Beauty and Art as Pathways to Healing After Sexual Violence: A Comparative Study in the DRC and Canada

Abstract

Conflict-related sexual violence against men in the Democratic Republic of the Congo (DRC) has profound psychological, emotional, relational, and spiritual consequences. Nevertheless, male survivors can achieve post-traumatic growth through processes that rebuild fractured identities, foster resilience, and cultivate renewed purpose. This article adopts a comparative framework by combining (a) original Canadian qualitative data—an Interpretative Phenomenological Analysis (IPA) study entitled “Silent No More: Surviving Male Rape,” conducted with survivors and trauma-informed practitioners—and (b) a phenomenologically informed synthesis of peer-reviewed studies, NGO/UN reports, and survivor testimonies from the DRC. The Canadian component focuses on the journey from victimhood to survivorship, demonstrating how breaking silence, being believed, and receiving compassionate, trauma-informed care foster meaning-making, resilience, and post-traumatic growth. The DRC component foregrounds culturally rooted pathways to recovery—especially communal and music-based practices—within conflict-affected settings. Across contexts, we identify convergent themes: beauty as a relational and embodied experience that regulates affect and restores safety; creative practices (music, visual arts, storytelling, ritual, and nature-based activity) as vehicles for dignity, connection, and purpose; and self-transcendent emotions (awe, gratitude, and wonder) that support the transition from threat to contemplation and agency. Divergences reflect cultural and structural conditions: in the DRC, healing often unfolds through community-embedded practices amid insecurity and stigma; whereas in Canada, clinical resources are more accessible, but masculine norms and isolation can impede disclosure. We argue that aesthetic and communal practices can complement clinical care and propose practice implications for arts-based, culturally grounded interventions, as well as a comparative research agenda.

1. Introduction

1.1. Trauma in Male Survivors in the DRC and Canada: A Comparative Context

Male survivors of trauma, particularly those who have experienced conflict-related sexual violence in the Democratic Republic of Congo (DRC), often display profound forms of interpersonal trauma. This injury is intertwined with cultural taboos, stigma, family and community rejection, and the loss of masculine identity (Christian et al. 2011; Kohli et al. 2013). This type of trauma often leaves survivors with profound psychological, relational, and existential wounds, often resulting in severe post-traumatic stress symptoms, such as hypervigilance, dissociation, somatic pain, and depression. A long-term sense of impairment regarding trust, intimacy, and self-worth can accompany these symptoms. In other words, sexual violence constitutes one of the most devastating human traumas because of its multidimensional impact—an issue that warrants deeper investigation and consideration. Importantly, recent research from Canada, “Silent no more: surviving male rape: journey to healing and recovery,” demonstrates that although cultural contexts differ, male survivors of rape and sexual violence also face stigma, isolation, and threats to masculine identity. In Canada, the silence surrounding male victimization is often reinforced by social expectations of strength and invulnerability, making disclosure difficult. However, breaking the silence, sharing one’s story, and receiving trauma-informed support emerge as crucial steps in the healing process. These findings resonate with the Congolese experience, underscoring both the universality of trauma’s effects and the context-specific ways in which survivors attempt to rebuild trust, agency, and dignity.

When trauma is compounded by relational and cultural factors, such as armed conflict, collective sexual violence, community-based aggression, or social stigma, it becomes crucial to examine how effective trauma recovery depends on interventions that repair interpersonal ruptures, reintegrate survivors, and promote community education and healing practices. In the case of the Democratic Republic of the Congo (DRC), where sexual violence is used as a weapon of war to humiliate, destroy identity, and strip men of their sense of masculinity, trauma recovery efforts must include social reintegration, the restoration of human dignity, the creation of safe spaces where survivors can share their painful experiences, and community-based healing initiatives. In the Canadian context, trauma recovery similarly requires safe relational spaces—both clinical and community-based—where survivors can disclose experiences, feel believed, and cultivate resilience. Although armed conflict is not the backdrop, cultural silencing and gendered stigma operate as barriers similar to those faced by Congolese men, albeit under different structural conditions. Further research should explore the pathways to rebuilding survivors’ self-esteem as part of a broader community-healing process. A relational and culturally grounded healing process is essential for addressing interpersonal trauma of this complexity—an aspect often overlooked in conventional clinical interventions.

In some cultures, creative expressions such as storytelling, music, chanting, traditional dance, body art, painting, ritual, and ceremony play a vital role in supporting healing, strengthening social bonds, and fostering resilience, particularly in the context of trauma recovery and community restoration. In the cultural context of the DRC, creative expression is deeply woven into the fabric of communal life. In Canada, creative and therapeutic practices—including talk therapy, somatically oriented modalities, and survivor storytelling—serve parallel functions, enabling survivors to process trauma, reconstruct narratives, and imagine new possibilities for life after victimization. Assessing cultural and creative resources is therefore essential prior to implementing any therapeutic intervention for sexual violence. Over the past two decades, there has been an increasing interest in exploring the potential effects of creativity and aesthetic experiences on trauma recovery (Forgeard 2013; Gonzalez et al. 2024; Pizzolante et al. 2024; Wang et al. 2025).

In the following sections, we explore how these insights and cultural realities surrounding sexual violence in the DRC, combined with new Canadian evidence, call for a deeper examination of how culturally and aesthetically grounded practices can be mobilized in trauma recovery. We examine how theoretical perspectives and empirical findings support the integration of creative and community-based healing practices.

1.2. Global and Historical Context of Art and Beauty in Healing, Situating the DRC

Art, in its many forms, has long played a critical role in helping societies transition from collective trauma to collective healing. For example, music has served as a compelling medium, providing essential resources to counter hatred and violence, fostering solidarity, and enhancing global awareness (Barker 2015; Power 2014). Historical examples illustrate this influence: Black African Americans who triumphed over slavery and South Africans who faced comparable historical challenges during Apartheid both relied on music to navigate and heal from systemic oppression. In societies that harshly suppressed dissent, slave music possessed transcendent qualities that united communities amidst the harsh realities of plantation life (Barker 2015). It offered emotional escape, allowed subtle critique of social superiors without fear of retribution, and encompassed diverse themes, including satire, nostalgia, nonsense, children’s songs, lullabies, and songs about play, work, and love (Barker 2015). The severe conditions endured by enslaved individuals limited their ability to manifest beauty concretely; thus, music became a sophisticated medium for expressing these desires (Barker 2015).

Furthermore, music created by enslaved populations instilled a sense of material and psychological freedom, fostering a consciousness of liberty that transcended the constraints of captivity (Barker 2015; Power 2014). Through the transformative and restorative power of music, individuals could engage in what Clark (2023, p. 456) terms “the everyday work of repair,” cultivating resilience in the face of one of history’s most horrific atrocities.

Similarly, the Democratic Republic of the Congo (DRC) has endured more than 150 years of genocide, resulting in millions of deaths. The origins of corruption, violence, and political turmoil can be traced back to 1871, when British explorer Sir Henry Stanley first revealed the wealth of the Congolese territory (Carpenter and Conrad 2012). European powers quickly exploited these resources, leading to direct control by Leopold II of Belgium (Carpenter and Conrad 2012). The atrocities committed during this period were eventually exposed, prompting Belgium to assume power in 1908. Although the Congo achieved independence in 1960, the “resource curse” has persisted, with abundant natural resources fueling ongoing conflict (Carpenter and Conrad 2012, p. 2). Today, over a hundred active armed groups operate primarily in eastern regions, engaging in targeted and indiscriminate attacks on civilians. The resources at the center of these conflicts have evolved—from King Leopold’s rubber to contemporary Coltan, a highly valued global mineral (Sharife 2008; Carpenter and Conrad 2012).

Despite these adversities, the Congolese people have demonstrated remarkable resilience, creatively using art as a medium for healing and coping with trauma. Art, particularly music, serves not only as expression but also as a culturally resonant form of meaning-making, helping individuals and communities navigate suffering, restore hope, and reinforce identity. Much like freedom songs and spirituals helped African Americans and South Africans confront oppression and foster community, Congolese music and artistic practices provide a historical and cultural parallel, reflecting resilience, solidarity, and collective healing in the face of systemic violence.

