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Arts, Importance of in Promoting the Faith

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Arts, Importance of in Promoting the Faith

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by Bahá'u'lláh, Abdu'l-Bahá, Shoghi Effendi, and Universal House of Justice

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The 1996 Ridván message of the Universal House of Justice to the Bahá'ís of the World called attention to the importance of the arts, especially the graphic and performing arts and literature, in the proclamation, expansion and consolidation of the Bahá'í Faith. This compilation is intended to enlarge upon this concept. While there are many references to "the arts" in the English translations of the Writings of Bahá'u'lláh and `Abdu'l-Bahá, the appearance of the term "arts" in many such passages can be misleading because the meaning of the original word often includes a broad range of activities such as industrial pursuits and trades. The extracts in this compilation have been chosen because they focus mainly on the graphic and performing arts and literature.

From the Writings of Bahá'u'lláh

The Sun of Truth is the Word of God upon which dependeth the education of those who are endowed with the power of understanding and of utterance. It is the true spirit and the heavenly water, through whose aid and gracious providence all things have been and will be quickened. Its appearance in every mirror is conditioned by the colour of that mirror. For instance, when its light is cast upon the mirrors of the hearts of the wise, it bringeth forth wisdom. In like manner when it manifesteth itself in the mirrors of the hearts of craftsmen, it unfoldeth new and unique arts, and when reflected in the hearts of those that apprehend the truth it revealeth wondrous tokens of true knowledge and discloseth the verities of God's utterance.

(Translated from the Persian) [1]

We have made it lawful for you to listen to music and singing. Take heed, however, lest listening thereto should cause you to overstep the bounds of propriety and dignity. Let your joy be the joy born of My Most Great Name, a Name that bringeth rapture to the heart, and filleth with ecstasy the minds of all who have drawn nigh unto God. We, verily, have made music as a ladder for your souls, a means whereby they may be lifted up unto the realm on high; make it not, therefore, as wings to self and passion. Truly, We are loath to see you numbered with the foolish.

(The Kitab-i-Aqdas, paragraph 51) [2]

They who recite the verses of the All-Merciful in the most melodious of tones will perceive in them that with which the sovereignty of earth and heaven can never be compared. From them they will inhale the divine fragrance of My worlds -- worlds which today none can discern save those who have been endowed with vision through this sublime, this beauteous Revelation. Say: These verses draw hearts that are pure unto those spiritual worlds that can neither be expressed in words nor intimated by allusion. Blessed be those who hearken.

(The Kitab-i-Aqdas, paragraph 116) [3]

Every word that proceedeth out of the mouth of God is endowed with such potency as can instil new life into every human frame, if ye be of them that comprehend this truth. All the wondrous works ye behold in this world have been manifested through the operation of His supreme and most exalted Will, His wondrous and inflexible Purpose. Through the mere revelation of the word "Fashioner," issuing forth from His lips and proclaiming His attribute to mankind, such power is released as can generate, through successive ages, all the manifold arts which the hands of man can produce. This, verily, is a certain truth. No sooner is this resplendent word uttered, than its animating energies, stirring within all created things, give birth to the means and instruments whereby such arts can be produced and perfected. All the wondrous achievements ye now witness are the direct consequences of the Revelation of this Name.

(Published in "Gleanings from the Writings of Bahá'u'lláh" (Wilmette: Bahá'í Publishing Trust, 1983), LXXIV, pp. 141- 42) [4]

The soul that hath remained faithful to the Cause of God, and stood unwaveringly firm in His Path shall, after his ascension, be possessed of such power that all the worlds which the Almighty hath created can benefit through him. Such a soul provideth, at the bidding of the Ideal King and Divine Educator, the pure leaven that leaveneth the world of being, and furnisheth the power through which the arts and wonders of the world are made manifest.

Every word of thy poetry is indeed like unto a mirror in which the evidences of the devotion and love thou cherishest for God and His chosen ones are reflected. Well is it with thee who hast quaffed the choice wine of utterance and partaken of the soft flowing stream of true knowledge. Happy is he who hath drunk his fill and attained unto Him and woe betide the heedless. Its perusal hath truly proved highly impressive, for it was indicative of both the light of reunion and the fire of separation.

(Lawh-i-Maqsud, published in "Tablets of Bahá'u'lláh Revealed after the Kitab-i-Aqdas" (Wilmette: Bahá'í Publishing Trust, 1995), pp. 175- 76) [6]

From the Writings of `Abdu'l-Bahá

O musician of God!... The songsters of fellowship that abide in the gardens of holiness must pour forth such a triumphant burst of songs in this age that the birds in the fields may wing their flight in a transport of delight; and in this divine festival, this heavenly banquet, they should play the lute and the harp, and the viol and the lyre in such wise that the people of east and west may be filled with exceeding joy and gladness, and be carried away with exultation and happiness. Now it behoveth thee to raise the melody of that heavenly lyre and to perform music on that celestial lute, thus causing Barbud to return to life and Rudaki to be solaced and Farabi to become restless and Ibn-i-Sina to be guided to the Sinai of God. Upon thee be salutation and praise.

(Translated from the Persian) [7]

I earnestly hope that thou wilt memorize all the Persian poems revealed by the Blessed Beauty and wilt sing them in a voice of incomparable sweetness at Bahá'í meetings and gatherings. The day is not far distant when these poems will be set to Western music and the sweet accents of these songs will reach the Abha Kingdom with exceeding joy and gladness.

(Translated from the Persian) [8]

The art of music must be brought to the highest stage of development, for this is one of the most wonderful arts and in this glorious age of the Lord of Unity it is highly essential to gain its mastery. However, one must endeavour to attain the degree of artistic perfection and not be like those who leave matters unfinished.

(Translated from the Persian) [9]

O nightingale of the rose-garden of God! Singing melodies will bring animation and happiness to the world of humanity, the hearers will be delighted and joyful and their deeper emotions stirred. But this gladness, this sense of emotion is transitory and will be forgotten within a short time. However, praise be to God, thou hast blended thy tunes with the melodies of the Kingdom, wilt impart solace to the world of the spirit and wilt everlastingly stimulate spiritual feelings. This will last forever and endure the revolution of ages and centuries.

(Translated from the Persian) [10]

O servant of Bahá! Music is regarded as a praiseworthy science at the Threshold of the Almighty, so that thou mayest chant verses at large gatherings and congregations in a most wondrous melody and raise such hymns of praise at the Mashriqu'l-Adhkar to enrapture the Concourse on High. By virtue of this, consider how much the art of music is admired and praised. Try, if thou canst, to use spiritual melodies, songs and tunes, and to bring the earthly music into harmony with the celestial melody. Then thou wilt notice what a great influence music hath and what heavenly joy and life it conferreth. Strike up such a melody and tune as to cause the nightingales of divine mysteries to be filled with joy and ecstasy.

(Translated from the Persian) [11]

I rejoice to hear that thou takest pains with thine art, for in this wonderful new age, art is worship. The more thou strivest to perfect it, the closer wilt thou come to God. What bestowal could be greater than this, that one's art should be even as the act of worshipping the Lord? That is to say, when thy fingers grasp the paintbrush, it is as if thou wert at prayer in the Temple.

(Translated from the Persian) [12]

Among the greatest of all great services is the education of children, and promotion of the various sciences, crafts and arts. Praised be God, ye are now exerting strenuous efforts toward this end. The more ye persevere in this most important task, the more will ye witness the confirmations of God, to such a degree that ye yourselves will be astonished.

(Translated from the Persian) [13]

O bird that singeth sweetly of the Abha Beauty! In this new and wondrous dispensation the veils of superstition have been torn asunder and the prejudices of eastern peoples stand condemned. Among certain nations of the East, music was considered reprehensible, but in this new age the Manifest Light hath, in His holy Tablets, specifically proclaimed that music, sung or played, is spiritual food for soul and heart. The musician's art is among those arts worthy of the highest praise, and it moveth the hearts of all who grieve. Wherefore, O thou Shahnaz, play and sing out the holy words of God with wondrous tones in the gatherings of the friends, that the listener may be freed from chains of care and sorrow, and his soul may leap for joy and humble itself in prayer to the realm of Glory.

(Published in "Selections from the Writings of Abdu'l- Bahá" (Wilmette: Bahá'í Publishing Trust, 1997), paragraphs 74.1-74.2) [14]

Wherefore, O loved ones of God! Make ye a mighty effort till you yourselves betoken this advancement and all these confirmations, and become focal centres of God's blessings, daysprings of the light of His unity, promoters of the gifts and graces of civilized life. Be ye in that land vanguards of the perfections of humankind; carry forward the various branches of knowledge, be active and progressive in the field of inventions and the arts. Endeavour to rectify the conduct of men, and seek to excel the whole world in moral character. While the children are yet in their infancy feed them from the breast of heavenly grace, foster them in the cradle of all excellence, rear them in the embrace of bounty. Give them the advantage of every useful kind of knowledge. Let them share in every new and rare and wondrous craft and art.

("Selections from the Writings of Abdu'l-Bahá", paragraph 102.3) [15]

O ye recipients of the favours of God! In this new and wondrous Age, the unshakeable foundation is the teaching of sciences and arts. According to explicit Holy Texts, every child must be taught crafts and arts, to the degree that is needful. Wherefore, in every city and village, schools must be established and every child in that city or village is to engage in study to the necessary degree.

("Selections from the Writings of Abdu'l-Bahá", paragraph 109.1) [16]

O thou son of the Kingdom! All things are beneficial if joined with the love of God; and without His love all things are harmful, and act as a veil between man and the Lord of the Kingdom. When His love is there, every bitterness turneth sweet, and every bounty rendereth a wholesome pleasure. For example, a melody, sweet to the ear, bringeth the very spirit of life to a heart in love with God, yet staineth with lust a soul engrossed in sensual desires.

("Selections from the Writings of Abdu'l-Bahá", paragraph 154.3) [17]

O thou bird of pleasing tones! Thy little book of poems, which were very sweet, was read. It was a source of joy, for it was a spiritual anthem and a melody of the love of God. Continue as long as thou canst this melody in the gatherings of the beloved; thus may the minds find rest and joy and become in tune with the love of God. When eloquence of expression, beauty of sense and sweetness of composition unite with new melodies the effect is ever great, especially if it be the anthem of the verses of oneness and the songs of praise to the Lord of Glory. Endeavour your utmost to compose beautiful poems to be chanted with heavenly music; thus may their beauty affect the minds and impress the hearts of those who listen.

(Published in "Tablets of Abdul-Bahá Abbas", (New York: Bahá'í Publishing Committee, 1930 printing), vol. I, p. 59) [18]

O thou honourable one! Thank thou God that thou art instructed in music and melody, singing with pleasant voice the glorification and praise of the Eternal, the Living. I pray to God that thou mayest employ this talent in prayer and supplication, in order that the souls may become quickened, the hearts may become attracted and all may become inflamed with the fire of the love of God!

("Tablets of Abdul-Bahá Abbas", vol. III, p. 512) [19]

The first condition of perception in the world of nature is the perception of the rational soul. In this perception and in this power all men are sharers, whether they be neglectful or vigilant, believers or deniers. This human rational soul is God's creation; it encompasses and excels other creatures; as it is more noble and distinguished, it encompasses things. The power of the rational soul can discover the realities of things, comprehend the peculiarities of beings, and penetrate the mysteries of existence. All sciences, knowledge, arts, wonders, institutions, discoveries and enterprises come from the exercised intelligence of the rational soul.

(Published in "Some Answered Questions" (Wilmette: Bahá'í Publishing Trust, 1984), chapter 58, p. 217) [20]

From Utterances of `Abdu'l-Bahá

What a wonderful meeting this is! These are the children of the Kingdom. The song we have just listened to was very beautiful in melody and words. The art of music is divine and effective. It is the food of the soul and spirit. Through the power and charm of music the spirit of man is uplifted. It has wonderful sway and effect in the hearts of children, for their hearts are pure, and melodies have great influence in them. The latent talents with which the hearts of these children are endowed will find expression through the medium of music. Therefore, you must exert yourselves to make them proficient; teach them to sing with excellence and effect. It is incumbent upon each child to know something of music, for without knowledge of this art the melodies of instrument and voice cannot be rightly enjoyed. Likewise, it is necessary that the schools teach it in order that the souls and hearts of the pupils may become vivified and exhilarated and their lives be brightened with enjoyment.

(Published in "The Promulgation of Universal Peace: Talks Delivered by Abdu'l-Bahá during His Visit to the United States and Canada in 1912", rev. ed. (Wilmette: Bahá'í Publishing Trust, 1982), p. 52) [21]

An actor mentioned the drama, and its influence. "The drama is of the utmost importance." said `Abdu'l-Bahá. "It has been a great educational power in the past; it will be so again." He described how as a young boy he witnessed the Mystery Play of Ali's Betrayal and Passion, and how it affected him so deeply that he wept and could not sleep for many nights.

(Published in " Abdu'l-Bahá in London: Addresses and Notes of Conversations" (Oakham: Bahá'í Publishing Trust, 1987), p. 93) [22]

`Abdu'l-Bahá said...: "All Art is a gift of the Holy Spirit. When this light shines through the mind of a musician, it manifests itself in beautiful harmonies. Again, shining through the mind of a poet, it is seen in fine poetry and poetic prose. When the Light of the Sun of Truth inspires the mind of a painter, he produces marvellous pictures. These gifts are fulfilling their highest purpose, when showing forth the praise of God."

(Lady Blomfield, "The Chosen Highway" (Wilmette: Bahá'í Publishing Trust, 1954), p. 167) [23]

It is natural for the heart and spirit to take pleasure and enjoyment in all things that show forth symmetry, harmony, and perfection. For instance: a beautiful house, a well designed garden, a symmetrical line, a graceful motion, a well written book, pleasing garments -- in fact, all things that have in themselves grace or beauty are pleasing to the heart and spirit -- therefore, it is most certain that a true voice causes deep pleasure.

(`Abdu'l-Bahá's words to Mrs. Mary L. Lucas, as quoted in "A Brief Account of My Visit to Acca" (Chicago: Bahá'í Publishing Society, 1905), pp. 11-14) [24]

From the Writings of Shoghi Effendi

Such a chaste and holy life, with its implications of modesty, purity, temperance, decency, and clean-mindedness, involves no less than the exercise of moderation in all that pertains to dress, language, amusements, and all artistic and literary avocations. It demands daily vigilance in the control of one's carnal desires and corrupt inclinations. It calls for the abandonment of a frivolous conduct, with its excessive attachment to trivial and often misdirected pleasures. It requires total abstinence from all alcoholic drinks, from opium, and from similar habit-forming drugs. It condemns the prostitution of art and of literature, the practices of nudism and of companionate marriage, infidelity in marital relationships, and all manner of promiscuity, of easy familiarity, and of sexual vices. It can tolerate no compromise with the theories, the standards, the habits, and the excesses of a decadent age. Nay rather it seeks to demonstrate, through the dynamic force of its example, the pernicious character of such theories, the falsity of such standards, the hollowness of such claims, the perversity of such habits, and the sacrilegious character of such excesses.

(Published in "The Advent of Divine Justice" (Wilmette: Bahá'í Publishing Trust, 1990), p. 30) [25]

From Letters Written on Behalf of Shoghi Effendi

Shoghi Effendi wishes me to acknowledge the receipt of your letter dated October 27th 1931, together with the accompanying music of "The Lonely Stranger" sent through.... He sincerely hopes that as the Cause grows and talented persons come under its banner, they will begin to produce in art the divine spirit that animates their soul. Every religion has brought with it some form of art -- let us see what wonders this Cause is going to bring along. Such a glorious spirit should also give vent to a glorious art. The Temple with all its beauty is only the first ray of an early dawn; even more wondrous things are to be achieved in the future.

(11 December 1931, to an individual) [26]

He wishes to start a new section in "The Bahá'í World" devoted wholly to poems written by Bahá'ís. Though it may be a humble beginning it is a start for great future achievements. Shoghi Effendi wishes thereby to encourage those who are talented to give expression to the wonderful spirit that animates them. We need poets and writers for the Cause and this is undoubtedly one good way to urge them on. Some of the poems are written by very youthful persons yet they ring so true and give expression to such thoughts that one should halt and admire. In Persia the Cause has given birth to poets that even non-Bahá'ís consider as great. We hope before long we will have similar persons arise in the West.

(2 January 1932, to an individual) [27]

It is certain that with the spread of the spirit of Bahá'u'lláh a new era will dawn in art and literature. Whereas before the form was perfect but the spirit was lacking, now there will be a glorious spirit embodied in a form immeasurably improved by the quickened genius of the world.

