Bahá’í World/Volume 33/Promoting the Evolution of Culture

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[Page 221]

Promoting the Evolution

of Culture: INTEGRATING THE ARTS INTO BAHA’I’ COMMUNITY LIFE

Holy Spirit.”1 Indeed, Bahé’u’lléh wrote that “the mere revelation of the word ‘Fashionerm releases sufficient power to “generate, through successive ages, all the manifold arts which the hands of man can produce” and that “its animating energies, stirring within all created things, give birth to the means and instruments whereby such arts can be produced and perfected.”2 Bahai’i’s, then, see a close link between the divine creative impulse and individual expressions of artistic creativity. Of course, there are many varieties of artistic expression, but in the Bahé’i' perspective, “These gifts are fulfilling their highest purpose, when showing forth the praise of God.”3 Artistic endeavors have long been valued in the Bahé’i' communi— ty, as members have striven to give creative expression to their belief. There have, of course, been notable figures in the arts who have embraced the Bahé’i’ Faith throughout its short period of existence, and the richness of their work is recognized.4 Yet, community and culture are evolutionary in nature, and because the Bahé’i’ commu- nity is still so young and relatively small, most artistic contributions have been “grassroots” expressions of the creative impulse.

C Q bdu’l-Bahé is reported to have called the arts “3 gift of the

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As late as 1957, a letter written on behalf of Shoghi Effendi stated clearly, “there is no cultural expression which could be called Baha’i at this time (distinctive music, literature, art, architecture, etc., being the flower of the civilization and not coming at the beginning of a new Revelation).”5 Twenty-eight years later, the Universal House of Justice reiterated this point in a letter to an individual, writing that “Baha’i art, music, architecture or culture . . . will doubtless emerge in the future as a natural outgrowth of a Babe“ civilization.”6

By the time of the worldwide Baha’i Four Year Plan (1996—2000), the community had evolved to the point where the Universal House of Justice asked Bahé’i’s to “give greater attention to the use of the arts,” which, “[a]t the level of folk art, . . . can be pursued in every part of the world, whether it be in villages, towns, or cities.”7

As a result of this guidance, the Baha’i community is now making a concentrated effort to integrate the arts into its life—particularly through the institute process, a collaborative learning program being pursued by Baha’l’s around the world. Individuals are encouraged to develop and give greater expression to the creative impulses that each of us possesses. As members of Baha’i institutions are also engaged in this process, all elements of the community are working in harmony, and study has fostered the development of creativity at all levels.

The development of the arts enhances community life, forging heartfelt connections among individuals, whether children or adults. Artistic expression creates a sense of intimacy and an atmosphere of trust, which can revolutionize relationships—whether the artist’s view of him— or herself, the creators relationship to the material he or she is seeking to express, or relationships among audience mem— bers who view the work. Artistic presentations based on the history of the Baha’i Faith, for example, convey not only information and knowledge, but also a feeling of identification with historical figures, which strengthens people’s faith—the writer’s, the actors), and the audience’s. And for those who strive to express something important to them—whether a spiritual insight or an episode in the life of a historical figure—the artistic effort contributes to personal growth through the learning of new skills, even by people who may have felt they had no talent in this area. Expressions do not need to be grand in scope. Encouragement of crafts as well as the arts is found within the institute process, and participants who claim they had absolutely

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no creative talent or skill have reported their surprise and satisfaction at learning to fashion items as simple as greeting cards.

When Bahé’l’s seek to teach or proclaim the spiritual truths of their Faith, the arts can communicate those truths in a powerful way that goes beyond intellectual comprehension or appreciation. Grassroots artistic initiatives such as local youth dance workshops can help people address serious social issues such as the equality of the sexes, drug and alcohol abuse, and war. Bahé’is have also explored other approaches to social issues through the arts. In Ethiopia, a number of Bahé’i’ artists, journalists, and writers have established an arts group aimed at youth, with the goal of promoting behavioral transformation and encouraging the unprejudiced search for truth, and in Mongolia, the volunteer group Youth Can Make a Difference Against Alcohol, of which most members are Bahé’is, has offered workshops and performances at secondary schools on the issue of alcohol abuse.

And finally, purely as entertainment, the arts can create feelings ofjoy both in artists and in those who share the fruits of their efforts. In fact, Bahé’fs are finding that grassroots arts initiatives introduce a

m:-

Some of the musicians at a national Balad’z’youtb conference in Guinea.

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spirit of dynamism and creativity at all levels of community life and foster greater receptivity and appreciation for the arts in general.

A key point regarding the artistic expressions being promoted in the Bahé’i’ community is the encouragement that they be culturally varied and appropriate. The universal principles and common history of the Faith find lively expression through a wide diversity of cul- tures. In Armenia, for example, participants in an institute campaign learned Armenian songs, read Armenian poems, looked at Armenian paintings, and viewed Armenian classical films, to explore connec— tions between spiritual education and their own cultural heritage. And sometimes gatherings become joyous multicultural celebrations. A Councilfire gathering in August 2004 in Washington State, USA, featured Makah traditional songs, but also Celtic music, songs from Kenya and Tonga, Persian chanting, and prayers in French, Spanish, Makah, Tsimshian, and languages from Southwestern tribes and from Togo—and well into the night, participants were enthusiastically learning Persian dancing. In many communities around the world, native drumming, singing, storytelling, and other cultural activities have become part of regularly planned activities.

