# The Arts: The Key to Spiritual Transformation *Exported from [Holy-Writings.com](https://www.holy-writings.com/) on 2026-06-19 — 1 clipping.* --- > Source: Bahá'í Library Online (bahai-library.com), curated by Jonah Winters. Used by permission of the curator. Original citation: Jaine Ellen Toth, The Arts: The Key to Spiritual Transformation, bahai-library.com. > ────────────────────────────────────────────────────────────────────── > > The Arts: A Key to Spiritual Transformation > > By Jaine Ellen Toth > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > C ONTENTS > > Dedication ......................................................................................................................... i > > Introduction ......................................................................................................................... > > Appreciations ................................................................................................................. iii > > Baha’i Terminology ......................................................................................................... v > > Preface............................................................................................................................. vii > > Chapters > > 1) It's Time to Unlock the Door to Your Creativity .............................................. 1 > > 2) Art is an Act of Spirituality ................................................................................. 5 > > 3) To Create is to Worship ....................................................................................... 9 > > 4) Art! Who Comprehends Her? .......................................................................... 13 > > 5) Whence Art?........................................................................................................ 15 > > 6) Wherefore Art? ................................................................................................... 21 > a. Art's Underlying Purpose > > 7) Art Heals ............................................................................................................. 37 > a. Music to Soothe Body and Soul > b. Paint (and Sculpt) Away Your Pain > c. Drama: The Healthy and Acceptable Way to Act Out > d. Dance Through the Dark in Order to See the Light > e. Write Your Way to Health > > 8) Discover the Artist Within ................................................................................ 72 > a. Inhibition is a Four-Letter Word > b. Are You a Shadow Artist? > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > c. Why and How to Develop Your Artistic Talent(s) > d. Give Yourself Permission to Create > e. Meditation is the Key to Opening the Doors of Mysteries > > 9) Strive for Excellence ........................................................................................ 112 > a. The Art of an Eloquent Tongue > > 10) Reach Out: Connect Minds, Hearts, and Souls ........................................... 122 > a. Music: Wings for the Spirit > b. Drama: The Pulpit of The Future > c. Dance: Hidden Language of the Soul > d. To Story—To Poem—To Essay—To Write > i. To Story > 1. Fiction > 2. Memoir > 3. History / Biography > ii. To Poem > 1. Why Poetry? > 2. The Spiritual Role of the Poet > 3. What Use Poetry? > iii. To Essay > e. Art: Common Language of Human Existence > i. Photography: Capturing Divinity > ii. Sculpture: A Parable in Three Dimensions > iii. Architecture: The Material Theater of Human Activity > iv. Painting: Silent Poetry > > 11) The Standard for Human Action ................................................................... 189 > > 12) The Wisdom of the Review Process .............................................................. 193 > > 13) Promote Spiritual Transformation at the Community Level: Development of the > Arts ..................................................................................................................... 197 > a. Art Indispensable in School Curriculum > b. Appreciate the True Worth of Artists and Craftsmen > c. Encouragement: Essential to Success > d. Criticism is Easy; Art is Difficult > e. Why to Utilize Art and Artists > f. How to Utilize Art & Support Artists > > 14) Beauty Enhances and Enriches the Spirit .................................................... 233 > a. Ugly Art Can Be Beautiful: Art and Justice: Twin Triggers of Human > Transformation > b. Ugly Art Can Be Beautiful: The Arts: Non-Lethal Weapon to End War > c. Ugly Art Can Be Beautiful: The Wall & the Call: Public Art and Social > Change > d. Ugly Art Can Be Beautiful: Dramaturgy for Social Justice > e. Ugly Art Can Be Beautiful: Writing to Right Wrongs > f. The Necessity of Beauty in Your Life > > 15) Art and Science—a Symbiotic Relationship ................................................. 259 > > 16) There’s a New Era Coming—the Arts will Usher it in ............................... 265 > > End Notes ................................................................................................................ 268 > >  >  >  >  >  >  >  >  >  > Dedication > In Memory of Roger White…my eternal muse, whose prose and poetry stirs my soul, > enhances my presentations, and awakened the sleeping creator within me. Roger opened > for me an entirely new avenue on my spiritual and creative journey. > > In Memory of Ludwig “Lou” Tuman…whose Mirror of the Divine, Art in the Bahá’í World > Community challenges current thought on The Arts and delineates the vital importance > The Arts play in our lives, both individual and communal. Reading and re-reading that > thought-provoking tome stirred and impelled me to begin a deep, intensive search into > the Bahá’í teachings on The Arts. Lou’s work informed my development of various > workshops on Art and Spirituality and much of the material in this book. > > For Ladjamaya Green and Anne Gordon Perry…artistic collaborators and beloved friends > who believe in me and consistently encourage my artistic pursuits. These dearly > cherished and appreciated women are true soul sisters. > > In Memory of Joan Fallert…whose writing workshops through Santa Barbara Adult > Education inspired and encouraged me. She led me to fall in love with, and develop a > deep respect for, the English language. I learned more, much more, from Joan Fallert than > I had in all my secondary school English classes. > >  > >   > > i > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > >  > > ii > Appreciations > > I t’s been said that “It takes a village to raise a child.” Due to the love and the labor it > takes to birth a book, that tome becomes like a child to the author. But it’s a rare author > who accomplishes the task alone. For me, the journey to writing this treatise included > a village of cherished collaborators and supporters along the way. > > The gestation period for this volume began so many years ago that it’s included > several different writing groups whose members listened, suggested improvements, and > offered enthusiastic encouragement. The Writer’s Way, comprised of authors from > Carpinteria, Montecito, Santa Barbara, and Goleta, California helped cultivate the project > I’d conceived. After relocating to Eloy, Arizona, four different writing groups nurtured it: > the Inklings, which meets at the Vista Grande Library in Casa Grande, Pen & Prayer > Writers Collective, which was based at the Desert Rose Bahá’í Institute, The Write Life, a > writers retreat that took place annually at the Desert Rose Bahá’í Institute, and Write > On..., the writers club at Robson Ranch, the community in where I reside in Eloy, Az. > Each offered invaluable input. > > Barbara Badger and Susanne Perry took the time to read the manuscript in its > entirety and offer suggestions, which were welcome and many utilized. My deepest > appreciation to both of them for their time and their sage advice. Susanne Perry went a > step above and provided additional material that served to enhance the manuscript and > even read a subsequent draft in its entirety. > > Ladjamaya Green’s English teacher’s eyes provided line editing which caught > many minor errors. > > Peter Terry encouraged me to trust my own work when others suggested major > changes: “This is your book, not theirs. Leave any changes to the wisdom of your > professional editor.“ > > A special shout out to David Langness, who edited my numerous and sundry > submissions to bahaiteachings.org, much of which is included in this volume. His > encouragement to go ahead and submit the manuscript, without first reading it, > > iii > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > demonstrated a level of trust that surprised and encouraged me, providing a calm > confidence that hadn’t previously existed. > > Thank you to Robert Bassett for sharing the letter he received from Ruhiyyih > Rabbani, and to the many authors who so graciously gave permission to be quoted. > > The invaluable support of my husband of 60 years, Don, and his belief in me and > my work, as well as his patience in my pursuits, sustains me and helps keep me moving > forward. > > Deep gratitude to Jonah Winters for his technical assistance and offer to post this > manuscript on bahai-library.com where it can be accessed and read for free by anyone > interested in tapping into their inner creative self. > >  > >  > > iv > Bahá’í Terminology > > Bahá’u’lláh > > Prophet-Founder of the Bahá’í Faith > > The Báb > > Forerunner of Bahá’u’lláh. Prophet-Founder of the Bábí Faith > > ‘Abdu’l-Bahá > > Eldest son of Bahá’u’lláh, appointed in His Will as The Centre of the Covenant, > and the leader of the Faith after Bahá’u’lláh’s passing > > Shoghi Effendi > > Eldest Grandson of ‘Abdu’l-Bahá, named in His Will and Testament as the > Guardian, and the titular head of the Faith after Abdu’l-Bahá’s own passing > > Universal House of Justice > > The International Administrative Body for the worldwide Bahá'í community > > Feast > > Spiritual gathering at the beginning of each Bahá'í month that incorporates > devotions, consultation on community issues, and socializing > > Fireside > > An informal gathering, usually hosted in a Bahá'í home, where an individual > shares their understanding of some aspect of the Bahá'í Faith, followed by discussion. > > Local Spiritual Assembly > > Annually elected body of nine individuals who administer the affairs of the local > Bahá'í community. > > v > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Mashriqu’l-Adhkár > > Bahá'í House of Worship > > Ruhi Classes > > A systematic study program, used internationally, that combines learning and > action, to include service to the community-at-large. > >  > > vi > PREFACE > > Preface >  > > A s you peruse the pages of this book, you’ll find it addressed to you—directly to YOU. > Every effort has been made to avoid generalities, except in the several chapters that > pertain to the community. The majority of the work isn’t written to—or about— > “they” or “we” or “us” or any other generic populace. The intent: to create a personal > conversation with the reader—to reach out from my heart to yours. > > The important takeaway is that your life will be richer, more satisfying, and more > productive when you integrate all aspects of your life with Art, likely effecting a > transformational spiritual experience. > > So indispensable is Art to your spiritual and emotional wellbeing that throughout > this volume you’ll find references to “The Arts” rather than “the arts.” > > For many years I, like most Bahá’ís who study our Sacred Writings, frequently > came across copious references to The Arts. The abundance of their numbers neither > registered nor caused me to perceive any implication of their intrinsic importance, most > likely because they were scattered throughout the various volumes I studied. Though > somewhat cognizant of their relevance, the level of their import hadn’t yet sunk in. Then > in the 1980s and 1990s, compilations1, mostly from the Bahá’í World Centre, on various > aspects of The Arts began to appear, and as I began to study them all grouped together, I > > 1 1988, Guidance to Poets, compiled by the Research Department of the Universal House of Justice > > 1991, “Arts and Crafts,” in The Compilation of Compilations, vol. 1, pp. 1–8, compiled by the Research Department > of the Universal House of Justice > > 1991, “Writers and Writing,” compiled by the Research Department of the Universal House of Justice, published > in The Compilation of Compilations, vol.2, pp. 407–14, first written or published 1980. > > 2000, “The Importance of the Arts in Promoting the Faith,” compiled on behalf of the Universal House of > Justice, in The Compilation of Compilations, vol. 3, pp. 18–45 > > 2001, Arts and Architecture, compiled by the Research Department of the Universal House of Justice > > 2004, Arts, compiled by the Continental Counselors of Europe > > Extracts from the Bahá'í Writings on the Subject of Art, Compiled by Anne Gordon Perry > > vii > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > experienced an epiphany. Not only was it a flash of the mind, but it even included > physical reactions. The closest I can describe it is how you might feel when you realize > you’re falling in love: blood rush, increased heartbeat, something akin to tingling > throughout the body, and an incredibly giddy sense of joy. > > This new consciousness quickly developed into a passion for the subject, and I > began to offer fireside talks, short presentations, and workshops on the topic of Art & > Spirituality. > > The more I presented the material, the more I yearned for a more comprehensive > compilation of these references, these gleaming gems set into the crown jewels of our > Sacred Writings. After discussing the idea with Anne Gordon Perry, we decided to > collaborate on creating one. I gathered as many quotations as I could find and then sorted > them into categories. Due to time constraints and other pressing priorities, we let it lapse. > > What the project did accomplish was to inspire me to develop a more in-depth > Arts-related workshop: The Arts: A Key to Spiritual Transformation. This began as an all- > day program and then developed into a full weekend effort, and eventually grew to > encompass two weekends, that included hands-on artistic elements and discussions. The > positive feedback received far surpassed anything from previous workshops. More than > one person confided that they finally felt free and guiltless in pursuing their artistic > inclinations. The joy of the participants was unmistakable. > > So impressed with the workshop materials was classical pianist Mark Ochu that > he described it as: “...by far the most comprehensive and definitive in its area. It leads the > participants through the artistic process so that even the most confirmed non-artist will > discover the artist within and experience the ‘Ah Ha’ of being an artist.” He further > asserted the workshop should be: “...the first prerequisite for any Bahá’í community > wishing to usher in the masses.” Mark closed out his comments saying: “It is a gift to the > world. It receives my highest recommendation.” > > Though workshops are an effective way to share the wonder of The Arts, they > reach only a limited number of people, and time constraints limit the amount of material > that can be covered, so the information from the workshop has been expanded and > compiled into this book in the hopes it will reach a wider and more diverse audience, > especially you. > > viii > PREFACE > > Perhaps you will be moved to take the information in this volume and create your > own workshop, blog, or other presentation. At the least, it is my fervent hope that you > will come away with a whole new understanding of and commitment to the > incorporation of “The Arts” in your life. May it aid in your own spiritual transformation. > >  > >   > > ix > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > >  > >  >  > > x > CHAPTER ONE > > C HAPTER O NE > > It's Time to Unlock the Door to Your Creativity > “Creativity is the natural order of life. Life is energy: pure creative energy.” ~ Julia Cameron > > our creative self yearns for release. You can't be whole without it. How do you know > Y this? Ask yourself if you feel: > > • Discontented? > • Stifled? > • Inhibited? > • Joyless? > • Bland? > • Stagnant? > • Unfulfilled? > • Restless? > > Something is missing—but what? > > Did your talent(s) remain undiscovered during childhood? Did buds of creativity > begin to spring forth but were stifled by parents or teachers who lacked the interest or > understanding of how to be a nurturing gardener? Did they not tend the seeds in > your talent garden, or worse, did they consciously discourage it, thereby blighting any > chance for it even to bud? > > Do you think you have no talent? Or if you realize you do, are you so self- > conscious or frozen by fear that you don't dare explore it? Do you feel too intimidated > to allow your talent to bloom? > > The answers lie within you, stored away in the depths of your memory vault, but > the key needed to open it and free up the memories may have been misplaced and > elusively avoids discovery. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Through the integration of The Arts in your personal life you will become more > inspired and, therefore, more determined to work towards developing the virtues and > positive character attributes that beget inner joy and infuse you with positive energy. > > The Arts are a key that will unlock and open wide the door of your heart and > soul to joy—to wonder—to awe—to the passion for creation and become the catalyst for > your spiritual transformation. > > Visual artist Jacqueline Claire provides this encouragement for you to consider as > you initiate your creative journey: > > Creativity is experimental. It is acting on our own rather than worrying how others > would do it, or what they will think. Creativity breathes whenever we are open and > receptive. When we are willing to play, to daydream, or simply follow what is > interesting to us. Every time we respond happily to what is, even when it isn't going > > according to plan. > > These are tiny, loving dance steps with the unknown. Moments of novelty. > > Once you begin to traverse the path of creativity, your inspiration and spiritual > growth will spread out and envelop all who surround you and even extend into the wider > community. > > An artist dwells within every living soul. The Bible states in Genesis 1:27, that all > humans (that includes YOU) were “created in the image of God.” This is not an > anthropomorphic analogy. It means you have the innate ability to mirror forth the virtues > and attributes by which you know God. God is All-Loving, All-Merciful, All-Forgiving, > the Most Generous, and so forth. You, therefore, strive to emulate that by being loving, > merciful, forgiving, generous. Add every attribute of God you can name, and you have > that virtue latent within you, just waiting for you to develop it. God is the Creator, ergo, > you are a creative being. You can reflect and exercise creativity if you choose to develop > that attribute. > > Heed the words of the Greek playwright, Aristophanes: > > “Let each man exercise the art he knows. “ > > CHAPTER ONE > > Before you can begin to exercise it, though, you must first discover the artist lurking in > the shadows of your soul (see Discover the Artist Within). This book will help you learn > how to coax forth your creative self and inspire and convince you to follow through. > > Some of the questions you'll have answered are > > • What is Art? > • What is the source of my innate talent and inspiration? > • What is the high station of Art? > • What is the purpose of Art? > • What positive results are derived from Art? > • What is the relationship between > o Art and science? > o Art and education? > o Art and healing? > o Art and religion? > o Art and life > • Why should I seek to discover the Artist within? And how can I accomplish this? > • How can I work toward the development of The Arts for my own benefit and for the > community? > • How will my life be enhanced when I focus on The Arts? > > Are you ready to set off on this journey? Do you long to insert the key into the locked > door that keeps your creativity hidden and coax it out? Come, let’s explore together. > >  > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > Utilizing the word CREATE, write an acrostic poem. > > According to www.weareteachers.com: > > An acrostic poem is a creative type of poetry in which the first letter of each line, > when read vertically, spells out a word, phrase, or name. Each line connects to that > word, making it an engaging way to express ideas, describe something meaningful, > or play with language. > > C > > R > > E > > A > > T > > E > > CHAPTER TWO > > C HAPTER T WO > > Art is an Act of Spirituality > “I do not insist on this division between spirituality and art, for I think that even things > that are not patently spiritual, if they come from the heart of a spiritual person, are > spiritual.” ~ Thomas Merton > > he word "spiritual" used to refer almost exclusively to things directly related to one's > T religious beliefs. In recent times, it has also come to be used as an alternative to religion. > How often have you heard some say: "I'm not religious, but I consider myself a spiritual > person." To address this in depth would remove us from our main purpose, which is how > The Arts can help you effect spiritual transformation. Suffice it to say that viewing, > listening, or reading something artistic can move the spirit, how much more so when one > becomes the creator of The Art. Consider ‘Abdu'l-Bahá’s words on spiritual progress: > > “Spiritual progress is through the breaths of the Holy Spirit and is the awakening of > the conscious soul of man to perceive the reality of divinity. Material progress > insures the happiness of the human world. Spiritual progress insures the happiness > and eternal continuance of the soul.”1 > > And again, He says: > > “That which is truly spiritual must light the path to God and must result in deeds. > We cannot believe the call to be spiritual when there is no result. Spirit is reality, > and when the spirit in each of us seeks to join itself with the Great Reality, it must > in turn give life.”2 > > The preceding passages bring us back to religion. If we have a soul and are truly spiritual > beings temporarily inhabiting material bodies, then the source of that spirit must come > to us from God through the Holy Spirit—an intangible yet very real connection. It’s via > this connection that we receive our inspiration to create. Bahá'u'lláh explains: > > “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 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > 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.”3 > > Since the power to create comes from one of the Names of God: “The Fashioner,” and > you are created in His image, it follows that you too are a fashioner, a creator. You are a > creative being. Therefore, The Arts, which seem at first glance to be material, may be > used to help transform your spirit. > > Many arts require material paraphernalia, but the driving force that makes them > into something beautiful, emanates from within your soul—your inner reality reflected > into the outer world. > > Dancing and singing can occur without any requirement for things concrete, but > if you wish to dance for others, you'll choose a costume and perhaps a background that > enhances the visual effect. You may add items to use in the dance, like flowing scarves, > umbrellas, batons, castanets, or anything else that enhances the movements and promotes > its message. You can sing a cappella, or you may decide to select one or more instruments > to accompany you, to provide other elements of sound that help penetrate the heart and > soul of the listener. 'Abdu'l-Bahá encourages us to: > > “Break all fetters and seek for spiritual joy and enlightenment; then, though you > walk on this earth, you will perceive yourselves to be within the divine horizon.”4 > > Have you ever felt transported to a plane of exaltation while participating in an artistic > endeavor? It once happened for me. Participating in a circle of people performing a > simple step to the steady beat of a maraca being shaken by one woman while another > prayed aloud, and some without the circle hummed and others drummed, I suddenly felt > as if I were floating; my feet were moving but I couldn’t feel the floor beneath them. What > an ecstatic sensation—as though held aloft “within the divine horizon.” > > CHAPTER TWO > > As you begin to feel the joy and move toward enlightenment, these qualities > become contagious and spread to those who surround you. According to ‘Abdu’l-Bahá: > > “Life in man should be like a flame, warming all with whom it comes into contact. > The spiritually awakened are like to bright torches in the sight of God; they give light > and comfort to their fellows.”5 > > Your own spiritual transformation, effected through your artistic endeavors, brightens > your inner light. The more it increases in intensity, the more it radiates out and reaches > others. You become their light in the darkness. Those who are enkindled and influenced > by your light increase their own spiritual radiance which then envelops even more people > in a never-ending cycle. > > Yes, Art is an act of spirituality. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > Write your thoughts on how your spirit has been uplifted through the arts, > > whether as audience/reader/viewer, or creator. > > CHAPTER THREE > > C HAPTER T HREE > > To Create Is to Worship > “…the perfection of arts is considered as acts of worship.” ~ ‘Abdu’l-Bahá > > T oo often The Arts are considered by individuals and society in general to be of > secondary importance—something that can easily be set aside and saved for later—or > even discarded altogether to allow more time for recreational activities, sports-related > pursuits, or academic interests. The Arts are usually among the first, if not the first, > curriculum cuts made when school budgets are tight. > > The true value of Art is neither understood nor is its vital importance > comprehended. If you are in accord with the opinion that The Arts are of secondary > importance, or of no importance at all, I trust that your opinion will change as you study > what the teachings of the Bahá'í Faith say about The Arts and learn the high station > accorded them therein. > > “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 marvelous pictures. These gifts are fulfilling their highest purpose > when showing forth the praise of God.”1 > > Praise of God is synonymous with worship. When you utter your prayers, you > understand that you are worshiping God. If “all art is a gift of the Holy Spirit,” then > making the best use possible of that gift is your way of honoring the Giver and showing > your appreciation. It is both high praise and another avenue for worship of the Divine > Creator. 'Abdu'l-Bahá asserts: > > “If a man engages with all his power in the acquisition of a science or the perfection of an > art, it is as if he has been worshiping God in the churches and temples.”2 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Identical with art as worship is the concept of art as service. Since all created beings are > the children of God, when you serve humanity through your creative efforts you are also > serving God. Service is another form of worship. 