(3 April 1932, to an individual) [28]

Shoghi Effendi wishes me to acknowledge the receipt of your letter dated May 18th 1932. He is very glad to know that you have liked "The Dawn- Breakers", for his greatest reward is to see that this work, which has cost him much labour and anxiety, is helping the friends to understand better and more fully the spirit that animates the Movement and the exemplary life of the heroic souls that ushered it into the world. The Guardian sincerely hopes that by reading this book the friends will be stirred to greater activity and a higher measure of sacrifice, that they will obtain a deeper realization of this Cause whose spread and ultimate victory is entrusted to their care. As some who have read the book have remarked, no one can become familiar with those lives and not be inspired to follow in their way.

It is surely true that the spirit of those heroic souls will stir many artists to produce their best. It is such lives that in the past inspired poets and moved the brush of the painters.

(20 June 1932, to an individual) [29]

Shoghi Effendi was very much interested to learn of the success of the "Pageant of the Nations" you produced. He sincerely hopes that all those who attended it were inspired by the same spirit that animated you while arranging it. It is through such presentations that we can arouse the interest of the greatest number of people in the spirit of the Cause. 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.

We have to wait only a few years to see how the spirit breathed by Bahá'u'lláh will find expression in the work of the artists. What you and some other Bahá'ís are attempting are only faint rays that precede the effulgent light of a glorious morn. We cannot yet value the part the Cause is destined to play in the life of society. We have to give it time. The material this spirit has to mould is too crude and unworthy, but it will at last give way and the Cause of Bahá'u'lláh will reveal itself in its full splendour.

(10 October 1932, to an individual) [30]

The Guardian values the hymns that you are so beautifully composing. They certainly contain the realities of the Faith, and will indeed help you to give the Message to the young ones. It is the music which assists us to affect the human spirit; it is an important means which helps us to communicate with the soul. The Guardian hopes that through this assistance you will give the Message to the people, and will attract their hearts.

(15 November 1932, to an individual) [31]

What Bahá'u'lláh meant primarily with "sciences that begin and end in words" are those theological treatises and commentaries that encumber the human mind rather than help it to attain the truth. The students would devote their life to their study but still attain no where. Bahá'u'lláh surely never meant to include story- writing under such a category; and shorthand and typewriting are both most useful talents, very necessary in our present social and economic life.

What you could do, and should do, is to use your stories to become a source of inspiration and guidance for those who read them. With such a means at your disposal you can spread the spirit and teachings of the Cause; you can show the evils that exist in society, as well as the way they can be remedied. If you possess a real talent in writing you should consider it as given by God and exert your efforts to use it for the betterment of society.

(30 November 1932, to an individual) [32]

Your poem dedicated to Nabil deeply touched me.... I would also welcome any other poems from your gifted pen on any phase or episode recounted in Nabil's immortal narrative. You are rendering the Cause unique and notable services. Be happy and persevere in your high endeavours.

(6 August 1933, in the handwriting of Shoghi Effendi, appended to a letter written on his behalf to an individual) [33]

In regard to the main question you have raised in connection with the singing of hymns at Bahá'í meetings: He wishes me to assure you that he sees no objection to it whatsoever. The element of music is, no doubt, an important feature of all Bahá'í gatherings. The Master Himself has emphasized its importance. But the friends should in this, as well as in all other things, not pass beyond the limits of moderation, and should take great care to maintain the strict spiritual character of all their gatherings. Music should lead to spirituality, and provided it creates such an atmosphere there can be no objection against it. A distinction of vital importance should, however, be clearly established between the singing of hymns composed by the believers and the chanting of the Holy Utterances.

(17 March 1935, to an individual) [34]

As to your question concerning the advisability of dramatizing Bahá'í historic episodes: the Guardian would certainly approve, and even encourage that the friends should engage in such literary pursuits which, no doubt, can be of immense teaching value. What he wishes the believers to avoid is to dramatize the personages of the Bab, Bahá'u'lláh and `Abdu'l-Bahá, that is to say to treat them as dramatic figures, as characters appearing on the stage. This, as already pointed out, he feels would be quite disrespectful. The mere fact that they appear on the scene constitutes an act of discourtesy which can in no way be reconciled with their highly exalted station. Their message, or actual words, should be preferably reported and conveyed by their disciples appearing on the stage.

(25 July 1936, to an individual) [35]

The Guardian was also pleased to know of your deep interest in music, and of your desire to serve the Faith along this line. Although now is only the very beginning of Bahá'í art, yet the friends who feel they are gifted in such matters should endeavour to develop and cultivate their gifts and through their works to reflect, however inadequately, the Divine Spirit which Bahá'u'lláh has breathed into the world.

(4 November 1937, to an individual) [36]

...you raise the question of what will be the source of inspiration to Bahá'í musicians and composers: the music of the past or the Word? We cannot possibly foresee, standing as we do on the threshold of Bahá'í culture, what forms and characteristics the arts of the future, inspired by this Mighty New Revelation, will have. All we can be sure of is that they will be wonderful; as every Faith has given rise to a culture which flowered in different forms, so too our beloved Faith may be expected to do the same thing. It is premature to try and grasp what they will be at present.

(23 December 1942, to an individual) [37]

Music, as one of the arts, is a natural cultural development, and the Guardian does not feel that there should be any cultivation of "Bahá'í Music" any more than we are trying to develop a Bahá'í school of painting or writing. The believers are free to paint, write and compose as their talents guide them. If music is written, incorporating the sacred writings, the friends are free to make use of it, but it should never be considered a requirement at Bahá'í meetings to have such music. The further away the friends keep from any set forms, the better, for they must realize that the Cause is absolutely universal, and what might seem a beautiful addition to their mode of celebrating a Feast, etc., would perhaps fall on the ears of people of another country as unpleasant sounds -- and vice versa. As long as they have music for its own sake it is all right, but they should not consider it Bahá'í music.

(20 July 1946, to a National Spiritual Assembly) [38]

...he wishes to call your Assembly's attention to a very important matter, and that is the Greatest Name. To the western eye, untrained in the art -- the most highly developed art of the East -- of calligraphy, nearly every Greatest Name, if it embodies the salient points, is the Greatest Name. But to an Oriental it may appear a monstrosity.... The exact proportions are what must be maintained. The Greatest Name must not be stretched out -- or up -- to fill an oblong space or a circle.

(22 December 1948, to a National Spiritual Assembly) [39]

It was a Canadian, of French extraction, who through his vision and skill, was instrumental in conceiving the design, and delineating the features, of the first Mashriqu'l-Adhkar of the west, marking the first attempt, however rudimentary, to express the beauty which Bahá'í art will, in its plenitude, unfold to the eyes of the world.

(1 March 1951, from a postscript by Shoghi Effendi appended to a letter written on his behalf to a National Spiritual Assembly) [40]

Music is one of the arts, and the Prophets of God do not teach the arts; but the tremendous cultural impetus which religion gives to society gradually produces new and wonderful forms of art. We see this in the different styles of architecture and painting associated with the Christian, Muhammadan, Buddhist and other civilizations. Music, too, has grown up as an expression of the people.

We believe that, in the future, when the Bahá'í spirit has permeated the world and profoundly changed society, music will be affected by it; but there is no such thing as Bahá'í music. All it says in the teachings about music is that it can influence the heart and soul of man very deeply, and have an extremely uplifting effect.

(3 February 1952, to an individual) [41]

As regards the matters you raised in your letter: In the teachings there is nothing against dancing, but the friends should remember that the standard of Bahá'u'lláh is modesty and chastity. The atmosphere of modern dance halls, where so much smoking and drinking and promiscuity goes on, is very bad, but decent dances are not harmful in themselves. There is certainly no harm in classical dancing or learning dancing in school. There is also no harm in taking part in dramas. Likewise in cinema acting. The harmful thing, nowadays, is not the art itself but the unfortunate corruption which often surrounds these arts. As Bahá'ís we need avoid none of the arts, but acts and the atmosphere that sometimes go with these professions we should avoid.

(30 June 1952, to a National Spiritual Assembly) [42]

From Letters Written by and on Behalf of the Universal House of Justice

Publicity itself should be well-conceived, dignified and reverent. A flamboyant approach which may succeed in drawing much initial attention to the Cause may ultimately prove to have produced a revulsion which would require great effort to overcome. The standard of dignity and reverence set by the beloved Guardian should always be upheld, particularly in musical and dramatic items; and photographs of the Master should not be used indiscriminately. This does not mean that activities of the youth, for example, should be stultified; one can be exuberant without being irreverent or undermining the dignity of the Cause.

(2 July 1967, by the Universal House of Justice to all National Spiritual Assemblies) [43]

...we feel that it will be helpful to you to know that songs whose words are the primary Writings of the Bab, Bahá'u'lláh or `Abdu'l-Bahá are all quite fitting for the devotional portion of the Feast. Indeed, the Persian chants are such songs, out of a different tradition; they are a way of giving music to the holy Word, and each person who chants does it in a way which mirrors his feeling and expression of the Words he is uttering. As for songs whose words are poetic and the composition of persons other than the Figures of the Faith, these may be desirable but in their proper place.... Inasmuch as the spirit of our gatherings is so much affected by the tone and quality of our worship, of our feeling and appreciation of the Word of God for this day, we would hope that you would encourage the most beautiful possible expression of the human spirits in your communities, through music among other modes of feeling.

(22 February 1971, by the Universal House of Justice to a National Spiritual Assembly) [44]

Your understanding that the portrayal of the Bab and Bahá'u'lláh in works of art is forbidden is correct. The Guardian made it clear that this prohibition refers to all the Manifestations of God; photographs, or reproductions of portraits, of the Master may be used in books, but no attempt should be made to portray Him in dramatic or other works where He would be one of the "dramatis personae". However, there can be no objection to symbolic representation of such Holy Figures, provided it does not become a ritual and that the symbol used is not irreverent.

(3 December 1972, by the Universal House of Justice to an individual) [45]

While it is quite true that individual artists such as Mark Tobey and others have undoubtedly been inspired and influenced by their love for the Revelation of Bahá'u'lláh, it is far too early in the Bahá'í Dispensation to talk about the influence of the Faith on the arts in general. Indeed the beloved Guardian himself has pointed out that there is, as yet, no such thing as Bahá'í art although there is no doubt from statements in the writings that a wonderful efflorescence of new and beautiful arts may be anticipated in the future.

(17 January 1973, by the Universal House of Justice to a National Spiritual Assembly) [46]

The beloved Guardian made it clear that the flowering of the arts which is the result of a divine revelation comes only after a number of centuries. The Bahá'í Faith offers the world the complete rebuilding of human society -- a rebuilding of such far- reaching effect that it has been looked forward to in all the revelations of the past and has been called the establishment of the Kingdom of God on earth. The new architecture to which this revelation will give birth will blossom many generations hence. We are now merely at the beginning of this great process.

The present time is a period of turmoil and change. Architecture, like all arts and sciences, is undergoing very rapid development; one has only to consider the changes that have taken place in the course of the last few decades to have some idea of what is likely to happen during the years immediately ahead. Some modern buildings have, no doubt, qualities of greatness and will endure, but very much of what is being constructed now may be outgrown and may appear ugly but a few generations hence. Modern architecture, in other words, may be considered a new development in its primitive stage.

(18 July 1974, by the Universal House of Justice to an individual) [47]

The House of Justice feels that at this time in the development of the Faith its primary responsibility is the preparation and prosecution of teaching plans designed to achieve the objectives set forth in Abdu'l-Bahá's Tablets of the Divine Plan and that theories in arts and sciences should be developed under the auspices of those who are well-versed and expert in those fields.

(25 January 1977, on behalf of the Universal House of Justice to an individual) [48]

The prohibition on representing the Manifestation of God in paintings and drawings or in dramatic presentations applies to all the Manifestations of God. There are, of course, great and wonderful works of art of past Dispensations, many of which portrayed the Manifestations of God in a spirit of reverence and love. In this Dispensation however the greater maturity of mankind and the greater awareness of the relationship between the Supreme Manifestation and His servants enable us to realize the impossibility of representing, in any human form, whether pictorially, in sculpture or in dramatic representation, the Person of God's Manifestation. In stating the Bahá'í prohibition, the beloved Guardian pointed out this impossibility.

(9 March 1977, on behalf of the Universal House of Justice to an individual) [49]

The same destructive forces are also deranging the political, economic, scientific, literary, and moral equilibrium of the world and are destroying the fairest fruits of the present civilization.... Even music, art, and literature, which are to represent and inspire the noblest sentiments and highest aspirations and should be a source of comfort and tranquillity for troubled souls, have strayed from the straight path and are now the mirrors of the soiled hearts of this confused, unprincipled, and disordered age.

(10 February 1980, by the Universal House of Justice to the Iranian Bahá'ís throughout the World; published in "Messages from the Universal House of Justice 1963-1986" (Wilmette: Bahá'í Publishing Trust, 1996), p. 435) [50]

Generally speaking, works of fiction which the writers hope will help to promote knowledge of the Cause of God will fulfil this purpose better if they are set against the background of particular events or developing processes in the Cause of God, and not used to portray the actual historical events themselves and the figures taking part in them. The reality of the actual events and the actual personages is so much more convincing than any fictional account. In this connection the Guardian's secretary wrote on his behalf:

He would not recommend fiction as a means of teaching; the condition of the world is too acute to permit of delay in giving them the direct teachings associated with the name of Bahá'u'lláh. But any suitable approach to the Faith, which appeals to this or that group, is certainly worthy of effort, as we wish to bring the Cause to all men, in all walks of life, of all mentalities.

(23 September 1980, on behalf of the Universal House of Justice to an individual) [51]

Your letter ... concerning art has been received, and the Universal House of Justice has instructed us to commend you on your plan to use your artistic talents to express the spirit of Bahá'u'lláh's teachings. It warmly encourages you in this pursuit.... In response to your request for guidance on the best ways to approach artists in teaching the Faith, it can be said that in addition to those methods which attract people generally, artists will be responsive to art. When the sublime teachings of the Faith are reflected in artistic work, the hearts of people, including artists, will be touched. A quotation from the Sacred Writings or description of the art piece as it relates to the Writings may provide the viewer with an understanding of the source of this spiritual attraction and lead him to further study of the Faith.

(21 July 1982, on behalf of the Universal House of Justice to an individual) [52]

With the evolution of the Bahá'í society, which is composed of people of many cultural origins and diverse tastes, each with his conception of what is aesthetically acceptable and pleasing, those Bahá'ís who are gifted in music, drama and the visual arts are free to exercise their talents in ways which will serve the Faith of God. They should not feel disturbed at the lack of appreciation by sundry believers. Rather, in knowledge of the cogent writings of the Faith on music and artistic expression ... they should continue their artistic endeavours in prayerful recognition that the arts are powerful instruments to serve the Cause, arts which in time will have their Bahá'í fruition.

(9 August 1983, on behalf of the Universal House of Justice to an individual) [53]

Your letter ... requesting guidance in the matter of visual representation of the personages connected with the Heroic Age of the Faith has been received. The Universal House of Justice wishes you to know that there is nothing in the instructions of the Guardian, nor of the House of Justice, .. to prohibit artists ... to make drawings of Letters of the Living in surroundings, or participating in events, which are historically accurate. Obviously, in addition to accuracy, it is important to uphold the dignity of the personages being portrayed.

(5 October 1983, on behalf of the Universal House of Justice to a National Spiritual Assembly) [54]

Architecture at this time, in common with all aspects of our civilization, is going through a period of rapid development, with tastes changing from decade to decade. No one can be certain whether a building which is built now in a current style will still appear beautiful in the eyes of the people fifty years hence. For the World Administrative Centre of the Faith, therefore, the beloved Guardian chose the classical Greek style of architecture. This is a mature style, very beautiful, which has persisted for some 2,000 years. It would not be correct, however, to deduce from this that the classical Greek styles are particularly Bahá'í architecture.

(3 September 1984, on behalf of the Universal House of Justice to an individual) [55]

Rejecting the low sights of mediocrity, let them scale the ascending heights of excellence in all they aspire to do. May they resolve to elevate the very atmosphere in which they move, whether it be in the school rooms or halls of higher learning, in their work, their recreation, their Bahá'í activity or social service.

Indeed, let them welcome with confidence the challenges awaiting them. Imbued with this excellence and a corresponding humility, with tenacity and a loving servitude, today's youth must move towards the front ranks of the professions, trades, arts and crafts which are necessary to the further progress of humankind -- this to ensure that the spirit of the Cause will cast its illumination on all these important areas of human endeavour.

Moreover, while aiming at mastering the unifying concepts and swiftly advancing technologies of this era of communications, they can, indeed they must, also guarantee the transmittal to the future of those skills which will preserve the marvellous, indispensable achievements of the past. The transformation which is to occur in the functioning of society will certainly depend to a great extent on the effectiveness of the preparations the youth make for the world they will inherit.

