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Initially approached in 2017, Patrick Musafiri from the Democratic Republic of the Congo went onto undertake our Training for Trainer process starting in 2023. Patrick’s suitability to participate in the training was due to already having experience of using music with a range of client groups, including children with disabilities, in numerous settings in both the DRC and Rwanda. Additionally, Patrick has previously delivered and participated in other training, giving him some exposure to what it’s like to share his skills and knowledge with others.

Through a series of questions we asked Patrick, you can read below more about his journey with using music and undertaking our Training for Trainer process.

Note: All around the world the term “music therapy” is used to mean different things.  In different countries there are different training opportunities, training standards, different approaches to practice, different levels of regulation and the extent to which “music therapy” is established and recognise varies.  Patrick’s description of his music therapy practice should be understood within the context of the Democratic Republic of the Congo and may differ to music therapy practice in other countries.

Before you began our Training for Trainer process, we realised your journey with using music in your work started before then. How did you come about using music in your work and how long have you been using music?

I began using music as therapy in my work about eleven years ago. I took part in a practical training from Mrs.Thérèse at the Humura Day Center, and since then, we have occasionally organised sessions at the centre. My interest in this approach grew when I discovered the positive effects of music on people’s emotional and mental well-being. 

In the beginning, I integrated music as therapy into group sessions, using musical exercises to help participants express their emotions and build self-confidence. I quickly realised that music had a powerful impact on communication and bonding among participants. Through activities like singing, musical improvisation, and active listening, I was able to create a safe and stimulating environment that encouraged self-expression and creativity. The feedback from participants confirmed the effectiveness of this approach, and I have continued to develop my music as therapy skills to better meet the needs of those I work with. Today, music as therapy is an integral part of my practice, and I am always looking for new ways to explore its benefits.

We know you have first been in touch with Music as Therapy International years ago hoping to receive training for yourself and other practitioners in the DRC to learn how to use music. What led you to seek such training?

My motivation to pursue training in music as therapy, especially in the context of physiotherapy in the Democratic Republic of Congo (DRC), stems from several factors. I have found through various research and professional experiences that music has a significant impact on the emotional and physical well-being of patients. It can boost motivation, reduce anxiety, and facilitate rehabilitation. There is an urgent need for music as therapy training for practitioners in the DRC. By acquiring these skills, we could expand our range of therapeutic tools and provide better quality care. Music is also deeply rooted in Congolese culture. Incorporating familiar musical elements can increase patient engagement and make rehabilitation sessions more meaningful and effective.

You enquired about becoming a trainer after it was not possible for our Rwandan Trainers to go to the DRC to deliver training.  What experiences did you have of delivering other trainings?

My experience with other training programs has been rich and varied. These experiences not only helped me develop my technical and pedagogical skills, but they also gave me a better understanding of the importance of adaptability and creativity in teaching. They prepared me to seize the opportunity to become a trainer when the need arose, motivating me to contribute to the training others.

For the first stage of the training process, you had to send us a video of your music session. How did it feel to start off the process with doing a session and send us a recording of it to us?

Starting the training process by sending a video of my music session was both stressful and intimidating. At first, I felt some apprehension about sharing my practice. Being observed and evaluated can be stressful, but it also motivated me to give my best. Filming my session was an introspective experience: I became aware of my strengths, but also of areas needing improvement. This personal evaluation was very enriching and allowed me to better understand my approach. I was excited to receive feedback on my practice, which I thought was essential for my progress. Knowing that I had to record my practice encouraged me to be more structured and thoughtful in my musical choices. Overall, starting the training process in this way was a key moment that allowed me to dive straight into my practice while laying the foundation for continuous learning.

You had shared a video of another music session where you applied the suggestions from Music Therapist Emma Britton. How easy was it to transfer the feedback into action?