'Abdu'l-Bahá suggests: > > “What greater bounty than this that science should be considered as an act of worship and > art as service to the Kingdom of God.”3 > > Read and meditate on these statements and you will perceive The Arts with a new eye. > Re-examine its place in your life and in society so you can explore ways to seamlessly > weave it into the fabric of your life, and thereby simultaneously pay homage to God and > transform your spirit. > >  > >  > > CHAPTER THREE > > Coax Out and Caper with Your Creative Child > How do you use The Arts in your own worship? > > If you’re not yet weaving them into your prayers and meditations, > > what will you do to incorporate them? > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > CHAPTER FIVE > > C HAPTER F OUR > > Art! Who Comprehends Her? > “Art! Who comprehends her? With whom can one consult concerning this great goddess?” > ~Ludwig von Beethoven > > hat query from renowned composer Ludwig von Beethoven shows what an > > T impossible task it is to try and understand or define just what is Art. If he couldn’t, > who can? I imagine if you asked ten people to do so, you'd get ten different answers. > Still, let’s explore the question. > > Everyone has an opinion about The Arts. Some conflict. Is one correct and the other > wrong? That seems too much of a presumption. With whom rests the right to decide? > Might each concept be valid? Well, yes—at least it is to the individual who proposes the > idea. Your perspective is influenced by your experiences; therefore, any work of Art will > evoke different responses from different people. Art is-what-it-is to each individual. > > Dictionaries contain several definitions of “art,” and many artists have expressed > quite eloquently what Art means to them. Your understanding grows with your > experience, and that affects your opinions. > > A fourth-grade student in Carpinteria, CA USA, expressed the thought that: > > “Art is like words without letters.”1 > > A profound statement by one so young—perhaps the child has not yet been subject to > dogmatic pronouncements by adults. It is like the old adage that "a picture is worth a > thousand words," indicating that Art "speaks" to you as you contemplate it and let your > mind explore and discover just what it conveys to you, perhaps even to you alone. Let’s > look at what a few artists answered when asked to define “Art.” > > “It is a query without a definitive response, with opinions so large as to fill a library > of books. It is something not easily answered without going on a journey of > discovery. There are no pat answers.”2 – Manuel Luz > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “Art is not a study of positive reality; it is the seeking for ideal truth.”3 – George Sand > > “What is a work of art? A word made flesh, a thing seen, a thing known, the immeasurable > translated into terms of the measurable.”4 – Eric Gill > > Defining Art is fluid because: > > “The definition of art has to shift whenever an innovator appears.”5 – Thomas Hoving > > Art traditionally refers to works created by artists: visual arts, e.g., paintings, sculpture, > or crafts; literature: non-fiction, fiction, poetry, journalism, scripts; all forms of dance; > drama and comedy, music, and even the culinary arts. What can you add to this list? > > The more passion you have for anything, whether cooking, gardening, > mathematics, drama, (I could go on ad infinitum), usually the more intense will be your > efforts at improving. You become more adept. This is skill. And as your skill reaches a > high level, whatever you undertake can rightfully be termed Art. Indeed, most > dictionaries provide definitions of Art that stress skill, and yes, you should strive always > to hone your skills, to excel in your endeavors (see Strive for Excellence), but there is so > much more to art when you turn Art into a proper noun. > > Author Susanne Perry, a former educator, provided an excellent example of how > to see Art and creativity in areas you wouldn’t normally consider to be “Art:” > > “Teaching is a work of art. This belief hit me years ago in a preschool classroom > watching an early learning colleague interact with four-year-olds. I dubbed this > colleague “an artist working in children.” Picture a potter at the wheel, carefully > forming a piece of pottery from clay with skill and a gentle touch. She could > approach a group of unruly youngsters, each with their own needs and > temperaments, and before you knew it, they would be sharing toys, singing > together, reacting to each other with kindness and smiles. Every day I witnessed > beautiful, amazing interactions and I was left in awe. There is no catching flies with > honey here. The goal was to enable learning but never to gain control of these little > people. To truly make a difference with students of any age, infants to high > schoolers—maybe even older–requires passion and a reverent respect for what you > are doing. That is an art.” > > Read, absorb, and consider the information that follows, then develop your own personal > understanding of, and appreciation for, the wonder and awe of Art. You can then form > your own definition of this elusive term. > > CHAPTER FIVE > > C HAPTER F IVE > > Whence Art? > “Art is the expression of the immortal part of man.” ~ Ignacy Paderewski > > A rt is partially defined as skill, or more accurately, skill—when it reaches its highest > levels—is Art. Though that's a mere portion of its reality, let us begin with that > concept and then move on to innate talent. > > Skill evolves through practice. If you wish to develop a particular artistic pursuit > for which you hold a deep affinity yet for which you lack natural talent, diligent effort > will help you gain the skill necessary to succeed. University of New Mexico neurobiology > professor Rex Jung says: > > “The more time you devote to developing a skill set, the more raw material you > have to draw on and the easier it is to improvise.”1 – Rex Jung > > He posits that the more adept you become at improvisation, the more your creativity > grows and enables you to improve your skills in any endeavor. To accomplish this, you > must successfully shut off your inner critic and cease to censor yourself in order to freely > create. > > How much easier, though, when you identify and develop your innate talent(s) > and strive to develop them. Your skill soars—from good to great! > > But whence the source of this natural talent? Is it simply in your genes? Do you > inherit it from your parents and forebears? I'm sure that genetics wield a great influence. > This though, is greatly enhanced when coupled with being reared in an environment in > which you are surrounded by others who both practice their Art and nurture and > encourage your own talent and ensure you are trained in at least one Art form. > > If this was not your personal experience, there can be other sources for your artistic > inspiration and encouragement. So, let me ask: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > • Were you not raised in an artistic environment? > • Have you had little or no exposure to Art? > • Were your attempts at Art discouraged or disparaged by others? > • Despite dabbling in Art, do you yet feel inadequate or that you have nothing new > to offer? > > Take heart. Even if some, or all, of the above pertain to your situation, a higher point of > inspiration awaits you. > > Many renowned artists recognized that their talent emanated from a spiritual > source. (So does yours.) Some go so far as to claim God is the artist and they but His > instrument through which Art flows forth for the benefit of mankind. > > “Straightway the ideas flow in upon me, directly from God.”2 – Johannes Brahms > > “The music of this opera [Madame Butterfly] was dictated to me by God; I was > merely instrumental in putting it on paper and communicating it to the public.”3 – > Giacomo Puccini > > “I myself do nothing. The Holy Spirit accomplishes all through me.”4 – William Blake > > The talents of an artist, small or great, are God-given. They've nothing to do with > the private person; they're nothing to be proud of. They're just a sacred trust . . . > Having been given, I must give. Man shall not live by bread alone, and what the > farmer does I must do. I must feed the people—with my songs.”5 – Paul Robeson > > These statements are not mere efforts at humility. Each artist was cognizant of the Well > from which they drew the Water that nourished their talent. Bahá'u'lláh confirms their > understanding: > > “The light which these souls [the Prophets and Messengers of God] radiate is > responsible for the progress of the world and the advancement of its peoples. They > are like unto leaven which leaveneth the world of being and constitute the > animating force through which the arts and wonders of the world are made > manifest.6 > > Oh, wow! The heavenly light radiates from Zoroaster, Moses, Christ, Muhammad, the > Buddha, Krishna, Bahá’u’lláh, and all the other Holy Ones to all the great artists in the > world—including you. Bahá'u'lláh goes on to say: > > “Such arts and material means as are now manifest have been achieved by virtue > of His knowledge and wisdom which have been revealed in Epistles and Tablets > > CHAPTER FIVE > > through His Most Exalted Pen—a Pen out of whose treasury pearls of wisdom and > utterance and the arts and crafts of the world are brought to light.”7 > > Isn't it exciting to know that you are a recipient of these pearls? Consider these thoughts > from an editorial in The Bahá’í Magazine: > > “The function of the individual is to become a channel for this Divine force which > seeks to remake the planet into a better and happier home for man. In this great > endeavor the Holy Spirit—that Light which guided the Prophets and shone forth > from them—this Light must be our guide.”8 > > What is it within you that allows the connection with the Light that is radiated from the > heavenly realm? 'Abdu'l-Bahá explains that it is your rational soul: > > “The first condition of perception in the world of nature is the perception of the > rational soul....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. There was a time when > they were unknown, preserved mysteries and hidden secrets; the rational soul > gradually discovered them and brought them out from the plane of the invisible > and the hidden into the realm of the visible.”9 > > 'Abdu'l-Bahá asserts: > > “By the power of the Holy Spirit, working through his soul, man is able to perceive > the Divine reality of things. All great works of art and science are witnesses to this > power of the Spirit.”10 > > He also says: > > “It stands written that he [man] is made in the Image of God. Mysteries that were > hidden he discovers; and secrets that were concealed he brings into the light. By > Science and by Art he brings hidden powers into the region of the visible world. > Man perceives the hidden law in created things and co-operates with it.”11 > > You, no matter your gender, are made in the image of God. God is the Fashioner, the > Creator. Ergo, you are a fashioner, you were born to create. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > So now you know that you are a creative being made in the image of God, the > Origin and Creator, the Source of your innate artistic talent, whether it’s been discovered > and nurtured or yet awaits your invitation to emerge. It can also be sent via a connection > with souls who have passed from the material plane into the next, the “heavenly” realm > of existence. > > You may be wondering how to tap into the Source. There are two main avenues: > prayer and meditation. Thaya Batdorf explains the prayer connection: > > “The power of the Holy Spirit takes the preparations of the artist and molds them > into stunning reality. Prayer becomes the bridge between study, idea and > execution ensuring that the inspiration will flow through his eye, mind, and hand. > Without prayer the artist must depend solely upon his own self....Man cannot > make a tree or a universe. An artist alone cannot create a spiritual vision.”12 > > This connection sometimes comes at totally unexpected moments. I recall falling asleep > on an airplane and waking up with a vision of a music video to one of my favorite > children's songs. I also, as most writers do, keep pen and paper at my bedside for the > times when I awaken with an idea. If I don't write it down immediately, I usually can't > recall it later. What a loss. You don't need to leave inspiration completely to chance or > remembrance of a dream. 'Abdu'l-Bahá said that learning to meditate can put your > rational soul into a receptive state. (See Meditation Is the Key for Opening the Doors of > Mysteries.) > > Another source is what the Bahá’í Writings refer to as the “Concourse on high,” > those faithful souls who have moved from the physical plane to the next world of God: > > “Know thou, of a truth, that if the soul of man hath walked in the ways of God, it > will, assuredly, return and be gathered to the glory of the Beloved. By the > righteousness of God! It shall attain a station such as no pen can depict, or tongue > describe. 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. … Those souls that are the > symbols of detachment are the leaven of the world.”13 > > Thaya Batdorf suggests: > > CHAPTER FIVE > > “If the artist does not tap this source, asking the assistance of these souls, he > ignores the channels and power for the sustained flow of inspiration that must > feed his work. He is assuming he is alone because he stands physically alone. To > create a new work of a new cycle he must unite himself to God’s creation through > the Supreme Concourse [the Holy Spirit and the many holy souls in the next world]. > This is the source of that vitality which forges a new art in the world.”14 > > I can personally attest to the efficacy of prayer and calling on the Concourse on high. If, > just before going onstage to portray a historical individual, Bahá’í or otherwise, or a > character created for a piece that will promote positive principles and attributes, I offer a > prayer and a call to guidance from Roger White, whom I consider my Muse, and the > character I’m about to portray, when I come offstage I know I’ve channeled that person, > I was “being” rather than “acting,”—as though I embodied them—they spoke through > me. On occasion, when pushed for time I neglected to do so, then realized it had just > been Jaine onstage, going through the motions and I’d done the author, the message, the > character, and the audience a disservice. > > Whether you've never dabbled in Art, neglected it due to feelings of inadequacy, > or feel that time given to artistic pursuit is self-serving when there are—supposedly— > more important things that require your attention, consider this: since your talent is a > God-given gift, do you really want to say "No, thank you," to your Creator and decline > His gracious gift? > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > CHAPTER SIX > > C HAPTER S IX > > Wherefore Art? > “…to acquire the sciences and arts is the greatest glory of mankind.” ~ 'Abdu'l-Bahá > > T he Arts appear to be afforded an equal station with science in Bahá’í Scripture. > Frequently mentioned together, what is said of one usually also pertains to the other. > 'Abdu'l-Bahá tells us their acquisition is considered "the greatest glory of mankind." 1 > This indicates that The Arts are neither a frivolous pursuit nor something to be relegated > to the bottom of your priority list. Moreover, the Bahá’í Writings not only encourage > engagement in The Arts. they list it as “a duty.” 'Abdu'l-Bahá writes: > > “...in this new century the attainment of science, arts and belles lettres, whether > divine or worldly, material or spiritual, is a matter which is acceptable before God > and a duty which is incumbent upon us to accomplish. Therefore, never deny the > spiritual things to the material, rather both are incumbent upon thee.”1 > > The symbiotic relationship between The Arts and spirituality demonstrates the > imperative of its development in your life. > > You're probably wondering, How can art affect spirituality? Alexander Pope renders > a concise and eloquent explanation in these first five lines from his Prologue to Mr. > Addison's ‘Cato’2: > > “To wake the soul by tender strokes of art; > To raise the genius, and to mend the heart; > To make mankind, in conscious virtue bold; > Live o'er each scene, and be what they behold: > For this the Tragic Muse first trod the stage.” > Let's consider each line. > > “To wake the soul by tender strokes of art;” > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Have you ever gazed at a painting, sculpture, mural, a beautiful architectural edifice or > even a cartoon, or something that "spoke to you"—moved you—awakened your soul? > Perhaps a piece of music and/or its accompanying lyrics? Did it occur while immersed in > a play which was presented with such excellence, such reality, that you were able to enter > into a state of "suspension of disbelief?4" How many people, gazing in person at > Michelangelo's Pieta, suddenly experienced the reality of Mary's pain and Christ's > sacrifice? Jolted, they comprehended, perhaps for the first time, its impact on them > personally and on humanity as a whole. Passion plays have the same effect. Similarly, > this has been the case for Bahá'ís on reading poetry or listening to songs about the > compelling history of their Faith or following dramatic presentations depicting the > persecutions of their fellow believers. Plays, books, poetry, and dance that deal with the > raw reality of racial discrimination trigger empathetic reactions rather than just the > intellectual, "Oh, isn't that terrible," rational understanding which is often detached from > our inner sensibilities. > > “To raise the genius, and to mend the heart;” > > Let's take the two phrases of this line independently. > > “To raise the genius,” > > Studies abound that demonstrate a connection between the enhanced ability to learn— > and retain—what you are taught when the material presented has an artistic component. > Even just having separate arts instruction improves your ability to absorb information > and to develop critical thinking skills. One study found that: > > “The Nobel Prize winners and most of the members of the National Academy of > Sciences in our study were universally artistic and/or musical, most had several > arts-related hobbies as adults and they utilized a wide range of arts-associated > mental thinking tools…Their less successful colleagues did not share either their > arts interests or their arts-related thinking skills.”3 > > The second half of that line tells us The Arts help > > 4 Suspension of disbelief, sometimes called willing suspension of disbelief, is an intentional avoidance of > > critical thinking or logic in examining something surreal, such as a work of speculative fiction, in order to > believe it for the sake of enjoyment. Aristotle described it as one of the principles of theater; the audience > ignores the unreality of fiction in order to experience catharsis. > > CHAPTER SIX > > “to mend the heart;” > > Numerous stories depict actual instances of how and when The Arts helped to mend the > heart. These two examples of public arts projects instituted in poverty and crime-ridden > neighborhoods, one in Philadelphia, PA USA and another in Las Palmitas, Mexico, led to > both individual and community transformations. > > Challenged to convert an empty, inner-city lot in Philadelphia used mainly for > drug deals into an inviting park, Lily Yeh made her work an art project, because, > according to author Peter Michelmore, who wrote about “Lily Yeh’s Magic Village” for > Reader’s Digest. Ms. Yeh understood that “The making of art brings out the humanity in > people.” > > She enlisted local residents, including neighborhood children, to assist her; they > bagged trash, scrubbed walls, and then, using pieces of broken tile and glass, much of it > found on the lot itself, created mosaic murals on walls, planters and benches. Next, they > planted grass interspersed by walking paths which now are crossed by people who used > to give wide clearance to the area when passing by. > > One fellow, initially suspicious of this Chinese American woman’s motives for coming to > an impoverished African American neighborhood, watched her for a while. Wary at first, > he finally decided she harbored no ulterior motive and then agreed to work with her. So > motivated did he become that > during the winter months > when work was suspended, he > entered a drug rehabilitation > program so he could return > and become a more effective > participant. The effort spread > to the surrounding > neighborhood. > > I visited this one-time > Village of Arts and Humanities, Philadelphia, PA thepenngazette.com slum, now transformed into a > bright area in which residents > take pride. The dazzling effect of the mosaics, and the choice of angels built by some of > the participants, made me feel both welcome and safe. I recalled that in Michelmore’s > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > article, he noted, “The village has touched the lives of hundreds of children, opening their > eyes to a lifestyle far removed from the mean streets.” Now "The Village" is home to a > non-profit association that prioritizes arts-related means to address a variety of civic > needs and programs. > > A similar story took place in the Las Palmitas neighborhood of Pachuca, Mexico. > A group of artists known as the "German crew," along with local residents, transformed > their uninspired cement and cinder-block houses into a multi-colored mural with colors > described in an Associated Press article as "…bright lavender, lime green, incandescent > orange—hues more commonly found in a bag of Skittles…4 > > Las Palmitas, Mexico, mexicoenimagenes.com > > The article about this city-sponsored project includes quotes from an interview > with project director Enrique Gomez, whom they describe as "…a tattooed and goateed > former gang member who turned his life around when he rededicated himself to graffiti > art and muralism."5 Gomez said: > > “I never thought we would have such a big impact. Before, Las Palmitas was a > sketchy area where people avoided going out after dark or interacting with each > other. But as the project nears its final stages, you see people talking to each other > more, children hanging out on the steep stairways that cut through the > neighborhood. > > CHAPTER SIX > > “Honestly, what surprises me the most is that people are really changing. > They are growing, there is more community spirit. People are taking the security > of their neighborhood into their own hands.”6 > > You might think these were mere material improvements, but hearts had to change for > the people to be willing to work together to recreate their neighborhoods. The resultant > sense of pride and accomplishment led to new efforts to improve other aspects necessary > for the establishment and maintenance of a healthy, thriving community. > > Pope's next line reads: > > “To make mankind, in conscious virtue bold;” > > On the societal level, we need look no further than the anti-war movement of the 1960s > and 1970s in the United States. Artists, emboldened by their vehement disagreement with > the U.S. government's undeclared but active war in Vietnam, created sculptures, posters, > and other artworks that unequivocally portrayed their outrage. Anger erupted in the > music and lyrics of the time. All of this in turn roused the populace―mostly the younger > generation, but some of their elders as well―to turn out for sit-ins and protest marches, > so strong was their frustration. > > An unfortunate consequence of this phenomenon was that in addition to turning > against the war and the government they blamed for it, they also turned their ire toward > the soldiers. Those who returned from service in Vietnam found themselves treated as > pariahs, unwelcome in their own homeland. > > Next Pope writes: > > “Live o'er each scene, and be what they behold:” > > As an artist, you create an outer expression of your inner thoughts and feelings. With few > exceptions, it depicts your beliefs. At times your creation may surprise you. It might differ > from what you thought you believed and guide you to scrutinize and, perhaps as you > "live o'er each scene," ponder what proves—or what has just confused—those beliefs. You > can then make a plan to move forward—to "be what they [you] behold." The same holds > true for your viewer/listener/audience, who may tune in to that which you are trying to > say or may find a different truth within it due to their own personal experience. > > And all the above leads us to the last line, the artist's raison d'être, which needs > no further explanation: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “For this the Tragic Muse first trod the stage.” > > According to the Universal House of Justice: > > “...music, art, and literature…are to represent and inspire the noblest sentiments > and highest aspirations and should be a source of comfort and tranquility for > troubled souls...”7 > > When you tap into your true nature and permit your innate creativity to fulfill its > purpose, you feel more whole; it becomes a healing elixir for your emotional and spiritual > health. An online article titled 64 Ways to Practice Nonviolence asserts, > > “The worst thing you can do to a human soul is to suppress its natural desire to > create.”8 > > Such suppression stifles your spirit. Charles Dickens writes, and I agree with him in part: > > “The whole difference between construction and creation is exactly this: that a thing > constructed can only be loved after it is constructed; but a thing created is loved before it > exists.”9 > > It seems he didn’t consider the fact that the architect or engineer is also an artist. I imagine > that their vision is as special to them as that of a sculptor who sees within a block of clay > or stone the image of what is hidden within and longs to free it and bring it forth for all > to see and enjoy. What I do agree with is the love of the artist for their art. Will you deny > your own true love? > > Life lived with fear of violence makes the struggle for spiritual transformation > nearly impossible. The elimination of fear and its cause is essential; this is another area > where The Arts provide answers. Art is powerful. It can be, and unfortunately often is, > used to reinforce stereotypes and prejudices, thereby inducing fear of “the other.” Yet > that same power can be put to positive use. Existential psychologist Rollo May explains: > > “Art is an antidote for violence. It gives the ecstasy, the self-transcendence that > could otherwise take the form of drug addiction, or terrorism, or suicide or > warfare. We have seen that both violence and art—and the beauty which is the > center of art—yield the experience of ecstasy and self-transcendence. But art and > violence are directly opposite in their effects.”10 > > CHAPTER SIX > > Yes, such is the potential power of Art that though some successfully use it to incite > violence, it can when used for noble purpose and with good intent, transform both artist > and audience and spur them on to become agents of change. > > Art is also a proponent for open society. United States President John F. Kennedy > understood this. In a tribute to poet Robert Frost, Kennedy explains: > > “If art is to nourish the roots of our culture, society must set the artist free to follow > his vision wherever it takes him. We must never forget that art is not a form of > propaganda; it is a form of truth. And as Mr. MacLeigh once remarked of poets, > ‘There is nothing worse for our trade than to be in style.’ In free society art is not > a weapon, and it does not belong to the sphere of polemics and ideology. Artists > are not engineers of the soul. It may be different elsewhere. But in a democratic > society the highest duty of the writer, the composer, the artist, is to remain true to > himself and to let the chips fall where they may. In serving his vision of the truth, > the artist best serves his nation. And the nation which disdains the mission of art > invites the fate of Robert Frost’s hired man—the fate of having “nothing to look > backward to with pride. And nothing to look forward to with hope.11 > > Art helps heal on the societal level partly because it offers a cathartic tool for individuals, > and individuals are the basis of society. This pertains to you, too, as both an individual > and as a member of society. This aspect is addressed in the section, Art Heals. Artist Olafur > Eliasson believes that: > > “...one of the major responsibilities of artists—and the idea that artists have > responsibilities may come as a surprise to some—is to help people not only get to > know and understand something with their minds but also to feel it emotionally > and physically. By doing this, art can mitigate the numbing effect created by the > glut of information we are faced with today and motivate people to turn thinking > into doing.”12 > > Journalist and writing instructor Brenda Ueland confirms the need to tap into your > creativity. > > “Because there is nothing [else] that makes people so generous, joyful, lively, bold > and compassionate, so indifferent to fighting and the accumulation of objects and > money.”13 > > What does Art mean to you? > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > If you aren’t sure, consider these thoughts developed together by two fourth grade > Carpinteria, CA students: > > “Art means a lot of things to people. > > “Art lets you express your feelings such as happy, sad, tired, angry and > upset. Art shows your imagination and what you think about, like beautiful > imaginary or real things and even frightening things! Art shows your personality > and what you like. > > “What I like about art is that you can do whatever you want. I also like that > it’s fun, fascinating and there’s no wrong way. A world without art would be a very > dull place. If there weren’t art, there wouldn’t be any beautiful pictures and > sculptures to admire. Art brings more joy to the world and our lives.”14 >  > >  > > CHAPTER SIX > > Coax Out and Caper with Your Creative Child > Complete the following thought. It can be prose or poetry, > > or even a drawing or you can compose a song: > > The Arts makes me feel… > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Wherefore Art? > Art’s Underlying Purpose > “The purpose of art is not the release of a momentary ejection of adrenaline but rather the > gradual lifelong construction of a state of wonder and serenity.” ~ Glenn Gould > > rt is not merely for entertainment. That misconception diminishes Art's true purpose > A and prevents it from effecting the positive changes that it could produce. Art enriches > and enhances all your endeavors. It inspires and educates. > > You, the artist, are an individual. What is your purpose as an individual—as a > human being—as a child of God? Bahá’u’lláh says it is “to know and to worship God” > and to “create an ever-advancing civilization.” Addressing that concept, an editorial in > The Bahá’í Magazine states: > > “When you breathe forth the breath of the Holy Spirit from your hearts into the > world, commerce and politics will take care of themselves in perfect harmony. All > arts and sciences will become revealed and the knowledge of God will be > manifested. It is not your work but that of the Holy Spirit which you breathe forth > through the Word.”15 > > Leo Tolstoy questions: > > “But if art is a human activity having for its purpose the transmission to others of > the highest and best feelings to which men have risen, how could it be that > humanity…should exist without this important activity, and instead of it, should put > up with an insignificant artistic activity only affording pleasure?”16 > > Indeed, the Chinese dramatist Cao Yu insists: > > “Art for art's sake is a philosophy of the well-fed.”17 > > Conversely, British novelist and essayist E. M. Forster asserts: > > “Art for art’s sake? I should think so, and more so than ever at the present time. It > is the one orderly product which our middling race has produced. It is the cry of a > thousand sentinels, the echo from a thousand labyrinths, it is the lighthouse which > cannot be hidden…it is the best evidence we can have of our dignity.”18 > > CHAPTER SIX > > Do they really disagree? Or is it merely a matter of semantics. The following statement, > attributed to American playwright Lorraine Hansberry, tells us: > > “The purpose of art is action. It contains the ‘energy which could change things.” > > On a social plane, art with a message, art that is meant to cause the viewer or listener to > think, can be a catalyst for change rather than exist merely as simple ornamentation. > > But that does not seem to be what Forster suggests. His quotation suggests that > Art, even without a conscious purpose, without thought of what it will say to others, but > Art which helps you say what you need to say—is valuable—is important—affords you > the dignity you deserve. Is this not an exercise in change? If it helps you know yourself, > express yourself, then it helps you grow. And growth is change. Your growth, your > change, cannot help but affect those around you. > > Art is a mirror of life as the artist perceives it to be. Whether it be intensely personal > or a view of society, you, the artist, reflect your own view of reality. > > At times, that reality is one of appreciation—of praise. Often it addresses nature in > the physical sense. This in turn, has a direct effect on your spiritual nature. The beauty > expressed in your art moves the human soul, both your own and that of another who > contemplates it. > > "Entertainment" in itself is not bad. It can relax you, help you shake off the stresses > in your life, allow you to forget—for the moment at least—your troubles. But when it > becomes the norm, and Art that stirs deep into the mind and soul is marginalized, you > cease to grow. On a larger scale, society stagnates—or worse—declines. The Universal > House of Justice notes: > > “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 > tranquility 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.”19 > > A large percentage of rap music, a subset of hip hop culture, contains lyrics that glorify > violence and denigrate women. Since rap has become so ingrained in society, Colby > Jeffers, a Phoenix, Arizona USA-based rap artist, counteracts the negative trend. He > writes and performs his music with lyrics that elevate the ideals of peace, unity, respect, > and other positive attributes. His online bio explains his philosophy: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “Colby Jeffers has a passion for music, education, community building, youth > empowerment, and positive social change. His mission in music is to create socially > conscious and spiritually focused hip hop that uplifts, educates, and inspires…. > > “An educator by nature, Colby is also a teaching artist with The Rap Camp, > an organization that aims to create positive change through rap. Colby works with > young people to help them develop their power of expression and channel it > towards noble ends.”20 > > Musician/author/composer Ludwig (Lou) Tuman explains: > > “…the noble status given in the [Bahá’í] Writings to the arts in general strongly > suggests that the role of the fine arts in a divine civilization must be of a higher > order than the mere giving of pleasure, for if such were their ultimate aim, how > could they "result in advantage to man…ensure his progress and elevate his rank?" > Surely few would deny that the fine arts do give pleasure and that it may be of a > sensual, emotional, or even spiritual nature. Few would deny that the > contemplation of beauty provides a special satisfaction. The point here, however, > is that such pleasure cannot be the end of fine art but is only a natural part of the > experience it offers.”21 > > How do "The Arts" help when used in their highest form? According to Bahá'u'lláh: > > “...