THE DRAMA CIRCLE

Promoting Bahá'í-inspired Theatre Initiatives

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and the Performing Arts

Introduction

     The Bahá’í Faith upholds a special station for the arts in the development of human society and in the “spreading of the divine fragrances”—that is, the sharing of the spirit and message of God’s most recent Manifestation.  From time immemorial, the arts have been greatly nourished by religion, both inwardly, through the creative Word working through individual artistic temperaments, and outwardly, through its power as a unifying and integrative force in society creating favorable circumstances for artistic development.  Never before though in the history of religion has such clear and authoritative guidance been provided with regard to the use and potential of the arts than is provided in this day with the Bahá’í Writings.  We may then well expect great things, very great things.  At the same time, this is an organic process and the fairest fruits will be harvested in the future only because of the sacrificial cultivation of this field today. 
     The following selections have been chosen because of the particular relevance they bear to the nature and potential of the dramatic arts.  Most of the quotes are taken from “The Importance of the Arts in Promoting the Faith,” compiled by the Research Department of the Universal House of Justice (Haifa: Bahá’í World Center, 1998)  

The Role of Drama & the Arts in the Bahá’í Community

1. “The House of Justice wished for us to express to you its delight in learning about the recent accomplishments of ..... and to convey its warmest encouragement of your work.  The place of the arts, especially the performing arts, in delivering the spirit and teachings of the Faith is of great importance.  The arts have a special capacity not only to stimulate people’s thinking but, even more, to touch their hearts and open their eyes to new possibilities.  Be assured of the House of Justice in the Holy Shrines on behalf of you and all those associated with this most praiseworthy endeavor.”

Letter to an individual on behalf of the Universal House of Justice,
16 March 2004.
 

2. “In all their efforts to achieve the aim of the Four Year Plan, the friends are also asked to give greater attention to the use of the arts, not only for proclamation, but also for the work in expansion and consolidation. The graphic and performing arts and literature have played, and can play, a major role in extending the influence of the Cause. At the level of folk art, this possibility can be pursued in every part of the world, whether it be in villages, towns or cities. Shoghi Effendi held high hopes for the arts as a means for attracting attention to the Teachings. A letter written on his behalf to an individual thus conveys the Guardian's view:

‘The day will come when the Cause will spread like wildfire when its spirit and teachings will be presented on the stage or in art and literature as a whole. Art can better awaken such noble sentiments than cold rationalizing, especially among the mass of the people.’”

The Universal House of Justice, Letter to the Bahá’ís of the World, 21 April 1996 (From “The Importance of the Arts” compilation, #69)
 

3. “Your sincere desire to use theatre as a means of spreading the tenets of the Faith among the people is commendable and it is the hope of the House of Justice that your devoted efforts in this field may bring satisfaction to yourselves and benefits to the community…”

Letter to a National Spiritual Assembly on behalf of the Universal House of Justice, 9 April 1990.  (From “The Importance of the Arts” compilation, # 65)

The Place of the Arts in the Current Priorities

4. “On several occasions we have made reference to the coherence that is brought to the process of growth through the establishment of study circles, devotional meetings and children’s classes… When strenuously pursued in a cluster, all of this activity eventually brings about conditions favourable for launching an intensive programme of growth...  The study and application of the teachings become a pervasive habit, and the spirit of communal worship generated by devotional meetings begins to permeate the community’s collective endeavours. A graceful integration of the arts into diverse activities enhances the surge of energy that mobilizes the believers. Classes for the spiritual education of children and junior youth serve to strengthen the roots of the Faith in the local population…”

The Universal House of Justice, Letter to the Counsellors, 27 December 2005.
 

5. “Spiritual education of children and junior youth are of paramount importance to the further progress of the community. It is therefore imperative that this deficiency be remedied.  Among the young ones in the community are those known as junior youth, who fall between the ages of, say, 12 and 15. They represent a special group with special needs as they are somewhat in between childhood and youth when many changes are occurring within them. Creative attention must be devoted to involving them in programmes of activity that will engage their interests, mold their capacities for teaching and service, and involve them in social interaction with older youth. The employment of the arts in various forms can be of great value in such activity.”

The Universal House of Justice, Letter to the Bahá’ís of the World, 21 April 2000.

6. “Your letter dated 29 November 2006 with its enclosures, in which you propose the introduction of art supplements to the institute process as well as the wider realization of artistic presentations in priority clusters, was received...
     In its letter to all National Spiritual Assemblies dated 28 December 2005, the House of Justice explained that courses branching out from the main sequence would emerge as a result of efforts to meet specific training needs defined by action on the ground and would adhere to a certain logic, both internally and in the context of the overall institute program.
     This same letter also indicated that materials which have been developed in other contexts over the years, such as those of “The Drama Circle”, would surely find their place in the Bahá'í community. Some, it noted, could form the basis for deepening classes at the grass roots, while others might contribute to the formation of a set of branch courses. Of course, in the case of the latter, they would be selected by specific institutes in response to needs identified through their experience with the populations they serve.
      To this end, you should feel encouraged to pursue your work in this field of endeavor, confident that if carried out in a spirit of service and devotion it will yield fruit and help to infuse your community’s life with an all-important creative and artistic spirit.”

Letter to an individual on behalf of the Universal House of Justice,
26 January 2007.
 

* Introduction

* The Role of Drama & the Arts in the Bahá’í Community

* The Place of the Arts in the Current Priorities

Page 2

* The Source of the Arts

* Drama & Education

Page 3

* Attitudes & Environment

* Subject Matter

* More on Subject Matter

Page 4

* Drama as a Profession

* The Future of Drama

* 'Our Theatre'

* Baha'u'llah and the play "Shah Sultan Salim"

Page 5

* The Drama of the Kingdom

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