(8 May 1985, by the Universal House of Justice to the Bahá'í Youth of the World) [56]

The House of Justice wishes to encourage you in the writing of your book but reminds you that the Guardian clearly stated that at this early stage of the Dispensation there is no such thing as Bahá'í art, music, architecture or culture. These will doubtless emerge in the future as a natural outgrowth of a Bahá'í civilization. The Guardian's own predilections in such matters should never be regarded as laying the foundations for such developments. As clearly indicated by his rejection of the design submitted to him for the Temple in Kampala ... he did not feel that the general modern trend of architecture current at his time was suitable for a Bahá'í House of Worship, but this in no sense implies that he instituted a pattern of his own.

His choice of the classical style for the structures on Mount Carmel was, according to Amatu'l-Bahá Ruhiyyih Khanum, on the grounds that it was beautiful and befitted the area, and that it had withstood the test of time. You should, therefore, take care not to indicate or make it possible to infer that the Guardian laid down the early beginnings of Bahá'í art forms. He made beautiful gardens and buildings utilizing what was available and, as in the case of the superstructure of the Shrine of the Bab, engaged experts who could produce befitting designs under his guidance.

(23 June 1985, on behalf of the Universal House of Justice to an individual) [57]

With reference to music and fine arts, you are, of course, free to include them as curricular subjects in Bahá'í schools. Many of your fellow National Assemblies, keenly aware of the Bahá'í Writings concerning music and the arts, incorporate such instruction and materials as they find possible at this stage of Bahá'í community development. Much work by devoted and talented teachers needs to be done to stimulate, collect and publish the useful music now emerging in the Bahá'í world, and to utilize it systematically in the schools....

In accordance with our Teachings, music and the arts are to be encouraged, and they add immeasurably to the vitality and spirit of the community. Your Assembly's thoughts and efforts are valued, and you are remembered in the prayers of the House of Justice.

(20 August 1985, on behalf of the Universal House of Justice to a National Spiritual Assembly) [58]

Regarding the use of symbolism in art, the following extracts from letters written to two individuals by the House of Justice may provide the answer you seek:

We see no objection to the use of natural phenomena as symbols to illustrate the significance of the three Central Figures, Bahá'í Laws, and Bahá'í Administration; and we also appreciate the suitability of using visual symbols to express abstract concepts. (29 July 1971)

Your understanding that the portrayal of the Bab and Bahá'u'lláh in works of art is forbidden is correct. The Guardian made it clear that this prohibition refers to all the Manifestations of God; photo- graphs, or reproductions of portraits, of the Master may be used in books, but no attempt should be made to portray Him in dramatic or other works where He would be one of the "dramatis personae". However, there can be no objection to symbolic representation of such Holy Figures, provided it does not become a ritual and that the symbol used is not irreverent. (3 December 1972)

You sometimes provide detailed written descriptions of the symbols you use in your paintings; as a practice this could introduce an aspect which could be unduly interpretive of Bahá'í concepts, ultimately detracting from rather than enhancing your artistic efforts. Symbolism is the stuff of art, but artists rarely interpret the symbols they use, leaving it to observers of their works to draw their own conclusions, sometimes with no more than hints from the titles given such works.

The titling of a piece of art is the artist's prerogative; the only objection would be to the use of an irreverent title for a piece intended to represent a Bahá'í subject.

As to your question about an artist's executing a "painting which is a contemporary illumination of a passage of the Holy Writings", the House of Justice feels artists should not be inhibited by Bahá'í institutions from creating a variety of calligraphic renderings of the Holy Writings or of the Greatest Name. However, such efforts should be in good taste and not assume forms that lend themselves to ridicule. Regarding the commonly used symbol of the Greatest Name, the House of Justice advises that great care be given to the accurate representation of the Persian calligraphy, since any deviation from an accepted representation can be distressing to Iranian believers.

(23 February 1987, on behalf of the Universal House of Justice to an individual) [59]

The policy formulated by the House of Justice to discourage the reproduction of photographs of paintings of the Master for distribution does not imply any judgement of the quality of a painting. There is a wide variation in the quality of the artistry with which paintings of the Master are carried out. The House of Justice does not wish to show preference for one painting over another; it chooses rather to adopt this general policy as a means of ensuring that appropriate respect is accorded to representations of `Abdu'l-Bahá and that there is no distribution of photographic reproductions of those paintings which are of poor quality.

An important distinction is made between publication of photographs of paintings in books and magazines, which is not prohibited as it is subject to some degree of judgement by the publisher, and their publication as separate items, which is discouraged by the House of Justice. More generally, the House of Justice feels that one of the great challenges facing Bahá'ís everywhere is that of restoring to the peoples of the world an awareness of spiritual reality. Our view of the world is markedly different from that of the mass of mankind, in that we perceive creation to encompass spiritual as well as physical entities, and we regard the purpose of the world in which we now find ourselves to be a vehicle for our spiritual progress.

This view has important implications for the behaviour of Bahá'ís and gives rise to practices which are quite contrary to prevailing conduct of the wider society. One of the distinctive virtues given emphasis in the Bahá'í Writings is respect for that which is sacred. Such behaviour has no meaning for those whose perspective on the world is entirely materialistic, while many followers of the established religions have debased it into a set of rituals devoid of true spiritual feeling.

In some instances, the Bahá'í Writings contain precise guidance on how the reverence for sacred objects or places should be expressed, e.g., restrictions on the use of the Greatest Name on objects or on indiscriminate use of the record of the voice of the Master. In other instances, the believers are called upon to strive to obtain a deeper understanding of the concept of sacredness in the Bahá'í teachings, from which they can determine their own forms of conduct by which reverence and respect are to be expressed.

The importance of such behaviour derives from the principle expressed in the Bahá'í Writings, that the outward has an influence on the inward. Referring to "the people of God" Bahá'u'lláh states:

Their outward conduct is but a reflection of their inward life, and their inward life a mirror of their outward conduct.
It is within this framework that the Universal House of Justice wishes you to view the concerns which have been expressed over the past several years. Bahá'ís endowed with artistic talent are in a unique position to use their abilities, when treating Bahá'í themes, in such a way as to disclose to mankind evidence of the spiritual renewal the Bahá'í Faith has brought to humanity through its revitalization of the concept of reverence.
Questions of artistic freedom are not germane to the issues raised here. Bahá'í artists are free to apply their talents to whatever subject is of interest to them. However, it is hoped that they will exercise a leadership role in restoring to a materialistic society an appreciation of reverence as a vital element in the achievement of true liberty and abiding happiness.

(24 September 1987, on behalf of the Universal House of Justice to an individual) [60]

The House of Justice is pleased to learn of the success you are achieving in your profession. It advises you to view this professional activity within the context of service to the Faith and the promotion of the proclamation and teaching work. Your musical achievements will enable you to reach a wide range of people and ultimately to proclaim the Message of Bahá'u'lláh to them through the expression of its values in your music. You can also make valuable friend- ships for the Faith among the influential people you will meet as your business continues to develop. These considerations might well guide you in the decision now before you concerning the area in which you should reside. Bahá'í artists who achieve eminence and renown in their chosen field, and who remain dedicated to the promotion of the Faith, can be of unique assistance to the Cause at the present time when public curiosity about the Bahá'í teachings is gradually being aroused.

(30 June 1988, on behalf of the Universal House of Justice to two individuals) [61]

It is permissible to use selections from the Holy Writings as lyrics to be accompanied by musical compositions and to repeat verses or words. The following quotations provide further clarification concerning these matters.

Therefore ... set to music the verses and the divine words so that they may be sung with soul-stirring melody in the Assemblies and gatherings, and that the hearts of the listeners may become tumultuous and rise towards the Kingdom of Abha in supplication and prayer.
No doubt prayers and parts of the Tablets, "Hidden Words", etc., will be suitable, but he does not feel it would be advisable to abridge any given part, in other words to leave out parts of a paragraph or a meditation and foreshorten it in this manner. (From a letter dated 3 July 1949 written on behalf of Shoghi Effendi to an individual believer)

In response to a question from a believer concerning minor alterations of words for the sake of correct accent or the addition of a word for the sake of perfect meter, the beloved Guardian stated the following:

Slight alterations in the text of the prayers are permissible, and I would advise you to give a musical form to the revealed word itself which I feel will be exceedingly effective. I will pray that the Beloved may inspire you to accomplish this great service to His Cause. (In the handwriting of Shoghi Effendi, appended to a letter dated 8 April 1931 written on his behalf to an individual believer)

Regarding the question of setting verses from the Bahá'í Writings to the melodies of existing pieces of music, assuming that there is no copyright or legal restriction involved, one should bear in mind that such music may carry with it associations of the original piece, either in lyrics or in mood, and may not meet the requirement to treat the Sacred Texts with dignity and reverence.

(6 December 1989, on behalf of the Universal House of Justice to an individual) [62]

There is no objection to the interpretation of a prayer in the form of movement or dance if the spirit is properly reverential, but preferably this should not be accompanied by reading the words.

(4 January 1990, on behalf of the Universal House of Justice to an individual) [63]

The House of Justice is pleased to learn of your teaching activities and your continued devotion to the Cause of God in spite of difficulties you have experienced as a musician. With regard to your questions: the Bahá'í Teachings obviously do not condone the mistreatment of musicians or other artists, nor are artists expected to sacrifice their free will to the whims, or even the strongly held opinions, of other Bahá'ís. As for the tensions and difficulties arising between your teaching the Faith through music and your parallel need to be self-supporting, it is suggested that you yourself will need to set your own limits in this regard. We find, for example, the following guidance in a letter dated 26 February 1933 written on behalf of Shoghi Effendi to an individual believer:

The advice that Shoghi Effendi gave you regarding the division of your time between serving the Cause and attending to your other duties was also given to many other friends both by Bahá'u'lláh and the Master. It is a compromise between the two verses of the "Aqdas", one making it incumbent upon every Bahá'í to serve the promotion of the Faith and the other that every soul should be occupied in some form of occupation that will benefit society. In one of His Tablets Bahá'u'lláh says that the highest form of detachment in this day is to be occupied with some profession and be self-supporting. A good Bahá'í, therefore, is the one who so arranges his life as to devote time both to his material needs and also to the service of the Cause.

(15 February 1990, on behalf of the Universal House of Justice to an individual) [64]

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; however, as you yourself have stated, you are conscious of the difficulties and potential pitfalls of Bahá'í theatrical endeavours at this time and in the atmosphere of intolerance prevailing in your country, which make it essential not to produce plays which may arouse public antipathy or the indignation of religious fundamentalists.

(9 April 1990, on behalf of the Universal House of Justice to a National Spiritual Assembly) [65]

...traditional dances associated with the expression of a culture are permissible in Bahá'í Centres. However, it should be borne in mind that such traditional dances generally have an underlying theme or a story being represented. Care must be exercised to ensure that the themes of such dances are in harmony with the high ethical standards of the Cause and are not portrayals that would arouse base instincts and unworthy passions....

As for choreographed dances whose purpose is to reinforce and proclaim Bahá'í principles, if they can be performed in a manner which portrays the nobility of such principles and invokes appropriate attitudes of respect or reverence, there is no objection to dances which are meant to interpret passages from the Writings; however, it is preferable that the motions of a dance not be accompanied by the reading of the words. The principle which must guide the friends in their consideration of these questions is the observance of "moderation in all that pertains to dress, language, amusements, and all artistic and literary avocations".

(20 June 1991, on behalf of the Universal House of Justice to a National Spiritual Assembly) [66]

There is no objection, of course, to the use of the phrase "Bahá'í artist" but at this point in time in the Bahá'í Dispensation we should not use the term "Bahá'í art", "Bahá'í music", or "Bahá'í architecture".

(12 March 1992, on behalf of the Universal House of Justice to two individuals) [67]

The medium of a novel offers a great deal of latitude for an author to elaborate ideas and areas of thought hitherto unexplored. You should be careful, however, not to ... give interpretations that may not be correct if the Faith and its Teachings are to be explicit in the novel. If, on the other hand, there is no clear connection to the Faith in the novel, you would be free to use your imagination in exploring any ideas which have as their source the principles of the Faith.

(15 February 1994, on behalf of the Universal House of Justice to an individual) [68]

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."

(21 April 1996, by the Universal House of Justice to the Bahá'ís of the World) [69]

In much of the region, insufficient attention has been given to the education of children. Far more extensive programmes should be initiated in those countries where the need exists, to ensure that Bahá'í children are nurtured, encouraged to acquire trained minds, illumined with a sound knowledge of the Divine Teachings, well- equipped to participate in the work of the Cause at all levels and to contribute to the arts, crafts and sciences necessary for the advancement of civilization. Such programmes, when open to all children, Bahá'í or not, offer a potent means of extending the beneficial influences of Bahá'u'lláh's Message to the wider society.

(21 April 1996, by the Universal House of Justice to the Followers of Bahá'u'lláh in Australasia) [70]

Notes

1. Peerless Persian musician: A singer, player and inventor of many ancient musical instruments who lived at the court of Khosrow-Parviz of the Sasani dynasty about 600 A.D.

2. "Father of Persian poetry" (d. A.D. 940).

3. Renowned Muslim scholar; author of a treatise on music (ca. A.D. 870-950).

4. Physician/scientist/philosopher known in the west as Avicenna, one of whose major works devotes a section to music theory (ca. A.D. 980-1027).

5. Shahnaz, the name given to the recipient of this Tablet, is also the name of a musical mode.

6. The Universal House of Justice, in a letter dated 15 March 1972 written on its behalf, has elucidated this phrase of the Guardian in this manner: "As to your question about the prostitution of arts and literature' we understand by this, using art and literature for debased ends."

7. 23 March 1945, to an individual.

8. A newer authorized translation of this passage is found in "Selections from the Writings of Abdu'l-Bahá" (Wilmette: Bahá'í Publishing Trust, 1997), paragraph 74.2 (see item [14] of this compilation).

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Arts, Importance of in Promoting the Faith

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The 1996 Ridván message of the Universal House of Justice to the Bahá'ís of the World called attention to the importance of the arts, especially the graphic and performing arts and literature, in the proclamation, expansion and consolidation of the Bahá'í Faith. This compilation is intended to enlarge upon this concept.

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Compilation

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The Bahá'í Library Online: Bahai articles, books, translations, and historical materials

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Fighting discrimination with street art

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On a recent summer day in East Harlem, Alexander Keto stood on a ladder above a group of sixth graders playing basketball, aerosol can in hand.

Keto is spray-painting turquoise blue paint on P.S. 7's brick exterior. The wall turns into an image of a West African woman up to her waist in water, her three children playing beside her. It's a striking visual that stands over two stories tall next to the busy intersection of Lexington Avenue and 120th Street.

The inspiration behind the piece is Keto's desire to forge a connection between Brazilians and their African heritage, as he saw the racial divides growing up in Sao Paolo. Most of his work is rooted in his Afro-Brazilian culture, and he wanted to show that education goes beyond the classroom.

"I wanted to show that before we talk about equality among people, we have to talk about making a connection with Mother Nature," says Keto, 28. "Without water, there is no life. Without mother, there is no life. When we're talking about education, we're talking about life first."

Keto's mural is part of one of the largest single-issue mural projects the city has ever seen. Fifteen of them are being created across Harlem this summer to raise awareness for journalist Maziar Bahari's Not A Crime campaign for educational access and press freedom around the world.

Bahari partnered with Street Art Anarchy, a New York-based art production group, to assemble a prominent collective of international artists, including Ricky Lee Gordon (South Africa), Keto (Brazil) and Harlem native, Franco the Great.

A central focus of the project is on the thousands of Baha'is, a religious minority in Iran, banned from school by authorities in the country simply because of their faith.

Bahari has experienced the Iranian government's denial of the rights of its own citizens firsthand: He was featured in the film "Rosewater" directed by Jon Stewart, which documented his four-month imprisonment in Iran while working as a reporter for Newsweek. Now Bahari is focused on human rights.

"I'm not a Baha'i myself, but I was really moved by the peaceful resistance of Baha'is against the regime that is trying it's best to get rid of the community by any means possible-through harassment, propaganda, torture, solitary confinement, you name it," Bahari tells the Voice. "This is not something many people know about so it needed something different in terms of approach and permanence in order to gather public attention and spark conversation, and what is more permanent and public than street art?"

The discrimination against the Baha'is began following the Iranian revolution in 1979. While Christians, Jews, and Zoroastrians are generally unopposed in Iran, those of the monotheistic Baha'i faith have seen their businesses and places of worship shuttered, and have been banned from access to higher education, says Bahari.

Though the mural project began last year, the new additions this summer are geared toward the right to education. Saleem Vaillancourt, a Baha'i and the campaign coordinator for Not A Crime, says the artists have free reign to implement their visions.

"The artists have a great degree of latitude in what they paint so each mural doesn't directly have to be about the denial of education, but they respond to the issue as they want," says Vaillancourt. "Some are directly about the denial of education, and some of them are a lot more indirect."

Another mural painted by prominent Australian artist Rone shows an Iranian Baha'i student, Nasim Biglari, reading a book. Biglari was banned from an Iranian university because of her beliefs. Her black and white portrait sits next to Storefront Academy, a tuition-free private in Harlem.