Applying Emma Britton’s feedback was both challenging and inspiring. Some suggestions required me to adjust my working methods. Initially, I felt some hesitation about trying new techniques, but as I experimented, my confidence grew. The positive feedback from the participants encouraged me to continue. Some of the recommendations involved engaging participants more actively in the musical process during sessions. While this required advance preparation, adopting this new collaborative approach was very rewarding and helped create a climate of trust and collaboration during sessions. It was not always easy but Emma Britton’s feedback was very beneficial. It allowed me to develop my skills and deepen my relationships with service users. I am grateful for the opportunity to apply her advice and witness its positive impact.

Was there a key learning that influenced your approach to using music which you hope to share with other practitioners in your future trainings?

Yes, a key learning that has profoundly shaped my approach to the use of music as therapy is recognising the importance of active listening and tailoring interventions to each individual. By sharing these concepts with other practitioners, I hope to encourage a more flexible and participant-centred approach to the use of music as therapy, thus promoting more effective and compassionate interventions.

Stages three and four of the process involved you developing an outline of course content which you will use when sharing your music skills with others. How was this for you and how did you benefit from this?

Creating the course outline was both enriching and enlightening.It was a crucial step in my development as a practitioner and as a recommended trainer in music as therapy. The process helped me structure my practice more effectively and equipped me to share my knowledge with other professionals in a clearer, more impactful way.

What was it like to reach stage five of the Training for Trainer process and be awarded a ‘Recommended Trainer’ status? From all the five stages of the Training for Trainers process, which aspect did you enjoy the most? 

I am indeed very proud to have reached Step 5 of the Training for Trainer process and to have achieved the status of “Recommended Trainer”. Of the five stages, the aspect I enjoyed the most was *interacting with participants and sharing experiences*. It has been a real catalyst for my personal and professional growth.

What did you find most challenging about the process? And what helped you overcome this?

The biggest challenge I encountered in the train-the-trainer process was managing the diversity of clients. Each child had different skill levels and learning styles, which meant that the task was to adapt my teaching to meet everyone’s needs.

After having done the majority of the Training for Trainer process, has it met your expectations so far?

Yes, the train-the-trainer process has largely met my expectations so far. I was able to develop essential pedagogical skills, particularly in adapting my methods to the needs of learners, which has greatly enriched my practice. I have also built strong connections with other trainers, paving the way for future collaborations and the ongoing exchange of best practices.

You have been very enthusiastic and patient throughout this whole process, and your commitment was great to see. How would you sum up the whole experience of the Training for Trainer process in a few sentences?

The overall experience of the Training for Trainer process has been incredibly rewarding and collaborative. It has allowed me to create a dynamic learning space. Your enthusiasm and the commitment of each and every one of you fostered a climate of trust, conducive to exploration and experimentation. This experience reinforced my shared passion for music as therapy and highlighted the transformative potential of music in the therapeutic setting. All in all, it has been an inspiring path of personal and professional growth, with lasting benefits for both trainers and the people they will go on to support.

Gaining a ‘Recommended Trainer’ status from us is a great achievement. Do you have any further aspirations and plans going forward?

Yes, getting the status of “Recommended Trainer” is a major milestone, but I am equally motivated by further aspirations and future projects. I aim to deepen my expertise in pedagogical innovation, integrating new technologies and creative approaches into my training work. I also plan to develop outreach programmes to expand access to music as therapy in the DRC, working in partnership with specialist schools, day centres, medical institutions, and community hubs. In the long term, my dream is to create a network of music as therapy educators who can share resources and experiences, while fostering research projects to evaluate the impact of music as therapy in various contexts. Finally, I hope to participate in international conferences to exchange ideas and strengthen the visibility of our field. These projects aim to enrich our practice and promote the benefits of music as therapy within the community.

Thinking about the DRC as a whole, what is your ideal vision for the future on a national basis for the use of music and children with disabilities? What would this vision look like to you?

My ideal vision for the future of the use of music in the Democratic Republic of the Congo (DRC) is an inclusive environment in which music is recognised as a powerful tool for the emotional, social, and cognitive development of children with disabilities.