One Bahé’f artist, Istvan Dely, describes a gathering with a group of Saamaka Bush Negroes at the Bahé’i’ center in Kambalua, in the heart of upper Suriname. Five days previous, the junior youth in another village downriver took one of the quotations from the Bahé’i’ writings in the first book of the Ruhi Institute curriculum, Reflection: on the L1)? of the Spirit, in their own language, and set it to music. Since then, two other villages have learned it and added their own compositions in their traditional musical styles. Now, to the accompaniment of Mr. Dely—a Hungarian-born, Afro—Cuban— trained percussionist visiting Suriname—and a local Saamaka tutor, who are beating traditional apinti and apuku drums, almost the entire village has gathered, is learning the words (“Say: 0 brethren! Let deeds, not words, be your adorning”), and is joining in. The air is electric with the music. As he drums, Mr. Dely records the music on a cassette recorder so that other communities can learn it, too. “This process,” he writes, “simple as it looks, is nothing short of creating new folklore”; the sacred word, planted at the heart of a culture, has begun the process of transforming its members. That is why, writes Mr. Dely, the Universal House of Justice has stated

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repeatedly that the systematic and grassroots focused use of the arts is an essential part of the institute process.8

Within the institute process, in which the Baha’i community is engaged in all parts of the world, reside three core activities: study circles (a decentralized training program centered around spiritual themes), devotional meetings for prayer and worship, and classes for the spiritual education of children. These activities are open to all who are interested, whether Baha’is or not. Of course there are many other types of gatherings that also form part of Baha’i community life, but these core activities have been a major focus during the past several years, and Baha’l’s have been experimenting in ways to make the arts an integral part of them.9

Study circles have been called “[a] natural channel through which the friends can express their artistic talents and sentiments,”10 and tutors are encouraged to introduce the arts in ways that will stimu— late participants’ spiritual development, help them to become aware of ways they can render meaningful service, to open up “creative channels through which can flow inspiration,” and to help release “the force of attraction to beauty.”11 A few examples will illustrate the point. One tutor took up ballet again, which she had loved as a child, after reading about this encouragement of the arts. A study circle participant began to compose music, while another held an exhibition of his paintings, and another tutor decided that even though he didn’t feel he was naturally gifted as an artist, he would take a pottery class. He reported that when he completed his first project, he was surprised at how enjoyable it was to create something. Furthermore, he was able to make connections with artists whom he could invite to his study circle to share their knowledge and skills. On the same theme, a tutor attended a workshop on cardmaking, to learn how to integrate the arts into her study circle. Although she claimed to be not at all artistic, she found the activity enjoyable and felt empowered, by the end of the workshop, that she had actually made something she could give away—a feeling that was heightened by the enthusiastic reception of one of her cards, when she presented it to a friend. And in Nunavut, one of the northern territories in Canada, participants in a program initiated by an individual Baha’i that encourages children to express themselves through painting are also experiencing the joy that comes through developing their cre-

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ative power. In small communities where services are limited, youth suicide is a serious problem, and opportunities for artistic expression are limited, the program has become very popular.

Experience has shown that arts activities reinforce learning. Par— ticipants in one study circle developed artistic presentations based on one aspect of a Babe“ quotation that they had been learning and found that their comprehension of the passage was greatly en— hanced. In Honduras and Nicaragua, young people from Garifuna background have responded enthusiastically to the incorporation of dance, music, songs, painting, drama, and storytelling in their study. At a tutor training session, drummers and dancers analyzed their own cultural story dances, such as those performed at funer— als, for movements and story elements upon which they could build dances appropriate for Baha’i sacred occasions. As a result of this analysis and experimentation, the youth’s attitudes, sense of inspiration, and their appreciation for reverence and beauty grew markedly. The development of dramatic skits has also helped study circle participants relate the materials they are studying to situations in their local communities.

Sometimes even basic attempts to encourage creative expression can change group members’ views of, and relationships with, each other. When one tutor asked study circle participants to write down their interests, she discovered that one was interested in filmmaking, another wrote poetry, and one composed music—and even though the participants knew each other, they weren’t aware of each other’s interests and talents. Now they were able to encourage each other, share their work, and draw on the various talents of group members in collective projects.

Puppetry, knitting, embroidery, creating art from recycled materials, various kinds of music, and storytelling are some of the many other types of artistic expression that have been used in study circles around the world. One study circle even enlisted the help of a professional animator to develop pictures to enhance the members’ storytelling efforts.

Bahé’r’s have found that the arts help to establish a spiritual, uplifting atmosphere in the devotional gatherings that they have organized, which have taken many different shapes in various parts of the world and to which Baha’l’s and their friends contribute

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At the Arts Academy in the UK, pwformert Sbirin Youseflian—Madnizmfiom Greece and Bill Georgefiom Pennsylvania, USA, show (1 yaungpzzrtz'cipant a puppet wed in Bill’s theater wor/e.

poems, music, sacred stories, and other appropriate artistic offerings. For example, communities in Tanzania often perform a traditional dance called the “bwasi bwasi” after their devotional meetings outside the Bahé’l’ centers.