In the Canadian context, survivors of male rape similarly draw on creative practices, though often in more individualized therapeutic settings rather than communal ones. Storytelling, writing, visual arts, and body-oriented therapies are used by survivors to reframe traumatic experiences and reconnect with meaning. Breaking the silence through narrative is particularly central; it not only validates personal suffering but also transforms it into collective advocacy, echoing the historical role of music in African American and Congolese communities. While the Canadian survivors’ context is not marked by war, their healing practices highlight how beauty and creativity serve as cross-cultural tools of resilience, bridging private trauma with broader processes of recovery and awareness-raising.

This historical and contemporary perspective situates the DRC within a broader global understanding of the restorative power of art and beauty in healing from trauma.

2. Beauty, Trauma, and the Creative Path to Healing

2.1. What Is Beauty

A growing number of studies have investigated the phenomenon of beauty, highlighting its complex and multifaceted nature as both universal and deeply subjective. Many of these studies have focused on determining whether aesthetic behavior is innate or learned and whether the perception of beauty is primarily shaped by “the eye of the beholder” (Forestell et al. 2004). As noted by Francesetti (2012) and Brady (2018), beauty may not belong solely to the object or the observer but rather arises relationally, in the contact between perceiver and perceived. It is now widely acknowledged that definitions and understandings of beauty vary significantly across perspectives and cultural contexts, drawing on psychological, philosophical, biological, and neurological lenses. In most cases, beauty cannot be reduced to a singular definition, as its meaning and experience are consistently shaped by individual perception and socio-cultural background. Aesthetic experience manifests when one observes the effect of nature or art on the brain regions associated with reward, memory, and emotion (Ishizu and Zeki 2011; Chatterjee and Vartanian 2016).

Beauty, far from being limited to a decorative feature of human life or a matter of personal taste, emerges as a fundamental dimension of both evolution and culture, having accompanied humanity since prehistoric times through artistic expression, ritual, ornamentation, and more (Dissanayake 1995). Recent research on urban Congolese music also demonstrates that beauty emerges through the intricate interplay of words, sounds, images, and movement, where meaning and aesthetic pleasure arise from juxtaposition and relational dynamics rather than static form (Jewsiewicki 2000). Musical performance and linguistic play produce a kaleidoscopic aesthetic that engages the perceiver in multiple sensory and cognitive dimensions simultaneously, demonstrating that beauty is both culturally situated and performative.

Findings from the Canadian study extend this perspective, illustrating that beauty also arises through storytelling, compassionate listening, and the validation of survivors’ experiences. Survivors frequently describe beauty in terms of moments of kindness, empathy, or connection with practitioners and peers. These encounters generate a sense of dignity and hope, showing that beauty in healing is not only tied to artistic forms but also to relational gestures that affirm humanity. In both contexts—Congolese music and Canadian narrative practices—beauty emerges through relational contact, reinforcing its cross-cultural significance.

Current research provides considerable evidence that beauty, whether experienced through nature, art, music, or meaningful relationships, plays an essential role in enhancing human well-being, regulating emotions, increasing abstract thinking and self-transcendent emotions, reducing stress, strengthening social connectedness, and supporting mental health (Francesetti 2012; Howell et al. 2011, 2017; Baklien et al. 2024; Mikalonytė and Kneer 2024). For Canadian survivors, sharing their trauma stories in safe, validating environments reflects precisely this: beauty as a restorative force that strengthens social connectedness and supports emotional regulation. In contexts of trauma and social disruption, as observed in Congolese urban settings, beauty created through music and performance also serves as a mechanism for meaning-making, resilience, and emotional regulation, demonstrating that aesthetic practices can be both restorative and culturally specific (Jewsiewicki 2000). Amongst studies on the benefits of beauty, there has been growing discussion about its potential restorative power in reestablishing and promoting a sense of safety across emotional, physical, relational, and existential dimensions (Francesetti 2012; Brady 2018; Démuth and Démuthová 2018). The importance of developing and maintaining a sense of safety can be deeply restorative, especially for those who have experienced trauma (Wright et al. 2023).

2.2. What Is Trauma

In recent decades, there has been an increased recognition of the widespread occurrence of trauma and its effects on individuals, families, communities, and society at large. However, this heightened awareness has led to the term “trauma” being overused and misapplied, often serving as a substitute for ordinary stress. For instance, some individuals, in everyday language, may refer to a challenging day at work as “traumatic.” This usage is inaccurate, as “while it is true that all traumatic events are stressful, all stressful events are not traumatic” (Levine and Frederick 1997, p. 7). Additionally, trauma is often associated with its most severe manifestations, such as post-traumatic stress disorder in military veterans, victims of sexual violence, and those who have survived catastrophic events like the September 11 attacks. However, it is essential to recognize that trauma can affect nearly everyone, either directly or indirectly, through experiences such as accidents, domestic abuse, childhood maltreatment, or exposure to violence during formative years (Van der Kolk 2015). Trauma is not exclusively caused by extreme events like war, sexual violence, or torture; it can also arise from less overtly violent experiences.

Multiple theoretical frameworks are available for understanding and addressing trauma. The Diagnostic and Statistical Manual of Mental Disorders, 5th Edition (DSM-5), defines trauma as exposure to “actual or threatened death, serious injury, or sexual violence” (American Psychiatric Association [APA] 2013, p. 271). As a diagnostic resource for mental health disorders, the DSM-5 serves as an essential tool for clinicians, enabling them to accurately identify conditions and apply effective interventions, which may include medication. This model often follows a top-down approach to healing, emphasizing cognitive processing and understanding trauma through talk therapy (Van der Kolk 2015). However, the concept of psychological trauma extends beyond mere diagnostic criteria, medication, and traditional talk therapy. Some clinicians are now incorporating a more somatic approach to trauma and healing. With more than four decades of expertise in stress and trauma, Peter Levine characterizes the experience of trauma as arising when our capacity to respond to a perceived threat becomes overwhelmed in some manner (Levine and Frederick 1997; Levine 2008). The essential aspect of understanding and treating trauma lies within our physiology. As Levine and Frederick (1997) note, valuable insights can be drawn from the animal world, since the involuntary and voluntary components of the human brain and nervous system are remarkably similar. Human beings seldom succumb to death when faced with their feelings of helplessness and powerlessness. Instead, “humans suffer when we cannot discharge the energy that is locked in by the freezing response. The traumatized veteran, the rape survivors, the abused child, the impala, and the birds all have been confronted by overwhelming situations. If they are unable to orient and choose between fight or flight, they will freeze or collapse. Those who can discharge that energy will be restored. Rather than moving through the freezing response, as animals do routinely, humans often begin a downward spiral characterized by an increasingly debilitating constellation of symptoms” (Levine and Frederick 1997, p. 35). The sensation of being trapped in traumatic memories and their associated emotions illustrates the disconnection that survivors often feel from themselves, their bodies, others, and the surrounding natural environment (Van der Kolk 2015). Healing requires connection, a sense of safety, tranquility, calmness, and support from friends, family, community, and nature (Poirson et al. 2023).

Levine and Frederick (1997) employ the metaphor of a tree to illustrate the concept of healing. He observes, “When a young tree is injured, it grows around that injury. As the tree continues to develop, the wound becomes relatively small in proportion to the size of the tree. Gnarly burls and misshapen limbs speak of injuries and obstacles encountered over time and overcome. The way a tree grows around its past contributes to its exquisite individuality, character, and beauty” (pp. 33–34).

In addition, trauma is not only an individual physiological and psychological experience but also a culturally mediated one. Research on Congolese urban music demonstrates that beauty and meaning-making through sound, performance, and linguistic play can serve as mechanisms for coping with collective trauma. Music in these contexts does more than represent traumatic events; it enacts and transforms them, offering ways to regulate emotions, reconstruct narratives, and restore safety and agency (Jewsiewicki 2000). By engaging multiple senses and modalities—sound, language, movement, and image—musical performance creates spaces where trauma can be processed culturally and communally, illustrating that healing can extend beyond individual therapy to include participatory and culturally embedded practices.

