{"id":63459,"date":"2026-07-30T10:05:39","date_gmt":"2026-07-30T08:05:39","guid":{"rendered":"https:\/\/www.omnesmag.com\/?p=63459"},"modified":"2026-07-30T10:48:43","modified_gmt":"2026-07-30T08:48:43","slug":"four-voices-reflecting-on-conversion","status":"publish","type":"post","link":"https:\/\/www.omnesmag.com\/en\/foco\/cuatro-voces-para-reflexionar-sobre-la-conversion\/","title":{"rendered":"Four Perspectives on Conversion"},"content":{"rendered":"

In 2017, David Arratibel directed \u201cConverso,\u201d a documentary in which he attempts to understand\u2014through conversations with his mother, sisters, and brother-in-law\u2014why his entire family has embraced a faith he does not share. Nine years later, the film was screened at the Real Colegio Alfonso XII in El Escorial, as part of the 6th Edition of the Observatory of the Invisible<\/a>, the summer school of art and spirituality that the V\u00eda del Arte Foundation, led by sculptor Javier Viver, held at the Royal Monastery, with \u201cair\u201d as its overarching theme. <\/p>\n\n\n\n

The event brought together about 150 participants, who took part in workshops on music, relief art, dance, and writing, among others. Each afternoon, they gathered for group activities, such as the film screening and discussion held this evening.<\/p>\n\n\n\n

The film was followed by a discussion. Seated alongside the director were four people who have taken a different path from that of skepticism, three of whom are instructors in the Observatory\u2019s workshops: Actor Llu\u00eds Homar led the theater workshop; philosopher Fabrice Hadjadj, the writing workshop; and art curator Maider Montalb\u00e1n Errasti, the curatorial workshop, while Ernesto Castro, also a philosopher, attended as a guest.<\/p>\n\n\n\n

One word<\/strong><\/h2>\n\n\n\n

The moderator kicked things off by asking each guest to summarize in one word what conversion means to them. Homar, who received a thorough Catholic upbringing and drifted away from the faith as a teenager, needed no more than three: \u201cComing home.\u201d Castro, who was baptized and confirmed as an adult during the most recent Easter Vigil, responded with a reference to Lope de Vega and his sonnet \u201cma\u00f1ana le abriremos\u201d (\u201ctomorrow we will open\u201d): \u201cDon\u2019t say tomorrow.\u201d Montalb\u00e1n chose \u201charmonize\u201d: the first conversion consists of finding the right pitch, as in Gregorian chant, and what follows is a constant exercise in harmonization through the sacraments.<\/p>\n\n\n\n

Hadjadj, born into a Jewish and atheist family, rejected the idea of a \u201creturn home\u201d: his parents, he has said, viewed his conversion to Christianity as a betrayal. For him, following Christ is \u201can intensification of life\u2019s drama\u201d: \u201cMore joy and more anguish, more open hands and more nails in the hands.\u2018 His former life, he said, resembled the beads of a rosary that had burst; his conversion was the discovery of the thread that weaves the fragments into a story. Arratibel, for his part, has focused on the etymology that gives his film its title: \u2019\u201dConverso\u2019 from \u2018conversar\u2019 (to converse): trying to understand one another in order to understand.\u201d.<\/p>\n\n\n\n

What separates<\/strong><\/h2>\n\n\n\n

The director laid bare the experience at the heart of his documentary\u2014one that, as he admitted, has made him reflect and suffer: the distance that his family members\u201c conversion created within the family. A distance he described as \u201da very subtle barrier,\u201c almost imperceptible, yet compatible with affection: \u201dWe care for each other, we love each other, but there\u2019s still something that separates us.\u201c He wasn\u2019t speaking of hostility or reproach, but rather of the feeling that his own \u201dtribe\u201c has changed its code\u2014almost its language. And he gave a personal example: the Bible his sister gave him with a card\u2014\u201dI want you to be happy\u201d\u2014seemed to him like a gesture of love tinged with a touch of condescension, made from a place he is expected to reach someday.<\/p>\n\n\n\n

Homar responded by drawing on his own life story: the eighth child in a family where five siblings stopped practicing their faith, he is the only one who has returned to the Church, and a year ago he celebrated his wedding in the Church with all his siblings in attendance. In his case, he said, the fraternal bond created by his parents outweighs the divide between believers and non-believers, and he himself strives to serve as a point of connection between the two sides.<\/p>\n\n\n\n