Children in spiritual education classes all over the world respond eagerly to arts activities. In Kinshasa in the Democratic Republic of the Congo, for example, children’s classes have begun to make extensive use of dramatic skits to learn their lessons, and have performed their plays, choral presentations, and puppet theater in several schools in the area, including one for handicapped Children, while in Kiribati, the children in a local Bahé’l’ class put on a show that included a dance on the subject of racial disunity and a play based on a local song. In Bermuda, :1 Bahé’i-initiated children’s program entitled “A Peace ofArt,” uses the arts to promote a deeper understanding of moral virtues.

On a Wider scale, in Australia, the Bethe“ Education in State Schools (BESS) initiative has incorporated the arts into its spiritual education program, drawing on skilled individuals from the Bahé’l’ and the Wider community, including resources developed through

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A children’s peifirmance at a summer school in Slovakia.

the institute process.‘ One school holiday program in Western Aus— tralia, called “Art Beat,” featured a four—day “Creative Expressions” workshop that included dance, role—playing, cooperative games, and drama, while a second program focused on textiles, creative writing and storytelling, creating treasure boxes, and claywork. All incorpo— rated Bahé’l’ themes such as the oneness of the human family and gems ofvirtues, and parents enjoyed an exhibition and performance of the children’s work at the end of the week.

Children’s festivals sponsored by Bahé’l’s in Cambodia and Sabah have used the performing arts extensively, including instruction in Khmer traditional dances, traditional musical instruments, dramatic performances, songs, and storytelling, with chants for prayers and sacred writings composed by the youth themselves.

Throughout the world, Bahé’l’s are holding “reflection meetings” at regular intervals to review and analyze what they have learned from their study and actions within the framework of the institute process and to develop forward—looking plans. As with other events, the arts are gradually becoming an important element of these meet— ings. Skits and artistic presentations by Children and youth are often

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incorporated, as are displays of artwork done in study Circles, with some participants sharing insights about their artistic efforts. They are sometimes even used as an aid to the study of recent documents pertaining to the institute process. One reflection meeting in the northern coastal region of Colombia featured songs and Hidden Words of Bahé’u’llah chanted by a local musical group, while youth from a study circle presented local dances. In Australia, a youth choir and dance workshop formed with the specific goal of performing at the next reflection meeting, where they were warmly received. While rehearsing for the event, the older and younger youth got to know each other much better, enhancing their identity as Baha’l’s and the unity of the entire community.

Building on this increase in artistic capacity that has been nurtured through the institute process, many communities have incorporated the arts into the devotional portion of the Nineteen Day Feast to make it more creative and uplifting, and in Papua New Guinea skits have been performed at Feasts to facilitate community education about Baha’i teachings and laws. The arts are also becom— ing central elements of Baha’i holy day commemorations around the world.

National gatherings have also been enlivened by artistic contri— butions. A recent National Convention in Tonga not only featured music and devotions in preparation for the election of the National Spiritual Assembly, but there was also a musical festival that included singing and poetry readings. In Angola, delegates and observers at the National Convention sang songs, drummed, and played other traditional instruments. More and more National Conventions re- port that artistic elements—particularly music—heighten the spirit of the event.

In the United Kingdom, the annual National Baha’i Festival regularly incorporates the arts, including choirs, dramatic mono— logues of Baha’i heroes and heroines, and performances of full—length dramatic works on themes relevant to the current plan. That national community is now able to draw upon greatly increased artistic re— sources, thanks to both the institute process and the very successful annual summer Arts Academy it holds, in which participants have explored subjects such as drama, creative writing, mask—making, music, painting, and dance in classes facilitated by experts in these

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Particzpants in a “Peiforming wit/y Mada” workshop at the Arts Academy in the United Kingdom.

areas. In Germany, the annual summer festival at the European House of Worship in Langenhain also regularly features music, drama, and the arts.

And even institutional meetings and conferences have been en— livened by the arts. One in the British Columbia/Yukon region of Canada included not only artistic transitions but also the dramatic presentations of reports, a coffee house, and interactive theater, while works of art produced by a junior youth arts workshop provided the backdrop to the plenary sessions. At a conference in Macau, youth opened each session with an “artistic moment,” including singing, creative centerpieces, drama, and poems, which established a sense of reverence before morning prayers. Such activities helped partici- pants learn practical ways to integrate the arts into study circles and devotional meetings.

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During the past few years, the Baha’i community has been celebrating significant anniversaries of the establishment of the Faith in various countries, and artistic contributions have featured prominently on the programs around the world, particularly tra— ditional dances and choral presentations. In Samoa, the program also featured youth performing a drama dedicated to the Baha’is of Iran. An original drama on the life of Baha’u’lléh was created by three young women from Pointe Noire, in the Republic of Congo, for the commemoration of the 50th anniversary of the Faith in that country, while celebrations in Laos included a presentation of the history of the Faith on the stage through drama, with background slides and music. In the Democratic Republic of the Congo, 50th celebrations featured stories, film, songs by Baha’l' choirs, dances and dramatic presentations on the general theme “moving towards unity and peace.”

