Music can both harm and heal the mind – A new book explores music therapy in the rehabilitation of torture survivors and refugees

“Music therapy can take the form of traditional one-to-one sessions in a clinical setting, but music can also be introduced into everyday environments, where it may have a therapeutic effect,” explains Dr Sami Alanne, docent of music therapy and researcher at the University of the Arts Helsinki.

Alanne has authored a pioneering book, Music, Music Therapy and Refugees, which examines the use of music therapy in supporting refugees and victims of torture. According to the publisher Springer Nature, it is the first of its kind.

A day-to-day music therapeutic approach might involve people from different cultural backgrounds teaching each other songs from their own traditions in a refugee centre, for instance. This kind of communal activity supports everyday life and recovery from trauma.

“Interacting with others helps reduce prejudice, fear, and the isolation often associated with trauma. In addition to this, there may be individual or group therapy and various other forms of rehabilitation, which, when combined, can lead to the best outcomes,” Alanne notes.

Music as a tool of torture has a long history

During the writing process, Alanne was surprised to discover how long the dark history of music as a tool of manipulation and oppression truly is.

“Music has been systematically used for manipulation and subjugation, for example during the Second World War and the Cold War – and it continues to be used in modern conflicts.”

According to Alanne, a recurring pattern can be seen throughout history: music is used to strip victims of their ability to think independently and to erase their identity.

“In Nazi Germany, concentration camp prisoners were exhausted through forced singing and marching. On the other hand, music was also used to keep the labour force alive and extract as much work as possible. The manipulation through music was extensive.”

Dark examples can be found in China, Russia, and also the United States. Prisoners have been tortured with music at the Guantanamo Bay detention camp.

“There, music was used to break down personalities during interrogations.”

Music therapy brings music back

The book seeks ways to use music in a healing manner, while also reminding mental health professionals that clients may have trauma associated with music and sound.

Nevertheless, Alanne does not exclude music therapy as a method for those who have been tortured using music. On the contrary, he argues that avoiding music in therapy plays into the hands of dictators.

“If music therapy is avoided, the trauma is repeated. If the therapist has sufficient knowledge and expertise, music can be used therapeutically.”

Of course, music therapy may be more challenging if music has previously been used as part of violence against the client. Torture survivors may have experienced such severe trauma that recovery could take decades.

In trauma, the connection between body and mind is severed, and it may be difficult for the traumatised individual to access their emotions. Music has great power in this process, which is why it has been used as a form of torture. Fortunately, music’s power works both ways: it can help restore these connections and is therefore a vital therapeutic tool.

Through music therapy, music can be reclaimed – though it requires long-term commitment.

“The ability to listen to music and relax may represent a significant milestone in the recovery process. Once the nervous system regains its capacity to settle and sleep, one’s quality of life can improve markedly.”

The goal: a strong enough identity

When the therapy client is a refugee, it is likely that the therapist and client do not share a common language. According to Alanne, an interpreter can be used in therapy, but in music therapy, one may not always be necessary, as interaction is possible through musical activity.

“Understanding rhythm in music, for example, can serve as a shared language. Of course, there may be nuances in what music means across different cultures, but we see this as a richness and an opportunity to build bridges between people.”

A Finnish therapist and a refugee who has arrived in Finland may also have very different cultural backgrounds.

“It’s important to be aware of cultural differences, but emotions are universal. We are all human and can experience and share things through our shared humanity.”

Cultural differences are discussed openly, with the aim of fostering mutual understanding.

“For instance, it’s helpful to explain that in Finland, it is acceptable to disagree with a therapist or an authority figure. Together, we can explore what one is allowed and able to say. These conversations help us access trauma, fears, or difficulties in adapting to a new country.”

Even the mere act of arriving in a new culture can trigger a crisis.

“The immigration crisis can be compared to the developmental crisis of adolescence. One must learn new customs and rules, adapt to a new life and culture, while also preserving one’s own identity,” Alanne explains.

Music and art can also support individuals through the immigration crisis. In his book, Alanne reminds Western therapists that they should aim to strengthen each client’s individual cultural identity.

Sometimes, a client may become trapped in the role of a refugee. That’s why it is important in therapy to recognise that one’s homeland cannot simply be torn away – it remains a part of one’s identity.

“To grow and heal, a sufficiently strong identity is needed – one that makes it possible to let go of trauma.”

Sami Alanne

• Docent of music therapy and researcher at the Sibelius Academy, University of the Arts Helsinki
• Also works as a visiting researcher at the University of the Arts Research Institute
• Extensive background in practical music therapy work with refugees and survivors of torture
• Earned his doctorate from the Sibelius Academy in 2010 with the dissertation “Music psychotherapy with refugee survivors of torture: interpretations of three clinical case studies”
• Currently works as a private entrepreneur and therapist