Current events shaped the content of South African artist Ricky Lee Gordon's mural on the side of the legendary Faison Firehouse Theater on Hancock Place-one of the first murals unveiled in this year's campaign.

"See the dove? The purple colors? Prince had died while the mural was being painted," says George Faison, Tony Award-winner and founder of the theater. "It's cemented in time on this wall, along with the message for peace, inclusion, and compassion. And the feedback I've heard about the mural has been overwhelming."

Faison added, "It's about identifying with each other's shared struggles, hope for equality, and years of historical oppression-and there's no better place to do this than in Harlem."

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From Iran to Harlem: Fighting Discrimination With Street Art | The Village Voice

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On a recent summer day in East Harlem, Alexander Keto stood on a ladder above a group of sixth graders playing basketball, aerosol can in hand. Keto is spray-painting turquoise blue paint on P.S. 7's brick exterior. The wall turns into an image of a West African woman up to her waist in water, her three children playing beside her.

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The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith.

Near the shores of Lake Michigan, nestled in the town of Wilmette, Illinois, sits a beautiful structure. Intertwined ornamental designs, carved onto its glimmering white exterior, tell stories about the unity of religion. While driving on the quaint cobblestone streets surrounding this breathtaking piece of art and architecture, you'll catch a glimpse of a sign that reads: "Baha'i House of Worship - All Are Welcome."

This Baha'i House of Worship, located near Chicago in the U.S., serves as a beacon, both a literal and figurative expression of the spiritual tenets of the Baha'i Faith. Its architecture, engraved ornamental symbols, and artistic landscaping provide evidences of the Baha'i Faith's teachings. The writings adorning its interior walls and exterior entryways, and the tranquil and inviting sacred space of the Temple and its surrounding gardens contribute in providing glimpses into the principles of the Faith.

In designing the Baha'i House of Worship-the only one on the North American continent-architect Louis Bourgeois created a lovely and unique domed structure, which pays homage to the Baha'i belief in the connectedness of all things and the unity of religion. Mr. Bourgeois said:

...there are combinations of mathematical lines, symbolizing those of the universe, and in their intricate merging of circle into circle, and circle within circle, we visualize the merging of all religions into one.

In order to bring his unique designs to fruition, Bourgeois consulted with a concrete expert named John Earley. To create the beautiful white surface that the architecture envisioned, Earley's solution involved crushed quartz combined with white cement. The result is a stunning white building, a vision of purity and peace.

The nine pillars of the Baha'i House of Worship in Illinois display engraved symbols of the major world religions-such as the cross, the star and crescent, the star of David, and the nine-pointed star that represents the Baha'i Faith. The number nine represents the number of perfection, the highest single digit, and the culmination of God's message. All of the interlacing symbols of the world's religions emphasize the Baha'i Faith's teachings, including progressive revelation and the oneness of religion. Specifically, Baha'is believe that God has sent divine messengers to humanity throughout time. All of these prophets of God-for example, Abraham, Zoroaster, Jesus Christ, Krishna, Buddha, Moses, Muhammad, the Bab, and Baha'u'llah -teach the same basic underlying message of love and compassion, as well as providing spiritual and social guidance pertinent to that time period.

The landscaping surrounding the temple is as much a part of the meditative atmosphere as the building itself, and the plants and flowers of varied colors and fragrances tell of the Baha'i belief in unity in diversity. The reflecting pools are reminiscent of the East, while the nine circular gardens and fountains exhibit Western influence. The grounds of the Temple offer peaceful spots for meditation and reflection.

Around its central hall, the Baha'i Temple in Wilmette displays samples from the writings of Baha'u'llah. There are nine entrances to the Temple, and thus, there are nine verses on the facade of the House of Worship, as well as nine verses inside the building above the alcoves. Here are a few examples of Baha'u'llah's writings seen throughout the Temple, which emphasize the principles of the unity of humanity and the unity of religion:

The earth is but one country, and mankind its citizens. - Gleanings from the Writings of Baha'u'llah, p. 250.

Consort with the followers of all religions in a spirit of friendliness and fellowship. - Ibid., p. 95.

The Baha'i temple is open to all people, regardless of race, gender, nationality, or religious affiliation. Any soul may enter the gardens or the building itself to pray, meditate, and enjoy the beauty of nature and art, as this lovely spot is a gift to humanity for all to appreciate. The serenity of the gardens, the gentle breezes off Lake Michigan, and the glistening Temple itself delight the physical and the spiritual senses.

Are you looking for a place to pray and meditate? Is your family interested in traveling to the Chicago area and checking out a beautiful specimen of art and architecture? Are you seeking a quiet place to ponder the meaning of life? The Baha'i House of Worship welcomes you, whatever the reason for your visit.
Find out more about the Mother Temple of the West on their website

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Art and Architecture Unite to Proclaim the Baha'i Message

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The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith. Near the shores of Lake Michigan, nestled in the town of Wilmette, Illinois, sits a beautiful structure. Intertwined ornamental designs, carved onto its glimmering white exterior, tell stories about the unity of religion.

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Youtube playlist

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Youtube play list

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A compilation on Arts, Importance of in Promoting the Faith

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The 1996 Ridván message of the Universal House of Justice to the Bahá'ís of the World called attention to the importance of the arts, especially the graphic and performing arts and literature, in the proclamation, expansion and consolidation of the Bahá'í Faith. This compilation is intended to enlarge upon this concept. While there are many references to "the arts" in the English translations of the Writings of Bahá'u'lláh and `Abdu'l-Bahá, the appearance of the term "arts" in many such passages can be misleading because the meaning of the original word often includes a broad range of activities such as industrial pursuits and trades. The extracts in this compilation have been chosen because they focus mainly on the graphic and performing arts and literature.

From the Writings of Bahá'u'lláh

The Sun of Truth is the Word of God upon which dependeth the education of those who are endowed with the power of understanding and of utterance. It is the true spirit and the heavenly water, through whose aid and gracious providence all things have been and will be quickened. Its appearance in every mirror is conditioned by the colour of that mirror. For instance, when its light is cast upon the mirrors of the hearts of the wise, it bringeth forth wisdom. In like manner when it manifesteth itself in the mirrors of the hearts of craftsmen, it unfoldeth new and unique arts, and when reflected in the hearts of those that apprehend the truth it revealeth wondrous tokens of true knowledge and discloseth the verities of God's utterance.

(Translated from the Persian) [1]

We have made it lawful for you to listen to music and singing. Take heed, however, lest listening thereto should cause you to overstep the bounds of propriety and dignity. Let your joy be the joy born of My Most Great Name, a Name that bringeth rapture to the heart, and filleth with ecstasy the minds of all who have drawn nigh unto God. We, verily, have made music as a ladder for your souls, a means whereby they may be lifted up unto the realm on high; make it not, therefore, as wings to self and passion. Truly, We are loath to see you numbered with the foolish.

(The Kitab-i-Aqdas, paragraph 51) [2]

They who recite the verses of the All-Merciful in the most melodious of tones will perceive in them that with which the sovereignty of earth and heaven can never be compared. From them they will inhale the divine fragrance of My worlds -- worlds which today none can discern save those who have been endowed with vision through this sublime, this beauteous Revelation. Say: These verses draw hearts that are pure unto those spiritual worlds that can neither be expressed in words nor intimated by allusion. Blessed be those who hearken.

(The Kitab-i-Aqdas, paragraph 116) [3]

Every word that proceedeth out of the mouth of God is endowed with such potency as can instil new life into every human frame, if ye be of them that comprehend this truth. All the wondrous works ye behold in this world have been manifested through the operation of His supreme and most exalted Will, His wondrous and inflexible Purpose. Through the mere revelation of the word "Fashioner," issuing forth from His lips and proclaiming His attribute to mankind, such power is released as can generate, through successive ages, all the manifold arts which the hands of man can produce. This, verily, is a certain truth. No sooner is this resplendent word uttered, than its animating energies, stirring within all created things, give birth to the means and instruments whereby such arts can be produced and perfected. All the wondrous achievements ye now witness are the direct consequences of the Revelation of this Name.

(Published in "Gleanings from the Writings of Bahá'u'lláh" (Wilmette: Bahá'í Publishing Trust, 1983), LXXIV, pp. 141- 42) [4]

The soul that hath remained faithful to the Cause of God, and stood unwaveringly firm in His Path shall, after his ascension, be possessed of such power that all the worlds which the Almighty hath created can benefit through him. Such a soul provideth, at the bidding of the Ideal King and Divine Educator, the pure leaven that leaveneth the world of being, and furnisheth the power through which the arts and wonders of the world are made manifest.

Every word of thy poetry is indeed like unto a mirror in which the evidences of the devotion and love thou cherishest for God and His chosen ones are reflected. Well is it with thee who hast quaffed the choice wine of utterance and partaken of the soft flowing stream of true knowledge. Happy is he who hath drunk his fill and attained unto Him and woe betide the heedless. Its perusal hath truly proved highly impressive, for it was indicative of both the light of reunion and the fire of separation.

(Lawh-i-Maqsud, published in "Tablets of Bahá'u'lláh Revealed after the Kitab-i-Aqdas" (Wilmette: Bahá'í Publishing Trust, 1995), pp. 175- 76) [6]

From the Writings of `Abdu'l-Bahá

O musician of God!... The songsters of fellowship that abide in the gardens of holiness must pour forth such a triumphant burst of songs in this age that the birds in the fields may wing their flight in a transport of delight; and in this divine festival, this heavenly banquet, they should play the lute and the harp, and the viol and the lyre in such wise that the people of east and west may be filled with exceeding joy and gladness, and be carried away with exultation and happiness. Now it behoveth thee to raise the melody of that heavenly lyre and to perform music on that celestial lute, thus causing Barbud to return to life and Rudaki to be solaced and Farabi to become restless and Ibn-i-Sina to be guided to the Sinai of God. Upon thee be salutation and praise.

(Translated from the Persian) [7]

I earnestly hope that thou wilt memorize all the Persian poems revealed by the Blessed Beauty and wilt sing them in a voice of incomparable sweetness at Bahá'í meetings and gatherings. The day is not far distant when these poems will be set to Western music and the sweet accents of these songs will reach the Abha Kingdom with exceeding joy and gladness.

(Translated from the Persian) [8]

The art of music must be brought to the highest stage of development, for this is one of the most wonderful arts and in this glorious age of the Lord of Unity it is highly essential to gain its mastery. However, one must endeavour to attain the degree of artistic perfection and not be like those who leave matters unfinished.

(Translated from the Persian) [9]

O nightingale of the rose-garden of God! Singing melodies will bring animation and happiness to the world of humanity, the hearers will be delighted and joyful and their deeper emotions stirred. But this gladness, this sense of emotion is transitory and will be forgotten within a short time. However, praise be to God, thou hast blended thy tunes with the melodies of the Kingdom, wilt impart solace to the world of the spirit and wilt everlastingly stimulate spiritual feelings. This will last forever and endure the revolution of ages and centuries.

(Translated from the Persian) [10]

O servant of Bahá! Music is regarded as a praiseworthy science at the Threshold of the Almighty, so that thou mayest chant verses at large gatherings and congregations in a most wondrous melody and raise such hymns of praise at the Mashriqu'l-Adhkar to enrapture the Concourse on High. By virtue of this, consider how much the art of music is admired and praised. Try, if thou canst, to use spiritual melodies, songs and tunes, and to bring the earthly music into harmony with the celestial melody. Then thou wilt notice what a great influence music hath and what heavenly joy and life it conferreth. Strike up such a melody and tune as to cause the nightingales of divine mysteries to be filled with joy and ecstasy.

(Translated from the Persian) [11]

I rejoice to hear that thou takest pains with thine art, for in this wonderful new age, art is worship. The more thou strivest to perfect it, the closer wilt thou come to God. What bestowal could be greater than this, that one's art should be even as the act of worshipping the Lord? That is to say, when thy fingers grasp the paintbrush, it is as if thou wert at prayer in the Temple.

(Translated from the Persian) [12]

Among the greatest of all great services is the education of children, and promotion of the various sciences, crafts and arts. Praised be God, ye are now exerting strenuous efforts toward this end. The more ye persevere in this most important task, the more will ye witness the confirmations of God, to such a degree that ye yourselves will be astonished.

(Translated from the Persian) [13]

O bird that singeth sweetly of the Abha Beauty! In this new and wondrous dispensation the veils of superstition have been torn asunder and the prejudices of eastern peoples stand condemned. Among certain nations of the East, music was considered reprehensible, but in this new age the Manifest Light hath, in His holy Tablets, specifically proclaimed that music, sung or played, is spiritual food for soul and heart. The musician's art is among those arts worthy of the highest praise, and it moveth the hearts of all who grieve. Wherefore, O thou Shahnaz, play and sing out the holy words of God with wondrous tones in the gatherings of the friends, that the listener may be freed from chains of care and sorrow, and his soul may leap for joy and humble itself in prayer to the realm of Glory.

(Published in "Selections from the Writings of Abdu'l- Bahá" (Wilmette: Bahá'í Publishing Trust, 1997), paragraphs 74.1-74.2) [14]

Wherefore, O loved ones of God! Make ye a mighty effort till you yourselves betoken this advancement and all these confirmations, and become focal centres of God's blessings, daysprings of the light of His unity, promoters of the gifts and graces of civilized life. Be ye in that land vanguards of the perfections of humankind; carry forward the various branches of knowledge, be active and progressive in the field of inventions and the arts. Endeavour to rectify the conduct of men, and seek to excel the whole world in moral character. While the children are yet in their infancy feed them from the breast of heavenly grace, foster them in the cradle of all excellence, rear them in the embrace of bounty. Give them the advantage of every useful kind of knowledge. Let them share in every new and rare and wondrous craft and art.

("Selections from the Writings of Abdu'l-Bahá", paragraph 102.3) [15]

O ye recipients of the favours of God! In this new and wondrous Age, the unshakeable foundation is the teaching of sciences and arts. According to explicit Holy Texts, every child must be taught crafts and arts, to the degree that is needful. Wherefore, in every city and village, schools must be established and every child in that city or village is to engage in study to the necessary degree.

("Selections from the Writings of Abdu'l-Bahá", paragraph 109.1) [16]

O thou son of the Kingdom! All things are beneficial if joined with the love of God; and without His love all things are harmful, and act as a veil between man and the Lord of the Kingdom. When His love is there, every bitterness turneth sweet, and every bounty rendereth a wholesome pleasure. For example, a melody, sweet to the ear, bringeth the very spirit of life to a heart in love with God, yet staineth with lust a soul engrossed in sensual desires.

("Selections from the Writings of Abdu'l-Bahá", paragraph 154.3) [17]

O thou bird of pleasing tones! Thy little book of poems, which were very sweet, was read. It was a source of joy, for it was a spiritual anthem and a melody of the love of God. Continue as long as thou canst this melody in the gatherings of the beloved; thus may the minds find rest and joy and become in tune with the love of God. When eloquence of expression, beauty of sense and sweetness of composition unite with new melodies the effect is ever great, especially if it be the anthem of the verses of oneness and the songs of praise to the Lord of Glory. Endeavour your utmost to compose beautiful poems to be chanted with heavenly music; thus may their beauty affect the minds and impress the hearts of those who listen.

(Published in "Tablets of Abdul-Bahá Abbas", (New York: Bahá'í Publishing Committee, 1930 printing), vol. I, p. 59) [18]

O thou honourable one! Thank thou God that thou art instructed in music and melody, singing with pleasant voice the glorification and praise of the Eternal, the Living. I pray to God that thou mayest employ this talent in prayer and supplication, in order that the souls may become quickened, the hearts may become attracted and all may become inflamed with the fire of the love of God!

("Tablets of Abdul-Bahá Abbas", vol. III, p. 512) [19]

The first condition of perception in the world of nature is the perception of the rational soul. In this perception and in this power all men are sharers, whether they be neglectful or vigilant, believers or deniers. This human rational soul is God's creation; it encompasses and excels other creatures; as it is more noble and distinguished, it encompasses things. The power of the rational soul can discover the realities of things, comprehend the peculiarities of beings, and penetrate the mysteries of existence. All sciences, knowledge, arts, wonders, institutions, discoveries and enterprises come from the exercised intelligence of the rational soul.

(Published in "Some Answered Questions" (Wilmette: Bahá'í Publishing Trust, 1984), chapter 58, p. 217) [20]

From Utterances of `Abdu'l-Bahá

What a wonderful meeting this is! These are the children of the Kingdom. The song we have just listened to was very beautiful in melody and words. The art of music is divine and effective. It is the food of the soul and spirit. Through the power and charm of music the spirit of man is uplifted. It has wonderful sway and effect in the hearts of children, for their hearts are pure, and melodies have great influence in them. The latent talents with which the hearts of these children are endowed will find expression through the medium of music. Therefore, you must exert yourselves to make them proficient; teach them to sing with excellence and effect. It is incumbent upon each child to know something of music, for without knowledge of this art the melodies of instrument and voice cannot be rightly enjoyed. Likewise, it is necessary that the schools teach it in order that the souls and hearts of the pupils may become vivified and exhilarated and their lives be brightened with enjoyment.