[arts] will promote the well-being and harmony of all the kindreds of the > earth.”22 > > “...Arts, crafts and sciences the world of being, and are conducive to its > exaltation.”23 > > When you wish to advocate for change in order to right a wrong, heal wounded hearts, > prevent violence, or foster the advancement of civilization, you will be more effective > when you include The Arts in your plan of action. Shoghi Effendi explains: > > “Art can better awaken such noble sentiments than cold rationalizing, especially > among the mass of the people.”24 > > To achieve this goal, you can immerse your listener/viewer/reader/participant/ audience > in aesthetically pleasing surroundings, play calm music, and release relaxing scents to > give them an overall sense of well-being. Or you can have everyone participate—perhaps > with all of them singing and/or dancing together. Growing up in a Jewish home, we > attended services at the local synagogue. Singing was an integral part of the ritual, at > times by the Cantor alone and sometimes by the entire congregation raising their voices > > CHAPTER SIX > > in blissful praise. Later, joining in Israeli folk dances in the community room following > the service, we remained immersed in a joyous atmosphere. > > One of my most cherished memories as an adult Bahá’í living in California is the > monthly singing devotional that my late friend Kathy Grammer held at her home in Ojai. > A congenial group of women from several communities shared a salad potluck deinner > and then sang together for an hour or two using both sacred scriptures set to music and > songs with positive messages. The spiritual energy engendered on those evenings infused > me with a sense of wellbeing that remained for days afterwards. > > After Kathy’s untimely passing, Allison Maires of the neighboring city of Ventura, > remarked: > > “Chanting or singing, as I experience it personally in a group, reaches down into > my very cells. On a cellular level I can feel my vibration shifting and coming into > alignment both with spirit, and the group I am with. It helps me to balance and > ground and feel that precious space of awareness, present to all that is. In this way, > I know I am connected not only to all that is in the present moment, but to the > ancient truth, and all that the future holds.” > > So partly for the group, partly in honor of our beloved Kathy, and partly for herself, > Allison volunteered to host the monthly devotionals and we continued our dinners and > songs, feeding both our bodies and our spirits, for several more years. > > Another way you can achieve the goal of reaching others is to find and share > something that stirs brains, hearts and souls, almost slaps them awake so they wish to > personally address a situation that needs correcting. As an example, for four years my > friend Ladjamaya Green and I hosted “A Place at the Table:” a monthly film and > discussion series at the public library in Eloy, Arizona. This wisdom shared by artist > Olafur Eliasson explains what we set out to achieve: > > “I am convinced that by bringing us together to share and discuss, a work of art > can make us more tolerant of difference and of one another. The encounter with > art—and with others over art—can help us identify with one another, expand our > notions of we, and show us that individual engagement in the world has actual > consequences.”25 > > We addressed topics such as slavery, racial prejudice, bullying, anti-Semitism, the Navajo > Code Talkers, Internment camps for Japanese Americans, documentaries about Supreme > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Court Justice Ruth Bader Ginsberg and civil rights activist Dolores Huerta, human > trafficking, the woman’s' suffrage movement in the US, health care, emotional freedom > therapy, Alzheimer’s disease, and more. Conversations followed the films and created a > sense of community among the regular attendees. > > When asked about the influence, if any, that the series has had for them, all > responses were positive and gratifying. Two stood out among the rest: Mary Dondanville > responded: > > “I have attended A Place at the Table since its inception. It is a place to ponder, > debate opinions, sway and be swayed. It is a safe place to discuss ANYTHING in > these troubled times. It has opened my mind to new thoughts and allowed me to > investigate my own processes.” > > And Doris Rasmussen wrote: > > “Roger and I were impressed and distressed with the picture of inequality in some > of the films of the ‘Place at the Table’.” > > Roger and Doris’s reactions translated to action. She announced: > > “We became members of the NAACP and have signed petitions put forth by non- > profits on equality issues.“ > > It's important to note that both ideas of how to use The Arts, whether to point out the > negatives that need to be addressed and recognized, or to demonstrate the hope that > depicting successful interventions have brought, are valuable. You don’t necessarily have > to opt for one over the other. If you only use the positive, you will feel good inside but > run the danger of becoming complacent about the trials and tribulations of others. If you > only show the problems facing the world, your stress levels will rise. By balancing the > two, addressing the ugly and then demonstrating how it can be dealt with in a > constructive way, you will feel reinvigorated spiritually and can find the strength to deal > with issues without letting them overwhelm you. Lou Tuman explains the purpose of The > Arts on three basic planes: > > Mystical > > To impart spiritual knowledge, attract the souls to the beauty of the All-Glorious, > and brighten the flame of His love. > > Moral > > CHAPTER SIX > > To ‘represent and inspire the noblest sentiments and highest aspirations,’ foster a > desire for moral excellence and obedience to the divine teachings and "be a source > of comfort and tranquility for troubled souls. > > Social > > To promote social well-being, harmony, world unity, and universal brotherhood.26 > > Simply stated, "Art heals." > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > CHAPTER SEVEN > > C HAPTER S EVEN > > Art Heals > “Art is a constant agent of transformation and is indeed the soul’s drive to health.” ~ Cathy > > Malchiodi > > N euroaesthetics, the science of both how viewing art and making Art affect the brain, > is the basis for various forms of therapy developed specifically for different fields of > art. Rather than use the scientific term, it is usually referred to simply as Art Therapy. > > When you immerse yourself in the practice of art—any art form—you stop > thinking about your pain and troubles and your subconscious is freed to express itself. > During the creative process you become oblivious to anything else. Afterwards, while > perusing the product, it behooves you to consider what you experienced during your > artistic process. > > What did you feel? Freedom? Frustration? Exhilaration? Angst? > > What did you think? Did you analyze it as you went along? Decide you needed > more or less of something? Delete/change/add elements? Or did you allow your flow of > creativity to work as a stream of consciousness first and leave the judgment and revisions > till later? > > Both aspects bring insights into your deepest wants/needs/yearnings and often > lead you to a point where that which bothered you somehow seems less threatening. This > is the beginning of healing. > > All Art forms can provide a source of healing. If you wish to go beyond the > personal fulfillment of being an artist, why not combine the pursuit of your artistic dream > with an occupation in neuroaesthetics and be a music, art, dance, or writing therapist! > > These avenues for creativity are tools the therapist uses to help the client achieve > what Stephen K. Levine describes as "The task of therapy:" > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “The task of therapy is not to eliminate suffering but to give a voice to it, to find a > form in which it can be expressed and transformed. Expression is itself > transformation; this is the message that art brings.”1 > > I was a member of an arts task force where our individual "artistic temperaments" > precluded effective consultation. We arrived with our own ideas of what should be done > and none of us seemed to be ready to seriously consider what the others brought to the > table. Each had a different focus. To try and become more united, we attended a weekend > session with a psychotherapist who had us dance to express our feelings and participate > in other creative and artistic therapies. > > During one session we listened to music with the pulsating rhythm of a heartbeat > which transported each of us into an altered state of consciousness—a realm beyond this > physical one. We each became aware of and connected to our own inner self. I recall being > surrounded by loved ones who’ve preceded me into the next plane of existence. The > yearning to join them tugged at my soul, but they all kept saying, “No. Not yet. Go back. > It’s okay. Go and do what needs doing.” It dawned on me that I had much to do, partly > with my art, partly with my relationships. > > When it was over, I sobbed with both longing to return to that realm and regret to > be back on this earthly plane. Within half an hour, though, calm enveloped me. Their > messages became clear. I realized, too, that these fellow task force members were also > family and we had important work to do together. > > They must have come to similar conclusions, because we left there a unified, > committed, compassionate, and loving group. Subsequent meetings proved exciting and > fruitful. > > When I returned home from that weekend, my thoughts zeroed in on the > drumming heartbeat exercise and how it affected me—gave me hope. I sat down and > wrote: > > In Quest of Self > I journey into darkness in search of the Light— > plunge into deep caverns of past hurts, sorrows, > fears, frustrations—long-buried, denied— > primal heartbeat pulsates with each holotropic breath— > > CHAPTER SEVEN > > infiltrates blood vessels, organs, > reaches into the very marrow of life > > propels me—penetrates ever deeper—till I attain mystical plateaus— > reunite past with a present pregnant with promise for the future. > Intrigued by the positive results of the weekend, I began reading more about the > relationship between The Arts and healing. > > The Journal of Aging Studies lists six features of successful aging that came out of a > study with people between the ages of 60 and 93. As you read these features, listed below, > consider that they do not appear to be exclusive for seniors but seem pertinent for all age > groups. > > 1. a sense of purpose > 2. interactions with others > 3. personal growth > 4. self-acceptance > 5. autonomy > 6. health > Addressing that study, Catherine DiGiacomo writes: > > “As stated in a Holiday Retirement Community blog post, “Creative activities, such > as writing, painting or knitting, encourage a sense of competence, purpose and > growth—all of which contribute to aging well.” Arts and crafts play a vital role in > aging healthfully by contributing positively to each of those six features.”2 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Art gives oppressed people a sense of self-empowerment. Author Lisa Janti notes: > > “Whether in the Soviet Union under communism, or in South Africa under > apartheid, it was poetry, dance, and song that gave expression to the innermost > longings of the people and helped propel their struggle against oppression.3 > > Art can calm even when a biological issue makes it feel impossible to sit still. A woman > and her children visited Jeanne Sheridan at the art center at the Desert Rose Bahá’í > Institute in Eloy, Arizona. The woman was concerned about her son, who suffers with > Attention Deficit/Hyperactivity Disorder (ADHD), being in the art center, but Jeanne sat > the children at a worktable and provided modeling clay to play with while she spoke > with the woman and gave her a tour of the gallery and studios. The boy with ADHD was > still sitting quietly three hours later, so immersed was he in the act of molding different > forms with the clay. The mother marveled, "He hasn't moved." > > Whether you experience occasional bouts of loneliness, deep depression, mental, > emotional, or physical challenges, there's a form of art therapy that will be appropriate > for the condition. > > “The aim of art is to represent not the outward appearance of things, but their > inner significance.”4 – Aristotle > > “Often it is necessary to clarify a vague content by giving it a visible form. This can > be done by drawing, painting, or modeling. Often the hands will solve a mystery > that the intellect has struggled with in vain.”5 – Carl Jung > > Consider this thought from an anonymous writer: > > “We do not let our experiences define us. We use them as we would a looking > glass, to view the world anew.” > > Morph this thought into a creative process. It will both inform your art and result in the > art informing you—eliciting a new and improved understanding of yourself. > > Let's peruse just a few examples of Art genres and learn how they can help you > heal. Note that depending on the severity of your issues, it might be beneficial to see a > therapist who specializes in one or more of the following forms of art therapy, If you > don’t need it yourself, perhaps you might select art therapy as your vocation. > > CHAPTER SEVEN > > Art Heals > Music to Soothe Body and Soul > > “Music hath charms to sooth a savage beast.” ~ James Bramston > > S cientific studies demonstrate the effects of music on animals: dogs in kennels sleep > better and longer when classical music is played but become agitated by heavy metal > music. Milk production increases when relaxing music is played for cows. > > Pianist Paul Barton plays the piano at a sanctuary for abused elephants in > Thailand. The first time he played, an elephant with a mouthful of food stopped eating > and stood still, the bana grass sticking out of his mouth, until the music ended. Another > teared up to the sounds of Clair de Lune. > > Music has similar effects on humans. > > Use music to ease tensions, anxiety, even pain. Depending on the severity of your > situation, you may wish to engage a music therapist. > > Cellist Gwendolyn Watson frequently traveled to see her mother at Valle Verde, a > Santa Barbara, California care facility. She stayed with my husband Don and me during > those sojourns. Her mother’s roommate, an inveterate complainer, seemed to grumble > nonstop. On one visit, Gwendolyn took her cello along. She returned later that day > radiant with joy. When asked the source of her elation, Gwendolyn related that as she > played for her mother, the roommate gradually calmed down, closed her eyes, and > listened intently, a smile upon her face. When the music ended, the woman whispered, > "Thank you. That was so beautiful." The music transformed her from anger into bliss. > > *** > > The concept of music therapy has even been the subject of congressional hearings. > Albeit with assistance, Ida Goldman walked into the U. S. Senate chamber where she > related that: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “Before I had surgery, they told me I could never walk again. But when I sat and > listened to music, I forgot all about the pain.” “Before I had surgery, they told me I > could never walk again. I had terrible pain in my leg and back. I couldn’t even close > my hand. But when I sat and listened to music, I forgot all about the pain. When I > listen to the music-any kind of music-I don't think of anything else. My whole mind > is only on the music I hear. I even dance to the music. My toes just start tapping > away every time I hear music... “6 > > Following the hearings, Senator Harry Reid commented, > > “Music therapy is much more complicated than playing records in nursing homes. > Therapists are trained in psychology, group interaction, and the special needs of > the elderly.”7 > > Senator Reid also noted that music is a > > “...therapeutic tool for those suffering from Alzheimer's disease and related > dementias, strokes and depression.”8 > > *** > > Shortly after returning from Spain, where he’d spent four years studying classical guitar > with the goal of being able to play—and play well—Bach's Chaconne, Joseph Mastroianni > was struck down by a vehicle as he crossed a New York City street. Due to a crushed leg > and fractures to multiple parts of his body, including his skull and his hand, he > underwent numerous surgeries. > > Joseph turned to music for his therapy, always dangling the carrot of ability to > play the Chaconne again as his inspiration for healing. “During ten years of recovery and > rehabilitation,” he told me, “Music was an invaluable tool, both physically and > spiritually. I used the guitar as therapy for my hand and music as therapy for my soul.” > > Unwilling to become dependent on pain medication, Joseph also used music to > control his pain. “It doesn’t take away the pain,” he explained, “it takes you away from > the pain.” > > Reggae musician Bob Marley put it simply: > > “One good thing about music, when it hits, you feel no pain.”9 > > Various scientific studies substantiate that premise: > > CHAPTER SEVEN > > “...research has demonstrated that music can reduce opioid requirements, and > that postoperative pain may be lessened...“10 > > Music therapy patients not only end up needing less medication, according to therapist > Dennis Thompson, they also: > > “...have significant improvements in their respiration, blood pressure, heart rate, > and muscle relaxation"11 > > and are found to: > > “...enjoy more peace of mind and better quality of life.”12 > > Neurologist Dr. Oliver Sacks writes: > > “The power of music to integrate and cure is quite fundamental. It is the > profoundest non-chemical medication.”13 > > According to oncologist Mitchell L. Gaynor, > > “Sound can help people make shifts in perspective that normally take 1–2 years of > meditation.”14 > > Unaware that music therapy existed as an actual professional discipline, Joseph became > his own therapist. He opined that the vibrations of music have positive effects. Experts > agree. Musician and composer Kay Gardner explains: > > “...sound’s immediate effect is on the physical body, since sound vibrates mass.”15 > > Similarly, in Bahá'í Scripture it is written that: > > “…although sounds are but vibrations in the air which affect the ear's auditory > nerve, and these vibrations are but chance phenomena carried along through the > air, even so, see how they move the heart.”16 > > “Musical melodies are…etheric vibrations, which, reaching the tympanum, affect > the nerves of hearing. Musical melodies are, therefore, those peculiar effects > produced by, or from, vibration. However, they have the keenest effect upon the > spirit. In sooth, although music is a material affair, yet its tremendous effect is > spiritual, and its greatest attachment is to the realm of the spirit.”17 > > Addressing the process of Sound Therapy, retired MA clinical counselor, sound therapist > and world chant master Nancy A. Watters explains: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “Sound therapy works because everything in creation is vibrating, including every > cell and organ in your body. Your body tunes into every sound around you, whether > you are thinking about it or not. Calming sounds, like water and birds, soothe your > nervous system, slow down your heartbeat, lower your blood pressure, slow down > your breathing, and shift your brain waves into the alpha state. This process is > called entrainment. Within five minutes of listening to calming sounds, your > heartbeat, breathing rhythm, and brain waves all relax.” > > Joseph Mastroianni recommends music be used to assist in meditation. He posits: > > “When your brain is going wild with varying thoughts, you have to quiet the voices. > Music can put you in a place to quiet them so you can sort things and think clearly. > It was invaluable to me.” > > Music also is proving to help people some used to think were unreachable. According to > the Autism Science Foundation, studies of music therapy with children and adults > experiencing autism show that: > > “...children with autism showed more emotional expression and social > engagement during music therapy sessions than in play sessions without music. > These children also responded to the therapist’s requests more frequently during > music therapy than in play sessions without music. > > “Additionally, a skilled therapist can use music with children to increase > their social interaction and improve social skills. Passing and sharing instruments, > music and movement games, gathering around a central instrument, learning to > listen and singing of greetings are just a few of the ways music therapy sessions > can increase interaction.”18 > > Because music with a predictable beat and rhythm requires no cognitive reasoning, it > proves a very positive therapy with patients who suffer from dementia. Depending on > the desired outcome, appropriate types of music can be chosen to calm an agitated patient > or to stimulate activity in one who is depressed. Dr. Sacks explains: > > “I regard music therapy as a tool of great power in many neurological disorders— > Parkinson's and Alzheimer's—because of its unique capacity to organize or > reorganize cerebral function when it has been damaged.”19 > > This is true not only for those with depression associated with cognitive dysfunction, but > also for anyone feeling sad or suffering from clinical depression. Singer/songwriter Willie > Nelson proposes: > > CHAPTER SEVEN > > “You sing the blues to lose the blues. You lift the burden by transferring it into a > song.20 > > Then he admits: > > I’ll be damned if I know why or how that miracle takes place, but it always does.”21 > > 'Abdu'l-Bahá explains how and why it works: > > “...music, sung or played, is spiritual food for soul and heart.”22 > > “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,15 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. … music ...is considered to be the > cause of the exaltation of sad and desponding hearts.”22 > > Music is effective, if chosen appropriately, in effecting emotional well-being. That is why > acupuncturists and massage therapists play soothing background music to dissolve any > stress you bring with you to your session. > > Chanting is a form of vocalized, or intoned, music that simultaneously calms and > energizes. Chant Master Nancy Watters related: > > “A few months ago, I realized that I consistently need less sleep than before. I used > to sleep 9 hours and wake feeling tired. Now I wake up after 5 hours and feel > refreshed. What’s up? One morning at 3am, as I eagerly rose to start my day, I > remembered a story, from the book Chant, by Katherine Le Mée. It explains how > chant energizes and heals us.” > > The story, about a group of Benedictine monks in France, describes their daily habit of > chanting in Latin. It goes on to relate their dismay, when during the 1960s a decision was > made to use French exclusively and to eliminate the chanting in order to free up time for > the monks to increase the output of their earthly tasks. These industrious monks who up > until then needed but three or four hours of sleep each day yet still maintained energy > for their daily activities, began to suffer fatigue resulting in an inability to accomplish > much. They were given an extra hour of sleep time. It didn’t help. Dietary changes were > implemented. Still no improvement. When a doctor prescribed a return to chanting, along > > 15 Shahnaz, the name given to the recipient of this Tablet, is also the name of a musical mode.] > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > with some treatment for a seemingly inexplicable diminishment of their hearing, they > improved enough to return to their former schedules—with the same level of ability and > enthusiasm they’d had before the ban on chanting. > > Try it yourself. Begin with something as simple as humming, not just for a few > moments, but a prolonged hum. Note how you are affected by vibration, how it brings a > feeling of being in balance. The longer you hum, the more beneficial the effect. If you find > it improves your sense of wellbeing. Next learn to chant. You’ll find it even more effective, > and very unifying, when done in a group setting. > >  > >  > > CHAPTER SEVEN > > Coax Out and Caper with Your Creative Child > Write a list of your favorite songs? What makes them special to you? > > Select one and that makes you feel good. Sing it: a capella, karaoke-style, or play a > recording and sing along. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Art Heals > Paint (and Sculpt) Away Your Pain > > “The aim of art is to represent not the outward appearance of things, but their inner > significance.” ~ Aristotle > > “Creating artwork allows your mind to be in a safe place while it contemplates the tougher > issues you are dealing with. One can use the tools of brush, paint, pastels, crayons etc. to > expose and even for a short time color those issues in a different light.” ~ George E. Miller > > “Often it is necessary to clarify a vague content by giving it a visible form. This can be > done by drawing, painting or modeling. Often the hands will solve a mystery that the > intellect has struggled with in vain.” ~ Carl Jung > > A s with all forms of art therapy, the visual Arts are a form of communication. This > form assists those who have difficulty with verbal expression to relate their concerns > and fears, whether conscious or subconscious. Drawing and painting are especially > conducive for this purpose. In addition to pictorial clues from what is drawn, color choice > also tells the therapist a lot about what the client is feeling. It is useful not only for mental > and emotional wellbeing, but is helpful to those with physical challenges, assisting with > motor skills. (See the story about Joseph Mastroianni’s emotional and physical healing > through playing the guitar following an accident that broke most of the bones in his body, > including his hands. (See Music to Soothe Body and Soul.) > > An article in Psychology Today states: > > “Art therapy is founded on the belief that self-expression through artistic creation > has therapeutic value for those who are healing or seeking deeper understanding > of themselves and their personalities. According to the American Art Therapy > Association, Art Therapists are trained to understand the roles that color, texture, > and various art media can play in the therapeutic process and how these tools can > help reveal one’s thoughts, feelings, and psychological disposition. Art therapy > > CHAPTER SEVEN > > integrates psychotherapy and some form of visual arts as a specific, stand-alone > form of therapy, but it is also used in combination with other types of therapy.”24 > > According to the American Art Therapy Association’s website: > > “Art Therapy is used to improve cognitive and sensory-motor functions, foster self- > esteem and self-awareness, cultivate emotional resilience, promote insight, > enhance social skills, reduce and resolve conflicts and distress, and advance > societal and ecological change.”25 > > The library on this website is replete with works by both therapists and patients on > specific therapeutic art efforts and their efficacy. > > A survivor of America’s WWII internment camps for citizens of Japanese descent > found that the act of creating collages helped ease much of her growing anger and > resentment. > > An art therapist described the transformation of a young boy who had been sent > to her because he threatened violence. After he drew a picture of a boy with a gun pointed > at a girl, the therapist asked him to brainstorm alternative ways to deal with his issues. > Towards the end of the session, she asked him to take the drawing and revise it based on > his new awareness. He transformed the gun into a floral bouquet and spurts of blood > turned into hearts. He was then able to verbalize that he has “anger issues.” > > An acquaintance of mine found her way back from harsh criticism, but it took > many years and a sad circumstance. A talented costume designer and accomplished > painter who has merited one-woman shows in various galleries, she had been told by her > high school art teacher, “Forget about art; you have no talent for it.” She didn’t pick up a > paintbrush again until she underwent a severe personal crisis over a decade later. In need > of an outlet for her distress, she bought art supplies and attacked the canvases. With > brushes as her weapons, she painted away her pain. As her mind cleared, she recognized > that the quality of her work went beyond emotional catharsis. > > The accumulated angst from a history of abuse led Joanne McClure to enter a > residential therapy environment. When she’d completed the program, one of the > therapists mused: “It will be interesting to see what you do with your art now.” An > accomplished sculptor, Joanne’s next project was inspired by the success of the program > and her meditations on this excerpt from the Writings of ‘Abdu’l-Bahá: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “When men own the equality of women there will > be no need for them to struggle for their rights.”26 > On her website Joanne notes:” “This sculpture > grew out of a life-saving, life-changing > experience in which I took forty days and nights > to heal from traumas that had put me into a > severe depression. I came out of it > understanding the reality that I, a woman, am > equal to any man in my rights and > opportunities. That understanding set me free > at last.”27 > > The original sculpture held a prominent place > in her home gallery. Several visitors expressed affinity > Figure 1 - Free at Last, by Joanne McClure > with this piece due to their own personal experiences. > Many of Joanne’s sculptures reflect her struggles and her successes in facing them. One > woman took her time contemplating each piece in turn; her eyes welled with tears. At the > end she remarked, “Every one of these speaks to me.” Joanne came to the realization that > many people have traumatic experiences in their backgrounds and that she wasn’t alone. > >  > >  > > CHAPTER SEVEN > > Coax Out and Caper with Your Creative Child > Draw yourself engaged in one or more of The Arts > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Art