The Canadian study highlights another dimension of trauma: the silence and invisibility surrounding male sexual violence in peacetime contexts. Survivors often described trauma not only in terms of intrusive memories and hyperarousal but also in terms of stigma, disbelief, and isolation when attempting to disclose. Practitioners emphasized that this social silencing compounded physiological trauma, creating a double wound—one inflicted by the assault itself and another by the denial or minimization of its impact. Unlike the DRC context, where trauma is rooted in armed conflict and communal violence, Canadian survivors spoke of the loneliness of suffering in environments where sexual violence against men is rarely acknowledged. This suggests that while the physiological mechanisms of trauma are universal, the cultural context (war-related vs. peacetime, visible vs. silenced) profoundly shapes how trauma is experienced, expressed, and addressed.

The healing model presented thus far is recognized as a body-centered therapeutic approach. It emphasizes the psychophysiological effects of traumatic experiences by tapping into the body’s memory of the traumas rather than concentrating on the narratives associated with them. A body-oriented approach represents a bottom-up model that emphasizes releasing the fight, flight, or freeze responses that become trapped in the body following trauma (Van der Kolk 2015). This process is achieved by cultivating awareness of bodily sensations and allowing instinctual movements to discharge stress and restore the nervous system (Van der Kolk 2015). Various terms have been employed to describe methods for addressing trauma that engage the mind, body, and spirit, including traditional healing practices, holistic healing approaches, integrative medicine, and alternative healing modalities (Ettun et al. 2014; Poore et al. 2013). Numerous holistic methods for addressing trauma instruct victims and survivors to engage with themselves in supportive ways through practices such as energy work, movement, and connections with plants and animals (Poore et al. 2013, p. 4). These approaches aim to assist survivors in reconnecting with their bodies, interacting with their surroundings, expressing their experiences in non-verbal forms, and gradually rebuilding trust in others (Poore et al. 2013). Canadian practitioners in this study similarly emphasized the importance of somatic and body-oriented methods, reporting that survivors often “held” their trauma in physical symptoms (e.g., chronic pain, gastrointestinal issues, muscular tension). They noted that recovery required not only cognitive processing but also embodied practices that allowed survivors to discharge trapped energy and reclaim a sense of safety in their own bodies. This article, therefore, employs a comprehensive approach to understanding and treating trauma, integrating mind, body, and spirit.

2.3. How Does Trauma Interfere with Healing, and How to Get Unstuck Through Creativity?

Trauma creates a world of threat and shatters one’s sense of safety, which leads the nervous system to lose its ability to self-regulate and culminates in a state of hyperarousal, dissociation, and emotional numbness (Porges 2011). This injury can lead the individual to withdraw from social engagement and respond to situations through fight, flight, or freeze responses. Trauma threatens the ability to connect with self, others, and the world. It also interferes with imagining, dreaming, and envisioning possibilities beyond the immediate threat. According to Schouten et al. (2014), art and creativity can provide meaningful pathways out of traumatic impasses by helping individuals regulate their emotions, process painful experiences, and rediscover meaning. In this regard, art therapy and creative expression support the reconstruction of the self after trauma. Forgeard (2013) further explored how creativity can support recovery and contribute to posttraumatic growth.

Diamond, Ronel, and Shrira (Diamond et al. 2020) examined the experiences of artistic Holocaust survivors, who transitioned from a life fraught with threats to one defined by wonder. Their research yielded significant insights into the connection between creative expression and the traumatic histories of the survivors. The key findings underscored participants’ narratives about their relationships with the world and others as expressed through artistic practice. The data in this domain coalesced around two major themes.

Importantly, findings from both the Democratic Republic of Congo (DRC) and Canada show similar dynamics. In the DRC, music, ritual, and storytelling help survivors of sexual violence process despair communally, while in Canada, survivors described the transformative role of breaking silence, being believed, and engaging in creative or body-oriented practices. One participant explained the following: “My thoughts and emotions and feelings were basically non-existent… I was always numb” (Participant 2, Canada). He recalled that “I became a very, very angry child… displayed a lot of anger… everywhere, including public school” (Participant 2, Canada). A second emphasized the following: “Completely shattered my sense of trust… I felt I was to blame for everything” (Participant 3, Canada). Practitioners noted that storytelling itself becomes a creative act of re-authoring life, moving survivors from secrecy and shame toward meaning and connection.

1. Transitioning from a world of threat to a realm of wonder captures the shift from an internalized, trauma-filled existence to a state of observation aptly described as “wonder.” Wonder is defined as a deep attention or astonishment at something that is both enigmatic and new to one’s experience (Merriam-Webster dictionary, https://www.merriam-webster.com/dictionary/wonder). This transformation occurs as individuals distance themselves from the painful, haunting memories of the past, allowing them to view their surroundings with fresh eyes. This enables anxiety and fear to give way to new experiences that connect them with the world and others. This theme leads to two subthemes.

(a)

From fear to wonderment: This process entails converting elements of dread into creative resources. For example, nightmares and sleep disturbances can transform into wellsprings of inspiration, enabling traumatic recollections to act as a basis for artistic expression, as illustrated by a survivor in the following statement.

“I get compensation money from Germany, health, two issues; one, I have back problems because of the war. The second thing is persecution, a feeling of being chased and persecuted in various ways, characterized by restlessness, especially at night. Now, I can take a pill, maybe and try to sleep for a few hours, and that’s it. But I do not do that. First, I do not want to get used to pills; second, it gives me the fuel for the next day. It is not simple, it is to wake up sometimes at night many times, but, on the other hand, I think it is also, it gives me a lot of inspiration.”

Canadian survivors described parallel processes: silence, shame, and flashbacks weighed heavily until they began writing, creating art, or sharing their stories. One participant explained that disclosing his assault felt like “turning a locked door into a window,” enabling fear to give way to courage. Another reflected that drawing his experience “took the sting out of it” because the pain was now outside of him, visible but no longer in control.

(b)

Altering traumatic imagery: This subtheme involves transforming personal nightmares into artistic expressions that resonate with collective humanity and evoke shared meaning.

This is exemplified by the quotation below:

“The crematorium will always be in front of my eyes. I drew it from memory exactly, but it lost its horror because I painted it as if it were a structure, like this and that. Or I suddenly draw a picture, a musical one, yes, you see the music key, but slowly the notes become, if you look a little more, these are barbed wire. But it’s not a barbed wire fence that attacks me; you hardly see it, you have to look closely at it, that is, it’s my transformation. And that is art, not to describe something but to make the transformation. Everyone dreams about their childhood, but a great artist gives it another dimension.”

(Diamond et al. 2020, p. 613)

In the Canadian study, survivors described art, music, and therapy sessions where traumatic memories lost some of their horror once expressed.

2. Turning Outward: The Creative Experience of Engaging with the World and Others. This theme celebrates artistic expression and the appreciation of beauty, particularly in nature, and conveys a deep sense of gratitude. Two subthemes emerge from this primary theme.

(a)

Turning outward in compassion: Converting personal suffering into shared vulnerability. For example, a Holocaust survivor extends a message of care and hope to humanity.

“So all these things and the will for justice, I’m really glad I was able to convey these messages through photography, I think it’s something to do with the Holocaust, that things come out that either induce compassion, or that indicate a lack of compassion.”

(Diamond et al. 2020, p. 615)

Canadian survivors also spoke of compassion as a turning point in healing. Several expressed that sharing their stories in groups helped them not only feel less alone but also inspired them to support other men who had endured similar violence. One survivor explained that “what once destroyed me is now what connects me to others.”

(b)

Beyond the self: Encounters with awe and wonder. Below is a quote from a Holocaust survivor who expresses a feeling of belonging to something greater:

“It [art] links me to something that exists beyond my inner self. It represents a sort of cosmic bond. The inspiration it provides is not religious in nature, yet it evokes a sense of spirituality. What is the origin of this ability to perceive such connections? I am primarily thankful for having experienced it.”

(Diamond et al. 2020, p. 615)

Canadian participants echoed this sense of transcendence, describing moments in nature, music, or spiritual practice where they felt “part of something bigger” and no longer defined only by trauma. One participant explained that “reaching out is key… I’ve found some kind people, and one step led to another.” Such experiences of awe paralleled the communal transcendence reported in Congolese rituals, suggesting a cross-cultural role for beauty and wonder in moving beyond trauma toward renewed meaning.

