during the recording process, and being active and fully participating in public concerts.
“Healing does not always look dramatic; it often appears in small but powerful shifts.”
The early signs of moving from survival into agency include increased emotional expression, confidence in singing and relating with the group members, and the willingness to face the microphone during song recording. These changes signal that safety is growing and self-trust is returning.
How does HiH create psychological safety for participants who may not be ready or able to speak directly about what they’ve lived through?
Healing in Harmony creates safety by offering multiple pathways to expression that do not rely on verbal disclosure. Participants are never required to speak about their experiences. Instead, they can express themselves through rhythm, movement, humming, or simply being present.
Psychological safety is also built through predictable structure, respectful facilitation, confidentiality, and collective agreements. The group becomes a space where participants feel seen without being exposed and judged. Over time, this sense of safety allows expression to emerge naturally, without pressure.
HiH is delivered in groups. Why is the group format so powerful in communities affected by violence, displacement, or marginalization?
The group format is powerful because trauma often isolates people, while healing requires reconnection. In communities affected by violence and displacement, individuals frequently feel alone in their suffering.
The group creates shared belonging. Participants witness each other’s strength and vulnerability, recognize shared experiences, and rebuild trust in others. The rhythm of collective music-making reinforces unity, people move, sing, and breathe together, creating a sense of collective resilience. In contexts of marginalization, healing is not only individual, but also social.
We often speak about dignity in recovery. What does dignity look like in a healing space and why is it so essential to mental wellbeing?
Dignity in a healing space such as the one set up in the HiH approach means treating each person or artist with respect and recognizing their value, not seeing them only as victims of what happened to them. It means giving people choice and respecting their pace. For example, an artist is never forced to sing, speak, or move if they are not ready. He or she can choose to sit quietly, clap softly, or just listen until he or she feels safe.
Another example is using respectful words, calling artists by their names, listening to their ideas, and encouraging their strengths instead of focusing only on their pain. Dignity also means creating an environment where everyone feels equal and accepted. For instance, facilitators sit in the circle with participants instead of standing above them, and everyone’s contribution, whether small or big, is valued.
Dignity is very important for mental wellbeing because trauma often makes people feel ashamed, powerless, or worthless. When dignity is restored, when people feel respected and valued, they begin to rebuild self-respect, confidence, and hope for the future.
HiH is structured and evidence-informed, but designed to be locally adapted. What are the non-negotiable elements that must remain the same wherever it’s implemented?
While local adaptation is encouraged, several elements must remain consistent:
- A trauma-informed framework
- A structured progression of sessions
- Emphasis on collective expression
- Psychosocial safety protocols
- Trained facilitators who understand both trauma and cultural context
- Regular monitoring and evaluation
These elements ensure that the model remains therapeutic and safe, regardless of where it is implemented.
Why is local ownership so central to Healing in Harmony’s success? What changes when the community feels the program is “theirs”?
Local ownership ensures sustainability, trust, and relevance. When the community feels the program is theirs, participation increases, stigma decreases, and the intervention becomes embedded in daily life rather than perceived as external aid. Local ownership also honors the knowledge and resilience that already exist within communities. It shifts the narrative from receiving help to co-creating healing.
Many MHPSS programs struggle with engagement and retention. Why do you think participants keep coming back to Healing in Harmony and what does that reveal about what effective mental health support should look like?
In the context of HiH, participants return because the sessions are set in a way that promotes fun, joy, and hope. Healing in Harmony feels alive and relational. Participants often describe sessions as moments where they feel lighter, more joyful, and less alone. Talking to others without judgement or stigma encourages continued participation.
For example, in one of the cohorts I remember one participant arriving at the first session sitting quietly, avoiding eye contact, and leaving quickly when the session ends. After a few weeks, she begins to greet others, clap along to the rhythm, and stay after the session to talk with other participants. I approached her to ask what the session might have meant for her. She said, “This is the only place where I feel understood and not judged.” That feeling of being accepted and connected makes her want to return.
Another one told me and the producer that “Even when I am tired or worried, I come because here I feel lighter.” These small experiences of relief and belonging help explain why participants keep coming back.
There is growing demand for evidence-based MHPSS. How do you balance structure and measurement with the reality that healing is deeply human, relational, and not always easy to quantify?
Structure and measurement help us understand whether the intervention is effective, but healing itself remains deeply personal. We balance this by combining standardized assessment tools with careful human observation and listening.
For example, we use tools such as the PHQ (Patient Health Questionnaire) to measure emotional and social functioning, the Hopkins Symptom Checklist (HSCL) to assess symptoms of anxiety and depression, and the Harvard Trauma Questionnaire (HTQ) to understand trauma-related symptoms. These tools allow us to monitor participants’ progress over time and provide evidence that the program is making a measurable difference.
At the same time, we recognize that healing cannot be fully captured by numbers. We also observe qualitative changes, such as how participants relate to others, whether they begin to smile more, participate actively, or show confidence in group activities that build self-confidence. For example, a participant who once avoided interaction may later join singing, suggest a rhythm, or support another group member.
In this way, we combine measurement with human connection. The data helps demonstrate impact and accountability, while lived experiences and relationships show the deeper transformation that takes place. In the Healing in Harmony approach evidence guides and strengthens healing, but it doesn’t replace the human relationships at the heart of the recovery.
HIH is a rare example of a model that originated in the Global South and is now being implemented in Western contexts. What does it mean to you to see Congolese practitioners training others internationally, and what does that challenge in the global mental health field?
It represents a powerful shift in global mental health, knowledge flowing from the Global South to the rest of the world. Seeing Congolese practitioners training internationally challenges long-standing assumptions that innovation must come from Western institutions. It demonstrates that communities who live with trauma daily also develop innovative, effective solutions. It also affirms dignity and professional recognition for local practitioners.
“Seeing Congolese practitioners training internationally challenges long-standing assumptions that innovation must come from Western institutions.”
If you could challenge one common assumption in the humanitarian sector about trauma recovery, what would it be?
I would challenge the assumption that trauma recovery is not only cognitive; it is embodied and relational. For many survivors, healing begins with feeling safe, reconnecting with the body, and rebuilding relationships, long before words are possible.
If you had to describe Healing in Harmony in one sentence, not as a model or program, but as a philosophy, what would you say?
Healing in Harmony is the belief that recovery happens when people reconnect with their voices and their culture in spaces where dignity and belonging are restored.
Listen to more Healing in Harmony songs here
Justin Ruboneka Cikuru is a clinical psychologist specializing in trauma and related mental health conditions, with 11 years of clinical experience. He holds a Master’s degree in Counseling Psychology from Daystar University in Nairobi, Kenya, and completed advanced training in clinical supervision for cognitive behavioural therapy (CBT) at Stockholm University in Sweden.
Justin has worked at the Panzi Foundation and Panzi Hospital in Bukavu, and has contributed to international efforts supporting survivors of sexual violence and trauma. He provided expert psychosocial support to Guinea (Conakry) following the September 28 violence, as part of a South-South cooperation initiative. He also took part in the psychological assessment of children affected by sexual violence in Kavumu (DRC), in collaboration with experts from the University of Liège, with support from Physicians for Human Rights (PHR).
Justin currently works as Lead Therapist and Trainer with Make Music Matter on its Healing in Harmony music therapy program, and is pursuing a PhD at the Université libre de Bruxelles, jointly with the Université Évangélique en Afrique (UEA) in Bukavu, where he also serves as a teaching assistant.