Heals > Drama: The Healthy and Acceptable Way to “Act Out” > > “Drama therapy was born out of the realization that some life experiences and wounds > are too painful to address through verbal dialogue alone. Because drama uses metaphor to > express emotion, it was a natural fit for a therapeutic framework.” ~ goodtherapy.org > > ctor Alex (Bo) Rocco shared this personal story with me: He'd learned, one year post > A open-heart surgery, that a repeat operation was needed. For some reason the original > procedure had not been successful. Understandably, Alex felt upset, agitated, > worried. His son, film director, producer, and screenwriter Marc Rocco experienced > similar emotions in his concern for his father, but neither seemed able to share their > feelings with each other. To deal with his own anxiety, Marc tuned in to his creative self > and wrote Sinewave, a short film in which he persuaded an initially reluctant Bo to play > the lead role. As the film opens, we see a man in a hospital bed, unable to sleep because > he's fretting about the repeat heart surgery scheduled early the next morning. He calls > into a late-night radio talk show hosted by a psychologist who tries to help the caller > come to terms with his situation. This is how the "conversation" between father and son > finally took place—through their Art. Each learned just how the other was feeling, and > afterwards some of Bo’s concerns seemed not quite as frightening as they'd been before > they made the film. Both achieved catharsis through this collaboration. > > This was an inadvertent use of drama therapy. Marc didn't consciously think, If I > write a script about this problem, both Dad and I will have a better chance of working through it. > Alex hadn't wanted to do it because he thought it would be too emotionally fraught. He > only agreed for his son's sake. Neither had the conscious intention of using drama as a > therapeutic tool. They just felt a need to express their emotions and turned to what they > knew best. In most cases, though, drama therapy, which uses the same skills that are > utilized in theater, such as creativity, role-playing, puppetry, movement, and story- > telling, is best experienced under the guidance of a trained therapist. > > CHAPTER SEVEN > > Modern day drama therapy follows thousands of years of acting out issues. On > creativepsychotherapy.com we read that: > > “Dramatherapy is the heir to the ancient shamanic traditions of healing through ritual > drama.”28 > > According to the North American Drama Therapy Association (NADTA): > > “Drama therapy is an embodied practice that is active and experiential. This > approach can provide the context for participants to tell their stories, set goals and > solve problems, express feelings, or achieve catharsis. Through drama, the depth > and breadth of inner experience can be actively explored and interpersonal > relationship skills can be enhanced.”29 > > There are various forms used in drama therapy, According to nadia.org this includes: > > “. . . play, embodiment, projection, role, story, metaphor, empathy, distancing, > witnessing, performance, and improvisation to help people make meaningful > change.”30 > > An article in Medical News Today explains: > > “Participants can develop new ways of coping with difficult situations in a safe and > supportive explorative environment. They can process past events and explore > painful issues and feelings without feeling threatened. > > “Acting out also gives practice in new ways of facing events through > alternative choices, choices which may be socially unacceptable in the > participant's normal environment, without having to worry about the > consequences.”31 > > The article goes on to say why this works so well: > > “Role plays and improvisations can encourage participants to understand negative > behaviors and to practice new ways of reacting and of being.”32 > > Drama therapy is useful in many different situations. It helps people who’ve been > traumatized to face their fears and find ways to overcome them. Seniors in group settings > find it valuable in dealing with their losses, whether it be of their physical, emotional, or > intellectual capacities. Participants are provided an outlet to express their concerns. When > done in a group setting it facilitates the development of interpersonal relationships. Many > have felt a diminishing sense of self-worth which can be restored. It similarly empowers > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > children and people of all ages who experience this powerful form of therapy, be it in > individual or group settings > > You may think, But I'm not an actor, I haven't got that kind of talent. Never fear. > > “For many people the word drama is connected with theatre. There is a difference. > Drama is a personal experience (the word comes from the Greek drao: “I do” or > “struggle”) and theatre is communicating the experience to others (the word > comes from the Greek theatron: “a place for seeing/showing”). It can be helpful > to show a therapist how we are struggling, to do so in action, not just in words… > > “Dramatherapy is the use of drama as a therapeutic method. It is not, as in > theatre, a specialised skill which people can or cannot do. We are all acting and > active every day. In dramatherapy each person can participate at his/her own level. > There is no standard of performance, no critic (unless you bring your own).”33 > > So go ahead and “act out.” It’s healthy, it’s fun, and it can help bring your spirit back into > balance. > >  > > CHAPTER SEVEN > > Coax Out and Caper with Your Creative Child > Have you ever acted? No? Well, here’s a simple way to ease into it. > > If you have, this will be a cinch. > > Choose a poem, any poem. You hate poetry? We can change that. > > Select a short one that you understand. Perhaps invite others to participate. > > I’ve included two of my haikus (they’re short!) and two short poems > > in case you’re feeling totally at sea! > > Now, act it out. Think about what it says to you. > > Put that/those emotion(s) into your voice. Yes, do this aloud. > > Next, when you’re getting comfortable with it, include some body movements. > > Pickleball players She’s old and bent now > > Under the hot desert sun Only hint of younger self > > Oblivious – Serve! Her still twinkling eyes > > *** *** > > I wrote your name in the sand I will not play at tug o’ war > but the waves washed it away, I’d rather play a hug o’ war > then I wrote it in the sky Where everyone hugs instead of tugs. > but the wind blew it away, Where everyone giggles and rolls on the rug > so I wrote it in my heart Where everyone kisses and everyone grins, > and that's where it will stay. And everyone cuddles and everyone wins. > > ~ Author Unknown ~ Shel Silverstein, Where the Sidewalk Ends > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Art Heals > Dance through the Dark in Order to See the Light > > “We dance for laughter, we dance for tears, we dance for madness, we dance for fears, we > dance for hopes, we dance for screams, we are the dancers, we create the dreams.” ~ Source > Unknown > > M ost art genres have a distinctive therapeutic application. Let's consider > dance/movement therapy: > > “Dance/movement therapy (DMT) is defined by the American Dance Therapy > Association (ADTA) as the psychotherapeutic use of movement to promote > emotional, social, cognitive, and physical integration of the individual, for the > purpose of improving health and well-being. > > “According to ADTA's website, dance therapy is ‘a holistic approach to > healing, based on the empirically supported assertion that mind, body, and spirit > are inseparable and interconnected; changes in the body reflect changes in the > mind and vice versa. DMT as an embodied, movement-based approach is often > difficult to describe, as it is necessary to actively engage in the process to get a true > sense of what it is."34 > > In "Art Heals", the lead section of this chapter, you read about a group weekend with a > therapist who effectively utilized various artistic exercises to help our arts task force work > through our issues. In one, she asked us to dance out our feelings and frustrations. We all > began hesitantly, but the more we moved the more my inhibitions dissolved along with > my doubts and concerns. We danced individually but in near proximity. Though > concentrating on ourselves, yet the energy of the others somehow affected us. By the time > we ended our movements, I felt at one with my surroundings and with the folks with > whom I had previously felt a huge disconnect. > > Dancer and author Gabrielle Roth posits that dance works to heal because: > > CHAPTER SEVEN > > “When you let your body dance you immediately strip away the lies and the dogma > until all you’re left with is the spirit of life itself. Movement is medicine, and I trust > that if you put the psyche in motion, it will heal itself…You have to dance through > the dark in order to see the light. You have to go to the source of all our wounds, > the big wound, the divorce of spirit from flesh, and heal this wound if you ever want > to fulfill the longing for a real self, a soulful self, a big, huge self that sleeps with the > Beloved.”35 > > Several religious traditions utilize “ecstatic dance" which becomes meditation through > movement rather than through stillness. The experience dissolves stress and brings a > sense of connection to the Divine, which is pivotal to success in healing. A few of the > groups who use dance in this way are the Quakers, Shakers, Sufis, Haitian Vodun, some > Orthodox Jewish sects, shamans, and Balinese trance dancers.36 > > Ms. Roth has a unique way of expressing the link between the physical act of > dancing and the spiritual sense of rapture it brings forth: > > “Sweat is an ancient and universal form of self-healing, whether done in the gym, > the sauna, or the sweat lodge. I do it on the dance floor. The more you dance, the > more you sweat. The more you sweat, the more you pray. The more you pray, the > closer you come to ecstasy.”37 > > Have you ever felt the need to dance to express your joy or your praise? A friend of mine > did. She thought she was alone in the house and was, as she told me, “Dancing for God." > When her husband came home and witnessed it, he became extremely upset. She has a > mild mental condition and he thought it had gotten worse and she'd lost touch with > reality. After that she stopped permitting herself to use this form of expression that her > soul so longed to offer. This is not healthy either. But she feared he might decide to > institutionalize her. It is sad, because, as Allegra Fuller Snyder explains: > > “The very tensions that for most of us must be held in check, until for some they > explode and because they have exploded must be hidden off in a mental hospital, > in other societies are accepted and are actually in the realm of the > commonplace.”38 > > My friend wasn't going insane; she was in a state of ecstatic prayer. Movement as prayer, > with or without words, is a legitimate form of praise. I've been known to use it myself. > The following two poems drew on this understanding: > > Dance in the Mystic Fane > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Laughter! Joy! Exaltation! > Beseeching my Lord — in supplication, > Offering thanks. Bestowing praise > In such manner commence my days. > In dance, in song, with music in my heart, > Wafting along—my prayer impart. > Intoning. Chanting. All aglow. > Arms stretched high—now bowing low. > As though in trance on cosmic plane— > My dance is a prayer in the mystic Fane. > > Give Freedom to Your Worship > Sing Alláh-u-Abhá. > Dance your prayers. > Clap your praise with laughter and tears. > Let your reverence move you. > Make it come alive. > Allow it room to grow— > to flourish and thrive. > Express your joy. > Experience ecstasy. > Give freedom to your worship. > Permit yourself to BE! > > Gabrielle Roth explains: > > “When I dance, I feel the presence of a divine force and this is my addiction. > Feeding it is as simple as putting on the right music and letting go….the surest way > to drop whatever you are carrying and to move beyond your baggage to a new > you, a new body, one that is funneled by its soul….It awakens intuitive intelligence > and artistic sensibilities.”39 > > CHAPTER SEVEN > > Nina Utne writes: > > “Marcela Lorca, creator of BreathDance, a body awareness technique, maintains > that by using breath, voice, and movement, you can release negative emotional > patterns without intellectual processing or even conscious understanding…"Free > movement of energy through the body is the definition of health," Lorca insists: > > “So shut the door, pull down the shades, and try a song-and-dance routine > to a tune you love. There’s no telling where that freed-up energy might take you. > You might feel foolish, but that’s rarely fatal; chances are that, at the very least, > you’ll start having more fun.”40 > > But don't limit dance for healing to just yourself. Beyond the individual, it is suggested > that dancing in a group setting can have the power to heal as well. Cosmologist and > physicist Brian Swimme suggests: > > “That day will come when the political and commercial leaders of all nations sing > together. Board members of multi-national corporations will dance before every > major decision. Nor will this seem strange, but rather the sanest activity, the most > valuable for wisdom. Music will not be understood as entertainment, but as the > fullness of life. Dance will not be seen as a side activity, but as the very discipline > that leads to truth…to be human is to enter this dance and celebrate this mystery > of existence. There is no more political act. To make music is to join with that power > that created galaxies. Who can know this and refuse to dance?”41 >  > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > Turn on a tune that speaks to your spirit, moves your soul. > > It can be a hymn, operatic solo, pop tune, folk song, even an instrumental piece— > anything that elevates your mood. > > Now, get up and move to the beat, keeping the words in mind. > > Use your legs, your arms, your body. > > Turn. Spin. Sway. Bend. Reach. March. > > Just move. > > CHAPTER SEVEN > > Art Heals > Write Your Way to Health > > “Writing is famously a cure: By the mystical process of transforming the invisible > contents of the mind into black ink on a white page, you get rid of the damn stuff forever.” > ~ Charles McCarry > > W riting is healing. But why? And how? Psychologist Adrian Furnham, Ph.D. > proposes: > > “This is much more than simple [sic] trying to write pretty sentences. It is about > singling out experiences, events and people that contributed to one’s life. Seeing > cause and effect, understanding psychological processes can significantly increase > self-understanding. Suddenly things become apparent: patterns observed > explanations obvious.”42 > > Let's consider several approaches to writing for healing. > > *** > > Freewriting > > Is your mind is so filled with busy thoughts, problems, and frustrations that you can’t > relax—you can’t slow down enough to create a coherent sentence? Perhaps you just don’t > know where to begin, so you sit and stare at the paper or computer screen, your mind > totally blank. This is commonly referred to as “writer’s block.” What to do? > > With no preconceived notions or ideas of what you want or need to say, simply > pick up a pen or pencil and paper or sit at the keyboard and just begin to write. Let your > subconscious flow out onto the paper. This form of writing is strictly about your feelings > and associations rather than a specific recall of events. Your thoughts may stick to one > theme, or they might be disjointed and jump from one topic to another. That’s fine. It’s > okay. There is no right or wrong; both are a positive part of the process. Entertain no > concern for grammar, punctuation, or mixed tenses. The mere act of translating your > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > thoughts and feelings into words may be sufficient to calm you and serve as a stimulus > for you to return to your initial intent. Besides, something you wrote down might spark > the flame of a new idea with which you can now move forward. Dr. Richard Nordquist, > Professor of English and Rhetoric, says: > > “…eventually you’ll delete it or toss it away. But first, read it over carefully to see if > you can find a keyword or phrase or maybe even a sentence or two that can be > developed into a longer piece of writing. Freewriting may not always give you > specific material for a future essay, but it will help you get in the right frame of > mind for writing.“43 > > *** > > Internal Monologue/ Expressive Writing > > Here again, let your thoughts flow without concern for rules—rules don’t exist here. You > needn’t check a dictionary for spelling or a thesaurus for a better word choice. > > Unlike freewriting, do begin with a definite premise and endeavor to follow > through with it. You can have a story line, but rather than dealing with specifics of an > event, relationship, or memory, write about how you felt, how these occurrences affected > your emotions. > > Don't inhibit yourself with thoughts of propriety or worry about someone later > reading your most personal inner beliefs or concerns. As with freewriting, whether to > hold on to it is your choice, but to achieve any significant benefit, allow your subconscious > mind to free itself. Read and then consider what you've written in an effort to try and > understand the feelings that emerged. > > The 2005 article, “Emotional and physical health benefits of expressive writing,” > warns that: > > “The immediate impact of expressive writing is usually a short-term increase in > distress, negative mood and physical symptoms, and a decrease in positive mood > compared with controls. Expressive writing participants also rate their writing as > significantly more “personal, meaningful and emotional.” 44 > > It goes on to explain why this is worthwhile: > > CHAPTER SEVEN > > “However, at longer-term follow-up, many studies have continued to find evidence > of health benefits in terms of objectively assessed outcomes, self-reported > physical health outcomes and self-reported emotional health outcomes.”45 > > The premises iterated in James W. Pennebaker and Joshua M. Smyth’s Opening Up by > Writing It Down, first published in 1997, have since been corroborated by other > independent scientific studies around the world. The 2016 edition of their book explains > that expressive writing offers those who either don’t wish to talk about their feelings or > have no one to confide in a way to unburden themselves > > • Reduces stress, fear and isolation > • Boosts immune systems, optimism and sense of connectedness > • Allows minds to process, organize and understand their experiences and feelings, > enhancing learning and memory.46 > > When expressing themselves in writing, people often report that they feel safe. Studies > performed with controls indicate that those adhering to the expressive writing principles > reported less illness and fewer hospital visits in the months following their writing > routine than those who were not instructed to use them. > > Take time to reflect on what you’ve written and be compassionate with yourself. > If you’re worried about someone else seeing what you wrote, store it in a safe place or > simply tear it up or shred it. If you choose to save it, you may wish to come back to it for > future contemplation. > > *** > > Journaling > > Habitually record your thoughts and feelings in a journal that you can refer to later. It > will demonstrate the progress you've made in coping with issues or show that it’s time > to come up with a plan to help you move forward. It can provide new insights into what > is really your basic concern, which may have been disguised by another, less accurate > perception. > > Expressive or stream-of-consciousness writing can be recorded through > journaling. It offers a systematic way to collect these thoughts, especially if you wish to > revisit them later. Among its benefits, Kevin Bennett, Ph.D. offers these key points that > are discussed in his article, 10 Good Reasons to Keep a Journal:47 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > • Regular writing is known to reduce symptoms of depression and anxiety, and it > can be used as a form of stress and emotional regulation. > > • Keeping a diary can be beneficial for mental well-being as well as for personal > growth and self-awareness. > > • Creative insights and novel solutions to problems often result from habitual, > uncensored writing. > > *** > > Memoir > > “Memoir isn’t the summary of a life; it’s a window into a life, very much like a photograph > in its selective composition. It may look like a casual and even random calling up of bygone > events. It’s not; it’s a deliberate construction.” ~ William Zinsser > > Memoir, unlike a formal family history is not a mere list of dates and events. It’s your > personal take on a particular time in your life: perhaps a relationship, a memorable trip, > an illness, a personal loss, or a special event. It necessarily deals with the feelings and > emotions attached to the subject. > > Memoir that is just to help you work through difficult memories is for you and > you alone. Author Karen Salmonsohn understands this. On quitting a toxic relationship, > she fretted that her “Plan A” had bombed. Concerned that a “Plan B” might not prove > any better, she decided to do what writers do—she wrote about it. The act of writing, > putting your thoughts, feelings, worries into black ink on white paper (or any other colors > of your choosing) helps put things into perspective in a way not always possible without > writing it all down. It can prove to be the pressure release that allows your stress to flow > out—safely—without bursting. Salmonsohn writes: > > “I wound up not needing to publish my memoir. It was simply cathartic enough to > write. When I was done, I did not feel the need to share my memoir story with the > world. The sheer act of writing my memoir was liberating and healing in itself.”48 > > As you begin to write, you may find yourself re-experiencing the pain of traumatic > events. Take a deep breath and/or a short break, listen to calming music, and then keep > going. Soon it will become easier; you’ll begin to find more clarity. However, if the pain > > CHAPTER SEVEN > > is too intense, stop. You may need to use the services of a professional therapist familiar > with writing therapy before continuing. > > Once you’ve gotten through your preliminary drafts, and the pain has eased, it’s > time to decide whether this is enough, as it was for Salmonsohn, or if it should be > published so it can help others who may be experiencing a similar situation and who are > in a quandary as to where to turn—what to do. That’s the time to do some serious editing > and turn from “first draft mindset to author mindset.”49 It’s the time to stop being self- > indulgent, which was an essential requisite for the draft mode. This will likely prove to > be another painful process, but each step forward is a step toward .healing. > > *** > > Fiction > > When you write a story based on your personal experience, but substitute fictionalized > people and locations, you won't feel as vulnerable. It eases the trepidation of facing > your dread. Likewise, when you make up fictitious characters and a very different set of > circumstances than your own, you can derive therapeutic value from the exercise of > your imagination. > > ~~~ > > Joseph Mastroianni didn’t start out to write a novel, but that’s how it developed. > Mastroianni titled the book Chaconne, The Novel, after a baroque composition by Johann > Sebastian Bach. Bach’s Chaconne consists of twenty-nine variations on a theme, each of > which can easily be enjoyed on its own yet weave together seamlessly. Mastroianni > challenged himself to write his novel based on the same premise. It contains twenty-nine > chapters that include numerous situations rooted in personal experiences. Alternating > with the semi-autobiographical chapters are ones that fall in the category of historical > fiction: Joseph surmises what inspired Bach to compose Chaconne. > > *** > > Poetry > > The concise nature of poetry and its use of symbol and metaphor allows you to express > the essence of your suffering without directly accessing the painful memories. This can > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > eventually lead you to be able to write more specifically so you can come to terms with > what truly troubles you. > > As Rúhíyyih Rabbani mourned the death of her beloved husband, Shoghi Effendi, > she poured her pain into poems. “Say Yes My Love,”50 opens with this lament: > > My breast has become > The bower of the winds > If heart there is therein > Then ‘tis the ghost of a heart > > She writes that she is ready to leave this life herself: > > So light and airy > > Is this cage that now > > The bird of my soul > > Sees escape come near > > As she contemplates the possibility that when she does depart this earthly existence, > they will be reunited, she asks: > > Will the things of my soul > Take shape and strength > And I be with you again? > > Hope leads her to realize and declare: > Ah, say yes, my love > Then perhaps my soul > Will bide a little longer > In this earthly cage > > Mahvash Sabet languished under brutal conditions in an Iranian prison. Arrested along > with the six other members of the Yaran, an informal administrative council of the Persian > Bahá’í community formed following the Iranian governments order to disband it’s > > CHAPTER SEVEN > > elected National Spiritual Assembly, she took refuge from her suffering through poetry. > We sense her angst as we read “The Loneliness of the Stranger:”51 > > With our backs to the future, our faces to the past, > the years go by and we’re all still here > strangers in our loneliness. > > With my back to the future, my face to the past, > holed up in a corner without access to light > I’m still here, a stranger in my loneliness. > > Ploughing the soil of the heart > watering the seeds of thought > colouring the tulips of the mind. > busily watching the feelings shift, the seasons change: > but always and forever a stranger in my loneliness. > > And as she drinks the stagnant water > of this upside-down life, > As she chokes on the stagnant water > Of this inside-out place, > in this back-to-front world, > the stranger keeps longing in her loneliness > longing for her prayers to be answered. > > Her pain mingles with hope in this excerpt from her poem “To Fariba Kamalabadi”52, > another prisoner who also served as a member of the Yaran: > > In the end we will forget these pangs of separation for they’ll be no more. > The bane of this cup which it’s been our lot to drink will be no more. > A hundred stones have bruised our breasts and lips, but they are sealed; > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > All the false charges which were hurled against us shall melt away. > > A helpful way to work through fear is to write about it. Joseph Mastroianni shared a > poem he'd written, simply yet profoundly titled Fear. Short though it is, the first time I > read it, I underwent a sudden physical reaction to the words: an invisible yet heavy > weight compressed my chest, and my body temperature rose as I read: > > In fear you seek to hide > Brick by brick the prison ramparts rise > Slowly blocking out the light > Until in cold and dark only breath > Parts life from death > > Joseph says: > > “Poetry helps me to focus and pinpoint my emotions, e.g., anger, frustration or > pain.” > > He explains: > > “You can’t change anything or do anything about it [the negative emotions] unless > you are aware of what the issues are; when that is done there is clarity in > determining what must be changed — or accepted.” > > The act of transferring your inner thoughts into written words helps in that process. > Joseph considers that: > > “Fear is burdensome. The heaviness you felt is reflective of that fact. Fear is also a > helpful emotion; it serves to help keep us safe. But fear can also be paralyzing; > overcoming fear is what courage is about.” > > It takes courage to face your fears. The act of writing it all down takes a certain amount > of grit, too, but helps accelerate the process of working through your demons and > overcoming them. > > Any of these writing methods can help you, too. Are you ready to take pen (or > keyboard) in hand? Who knows—you may even want to take your work to the next stage > and refine it. The word play is a first step, but there are others to traverse. Using the > principles of revision and composition can turn it into a work of Art worth sharing. The > > CHAPTER SEVEN > > writing is highly satisfying and therapeutic. Sharing your work can be, also, especially > when you see that it has resonated with and helped someone else. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > What do you love to read? Novels? Self-help Books? Biographies? Science Fiction? > Romance. Poetry? Or??? Pick your favorite. Write about why you enjoy the genre. > > What do you learn from it? How do you feel while reading—at the end? > > Now. Try your hand at writing something—anything—just write. > > A few words. A paragraph. A short story. A poem. > > Don’t compare your writing to anyone else’s. Be kind to yourself. > > Now, how do you feel? > > CHAPTER EIGHT > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > C HAPTER E IGHT > > Discover the Artist Within > “Talent is not a gift given only to a few. Talent is like the sun shining outside the window: > it is there for all of us—all you have to do is pull back the curtains and let it in. Talent > comes from openness, integrity, simplicity, and the courage to feel and take risks. It is part > of being human.” ~ Michell Cassou and Stewart Cubley > > “When you make art, I hear your soul speaking. And I don’t argue with soul because it > is: pure, honest, beautiful, perfect, worthy, lovable, authentic, true, vulnerable, kind, > hopeful, open and divine, like your art.” ~ Source Unknown ~ > > A bdu'l-Bahá instructs you not only to gain knowledge of the sciences and arts, but to > do so with gusto: > > “Ye must therefore put forth a mighty effort, striving by night and day and resting > not for a moment, to acquire an abundant share of all the sciences and arts, that > the Divine Image, which shineth out from the Sun of Truth, may illumine the mirror > of the hearts of men.”1 > > He further admonishes that this effort is not merely for temporal purposes but more > importantly, more vitally, it serves a spiritual purpose: > > “Although to acquire the sciences and arts is the greatest glory of mankind, this is > so only on condition that man's river flow into the mighty sea, and draw from God's > ancient source His inspiration.”2 > > He goes on to explain that: > > “When this cometh to pass, then every teacher is as a shoreless ocean, every pupil > a prodigal fountain of knowledge.”3 > > Next, He warns: > > “If, then, the pursuit of knowledge lead to the beauty of Him Who is the Object of > all Knowledge, how excellent that goal; but if not, a mere drop will perhaps shut a > > CHAPTER EIGHT > > man off from flooding grace, for with learning cometh arrogance and pride, and it > bringeth on error and indifference to God.”4 > > Shoghi Effendi encourages you to pursue The Arts with the Cause of Bahá'u'lláh > in mind: > > “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. 