This article illustrates how the emotional states of awe, wonder, compassion, and gratitude can evoke positive feelings that extend beyond the individual. Additionally, it explores how these specific emotions can assist in managing ongoing challenges related to trauma. As demonstrated in the preceding section, art seems to enable us to re-examine the significance of trauma through new perspectives, facilitating a journey beyond the self. It fosters a sense of wonder by encouraging reflection, igniting curiosity, and offering alternative viewpoints, ultimately broadening our understanding of the world and our place within it.

Irigaray (1993) posits that while other emotions involve a judgment that categorizes an object as lovable, hateful, or beautiful, wonder represents a direct and nonjudgmental reaction to that object. This sense of wonder can facilitate a transition from reactivity to contemplation, shifting from a fight-or-flight response to a more tranquil state of observation (Diamond et al. 2020).

3. Methodology

3.1. Research Design

This article adopts a comparative, phenomenologically informed research design. It combines (a) original qualitative research conducted in Canada—Silent no more; surviving male rape: journey to healing and recovery—with (b) a phenomenologically informed literature review of male survivors in the Democratic Republic of the Congo (DRC). Phenomenology seeks to illuminate lived experience and distill it into essential structures (Creswell and Poth 2017; Moustakas 1994). The Canadian component employs Interpretative Phenomenological Analysis (IPA) of in-depth interviews with survivors and trauma-informed practitioners, generating original data that ground the analysis empirically. The DRC component synthesizes peer-reviewed studies, NGO/UN reports, and survivor testimonies to situate these experiences within conflict-affected cultural realities. Taken together, these streams enable a cross-cultural examination of how trauma disrupts meaning and how beauty, art, and creative practices support healing and post-traumatic growth.

3.2. Data Sources

The reviewed sources include peer-reviewed journal articles on sexual violence against men in conflict and post-conflict settings; reports by NGOs, the United Nations, and human rights organizations documenting male sexual violence in the DRC; and cross-disciplinary scholarship in psychology, theology, philosophy, and aesthetics addressing beauty, awe, resilience, and post-traumatic growth. To maintain transparency, the evidence is consistently distinguished among the following categories:

• DRC-specific data, consisting primarily of qualitative research, field reports, and case studies of male survivors of sexual violence in the eastern provinces.
• General and cross-cultural materials, which provide theoretical insights into trauma, healing, and flourishing, but are not specific to the Congolese context.
• Newly collected Canadian data, drawn from the study Silent no more: Surviving male rape: Journey to healing and recovery. This component is based on semi-structured, in-depth interviews with 3 male survivors of sexual violence (aged 18–70, mean age 42) and 9 trauma-informed practitioners (psychotherapists, psychologists, and body-oriented specialists). Survivors included men from diverse backgrounds, including one who identified as LGBTQ+ and one of Indigenous (Native American) heritage.

Participants were recruited through specialized treatment centres (Somatic Experiencing Ottawa, Centre for Treatment of Sexual Abuse and Childhood Trauma, Ottawa Counselling and Psychotherapy), as well as through snowball sampling. Inclusion criteria were self-identified male gender, aged 18 years or older, and with lived experience of rape or sexual violence. Exclusion criteria were inability to provide informed consent or acute psychiatric crisis at the time of recruitment.

All participants provided informed consent following approval by the Saint Paul University Research Ethics Board. Interviews were conducted with safeguards to minimize distress, including the right to pause or terminate participation at any time and immediate referral pathways to trauma-specialized counselling and crisis services.

To preserve confidentiality, survivors are identified in quotations using pseudonymous codes (e.g., Participant 1–3). All transcripts were anonymized, and potentially identifying details were altered or omitted. Audio files and transcripts were stored on encrypted, password-protected servers accessible only to the research team.

3.3. Research Questions

This article is guided by the following research questions:

• How does conflict-related sexual violence against men in the DRC affect survivors’ psychological, relational, and spiritual well-being, and how do Canadian male survivors of rape describe similar or differing impacts in non-conflict settings?
• What role can beauty and art play in supporting post-traumatic growth and flourishing for male survivors of sexual violence across different cultural contexts (e.g., DRC and Canada)?
• How do creative, communal, and culturally embedded practices (e.g., music, group therapy, ritual) contribute to healing for survivors in the DRC, and how are comparable functions achieved through Canadian therapeutic and narrative practices (e.g., storytelling, body-oriented care, peer support)?
• To what extent are insights from the DRC transferable to broader discussions of male sexual violence and recovery in other contexts, and what unique contributions emerge from Canadian survivor testimonies and practitioner perspectives?

3.4. Analytical Approach

This study employs a thematic synthesis to integrate findings across diverse sources. Following Braun and Clarke’s (2006) model of thematic analysis, recurring patterns and themes were identified both within and across DRC-specific and general studies. Particular attention was given to the following analytic foci:

• The intersection of masculinity, trauma, and cultural codes.
• The role of beauty, awe, and other transcendent emotional states (e.g., gratitude, compassion, and wonder) in recovery.
• Collective and relational dimensions of healing, particularly through creative expression and community-based practices.

In parallel, the Canadian data were analyzed using Interpretative Phenomenological Analysis (IPA), following Smith et al.’s (2009) model. Analysis proceeded through (1) close reading and initial noting of transcripts, (2) identification of emergent themes, (3) clustering into superordinate themes, and (4) cross-case analysis to identify convergences and divergences across participants. Coding was conducted by two researchers, with credibility enhanced through an audit trail, peer debriefing, and reflexive memo-writing.

Researcher reflexivity was actively maintained through the analysis. The lead researcher, with a background in trauma and aesthetics, maintained reflexive journals to track assumptions and potential biases and engaged in peer consultation to support critical self-awareness throughout analysis.

Limitations: The Canadian sample was relatively small (n = 3 survivors, n = 9 practitioners) and is not statistically generalizable; however, the aim of IPA is depth of meaning rather than breadth. Recruitment spanned six months across multiple specialized centres; despite sustained outreach, enrollment remained low—a finding that itself testifies to the silence, stigma, and safety concerns surrounding male sexual victimization. This underscores both the ethical constraints on recruitment in this area and the significance of the narratives obtained. Findings from the DRC draw on secondary sources rather than new fieldwork, which constrains direct comparability of datasets. Even so, the combination of original Canadian narratives and DRC literature provides a rich comparative lens through which to examine cross-cultural dynamics of trauma, creativity, and healing, while highlighting the need for future larger, multi-site studies as conditions allow.

4. What Are the Effects of Conflict-Related Sexual Violence on Men, and How Does It Influence Perceptions of Beauty?

4.1. What Are the Effects of Conflict-Related Sexual Violence on Men?

The effects of sexual violence against men share several common characteristics across contexts. In the Democratic Republic of the Congo (DRC), survivors describe detrimental consequences for physical health, such as internal injuries, alongside profound and enduring psychological and psychosocial harm (Yagi 2024; Poirson et al. 2023; Alexandre et al. 2022; Yagi 2021). These harms are deeply tied to identity: men report feeling stripped of agency and dignity, reduced to “less than men,” or even feminized in ways that clash with cultural codes of masculinity (Yagi 2025, 2021; Edström and Dolan 2019). Disconnection from the self, severe stigma, and isolation are common, as is the silence imposed both externally by communities and internally through shame.

Canadian survivor testimony reinforces these themes, even outside a conflict setting (Canadian IPA data). Several men spoke of long-standing emotional blunting and disconnection: “The hardest part would have been, not being able to feel, not knowing connection… feeling very alone, and feeling like I’ve done something bad when I didn’t” (Participant 2, Canada). He described how trauma surfaced as anger—especially in adulthood: “I was a very angry man… got into a lot of trouble, fights all the time, alcohol, drugs” (Participant 2, Canada). Most strikingly, survivors emphasized broken trust and self-blame: “I assumed it was my fault and I was wrong… I became a very old man at that point” (Participant 3, Canada).

Another common complication is disbelief at first disclosure, which magnifies isolation and delays care. In the DRC, survivors report rejection by families and suspicion from communities (Edström and Dolan 2019). Canadian participants described almost identical experiences: “I remember telling my mother what was happening, but nothing was ever done” (Participant 2, Canada); “Nobody would really believe me anyway, and I thought it was my fault” (Participant 3, Canada). One participant reflected on how this silencing lasted decades: “When I told my mother at age 7 and wasn’t believed, I never told anyone else until rock bottom… It never came out until… I was nearly 50” (Participant 2, Canada).