The Mixed Bag Company, a group of artists from the United Kingdom, traveled to the Faroe Islands for the 50th anniversary of the Baha’i community there, to offer the population a unique gift: a mu— sic—dance composition based on excerpts from the poetic—prose work “The Tower on the Edge of the World” by internationally acclaimed Faroese writer William Heinesen. The group also ran a “tranquility zone” devotional meeting while in the Faroes. Celebrations in the Canary Islands featured a special commemorative video of the past 50 years as well as “musical moments,” including one based on verses from the Book of Psalms, performed by a renowned soprano from Gran Canaria. Baha’is in Belarus saw their 25-year history through a multimedia program, while also enjoying a performance of the youth dance workshop, classical guitar music, and exhibitions of books and photographs. Jamaica, on the occasion of its 60th anniversary, also welcomed a junior youth dance workshop to the festivities.

Fiftieth anniversary celebrations in Tonga were replete with artistic contributions, including a traditional Tongan dance, a per— formance of the hoop dance by a native American Baha’i Visitor, presentations by local choirs as well as one from New Zealand, a choir competition, crafts displays and sales, and a series of work— shops on music, cinematography, teaching through the arts, and the development of the Baha’i community.

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Baha’i summer and winter schools around the world are also concentrating more on the arts. At one winter school in the Mariana Islands there was a poetry reading, singing, skits, and a local artist presented his work, while classes in Chinese black ink drawing and flower arranging were part of the program. In Canada, the Maxwell International School in British Columbia has, for the past several years, offered a youth summer school focused on the arts, called the Eagle Arts Academy.

Intensive conferences and training sessions on the arts have been held all over the world, with some focused specifically at youth and others at different cultural groups. Participants at an institute training course for indigenous Baha’is in South Dakota, USA, were encouraged to create songs, poems, and dramatic sketches to express what they had learned. Conferences on Persian Arts and Letters in the United Kingdom, Germany, Brazil, and Botswana have featured music and poetry, talks on Persian music and poetry, and biographies of historians, writers, and poets of the first Baha’i century.

An arts institute for youth and junior youth in South Africa trained participants in the skills of being a master of ceremonies, in modern and traditional dance, in producing an original drama, and in music and singing. At a series of youth forums in the USA, youth and junior youth produced dramatic skits on Baha’i heroes and heroines or illustrating principles such as the harm that results from backbiting. They also wrote poems and music, and created inspirational drawings. Participants planned to teach the new songs they had learned to others at feasts, devotional gatherings, and children’s classes.

At an Arts and Spirituality conference in New Zealand, adult and youth workshops focused on writing, poetry, Maori flax weav- ing, painting, and claywork, while children learned songs, acted in dramas, participated in a dance workshop, and experimented with art materials. In the Philippines, a gathering on the same theme fea— tured training in the performing arts, with a public presentation at the conclusion. And in Limoges, France, an intensive five—day course trained participants in ways to promote the arts within the Baha’i community by integrating them into core activities. Workshops focused on dramatic expression (including puppetry, shadow the- ater, tableaus, and storytelling), handcrafts (such as masks, origami,

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mobiles, and candles), “plastic arts” (collage, stained glass, stencils, and cardmaking), and the use ofdrama in memorization (from classi— cal theater to role—playing, interactive theater, and mime). Following this workshop, several participants went home and facilitated a cre— ative workshop for youth and young professionals in Belgium.

Bahé’l’s who work professionally in the arts also appreciate the opportunity to meet and discuss the connection between art and their belief. That is the impetus behind the annual weekend confer— ences for Baha’i’s in the recording industry, sponsored by the Bosch Baha’i School in California, USA. The conference features many live performances and workshops on both spiritual and practical topics, such as putting the Baha’i writings to music, roles and responsibilities of the artist, incorporating the arts in the community, and touring the college circuit.

Youth drama and dance workshops have formed around the world, allowing members to address serious issues such as substance abuse, family violence, oppression of women, and the oneness of religion and of humankind through their artistic efforts. Work- shop members generally go through training that focuses on both physical and spiritual aspects; the spiritual component now often centers around study of the sequence of institute courses. The dance workshop format has become increasingly popular with youth and has spread all over the world. The Diversity Dance Workshop, for example, which aims to offer moral and social education through dance, has expanded to more than 100 troupes in various countries, each adapted to the situation of the locality in which it is based.

Workshops have performed in a wide variety of venues to au— diences of all ages—from schools to tourist resorts to a school for disabled children in Fiji; to a Native Friendship Center in British Columbia, Canada; to the opening of new buildings on the campus of the Ocean of Light International School in Tonga, where the local Baha’i youth dance workshop choreographed a new dance called “education,” showing the importance of a balance between spiritual, physical, and academic education; to a rehabilitation center for trauma and torture survivors in Denmark, in connection with the UN day for Torture Victims; to a conference examining offen— sive weapons, drugs, and violence in the USA; to public squares in Cities in Albania; to the National Cultural Center in Guyana, at a

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Corinne Padilla, P/ailz'ppz'nes, and Nemat Hossz'eny, India, perfilrm a scene fiom “Quest of the Spirit, ” a production by the musical theater group Inspirit.

performance in aid of Kids First, an NGO run by the country’s First Lady, which helps children in need of urgent medical care.