5 > > “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.”6 > > If this sounds easy, think again. Many renowned artists and philosophers not only urge > us on and speak of the importance of pursuing the arts, but they also note the challenges, > indicating though that the effort is most worthy. Goethe advises: > > “Whatever you can do, or dream you can, begin it. Boldness has genius, power and > magic in it.”7 > > John Ruskin believes: > > “All great art is the work of the whole living creature, body and soul, and chiefly of > the soul.”8 > > Pasternak asserts: > > “Art is unthinkable without risk and self-sacrifice.”9 > > The following quote by George Leonard encourages you to pursue your art in order to > effect spiritual transformation: > > “At the heart of each of us, whatever our imperfections, there exists a silent pulse > of perfect rhythm, a complex of wave forms and resonances which is absolutely > individual and unique, and yet which connects us to everything in the universe. > The act of getting in touch with this pulse can transform our personal experience > and in some way alter the world around us.”10 > > Are you experiencing mixed emotions regarding your deep desire to pursue your > creativity combined with guilt about taking time away from other more mundane > activities for which you feel a sense of responsibility? Do you fear that to do so would be > just plain selfish on your part? Do you recall in an earlier chapter we saw that to acquire > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > an Art is our duty? Similarly, Bahá’u’lláh says that learning an art or a craft is a > commandment. He uses the words "it is incumbent" in several places. For the sake of > brevity, I will add just one, but you can search the Writings for more. > > “O MY SERVANTS! Ye are the trees of My garden; ye must give forth goodly and > wondrous fruits, that ye yourselves and others may profit therefrom. Thus it is > incumbent on every one to engage in crafts and professions, for therein lies the > secret of wealth, O men of understanding! For results depend upon means, and > the grace of God shall be all-sufficient unto you. Trees that yield no fruit have been > and will ever be for the fire.”11 > > Artists should also use their talents to build up and encourage others. Yes, they will and > should address the problems facing society at all levels, and perhaps even create protest > art, however, poet Roger White warns: > > “Artists should never be the malcontent on the fringes of society. They should > move into the heart because they have a great deal to offer to society.”12 > > By the analogy of the Supreme Pen, it seems that as you study the sciences and the arts, > and, I posit, with pure motives—wanting this knowledge to better yourself and to be able > to better serve others—God inscribes His wisdom upon your soul. When you act on it > and put that wisdom to practical use, it manifests itself as a benefit to society. > > Do you think you aren’t good enough? Don’t fret about it, especially not if you’re > just beginning to explore your artistic talent. Don’t compare yourself to the experts; just > to yourself. Keep striving to improve and from time to time take note of your > improvements. This will both inspire you and spur you on to more projects and successes, > building up your self-confidence along the way. > > Are you sufficiently convinced now? Are you ready to take the first step? Still > unsure? Consider Jan Phillips' The Artist's Creed: > > I believe I am worth the time it takes to create > whatever I feel called to create. > > I believe that my work is worthy of its own space, > which is worthy of the name Sacred. > > CHAPTER EIGHT > > I believe that when I enter this space, I have the right > to work in silence, uninterrupted, for as long as I chose. > I believe that the moment I open my self to the > gifts of the Muse, > I open myself to the Source of All Creation > and become One with the Mother of Life Itself. > > I believe that my work is joyful, useful, > and constantly changing > flowing through me like a river > with no beginning and no end. > > I believe that what it is I am called to do > will make itself known when I have made myself ready. > > I believe that the time I spend creating my art > is as precious as the time I spend giving to others. > > I believe that what truly matters in the making of art is > not what the final piece looks like or sounds like, > not what it is worth or not worth, > but what newness gets added > to the universe in the process of the piece itself becoming. > > I believe that I am not alone in my attempts to create, > and that once I begin the work, settle into the strangeness, > the words will take shape, the form find life, > and the spirit take flight. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > I believe that as the Muse gives to me, > so does she deserve from me: > faith, mindfulness, and enduring commitment. > > This should inspire you to heed this advice given by Kurt Vonnegut to high school > students at Xavier High School in New York City: > > Practice any art, music, singing, dancing, acting, drawing, painting, sculpting, > poetry, fiction, essays, reportage, no matter how well or badly, not to get money > but to experience becoming, to find out what’s inside you, to make your soul grow. > Seriously! I mean starting right now, do art and do it for the rest of your lives. Draw > a funny or nice picture of Ms. Lockwood [their art instructor], and give it to her. > Dance home after school, and sing in the shower and on and on. Make a face in > your mashed potatoes. Pretend you’re Count Dracula. >  > > CHAPTER EIGHT > > Coax Out and Caper with Your Creative Child > Do the assignment Kurt Vonnegut gave the Xavier High School students: > > Write a six-line poem, about anything, but rhymed. No fair tennis without > a net. Make it as good as you possibly can. But don’t tell anybody what you’re > doing. Don’t show it or recite it to anybody, not even your girlfriend or your parents > or whatever . . . > > Tear it up into teeny-weeny pieces, and discard them into widely separated > trash receptacles (sic). You will find that you have already been gloriously rewarded > for your poem. You have experienced becoming, learned a lot more about what’s > inside you, and have made your soul grow. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Discover the Artist Within > Inhibition is a Four-Letter Word > > “…courage to try the untried is an essential element in creative behavior.” ~ Genevieve > Coy > > A re you ready to take the first step to discover your inner artist? Remember: it’s > essential to face it with courage. > > “Inhibition is a four-letter word”—the opening of my spiel for encouraging active > participation in my workshops on The Arts and spirituality. No one ever remarks that > the word “inhibition” contains ten letters; the word “inhibition.” they immediately > understand the connotation. > > Some of the most common curse words in the English language are composed of > four letters. Folks began referring to them, simply, as “four-letter words.” A loose > interpretation insinuates words of any length which are taboo in polite company. > > I expand this concept to include the word “can’t.” Unwarranted inhibitions stifle > the creative impulse, whether socially determined or self-imposed. This, to me, is not only > distasteful but also offensive. > > I first made the statement, “Inhibition is a four-letter word,” to a group > spontaneously. It wasn’t some clever remark I’d carefully developed for an attention > grabber or to make them think, but since it effectively served that purpose, I now > intentionally use it, and it works well each time. > > First, they laugh. Then they ponder. Inevitably most, sometimes all, feel less > intimidated and therefore, less inhibited. The lure works. Rather than merely remaining > observers, even the reluctant ones eventually join in movement, poetry, drama, music > and drawing activities. What a wonderful stimulus to allow the release of creativity. > > Don’t dread making mistakes—you will make them—just don’t let them define > you. They’re necessary steps in the progression of your skills and abilities. That’s one of > > CHAPTER EIGHT > > the joys of creating. It’s not just okay, but also important. A fourth grade Carpinteria, > California student explains: > > “Art is a free thing. There are no rules in art. If you ‘mess up’ in art, it’s still a piece > of art.”13 > > My husband Don took a pottery class with our neighbors. They brought home all their > pieces, but Don returned empty-handed every time. He dropped them all in the trash bin > on his way out of the studio. Our friends told me that his work far surpassed theirs in > quality and they couldn’t understand why he was embarrassed to show them to anyone > else or to keep them. Years later I took up pottery. I only lasted a couple of years. It was > fun, but I just didn’t have the knack. My pieces looked like they’d been made by a grade > school student. Don doesn’t understand why I want not only to keep some but also feel > comfortable using them, even when guests are present. He doesn’t complain, though. If I > like them, he’s satisfied. I wish I could convince him to be as supportive of himself as he > is with me. Cartoonist Scott Adams proposes: > > “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.”14 > > I wonder which of us has followed that premise faithfully. > > I hope you’ll be more open to your own creativity because creativity is in fact a > spiritual gift, as we saw quoted previously. > > “All art is a gift of the Holy Spirit.”15 > > Indeed, ‘Abdu’l-Bahá asserts, > > “This other and inner reality is called the heavenly body, the ethereal form which > corresponds to this body. This is the conscious reality which discovers the inner > meaning of things, for the outer body of man does not discover anything. The inner > ethereal reality grasps the mysteries of existence, discovers scientific truths and > indicates their technical application. It discovers electricity, produces the > telegraph, the telephone and opens the door to the world of arts.”16 > > How then can you permit yourself to stifle your innate creative impulses? Go ahead— > give in to this temptation. Bite into the self-styled forbidden fruit. Let not this ten-letter > “four-letter word” prevent you from developing your God-given talent(s). > > The article, “What is Art?” in the initial issue of the Bahá’í resource guide, Art > Matters, declares: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “Artistic expression is not only for the initiated and the well-trained. It is a part of > everyone. It is a gift from God in which we all partake. We can all learn to see art > as a spiritual path paved with our own individual creativity. Creativity is a part of > our true nature. If we are created in the image of God, reflecting His Names, one > of which is ‘Creator,’ then do we not have within each of us a creative potential? > We can transform ourselves and the lives of those around us by delving into that > potential, by discovering, recovering or deepening our creative powers. We can > use our creativity—of whatever kind and of whatever level of expertise—to effect > massive transformations in our communities to deepening our understanding of > God, and to dedicate our lives to Bahá’u’lláh’s vision for humanity. Yes, there are > obstacles and it will take some effort on our part, but, also, ‘Yes, it can be done,’ > and ‘Yes, it must be done.’” > > Playwright Ann Boyles ‘ intention in penning her one-act play, To Walk in His Footsteps, > was not to address our creativity, but in addressing our need to strive and persevere in > our spiritual growth, it fits with this topic, since creativity assists in that goal as well. The > play follows Josh, a youth who in a letter to his parents, written while on his Bahá’í Youth > Year of Service, expresses his confusion that even though he is learning the value of > patience, “I still don’t understand why we have to go through tests and difficulties to > grow.” He tells them he’s reading The Dawn-breakers, a history of the Bábí religion, and is > awed by the courage of the believers who so bravely faced severe persecutions, arrests, > as well as horrific tortures and killings. He wonders, I wish I knew how they did it. > > Later, while reading that same book, he falls asleep and begins to dream. In his > dream he meets Anis, one of the Bábí heroes, and then Lua Getsinger and Enoch Olinga, > figures from different time periods of the Bahá’í Faith. He watches each of them for a > while and then steps into the dream himself and interacts with the characters who teach > him important lessons about faith and courage. At the end of the play, he explains to > Enoch Olinga his quandary: that Mr. Olinga and the others were tested and passed: > > “. . . and you all became great heroes of the Faith. But I’m just a youth, and when I > get tested, I just feel the pain and don’t understand.” > > The playwright adapts a musical metaphor that was often employed by Mr. Olinga to > assist Josh. Mr. Olinga has Josh imagine that he is a guitar. Let’s listen in on their > conversation: > > “. . . you hear that a Divine musician has come. What do you do?” > > CHAPTER EIGHT > > “I guess I’d hope that He would choose to play me.” > > “The Musician takes you close to Himself, tries to play a beautiful melody. But soon > He finds that the guitar is out of tune. He starts to wind the string tighter, to tune > it. But the guitar cries out in pain—it resists—and the string breaks.” > > “Oh great, so even as a guitar I fail my test.” > > Does this sound like you? As a beginner are you struggling to learn an art, or if already > well-versed in your art, but dabbling with a new technique, are you finding it difficult? > Let’s look further into how Mr. Olinga helps Josh understand the process. > > “A test is not always something you pass or fail. Sometimes it’s something you > endure—something you learn from.” > > “But what if the tests keep coming up and it’s the same ones over > and over again?” > > “Then you keep learning from them. You endure because you wish to give forth > the divine melody. The Divine musician plays upon the strings that remain. And if > the tune is still wrong . . .” > > “I suppose the Musician has to start tuning another string.” > > “That’s right! And another, and another if they resist, they will break, too, won’t > they?” > > “But, I don’t want them to break!” > > “And the guitar won’t be able to play the Divine Melody, will it?” > > “But, I want to play!” > > “Yes, Josh! And the Divine Musician wants the guitar to play, too! To play beautiful > music. But to do that, we must be tuned to God’s will. That’s when we can make > the beautiful music that we want in our souls to make.” > > Your talent is God-given. Whether it is the Divine Music, Painting, Sculpture, Dance, > Drama or whatever your artistic choice may be, don’t fear mistakes. Don’t allow them to > inhibit you and keep you from trying again—and again. Analyze what went awry. How > can you overcome the problem? Meditate on it and seek guidance. Then tackle it anew. > Persevere. ‘Abdu’l-Bahá wants you to: > > “Strive that your actions day by day may be beautiful prayers.”17 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Welcome each error as a step in the learning process and know that each of your efforts, > whether successful or just a step towards success, is a beautiful prayer. Just stay in tune > with the Divine Source of your talent. > >  > > CHAPTER EIGHT > > Coax Out and Caper with Your Creative Child > Jot down any memories of when your creative child was stifled. > > Now, consider the preceding sections of this chapter and write down how you will > overcome any obstacles, past, present, and future, and remove the boulders strewn in > your path. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > C HAPTER E IGHT > > Discover the Artist Within > Are You a Shadow Artist? > > “. . . God created man in His own image, in the image of God created He him; male and > female created He them . . .” ~ Genesis 1:27 > > T he Baha’i teachings affirm this same truth and add its motive: > > “O Son of Man! Veiled in My immemorial being and in the ancient eternity of My > essence, I knew My love for thee; therefore I created thee, have engraved on thee > Mine image and revealed to thee My beauty.”18 > > This explains not only the underlying reason for your creation but also informs you of > your true, inner essence: you are created—spiritually—in the image of God. > > What does that mean? The Baha’i writings suggest that you shouldn’t try to > understand these verses in anthropomorphic, or physical, terms. Rather, they mean that > every human soul (that includes you) has the innate ability to mirror forth the names and > attributes of God. Those names include “The Fashioner,” and “The Creator.” > > If you are made in God’s image and God is the Creator, then you are a creative > being. Theologian Mary Daly also shares this view. She believes: > > “It is the creative potential itself in human beings that is the image of God.”19 > > Artist/author Julia Cameron asserts: > > “Just as blood is a fact of your physical body and nothing you invented, creativity > is a fact of your spiritual body and nothing that you must invent.”20 > > Many people don’t think of themselves as creative yet surround themselves with Art and > other artists—they are drawn to the creativity in them. Julia Cameron refers to these > people as “shadow artists,” people who for one reason or another fear releasing their own > > CHAPTER NINE > > latent creativity, and in their yearning seek to experience it vicariously through the talents > of others. Does this resonate with any part of you? Are you a “shadow artist?” To find > out, answer these questions: > > • Do you tell yourself, "I can’t draw a straight line." Do you believe you > have no talent for the visual arts? > o But—do you tend to doodle? > • Do you think you cannot or should not sing in public? > o Be honest—do you belt out tunes in the shower and when you’re > alone? > • What about musical talent? Do you believe you lack musical ability? > o Ah—but do you clap, snap fingers, tap your toes or, perhaps, > drum on your thighs or the arms of your chair, when music is > played? > • Are you convinced you can’t dance? Really? > o Yet—Does your body sway when you hear music? Do your feet > move or does your body sway with the music even though you > remain seated? > • Do you believe you have no acting talent? > o Oh—but you like to relate stories and/or tell jokes? > > So, you think you lack creative talent. Hmm. Did you respond positively to the second > half of any of those questions? I'll be surprised if you said no to all of them. In fact, I won't > believe you! Therefore, if you acknowledged even one, you do have innate, latent talent, > and it cries out to be nurtured. So, take a moment and say to yourself. > > If I am made in God’s image and God is the Creator, then, > > I AM A CREATIVE BEING. > > Next, take it one step further: > > I am a creative being in the garden of humanity > > And the Light shines within me. > > You need to let that Light shine forth, but for one reason or another, you, like so many > others, may have become convinced that you have no talent, or if you do, it isn’t good > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > enough. Or do you recognize that the talent exists and that it is good, yet feel you don’t > deserve it? You may have deep-rooted fears. > > Often fear of failure derives from sometime in the past when your dreams and/or > efforts were thwarted by a relative, teacher, or societal expectations in general. These > individuals, for various well-meaning and unintentional reasons, caused you to check > your creative aspirations. These people who you love and trust, yet who for reasons > which may be well-meaning and unintentional, may have caused you to check your > creative aspirations." > > During workshops I present related to art and spirituality, invariably, at least one > participant admits to suppression of their artistic urges out of a sense of duty or obligation > to afford more time for the “important things” in life. > > Is this you, too? Do you usually feel it necessary to sacrifice your inner artist to the > more tangible needs of family, job, and community in the belief that the daily demands > of life should take precedence? > > Oh, please! Not only is it unnecessary to make such sacrifices, but it’s also in > opposition to the will of God. It is worth repeating this admonition from Bahá’u’lláh: > > “Arts, crafts and sciences uplift the world of being, and are conducive to its > exaltation. Knowledge is as wings to man's life, and a ladder for his ascent. Its > acquisition is incumbent upon everyone.”21 > > Two things stand out in that quotation: 1) the fact that arts and crafts are afforded equal > status with science and 2) that to acquire them is not an option but is in fact “incumbent” > upon all of us. Similarly, this excerpt from a tablet written by Bahá’u’lláh exalts the arts > and crafts: > > “The one true God, exalted be He, loveth to witness handiworks of high > craftsmanship produced by His loved ones. Blessed art thou, for what thy skill hath > produced hath reached the presence of thy Lord, the Exiled, the Wronged. Please > God every one of His friends may be enabled to acquire one of the crafts, and be > confirmed in adhering to what hath been ordained in the Book of God, the All- > Glorious, the All-Wise.”22 > > Another boulder blocking your creative path may be embarrassment. Do you fear non- > acceptance of your talents. Do you worry about the pronouncements of others on your > works? Every time you put your work out in the public eye, whether it is tangible art or > > CHAPTER NINE > > performance art, your audience will judge it. They will like it or dislike it, or worse, be > indifferent to it, and that will make you think “Why bother?” When you stress over these > various possible outcomes, you stifle your creativity and the output will be far from your > best. > > The ability to let go of the worry about the opinions of others in order to be your > authentic self and let your creativity flourish, can be a slow and gradual trek, always > having to go around or over the various boulders and other blocks that will be strewn in > your path, some real but most, probably, imagined. It will be easiest to provide examples, > so I’ll share my road from almost paralyzed to fairly soaring. > > During the agonizing high school years, if the teacher called on me to answer a > question or offer my take on the subject at hand, the magma rumbling inside the volcano > of my inner angst threatened a volcano-tectonic earthquake of epic proportions. Sure that > the eyes of each pupil in class saw my body shuddering and knees knocking, and > absolutely heard the quivering of my voice, tortured me in class, during the rest of the > school day, and long after I’d gone home. Then, in twelfth grade, two epiphanies > occurred. > > The first took place because, when needing one more elective, the choices were > slim and I ended up in a drama class. Each time I had to perform, I was sure I’d lose my > lunch before I reached to the front of the class, but the moment I began my monologue or > participated in a skit, it felt seamless. Shocked and in awe, it came to me that my brain > had compensated as it wasn’t Jaine up there, but the character she sought to embody. I > was someone else who had no concerns, no need for self-doubt. > > The second came when the final exam for our history class came in dual form: a > paper coupled with an oral presentation. Normally, the oral portion would have been > something I dreaded, but the topic was to report on a major world religion. Having joined > the Bahá’í Faith the previous year, it thrilled me to be given the opportunity to share its > life-changing teachings. In a clear voice, paired with an enthusiastic delivery, I got > through the presentation, reveling in what I considered a gift that could only have come > because, as it’s been said, “God’s works in mysterious ways. So excited about sharing > something for which I was truly passionate, I’d forgotten to be nervous. My normal > trepidation was non-existent. The instructor, Mr. Kazie, remarked, “You get an A+. And > the only reason you received that grade is that there is no higher one I could give you.” > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Yes, embarrassment still crept stealthily into my psyche, squeezing my heart and > paralyzing my vocal chords from time to time, but its strength weakened, gradually but > steadily. I’d be lying to say it never returns, but it’s rare these days and short-lived > because I know how to erase it. > > You can learn to do the same. Take your own discomfiture and think about how > you’d counsel someone else with that affliction. Be sure to include the Sacred Words given > us by Bahá’u’lláh and offer them as an affirmation: > > “Thou art My lamp and My light is in thee. Get thou from it thy radiance > and seek none other than Me.”23 > > “I created thee rich, why dost thou bring thyself down to poverty? Noble I > made thee, wherewith dost thou abase thyself?”24 > > With these confirmations of your reality, you will easily erase any sense of > embarrassment. You are a noble creation of God and His light shines within. Now, take > your own advice—allow it to fill and warm your entire being; then let it radiate out to > others through your creative self. > > Remember, the need for the development of your artistic abilities is “ordained in > the Book of God.” If you’re neglecting your inner artist, it’s time to reverse that trend and > fulfill the creative destiny the Creator ordained for you—yes, FOR YOU. > > Poet Michele Serros refused to be stifled even with her naysayer Tia Annie offering > only discouraging thoughts, as she depicts in her poem, “Annie Says.”24 Here is an > excerpt: > > My tia, Annie, told me: / "You could never be a writer, / let alone a poet. > What do you know? / I mean, what can you write about. / > You got a ‘D’ on your last / book report / > you gotta be able to write / English good / use big words . . . > and you've never even been / out of Oxnard.” > The author's toxic playmate, her aunt, continues to taunt her: > “Writers travel all the time / New York, Paris, Rome . . . / > Every place they make Oil of Olay. / > That's where writers go, / that's where they live. / > > CHAPTER NINE > > Your family doesn't have/ money to travel. You never will. / > And you don't even type. / Now, how you gonna be a writer?” > The public is enriched by Ms. Serros’ decision to free her inner artist and not buy into her > naysayer aunt’s toxic pessimism. > > You need to inoculate yourself against the infection of these poisonous, art and > soul-killing insinuations. Learn to trust in yourself by trusting in God. To accomplish this, > immerse yourself in the divinely revealed Word and pray for guidance. > > “Hold Thou my right arm, O God! and dwell continually with me! Guide me to the > fountain of Thy Knowledge and encircle me with Thy Glory. Let mine ears hearken > unto Thy melodious tone and comfort me with Thy Presence. For Thou art the > strength of my heart, and the trust of my soul, and I desire no one beside Thee!”25 > > Perhaps you don’t just fear failure but actually fear success! Marianne Williamson tackles > this head on: > > “Our deepest fear is not that we are inadequate. Our deepest fear is that we are > powerful beyond measure. It is our light, not our darkness, that most frightens us. > We ask ourselves, who am I to be brilliant, gorgeous, talented and fabulous? You > are a child of God. Your playing small doesn’t serve the world. > > “There’s nothing enlightened about shrinking so that other people won’t > feel insecure around you. We are born to make manifest the glory of God that is > within us. It’s not just in some of us. It’s in everyone. And as we let our light shine, > we unconsciously give other people permission to do the same. As we are liberated > from our own fear, our presence automatically liberates others.”26 > > Get past those fears in order to gain access to your artistic gifts: the power of utterance; > the thirst for and quest of knowledge, both material and spiritual; and the recognition > and development of your natural, God-given talents. Those fears are the locks and bolts > on the door to your creativity. Unchain yourself. > > Shoghi Effendi responded to someone who wrote about some people being > nervous about speaking before an audience: > > “. . .you mention the lack of courage and of initiative on the part of the believers, > and a feeling of inferiority which prevents them from addressing the public. It is > precisely these weaknesses that he wishes the friends to overcome, for these do > not only paralyse their efforts but actually serve to quench the flame of faith in > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > their heart…He has only to use what God has given him and thus prove that he is > faithful to his trust.”27 > > Be true to yourself and to the gifts God has given you. Tune out the naysayers. Trust > yourself. Trust God. Create. > > If your artistic self has been buried for an extended period of time, it will be neither > easy nor painless to coax it forth again. The ghosts of long suppressed and hidden > insecurities may haunt you, but without risk and without some pain there can be no > progress. ... Suppressed hurts and memories of being invalidated in your artistic efforts > might make you reluctant to try and set your inner artist free. > > As I began to explore this theme on a personal level, my thoughts transferred to > written word and these brief poems flowed forth: > > I see, I feel, > with the child, I behold > that I was an artist > though otherwise told. > *** > Stifled and mocked. > My artist was blocked. > Now—to learn its true worth > like a phoenix: Rebirth > *** > To dance, to sing, > to paint, to bring > release from the well within. > > In any effort at growth in any field of endeavor, you must be willing to take baby steps > and fall occasionally, possibly do poorly in the beginning, but see the attempt as a success > because 1) you tried, and 2) you learned from the effort. Always pull yourself up again > and keep on moving forward. > > CHAPTER NINE > > Remember: "can't" is a "four-letter word." It's more than negative, it's offensive, it’s > stifling, it’s dangerous. (See Inhibition is a Four-Letter Word). > > I tired of saying "I can't draw a straight line," so I attended a drawing class in order > to erase that dirty four-letter word from my vocabulary. The results? I still can't draw a > straight line! But I can draw, and the work shows some, albeit feeble, recognizable sense > of reality. It isn't where my natural, or innate talent lies, so I opt to put my efforts into the > stronger talents with which God gifted me, but at least I know that if I wanted to pursue > it, if it meant enough to me, I could learn to draw better—I can improve my skills. > > It's important to zero in on what to explore. Then, confidently take those initial > steps, pick yourself up when you stumble and stay up a bit longer each time, one > success—each attempt is a success—following another. When this idea first began to > tickle my grey cells, I took up my pen and Emergence emerged. > > Lurking — > in the shadows of my soul— > tucked in— > opposite conscious awareness, > > The Creative Self > The Artistic Child > not dead—frozen against reality > not frozen—awaiting rebirth. > > Who am I? > Who should I be? > Who shall I become? > > Will waking the sleeping beauty within > bring chaos > to my snug, safe, systematic, orderly existence— > open a Pandora's Box > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > stuffed with stinging memories— > inflict an ache > in the atrophied appendages > of my True Self > as I struggle through > therapeutic exercises— > learn > to crawl again > before I can walk, > before I can run, > before I can dance, > before I can sing > and Be — > at last— > as I was meant to be?