Renata Magri Runho: 

“Spiritist education through the arts is the best way
of learning”

The Spiritist educator from the Brazilian state of São Paulo shares
her thoughts on the use of the arts in the Spiritist
ducation of children and young people

	Renata Magri Runho (photo), a psychologist and Spiritist for 20 years, works as volunteer in a number of activities and coordinator of the team of educators at the Spiritist Centre Portal da Luz, in the city of Araraquara, in Brazil’s São Paulo state. She is also a Spiritist speaker and one of the organisers of the renowned annual meeting Cairbar
Schutel. A married woman and a mother, she talks in this interview about her experiences as an educator in Spiritism and in her private life:

You have made frequent use of the arts in your efforts to disseminate Spiritism. Where does that come from? 

As a teenager I joined an amateur theatre company, acting in children and mainstream plays. I even took part in children’s parties, working with puppets. I have always admired the work of my friends who are artists and took courses with them. And at university I joined the university choir.  

What is your assessment of the integration between Spiritist art and theory, knowledge? And how is that integration applied by Spiritist organisations? 

We must used different languages in order to reach everyone, as people’s intelligences have different aspects. The arts are the best way of expanding people’s cultural level, making them reconsider the way they think and act as they get to know themselves and other people better and reassess their values, fears and desires… In our classes, the principles of Spiritism are put forward though workshops, songs, plays, reading, dialogue etc.

I would like to give an example of what we do. We were studying a chapter that focused on “Christ, the Consoler”. We began by listening to a talk by the well-known Brazilian Spiritist speaker Haroldo Dutra Dias speaking of Jesus. In the next class we read extracts from The Gospel According to Spiritism. Then we read extracts of the book, Boa Nova, by Humberto de Campos, describing the life of Christ. Then we watched a video about the crucifixion of Jesus. That generated curiosity about the lives of Peter and Mary of Magdala. We read and discussed other Spiritist books and finally watched a play about the life of Jesus and Mary of Magdala, where we had a final discussion. We used a number of different languages to discuss the same issue, which means that the educator has probably managed to get the message across to a greater number of people. 

Is there anything you would like to share with us from recent Spiritist events that we took part in? 

Last year’s Cairbar Schutel Yearly Meeting had the role of the arts in Spiritism as its main theme. And the main person focused was Wallace Leal, who has already returned to the Spirit World but who, while with us in the material world used poetry, fashion, the theatre and above all love to help disseminate Spiritism. I was really moved by the experience. It became clear to me that my work in the dissemination of Spiritism has to be through the arts. 

Why is there still scepticism about the use of the arts for the dissemination of Spiritism? 

There is lack of information and proper knowledge of Spiritism, which leads to stereotypes and prejudices. Allan Kardec, the codifier of Spiritism, was a great enthusiast of the arts in the Spiritist Magazine he edited. His steps were followed by those of Léon Dennis. Both had vast culture, wisdom and refined education, proving that the good use of the arts is the only way to lift us towards Spiritual development. In extracts of the books dictated by André Luiz to Chico Xavier there are many instances where the Spirits gather to listen to good music, to admire paintings. There is sound, harmony and nature! But many of those in charge of Spiritist Centres have little information about pedagogy, psychology, anthropology and the arts in general. If they had more information and knowledge, they would embrace the arts in their study groups and public lectures and talks. 

How are the music and performance arts in general being used in Spiritism to reach the young people who get interested in the Teachings? 

Many NGOs in Brazil do a great job these days using dance, capoeira, the theatre and music in general to protect vulnerable young people from drug addiction, domestic violence and sexual abuse. The main challenge these organisations face is to make sure that those youngsters will continue to say to the drugs and drug trafficking when they become adults. It is a tough, competitive world out there, but I believe that Spiritist education through the arts is the best way of learning. That is the best way because it provides knowledge, truth and logics and we know that what every child and young person wants is consistency and safety. 

Is there anything else you would like to add? 

On the day I give you this interview, the American actor, Robin Williams, has passed away. He acted in one the films that marked my life, Dead Poets’ Society. I was only 17 when I saw it and remember when his character, John Keating, said: “We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering, these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for”. I believe the examples of sacrifice and suffering are now obsolete. Our children and young people are looking for examples of love and wisdom and that is why we have Spiritism. With its rationality, it expands our conscience and free out soul. All we need is some good pedagogy, the pedagogy of Spiritism.