To facilitate cross—national training, three members of Portugal’s Gcragfio Viva dance workshop traveled to Brazil to train Bahé’l’ youth

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and their friends there 1n dramatizing social 1ssues 1through dance The training comprised three components: spiritual (including the importance of the integration of the group, using texts from the institute courses); physical (including dance practice); and train— ing in generating love, cooperation, and unity in the group. Public performances in the seven Baha’i communities visited by the youth trainers met with enthusiastic responses. In a similar vein, Canada’s Wildfire Dance Theater group offered shows to youth and adults and also conducted dance workshops for local youth during a visit to Guyana.

Since 2000, Beyond Words, an international Baha’i youth per- forming arts and empowerment initiative, has toured extensively in cities, townships, and rural areas throughout South Africa, perform— ing dances on drug abuse, sexual abuse, HIV/AIDS, gang violence, equality of men and women, poverty, and racism. They also facilitate interactive dramas, encouraging audience participation, on domestic Violence, racism, equality, and suicide, performing songs in Zulu, Xhosa, Nyanja, SiSwati, Afrikaans, Tswana, and English. During 2003, Beyond Words also performed at the UN World Summit on Sustainable Development in Johannesburg, where it was showcased as one of the sustainable development projects run by the Bah”1’ community. By 2004, Beyond Words was assisting with an insti— tute campaign at a local high school in Mafikeng. The group also performed at 50th anniversary celebrations in South Africa and Lesotho.

In Senegal, a youth performing arts group named Les Etincelles (Sparks) was formed under the direction ofJean Jacques Yem and the Afrika Bikonda troupe.12 Including Baha’is and youth from various religious and national backgrounds, from 8 to 16 years of age, the group has performed its original material, based on contemporary and traditional rhythms of West African dances, at universities, schools, cultural centers, and dance festivals. Mr. Yem, an author and playwright living in Mali, also trained a youth theater group at a 2004 youth summer conference in the Democratic Republic of the Congo to perform a play about the diversity of religions, which humorously illustrates the tension that arises from strained relations between them and offers the Baha’i response. This kind of theater has proven to be an effective way of reaching out to both Christian

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Les Etincelles, zz Bakd’z’ dance troupefiom Dzz/mr, Senegal, pmforming at t/ae opening 0ftke new Balm” ’2’ center in Bakau, Gambia.

and Muslim groups. In Greece, 3 youth music theater group named Phoenix, under the direction of Helen Kontos, has for two summers performed a musical play on human rights. Venues included public spaces, other spaces provided by municipalities or in collaboration with NGOS, and a Roma camp outside Thessaloniki.

Mana (Which means “the Almighty” or “the Powerful” in most Polynesian languages) is a Bahé’i’ music and cultural performing arts group based in Sydney, Australia. Its members are mostly youth whose roots lie in Samoa, Tonga, and the Cook IslandS—a diversity mirrored in their music, which is a blend of Polynesian rhythms and sounds fused with pop. The group grew out of a study circle in 2001, in which a number of Bahé’i’ Polynesian families were study— ing Reflections 0n the Lzfi of the Spirit together. They found that putting the quotations to music greatly assisted their memorization, so they asked the mother of some of the participants, who is a well— known singer—songwriter in the Pacific, to compose melodies for them. Eventually, group members decided that it would be helpful

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to the Baha’i community to produce a CD of their songs and make it available as a tool for others memorizing the quotations in the book. So far, Mana has released two CDS, Reflections 0n the Life 0ft/76 Spirit and Arising to Serve (based on the first two books in the Ruhi Institute curriculum), and aims to release a CD for every book in the sequence of courses. Mana has also performed all over Australia and toured Samoa, combining its unique sound with traditional dances and performances of the Pacific. The seventh book of the Ruhi cur- riculum, VVaZkinga Spiritual Pat/J, presents the idea that appreciation of beauty is a spiritual force that can lift individuals to higher levels of existence. To strengthen this force, Mana aims to create music that can be integrated into study circles, participants’ learning, and activities of the whole community.

While the seven Baha’i Houses of Worship around the world have long—established Choirs that perform at services in the temples, the development of choral music in the Babe“ community and the establishment of choirs around the world were given impetus by the uplifting performances of the international choir formed for the Second Baha’i World Congress in New York City in 1992. The

Voices of Baha choir, for example, under the direction ofTom Price,

Adrienne Ewing—Rous/J of the Vbz'ce: ofBaka’ gospel claoir pwforms a 5010 during a performance in Stuttgart, Germany.

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North America. (Lefi‘ to right) Shango, Istwm, and David Dely.

who directed the choir at the World Congress, is an international Choir that comes together for several weeks each year to travel to different parts of the globe. It has performed in venues such as the National Music Auditorium in Madrid, Spain, and Carnegie Hall in New York, USA. The Voices of Bahé gospel choir, from the United States, has also traveled to Europe to perform, while the Celebration! Congo Choir traveled from the Democratic Republic of the Congo to the USA in April 2005.13

Many more national, regional, and local choirs have formed in countries all over the world, performing at anniversary celebrations, Baha’i holy day commemorations, Nineteen—Day Feasts, and other local events. In the Eastern Caroline Islands, the choral music from the World Congress has been received enthusiastically by a popula— tion that is accustomed to singing in Church. In Tanzania, members of a youth choir accompany themselves with local instruments that they have fashioned.