(Published in "The Promulgation of Universal Peace: Talks Delivered by Abdu'l-Bahá during His Visit to the United States and Canada in 1912", rev. ed. (Wilmette: Bahá'í Publishing Trust, 1982), p. 52) [21]

An actor mentioned the drama, and its influence. "The drama is of the utmost importance." said `Abdu'l-Bahá. "It has been a great educational power in the past; it will be so again." He described how as a young boy he witnessed the Mystery Play of Ali's Betrayal and Passion, and how it affected him so deeply that he wept and could not sleep for many nights.

(Published in " Abdu'l-Bahá in London: Addresses and Notes of Conversations" (Oakham: Bahá'í Publishing Trust, 1987), p. 93) [22]

`Abdu'l-Bahá said...: "All Art is a gift of the Holy Spirit. When this light shines through the mind of a musician, it manifests itself in beautiful harmonies. Again, shining through the mind of a poet, it is seen in fine poetry and poetic prose. When the Light of the Sun of Truth inspires the mind of a painter, he produces marvellous pictures. These gifts are fulfilling their highest purpose, when showing forth the praise of God."

(Lady Blomfield, "The Chosen Highway" (Wilmette: Bahá'í Publishing Trust, 1954), p. 167) [23]

It is natural for the heart and spirit to take pleasure and enjoyment in all things that show forth symmetry, harmony, and perfection. For instance: a beautiful house, a well designed garden, a symmetrical line, a graceful motion, a well written book, pleasing garments -- in fact, all things that have in themselves grace or beauty are pleasing to the heart and spirit -- therefore, it is most certain that a true voice causes deep pleasure.

(`Abdu'l-Bahá's words to Mrs. Mary L. Lucas, as quoted in "A Brief Account of My Visit to Acca" (Chicago: Bahá'í Publishing Society, 1905), pp. 11-14) [24]

From the Writings of Shoghi Effendi

Such a chaste and holy life, with its implications of modesty, purity, temperance, decency, and clean-mindedness, involves no less than the exercise of moderation in all that pertains to dress, language, amusements, and all artistic and literary avocations. It demands daily vigilance in the control of one's carnal desires and corrupt inclinations. It calls for the abandonment of a frivolous conduct, with its excessive attachment to trivial and often misdirected pleasures. It requires total abstinence from all alcoholic drinks, from opium, and from similar habit-forming drugs. It condemns the prostitution of art and of literature, the practices of nudism and of companionate marriage, infidelity in marital relationships, and all manner of promiscuity, of easy familiarity, and of sexual vices. It can tolerate no compromise with the theories, the standards, the habits, and the excesses of a decadent age. Nay rather it seeks to demonstrate, through the dynamic force of its example, the pernicious character of such theories, the falsity of such standards, the hollowness of such claims, the perversity of such habits, and the sacrilegious character of such excesses.

(Published in "The Advent of Divine Justice" (Wilmette: Bahá'í Publishing Trust, 1990), p. 30) [25]

From Letters Written on Behalf of Shoghi Effendi

Shoghi Effendi wishes me to acknowledge the receipt of your letter dated October 27th 1931, together with the accompanying music of "The Lonely Stranger" sent through.... He sincerely hopes that as the Cause grows and talented persons come under its banner, they will begin to produce in art the divine spirit that animates their soul. Every religion has brought with it some form of art -- let us see what wonders this Cause is going to bring along. Such a glorious spirit should also give vent to a glorious art. The Temple with all its beauty is only the first ray of an early dawn; even more wondrous things are to be achieved in the future.

(11 December 1931, to an individual) [26]

He wishes to start a new section in "The Bahá'í World" devoted wholly to poems written by Bahá'ís. Though it may be a humble beginning it is a start for great future achievements. Shoghi Effendi wishes thereby to encourage those who are talented to give expression to the wonderful spirit that animates them. We need poets and writers for the Cause and this is undoubtedly one good way to urge them on. Some of the poems are written by very youthful persons yet they ring so true and give expression to such thoughts that one should halt and admire. In Persia the Cause has given birth to poets that even non-Bahá'ís consider as great. We hope before long we will have similar persons arise in the West.

(2 January 1932, to an individual) [27]

It is certain that with the spread of the spirit of Bahá'u'lláh a new era will dawn in art and literature. Whereas before the form was perfect but the spirit was lacking, now there will be a glorious spirit embodied in a form immeasurably improved by the quickened genius of the world.

(3 April 1932, to an individual) [28]

Shoghi Effendi wishes me to acknowledge the receipt of your letter dated May 18th 1932. He is very glad to know that you have liked "The Dawn- Breakers", for his greatest reward is to see that this work, which has cost him much labour and anxiety, is helping the friends to understand better and more fully the spirit that animates the Movement and the exemplary life of the heroic souls that ushered it into the world. The Guardian sincerely hopes that by reading this book the friends will be stirred to greater activity and a higher measure of sacrifice, that they will obtain a deeper realization of this Cause whose spread and ultimate victory is entrusted to their care. As some who have read the book have remarked, no one can become familiar with those lives and not be inspired to follow in their way.

It is surely true that the spirit of those heroic souls will stir many artists to produce their best. It is such lives that in the past inspired poets and moved the brush of the painters.

(20 June 1932, to an individual) [29]

Shoghi Effendi was very much interested to learn of the success of the "Pageant of the Nations" you produced. He sincerely hopes that all those who attended it were inspired by the same spirit that animated you while arranging it. It is through such presentations that we can arouse the interest of the greatest number of people in the spirit of the Cause. 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.

We have to wait only a few years to see how the spirit breathed by Bahá'u'lláh will find expression in the work of the artists. What you and some other Bahá'ís are attempting are only faint rays that precede the effulgent light of a glorious morn. We cannot yet value the part the Cause is destined to play in the life of society. We have to give it time. The material this spirit has to mould is too crude and unworthy, but it will at last give way and the Cause of Bahá'u'lláh will reveal itself in its full splendour.

(10 October 1932, to an individual) [30]

The Guardian values the hymns that you are so beautifully composing. They certainly contain the realities of the Faith, and will indeed help you to give the Message to the young ones. It is the music which assists us to affect the human spirit; it is an important means which helps us to communicate with the soul. The Guardian hopes that through this assistance you will give the Message to the people, and will attract their hearts.

(15 November 1932, to an individual) [31]

What Bahá'u'lláh meant primarily with "sciences that begin and end in words" are those theological treatises and commentaries that encumber the human mind rather than help it to attain the truth. The students would devote their life to their study but still attain no where. Bahá'u'lláh surely never meant to include story- writing under such a category; and shorthand and typewriting are both most useful talents, very necessary in our present social and economic life.

What you could do, and should do, is to use your stories to become a source of inspiration and guidance for those who read them. With such a means at your disposal you can spread the spirit and teachings of the Cause; you can show the evils that exist in society, as well as the way they can be remedied. If you possess a real talent in writing you should consider it as given by God and exert your efforts to use it for the betterment of society.

(30 November 1932, to an individual) [32]

Your poem dedicated to Nabil deeply touched me.... I would also welcome any other poems from your gifted pen on any phase or episode recounted in Nabil's immortal narrative. You are rendering the Cause unique and notable services. Be happy and persevere in your high endeavours.

(6 August 1933, in the handwriting of Shoghi Effendi, appended to a letter written on his behalf to an individual) [33]

In regard to the main question you have raised in connection with the singing of hymns at Bahá'í meetings: He wishes me to assure you that he sees no objection to it whatsoever. The element of music is, no doubt, an important feature of all Bahá'í gatherings. The Master Himself has emphasized its importance. But the friends should in this, as well as in all other things, not pass beyond the limits of moderation, and should take great care to maintain the strict spiritual character of all their gatherings. Music should lead to spirituality, and provided it creates such an atmosphere there can be no objection against it. A distinction of vital importance should, however, be clearly established between the singing of hymns composed by the believers and the chanting of the Holy Utterances.

(17 March 1935, to an individual) [34]

As to your question concerning the advisability of dramatizing Bahá'í historic episodes: the Guardian would certainly approve, and even encourage that the friends should engage in such literary pursuits which, no doubt, can be of immense teaching value. What he wishes the believers to avoid is to dramatize the personages of the Bab, Bahá'u'lláh and `Abdu'l-Bahá, that is to say to treat them as dramatic figures, as characters appearing on the stage. This, as already pointed out, he feels would be quite disrespectful. The mere fact that they appear on the scene constitutes an act of discourtesy which can in no way be reconciled with their highly exalted station. Their message, or actual words, should be preferably reported and conveyed by their disciples appearing on the stage.

(25 July 1936, to an individual) [35]

The Guardian was also pleased to know of your deep interest in music, and of your desire to serve the Faith along this line. Although now is only the very beginning of Bahá'í art, yet the friends who feel they are gifted in such matters should endeavour to develop and cultivate their gifts and through their works to reflect, however inadequately, the Divine Spirit which Bahá'u'lláh has breathed into the world.

(4 November 1937, to an individual) [36]

...you raise the question of what will be the source of inspiration to Bahá'í musicians and composers: the music of the past or the Word? We cannot possibly foresee, standing as we do on the threshold of Bahá'í culture, what forms and characteristics the arts of the future, inspired by this Mighty New Revelation, will have. All we can be sure of is that they will be wonderful; as every Faith has given rise to a culture which flowered in different forms, so too our beloved Faith may be expected to do the same thing. It is premature to try and grasp what they will be at present.

(23 December 1942, to an individual) [37]

Music, as one of the arts, is a natural cultural development, and the Guardian does not feel that there should be any cultivation of "Bahá'í Music" any more than we are trying to develop a Bahá'í school of painting or writing. The believers are free to paint, write and compose as their talents guide them. If music is written, incorporating the sacred writings, the friends are free to make use of it, but it should never be considered a requirement at Bahá'í meetings to have such music. The further away the friends keep from any set forms, the better, for they must realize that the Cause is absolutely universal, and what might seem a beautiful addition to their mode of celebrating a Feast, etc., would perhaps fall on the ears of people of another country as unpleasant sounds -- and vice versa. As long as they have music for its own sake it is all right, but they should not consider it Bahá'í music.

(20 July 1946, to a National Spiritual Assembly) [38]

...he wishes to call your Assembly's attention to a very important matter, and that is the Greatest Name. To the western eye, untrained in the art -- the most highly developed art of the East -- of calligraphy, nearly every Greatest Name, if it embodies the salient points, is the Greatest Name. But to an Oriental it may appear a monstrosity.... The exact proportions are what must be maintained. The Greatest Name must not be stretched out -- or up -- to fill an oblong space or a circle.

(22 December 1948, to a National Spiritual Assembly) [39]

It was a Canadian, of French extraction, who through his vision and skill, was instrumental in conceiving the design, and delineating the features, of the first Mashriqu'l-Adhkar of the west, marking the first attempt, however rudimentary, to express the beauty which Bahá'í art will, in its plenitude, unfold to the eyes of the world.

(1 March 1951, from a postscript by Shoghi Effendi appended to a letter written on his behalf to a National Spiritual Assembly) [40]

Music is one of the arts, and the Prophets of God do not teach the arts; but the tremendous cultural impetus which religion gives to society gradually produces new and wonderful forms of art. We see this in the different styles of architecture and painting associated with the Christian, Muhammadan, Buddhist and other civilizations. Music, too, has grown up as an expression of the people.

We believe that, in the future, when the Bahá'í spirit has permeated the world and profoundly changed society, music will be affected by it; but there is no such thing as Bahá'í music. All it says in the teachings about music is that it can influence the heart and soul of man very deeply, and have an extremely uplifting effect.

(3 February 1952, to an individual) [41]

As regards the matters you raised in your letter: In the teachings there is nothing against dancing, but the friends should remember that the standard of Bahá'u'lláh is modesty and chastity. The atmosphere of modern dance halls, where so much smoking and drinking and promiscuity goes on, is very bad, but decent dances are not harmful in themselves. There is certainly no harm in classical dancing or learning dancing in school. There is also no harm in taking part in dramas. Likewise in cinema acting. The harmful thing, nowadays, is not the art itself but the unfortunate corruption which often surrounds these arts. As Bahá'ís we need avoid none of the arts, but acts and the atmosphere that sometimes go with these professions we should avoid.

(30 June 1952, to a National Spiritual Assembly) [42]

From Letters Written by and on Behalf of the Universal House of Justice

Publicity itself should be well-conceived, dignified and reverent. A flamboyant approach which may succeed in drawing much initial attention to the Cause may ultimately prove to have produced a revulsion which would require great effort to overcome. The standard of dignity and reverence set by the beloved Guardian should always be upheld, particularly in musical and dramatic items; and photographs of the Master should not be used indiscriminately. This does not mean that activities of the youth, for example, should be stultified; one can be exuberant without being irreverent or undermining the dignity of the Cause.

(2 July 1967, by the Universal House of Justice to all National Spiritual Assemblies) [43]

...we feel that it will be helpful to you to know that songs whose words are the primary Writings of the Bab, Bahá'u'lláh or `Abdu'l-Bahá are all quite fitting for the devotional portion of the Feast. Indeed, the Persian chants are such songs, out of a different tradition; they are a way of giving music to the holy Word, and each person who chants does it in a way which mirrors his feeling and expression of the Words he is uttering. As for songs whose words are poetic and the composition of persons other than the Figures of the Faith, these may be desirable but in their proper place.... Inasmuch as the spirit of our gatherings is so much affected by the tone and quality of our worship, of our feeling and appreciation of the Word of God for this day, we would hope that you would encourage the most beautiful possible expression of the human spirits in your communities, through music among other modes of feeling.

(22 February 1971, by the Universal House of Justice to a National Spiritual Assembly) [44]

Your understanding that the portrayal of the Bab and Bahá'u'lláh in works of art is forbidden is correct. The Guardian made it clear that this prohibition refers to all the Manifestations of God; photographs, or reproductions of portraits, of the Master may be used in books, but no attempt should be made to portray Him in dramatic or other works where He would be one of the "dramatis personae". However, there can be no objection to symbolic representation of such Holy Figures, provided it does not become a ritual and that the symbol used is not irreverent.

(3 December 1972, by the Universal House of Justice to an individual) [45]

While it is quite true that individual artists such as Mark Tobey and others have undoubtedly been inspired and influenced by their love for the Revelation of Bahá'u'lláh, it is far too early in the Bahá'í Dispensation to talk about the influence of the Faith on the arts in general. Indeed the beloved Guardian himself has pointed out that there is, as yet, no such thing as Bahá'í art although there is no doubt from statements in the writings that a wonderful efflorescence of new and beautiful arts may be anticipated in the future.

(17 January 1973, by the Universal House of Justice to a National Spiritual Assembly) [46]

The beloved Guardian made it clear that the flowering of the arts which is the result of a divine revelation comes only after a number of centuries. The Bahá'í Faith offers the world the complete rebuilding of human society -- a rebuilding of such far- reaching effect that it has been looked forward to in all the revelations of the past and has been called the establishment of the Kingdom of God on earth. The new architecture to which this revelation will give birth will blossom many generations hence. We are now merely at the beginning of this great process.

The present time is a period of turmoil and change. Architecture, like all arts and sciences, is undergoing very rapid development; one has only to consider the changes that have taken place in the course of the last few decades to have some idea of what is likely to happen during the years immediately ahead. Some modern buildings have, no doubt, qualities of greatness and will endure, but very much of what is being constructed now may be outgrown and may appear ugly but a few generations hence. Modern architecture, in other words, may be considered a new development in its primitive stage.

(18 July 1974, by the Universal House of Justice to an individual) [47]

The House of Justice feels that at this time in the development of the Faith its primary responsibility is the preparation and prosecution of teaching plans designed to achieve the objectives set forth in Abdu'l-Bahá's Tablets of the Divine Plan and that theories in arts and sciences should be developed under the auspices of those who are well-versed and expert in those fields.

(25 January 1977, on behalf of the Universal House of Justice to an individual) [48]

The prohibition on representing the Manifestation of God in paintings and drawings or in dramatic presentations applies to all the Manifestations of God. There are, of course, great and wonderful works of art of past Dispensations, many of which portrayed the Manifestations of God in a spirit of reverence and love. In this Dispensation however the greater maturity of mankind and the greater awareness of the relationship between the Supreme Manifestation and His servants enable us to realize the impossibility of representing, in any human form, whether pictorially, in sculpture or in dramatic representation, the Person of God's Manifestation. In stating the Bahá'í prohibition, the beloved Guardian pointed out this impossibility.