Identity disruption is central in both contexts. Survivors oscillate between seeing themselves as “victims,” “survivors,” or even new, reclaimed identities. One Canadian participant explained the following: “OK, this happened to me and this is what I’m doing now to get past that” (Participant 2, Canada). He insisted, “What it means [to be a warrior] is that I’ve been dragged through the mud and you couldn’t keep me down… I keep fighting” (Participant 2, Canada). For Participant 3, the shift was subtler: “I’m more of a survivor because I do feel I’ve gone beyond, you know, the issue.” Yet identity remains fluid: “I slip back into victimhood once in a while… I think we are survivors, but…” (Participant 2, Canada). These shifting self-definitions mirror the tensions in the DRC, where survivors describe feeling diminished by rape but also finding meaning and strength through cultural, spiritual, or activist identities.

Finally, survivors in both settings frame their suffering not only as individual but also as collective. In Uganda (Men of Hope Refugee Association Uganda 2015), survivors in groups emphasize solidarity as a buffer against shame (Edström and Dolan 2019). In Canada, Participant 3 expressed this sense of shared struggle: “We’re in this together, right? Victims and survivors, we’re all in the same boat… one of many.”

Taken together, findings from the Canadian study demonstrate that although the context differs—non-conflict rather than war-related violence—male survivors reported many of the same outcomes: pervasive shame, stigma that silenced disclosure for years, feelings of being “less of a man,” and long-term psychological scars. Several spoke of carrying injuries “no one could see,” such as intrusive memories, sleep disruption, and persistent self-blame. Survivors also highlighted how cultural scripts around masculinity in Canada—expectations of stoicism, strength, and control—deepened their silence and delayed help-seeking. These cultural dynamics closely parallel the social barriers reported in the DRC, underscoring the universality of trauma’s impact on men across very different settings.

4.2. Weaponized Sexual Violence and Collective Healing: From Victim to Survivor (And Advocate)

Sexual violence as a weapon of war has gained recognition (Edström and Dolan 2019). Yet global attention remains centered on women and girls, often overshadowing male survivors (Touquet and Gorris 2016). The reluctance to acknowledge men stems from fears of resource competition, gender norms that reject male vulnerability, myths denying male rape, and criminalization of same-sex relations (Sivakumaran 2010; Edström and Dolan 2019; Clark 2023; Yagi 2024, 2025). Uganda’s Anti-Homosexuality Act of 2023 exemplifies these barriers by imposing severe penalties on consensual same-sex relations (Uganda’s Constitutional Court Rejects Petition Against Anti-Gay Law n.d.). Despite such constraints, organizations such as the Refugee Law Project (1999) and the Men of Hope Refugee Association Uganda (2015) have supported male survivors through workshops, education, and support groups. These initiatives transform survivors’ identities from “victim” to “survivor,” and even to “activist” (Edström and Dolan 2019). In the DRC, Panzi Hospital, founded by Dr. Denis Mukwege, has been internationally recognized for its support of survivors, although its focus on women risks marginalizing men. Integrating male survivors into interventions remains a challenge.

In recent years, a growing movement has emerged that emphasizes the inherent strengths, resilience, and self-healing capacities of individuals who have experienced trauma, such as sexual violence, rather than focusing solely on their pathological conditions (Ayalon 2005). This study adopts a post-traumatic growth framework, emphasizing resilience, self-healing, and recovery beyond pathology (Botero-Garcia et al. 2023; Ronel 2015), and highlights the potential for individuals to transcend their pain and suffering. One may ask: what does this transformative healing journey entail, and where does beauty fit in this journey?

Most male victims have experienced injuries resulting from sexual violence, and the manifestations of their trauma are conveyed through powerful imagery and language that highlight the persistent anguish associated with their altered existence. This includes expressions such as ‘broken,’ ‘empty,’ ‘destroyed,’ ‘damaged,’ ‘dehumanized,’ ‘diminished,’ ‘humiliated,’ ‘trapped in a pit,’ ‘no longer a man,’ or ‘only half a man.’ (Yagi 2021, pp. 112–13; Edström and Dolan 2019, pp. 180–81; Poirson et al. 2023), and “there is nothing worse than this life.” (Yagi 2021, p. 138). One male victim articulated his profound existential trauma and suffering, marked by despair, anxiety, fear, hopelessness, and a diminished sense of self and social identity, by comparing his existence to that of an animal. He stated:

“For me, a man is not like a cow. Because when it can be sick, they can kill it, but a human being is not a cow. For other things, I am ready to be killed. But I am still in my situation of life”.

(Yagi 2021, p. 138)

A man is denied the compassion of release from his suffering through death, much as a cow is spared from further pain. He is destined to endure his pain in solitude or confront his suffering directly through rebirth or renewal of life (Ferrucci 2009). The most effective way to address this emptiness is by enriching the void with profound meaning or beauty (Ferrucci 2009).

Although Canadian survivors did not experience sexual violence as a literal “weapon of war,” they described silence, stigma, and systemic neglect as forms of symbolic violence that compounded their trauma. Several participants explained that their assaults were minimized or disbelieved, reinforcing isolation and shame. For many, joining peer-support groups and speaking publicly about their experiences marked a turning point similar to that described by survivors in the DRC and Uganda: shifting from “victim” to “survivor” and, in some cases, to “advocate.” This suggests that although the contexts differ—conflict-related violence in the DRC and interpersonal assaults in Canada—the healing trajectory often involves collective recognition, breaking silence, and transforming suffering into solidarity.

Unfortunately, male victims of sexual violence in the Congo and beyond frequently discuss describe their healing process in a narrow, one-dimensional manner, focusing on the aspiration to return to their lives before the trauma, with the overarching aim of restoring their complete sense of masculinity (Yagi et al. 2022). This option is not viable for many individuals, particularly in the context of Congo, where resources for male victims are often limited or non-existent (Alexandre et al. 2022; Yagi 2021). Ettun, Schultz, and Bar-Sela (Ettun et al. 2014) holistically describe healing, emphasizing that it encompasses more than just physical recovery and can occur even without any physical restoration. In examining the rupture between an individual’s present and past self, Fishbane (2013) posits that the primary means of addressing this rupture lies within the individual’s sensory experiences. The arts serve as the fundamental language of the senses, predating the emergence of verbal communication (Fishbane 2013). The arts represent a crucial intermediary between the rupture and an individual’s body of work (Ettun et al. 2014). This realm, where one cultivates a dual awareness of the present moment and past trauma, is essential for fostering a meaningful existence and facilitating spiritual growth. The text provides a comprehensive definition of spirituality by focusing on how individuals pursue and articulate their sense of meaning and purpose (Sulmasy 2024; Frankl 1970). It also encompasses their experiences of connection to the present moment, to themselves, to others, to nature, and to what they consider significant or sacred (Sulmasy 2024). Findings from the Canadian study echo this broader horizon for healing: Survivors often moved beyond the goal of “being the man I was” toward constructing a renewed identity grounded in dignity, safety, connection, and purpose. Creative and body-oriented practices (e.g., guided imagery, movement, artmaking, and nature-based routines) helped them reconnect with the body and reweave meaning, rather than attempting to erase the event or reproduce a prior masculine ideal.

The idea of discovering meaning and purpose despite experiencing tragic events, such as trauma, is consistent with Viktor Frankl’s theory of existential analysis. Frankl formulated this theory after enduring the horrors of Nazi concentration camps in the 1940s. Central to his theory is the notion that individuals are inherently motivated by the quest for purpose in their lives, with logotherapy as a method to uncover that meaning (Frankl 1970). The application of logotherapy in the context of male survivors of sexual violence in the Democratic Republic of Congo (DRC) offers insights into culturally sensitive trauma recovery approaches. Although logotherapy was not originally designed for this population, its emphasis on meaning-making and creative expression provides a framework to support male survivors in processing conflict-related sexual trauma. Canadian survivors and practitioners similarly described meaning-making as pivotal: purpose was rediscovered through speaking out, mentoring others, creative expression, and small daily acts of agency (work, caregiving, and advocacy). In this sense, logotherapeutic principles complemented trauma-informed practice by orienting survivors toward values and commitments that outlast the trauma.