Tours by Baha’i musicians and musical groups are also increas- ing in number. During a recent tour to California, USA, the Millero Congo musical group, formed by Istvan and Leonor Dely ofColom— bia, South America, offered concerts that included music inspired by

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the verses of Baha’u’llah. The group also performed at a devotional meeting, which they opened with instrumental prayers expressing African and Native South American spirituality on gaita flutes and drums, and prayers sung in Haitian Creole and Spanish. In 2004, an “Embrace the World” concert tour brought together musicians from various countries for a tour that covered major cities in the western USA and Canada.14

As noted earlier, the materials used worldwide in the institute process have sparked an explosion in the production of indigenous Baha’i songs in communities all over the world, as Bahé’i’s have put passages from the sacred writings of their Faith to music and com- posed new Baha’i poems and songs. In the Democratic Republic of the Congo, members of the Pygmy tribe inspired participants at one gathering with an original song that said, “Never refuse tests from God, as their purpose is to develop your capacity. If you do not experience them, you may never become what God intended you to be.” Participants in a study circle that completed a course that examined the lives of Baha’u’llah and the Bab were moved to com- pose their own poems and songs about the sufferings of Baha’u’llah. Some small geographic areas have collectively even written their own “anthems,” which they sing at their reflection meetings. And in Papua New Guinea, Baha’is have held traditional “sing-sings” that have created such a joyful atmosphere that they have continued into the early hours of the morning.

As seen with the group Mana from Australia, participants in some study circles have taken selections from the Baha’i writings and have set them to music, producing CDs and cassette tapes so that others can learn and enjoy the songs, too. In Fiji, a CD of mu— sic with passages from the Baha’i writings in Hindi has stirred the hearts of Indian families who attend devotional meetings there, and selections have also been aired on a Hindi-language radio station. A CD of chanted prayers was also made and released in Laos, and the Hidden Words and Baha’i prayers have been recorded in Setswana, for distribution in southern Africa.

Youth in Malaysia, inspired by the visit of the Voices of Baha choir, formed their own choir and made four CDS of devotional songs—two in English and two in Malay, and music on a Baha’i’ cassette from Nepal inspired the creation of a spiritual dance in the

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Sikkim/Himalayan region of India. Baha’is in the Russian Federa— tion produced a CD with songs composed or sung by Bahé’i’s about different principles of the Faith. The recording also included prayers, Hidden Words put to music, and traditional Russian and Ukrainian songs.

In Canada, individual initiative saw the production of a series of audiobooks containing selections from the Baha’i writings, including those used in the Ruhi curriculum, with background music. An— other individual had a CD made with I4 Baha’i prayers in Japanese, to make available as gifts to the more than 9,000 Japanese tourists who visit Canada’s Northwest Territories each year. And in 2003, a CD made by Baha’i artists and musicians to commemorate the 150th anniversary of Baha’u’llah’s incarceration in the Siyéh—C_hal was presented to all Local Spiritual Assemblies in British Columbia and the Yukon, in Canada.

Baha’i music is also gaining wider exposure as the result of an— other individual initiative: radiONUR, which provides live streaming programming over the internet 24 hours a day, 7 days a week, and features music by a diverse range of Baha’i recording artists from all over the world.

‘Abdu’l-Baha called the stage “the pulpit of the future,” and there has been a great upsurge in dramatic productions throughout the Baha’i world, which seems to have been sparked especially by the Second World Congress in 1992. Some have been created and performed by professionals, while others are more simple, grassroots efforts, but all have sought to give expression to some aspect of Baha’i belief.

Susan Hegarty, an actress from Los Angeles who performed at the World Congress, took her one—woman play entitled “What Can I Do with My Heart?” to the Edinburgh Fringe Festival in 2002. The drama, which tells the story of]uliet Thompson, an early member of the American Baha’i community, was short—listed for the Fringe’s Amnesty International Freedom of Expression Award. One theater critic described the piece as making “a strong case for one woman’s decision to live her life in the service of art and spirituality.” An— other one—woman play, entitled “A Woman and Her Words,” about the renowned Persian poet and Babi’ Tahirih, was performed by its creator, Muhtadia Rice, at the 2002 Maitisong Festival in Botswana;

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and “Respect,” a play by Dorothy Marcie depicting, through music, the progress made by women throughout the twentieth century, has also been performed throughout North America.

In 2001, Arts for Nature in the United Kingdom arranged for the performance of a drama paying tribute to the life of ‘Amatu’l—Baha Rl’lhl'yyih flanum, who was a supporter of the organization, for HRH Prince Philip, diplomats, and invited guests. In the performance, four actresses personified four major aspects of Rfihl’yyih Khanum’s life and character, using words taken from her own lectures and writings, while four other women, from Botswana, Macau, Bolivia, and Iran, wove a floral tapestry as the story unfolded—a metaphor for RL’thl’yyih Qanum’s rich and varied life.

