Flávio Fonseca: 

“If we are artists, may our art be illuminated”

 The maestro talks about the role of the artist in the improvement of the quality of Spiritist artistic events and products

Flávio Souza da Fonseca (photo) was born in Rio de Janeiro but lives in the Brazilian capital, Brasília. He was born in a Spiritist family and, despite taking part in regular family prayers and meetings, only fully engaged in the Spiritist Movement in 1984, at the Spiritist Centre Irmão Estêvão. He translated a book by Roque Jacinto, O Vale da Neblina, into

Esperanto and had many articles published across the world (in Portuguese and Esperanto), mainly on Spiritism and Music. But the highlight of his work is his records. He is the author of 14 albums and has taken part in about 60 others. He has performed in more than 100 concerts around the world. He gives lectures and talks in Spiritist Centres (usually in the company of his guitar), gives workshops and seminars and takes parts in many other events. Flávio Fonseca, who has a degree in Music Writing and Directing at the University of Brasília and a Master Degree in Jungian Psychotherapy, gave us this interview:

What has led you to work with Spiritist art? Tell us a bit more about your music and your latest work. 

First of all, I must say that I make no distinction between Spiritist music and non-Spiritist music. I am a Spiritist and, as such, I can’t avoid that my convictions influence my work. If it didn’t I would be a hypocrite. Even when I put melody on the lyrics of someone else, the principle is the same. Hence, I feel comfortable to play any of my songs to a commercial audience or a Spiritist audience.

I have produced the songs and concerts of many Spiritist artists. My lates CD is called O Som da Poesia (The Sound of Poetry – facebook.com/osomdapoesia). It has my melody to lyrics by the poet, Aglaia Souza, who’s my mother. 

What method do you have for your work and how long does it take it to prepare your artwork? 

Inspiration is a very relative concept. It comes sometimes at the most unexpected times; other times, it comes as a result of lots of planning and perspiration. From the beginning to the conclusion of a piece, it may take minutes or weeks. 

What is your assessment of the quality of Spiritist art at the moment? 

We still lag well behind the technical and artistic level of other religions, as well as in distribution and publicity. However, if you look back you see that we have come a long way. Many artists began to get well known for the consistency of their work and we can see that some locations in Brazil have become production hubs. 

What are the main obstacles to overcome? 

First of all, the individual problems, which are the same for any human being, artist or not: we need to be willing to carry out our inner reform. As a group, we, Spiritists, still lack the resources for developing the arts. Sometimes that is due to absolute lack of resources, but in other cases it is the result of misconceived ideas about the arts inside the Spiritist Movement. And this tends to be the case, with a few honourable exceptions.  

What is the role of music writers, artists in general, writers and those in positions of power within the Spiritist Movement in the improvement of the quality of Spiritist art? 

Each one in their position must understand and accept its mission in this field. Once we understand the power the arts have to transform, as a powerful tool to help us in our daily metamorphoses, its importance in Spiritism will become clear. Or, we could say, the importance of the arts for the spiritual development of each one of us will become clear. So, if we are artists, may our art be illuminated. If we are in directors in Spiritist organisations, may we set the right conditions for the development of art and the artists. If we have resources for the dissemination, education or promotion, let us do whatever is at our reach. 

What do you think needs and must change in order to encourage the formation of new Spiritist musicians? 

As individuals, we need to continue to study, always. We need to study the Spiritist Teachings as well as our art form. What we need to do needs to be done well and based on sound knowledge. Looking at the Spiritist Movement as a whole, we need to create better conditions for art production, getting rid of preconceived ideas and encouraging all artists, not only those who are beginning. 

What are your plans for the future in Spiritist art? 

I want to carry on with my work, encouraged by what I believe in and taking my song (and therefore my feelings) wherever I can, inside and outside the Spiritist Movement. 

What is your final message to our readers? 

Let us never give up our attempts to progress and develop in all areas and aspects: at a personal, technical and spiritual level.