Trauma itself can significantly disrupt an individual’s ability to pursue meaning and purpose, as it often fractures the connection between the body, mind, and spirit (Van der Kolk 2015). Peter Levine (2008) highlights that trauma can immobilize natural defensive responses, leaving energy trapped in the body, which contributes to a sense of helplessness and disconnection. For male survivors of sexual violence, this physiological and psychological immobilization may exacerbate feelings of shame, isolation, and the perception that their life lacks coherence or purpose. Consistent with this, Canadian participants frequently reported somatic symptoms (e.g., sleep disturbance, chronic tension, gastrointestinal distress) that eased as they engaged in body-oriented therapies and grounding practices, underscoring the need to pair meaning-making with physiological regulation.

The foundational concepts of logotherapy are built upon three key pillars: (1) freedom of will, (2) the will to meaning, and (3) the meaning of life.

• Freedom of Will

The freedom of will does not imply that individuals are exempt from the impact of traumatic experiences, such as those associated with sexual violence. Instead, it refers to a “uniquely human capacity” (Frankl 1970, p. 4) that enables individuals to distance themselves from suffering, even in its most extreme forms. This “uniquely human phenomenon” (p. 4) resides at a higher level of consciousness, enabling individuals to transcend physical, biological, and psychological experiences and access a new spiritual dimension distinct from traditional religious interpretations. According to Frankl (1970), human existence encompasses three dimensions: (1) the physical dimension (somatic), (2) the mental dimension (psychic), and (3) the spiritual dimension (noetic/spiritual). He characterizes humanity as “unity in spite of multiplicity” (Frankl 1970, p. 9), emphasizing that the bodily, mental, and spiritual aspects of being are interconnected and cannot be viewed in isolation. Frankl further underscores the significance of recognizing the layers of human existence (bodily, mental, and spiritual), asserting that these modes (somatic, psychic, and spiritual) are inseparable (Frankl 1970). In parallel, trauma research suggests that effective healing must engage all three dimensions. Conventional Western approaches, including talk therapy, may be insufficient if the physiological imprint of trauma is neglected (Van der Kolk 2015). Somatic approaches, as advocated by Levine (Levine and Frederick 1997; Levine 2008), emphasize the importance of reconnecting with bodily sensations, discharging frozen energy, and restoring a sense of internal safety, thereby enabling the freedom to exercise the will in meaningful ways. Although Western interventions for sexual assault, including talk therapy and crisis intervention, are essential services for many survivors, as highlighted by Frankl, the healing process for sexual trauma must engage the mind, body, and spirit comprehensively, since these dimensions are inseparable. Levine (2008) argues that attempts to address trauma without acknowledging the physiological and non-verbal dimensions of the survivor’s experiences are destined to fail. Canadian clinicians interviewed in this study emphasized the same triadic focus: cognitive processing without somatic work often stalled, while integration of breath, movement, and sensory grounding increased tolerance for trauma memories and supported choicefulness—an experiential pathway to “freedom of will.”

2.

The will to meaning

Frankl recognized the quest for meaning as the fundamental driving force in human life (Frankl 1949, 1970). Frankl describes meaning “as something to be found rather than to be given, discovered rather than invented” (Frankl 1970, p. 43). The unique meaning of various situations can differ significantly among individuals, changing from one person to another and even fluctuating from day to day or hour to hour (Frankl 1970). Frankl also noted that certain situations possess shared characteristics, leading to meanings that resonate across different cultures, societies, and historical contexts (Frankl 1970).

Trauma can obscure the will to meaning by anchoring attention in survival and hypervigilance, leaving little cognitive or emotional space for the exploration of purpose (Van der Kolk 2015). By supporting survivors in reconnecting with their bodies and emotions, holistic or body-oriented methods can restore the capacity to pursue meaning actively rather than reactively. Creative expression, including arts-based practices, can serve as a bridge for survivors to access and articulate their personal sense of purpose while navigating the aftermath of trauma (Ettun et al. 2014). In Canada, survivors frequently described the return of meaning in relational and creative forms—being believed, helping another survivor, composing music or poetry, or spending time in nature. These modest but repeated acts reoriented attention from hypervigilance to value-driven living.

3.

The meaning of life

Frankl asserted that individuals are free to pursue the search for and realization of meaning in their lives (1949). He outlined several distinct avenues through which meaning can be uncovered (Frankl 1970, p. 48): (1) through the creation of a work or the performance of a deed, (2) by experiencing goodness, truth, and beauty, (3) through engagement with nature and culture, and (4) by connecting with another person in their unique humanity—essentially, through love.

Trauma-informed perspectives reinforce these pathways, emphasizing that engagement with nature, community, and non-verbal creative expression can restore a sense of coherence and wholeness disrupted by traumatic experiences (Poirson et al. 2023; Levine 2008). Survivors may find meaning not only through personal accomplishment but also by reconnecting with their bodies, nurturing social bonds, and fostering empathy and care toward others. Canadian practitioners reported that treatment plans explicitly incorporating these avenues (creative work, nature contact, service to others, and close relationships) were associated with sustained gains beyond symptom reduction, aligning with Frankl’s pathways to meaning.

Ettun, Schultz, and Bar-sela (Ettun et al. 2014) also discuss the concept of discovering meaning through the arts, which encompasses a diverse array of creative expressions. These include visual arts using paint, clay, stone, fabric, yarn, and poetry; writing; music; dance; movement; storytelling; and drama (Ettun et al. 2014). According to Frankl (1970), the aim of logotherapy, or the essence of being human, is not merely self-actualization but rather the realization of the “will to meaning” (Frankl 1949, 1970). This framework can be applied to understand how male survivors of sexual violence in the DRC may use creative and culturally resonant means, such as art, to reconstruct meaning and purpose in their lives, providing an empirically grounded link between logotherapy and the experiences of this specific population. By integrating trauma-sensitive approaches with logotherapy, survivors can access both the cognitive and somatic resources required to reclaim agency, transform suffering into personal growth, and reconnect with life’s purpose despite the disruptions caused by trauma. Similarly, Canadian survivor narratives and practitioner insights show that the arts—combined with somatic regulation—can operationalize the aims of logotherapy even in peacetime contexts, offering parallel routes to coherence and purpose.

How, then, does the quest for meaning and purpose relate to the experiences of male sexual victimization?

Schermer and Holmes (2018) observed that traditional masculine roles and expectations, such as the responsibilities to produce, provide, protect, and procreate, along with embodied traits like stoicism, strength, invulnerability, and impenetrability, have remained largely unchanged across cultures and time. Failing to adhere to these strict masculine norms can have severe repercussions, including shame, ridicule, stigma, and isolation (Yagi 2021). As a result, men often adopt these traits to avoid the negative effects of failing to conform to the male code, rather than genuinely pursuing meaning in their lives (Yagi 2021). An existential crisis may occur when individuals substitute the pursuit of meaning with alternative goals, such as the quest for pleasure or for power (Schermer and Holmes 2018). Yagi (2021) notes that prior to incidents of sexual violence, many men in the eastern region of the Democratic Republic of the Congo (DRC) were motivated by the aspiration to conform to the ideal of “true masculinity,” which aligns with the notion of the will to masculinity. When this will, or the commitment to the male code, is undermined, individuals experience a deep sense of meaninglessness and perceive the erosion of their masculinity as akin to a form of death (Yagi 2021). Canadian survivors also described the “male code” as a barrier to disclosure and care. Several reported that relinquishing rigid ideals (e.g., invulnerability, constant control) and embracing alternative masculinities (e.g., relational strength, compassion, advocacy) opened space for both recovery and meaning.

Although the trauma and losses associated with sexual violence against men are profoundly devastating, it is feasible to restore what has been shattered and to emerge from the ordeal transformed. This concept aligns with the philosophy of Kintsugi, the ancient Japanese art of repairing broken pottery with gold that celebrates the beauty of embracing brokenness (Dobkin 2022). Kintsugi involves the meticulous repair of broken pottery using lacquer combined with powdered gold, silver, or platinum, resulting in an object that is not only restored but also elevated to a state of exquisite uniqueness, surpassing its original form (Dobkin 2022). Within suffering lies an opportunity for growth and transformation. Both Congolese testimonies and Canadian interviews invoked similar metaphors—“new dawn,” “roots and branches,” “gold in the cracks”—to describe post-traumatic growth that does not deny damage but renders it meaningful within a renewed life story.