(9 March 1977, on behalf of the Universal House of Justice to an individual) [49]

The same destructive forces are also deranging the political, economic, scientific, literary, and moral equilibrium of the world and are destroying the fairest fruits of the present civilization.... Even music, art, and literature, which are to represent and inspire the noblest sentiments and highest aspirations and should be a source of comfort and tranquillity for troubled souls, have strayed from the straight path and are now the mirrors of the soiled hearts of this confused, unprincipled, and disordered age.

(10 February 1980, by the Universal House of Justice to the Iranian Bahá'ís throughout the World; published in "Messages from the Universal House of Justice 1963-1986" (Wilmette: Bahá'í Publishing Trust, 1996), p. 435) [50]

Generally speaking, works of fiction which the writers hope will help to promote knowledge of the Cause of God will fulfil this purpose better if they are set against the background of particular events or developing processes in the Cause of God, and not used to portray the actual historical events themselves and the figures taking part in them. The reality of the actual events and the actual personages is so much more convincing than any fictional account. In this connection the Guardian's secretary wrote on his behalf:

He would not recommend fiction as a means of teaching; the condition of the world is too acute to permit of delay in giving them the direct teachings associated with the name of Bahá'u'lláh. But any suitable approach to the Faith, which appeals to this or that group, is certainly worthy of effort, as we wish to bring the Cause to all men, in all walks of life, of all mentalities.

(23 September 1980, on behalf of the Universal House of Justice to an individual) [51]

Your letter ... concerning art has been received, and the Universal House of Justice has instructed us to commend you on your plan to use your artistic talents to express the spirit of Bahá'u'lláh's teachings. It warmly encourages you in this pursuit.... In response to your request for guidance on the best ways to approach artists in teaching the Faith, it can be said that in addition to those methods which attract people generally, artists will be responsive to art. When the sublime teachings of the Faith are reflected in artistic work, the hearts of people, including artists, will be touched. A quotation from the Sacred Writings or description of the art piece as it relates to the Writings may provide the viewer with an understanding of the source of this spiritual attraction and lead him to further study of the Faith.

(21 July 1982, on behalf of the Universal House of Justice to an individual) [52]

With the evolution of the Bahá'í society, which is composed of people of many cultural origins and diverse tastes, each with his conception of what is aesthetically acceptable and pleasing, those Bahá'ís who are gifted in music, drama and the visual arts are free to exercise their talents in ways which will serve the Faith of God. They should not feel disturbed at the lack of appreciation by sundry believers. Rather, in knowledge of the cogent writings of the Faith on music and artistic expression ... they should continue their artistic endeavours in prayerful recognition that the arts are powerful instruments to serve the Cause, arts which in time will have their Bahá'í fruition.

(9 August 1983, on behalf of the Universal House of Justice to an individual) [53]

Your letter ... requesting guidance in the matter of visual representation of the personages connected with the Heroic Age of the Faith has been received. The Universal House of Justice wishes you to know that there is nothing in the instructions of the Guardian, nor of the House of Justice, .. to prohibit artists ... to make drawings of Letters of the Living in surroundings, or participating in events, which are historically accurate. Obviously, in addition to accuracy, it is important to uphold the dignity of the personages being portrayed.

(5 October 1983, on behalf of the Universal House of Justice to a National Spiritual Assembly) [54]

Architecture at this time, in common with all aspects of our civilization, is going through a period of rapid development, with tastes changing from decade to decade. No one can be certain whether a building which is built now in a current style will still appear beautiful in the eyes of the people fifty years hence. For the World Administrative Centre of the Faith, therefore, the beloved Guardian chose the classical Greek style of architecture. This is a mature style, very beautiful, which has persisted for some 2,000 years. It would not be correct, however, to deduce from this that the classical Greek styles are particularly Bahá'í architecture.

(3 September 1984, on behalf of the Universal House of Justice to an individual) [55]

Rejecting the low sights of mediocrity, let them scale the ascending heights of excellence in all they aspire to do. May they resolve to elevate the very atmosphere in which they move, whether it be in the school rooms or halls of higher learning, in their work, their recreation, their Bahá'í activity or social service.

Indeed, let them welcome with confidence the challenges awaiting them. Imbued with this excellence and a corresponding humility, with tenacity and a loving servitude, today's youth must move towards the front ranks of the professions, trades, arts and crafts which are necessary to the further progress of humankind -- this to ensure that the spirit of the Cause will cast its illumination on all these important areas of human endeavour.

Moreover, while aiming at mastering the unifying concepts and swiftly advancing technologies of this era of communications, they can, indeed they must, also guarantee the transmittal to the future of those skills which will preserve the marvellous, indispensable achievements of the past. The transformation which is to occur in the functioning of society will certainly depend to a great extent on the effectiveness of the preparations the youth make for the world they will inherit.

(8 May 1985, by the Universal House of Justice to the Bahá'í Youth of the World) [56]

The House of Justice wishes to encourage you in the writing of your book but reminds you that the Guardian clearly stated that at this early stage of the Dispensation there is no such thing as Bahá'í art, music, architecture or culture. These will doubtless emerge in the future as a natural outgrowth of a Bahá'í civilization. The Guardian's own predilections in such matters should never be regarded as laying the foundations for such developments. As clearly indicated by his rejection of the design submitted to him for the Temple in Kampala ... he did not feel that the general modern trend of architecture current at his time was suitable for a Bahá'í House of Worship, but this in no sense implies that he instituted a pattern of his own.

His choice of the classical style for the structures on Mount Carmel was, according to Amatu'l-Bahá Ruhiyyih Khanum, on the grounds that it was beautiful and befitted the area, and that it had withstood the test of time. You should, therefore, take care not to indicate or make it possible to infer that the Guardian laid down the early beginnings of Bahá'í art forms. He made beautiful gardens and buildings utilizing what was available and, as in the case of the superstructure of the Shrine of the Bab, engaged experts who could produce befitting designs under his guidance.

(23 June 1985, on behalf of the Universal House of Justice to an individual) [57]

With reference to music and fine arts, you are, of course, free to include them as curricular subjects in Bahá'í schools. Many of your fellow National Assemblies, keenly aware of the Bahá'í Writings concerning music and the arts, incorporate such instruction and materials as they find possible at this stage of Bahá'í community development. Much work by devoted and talented teachers needs to be done to stimulate, collect and publish the useful music now emerging in the Bahá'í world, and to utilize it systematically in the schools....

In accordance with our Teachings, music and the arts are to be encouraged, and they add immeasurably to the vitality and spirit of the community. Your Assembly's thoughts and efforts are valued, and you are remembered in the prayers of the House of Justice.

(20 August 1985, on behalf of the Universal House of Justice to a National Spiritual Assembly) [58]

Regarding the use of symbolism in art, the following extracts from letters written to two individuals by the House of Justice may provide the answer you seek:

We see no objection to the use of natural phenomena as symbols to illustrate the significance of the three Central Figures, Bahá'í Laws, and Bahá'í Administration; and we also appreciate the suitability of using visual symbols to express abstract concepts. (29 July 1971)

Your understanding that the portrayal of the Bab and Bahá'u'lláh in works of art is forbidden is correct. The Guardian made it clear that this prohibition refers to all the Manifestations of God; photo- graphs, or reproductions of portraits, of the Master may be used in books, but no attempt should be made to portray Him in dramatic or other works where He would be one of the "dramatis personae". However, there can be no objection to symbolic representation of such Holy Figures, provided it does not become a ritual and that the symbol used is not irreverent. (3 December 1972)

You sometimes provide detailed written descriptions of the symbols you use in your paintings; as a practice this could introduce an aspect which could be unduly interpretive of Bahá'í concepts, ultimately detracting from rather than enhancing your artistic efforts. Symbolism is the stuff of art, but artists rarely interpret the symbols they use, leaving it to observers of their works to draw their own conclusions, sometimes with no more than hints from the titles given such works.

The titling of a piece of art is the artist's prerogative; the only objection would be to the use of an irreverent title for a piece intended to represent a Bahá'í subject.

As to your question about an artist's executing a "painting which is a contemporary illumination of a passage of the Holy Writings", the House of Justice feels artists should not be inhibited by Bahá'í institutions from creating a variety of calligraphic renderings of the Holy Writings or of the Greatest Name. However, such efforts should be in good taste and not assume forms that lend themselves to ridicule. Regarding the commonly used symbol of the Greatest Name, the House of Justice advises that great care be given to the accurate representation of the Persian calligraphy, since any deviation from an accepted representation can be distressing to Iranian believers.

(23 February 1987, on behalf of the Universal House of Justice to an individual) [59]

The policy formulated by the House of Justice to discourage the reproduction of photographs of paintings of the Master for distribution does not imply any judgement of the quality of a painting. There is a wide variation in the quality of the artistry with which paintings of the Master are carried out. The House of Justice does not wish to show preference for one painting over another; it chooses rather to adopt this general policy as a means of ensuring that appropriate respect is accorded to representations of `Abdu'l-Bahá and that there is no distribution of photographic reproductions of those paintings which are of poor quality.

An important distinction is made between publication of photographs of paintings in books and magazines, which is not prohibited as it is subject to some degree of judgement by the publisher, and their publication as separate items, which is discouraged by the House of Justice. More generally, the House of Justice feels that one of the great challenges facing Bahá'ís everywhere is that of restoring to the peoples of the world an awareness of spiritual reality. Our view of the world is markedly different from that of the mass of mankind, in that we perceive creation to encompass spiritual as well as physical entities, and we regard the purpose of the world in which we now find ourselves to be a vehicle for our spiritual progress.

This view has important implications for the behaviour of Bahá'ís and gives rise to practices which are quite contrary to prevailing conduct of the wider society. One of the distinctive virtues given emphasis in the Bahá'í Writings is respect for that which is sacred. Such behaviour has no meaning for those whose perspective on the world is entirely materialistic, while many followers of the established religions have debased it into a set of rituals devoid of true spiritual feeling.

In some instances, the Bahá'í Writings contain precise guidance on how the reverence for sacred objects or places should be expressed, e.g., restrictions on the use of the Greatest Name on objects or on indiscriminate use of the record of the voice of the Master. In other instances, the believers are called upon to strive to obtain a deeper understanding of the concept of sacredness in the Bahá'í teachings, from which they can determine their own forms of conduct by which reverence and respect are to be expressed.

The importance of such behaviour derives from the principle expressed in the Bahá'í Writings, that the outward has an influence on the inward. Referring to "the people of God" Bahá'u'lláh states:

Their outward conduct is but a reflection of their inward life, and their inward life a mirror of their outward conduct.
It is within this framework that the Universal House of Justice wishes you to view the concerns which have been expressed over the past several years. Bahá'ís endowed with artistic talent are in a unique position to use their abilities, when treating Bahá'í themes, in such a way as to disclose to mankind evidence of the spiritual renewal the Bahá'í Faith has brought to humanity through its revitalization of the concept of reverence.
Questions of artistic freedom are not germane to the issues raised here. Bahá'í artists are free to apply their talents to whatever subject is of interest to them. However, it is hoped that they will exercise a leadership role in restoring to a materialistic society an appreciation of reverence as a vital element in the achievement of true liberty and abiding happiness.

(24 September 1987, on behalf of the Universal House of Justice to an individual) [60]

The House of Justice is pleased to learn of the success you are achieving in your profession. It advises you to view this professional activity within the context of service to the Faith and the promotion of the proclamation and teaching work. Your musical achievements will enable you to reach a wide range of people and ultimately to proclaim the Message of Bahá'u'lláh to them through the expression of its values in your music. You can also make valuable friend- ships for the Faith among the influential people you will meet as your business continues to develop. These considerations might well guide you in the decision now before you concerning the area in which you should reside. Bahá'í artists who achieve eminence and renown in their chosen field, and who remain dedicated to the promotion of the Faith, can be of unique assistance to the Cause at the present time when public curiosity about the Bahá'í teachings is gradually being aroused.

(30 June 1988, on behalf of the Universal House of Justice to two individuals) [61]

It is permissible to use selections from the Holy Writings as lyrics to be accompanied by musical compositions and to repeat verses or words. The following quotations provide further clarification concerning these matters.

Therefore ... set to music the verses and the divine words so that they may be sung with soul-stirring melody in the Assemblies and gatherings, and that the hearts of the listeners may become tumultuous and rise towards the Kingdom of Abha in supplication and prayer.
No doubt prayers and parts of the Tablets, "Hidden Words", etc., will be suitable, but he does not feel it would be advisable to abridge any given part, in other words to leave out parts of a paragraph or a meditation and foreshorten it in this manner. (From a letter dated 3 July 1949 written on behalf of Shoghi Effendi to an individual believer)

In response to a question from a believer concerning minor alterations of words for the sake of correct accent or the addition of a word for the sake of perfect meter, the beloved Guardian stated the following:

Slight alterations in the text of the prayers are permissible, and I would advise you to give a musical form to the revealed word itself which I feel will be exceedingly effective. I will pray that the Beloved may inspire you to accomplish this great service to His Cause. (In the handwriting of Shoghi Effendi, appended to a letter dated 8 April 1931 written on his behalf to an individual believer)

Regarding the question of setting verses from the Bahá'í Writings to the melodies of existing pieces of music, assuming that there is no copyright or legal restriction involved, one should bear in mind that such music may carry with it associations of the original piece, either in lyrics or in mood, and may not meet the requirement to treat the Sacred Texts with dignity and reverence.

(6 December 1989, on behalf of the Universal House of Justice to an individual) [62]

There is no objection to the interpretation of a prayer in the form of movement or dance if the spirit is properly reverential, but preferably this should not be accompanied by reading the words.

(4 January 1990, on behalf of the Universal House of Justice to an individual) [63]

The House of Justice is pleased to learn of your teaching activities and your continued devotion to the Cause of God in spite of difficulties you have experienced as a musician. With regard to your questions: the Bahá'í Teachings obviously do not condone the mistreatment of musicians or other artists, nor are artists expected to sacrifice their free will to the whims, or even the strongly held opinions, of other Bahá'ís. As for the tensions and difficulties arising between your teaching the Faith through music and your parallel need to be self-supporting, it is suggested that you yourself will need to set your own limits in this regard. We find, for example, the following guidance in a letter dated 26 February 1933 written on behalf of Shoghi Effendi to an individual believer:

The advice that Shoghi Effendi gave you regarding the division of your time between serving the Cause and attending to your other duties was also given to many other friends both by Bahá'u'lláh and the Master. It is a compromise between the two verses of the "Aqdas", one making it incumbent upon every Bahá'í to serve the promotion of the Faith and the other that every soul should be occupied in some form of occupation that will benefit society. In one of His Tablets Bahá'u'lláh says that the highest form of detachment in this day is to be occupied with some profession and be self-supporting. A good Bahá'í, therefore, is the one who so arranges his life as to devote time both to his material needs and also to the service of the Cause.

(15 February 1990, on behalf of the Universal House of Justice to an individual) [64]

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; however, as you yourself have stated, you are conscious of the difficulties and potential pitfalls of Bahá'í theatrical endeavours at this time and in the atmosphere of intolerance prevailing in your country, which make it essential not to produce plays which may arouse public antipathy or the indignation of religious fundamentalists.

(9 April 1990, on behalf of the Universal House of Justice to a National Spiritual Assembly) [65]

...traditional dances associated with the expression of a culture are permissible in Bahá'í Centres. However, it should be borne in mind that such traditional dances generally have an underlying theme or a story being represented. Care must be exercised to ensure that the themes of such dances are in harmony with the high ethical standards of the Cause and are not portrayals that would arouse base instincts and unworthy passions....

As for choreographed dances whose purpose is to reinforce and proclaim Bahá'í principles, if they can be performed in a manner which portrays the nobility of such principles and invokes appropriate attitudes of respect or reverence, there is no objection to dances which are meant to interpret passages from the Writings; however, it is preferable that the motions of a dance not be accompanied by the reading of the words. The principle which must guide the friends in their consideration of these questions is the observance of "moderation in all that pertains to dress, language, amusements, and all artistic and literary avocations".

(20 June 1991, on behalf of the Universal House of Justice to a National Spiritual Assembly) [66]

There is no objection, of course, to the use of the phrase "Bahá'í artist" but at this point in time in the Bahá'í Dispensation we should not use the term "Bahá'í art", "Bahá'í music", or "Bahá'í architecture".

(12 March 1992, on behalf of the Universal House of Justice to two individuals) [67]

The medium of a novel offers a great deal of latitude for an author to elaborate ideas and areas of thought hitherto unexplored. You should be careful, however, not to ... give interpretations that may not be correct if the Faith and its Teachings are to be explicit in the novel. If, on the other hand, there is no clear connection to the Faith in the novel, you would be free to use your imagination in exploring any ideas which have as their source the principles of the Faith.

(15 February 1994, on behalf of the Universal House of Justice to an individual) [68]

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."

