Psychotherapist Specialized in Prevention and Treatment of Trauma


"For the sake of just resilience,

Primary colors

will be a global landmark

in favor of the most diverse audiences.

Its contents become the

limpid rainbow

that many of us need to see and feel

in the midst of the densest blackness. "


Renata Chapa González





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written by the

Prof. Renata Chapa González,



Years ago, voluntarily and independently, I was able to open four educational spaces: in two children's shelters, in the pediatric area of ​​a clinic of the Mexican Institute of Social Security and in the Center for Social Readaptation. The four institutions, located in the city where I live, cared, respectively, for orphaned girls, boys and adolescents or those in charge of violent guardians, as was the case with several of their mothers who were involved in prostitution; to patients with the most diverse symptomatological pictures, but with similar socioeconomic precariousness, including that of the hospital environment where they were treated; to inmates - some of them accompanied by their children under the age of three - who were serving sentences for robberies, fraud, homicides, drug use and trafficking, rapes.


Intuitively, as a stubborn hunch, I believed that playful and creative accompaniment could alleviate pain if we were helped by books, paintings, movies, music, and computer and virtual technologies that were gaining strength. By collaborating in each of the places referred to, I found that, for example, those responsible for those spaces also carried their personal ordeals. The elderly lady and nuns who depended on "divine providence" to support more than fifty infants; the stressed doctor, with a cold face and voice, who disagreed with battered phrases with nurses and parents of the many little bedridden; the grim custodians and custodians, immersed in a highly dangerous prison environment with a thousand inmates, but who also had to render daily accounts as family providers. And we, those of us who were going to give the classes, the workshops, the courses in an altruistic way, were not left out - at all - of the shared emotional ups and downs.


In the midst of this paradoxical context of love-hate, hate-love, I got to know the word "resilience." Its academic definition was the mirror of my pragmatic beliefs for individual empowerment and, in turn, of the collective. He supposed that the inspiring presence of someone or something could help regain self-esteem. To change the internal chemistry. To find, even in the darkest experiences, havens of peace and, with probability, a dose of contentment. And it hadn't been so wrong. Since then and until now, any source of information related to this concept, "resilience" and its transformative scope, continue to be a privileged topic.


Time continued its course and resilient educational practices yielded various results. One of them allowed me that, instead of being in front of the desk of a public official to request help for the four social causes, I would experience that same responsibility, but as the director of a Municipal Institute of Culture. Thus, the time came to broaden the radius of action so that more people could benefit from the educational duo "arts and resilience."


Several programs were designed from that perspective, in the midst of one of the most violent times in Mexico due to the rise of organized crime and the war between them, the Government and us, the citizens. There, in the midst of a community convulsed by fear and eager, at the same time, for resilient experiences, I gauged the professional potential of the author of Primary Colors, teacher Aurora Luna Walss. In their hands was the cherished illusion of girls and boys from rural areas and polygons of urban violence. His assignment was cathartic, educational. Humanistic and humanitarian. Through art, the teacher Luna and her "superheroes" and "superheroines", turned the anguish into crayon strokes; terror in games and toys; the depressive anxiety in the certainty of "I am worth", "I can", "I am an artist".


Based on this experience, and again at the head of another Institute of Culture inserted in the field of Public Security, I made two fundamental decisions: first, to include in the official organization chart a coordination of resilience and arts; and second, requesting Ms. Luna to accept the tenure thanks to her academic leadership and administrative vision. His outstanding work capacity and disciplined results were a guarantee. She accepted the invitation and, in one semester, the area under her charge reported advances in theoretical research at an international level, with special links with colleagues from Canada, Spain, Colombia, the United States and Mexico, as well as valuable art therapy interventions in almost the all the programs of the rest of the coordination of the department of culture.


Unfortunately, the academic perspective shared by Ms. Luna, some colleagues from professional work and I began to be questioned by third parties who had never heard the term "resilience" before, and, therefore, were unaware not only of the literal meaning of the word, rather, they affirmed that "that thing" had no relation to art. That they were two different areas. The questioning was so controversial that the contributions built on the issues of resilience and the arts, even with the scientific and artistic credentials already obtained by the sensible work of the academic punctual, were suspended from the ground. Result as of today? The resilient abilities of both, through different paths, still stand and with a list of artistic programs in favor of different vulnerable audiences. The birth of Primary Colors is written proof of this.


Throughout the twelve chapters that make up this book, the author accompanies both readers who are beginning their knowledge of art therapy and those with more experience on the subject. It combines citations and paraphrases from different sources of information and from various authors that, added to their own arguments, make Primary Colors a useful bibliographic reference. Of emergent necessity, even, given the increasingly high levels of violence and multiple poverties that surround us.


The selected topics make up a hybrid backbone: it has theoretical benefits, scientific thoroughness, but also even more case studies brimming with goodness. That is, it opens two fronts that illustrate the intellectual and the sensorial. His is a didacticism congruent with the noble power of art therapy through reading.


One of the main contributions of the bibliographic reference with which the Torreonense psychotherapist begins her career in the publishing world here, appears as a reiteration. She insists on explaining to us that we are all capable of creating - and seeking emotional healing - through art. She is identified with art therapy scholars who repeal the aesthetic, doctoral sanction that constrains free expression in artistic productions.


Thanks to Primary Colors it is understandable how the choice of a material, a color, a perspective is a faithful emotional photograph of us and, from it, the resilient process can take its course. In this sense, the sensitivity of the art therapist also warns us of the importance of what might seem simple or ephemeral in the eyes of some skeptics: the value of our emotions when painting, singing, dancing, writing, reading, staging in combination. with our mental health. That is, with the most valuable human treasure.


The subsequent pages are the result of years of multidisciplinary experiences in the service of others. In each contribution, its creator sought, once again, to raise the quality of life of the readers. If we search between and on the lines of this book, we will know that brushes, canvases, songs, paragraphs and clays are included to remodel ourselves in freedom and return from reading a dance of ideas, relief and indelible motivation.


Another no less stubborn hunch based on the past and present of Aurora Luna's trajectory tells me that, for the sake of just resilience, Primary Colors will be a world reference point in favor of the most diverse audiences. Its contents become the limpid rainbow that many of us need to see - and feel - in the midst of the densest blackness. As Tzmetan Todorov narrates in his book Insubordinate, when referring to the writer Boris Pasternak: “Believing that his time has come, (Boris) mentally addresses God: 'I thank you for giving all intense colors, for having made life and death what they are, because your word is majesty and music, for having made me an artist, for art to be your school and for having prepared me all my life for tonight '”.


Renata Chapa

Editorial IDÍLEO



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So was the


from the book Primary Colors

August 15, 2020


Learn about my professional career in Expressive Arts Therapy, Family and Couple Psychotherapy, Education and Art.