Ferrucci (2009) notes that while we typically associate artistic experience with nature or art, it can arise from any circumstance, as “beauty is everywhere” (p. 15). Survivors recount their perception of beauty by describing a “strong sense of connection with everything” (Clark 2023, p. 107). They also propose a title for their life story, “My New Dawn,” and invoke natural imagery such as ‘light,’ ‘horizon,’ ‘roots,’ ‘water,’ ‘river,’ ‘chrysalis,’ and ‘butterfly’ to illustrate the supportive and sustaining connections in their lives (Clark 2023, p. 107). We can encounter such beauty and wonder through the capacity to tune in (Ferrucci 2009). Canadian survivors similarly described moments of beauty—quiet mornings, music, prayer, time in forests or by water—as anchors that stabilized emotions and expanded perspective, reinforcing the role of everyday aesthetic experience in recovery.

Beauty can also be found in the experience of connecting with others and engaging in activism (Clark 2023; Poirson et al. 2023). Clark (2023) emphasizes that connectivity extends beyond mere connections with individuals or organizations; it encompasses relationships characterized by care and mutual support. In the context of male survivors, connectivity can manifest in various forms, for example, through the supportive atmosphere of a group setting. Additionally, spirituality plays a vital role in recovery by fostering resilience, providing a sense of transcendence, and strengthening communal bonds. Within the Congolese context, spiritual practices and beliefs not only support individual coping but also facilitate community reintegration by restoring shared values and collective identity. In Canada, peer groups and survivor-led initiatives similarly transformed isolation into solidarity, with several participants reporting that advocacy itself became a source of meaning and beauty—an outward expression of healing that connected personal recovery with community change.

4.3. The Healing Power of Beauty in Group Therapy: Healing Together as a Community

Group therapy—whether formal or informal—offers survivors a sense of community, validation, and shared strength. It provides (a) a sense of belonging and solidarity; (b) opportunities to share coping strategies; and (c) support for emotional regulation and personal growth (Edström and Dolan 2019; Yalom 1995). This approach cultivates a strong sense of community and belonging, providing validation and emotional support (Edström and Dolan 2019; Yalom 1995). Additionally, it facilitates the exchange of coping strategies, enhances self-awareness, fosters self-empowerment and personal growth, and helps diminish feelings of isolation while promoting social integration (Edström and Dolan 2019; Yalom 1995).

Group therapy can intentionally incorporate creative activities such as music (e.g., listening to or composing music to facilitate relaxation, emotional expression, and connection), art (e.g., using art supplies to convey emotions and examine experiences), or drama (e.g., role-playing and other theatrical methods to explore social interactions and enhance skills) to promote emotional expression, address trauma, and support the healing process (Edström and Dolan 2019). Creative endeavors may also include nature-based approaches, such as spending time in a garden or participating in outdoor activities, that foster relaxation, mindfulness, and a deeper connection with the natural environment (Edström and Dolan 2019).

Edström and Dolan (2019) examined how a collective of male refugees who experienced sexual violence managed to break the silence, organize, heal, and emerge as activists. The authors also explored the significance of mutual assistance and collaborative efforts, examining how such participation should be understood in this ongoing struggle. This article draws on research conducted in Uganda in 2015 (Men of Hope Refugee Association Uganda 2015).

Aligning with current research, peer support has played a vital role in the healing journeys of these men, facilitating the restoration of hope, acknowledgment, belonging, and broader recovery (Edström and Dolan 2019). In his video testimony, one participant shared that his experiences with the group helped him understand that his silence was ‘causing a lot of harm; it was eating up many things in my body’ (Edström and Dolan 2019, p. 182). Many participants remarked that being part of a group constitutes a form of healing in its own right (Edström and Dolan 2019). For an extended period, male rape has been regarded as a taboo topic, perpetuating silence and individual suffering (Yagi 2024). Healing and recovery are significantly hindered by silence (Yagi 2024). In Uganda (Men of Hope Refugee Association Uganda 2015), male survivors have confronted this taboo and collectively broken the silence as a means of fostering community healing. These viewpoints highlight that although suffering is initially a profoundly personal experience, healing is fundamentally relational; it occurs through interactions with others who share similar concerns rather than being solely an individual journey.

The Canadian data reinforce this conclusion. Survivors in Canada consistently described peer groups, survivor circles, and therapy collectives as pivotal in breaking isolation and reducing shame. Several participants noted that “just sitting in a room with others who knew what I meant without words” was more healing than years of silence. Participant 3 explained the following: “I feel fine about sharing it. I wouldn’t share it to any group… but a group such as yours or yourself… who is there to help. Sharing with ‘who’s there to help,’ which I don’t mind doing at all.” Similarly, Participant 1 insisted, “You have to talk because if you keep it inside, it blows up like a balloon.” Participant 3 reflected that “reaching out is key… I’ve found some kind people, and one step led to another.”

Group sessions often integrated body-oriented practices (e.g., breathwork, grounding, mindfulness) alongside storytelling, producing a balance of emotional release and physiological regulation. Practitioners emphasized that the beauty of group therapy lay in its collective rhythm—the shared laughter, tears, and silences—that made survivors feel held and seen. Participant 2 stressed how silence had worsened his suffering: “When I told my mother at age 7 and wasn’t believed, I never told anyone else until rock bottom.” This decades-long silence illustrates the devastating effects of isolation and the transformative role of peer support in opening pathways to healing.

In the context of male survivors, the body was initially perceived as ailing, characterized by a focus on injury and deficiency, which fostered a feeling of entrapment within oneself. However, the spirit of community and sharing in the group’s safe and non-judgmental environment provided opportunities for alternative possibilities and renewal. Additionally, Edström and Dolan (2019) emphasize that the support provided reaches beyond the confines of the group itself. For example, a partner illustrated how group members occasionally stepped in to offer support and counsel during times of difficulty at home. Canadian evidence mirrors this spillover effect: survivors reported that group solidarity translated into improved communication with partners, parenting with more patience, and advocacy in their workplaces and communities. Thus, group-based healing generated ripples of relational repair that extended beyond the immediate therapeutic setting.

4.4. The Healing Power of Beauty Through Music to Transcend and Heal Together

In the Democratic Republic of the Congo (DRC), music is not only a form of artistic expression but also a central part of daily life, cultural identity, and healing practices. For male survivors of sexual violence, music provides a culturally meaningful pathway to processing trauma, reconstructing meaning, and reconnecting with their communities. In this context, music and logotherapeutic principles intersect, offering avenues to restore purpose, express emotions, and foster resilience in the face of profound adversity.

Beauty, in its various forms, whether found in nature or human creativity, has long been linked to healing. Nature, as an element beyond human creation, offers signs of transcendence and sustenance. In contrast, music, as a human art form, evokes robust bodily responses, rekindles memories, and transports individuals to new emotional and cognitive realms (Ferrucci 2009). In the DRC, music plays a central role in cultural identity and communal life. For male survivors of sexual violence, it offers a culturally meaningful pathway to processing trauma, reconstructing meaning, and reconnecting socially. Music serves as a form of logotherapy, sustaining hope, reframing suffering, and restoring dignity (Ferrucci 2009). The resilience of the Congolese people is evident in their creative engagement with art. Music therapy has emerged as a culturally resonant approach for mental health support, enabling both emotional expression and meaning-making. Programs such as Healing in Harmony (HIH) demonstrate the therapeutic power of music in addressing depression, anxiety, and PTSD among survivors (Cikuru et al. 2021). Comparable approaches among men show promise for social reintegration and acceptance of psychological care.

In the Canadian context, survivors also identified music as a central resource in their healing journeys. Several participants described writing songs, creating playlists that “gave words to what I couldn’t say,” or returning to instruments they had set aside after trauma. One survivor explained that composing music allowed him to “put chaos into rhythm,” thereby transforming overwhelming emotions into structured, sharable art. Practitioners emphasized that music created a safe emotional container, enabling survivors to revisit painful memories without being consumed by them. Music therapy sessions often included drumming circles, collaborative songwriting, and guided listening—activities that, much as in the DRC, fostered connection, self-expression, and resilience.