— > > made in His image: > The Creator > > Well, I did it, am still doing it, and yet, I still sometimes struggle with my own feelings of > inadequacy and self-doubt—but I don’t give in, I don’t quit—I persevere. > > Now it’s your turn. Try to develop or recover your own inner artist. Give yourself > permission to be a beginner. After all, you might find it fun and feel freer. Just think of > this observation by Impressionist Edgar Degas: > > “Painting is easy when you don’t know how, but very difficult when you do.”28 > > It's okay not to be a “good” artist when you first start out; it gives you room to grow and > improve. And if you fear the long-buried hurts and insecurities, just think: if you > acknowledge the pain and embrace it by dancing it, singing it, writing it, painting it, > sculpting it, crafting it, you will overcome any feelings of inadequacy. Imagine that! > > CHAPTER NINE > > Remember, in order to start, the door to your creativity needs to be unlocked. No > one else holds the key or can unlock it for you. It's all up to you. (See Unlock the Door to > Your Creativity.) > > Now, get going. No excuses, especially if your attempt at an excuse is merely that > which many have expressed to Julia Cameron: > > “But do you know how old I will be by the time I learn to really play the > piano/act/paint/write a decent play?”29 > > Heed her reply: > > “. . . the same age you will be if you don’t. So, let’s start.”30 >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > > Write an affirmation to erase any inhibitions which stifle your creativity. > > Write a poem about how you feel. > > CHAPTER NINE > > C HAPTER E IGHT > > Discover the Artist Within > Why and How to Develop Your Artistic Talent(s) > > “Knowledge is one of the greatest benefits of God. To acquire knowledge is incumbent on > all. These visible arts and present implements are from the results of His knowledge and > wisdom, which have been revealed from the Supreme Pen.” ~ Baha’u’llah > > Y ou now understand that development of your artistic abilities is deemed “a duty” that > is “incumbent” for all. Let’s now explore the results that ensue when you heed this > admonition. > > The very first of the ten basic principles in Julia Cameron’s The Artist’s Way, asserts > that your reality is spiritual and your reality is creative: > > “Creativity is the natural order of life.”31 > > To be in balance with the natural order, all aspects of your life must be developed. These > are: > > 1. Physical > 2. Mental > 3. Emotional > 4. Spiritual > > Developing your innate talent and nurturing your creativity will enhance each of these > parts of your being. > > 1. Physical > a. Performing > i. Dance isn’t confined to feet and legs, all parts of the body are > involved > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > ii. Theater, even Stand-Up Comedy, requires movement, > sometimes use of props. The mere raising of a shoulder or > eyebrow can speak volumes without uttering a single word. > iii. Music requires the physical act of playing the instrument, or > if composition, writing it down. > b. Visual arts require picking up and working with your medium of > choice and the necessary tools. > 2. Mental > > You have to contemplate the work you wish to accomplish. Much thought, > perhaps research, also, must be conducted. You can’t help but to learn, to > grow. > > 3. Emotional > Every time, every moment, devoted to developing and portraying your > talent, will take you on an emotional journey. The particular emotions will > be reflected in the content. > 4. Spiritual > > See Chapters 2) Art Is an Act of Spirituality and 3) To Create is to Worship > > Let’s use my experience as an example. For years I strongly felt a deep yearning for a > creative outlet. In the quest to discover some talent, I began with the typical “womanly” > arts, but sewing, knitting, and crocheting all proved dismal disappointments. My self- > esteem plummeted to an all-time low—until I finally found my artistic niche when I > joined a community theater group. In addition, I developed a love of poetry and began > to integrate poems into all my Baha’i presentations and public speaking engagements. > One day, I engaged in a conversation that went something like this: > > "Why don't you write your own poems?" > > "Because I'm not creative." > > "But you're an actress, and you dramatize the poems so beautifully." > > "That's interpretation. The creative part is writing the words for people like me to > interpret." > > I already wrote prose: as the Public Information Officer for the local Bahá'í community, > I'd been writing newspaper articles for years and I wrote a monthly newspaper column. > > CHAPTER NINE > > As a public speaker, I'd composed many talks, and I'd already begun to chronicle family > stories and my own memoirs. But I hadn't considered my writing as creative because it > was all nonfiction. On pondering this conundrum, the answer came in a sudden flash, > Uh, oh! This is the complete antithesis to what I've just presented and what I've been telling others > for years—An Aha! Moment—I need to take my own advice. > > The more I contemplated, the more I realized just how much creativity it takes to > properly construct a piece of writing for it to come alive for the reader/listener/audience. > It also made sense that for readers to find my articles and stories compelling, I'd used my > creativity; they weren't a bland regurgitation of facts. Today courses are taught on > Creative Non-Fiction to help keep the writing from becoming humdrum bedside reading > that helps put insomniacs to sleep! I resolved not to be a “Do as I say, not as I do” person > and challenged myself to compose a poem. > > Shortly after I had vowed to do this, the bombing of the Alfred P. Murrah Federal > Building in Oklahoma City occurred. I sat down to pour out my feelings and surprised > myself—I had just written my very first poem. > > Daily e-mail messages from Cindy Van Kley, a member of the Oklahoma City > Bahá'í Community, shared the collaborative efforts of a diverse cross-section of people > and groups who might never have come together were it not for this tragedy. Using > Cindy's accounts as the basis for presentations on how it is possible to grow stronger and > create beauty after suffering tragedy, I kept holding back the poem because I felt unsure > of its worth and dreaded looking foolish. > > Then one day I decided to heed my own words. I checked my fear and dared to > read the poem aloud at a gathering where I’d been invited to speak. A guest who I’d not > met before came up to me afterwards, thanked me, requested a copy of the poem, and > even asked me to sign it because, she said, “It moved my heart.” That spontaneous act by > a stranger gifted me the self-confidence to continue writing—and occasionally sharing— > my poems. > > The mere act of writing makes you a stronger, more whole being. This has a > decidedly beneficial effect on how you perceive yourself, and in turn affects how others > perceive and receive you. It creates a climate for healthier interactions with family, > friends, and new people you meet. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Here’s how it has benefited the balance in my life (and might work for you, > too) of the four aspects of oneness: > > 1. Physical > I have to stay somewhat in shape, stretching, exercising, in order to have > the energy to keep my arthritis in check so I can pick up a pen or peck at > the computer’s keyboard. > 2. Mental > The thought process of deciding on what to write and what should be > contained, the research needed to accomplish the choices I make, and the > editing done in the effort to make the writing “sing,” all contribute to > intellectual growth. > 3. Emotional > The excitement of pursuing a project that holds deep meaning for me > brings joy from the anticipation and then the success in finding the most > apt words, the best phrasing, the editing to enhance it, and finally seeing > the finished work. The sense of self-worth at a job well done is invaluable > after having to fight the plague of doubts that seem determined to diminish > it. > 4. Spiritual > Now when I pray before and at times while working, whether it be to a > dear departed soul in the Concourse on high who was a writer in this life, > or to the Master or to Bahá’u’lláh, I beg only for guidance and inspiration, > and to be an instrument of service. Never do I ask for success. This, I > believe, brings me a sense of detachment, which to me is indicative of > spiritual growth. > > The act of writing for me, whether it be poetry, journal, memoir, essay, newspaper article > or column, has become a process—at times a meditative process. I express part of its > purpose in “Word Pictures”: > > The pen—as brush—paints word pictures— > > as eloquent to reader as painting to viewer. > > Both rich, lustrous, vibrant—infuse the mind, > > set it to ponder the wonders of life, > > CHAPTER NINE > > mine its meanings, strive to fathom its depths. > > Search, sift, consider, opine, > > then set those thoughts and opinions > > on page or canvas—again. > > Process renewed: > > ever-growing, ever-knowing > > that we never completely know. >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > Set at least one goal for your path towards nurturing your creative self. > > Then list steps to achieving the goal(s). > > Remember, one step at a time or you’ll feel defeated and end up quitting. > > CHAPTER NINE > > C HAPTER E IGHT > > Discover the Artist Within > Give Yourself Permission to Create > > “It is time to throw off the shackles, to reclaim that which every child knows and is taught > to forget: the essential right to create without interference or shame.” ~ Michell Cassou > and Stewart Cubley > > “In creating, the only hard thing’s to begin; A grass blade’s no easier to make than an > oak.” ~ James Russell Lowell > > I n any effort at growth in any field of endeavor, you must be willing to take baby steps, > stumble, perhaps fall occasionally, possibly do poorly in the beginning, yet see the > attempt as a success because 1) you tried, and 2) you learned from the effort. > > When I decided to attempt the process of writing poetry, one of my earliest efforts > came out, in effect, as a prayer: > > throw open the window of my mind > > let all thoughts, / ideas, / preconceived notions > > flow out into the ether. > > experience sensations of lightness— > > a feather wafting on cushions of air. > > emptiness, readiness / to absorb, spongelike, > > and filter / reality, / spirituality, > > to gray cells, / heart's wells— > > fill all once more / with truth, > > bring pure / intentions, / inventions, sciences / arts > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > thus the new may enter / the old depart > > Recreate me, Lord! / Set me toward > > the path Divine / that I follow Your design. > > Well, it’s working—and though I still struggle with feelings of inadequacy and self-doubt, > I persevere. Through study of the Baha'i writings, prayer and meditation, and reading > books and articles on creativity, on writing, on theater, on healing through The Arts, I > find the strength, spiritual stimulus and inner determination to continue. > > You, too, can confidently learn to take those initial steps, pick yourself up when > you stumble, and stay up a bit longer each time, even if a tad wobbly, ensuring one > success follows another. Soon enough the wobbles will wane and you’ll stand straight > and move forward with assurance and an eagerness to keep going. > > ‘Abdu'l-Bahá encourages you to persevere: > > “ . . . put forth a mighty effort, striving by day and night and resting not for a > moment, to acquire an abundant share of all the sciences and arts, that the Divine > Image, which shineth out from the Sun of Truth, may illumine the mirror of the > hearts of men.” 32 > > Not only are you made in the image of God, this passage seems to say, but acquiring “an > abundant share” of the sciences and arts will cause “the Divine Image” to enlighten > human hearts. Don’t you want to contribute to that enlightenment? Of course you do. > > Begin by deciding what area of The Arts interests you the most. Unsure? Try > several till you find your natural inclination. It’s possible, perhaps probable, you’ll find > more than one. Then, let your deepest thoughts and feelings rise up and flow out, > enhancing your creative efforts. Learn from each attempt, whether a setback or a step > forward. > > Give yourself permission to be a beginner. It’s okay not to start out producing fine > work; that’s to be expected; it’s the norm. It’s a rare artist who begins by creating > something excellent. > > Continue faithfully, with determination and perseverance, with the conviction > that this is a spiritual effort, and give yourself room to grow and improve. You will > > CHAPTER NINE > > eventually develop into a good artist. It might help to consider these thoughts from Jan > Phillips: > > “It is blasphemous for any of us to say “I am not creative.” All we do is create. We > have desires and we create experiences from our desires. We have experiences > and we create stories about those experiences. We hear the stories of others, and > we are moved to tell our own, turn them into songs or poems or YouTube movies. > We wake up every day to an empty canvas of twenty-four hours and every night > we go to bed having created our masterpiece for the day. > > “We can do this consciously or unconsciously, but we all do it nevertheless. > And the ones who are conscious of it are the ones most actively engaged in the > work of evolution, of unification, of ongoing cosmic revelation.”33 > > Perhaps you already understand all this, but you’ve bought into our society’s tendency > to put artistic endeavors on the back burner. “Oh, but I need to get the laundry done first. > I have errands to run. The kids need help with their homework. Dinner won’t make > itself.” You allow all these things to take precedence and you’ll get to your art when you > finally find a moment to squeeze in a small block of time. Then, when a moment does > pop up, you’re so tired, you just want to put your feet up, read, or perhaps just close your > eyes. Your art never happens. Jan Phillips again comes to your rescue. > > “We get so caught up in the flurry of our lives that we forget the essential thing > about art: that the act of creating is a healing gesture, as sacred as prayer, as > essential to our spirit as food to our body.”34 > > Instead of thinking, “I don’t have the time,” make the time. Carve out a space of time. > Make it a priority. It is vital to your spiritual, emotional, and mental health. > >  > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > When will you schedule your creative time? > > How much time will you allot? Specified. Indefinite? > > Where will you create? An outdoor setting? A cozy nook? > > What kind of ambience will you require: Absolute silence? Music? > > What else do you need? Supplies? Equipment? If you don’t already have them, get > > them. > > CHAPTER NINE > > C HAPTER E IGHT > > Discover the Artist Within > Meditation: The Key for Opening the Doors of Mysteries > > “The spirit of man is itself informed and strengthened during meditation; through its > affairs of which man knew nothing are unfolded before his view. Through it he receives > Divine inspiration, through it he receives heavenly food.” ~ ‘Abdu’l-Bahá > > I f you don’t already, or haven’t yet attempted to, meditate, you may wonder whether > it’s worth a try—and—how it works. ‘Abdu’l-Bahá explains: > > “Meditation is the key for opening the doors of mysteries. In that state man > abstracts himself: in that state man withdraws himself from all outside objects; in > that subjective mood he is immersed in the ocean of spiritual life and can unfold > the secrets of things-in-themselves. To illustrate this, think of man as endowed > with two kinds of sight; when the power of insight is being used the outward power > of vision does not see. > > “This faculty of meditation frees man from the animal nature, discerns the > reality of things, puts man in touch with God. > > “This faculty brings forth from the invisible plane the sciences and arts. > Through the meditative faculty inventions are made possible, colossal > undertakings are carried out; through it governments can run smoothly. Through > this faculty man enters into the very Kingdom of God.”34 > > The quotes shared by famous artists and musicians in Whence Art? illustrate the > recognition of many great artists that they are but instruments through whom flows the > inspiration from a Heavenly Source. Most of them recognize that Source as the Godhead > itself, thus they are the instrument of the Divine Musician, the pen of the Divine Author, > the brush of the Divine Painter. This is attested to in the Bahá’í Writings. They also > indicate another other worldly source: the “Concourse on high,” those who have passed > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > on to the next level of being that the soul enters once it departs this earthly plane of > existence. ‘Abdu’l-Bahá’ explains: > > “Someone present asked how it was that in prayer and meditation the heart often > turns with instinctive appeal to some friend who has passed into the next life." > > “`Abdu'l-Bahá answered: ‘It is a law of God's creation that the weak should > lean upon the strong. Those to whom you turn may be the mediators of God's > power to you, even as when on earth.’35 > > A poignant example is Heather Niderost’s story. I had the opportunity to be among a > group gathered to hear her talk about her book, The Light World. Heather insisted that she > didn’t write a word of it. She explained that her 10-year-old son Eric died after being hit > by a car while riding his bicycle and was laid to rest on what would have been his 11 th > birthday. Heather admitted she had a difficult time accepting the loss. Even though she > kept reading all the selections in Bahá’í scripture about the continuance of the life of the > soul once it leaves the body, and that death is “a messenger of joy,”36 she remained > inconsolable—until she finished writing The Light World, a book to help children > understand the cycle of life. It takes the reader through death from the womb world to > birth into this physical realm and then to death from the physical body to birth into the > spiritual world. Heather insists that she was merely the conduit through which Eric wrote > the book. > > Heather, along with her husband Adrian and two of their daughters, went on their > pilgrimage to the shrines at the Bahá’í World Center in Haifa, Israel in February 1987. She > said: > > “Ruhiyyih Khanum and companion Violette Nakhjavani had just returned from > New Delhi, having been present at the dedication of the glorious new lotus > temple. She congregated our English language group of pilgrims in the home of > ‘Abdu’l-Bahá and spoke to us all. She then held up a new publication, Unto Him > Shall We Return (a compilation of Writings about life after death) and said ‘This is > wonderful BUT—WE MUST REMOVE THE FEAR OF DEATH FROM THE MINDS OF > OUR CHILDREN.’ That comment seared into my brain. I went home and realized I > MUST write a book for children about life after death, and Eric took over! > > “Yes, I felt compelled to write the little book, I felt that Eric had a message > to deliver, and only he could do it. We went to our summer cottage at Metis-sur- > Mer on the Lower St Lawrence, and it was there that I wrote every morning at > > CHAPTER NINE > > dawn, with a prayer, pen and paper, the blind raised to waken me, where Eric took > possession of my thoughts a feeling of ‘Let’s go, Ma!’ The quotes from the Writings > at the head of each chapter were the Source of my healing, the message that Eric > wanted to convey to kids needing answers (and their parents as well).” > > Heather’s daily meditations on those passages that head the chapters opened her up to > receiving that guidance from the next world, and their truths finally penetrated. As she > transcribed Eric’s words, she began to feel the solace which till that time had eluded her. > Up until then she’d merely read the words but not taken the time to meditate on them > and pray for them to light her way. > > In our recent correspondence as I looked to her to ensure the accuracy of my own > memories of her words, I mentioned my recollection of her telling us that she’d worried > about what she would do if the publisher should ask for anything to be edited. She said > she couldn’t change a word of the book since she truly believed that Eric wrote it in its > entirety, and she was merely the instrument through which his words flowed from “the > Light World” onto paper to be read by children—and adults—in this physical world. She > wrote back: > > “Yes, when I finally put my pen down, the ‘transmission’ was over, literally, not a > word more forthcoming.” > > There was no need for her to worry. Not one word needed to be changed. > > The experience not only brought Heather an acceptance of his passing and the > peace which comes from that acceptance, but it’s been an invaluable tool for children > who've lost a friend, sibling, or parent, and helps ease the worries of youngsters facing > their own early demise due to some incurable illness. Heather shared these thoughts: > > “Inspiration and meditation must be closely intertwined, one giving rise to the > other. I feel I need to also share two other experiences stemming from Eric on this > pilgrimage. Six years had intervened, and I thought I had healed. Well, the day > arrived when Adrian, the girls, and I entered the Shrine of the Báb on stockinged > feet and knelt on the carpet to pray. I was suddenly engulfed in inexpressible GRIEF, > the tears rolled silently unchecked down my cheeks as wave after wave seemed to > empty me out. Kleenexes were hastily passed! I wobbled out and into the shrine > of ‘Abdu’l-Bahá only to be enveloped in a cocoon of LOVE such as I have never felt > before or since, filling me with new life and healing. Imagine how ‘primed’ I felt > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > when Ruhiyyih Khanum spoke! I was part of an invisible process completely out of > my control. > > “Yes, writing the book was an essential part of my healing. It was the > culmination of all the foregoing. It gave me the strength, the mission, to share the > wonderful Teachings of Bahá’u’lláh on life after death. It gave Eric his voice from > the invisible Abhá Kingdom. I have never recovered and never want to!!!” > > The wisdoms that come from the type of meditation where you empty your mind of all > thought can also bring new spiritual awareness. Here is one example: > > Doug Jernberg gifted me a copy of the first couple of years of his journaling > compiled from thoughts immediately jotted down following his daily meditation > sessions. Replete with inspiring philosophic and poetic gems, the first entry, dated > October 22, 1993–Sonoma County [California], is indicative of the spiritual wealth he > gains through his meditations: > > Life is a > manifestation of > His rapture... > > on the verge or edge... > > Man is on the verge of > spirit level of creation... > just as bird is on the verge of > > the wispering [sic] winds of space... > > just as an amphibian > > is on the verge of breath... > > Man is on the verge > > of limitless awareness, > > beyond the limits of > > CHAPTER NINE > > ego, intellect, eyes, body > > and its breath... > > the ego tries in vain to secure, > > like the seaweed, > > person and place > > in the ocean of time... > > He teaches to > > 'Let (it) go... > > and to be secure in > > ever changingness' > > thus, i live a life > > of unattaching. > > untowards > > Highest Being > > Aware . . . > > Try one, or both, of these methods of meditation, or any other that you decide to practice, > like one where you just focus on your breath. No matter what form you use, bear no > conscious expectation, and see what pearls of wisdom you glean from your subconscious > connection with the world of the spirit. > > Consider this guidance from the Universal House of Justice, especially if you > decide to limit yourself to but one form of meditation: > > “There are, of course, other things that one can do to increase one's spirituality. > For example, Bahá'u'lláh has specified no procedures to be followed in meditation, > and individual believers are free to do as they wish in this area, provided that they > remain in harmony with the Teachings, but such activities are purely personal and > should under no circumstances be confused with those actions which Bahá'u'lláh > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Himself considered to be of fundamental importance for our spiritual growth. > Some believers may find that it is beneficial to them to follow a particular method > of meditation, and they may certainly do so, but such methods should not be > taught at Bahá'í Summer Schools or be carried out during a session of the School > because, while they may appeal to some people, they may repel others. They have > nothing to do with the Faith and should be kept quite separate so that inquirers > will not be confused.”37 > > In numerous passages Bahá’u’lláh instructs His followers to meditate upon His Writings, > a particular situation, or anything from which they seek to further their knowledge and > understanding. Let’s consider the dictionary definition of the word. It is simply: “to > engage in thought or contemplation; reflect.” > > There is no magic formula needed. Just focus your attention, push random > thoughts out and concentrate on that from which you wish to gain more insight. This is > especially important for study of the Creative Word, as indicated by this guidance from > ‘Abdu’l-Bahá: > > “It is incumbent upon you to ponder in your hearts and meditate upon His words, > and humbly to call upon Him, and to put away self…”38 > > To tap into and then to stimulate your creative self, do meditate on some of the vast > references in the Writings to The Arts. You’ll find your sense of joy and wonder and self- > esteem begin to and then continue to blossom. Keep at it; they’ll soon flourish. > >  > > CHAPTER NINE > > Coax Out and Caper with Your Creative Child > When will you meditate? > > What form of meditation will you try? More than one? > > How much time will you allot. > > Where will you do this? > > Choose one type and try it. Then another, and possibly another. > > Which one(s) worked best for you? > > Make a goal to do this on a regular basis. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > C HAPTER N INE > > Strive for Excellence > “...in every art and skill, God loveth the highest perfection.” ~ Bahá’u’lláh > > “...whosoever engageth in a craft, should endeavor to acquire in it utmost proficiency. > Should he do so, that craft becometh a form of worship.” ~ Bahá’u’lláh > > T he station of worship bestowed on the act of making art is not a given—it’s not > automatic—rather it’s conditioned upon your attitude toward it and your efforts to > accomplish it to the best of your ability. We’ve been told: > > “. . . in this religion no other command is as rigorously enjoined as the duty of > refinement, and it is forbidden that one bring any object into being in a state of > imperfection when one hath the power to manifest it in full perfection.”1 > > 'Abdu'l-Bahá also exhorts you to persevere in your efforts to perfect your work: > > “ . . . one must endeavor to attain the degree of perfection and not be like those > who leave matters unfinished.”2 > > Similarly, the Universal House of Justice pens their hopes for the actions of the believers: > > “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.”3 > > Abdu'l-Bahá wrote to an individual: > > “I rejoice to hear that thou takest pains with thine art, for in this wonderful new > age, art is worship.”4 > > Further He proclaimed: > > CHAPTER NINE > > “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.”5 > > Not only is it like a prayer, but also, He said: > > “The more thou strivest to perfect it, the closer wilt thou come to God.”6 > > What happens if you don't strive for improvement—if you don’t endeavor to perfect your > work? It becomes mundane, merely average, and lessens the possibility that it will draw > people and have a positive effect on them. If what you produce is merely meh, you will > be unable to soar in the atmosphere of spiritual enlightenment, and lasting joy will elude > you. > > British novelist George Eliot equates excellence with spirituality: > > “Excellence encourages on about life generally; it shows the spiritual wealth of the > world.