The key response came from Hadjadj, who has reversed the meaning of separation: God creates the world through separation, and the distance that concerns Arratibel is also the condition for the other to appear as the other. He dedicated one of the night\u2019s most memorable quotes to the director: \u201cI want your consistency, more than your conversion.\u201d And he concluded with this statement: \u201cCommunion is found in truth, not in affection.\u201d The drama of Christianity, he added, does not stem from persecution but from love, because the more one loves, the more exposed one is to being wounded.<\/p>\n\n\n\n

Montalb\u00e1n suggested reinterpreting one of the film\u2019s central scenes\u2014the director\u2019s conversation with his mother\u2014as what it is in Catholic terms: an examination of conscience, including a request for forgiveness for the sin of pride. Maider explained that her own conversion began when she sat in the back pew of a church in Bilbao with an observer\u2019s attitude\u2014\u201clet\u2019s see what\u2019s going on with these people\u201d\u2014and she acknowledged that this sense of moral superiority over believers also exists, even though converts rarely speak of it. <\/p>\n\n\n\n

Castro, for his part, recalled the first comment his atheist mother made after his recent baptism: \u201cYou\u2019re welcome.\u201d He believed that not having been baptized as a child had allowed him to say \u201cyes\u201d in a conscious, adult way.<\/p>\n\n\n\n

\u201cI\u2019ll pray for you\u201d<\/strong><\/h2>\n\n\n\n

The symposium found its second focal point in another film, \u201cLos domingos\u201d by Alauda Ruiz de Az\u00faa, about a teenage girl who contemplates a religious vocation within a secular family. Arratibel said he was devastated after the screening: in it, he encountered once again the phrase \u201cI\u2019ll pray for you,\u201d which he had heard dozens of times at the \u201cConverso\u201d symposiums and in which he perceives a non-horizontal relationship between the one who prays and the one for whom the prayer is offered.<\/p>\n\n\n\n

The line divided the table. Homar, a believer, considers it unnecessary coming from the character: \u201cI would have conveyed it with a glance.\u201d Montalb\u00e1n, on the other hand, defended it against what he calls the transformation of kindness into do-goodism, and turned the question back: it\u2019s also worth examining how much paternalism the non-believer exercises over the believer, and what secular dogmas of faith\u2014the religion of experiences, the theology of progress\u2014are at work in those who lament what the young woman \u201cis going to miss out on.\u201d. <\/p>\n\n\n\n

Castro shifted the discussion to the realm of language: if there is one thing that unites religion and art, it is the struggle against clich\u00e9s, and the problem with \u201cI\u2019ll pray for you\u201d is not the prayer itself but the stock phrase: \u201cTrue charity would have been for them to pray for you without telling you so.\u201d. <\/p>\n\n\n\n

Hadjadj brought the discussion full circle: for him, even a \u201cgood morning\u201d can be a blessing, because the essence of the word lies not in what it expresses but in its tone and intention. The discussion continued afterward with comments from the students.<\/p>\n\n\n\n

The French philosopher concluded by emphasizing that the Church is not a club; it embraces otherness without absorbing it, and for that reason, one should be wary of fusion, \u201cwhich is not confusion.\u201d This idea connects with the image that opens and closes \u201cConverso\u201d: the organ being repaired by the director\u2019s brother-in-law, a metaphor for a Church in which the air flowing through the pipes is what inspires each member to create harmony. Singing without the instrument, Arratibel once said, is seeking that harmony through the body. In an issue of the Observatorio dedicated precisely to air, the metaphor has found its place.<\/p>","protected":false},"excerpt":{"rendered":"

David Arratibel dirigi\u00f3 en 2017 \u201cConverso\u201d, un documental en el que intenta entender, a trav\u00e9s de conversaciones con su madre, sus hermanas y su cu\u00f1ado, por qu\u00e9 toda su familia ha abrazado una fe que \u00e9l no comparte. Nueve a\u00f1os despu\u00e9s, la pel\u00edcula se ha proyectado en el Real Colegio Alfonso XII de El Escorial, […]<\/p>\n","protected":false},"author":2425,"featured_media":63460,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[549,548],"tags":[1242],"class_list":["post-63459","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-evangelizacion","category-foco","tag-conversion"],"yoast_head":"\nCuatro voces para reflexionar sobre la conversi\u00f3n - Omnes<\/title>\n<meta name=\"description\" content=\"Las conversiones han dejado de ser casos aislados y a esa realidad ha dedicado una velada central el Observatorio de lo Invisible.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.omnesmag.com\/en\/focus\/four-voices-reflecting-on-conversion\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cuatro voces para reflexionar sobre la conversi\u00f3n - 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