Through structured music therapy, male survivors can engage in culturally meaningful pathways that foster resilience, agency, and hope.

The significance of music extends far beyond the DRC. Historically, creative expression has played a central role in collective healing, from freedom songs and jazz during the Civil Rights Movement to the music of South Africa under apartheid. Such art forms not only enabled communities to process collective trauma but also amplified global awareness and solidarity (Barker 2015; Power 2014). Congolese music similarly has gained global recognition, with styles such as soukous, rumba, and ndombolo spreading internationally. Artists such as Papa Wemba, Koffi Olomide, and Fally Ipupa have elevated African music on the world stage, demonstrating how cultural art forms can serve as powerful mediums for expression, resistance, advocacy, and healing. In contexts with limited media coverage, Congolese music also becomes a vital tool for raising awareness about ongoing atrocities and genocide in the region.

Likewise, Canadian survivors noted that music connected them to a broader community of resilience and advocacy. One participant described music as his “spiritual grounding,” a practice that helped him through triggers and moments of despair. Others emphasized that “sharing survivor-created songs at community events and vigils” transformed private suffering into collective awareness. For some, music became not only a therapeutic tool but also a political one—breaking silence, challenging stigma, and inspiring other men to speak. In this way, music in Canada mirrored its role in the DRC: serving as a bridge between personal healing and collective transformation.

Across cultures and throughout history, music and art have proven to be universal languages of resilience, providing pathways to navigate suffering and rebuild meaning. In the DRC, they operate at the intersection of culture, therapy, and logotherapy, enabling male survivors of sexual violence to reconstruct purpose, strengthen community bonds, and access transformative healing. In Canada, survivor testimonies confirm that music can likewise foster agency, voice, and advocacy, offering an essential bridge between inner recovery and public solidarity.

5. Discussion

As shown throughout the text, beauty and art can manifest in numerous forms, shapes, and contexts, encompassing visual arts, music, dance, storytelling, and various methods of meaning-making. They serve as a therapeutic outlet for individuals and communities impacted by violence and oppression. This article illustrates how beauty and art can promote healing in diverse ways, including artistic expression, therapeutic recovery, community healing, advocacy, and raising awareness. Participation in artistic activities can help articulate challenging and traumatic experiences, thereby fostering healing. Collaborative interventions promote open and honest dialogue among victims and survivors, nurturing a sense of community, solidarity, and mutual support. Beauty can also be conveyed through music, advocacy, and awareness by motivating actions on both local and global scales. This can shape the cultivation of compassion by encouraging individuals to empathize with those who suffer, even if only for a moment. In that instant, survivors are no longer invisible, and the weight of their pain and suffering is shared with others, albeit temporarily.

Through beauty and wonder, many survivors and their communities can rediscover hope and, for some, transformation, turning pain into messages of resilience and strength. The experiences of male survivors of sexual violence in the DRC illustrate how culturally specific art forms and practices can facilitate healing while linking local experiences to broader discussions of art, trauma, and resilience worldwide. At the same time, evidence from Canadian survivors underscores that these processes are not limited to conflict-affected regions. Survivors in Canada reported similar pathways of healing—storytelling, music-making, peer support circles, and creative expression—suggesting that beauty functions as a cross-cultural medium of recovery. What differs are the forms it takes and the social conditions that enable or hinder those forms. In the DRC, beauty often emerges in collective, ritual, or musical forms tied to communal survival. In Canada, survivors frequently engaged with structured therapy groups, music therapy, and practitioner-facilitated storytelling as vehicles for reclaiming voice and dignity.

One Canadian participant explained that composing music allowed him to “put chaos into rhythm,” while another insisted that “you have to talk because if you keep it inside, it blows up like a balloon.” These reflections highlight how creative expression and disclosure, whether through art or words, transformed silence into a resource for meaning-making.

By highlighting these Congolese narratives, the article demonstrates that while the context is specific, the restorative power of beauty and creative expression has relevance across cultures and societies. This comparative perspective advances knowledge in two ways: (1) it challenges assumptions that male survivor healing is culture-specific or exceptional; and (2) it reveals how universal dynamics of art, beauty, and community can adapt to local contexts, whether in post-conflict eastern Congo or urban Canada.

The impact of these messages can resonate through generations to come. Indeed, several Canadian survivors described their creative projects (songs, memoirs, art pieces) not only as personal healing but also as legacies for their children and communities—mirroring the Congolese emphasis on passing resilience and cultural memory forward. As one survivor put it, “The six times I’ve written my story, my ending has always been different,” underscoring that creativity is both an ongoing practice of self-reconstruction and a gift to future generations. This intergenerational dimension of healing reinforces the argument that art and beauty are not only therapeutic but also socially transformative, shaping narratives of survival, justice, and human dignity across time and place.

6. Conclusions: Linking Findings to the Research Questions

This analysis demonstrates that conflict-related sexual violence against men in the Democratic Republic of Congo (DRC) profoundly impacts survivors’ psychological, relational, and spiritual well-being. Male survivors experience disruption in identity, social bonds, and meaning-making, highlighting the multifaceted nature of trauma that extends beyond the individual to relational and community dimensions. Healing, therefore, cannot be fully realized through a solely clinical or individual approach; it must engage relational, cultural, and existential pathways that restore dignity, agency, and connection.

Beauty and creative expression emerge as essential resources in supporting post-traumatic growth and flourishing for male survivors. Engagement with music, visual arts, storytelling, dance, and other aesthetic forms offers survivors avenues to articulate traumatic experiences, cultivate resilience, and reclaim a sense of purpose. These creative practices not only enable emotional expression but also facilitate cognitive reframing, self-transcendence, and renewed meaning-making, promoting recovery that extends beyond symptom reduction to holistic flourishing.

Culturally embedded and communal practices—such as group therapy, ritual, and music—play a particularly significant role in the Congolese context. Music, for instance, provides a culturally resonant medium through which survivors can process trauma, rebuild social connections, and integrate experiences into a coherent narrative of resilience. Group-based and communal interventions foster solidarity, mutual support, and empathy, reinforcing the relational dimension of healing. By incorporating traditional practices and community engagement, these approaches honor the socio-cultural fabric of the DRC while offering pathways to restore interpersonal and spiritual well-being.

Findings from Canada complement and extend these insights. Canadian survivors of rape described how peer groups, music therapy, body-oriented care, and narrative practices allowed them to confront silence, reduce shame, and rebuild agency. In contrast to the DRC, where collective rituals often emerge organically from cultural traditions, healing in Canada frequently took place in structured therapeutic contexts. Yet the underlying processes—storytelling, creative expression, and collective presence—proved equally vital. One participant reflected that “Being able to connect with you and to be able to talk about this… this conversation was never ever possible, maybe 10 years ago,” underscoring the role of connection and dialogue in breaking isolation. Practitioners emphasized that healing is not linear but cyclical, requiring survivors to move repeatedly between despair and meaning-making, often using art and beauty as bridges across those states.

Insights from the DRC also have broader relevance for understanding and addressing male sexual violence globally. Although healing practices must remain culturally sensitive, the universality of art and beauty as tools for expression, meaning-making, and resilience underscores their potential applicability across contexts. The comparative perspective with Canada illustrates that while cultural forms differ, the human capacity to transform suffering through creativity remains consistent. Survivors in both settings affirmed that beauty—whether found in music, art, words, or shared silence—reconnected them to life, to others, and to hope.

Future research should continue to explore how culturally grounded creative practices can be systematically integrated into therapeutic interventions, ensuring that male survivors of sexual violence are supported within relational, communal, and spiritual frameworks. Expanding comparative research, including voices from conflict zones and non-conflict contexts, will deepen understanding of both universal and culture-specific pathways of healing. By embracing beauty, creativity, and collective engagement, survivors can reconstruct identity, restore relationships, and envision possibilities for hope, growth, and flourishing. As one Canadian survivor advised, “If there’s anything—there are no guarantees of the outcome of the journey, but as long as you have a little kind of light left… just hang on to whatever that is.” This approach affirms the enduring human capacity for resilience, transformation, and the co-creation of meaning in the aftermath of profound adversity.