(21 April 1996, by the Universal House of Justice to the Bahá'ís of the World) [69]

In much of the region, insufficient attention has been given to the education of children. Far more extensive programmes should be initiated in those countries where the need exists, to ensure that Bahá'í children are nurtured, encouraged to acquire trained minds, illumined with a sound knowledge of the Divine Teachings, well- equipped to participate in the work of the Cause at all levels and to contribute to the arts, crafts and sciences necessary for the advancement of civilization. Such programmes, when open to all children, Bahá'í or not, offer a potent means of extending the beneficial influences of Bahá'u'lláh's Message to the wider society.

(21 April 1996, by the Universal House of Justice to the Followers of Bahá'u'lláh in Australasia) [70]

Notes

1. Peerless Persian musician: A singer, player and inventor of many ancient musical instruments who lived at the court of Khosrow-Parviz of the Sasani dynasty about 600 A.D.

2. "Father of Persian poetry" (d. A.D. 940).

3. Renowned Muslim scholar; author of a treatise on music (ca. A.D. 870-950).

4. Physician/scientist/philosopher known in the west as Avicenna, one of whose major works devotes a section to music theory (ca. A.D. 980-1027).

5. Shahnaz, the name given to the recipient of this Tablet, is also the name of a musical mode.

6. The Universal House of Justice, in a letter dated 15 March 1972 written on its behalf, has elucidated this phrase of the Guardian in this manner: "As to your question about the prostitution of arts and literature' we understand by this, using art and literature for debased ends."

7. 23 March 1945, to an individual.

8. A newer authorized translation of this passage is found in "Selections from the Writings of Abdu'l-Bahá" (Wilmette: Bahá'í Publishing Trust, 1997), paragraph 74.2 (see item [14] of this compilation).

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Arts, Importance of in Promoting the Faith

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The 1996 Ridván message of the Universal House of Justice to the Bahá'ís of the World called attention to the importance of the arts, especially the graphic and performing arts and literature, in the proclamation, expansion and consolidation of the Bahá'í Faith. This compilation is intended to enlarge upon this concept.

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Transported by the Rapture of Sacred Music

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Transported by the Rapture of Sacred Music

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Shadi Toloui-Wallace

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Transported by the Rapture of Sacred Music

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The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith. As I grew up, I looked forward to the day when a Baha'i House of Worship would exist on every continent on the planet.

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A Call to Action for Music Consumers and Creators

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A Call to Action for Music Consumers and Creators

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Shadi Toloui-Wallace
Available in: Español

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The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith.

In the first segment of this series, we analyzed the effects of melody on the human body, mind, and spirit. In the second segment, we focused on how the messaging portrayed through song lyrics can influence our behavior, even in subtle ways. We learned that we're not as mentally strong as we think we are, but are in fact greatly vulnerable to the messages in lyrics. This third, final installment will explore the shared role and responsibility of conscious music creators and consumers.

In our last segment, we learned about research by professor P. Cougar Hall, who fears that more and more teens are confusing the lyrics of popular music with social norms. However, Hall doesn't suggest parents discourage music at home, nor does he promote restrictions or encourage censorship. Rather, he suggests we engage in conversation with young people, in the hopes of stimulating action and awareness.

After all, these young people are our future leaders, decision makers, industry professionals, creators, and consumers.

Listen to BahaiTeachings's latest monthly playlist of uplifting and positive music on Spotify:

In a letter addressed to "the Baha'i youth in every land," the Universal House of Justice wrote:

Let Baha'i youth, therefore, consider the best ways in which they can use and develop their native abilities for the service of mankind and the Cause of God, whether this be as farmers, teachers, doctors, artisans, musicians or any one of the multitude of livelihoods that are open to them. - The Universal House of Justice, 10 June 1966.

Multiple studies performed by Tobias Greitemeyer and his colleagues, have found that the most effective songs contain lyrics that advocate kindness and helpfulness, and that positive messages in songs can make people less prejudiced and fearful of those who are different than them. In another experiment conducted by researchers Ritter and Ferguson, they found that when participants listened to music labeled "happy," their creativity increased. Music with clean, profound messaging can connect people to their emotions and facilitate emotional healing; not only happy music but even sad tunes can release feelings of pleasure and comfort . Singing and playing musical instruments have even more profound effects on the human mind and body. Paul Zak's research found that playing music with others develops trust, which releases a neurochemical called oxytocin, which is linked to moral behaviors, such as being generous or sacrificing to help a stranger.

As we aspire to become more actively engaged in the music we make and listen to, we may benefit from considering and putting into action some relevant insights and inspiration from the Baha'i teachings, such as the following ideas offered by the Universal House of Justice:

New elements of culture will evolve over time as people hailing from every human group, inspired by the Revelation of Baha'u'llah, give expression to patterns of thought and action engendered by His teachings, in part through artistic and literary works... We long to see, for instance, the emergence of captivating songs from every part of the world, in every language, that will impress upon the consciousness of the young the profound concepts enshrined in the Baha'i teachings. Yet such an efflorescence of creative thought will fail to materialize, should the friends fall, however inadvertently, into patterns prevalent in the world that give licence to those with financial resources to impose their cultural perspective on others, inundating them with materials and products aggressively promoted. Further, every effort should be made to protect spiritual education from the perils of commercialization. - The Universal House of Justice, to all National Spiritual Assemblies, December 2011.

I'm by no means suggesting that everyone should only listen to folk, soul, or religious music, or that we should stop listening to hip-hop, pop, or EDM (electronic dance music). The diverse styles and genres of music have beautifully evolved to where they are now, and they have advanced communities and the music industry over time, in many positive and beneficial ways. So I want to stress that the point of this article is not to discourage any genres or types of music, but to encourage vigilance about the negative social forces expressed in the messages of many songs, and to nurture an attitude that empowers us to change the cultural trends and forces which give rise to such music.

My intention is also to promote our capacity to consciously choose to listen to music with positive lyrics and content. This will not only improve our thoughts and actions but will also elevate the collective spaces and environments we inhabit. Choosing to create and listen to positive music is one way we can beneficially influence our homes, workplaces, and communities.

Related to this point, the Universal House of Justice wrote:

The standard of dignity and reverence set by the beloved Guardian should always be upheld, particularly in musical and dramatic items... This does not mean that activities of the youth, for example, should be stultified; one can be exuberant without being irreverent or undermining the dignity of the Cause. - The Universal House of Justice, 2 July 1967, Wellspring of Guidance, p. 118.

As we have learned in this three-part series, our minds, bodies and souls are extremely vulnerable to the positive and negative influences of music. Though some of us may be tempted to try to protect ourselves by avoiding certain genres and clinging to specific kinds of music, unless we live like hermits, we can't avoid the impact of mainstream music's language and imagery on our thoughts and behaviors.

The teachings of the Baha'i Faith offer rich, myriad reminders of the inherent nobility of every human being and the high spiritual standards to which we should aspire. I believe we humans can draw on the power of these teachings and principles-regardless of our beliefs or background-and through our dialogue, example, and resolute action, we can impact and improve an industry that is currently largely reflecting the baser, more negative aspects of the society around us.

I believe there is hope-that we can change not only the music we hear, but also the social forces and assumptions that give rise to music. On that note, I'd like to close with some inspiring words written by the Universal House of Justice:

The beloved Guardian made it clear that the flowering of the arts which is the result of a divine revelation comes only after a number of centuries. The Baha'i Faith offers the world the complete rebuilding of human society-a rebuilding of such far-reaching effect that it has been looked forward to in all the revelations of the past and has been called the establishment of the Kingdom of God on earth. The new architecture to which this revelation will give birth will blossom many generations hence. We are now merely at the beginning of this great process. - letter to an individual, July 1974, published in The Importance of the Arts in Promoting the Faith.

Check out BahaiTeachings Spotify for our newest monthly playlist release!

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A Call to Action for Music Consumers and Creators

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The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith. In the first segment of this series, we analyzed the effects of melody on the human body, mind, and spirit.

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Cultural activist, singer, songwriter and Baha'i Eric Dozier talks and sings about his passion for the power of music to promote healing, justice and racial reconciliation.
Video 15 minutes

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How the Power of Music Heals Racism | Eric Dozier

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The Music that makes a ladder for my Soul

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The Music that makes a ladder for my Soul

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Peter Gyulay
Available in: Español

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The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith.

The Baha'i teachings say that music can act as a ladder for the soul, a means whereby they may be lifted up unto the realm on high ..." - Baha'u'llah, The Most Holy Book, "

This means that ideally, we will listen to and play music which elevates our souls. But that raises a question: what is spiritual, soul-elevating music?

That is a very difficult question to answer, especially since there are so many different genres of music, and more as genres collide and fuse. Conventionally, "spiritual music" is often defined as the music associated with religious practice, such as church hymns or Tibetan chanting.

But today, many will say that all music can be spiritual.

Spirituality, in general, is not confined to religion, and the same is true when it comes to music. But can every single type of music serve as a means to elevate the soul?

I think in the end, people have to agree to disagree about what constitutes spiritual music, because as with all things internal-and it is internally that music does its magic-music is highly subjective.

So forgive me if it seems self-centered, but I wanted to share some of the musical pieces that elevate my soul and explain why.

The key thing for me-the one thing that seems to define music as spiritual-is whether it sends shivers down my spine. If a piece of music can do that, then it is probably spiritual (for me), unless of course, I happen to have my back in front of an air conditioner on full blast, and those shivers are only physical.

Here are a few such pieces of music. Please have a listen to see if they tingle your spine, too:
https://soundcloud.com/scorerevolution/samsara-tashi-meets-pema-cyril https://www.youtube.com/watch?v=5OliaeMp7ao https://soundcloud.com/search?q=my%20heart%20my%20life https://www.youtube.com/watch?v=jLnfWlGxw0c
So, I've asked myself, why is it that these pieces of music have this effect on my spirit? I think it comes to down something that Baha'u'llah said to a poet:

Every word of thy poetry is indeed like unto a mirror in which the evidences of the devotion and love thou cherishest for God and His chosen ones are reflected ... Its perusal hath truly proved highly impressive, for it was indicative of both the light of reunion and the fire of separation. - Tablets of Baha'u'llah, pp. 175-176.

Although these words are about the power of the written word, to me, they are equally relevant to music, and indeed any other art form that aims towards inner transformation. Because we are imperfect beings hovering between perfection and imperfection and aiming for the former, art forms that express this struggle give us sustenance. Music that expresses the radiance of the higher realms helps us develop a yearning, a thirst for elevation. But music that expresses the pain and suffering of living in attachment to the world helps us share this struggle with each other. From this lowly realm, with the aid of elevated melodies and tones, we can see our separation from our Source, and that is perhaps that strange mix of sadness and joy that we feel as our spines tingle.

Of course, this may just be my individual slant on things. To acknowledge my own bias: I grew up listening to heavy metal and grunge music until I consciously began to walk a spiritual path. Then I began to listen to and purchase music that I considered spiritual, which was World Music. But at many times in my life since I discarded my melancholic music, I have indulged in bouts of the dark and heavy sounds of my past. That perhaps is an inclination of my soul to seek solidarity in its remoteness from its Source. But I haven't let myself pursue that interest for long-I know first-hand what effect it had on me as a depressed adolescent, taking me further and further down the dark tunnel I was already in. Of course, that's the same for everyone. Each of us has a different reaction to various forms of art-we're all individuals, and that's why art speaks to us differently.

But conversely, I have a hard time listening to music that is too happy sounding and innocent-chirpy music that denies the suffering in life. It seems too superficial to me, too much of a covering of reality.

Maybe that's why Baha'u'llah's words about " the light of reunion and the fire of separation" strike such a chord with me. They really help me recognize the music that truly feeds my soul. As a musician myself, who puts the Bahai writings to music, for a time I tried to deny this darkness completely. I tried to make Bahai music that was light and fluffy, but it wasn't me. My soul wanted a mirror in which to see its misery, as well as a lamp to guide the way out.

That is what I like about some World Music-it earnestly expresses both the joy and pain of the human condition. To me, the traditional melodies of the world's cultures have a purity about them. Like stones polished over eons of weathering, these sounds have been refined over thousands of years, which makes them so closely tied to the human condition and our deepest yearnings. Contemporary music, on the other hand, can be very creative but is largely bound to current conventions, which will inevitably pass away.

To my ears, the timeless sentiments of the soul are best expressed by the traditional elements of music. That's not to say we need to be completely bound by convention. In the Bahai writings we are urged to " turn away from imitation, which is following the traces of their forefathers." - Baha'u'llah, The Seven Valleys, p. 5. So perhaps taking the soul-stirring elements of traditional music and reforming them through creativity is a good approach.

But of course there are other forms of music that feed my soul too. Has anyone done a better rendition of Hallelujah than Jeff Buckley?
https://www.youtube.com/watch?v=y8AWFf7EAc4
In the end, it must be said that the melodies I find uplifting may be different from those that uplift you; the tones that tingle my spine may not tingle yours; the rhythms that resonate with my inner being may ricochet off yours. We all need to look within and earnestly seek out, listen to and create music that elevates our own souls-and share it will others so they can be transformed, too.

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The Music that Makes a Ladder for My Soul

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The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith. The Baha'i teachings say that music can act as a ladder for the soul, a means whereby they may be lifted up unto the realm on high ..."

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Striving to Serve Through Music, a Conversation with Jamey Heath

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Striving to Serve Through Music, a Conversation with Jamey Heath

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The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith.

In this episode, Cloud9 interviews LA-based musician and producer Jamey Heath. Although Nashville was his home base, Jamey spent much of his childhood on the road touring and in studios alongside his family, who managed and produced the hit 70's musical duo Seals and Crofts.

Jamey has lived a life full of music, having performed his first paying gig when he was just 12 years old. As a teenager, he soon began producing music for Latin America, and got his first publishing deal when he was just 18. Today Jamey has built a successful business scoring, mixing and producing music for film and television. He's won grammy awards, received numerous Emmy nominations, and has written and produced songs for many well-known names in the music industry.

Check out Baha'i Blog's Studio Session with Jamey where he sings "I Have Breathed Within Thee", from the Writings of Baha'u'llah, below:

While Jamey finds his spiritual connection through music, it is clear that Jamey is driven by the love he has for his faith and family. Jamey seeks to live out each day honoring the work of his grandmother, Marcia Day, using his musical gifts in service to humanity.

What bounty greater than this that science should be considered as an act of worship and art as service to the Kingdom of God. - Abdu'l-Baha, Selections from the Writings of Abdu'l-Baha, p. 144.

Listen to more of Jamey's work at 9starmedia.com/jamey-heath-i-have-returned-to-thee

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Striving to Serve Through Music, a Conversation with Jamey Heath

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The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith. In this episode, Cloud9 interviews LA-based musician and producer Jamey Heath. Although Nashville was his home base, Jamey spent much of his childhood on the road touring and in studios alongside his family, who managed and produced the hit 70's musical duo Seals and Crofts.

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Maya Mansour interviews Farzin Dehghan

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I grew up in Nashville, Tennessee, a city famous for its country music, fried chicken and Southern hospitality. However, the city I am familiar with has much more to offer than what's on the surface.

The Nashville I grew up in is home to one of the country's most diverse music scenes and is a hub for refugees and immigrants from all over the world. It is truly both an international city and a musical city-two realities that are inextricably linked in this city. Our Baha'i Center was constantly frequented by people of all ages who had relocated to the United States. For example, it wasn't unusual for Chinese dancers or West African drummers to perform at the Center.

As a teenager, Farzin Dehghan moved to Nashville from Iran, with dreams of becoming a professional soccer player. Now, at 22, he doesn't play much soccer anymore, but is pursuing instead a musical career and is currently enrolled as a student at Berklee College of Music. He plays classical Persian music on the daf and kamancheh, two traditional Persian instruments. His craft has already enabled him to travel the world, from New York to Beijing.

Farzin and I first crossed paths when he moved to Nashville, when we were both 16. I've had the joy of watching his personal and musical journey. Watching Farzin play music is so captivating-there is no room to doubt his passion for music. I caught up with him before a Naw-Ruz performance at the Boston Museum of Fine Arts. Naw-Ruz is a holiday celebrated by people from many backgrounds, ethnicities, and religious groups. "New day" is the English translation of "naw-ruz" and it always falls on the first day of spring in the Northern Hemisphere. For Baha'is, Naw-Ruz marks the beginning of the Baha'i calendar's new year and is considered a holy day. Before his performance, Farzin and I got to talk about his experience as a Baha'i musician.

[Maya] How did you become a Baha'i? Why are you a Baha'i?

[Farzin] I was born into a Baha'i family, and at age 15, the age of maturity in the Baha'i Faith, I declared my decision to be a Baha'i. I grew up in Iran where the majority religion is Shia Islam, and this religion is taught to children, in school, from 1st to 12th grade. I learned a little about Christianity once I came to the United States, when I was 16. I was always interested to learn what other religions believe because I believe that all faiths are essentially saying the same thing, only with little updates added with each new faith.

Baha'u'llah taught that we can all love everyone, regardless of their religion. It is the duty of Baha'is, to love everyone. He spoke about inclusiveness and bringing people together-about being the kind of person anyone can come to if they've got a problem.