ZIPOPO, an interactive form of drama that promotes the dis- cussion of moral issues in a positive atmosphere, was originally developed by Shamil Fattakhov for Russian television but has now spread to more than 20 countries. The format uses one—act dramas that freeze at a crisis point in the action to promote discussion of a wide variety of moral and social issues common in people’s daily lives.15 At a four-day interactive ZIPOPO training workshop in Pan- chgani, India, students and teachers of the Kisan Veer College of Shivaji University produced nearly 30 English and Marathi scripts on issues such as caste prejudice, the education of girls and the equality of men and women, environmental problems, and ethnic and religious unity, incorporating traditional dances, songs, music, and costumes. In Austria, ZIPOPO workshops were sponsored by GLOBart, an NGO dedicated to “connecting art and sciences,” as a social service for schools in three cities for students aged 12 to 19. The public performance that followed one workshop centered on racial and ethnic conflicts. GLOBart also presented Mr. Fattakhov with an innovation award for his participation in the peacemaking process in the Balkans from 1998 to 2001. Another project featuring interactive dramas about social issues is People’s Theater, initiated by the Baha’i community in Offenbach, Germany.16

Some theatrical productions have grown directly out of the institute process. In Finland in 2004, the Naantali Amateur The— ater troupe performed a play called “The Seven Valleys” by Tuula Kuitunen. The idea for the play, which is based on a work by Baha’u’llah that depicts the journey of the human soul, arose when

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4.7 r

Member: of the Naanmlz' Amateur T beater troupe in Finlandpeifirm Tuulzz Kuituneniv play, “The Seven 14111915. ”

the author and other members of a Baha’i study circle started hold— ing devotional meetings open to the public. A theater critic for the regional newspaper called the piece “food for the soul” and said that he had “never experienced a similar feeling in theater or in any other event.” And during an institute campaign in Darjeeling, India, junior youth created two dramatic works: the first about the problems of superstition and the second about Badi‘, a young hero in Baha’i history. After each performance, participants reflected on the script and the presentation and consulted about ways to improve it.

[Page 243]ARTS IN THE BAHA’I’ COMMUNITY 243

As with drama, efforts in the field ofvisual arts range from those created by professional artists to those by children and others who may never have attempted any kind of art.

Baha’i artist Sima Baher of Uruguay took inspiration from the Baha’i writings for her 2004 exhibition “The earth is but one coun— try” at the Pacifico Gallery of the Borges Cultural Center in Buenos Aires, Argentina. The exhibition, with paintings on themes such as world peace, the unity of mankind, the equality of men and women, nature and the environment, religion, and the situation of the world, also included quotations from the Baha’i writings that inspired the artist in her work. When the same exhibition was shown later in the city of Adrogué, Ms. Baher met with members of the Theater Department at the House ofCulture and challenged them to develop a drama based on selections from two books she had authored on the themes ofworld peace and the unity of humanity. Audiences found the resulting performance very moving. At an informal gathering following the exhibition, which was attended by people who had shown interest in her work, Ms. Baher introduced the main concepts of the institute program and invited people to participate in a study circle and to bring their children to the spiritual education classes that were being held by the Baha’fs.

Professional photographers have also turned their talents towards the expression of their belief and support for the institute process. Francisco Gonzales Peres of Spain has traveled around the world for a number of faith—based projects, including a book of photographs of Baha’i Houses of Worship. Another publication focuses on the native peoples ofAmerica and the important role assigned to them by ‘Abdu’l-Baha in the emergence of a united and diverse world Civi— lization. Photographer Denny Allen has assisted Baha’i communities in southern Africa to consolidate their sense of Baha’i identity by producing and arranging for the distribution of Baha’i photographs to families throughout the region.

On Palm Island in North Queensland, Australia, study circle tu- tors created posters of all the quotations in Reflections 0n the Life of t/ae Spirit, decorating them with indigenous and tropical drawings. Participants liked them so much that they asked that they be lami- nated so they could be enjoyed by other groups, too. Posters with quotations and colorful illustrations were also popular in Auckland,

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New Zealand, where participants in a project to Visit families in their homes made posters to share during the Visits.

In Sri Lanka, an art competition was based on the images and quotations in a coloring book that had been printed for children’s classes. And in Brazil, students at the School of the Nations were challenged to create posters to illustrate each of the 30 articles of the Universal Declaration of Human Rights in honor of UN Human Rights Day. The resulting display, shown in one of the main cor— ridors 0f the Federal Chamber of Deputies, also included a poem written about each article by a popular poet from the northeast of the country.

Young Baha’i filmmakers in Canada and Australia have organized film festivals based on their conviction that this art form has great capacity to uplift people. Organizers of the Australian festival say that they are striving to promote a message of peace and t0 encour— age people to discuss issues surrounding harmony and unity. The theme of their 2005 festival is “woman,” and entrants were advised that a useful starting point in their exploration of the theme was The Promise of W716! Peace, a message issued in 1985 by the Universal House ofJustice that highlighted an important relationship between the role of women and the establishment of world peace. At the 2003 Canadian festival in Edmonton, Alberta, participants held a workshop on filmmaking and a panel discussion on individual initia— tive within the Baha’i community and the importance of the arts. Among the themes explored at the festival were the spiritual nature of human beings, the equality of men and women, the elimination of prejudice, world peace, life after death, the harmony of science and religion, and the history of the Baha’i Faith.