“7 > > In a 1912 presentation to the Bethel Literary Society in Washington, D.C., 'Abdu'l-Bahá > exhorted them to: > > “...put forward your most earnest efforts toward the acquisition of science and > arts.”8 > > because, He explained: > > “The greater your attainment, the higher your standard in the divine purpose.”9 > > Part of the divine purpose is for you to strive for spiritual perfection, and God has gifted > you with talents and faculties to aid your efforts. Would you want to offer the Lord a gift > that consisted of anything less than your best effort? > > It is vital to note the difference between striving for excellence and seeking > perfection. Only God is perfect. Thus, Salvador Dali declares: > > “Have no fear of perfection—you’ll never reach it.”10 > > Aristotle proposes: > > “Excellence is an art won by training and habituation. We do not act rightly > because we have virtue or excellence, but rather we have those because we have > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > acted rightly. We are what we repeatedly do. Excellence, then, is not an act but a > habit.”11 > > Simply follow the advice of Robert Browning: > > “Aspire, break bounds. Endeavor to be good, and better still, best.”12 > > Pablo Picasso posits: > > “There are painters who transform the sun into a yellow spot, but there are others > who, thanks to their art and intelligence, transform a yellow spot into the sun.”13 > > Which type of artist do you prefer to be? > > To encourage your quest for excellence, think of Art in the terms suggested by > author George Sand: > > “Art for art's sake is an empty phrase. Art for the sake of the true art, for the sake > of the good and beautiful, that is the faith I'm searching for.”14 > > Isn't this what you want for yourself—to perfect your art—to do it for the sake of the good > and beautiful—and to know that in doing so, it will draw you closer to God and be the > best gift—the best token of appreciation—you can offer Him? > >  > > CHAPTER NINE > > Coax Out and Caper with Your Creative Child > Ponder these questions and write your thoughts on them: > > What is the difference between perfection and excellence? > > You can achieve excellence by striving for perfection. > > But can you in fact reach perfection? > > Or is that the solely in the realm of the Divine Creator? > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Strive for Excellence > The Art of an Eloquent Tongue > > “Intone, O My servant, the verses of God that have been received by thee, as intoned by > them who have drawn nigh unto Him, that the sweetness of thy melody may kindle thine > own soul, and attract the hearts of all men.” ~ Bahá’u’lláh > > “Talking and eloquence are not the same: to speak, and to speak well, are two things. A > fool may talk, but a wise man speaks.” ~ Ben Jonson > > W hy do you speak? > > To communicate. > > What do you seek to communicate? > > Your needs. Your inmost thoughts. Your opinions. > > For your personal needs and in casual conversation, eloquence is an extra, not a necessity. > Plain language might even be preferable: straight and to the point. There are times, > though, when if you share your thoughts in simple language, they may be heard but > quickly forgotten. When words are strung together like exquisite pearls on fine silver > thread, they penetrate, they linger, they remain with the listener. Even if the exact > verbiage is lost, the sentiment lingers. The essence of the message remains and keeps > reminding, till the listener wishes to return to and consider them again and again. > > Some experts in the field separate the concepts of eloquence and rhetoric, yet > others describe them as the same. > > Eloquence is the art of executing language in the most beautiful manner > possible, as music to the ears, as music to the soul. > > Rhetoric uses language as a tool to drive home a point, to persuade, to > convince. > > When one marries the two, eloquent rhetoric will be the most effective > means of accomplishing any goal you set out to achieve. > > CHAPTER NINE > > Geoffrey James, contributing editor at inc.com, wrote of “four kinds of speakers in the > business world,” but they are accurate for speakers in any endeavor, be it business, > religion, politics, personal relations, etc. He describes them as: > > 1. The incoherent, who meander, use tons of jargon, and talk of things interesting > mostly to themselves. > 2. The coherent, who can verbally communicate facts and opinions but seldom say > anything memorable. > 3. The articulate, who speak succinctly and clearly but whose words are seldom > persuasive. > 4. The eloquent, who use language and body language to win the hearts and minds > of their listeners.15 > > He goes on to explain that: > > “Eloquent people sound smart, regardless of how intelligent they are. The > opposite is true as well. Smart people who are incoherent…often come off as if > they're of limited intelligence.”16 > > To develop eloquence is to treat language as you would any Art. > > Words can be used for good or for ill. They can be weapons or balms. Once spoken, > they cannot be retrieved. They cannot be erased. Even with apology, their harm lingers. > The pain may be eased but is never lost completely. Words can pierce your emotional > being like a dagger with which you were stabbed. Wounds can heal, but you might be > left with a scar that may fade but will never disappear. > > Instead of turning your words into armaments for destruction, do with your > speech what the Book of Isaiah, , 2:3-4, says will be done with weapons. Turn your: > > “. . . swords into plowshares and their spears into pruninghooks” > > Indeed, Bahá’u’lláh Himself writes, in reference to teaching His religion: > > “Know thou that We have annulled the rule of the sword, as an aid to Our Cause, > and substituted for it the power born of the utterance of men.”17 > > He then calls upon you to: > > “. . . quench, through the power of wisdom and the force of thy utterance, the fire of enmity > and hatred which smouldereth in the hearts of the peoples of the world.”18 > > Bahá’u’lláh even explains how to do this: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “It followeth, therefore, that rendering assistance unto God, in this day, doth not and shall > never consist in contending or disputing with any soul; nay rather, what is preferable in the > sight of God is that the cities of men's hearts, which are ruled by the hosts of self and > passion, should be subdued by the sword of utterance, of wisdom and of understanding. > Thus, whoso seeketh to assist God must, before all else, conquer, with the sword of inner > meaning and explanation, the city of his own heart and guard it from the remembrance of > all save God, and only then set out to subdue the cities of the hearts of others.”19 > > He explained: > > “Every word is endowed with a spirit, therefore the speaker or expounder should > carefully deliver his words at the appropriate time and place, for the impression > which each word maketh is clearly evident and perceptible. The Great Being saith: > One word may be likened unto fire, another unto light, and the influence which > both exert is manifest in the world. Therefore an enlightened man of wisdom > should primarily speak with words as mild as milk, that the children of men may > be nurtured and edified thereby and may attain the ultimate goal of human > existence which is the station of true understanding and nobility.”20 > > ‘Abdu’l-Bahá similarly wrote: > > “Man's speech is the revealer of his heart. In whatever world the heart travels, > man's conversation will revolve around that centre. From his words you can > understand in what world he is travelling, whether he is looking upward toward > the realm of light or downward to the nether world, whether he is mindful or > unaware, whether he is awake or asleep, whether he is alive or dead. > > “There are persons with whom you associate and converse whose > utterances are life-imparting, joy-giving. The withered and faded are refreshed, the > joyless become happy, the extinct become enkindled and the lifeless are quickened > with the breaths of the Holy Spirit. The one drowned in the sea of hesitation and > doubt is saved by the life-boat of certainty and assurance; the one attached to this > material world becomes severed and the one steeped in blameworthy deeds is > adorned with praiseworthy attributes. On the other hand, there are some persons > whose very respiration extinguishes the light of faith; whose conversation weakens > firmness and steadfastness in the Cause of God; whose company diverts one's > attention from the kingdom of Abhá.”21 > > So, whether you will converse one-on-one, within a small group, or address a large > gathering, keep in mind the purpose of life—your own and that of the life of your friends, > family, acquaintances, and society as a whole. There are many avenues of approach to > > CHAPTER NINE > > improving your speech. First and foremost is for all you say to come from pure intentions > and with honest, unselfish motives. To this end, heed this admonition of Bahá’u’lláh: > > “Strain every nerve to acquire both inner and outer perfections, for the fruit of the > human tree hath ever been and will ever be perfections both within and without. > It is not desirable that a man be left without knowledge or skills, for he is then but > a barren tree. Then, so much as capacity and capability allow, ye needs must deck > the tree of being with fruits such as knowledge, wisdom, spiritual perception, and > eloquent speech.”22 > > If you are active in your Faith and perhaps read aloud during a Bahá’í devotional > gathering, at the altar during services in your synagogue or church or other house of > worship, consider that when you are reciting Scripture you are sharing the Word of God. > Does not this, above all else, deserve accurate pronunciation and the most eloquent > delivery? Lazy speech can result in a mispronunciation that infers a different meaning to > what you’ve just read. It is not only confusing but can also make you appear ignorant. > Let’s repeat here one of the previous quotes: > > “Eloquent people sound smart, regardless of how intelligent they are. The > opposite is true as well. Smart people who are incoherent...often come off as if > they're of limited intelligence.”23 > > Even without any conscious intent, people form an opinion of you by your speech. > > Honing your skills in any discipline can raise them to the level of Art. You can develop > > the Art of an eloquent tongue. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > • Select an excerpt from your sacred scriptures, a poem, or any other piece of > > writing that holds special meaning to you. > > • Read it silently. Then read it aloud. > > • Consider each sentence. What do you infer from this piece? > > • Are there any words you don’t quite understand, or could not define if asked? > > Look them up in the dictionary and then the thesaurus so you can better grasp > > it’s meaning. > > • Are there any words for which you’re unsure of the pronunciation? Online > > dictionaries will pronounce them for you. Listen and repeat several times. > > • Read it the selection aloud again, recording it this time. > > • Listen to the recording. Are you comfortable with it? Did you stumble over any > > words? Do you feel you expressed the intent of the piece as you read it? > > • Practice it over and over. Read and record again and again, listening until you > > are satisfied with the eloquence of the delivery. > > You now have a blueprint to follow for any readings you may give in the future. > > CHAPTER TEN > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > C HAPTER T EN > > Reach Out: Connect Minds, Hearts, and Souls > “Art can better awaken such noble sentiments than cold rationalizing especially among the > mass of the people.” ~ Shoghi Effendi > > T he chapter, Art Heals, explains how various arts genres assist in healing physical, > emotional, and spiritual wounds. Let's further examine these same genres to > understand their role in reaching receptive souls and connecting them to the world- > embracing message of Bahá'u'lláh: the oneness of God, the oneness of his Messengers and > the oneness of humanity. You’ll be encouraged, and it is hoped, inspired by the power of > The Arts to bring together those with various cultural worldviews and differing mindsets. > So effective is the use of The Arts that the Universal House of Justice suggested: > > “All suitable and available creative resources—writers, artists, composers, > musicians, poets, public information experts—should be called to the aid of the > community, so as to imbue its plans with the most effective and attractive variety > of expression…“1 > > In another instance, the Universal House of Justice wrote that to achieve your aims, > > “…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.”2 > > The Universal House of Justice commended the Bahá'ís in Europe for excelling in the use > of The Arts in their proclamation, teaching, and consolidation efforts, and assured them: > > “…this is a key to opening many doors and should be encouraged and developed.”3 > > CHAPTER TEN > > Subsequent subchapters will delve further into a few artistic genres and suggest ways > they can be utilized to reach out and connect minds and souls, but first let’s look at how > those in the wider society with widely divergent beliefs can come together through > shared artistic experiences. Artist Olafur Eliasson acknowledges: > > “One of the great challenges today is that we often feel untouched by the problems > of others and by global issues like climate change, even when we could easily do > something to help. We do not feel strongly enough that we are part of a global > community, part of a larger we. Giving people access to data most often leaves them > feeling overwhelmed and disconnected, not empowered and poised for action. This > is where art can make a difference. Art does not show people what to do, yet > engaging with a good work of art can connect you to your senses, body, and mind. > It can make the world felt. And this felt feeling may spur thinking, engagement, and > even action.”4 > > He asserts that the artist has the responsibility to: > > “ . . . help people not only get to know and understand something with their minds > but also to feel it emotionally and physically.”5 > > This in turn, says Eliasson: > > “ . . . can mitigate the numbing effect created by the glut of information we are faced with > today, and motivate people to turn thinking into doing.”6 > > He also addresses the unique power of The Arts to connect those with diametrically > opposed sets of belief: > > “Engaging with art is not simply a solitary event. The arts and culture represent one > of the few areas in our society where people can come together to share an > experience even if they see the world in radically different ways. The important > thing is not that we agree about the experience that we share, but that we consider > it worthwhile sharing an experience at all.”7 > > Thus, whether you are an environmentalist, science enthusiast, social activist, or a > religious devotee wanting to connect the spirit of your faith with those of different > religions, or no religion, those with different mindsets and world views, your most > effective avenue to reach out and connect minds and souls is through The Arts. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > Whose hearts do I wish to reach? > > What means shall I use? > > Start small. Make one or two goals. > > Once reached, you can add to them. > > CHAPTER TEN > > Reach Out: Connect Minds, Hearts, and Souls > Music: Wings for the Spirit > > “Music doesn’t get in. Music is already in. Music simply uncovers what is there, makes > you feel emotions that you didn’t necessarily know you had inside you, and runs around > waking them all up. A rebirth of sorts.” ~ Matt Haig > > W hy does music wield such powerful effects? Ethnomusicologist and jazz musician > Marvin “Doc” Holladay asserts: > > “. . . music has an instantaneous impact on the listener. Music does not require > contemplation and evaluation to elicit a reaction. . . .There is an immediate power > of transformation in music . . .”8 > > 'Abdu'l-Bahá explains that: > > “…sound is but the vibrations of the air which affect the tympanum of the ear, and > vibrations of the air are but an accident among the accidents which depend upon > the air, consider how much marvelous notes or a charming song influence the > spirits! A wonderful song giveth wings to the spirit and filleth the heart with > exaltation.”9 > > What is the cause of these vibrations? It is the belief of master composer Ludwig von > Beethoven that: > > “The vibrations on the air are the breath of God speaking to man’s soul. Music is > the language of God. We musicians are as close to God as man can be. We hear his > voice, we read his lips, we give birth to the children of God, who sing his praise.”10 > > The great effect of chanting is in large part due to the vibrations it creates. An excellent > mode of prayer, it facilitates the connection of the soul to the Creator. When chants take > place in groups, it bonds the souls of the participants. According to Robert Gass: > > “In chanting with groups . . . disparate voices begin to touch each other, their > multitude of tones searching for a common vibration. We breathe together and the > silence in between the musical phrases grows quiet and crystalline. Securely held > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > in the repeating forms of the chant, we become free to let the Spirit of the chant > take us where it may.”11 > > Jennifer Warner’s report on website WebMD Health News offers a brief synopsis of > research undertaken to find the biological connection to music and mood: > > “In a set of experiments, researchers used brain scans to measure the release of > dopamine while participants listened to pleasurable and neutral music. > > “The results showed that the dopamine release was greater when the > participants listened to pleasurable music, such as music that gave them "chills" or > prompted a change in heart rate or breathing, compared to when they listened to > neutral music. > > “In addition, researchers found that even the anticipation of listening to > intensely pleasurable music was enough to trigger the release of dopamine. > > "These results further speak to why music can be effectively used in rituals, > marketing, or film to manipulate hedonic states," write the researchers.”12 > > Beethoven also declares that: > > “Music is the mediator between the life of the senses and the life of the spirit.”13 > > Shoghi Effendi also addresses this power of music and encourages its use: > > “. . . music . . . 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.”14 > > Tenth century Jewish musician Sa-adyah Gaon illustrated the manner in which music can > be used to psychological effect: > > “The musician . . . at gatherings, and banquets, and parties, should begin with the > rhythm modes which strengthen the generous, moral qualities and nobleness, and > liberality . . . Then he should follow them with agreeable, joyful modes . . . And at > gatherings, if he fears disturbance, excitement, and quarreling, he should play the > soothing heavy, tranquilizing, and sad modes.”15 > > 'Abdu'l-Bahá noted that in ancient Greece and Persia, music preceded any speech or > lecture, and the speaker wouldn’t begin until the music had succeeded in setting the > mood of the occasion. He gave one example: > > CHAPTER TEN > > “Among the most renowned musicians of Persia was one named Barbod, who, > whenever a great question had been pleaded for at the court of the King, they > would at once refer the matter to Barbod, whereupon he would go with his > instrument to the court and play the most appropriate and touching music, the end > being at once attained, because the King was immediately affected by the touching > musical melodies, certain feelings of generosity would swell up in his heart, and he > would give way.”16 > > Then He went on to suggest: > > “If you have a great desire and wish to attain your end, try to do so on a large > audience after a great solo has been rendered.”17 > > As this chapter addresses using The Arts to reach out and connect minds and > souls, let’s see how that works. Mark Johnson, co-director of the documentary > Playing for Change: Peace through Music understands that: > > “...music . . . opens the door to bringing people to a place where they are all > connected. It is easy to connect to the world through music . . .”18 > > Distinguished music professor Chan Ho Yun, in addition to teaching at several > prestigious institutions, also seeks to develop the talents of underprivileged children. He > started the Rainbow Music Academy in the Crenshaw district of Los Angeles with a > nominal suggested fee of $10, but if the student’s family can’t even afford that, they are > still welcome. The grandmother of one child says: > > “These children have a right to know something else besides police helicopters > flying overhead and gunshots and violence, and when you learn music, you have > something for life, something no one else can take away.”19 > > Music also breaks down racial barriers. The students at the academy are of many different > backgrounds but their shared love of music has brought them together in a way that > didn’t seem possible outside their musical haven. Chan Ho Yun uses music education to > break down racial and cultural barriers so his students can reach out to each other and > connect their minds and souls, perhaps with deep and lasting friendships. > > In the underground subway, the train station, or just on a street corner when > talented musicians begin to play, it is not unusual to see passersby who might not > ordinarily make eye contact or nod a hello, suddenly gather around and, as they enjoy > the sounds, look at each other to smile in acknowledgement of a shared gift. This > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > phenomenon is amplified and available not only to those present but for people > anywhere in the world to experience vicariously when it moves from the individual > musician or small group to the members of an orchestra in what is referred to as a Flash > Mob and is then caught on video and made available via the Internet. There is double joy > for the viewer in not only watching the musicians and hearing the music, but in being > able to view the surprise and the growing joy and appreciation on the faces of those > caught up in a moment of awe. > > The power of music to reach out and connect with military personnel helps to unite > and to soothe those who may be living under strained circumstances. > > Author Lynn Rosellini, writes of Operation Happy Note, an effort begun by Steve > and Barbara Baker of Minnesota who reach out and connect minds and souls by gifting > musical instruments to troops stationed overseas. According to grateful Staff Sgt. Louis > Karsnia who received a shipment in Iraq: > > “’Before, you'd see guys with their iPods on, listening to music, staying away from > everybody else. “But when the guitars came, people got together. We'd have four > or five guys playing guitar, and 25 or 30 others laughing and singing.’ > > “In the past three years, Operation Happy Note has sent nearly 630 free > instruments to American troops around the world. Scores of e-mailed thank-yous > from soldiers make it all worthwhile. This Christmas, the Bakers plan to ship Santa > hats, decorations, holiday CDs and sheet music along with the instruments.”20 > > Sgt. Timothy Hall of the 3rd Infantry Division likely speaks for many troops when he > explains what the gift of the instruments means to him: > > “The music takes me away to another world—one that is peaceful and serene, > where there is no hate, death or dirt.“21 > > Rosellini adds: > > “That sort of military transport is a miracle.”22 > > The best example I can think of for the power of music to reach out and connect disparate > and antagonistic minds and souls of people is the spontaneous truce during World War > I when on Christmas of 1914, German soldiers rose from their trenches, called out Merry > Christmas in French and English, and began to sing Christmas carols. At first the Allied > forces were wary of a trap, but soon they also emerged from their own trenches. They > shook hands, exchanged cigarettes and snacks, and sang together. That led to a prisoner > > CHAPTER TEN > > exchange and the opportunity to gather the dead. I can’t imagine any of them being > willing to resume shooting at each other after such a display of human kindness. > > *** > > ‘Abdu’l-Bahá tells us, > > “A wondrous melody is wings for the spirit, and maketh the soul to tremble for > joy.”23 > > It makes me smile to recall when the walls of the Desert Rose Bahá’í Institute (DRBI) in > Eloy, Arizona trembled while the joy on the faces of the fifteen youth who attended the > Summer Music Academy was truly evident. > > The 2012 summer session was the second one held at DRBI. The first took place > over a weekend the previous March. Due to its success and the earnest eagerness of those > who attended, the leaders opted to expand the next one to an entire week, with step dance > added to the curriculum. The presenters reached out and made important connections > with those young people. > > The youth, aged 11–15, participated in a program that included a five-step writing > process for composing music, from songwriting through production to publishing. The > students enjoyed and appreciated the opportunity to immediately take the knowledge > they’d gained and apply it in the studio, with instructors standing ready to assist. > > The Baha’i teachings advise that we are to > > “...acquire those branches of knowledge that are of use, that both the learned > themselves and the generality of mankind may derive benefits therefrom...”24 > > Therefore, according to Sarah Danielle, one of several instructors who came from Tucson, > Arizona and Los Angeles, California, the one requirement for the students was to learn > to “express themselves powerfully through socially responsible music.” > > That they took this lesson to heart is evident in the themes chosen for their songs, > e.g., the lyrics to “The Cure” suggest that unity is the cure for the ailments plaguing > society, and “Stepping Out” suggests we step out of our comfort zones for the sake of > assisting others. > > A special workshop, Planet of Percussion by award-winning percussionist Will > Clipman, introduced the participants to various instruments from countries around the > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > world. The students were very excited and appreciative to work with him. Kitchen > Manager, Brenda Hadden, remarked: > > “The students were wonderfully behaved and truly excited about what they were > doing and the friendships they were creating. Every day through the food lines they > were chatting and singing and dancing while filling their plates. The energy was > phenomenal, and they were learning valuable life lessons.” > > She also went to their ending performance and noted, > > “The kids did a fantastic job at performing—singing, dancing, speaking in front of > all of us. They sang the songs they wrote and danced in unison. It was very > entertaining. They were a great group of youth!” > > I enjoyed assisting in the preparation and serving of a few of the meals and was moved > not just by their talent and exuberant enthusiasm, but the spontaneous volunteering by > several student. They broke off from their friends for a few minutes to help with clean- > up. > > Those who attended the March session received the CD of their five finished > pieces. They titled it Y.O.U.T.H. (Young Opportunists United to Touch Hearts). The eight > track CD for the students in the summer session, is Spiritual S.W.A.G. (Spiritual Warriors > Aiding God). > > Emilio Espinoza, 17, of Tucson, Arizona, expressed gratitude for the opportunity > to participate, “My father passed his love for music to us. For me to come here and have > this amazing experience with adults and youth who share this passion was enriching.” > 14-year-old Munirih Peace from Pinetop, Arizona said “The most important part of this > week was that I learned where my talents lie.” > > It is gratifying to know that the students were being guided to music that will > reach out to people and connect their minds and souls, because music’s effect on the spirit > varies with the type of music and the mind-set of the listener. It is vital to be aware that > not only does it have the power to link you to your higher nature but can also have the > opposite effect depending on the choice of music. Therefore, Bahá'u'lláh counsels: > > “We have permitted you to listen to music and singing. Beware lest such listening > cause you to transgress the bounds of decency and dignity. Rejoice in the joy of My > Most Great Name through which the hearts are enchanted and the minds of the > well-favoured are attracted. "We have made music a ladder by which souls may > > CHAPTER TEN > > ascend to the realm on high. Change it not into wings for self and passion. I seek > refuge in God that you be not of the ignorant.”25 > > And ‘Abdu’l-Bahá warns: > > “…a musical and melodious voice imparteth life to an attracted heart, but lureth > toward lust those souls who are engulfed in passion and desire.’26 > > If you’d like to get to know other people on a deeper level—to reach out and connect > through mind and spirit—share music together. If you’re a musician, make a date to play > together with other music makers. If there’s more than one other person, organize a jam > session. > > If you don’t play an instrument, invite them to a sing-along, whether it be serious, > like a singing devotional or perhaps to form a choral group, or just an informal gathering > for the simple yet profound joy of singing. Make music an essential part of your > devotionals, study circles, children’s and youth classes and you’ll find everyone’s spirit > will be elevated and the hearts of all present feeling more connected to one another. It > will help you to create radiant, unified communities.” > > Music is a proven method to spread the healing message of the Divine Physician > as evidenced in this letter written by Ruhiyyih Khanum after being gifted a tape of music > by musician Robert Bassett. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > With all this in mind, it is not surprising, then, that 'Abdu'l-Bahá refers to music as: > “...one of the important arts.”27 >  > > CHAPTER TEN > > Coax Out and Caper with Your Creative Child > > What is your favorite music genre? How can you use it in reaching out > and connecting to others? > > What music moves the hearts of those with whom you wish to make > closer connections? How can you learn to utilize it even if it would not be > your choice? > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Reach Out: Connect Minds, Hearts, and Souls > Drama: Pulpit of the Future > > “It [theater] is an institution of cultural and moral education; besides being entertainment > it should develop people’s tastes and raise the level of their culture. [It] must be beautiful > entertainment, and it must embody serious ideas.” ~ Stanislavski > > J ust one film or novel or play or public Art exhibition can affect a person for the rest of > their life and, perhaps, set them on a new path they hadn’t previously considered. Art > can open the mind and the heart. Poet Roger White explained: > > “Art conveys information about ourselves and our universe which can be found > nowhere else. Our artists are our benefactors.”28 > > Theater, one of the most influential artistic forms, addresses issues and brings > information to us in a non-threatening manner. While watching, we can experience it as > if it is, in fact, taking place right in front of our eyes. Done well, it draws us in so we feel > we are actually part it. > > Art has the unique and remarkable ability to share its messages without making > you feel schooled, taught, or lectured. You learn a tremendous amount from song lyrics, > visual art, film and theater. Novelist Joaqim Maria Machado de Assis explains: > > “No the theater isn't an industry…let's not reduce ideas to the level of merchandise. > The theater isn't a bazaar . . . Isn't the theater a school for morals? Isn't it a pulpit? > Victor Hugo says in the preface to Lucrezia Borgia, ‘The theater is a tribune, the > theater is a pulpit.'"29 > > Others agree: > > “Theater is a pulpit which is the most powerful means of influence.”30 – Stanislavski > > “The stage will be the pulpit of the future.”31 – ‘Abdu’l-Bahá > > The great drama teacher Stanislavski recognized and abhorred the negative influences > that can infiltrate and corrupt an actor's soul. To prevent that outcome, he developed a > > CHAPTER TEN > > training system meant to raise the actor and his Art to the highest, most positive level, > because he was well aware that: > > “Some actors and actresses love stage and art like fish love water. They revive in the > atmosphere of art. Others love not art itself but an actor's career, success; they > revive in the backstage atmosphere. The first are beautiful, the others are > abominable. ... The habit of always being in public, of exhibiting oneself and > showing off, of receiving applause, good reviews, and so on, is a great temptation; > it accustoms an actor to being worshiped; it spoils him. His little ambitious person > begins to need constant tickling. ... To be content with such interests, one must be > mediocre and vulgar. A serious artist cannot be satisfied for long with such > existence, but superficial people are enslaved by the temptations of the stage and > become corrupted. This is why, in our work, more than in any other, one must > constantly keep oneself in hand. An actor needs a soldier's discipline.”32 > > Thus, Stanislavski cautioned: > > “With the same power with which theater can ennoble the spectators, it may > corrupt them, degrade them, spoil their taste, lower their passions, offend > beauty...”33 > > He asserted: > > “My task is to elevate the family of artists from the ignorant, the half-educated, and > the profiteers, and to convey to the younger generation that an actor is the priest > of beauty and truth.”34 > > The Baha'i teachings include similar admonitions to artists of all mediums. They are told: > > “Of all the arts and sciences, set the children to studying those which will result in > advantage to man, will ensure his progress and elevate his rank.