[Maya] Why would you say you're a Baha'i today?

[Farzin] I will always say I'm a Baha'i even if I fail to follow some of the Baha'i laws. I think the ideas of the oneness of mankind, the equality of men and women, and the harmony of science and religion just made more and more sense to me, as I got older. These three core principles are really important to me. I think they're necessary to bring about the revolutionary kind of change Baha'u'llah spoke of-a change to a society where we realize we're all the same.

[Maya] When, why, and how did you start making music?

[Farzin] My older brother, Afshar, was a music teacher at a little school in our area. I went with him to his school and I thought "I want to teach too." Later, I passed a music store and saw an instrument being played and thought "Wow! What is this?" It was a daf, and the small size of the room produced a strong echo effect, which really resonated with me at that moment. So I started learning how to play the daf. After 1 month, I started teaching myself.

Then, I started to learn how to play the kamanche. When we came to Turkey about six months after that, I discovered YouTube and Google. I started searching my favorite artists and I would see that they had 20 albums out already. So I began transcribing songs I found on the computer, and then I would play them over and over and over again.

When I got to the U.S., two of my friends surprised me by taking me to a concert put on by one of my idols, Kayhan Kalhor. We drove 10 hours to North Carolina to see him. I met with Kayhan after the concert and I was shaking, so stressed out, but he listened to my music and he encouraged me. He told me to email him videos of my progress, and that he would help me. So, I did that, for two or three years.

Then, I started college at Berklee College of Music in Boston. I started to learn fundamental, academic music. I began to understand music in a broader perspective and learned how to explain theories. I gained the confidence to create my own music, and make my own sound. Two years ago, at age 20, I started to make decisions about how I wanted my music to sound. Today, I'm still exploring this. Trying to figure out what kind of sound you want to make with your instrument is like a lifetime research project on yourself.

[Maya] Do you feel like being a Baha'i affects the way you make music and the kind of music you make?

[Farzin] Definitely. I like to refer to this quote by Baha'u'llah:

We have made it lawful for you to listen to music and singing. Take heed, however, lest listening thereto should cause you to overstep the bounds of propriety and dignity. Let your joy be the joy born of My Most Great Name, a Name that bringeth rapture to the heart, and filleth with ecstasy the minds of all who have drawn nigh unto God. We, verily, have made music as a ladder for your souls, a means whereby they may be lifted up unto the realm on high; make it not, therefore, as wings to self and passion. Truly, We are loath to see you numbered with the foolish. - Baha'u'llah, The Most Holy Book, p. 38.

This quote really resonated with me because every time I played music, I could see that my soul was going up a ladder, and music was the tool that I was using to go higher and higher. So that quote makes a lot of sense to me. There are other quotes that talk about how music is a divine art and how every child must be given the chance to learn the arts in school. The fact that these perspectives come from someone who is a religious leader is revolutionary to me. It's extraordinary.

[Maya] How does knowing about the divine aspect of music affect your career?

[Farzin] Sometimes, I chose to play or not to play with certain people, based on moral principles.

[Maya] So it affects the type of opportunities you take?

[Maya] How do you face the challenge of making those kinds of choices?

[Farzin] The question I ask myself is: what would I prefer to be doing right now? For example, I'm good at math, would I rather be doing math formulas right now? I love soccer, but would I rather be running around right now? No, I'd rather be doing music.

[Maya] Do other musicians question your identity as a Baha'i?

[Farzin] I've experienced other people questioning me and my faith, but it doesn't bother me; I see it as a positive experience. In some cases, it caused me to learn more about what I believe. That's how consciousness grows. We're supposed to seek out the truth, and exploring questions can help us get there.

Unfortunately there's a stigma in even bringing up the subject of religion. I think this is even more true in the North [of the United States, than in the South]. I feel comfortable talking about religion, but I don't try to enforce it. I don't want to push it on people.

[Maya] What do you want people to take away from your music?

[Farzin] It disappoints me when I see people who view music as solely entertainment. That's when I go to the Baha'i writings about what the arts actually are, what their true purpose is, and how we should treat them and think about them. The quote I shared earlier from Baha'u'llah says that we should be careful not to bring music down in a way that it's not supposed to be used for. It is better for music to be used in a dignified way.

My sole purpose for creating music and art is to aspire to change somebody's heart when they hear my music. That's my ultimate goal. If I play in a concert hall filled with 2,500 people, as long as I have touched one person in the audience deeply, I'm satisfied.

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I grew up in Nashville, Tennessee, a city famous for its country music, fried chicken and Southern hospitality. However, the city I am familiar with has much more to offer than what's on the surface. The Nashville I grew up in is home to one of the country's most diverse music scenes and is a hub for refugees and immigrants from all over the world.

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Can Music and Melody Awaken Our True Nature?

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Can Music and Melody Awaken Our True Nature?

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Shadi Toloui-Wallace
Available in: Español

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Regardless of how much music we've been exposed to throughout our lives, we've definitely been impacted by what we've heard.

Whether listening to it intentionally-by attending a concert or listening to music on your headphones, for example-or unintentionally, while buying groceries, waiting in line somewhere or getting your teeth cleaned-you're exposed to it, your brain is processing and internalizing it, and you can't do much about it. Our subconscious mind does remarkable things and the younger we are, the more vulnerable we are to the tones, rhythms and messages in music.

Music is extremely diverse and multi-faceted in its influence, and in this three-part series I hope to uncover the profound effects it can have on our brains, bodies and spirits.

The first part of this exploration will focus on the impact of melody, which the Merriam-Webster dictionary defines as "a sweet or agreeable succession or arrangement of sounds" a nd "a rhythmic succession of single tones organized as an aesthetic whole."

I've been hypersensitive to melody my whole life-not an official diagnosis by any means, but more of a feeling. From a young age I was drawn to notes and sounds, as they brought me joy and comfort, engaged me in a community, and helped me further develop my speaking, reading and rhythmic skills.

As infants we are pre-wired to learn the language of musical melody, and research has proven that music can positively impact relationships, cognitive development, motor function, and language skills.

Baha'u'llah's eldest son, Abdu'l-Baha, spoke about the impact of melody and music on children, and the importance of musical education at a young age:

The art of music is divine and effective. It is the food of the soul and spirit. Through the power and charm of music the spirit of man is uplifted. It has wonderful sway and effect in the hearts of children, for their hearts are pure, and melodies have great influence in them. The latent talents with which the hearts of these children are endowed will find expression through the medium of music. Therefore, you must exert yourselves to make them proficient; teach them to sing with excellence and effect. It is incumbent upon each child to know something of music, for without knowledge of this art the melodies of instrument and voice cannot be rightly enjoyed. Likewise, it is necessary that the schools teach it in order that the souls and hearts of the pupils may become vivified and exhilarated and their lives be brightened with enjoyment. - Abdu'l-Baha, The Promulgation of Universal Peace, p. 52.

As adults, we've learned through several studies that simply listening to melodies can help us develop empathy; can cause our mood to relax or pick up; can contribute to our happiness and productivity; and can adjust our attitude, lower our heart rates, and stimulate the areas of our brains associated with memory, auditory function, motor skills, and visual abilities.

In a conversation with Mrs. Mary L. Lucas, an early member of the Baha'i Faith, Abdu'l-Baha addressed the human body's physical response to melody and sounds, and its effect on the human spirit:

Even over animals, music has an effect. For example: When they wish to take a camel over a desert road, they attach to him some bells, or they play upon a flute, and this sound prevents him from realizing the fatigue of the journey; his nerves are affected, but he does not have an increase of thought, he feels nothing but physical sensation.

Whatever is in the heart of man, melody moves and awakens. If a heart full of good feelings and a pure voice are joined together, a great effect is produced. For instance: if there be love in the heart, through melody, it will increase until its intensity can scarcely be borne; but if bad thoughts are in the heart, such as hatred, it will increase and multiply. For instance: the music used in war awakens the desire for bloodshed. The meaning is that melody causes whatever feeling is in the heart to increase.

Some feelings occur accidentally and some have a foundation. For example: some people are naturally kind, but they may be accidentally upset by a wave of anger. But if they hear music, the true nature will reassert itself. Music really awakens the real, natural nature, the individual essence.

With whatever purpose you listen to music, that purpose will be increased. For instance: there will be a concert given for the poor and unfortunate, and if you go there thinking of the aim, the music will increase your compassion and generosity. This is the reason why music is used in war. And so it is with all the things that cause the excitation of the nerves. - Abdu'l-Baha, quoted by Mary L. Lucas in A Brief Account of My Visit to Acca, pp. 11-14.

Abdu'l-Baha also shared insight on the connection between melody and the human spirit, and how this impacts our behavior:

In short: melodies, though they are material, are connected with the spiritual, therefore, they produce a great effect. A certain kind of melody makes the spirit happy, another kind makes it sad, another excites it to action. All these feelings can be caused by voice and music, for through the nerves it moves and stirs the spirit. - Abdu'l-Baha, Ibid., pp. 11-14.

Researchers at the Tokyo University of the Arts have actually tested the idea that pre-existing emotions such as joy and sadness can be experienced and further enhanced by listening to particular melodies. Some people believe that we often consider musically evoked emotion as vicarious reactions because we are not threatened when we experience them, but these researchers found that the human response to "sad music" suggests otherwise: pining or weeping at the sound of sad melodies is actually a physical reaction to the astounding range of ambivalent emotions we are experiencing. In fact, the same research revealed that "listening to sad music actually induced participants to feel more romantic, blither, and less tragic" and that these more undefinable emotions, could translate to feelings of pleasure. - "Sad music induces pleasant emotion," Frontiers in Psychology, 13 June 2013.

These studies seem to confirm the statements of Abdu'l-Baha shared above, as well as his point that musical melodies, while not tangible, are nonetheless physical phenomena that influence the human spirit and the condition of our souls:

In the world of existence physical things have a connection with spiritual realities. One of these things is the voice, which connects itself with the spirit; and the spirit can be uplifted by this means-for though it is a physical thing, it is one of the material, natural organizations-therefore, it is effective.

All forms when understood aright gladden the spirit. Melodies are like water. The voice is like a goblet. The pure water in a pure glass is pleasing. Therefore, it is acceptable. But even though the water be pure, if it be in a goblet which is not so, this receptacle will make it unacceptable. Therefore, a faulty voice even though the music be good, is unpleasing.

In short: melodies, though they are material, are connected with the spiritual, therefore, they produce a great effect. A certain kind of melody makes the spirit happy, another kind makes it sad, another excites it to action. All these feelings can be caused by voice and music, for through the nerves it moves and stirs the spirit. - Abdu'l-Baha, quoted in A Compilation on Music.

In the next segment of this series, we'll further explore how melody affects us, and how it is enhanced by the words and messaging of the music we listen to. We will also explore the human brain's response to subliminal messages in lyrics, and what science has to say about our subtle susceptibilities.

Check out BahaiTeachings Spotify for our newest monthly playlist release!

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Can Music and Melody Awaken Our True Nature?

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Regardless of how much music we've been exposed to throughout our lives, we've definitely been impacted by what we've heard. Whether listening to it intentionally-by attending a concert or listening to music on your headphones, for example-or unintentionally, while buying groceries, waiting in line somewhere or getting your teeth cleaned-you're exposed to it, your brain is processing and internalizing it, and you can't do much about it.

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 The Science of Song: How Lyrics Impact Our Minds and Souls

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 The Science of Song: How Lyrics Impact Our Minds and Souls

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Shadi Toloui-Wallace
Available in: Español

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The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith.

Although each of us has our own musical tastes and preferences, it's hard to escape the rest of what's out there in the world of music. Most of us don't often consider the kinds of music we're exposed to and how melody impacts the brain, body and spirit , as we explored in the first segment of this series . Music affects us subliminally not only through melody but also through the imagery and language portrayed in lyrics.

Many people today are fortunate to live in societies in which free speech and artistic license are basic rights. However, when lyrics from some of the most accessible, popular, and mainstream songs contain sexualized themes, misogyny, profane language, and references to drugs, violence, and ostentatious displays of wealth, where do we draw the line?

Baha'u'llah provided clear guidance for Baha'is on the topic of messaging in music when he wrote:

We have made it lawful for you to listen to music and singing. Take heed, however, lest listening thereto should cause you to overstep the bounds of propriety and dignity. Let your joy be the joy born of My Most Great Name, a Name that bringeth rapture to the heart, and filleth with ecstasy the minds of all who have drawn nigh unto God. We, verily, have made music as a ladder for your souls, a means whereby they may be lifted up unto the realm on high; make it not, therefore, as wings to self and passion. Truly, We are loath to see you numbered with the foolish. - Baha'u'llah, The Most Holy Book, p. 38.

As a teen, I was hypersensitive to the negative messages in the songs I listened to or was exposed to, because I felt these messages were fragmented from and inconsistent with my beliefs as a observation made by Baha'i. Consequently, I began my search for alternative artists who stood out and promoted messages more coherent with my beliefs. However, these were not so easy to come by or readily accessible, especially in the mid-2000s. My exploration landed me in unfamiliar, exciting spaces, involving a new network of friends and unique methods for exchanging music that tell the origin story of my personal journey as a musician and songwriter. On this journey, my central intention was to create melodies and lyrics in a way that is guided by this Abdu'l-Baha:

... a melody, sweet to the ear, bringeth the very spirit of life to a heart in love with God, yet staineth with lust a soul engrossed in sensual desires. - Selections from the Writings of Abdu'l-Baha, p. 181.

Reflecting on the above words of Baha'u'llah and Abdu'l-Baha, I've wondered how much they correspond to scientific findings, so I recently sought out studies on the effects of lyrics and messaging. Here's some of what I found...

Americans listen to music 32 hours per week, on average, according to a recent report released by Nielsen Music. That gives us a sense of just how much music some of us take in!

According to a study conducted by professor P. Cougar Hall of Brigham Young University, instances of sexualization dramatically increased in lyrics during the '90s and 2000s-which he attributes in part to parental advisory laws that allowed artists to say whatever they want, as long as they placed advisory stickers on their album covers. The pervasive nature of these lyrics makes Hall worried tha t young teens will "confuse the lyrics of popular music with social norms." - Sydney Cobb, "Literal lyrics? The effects of sex, violence and misogyny in popular music," Deseret News, 21 April 2016.

Another study was reported as follows: "Male participants only listened to two different songs with misogynous lyrics and showed a considerable increase in aggression toward women. What can be said about this effect in real life, where men probably listen to hundreds of misogynous songs during their life span?" - Ibid.

Another researcher, Jack R. Christianson, said "I'm not going to say that if you listen to 'bad' lyrics you're going to go out and do what the lyrics suggest, but the dominating thoughts that you have in your mind are what drive your behaviors. The music allows you to remember the lyric." He noted this process is often subconscious, because certain chords, rhythms and musical patterns (a.k.a melodies) cause hormones to be released and stimulate the brain's pleasure centers. - Ibid.

These findings challenge the view held by many people that the lyrics we hear "go in through one ear and out the other."

My personal experience also confirms this, because I've unintentionally used derogatory language when singing along to a song or thinking back to it in my head-and I know I'm not the only person who's done this. Sometimes the rhythm and melody mask the message and we lose sight of what we're actually saying.

For the record, I'm not suggesting we stop listening to music. That would be insane-and impossible, given the ubiquity of music in modern life. I'm also not suggesting we should only listen to sacred or religious music to "protect ourselves," as this would only further exacerbate the fragmentation and sense of dichotomy. In fact, Shoghi Effendi, the Guardian of the Baha'i Faith, offered some clear guidance on this point to those with creative talents and capacities:

Music, as one of the arts, is a natural cultural development, and the Guardian does not feel that there should be any cultivation of "Baha'i Music" any more than we are trying to develop a Baha'i school of painting or writing. The believers are free to paint, write and compose as their talents guide them. If music is written, incorporating the sacred writings, the friends are free to make use of it, but it should never be considered a requirement at Baha'i meetings to have such music.

The farther away the friends keep from any set forms, the better, for they must realize that the Cause is absolutely universal, and what might seem a beautiful addition to their mode of celebrating a Feast, etc., would perhaps fall on the ears of people of another country as unpleasant sounds-and vice versa. As long as they have music for its own sake it is all right, but they should not consider it Baha'i music. - letter on behalf of Shoghi Effendi to a National Spiritual Assembly, July 1946.

In the third and final installment of this series we will explore the empowering role of conscious listeners, consumers and creators of music, and consider in particular the role youth play in the emergence of a new culture of melody and music.

Check out BahaiTeachings Spotify for our newest monthly playlist release!

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The Science of Song: How Lyrics Impact Our Minds and Souls

# data[].attributes.attachment_link.description
The views expressed in our content reflect individual perspectives and do not represent the official views of the Baha'i Faith. Although each of us has our own musical tastes and preferences, it's hard to escape the rest of what's out there in the world of music.