While grassroots arts initiatives have multiplied within the Baha’i community, other Baha’i artists have achieved national and inter— national renown for the excellence of their creative expression. One of these is Norwegian Baha’i composer Lasse Thoresen. Among his more recent accomplishments, in 2004 Mr. Thoresen was given a three—year appointment as composer in residence of the prestigious Music Festival of Radio France. In 2001, his oratorio “Terraces of Light” was performed at the inauguration of the Baha’i Terraces on Mount Carmel. Furniture craftsman Philip Koomen, of the United Kingdom, was among a select group of British designers invited to

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a special event in November 2004 at Buckingham Palace, held in the presence of Queen Elizabeth II, to celebrate excellence in design education and practice. Mr. Koomen attributes the Bahé’i’ Interna— tional Community’s statement The Prosperity 0fHuman/eind as the inspiration behind an exhibition of his recent work entitled “Out of the Woods.” And the highly original architectural design created by Canadian Bahé’l’ architect Siamak Hariri for the Bahei’i’ House of Worship in Chile has brought accolades from more than 40 major architectural publications. An estimated 100,000 people Viewed an exhibit of the design, arranged at the invitation of the College of Design in Toronto.

Bahé’u’lléh wrote that when the Word of God “manifesteth itself in the mirrors of the hearts of craftsmen, it unfoldeth new and unique arts.”17 It is impossible at this time to see What arts Will develop in the dispensation 0f Bahé’u’lléh. Yet even from the few examples shown here, it is clear that the Bahé’i’ community, with guidance and encouragement from its international institutions, has intensified and systematized its efforts to develop its members’

capacity for creative expression—thus contributing to the evolution of Bahé’i culture.

NOTES

1 Abdu’l—Bahi- as recorded by Lady Blomfield, The Chosen Highway (Wil— mette, 1L: Bahé’i’ Publishing Trust, 1954), p. 167; in The Importance of the Arts in Promoting the Faith (Thornhill: Bahé’l’ Canada Publications, 1999), no. 23, p. 10.

2 Bahé’u’lléh, Gleam'ngsfiom the Witz'ngs 0fBezhei’u’lhz’h (Wilmette, IL: Bahé’i Publishing Trust, 1983), L)Q(IV, pp. 141—142; in The Importance 0fthe Arts, no. 4, p. 4.

3 ‘Abdu’l—Bahé, in The Importance offhe Arts, 110. 23, p. 11.

For a brief discussion of some early Bahé’l' artists, see “The Language of the

Heart: Arts in the Bahé’i’ World Community” in The Bahzz’ ’z’ World1994—95

(Haifa: World Centre Publications, 1996), pp. 243—272.

From a letter written on behalf of Shoghi Effendi to the National Spiritual

Assembly of the Bahé’l’s 0f the United States ofAmerica, 21 September 19 57;

in The Compilation ofCompi/eztz'om, v01. 2, p. 82.

Letter written on behalfof the Universal House ofJustice to an individual,

23 June 1985; cited in The Importance of the Arts, no. 57, p. 26.

Letter of the Universal House OfJustice t0 the Bahé’l’s 0f the world, 21 April

1996; cited in The Importance of the Arts, no. 69, p. 34.

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16

17

Istvan Dely, “New Lore—New Folk = New Folklore: Music in the Institute Process,” at http://www.upliftingwords.org/Atticles/Folklorehtm.

For more on the Bahé’l’ community’s efforts in connection to the institute process, see “Creating a Culture of Growth: The Institute Process in the Bahé’i’ Community” in The Ba/m’ ’1’ World 2000—2001 (Haifa: Bahé’i’ World Centre, 2002), pp. 191—199.

Letter of the International Teaching Centre to all Continental Counsellors, 5 November 2001.

“Promoting the Arts at the Grassroots,” in Wz/king Together on the Path of Service, Ruhi Institute curriculum, p. 131; cited in letter of the International Teaching Centre to all Continental Counsellors, 5 November 2001.

For more on Afrika Bikonda, see The Ba/yd’z’ VVorld1994—95 (Haifa: World Centre Publications, 1996), pp. 252—253.

For more on the Celebration! Congo Choir’s tour, see p. 92 of this vol— ume.

For more on the “Embrace the World” tour, see pp. 92—94 of this vol— ume.

ZIPOPO is also known by the names “The Happy Hippo Show” and “Stop and Act.” For more on this initiative, see The 3000’ ’2' WJer 1996—97 (Haifa: World Centre Publications, 1998), pp. 229—33 and The Bakd’z’ Wyrld 1998—99 (Haifa: World Centre Publications, 2000), pp. 146—150.

For more on People’s Theater, see pp. 89—91 of this volume.

Bahé’u’lléh, in 7770 Imp0mmce 0ft/70 Am, no. I, p. 3.