Suzana Amyuni (photo) is a journalist in the Brazilian city of São Carlos, in the state of São Paulo, where she volunteers at the Obreiros do Bem Spiritist Association. She is the editor of the group’s newsletter and the director of the Affetto Choir. In this interview, she speaks about her passion for music and the art of declamation.  

How did you become interested in declamation?

My maternal grandfather was a poet. And he always wanted to have a family of artists. So he enrolled his five children in arts courses: music, dance, painting and declamation. As the eldest sibling, my mother studied music and declamation and eventually taught me every detail of this beautiful art form. My first poem declamation was at my local school in the city of São José do Rio Preto. I had other opportunities to perform at university. And in 2019, when my mother celebrated her 80th birthday, we produced a video with many poems that my grandfather wrote for her. That was a nice opportunity for me to get to know him a bit better. 

What technique do you use to memorise a text, especially if it is quite long?

I always use several tools or techniques. The first one is to read the whole text, making a concerted effort to understand and to understand in my heart what it means. If it was written a long time ago, I try to place myself in that world. With my grandfather’s poems, I always visualise him writing for grandmother, as he did so often. Recently, when I was invited for the declamation of three prefaces of books by Cairbar Schutel [a great pioneer of Spiritism in Brazil], I tried to place myself in that atmosphere of love to Jesus and gratitude. That type of exercise helps us raise inside us the feeling and emotions that the author perhaps wanted to convey. The second tool is to copy the text in our own handwriting a few times, as we did in school, as teenagers. Then I read it several times and try to memorise it bit by bit. Finally, I like to read ii in front of the mirror. That allows me to see my interpretation of the text and to make the necessary arrangements. 

How is the interaction with the public?

During every declamation, I try to make eye contact with the people in the audience. I feel that the energy that comes from them is essential. The aim of anyone who’s making a declamation is to take the message across in a different, unique way from the listener’s perspective, perhaps making them feel the same way that we do. It really satisfies me when I realise that the message makes sense for the person who’s listening to me. And I feel immense gratitude for all of them, as they give the opportunity of being there and performing. I feel, essentially, that I am making my grandfather’s dreams come true. I never met him personally but I’ve always heard nice things about him. 

What is your best memory from all these years in public speaking?

The reaction of the people when they hear a poem that’s new to them is something that really stays with me. When, at the end of the declamation, they come to ask me what that text or poem was, I can see a special shine in their eyes, which reveals their fascination with that experience and, most of all, with the content of the message. That is an amazing feeling: To bring something new into people’s lives, to help other people, in the same way that I am constantly being helped, and to expand the cultural knowledge of those around us. Poetry brings enchantment, it brings magic into our lives. 

How about your experience in music? How did it happen?

It also came through my family, again. Only, my contact and training in music has been much longer and consistent than that with declamation. As a young girl, I studied electronic organ, piano, singing and, at the age of 15, I was invited to join a music school in Rio Preto. Now, I still study the piano and, much to my joy, I am married to a multi-instrumentalist.  

Tell us about the experience of mixing art and the Gospel during the Chords for the Gospel performances by the Affetto Choir [at the Obreiros do Bem Spiritist Association].

Music harmonises the ambience and brings peace to our hearts. By playing music before Spiritist meetings or events, we help people become more receptive for the words of the Gospel. It is very interesting to see how people follow the songs we sing in such a relaxed manner. Everyone relaxes and it feels like they open their hearts to hear what will be said by the public speaker. We have a small choir of only 10 people on average. But when we get together we are so happy that our music seems to echo louder. Sometimes, without our previous knowledge, the repertoire we choose matches the theme of the lecture or talk of that day. Chords for the Gospel is indeed a very appropriate name for our performances, as it means to be an invitation for people to effectively tune in with the words of Jesus. 

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