"In the order I was in, each brother takes five vows, one of which is teaching the poor gratuitously. As a young person I was seized by this idea of social justice and I wanted very much to follow my vow of teaching the poor gratuitously"
About this Quote
There is something bracingly unglamorous in Reggio’s phrasing: “in the order I was in,” “five vows,” “teaching the poor gratuitously.” It reads like a ledger entry, and that’s the point. Before he became the director of wordless, operatic films about modern life, he’s locating his origin in discipline, obligation, and a very concrete ethic: knowledge as a public good, not a commodity. “Gratuitously” matters here. It’s not just “for free”; it’s an assertion that teaching can be an act of repair rather than transaction.
The subtext is the tension between youthful purity and the adult reality that “social justice” is never just an idea. Reggio frames his conviction as being “seized” by it, a verb that suggests possession, urgency, and maybe a hint of danger. He isn’t describing a career plan; he’s describing a conversion experience. That language also foreshadows his later work, which often treats society as something that captures us - by speed, technology, systems - and asks what gets displaced when we stop choosing and start complying.
Contextually, this sits in the long American mid-century story of religious orders doing frontline social work, especially in communities written off by the market. Reggio’s intent isn’t to romanticize poverty; it’s to stake a claim that the moral center of culture can be built in places where money doesn’t circulate. Even as a director, he keeps that vow’s logic: make the invisible visible, and do it without asking the vulnerable to pay the price of being seen.
The subtext is the tension between youthful purity and the adult reality that “social justice” is never just an idea. Reggio frames his conviction as being “seized” by it, a verb that suggests possession, urgency, and maybe a hint of danger. He isn’t describing a career plan; he’s describing a conversion experience. That language also foreshadows his later work, which often treats society as something that captures us - by speed, technology, systems - and asks what gets displaced when we stop choosing and start complying.
Contextually, this sits in the long American mid-century story of religious orders doing frontline social work, especially in communities written off by the market. Reggio’s intent isn’t to romanticize poverty; it’s to stake a claim that the moral center of culture can be built in places where money doesn’t circulate. Even as a director, he keeps that vow’s logic: make the invisible visible, and do it without asking the vulnerable to pay the price of being seen.
Quote Details
| Topic | Teaching |
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