“35 > > From a Baha'i perspective, art exists to elevate the human soul. > > “Shoghi Effendi was very much interested to learn of the success of the 'Pageant of > Nations'.... > > “It is through such presentations that we can arouse the interest of the > greatest number of people in the spirit of the Cause. That day will the Cause spread > like wildfire when its spirit and teachings are [will be] presented on the stage or in > art and literature as a whole. Art can better awaken such noble sentiments than > cold rationalizing especially among the mass of the people. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “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...”36 > > More than a few years have passed, and you can witness a glimmer of that promise > coming true. > > After an actor commented on the influence theater has on the audience, ‘Abdu'l- > Bahá agreed: > > “The drama is of the utmost importance. 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 ‘Alí’s Betrayal and Passion, and how it affected him so deeply that > he wept and could not sleep for many nights.”37 > > Following the performance of a monologue on Tahirih at the 1984 Wildfire Conference of > the Arts in Greencastle, Indiana, a man approached to thank me. He said something to > the effect that “She came to life for me. She was no longer someone on a page in a book. > She was real, and I could care about her.” He added, “We need more works like this. We > need to see our history come to life on the stage.” > > As years went by and performances on Baha’i increased, people commented that > they now had a fuller understanding of, and finally felt a truer connection with, their > religious forebears. The dramatization of those historical events made them real, no > longer just a story that had little bearing on life today. A personal link was created. > > When you watch a play, you step out of the present to fully experience what > happens onstage. For some it seems as if they themselves become an integral part of the > story. The great poet Coleridge explained this phenomenon as: > > “. . . that willing suspension of disbelief for the moment, which constitutes poetic > faith...”38 > > Were you one of the many people who couldn't bring themselves to step into the shower > after seeing the movie Psycho? Did the film Jaws keep you from swimming in the ocean? > > You knew these were just stories—yet they penetrated your psyche so deeply you > couldn’t shake the fact that they weren’t real. > > The immediacy of theater, along with our willing suspension of disbelief, can > inspire us to plumb the recesses of our minds and souls and give due consideration to > new ideas and opinions. According to P. S. Baber: > > CHAPTER TEN > > “The stage is a magic circle where only the most real things happen, a neutral > territory outside the jurisdiction of Fate where stars may be crossed with impunity. > A truer and more real place does not exist in all the universe.”39 > > The moral imperatives in film and theater range from our personal interactions with those > closest to us, to situations with world-wide impacts. Drama conveys our deepest > emotions, from ecstatic pleasure to terrible pain and, in the process, teach us what it > means to be human. > > As an actor, I’ve been blessed to work in several productions that I believe equally > stirred the emotions and uplifted the spirit. I had the privilege of portraying Etta Bunch, > a larger-than-life Macy’s toy department saleslady with an even bigger heart. Etta plays > matchmaker between Doris and Fred, the two leading characters in Miracle!, a musical > theater adaptation by Frank Maguire of the beloved Valentine Davies' film, Miracle on > 34th Street. > > Director Stacey Seaman believes Etta's advice to Doris, who feels lost and is > searching for answers, is one of the most important parts of the story that she wants the > audience to take home with them. Etta tells Doris, in her convoluted yet profound way, > and thick Yiddish/Brooklynese accent, that: > > “...answers aren't nearly as important as questions. Answers can close doors that > gotta be left open. But you've gotta ask yourself the right questions. Being afraid is > never an answer. Afraid is. . . like a place to hide, and hiding's a waste of time and > energy.”40 > > Only prayer, I’ve learned, will keep those spiritual doors open. The actual imprisoned > Iranian women portrayed in Ann Boyles one-act play, When the Moment Comes, got > through their ordeals with prayer, by beseeching Baha'u'llah’s aid: > > “I don’t know how we survived it. Physical strength, endurance—these weren’t > enough. The pain was too intense. When that is happening to you, you think, ‘I can’t > bear this. This is too much, Baha’u’llah. Why me? I can’t stand it anymore!’ and you > can’t bear the pain by yourself. Somewhere in the middle of all of it you realize that. > And you know that you have a simple choice to make. The guards, they want you to > deny your faith. That is the only reason they are doing this to you. And if you deny > your faith, the pain will stop. But then you realize that your faith is your life and you > are not going to give it up . . . . So you can’t bear the pain anymore, and you’re not > willing to do the thing that will stop the pain. Really, then, there’s only one way you > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > can deal with what’s happening to you. You begin to pray. You turn your thoughts > away from your body, away from the pain, to Baha’u’llah. And, as you pray, > something very strange happens. Somehow, you enter a place where there is no > pain. Oh, your body is there on the bed, enduring it—but your spirit isn’t in that > body. It’s somewhere else. It’s hard to explain. But, back in the cell, we would speak > about it, and all of us had that out-of-body experience as we prayed during > flogging.” > > Those who saw this play, based on true incidents, or any others that depict characters > who overcome their earthly tribulations through firm faith and sincere prayer for > assistance, can call to mind the action(s) and words from the drama and use the memory > as a reminder that everyone is capable of moving through life’s challenges when > supplicating God’s assistance and trusting in His guidance. > > Another example is ReGeneration’s1 production Amazing Grace: Stories of Personal > Transformation from Slavery to the Present Day. Originally compiled and performed by > Mary Kay Makoski and Thelma Khelgati, I’ve changed, with Mary Kay’s blessing, a few > of the stories, added two more actors, and woven the stories, songs, and poems into a > four-voice oral tapestry. To say audience feedback has been positive and encouraging > would be an understatement. > > One gentleman who saw it performed at the Faulkner Library in Santa Barbara, > California on Martin Luther King, Jr. Day, with the music performed by Mama’s Voices, > a small interracial gospel group, tried to convince me to “take the show on the road.” He > told me that he was from Washington, D.C. and over many years he’s attended numerous > programs for the holiday, heard excellent and profound speeches, listened to > inspirational music, but none had the deep impact on his soul that this performance > engendered. > > The Readers Theater script weaves poetry, sacred writings, journal entries, > dramatic characterizations, and songs highlighting true life stories, including that of John > Newton, sailor turned slaver turned abolitionist turned pastor and lyricist of the > universally beloved hymn Amazing Grace. Our performing group, ReGeneration, also > moved audiences with a similar style script, Now They Are Hanging Women, which > addresses the plight of Iranian Bahá’ís imprisoned in the years following the revolution > that deposed the Shah and put in place an ultra-conservative religious system of > > Reader’s Theater troupe based in Eloy, Arizona > > CHAPTER TEN > > government. We are currently at work on two scripts, one to address women’s issues and > another that highlights the lives of women from different races, cultures and countries > who led extraordinary lives worthy of note, and sure to inspire. > > You, too, can write a play, produce it, act in it, do a combination or all three, and > you’ll be guaranteed to reach out and connect with the minds and hearts of your > audiences. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > Now that you’ve practiced improving your voice, > > (The Art of an Eloquent Tongue) > > find a skit, a poem to dramatize, (that’s something you’ve already practiced!) > > or write something yourself. > > If you’re new to memorization, start out reading it aloud a few times. > > You can do this alone or encourage others to participate. > > Present it at an upcoming gathering. > > CHAPTER TEN > > Reach Out: Connect Minds, Hearts, and Souls > Dance: The Hidden Language of the Soul > > “Dance is the hidden language of the soul.” ~ Martha Graham > > D ancer/choreographer Bill T. Jones believes: > > “Dance comes through the eyes, then the mind and into the heart.”41 > > In the previous section of this chapter, we examined the concept of theater as a > pulpit for ideas. But theater isn't limited to dramatic or comedic presentations by actors. > Dance is another form of theater. It also tells stories, whether in the form of classical ballet, > modern dance, hula, folk dance, hip hop, or even belly dancing—which in its truest form > also tells a story—and when a story is compelling, and the dancer(s) totally immersed, it > speaks to the soul of both dancer and viewer. It becomes an effective medium for reaching > out and connecting souls. > > The renowned Isadora Duncan, known as the "Mother of Dance" predicts: > > “Our theatres will become temples. All drama should have its foundation in religion, > for without that it becomes ignoble . . . the dance of the future will have to become > again a high religious art as it was with the Greeks. For art which is not religious is > not art, is mere merchandise. The dance will return as I have envisioned it. Mankind > will not always expect those with vision to put a seed in the ground and bring it to > flowering in a single night.”42 > > The effect dance has on the spirit of both dancer and audience likely offers the most > profound of the spiritual experiences any art can produce since it combines music, theater > and movement. The Hopi say: > > “To watch us dance is to hear our hearts speak.”43 > > Dancer/choreographer Doris Humphrey suggests: > > “The dancer believes that his art has something to say which cannot be expressed > in words or in any other way than by dancing . . . there are times when the simple > dignity of movement can fulfill the function of a volume of words.”44 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “Speech” from the heart resonates almost instantaneously with the hearts of others. > Thereby creating an intimate connection. > > Amanda Corp of Rhode Island USA’s Salve Regina University attests to the > connection to and influence on the soul experienced through dance in this excerpt of the > article, Dance is the Hidden Language of the Soul: > > To watch a passionate dancer dance, > > is like hearing your heart speak for the very first time. > > Dance enables you to find yourself > > and lose yourself at the same time.45 > > The reason dance has such strong power to move us and help open our minds and hearts > is explained in part by Lyall Watson: > > “Dancing is surely the most basic and relevant of all forms of expression. Nothing > else can so effectively give outward form to an inner experience. Poetry and music > exist in time. Painting and architecture are a part of space. But only the dance lives > at once in both space and time. In it the creator and the thing created, the artist > and the expression, are one. Each participates completely in the other. There could > be no better metaphor for an understanding of the cosmos.”46 > > For dance to be able to succeed in reaching and moving the audience towards such > understanding, choreographer Michael Kidd instructs the dancer: > > “Dancing should be completely understandable—every move, every turn should > mean something, should be crystal clear to the audience. And if you make them > laugh or cry, move them emotionally, make them respond to the dancer as a real > person doing something believable within your theatrical framework, well, you’ve > done a job.”47 > > An excellent example is found in the "Racism Dance," performed by the Bahá'í youth > workshops initiated by Los Angeles, California actor Oscar DeGruy in the 1970s. An > article in One Country offers this description of the dance and its impact: > > “Over time, a number of standard dance numbers have evolved. One of the most > powerful is called simply the "Racism Dance." In it, the dancers are divided into two > groups, one group wearing all white and the other wearing all black, symbolizing > the division between races. Most of the members of both groups are also wearing > > CHAPTER TEN > > blindfolds. At the start, two young members from each group, too innocent > apparently to be wearing blindfolds, come together in the middle and start to > become friendly. They are then harshly dragged back to their own groups by the > blindfolded adults, who communicate through gestures their mistrust of and hatred > for the other group. And the youngest ones are given their own blindfolds to wear. > > “In the dramatic climax, however, the young ones shed their blindfolds, > return to center stage, and demonstrate to all that the races can unite. At the end, > their example leads everyone to remove their blindfolds—symbolic, obviously, of > blind prejudice—and all come together in a final joyous dance sequence. > > “While the routine may sound simple—even melodramatic—on paper, > when enacted by a group of sincere youth, it can have a powerful impact on an > audience, as was clear when a workshop based in Springfield, Massachusetts, USA, > performed for a group of public school teachers who were attending a multicultural > training session just before the start of school there in September. > > "If I had opened my mouth, I would have started crying," said Lola Conley, a > second-grade teacher in Springfield, whose comments were echoed by others. > "They can teach us so much about where we should be today. It captured reality > and gave us hope that this is the way the world could be.”48 > > Because of the great power of dance and music to stir the emotions, it is crucial to adhere > to the guidelines provided by the Universal House of Justice: > > “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.”49 > > With all this in mind, go dance through life—let your love and sincerity flow out to and > embrace all of God’s creation. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > > You’ve experimented with movement to song, but you did this on your own. > > Now get others to participate with you. > > You can include drumming or other instruments in addition to, > > or in lieu of, recorded music. > > This can be included in anything from a social gathering to a worship service. > > Now, simply move with the rhythms as your soul guides your body. > > Please note that this should not be done if revealed prayers are being sung. Nothing > should intervene between the Word and the souls of the supplicants. > > CHAPTER TEN > > Reach Out: Connect Minds, Hearts, and Souls > To Story—To Poem—To Essay—To Write > > “The function of language is to portray the mysteries and secrets of human hearts. The > heart is like unto a box, and language is the key. Only by using the key can we open the > box and observe the gems it contains.” – ‘Abdu'l-Bahá > > W hy should you write? Let’s hear how a scientist answers this question. According to > biologist Julian Huxley: > > “By speech first, but far more by writing, man has been able to put something of > himself beyond death. In tradition and in books an integral part of the individual > persists, for it can influence the minds and actions of other people in different > places and at different times: a row of black marks on a page can move a man to > tears, though the bones of him that wrote it are long ago crumbled to dust.”50 > > American novelist, satirist, and poet Erica Jong offers another reason: > > “if you are relentlessly honest about what you feel and fear you can become a > mouthpiece for something more than your own feelings. People are remarkably > similar at the heart level — where it counts. Writers are born to voice what we all > feel. That is the gift. And we keep it alive by giving it away . . . Generosity is the soul > of writing. You write to give something. To yourself. To your reader.”51 > > What should you write? What should be the underlying purpose of your writing? > Consider this advice given by 'Abdu'l-Bahá to a correspondent from Japan: > > “O thou who art seeking the Truth! > > “Thy letter has been received. Thou hast taken much pain in inventing the > new Japanese writing. Thou hast rendered a service to the world of humanity — > May God reward thee. > > “Today, however, there exist many kinds of writing. That which is most > necessary and is assisted by divine confirmations is the propagation of the heavenly > Call. It is this which energizes the world of existence. It is this which bestoweth life > unto the dead souls, which refresheth the dried tree and ornamenteth it with > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > leaves, blossoms and fruits. Concentrate all thine energy in this that thou mayest > make heavenly progress, that thou mayest attain to the light of the Sun of Reality, > that thou mayest become the cause that the dead body of Japan may attain to > heavenly life, may be endowed with solar illumination and like unto the moon and > star it may shine forth.”52 > > Though the highest emphasis is put on writing to share the life-changing teachings of the > Bahá’í Faith, you are free to write in whatever genre interests you: fiction, memoir, > historical accounts, poetry, etc. It is a given that you write for yourself out of a need for > self-expression, but the end product of most writing is to reach the hearts and minds of > others. This is one avenue to connect with the world around you. > > When addressing something you perceive to be wrong—an issue you believe > needs to be changed and that compels you to address it—be sure your aim is positive— > even if the initial manner or tone you use might not seem positive, it's okay, even > cathartic, to let your deep inner feelings flow out onto the paper—or keyboard. (See Ugly > Art Can Have a Beautiful Result.} > > Next comes editing. You’ve mined the words. Now they need to be polished. This > is the time to take any negativity that made its way onto the page and find a more tactful > way of phrasing it. Take your time and be meticulous with this task. It may need > numerous revisions before it is ready to present to others. > > Writing, though, if done strictly for the monetary reward or in an effort to accrue > accolades, may feed readers’ minds but will leave their souls unnourished. Neither will > it foster your own spiritual transformation. Author Brenda Ueland laments: > > “It is our nasty twentieth century materialism that makes us feel: what is the use of > writing, painting, etc., unless one has an audience or gets cash for it? Socrates and > the men of the Renaissance did so much because the rewards were intrinsic, i.e., > the enlargement of the soul.”53 > > When you know you want to write but aren’t sure where to begin, what genre to use, just > sit down and let words flow. They’ll lead the way. Trust them. Heeding this advice, I just > began to write one day. It could have ended up an essay, but instead a poem poured > forth. > > To story—To poem—To essay: To write— > Something witty—Or wis Intelligent—Or bright— > > CHAPTER TEN > > That grabs—Beguiles—Brings tears—Or smiles. > > The challenge before me—I quiver and quake. > Yet it’s one that I welcome—Will definitely take. > I’ll look to my muse—And look also within. > Say a prayer. Sit down. Get ready. Begin. > > Let’s see where it takes me—Whether now—Or back then— > Perhaps a peek at the future—At what might happen then! > > The only way to know what it may hold > Is to set pen to paper—Be honest—Be bold. > > Each try an adventure. Time very well spent. > No mush-head from TV—Mind all warped and bent. > Better to do something in which I delight. > To story—To essay—To poem—To write. > > Everyone has a story. Everyone includes you. Your life experiences, the obstacles you’ve > faced and overcome, can resonate with someone in a similar situation and spur them into > rehabilitative action. Your positive relationships, uplifting moments, life-changing > adventures, or spiritual epiphanies can bring smiles, laughter, joy or tears of sadness, > righteous anger at what you endured, and inspiration and hope to your readers at how > you overcame challenges. It might be exactly what someone needs at just the right > moment. You can write it as memoir, fiction, essay, or... > > *** > > To Story > > “Every good story is, of course, both a picture and idea, and the more they are interfused, > > the better.” ~ Henry James > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > A re you reluctant to follow your artistic instincts to write short stories or novels? Does > it feel frivolous to indulge your imagination and not seem as important or useful as > writing nonfiction? Have you heard people liken fiction to ‘sciences that begin and > end in words?’ Addressing this concern, Shoghi Effendi wrote to an individual: > > “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 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 society 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.”54 > > Maya Angelou cautions: > > “There is no greater agony than bearing an untold story inside you.”55 > > Your stories can be told in a variety of forms: memoir, autobiography, biography, and > fiction and autobiographical fiction. And all forms of storytelling lend themselves to > scriptwriting. Let’s take a brief look at just a few genres. > > ~~~ > > Fiction > > Fiction can be presented in short stories or novels. > > An article on BBC Future looks at the positive personal and social effects that come > from reading fiction: > > “The claims for fiction are great. It’s been credited with everything from an increase > in volunteering and charitable giving to the tendency to vote—and even with the > gradual decrease in violence over the centuries. > > CHAPTER TEN > > “Characters hook us into stories. Aristotle said that when we watch a > tragedy two emotions predominate: pity (for the character) and fear (for yourself). > > “Without necessarily even noticing, we imagine what it’s like to be them > and compare their reactions to situations with how we responded in the past, or > imagine we might in the future…. > > “At the Princeton Social Neuroscience Lab, psychologist Diana Tamir has > demonstrated that people who often read fiction have better social cognition. In > other words, they’re more skilled at working out what other people are thinking > and feeling.”56 > > That last study found that by reading fiction, some people grow more empathetic. > > ~~~ > > Memoir > > This genre serves multiple purposes: > > • It preserves family stories for future generations. They won’t need to scramble as > much as you’ve had to in order to glean information about their relatives, at least > this relative: you. > • It helps you work through personal issues (See Chapter 6b-v, Write Your Way to Health). > • It informs and, if written with a touch of humor, entertains. > • It offers a glimpse of yourself to the reader. > > As Nancy Mairs explains: > > "Our stories utter one another...If I do my job, the books I write vanish before your > eyes. I invite you into the house of my past, and the threshold you cross leads you > into your own."57 > > Frederick Buechner expands on this idea in two of his writings: > > "My story is important not because it is mine. God knows, but because if I tell it > anything like right, the chances are you will recognize that in many ways it is yours. > Maybe nothing is more important than that we keep track...of these stories of who > we are and where we have come from and the people we have met along the way > because it is precisely through these stories in all their particularity...that God > makes himself known to each of us most powerfully and personally...to lose track > of our stories is to be profoundly impoverished not only humanly but spiritually.58 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “I not only have my secrets, I am my secrets. And you are your secrets. Our > secrets are human secrets, and our trusting each other enough to share them with > each other has much to do with the secret of what it means to be human."59 > > ~~~ > > History / Biography > > Scientists use microscopes, test tubes, and other laboratory paraphernalia to learn from > organisms and organic materials how things work in nature and in human biology. Books > and articles about historical subjects are their equivalent to understanding and predicting > human behavior. It also provides a link to help you identify with your ancestors and > offers information needed to objectively assess from their actions what you would do > well to emulate, as well as examples of what should not be repeated. > > Biography helps to move an historical figure from the realm of facts and figures. > They are no longer statistics or one-dimensional characters from whom you feel > detached. Leadership coach/trainer Kevin Eikenberry proposes that: > > “Reading a great biography (or autobiography) can be as exciting as your favorite > thriller, provide more valuable and useful lessons than most self-help best sellers, > and offer more professional development wisdom than you can likely apply.”60 > > “As exciting as your favorite thriller?” Really? Yes. Neither history nor biography need > be a dull, boring read. He lists five reasons to read more biographies: > > 1. They allow you to stand on the shoulders of giants. > > 2. They remind you that history repeats itself. > > 3. They promote self-discovery. > > 4. They allow you to see the world in new ways. > > 5. They give you mentors at a distance.61 > > These are all excellent reasons not just to read biographies, but to write them for others > to read, as well. > > Dorothy Freeman Gilstrap opens her preface to the first edition of From Copper to > Gold: The Life of Dorothy Baker, her biography of her inspirational grandmother, with these > encouraging thoughts: > > CHAPTER TEN > > “Every life is unique in its sensations and intensity, its boredom and its restlessness. > No human effort can hope to faithfully represent the experience of life, even one’s > own . . . The reality lives on in memory or heart, but the moment escapes. The Arts > live, in part, to reconstruct for our eyes, our ears, our spirits, the essence of > experience and perceptions. Biography, if it is to reveal the essence of a person, > must do the same.”62 > > Speaking of all The Arts, after advising they are "a gift of the Holy Spirit, 'Abdu’l-Bahá > says: > > “These gifts are fulfilling their highest purpose, when showing forth the praise of > God.”62 > > You can accomplish this through writing histories and biographies of people whose > exemplary lives can serve as inspiration to others, or creating characters for a fictional > story who are interesting enough to hook the reader and develop situations that reel them > in to keep turning the pages. Effective fiction functions like a good sermon sans the > preaching. > > Write your stories. Delight, entertain, warn, illustrate. Just use Shoghi Effendi’s > advice as your standard. > > ~~~ > > To Poem > > Why Poetry? > > “Treasures lie hidden beneath the throne of God; the key to those treasures is the tongue of > > poets.” ~ The Báb > > using on "What is poetry?" 'Abdu'l-Bahá poses and then answers the question: > M “What is poetry? It is a symmetrical collection of words. Therefore, they are > pleasing through harmony and rhythm. Poetry is much more effective and complete > than prose. It stirs more deeply, for it is of a finer composition.”64 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > You can reach out and connect with others more effectively and more completely using > this art form. You begin by delving deep within yourself. > > “Out of the quarrel with others we make rhetoric; out of the quarrel with ourselves > we make poetry”.65 ~ W. B. Yeats > > To accomplish the goal, others must be willing to read poems. Unfortunately, as British > poet John Betjemen laments: > > “Too many people in the modern world view poetry as a luxury, not a necessity like > petrol. But, “ > > he adds, > > “to me it's the oil of life.”66 [Ibid.] > > Contemporary society, at least in the United States (I won't presume to speak for > countries and cultures with which I'm not familiar) lacks an appreciation of poetry. No > longer is it a required subject given serious study in our schools. Without being taught > the nuances of metaphor and simile, people find poetry impenetrable. > > You’ll reap great benefits if you being to let poetry play a significant part in your > life. Alas, in today’s Western society, poetry is misunderstood, underappreciated, and, to > our own misfortune, dismissed as irrelevant. This sad state led U.S. poet and editor > Harriet Monroe to refer to poetry as "The Cinderella of the Arts." > > A reader complained to Arizona Republic columnist E. J. Montini, > > “What the hell do we need a poet laureate for?"67 > > and suggested Montini should > > “...write a column about how ridiculous it was passing a law like that is when we > have all these other problems.”68 > > Kudos to Mr. Montini for doing exactly the opposite. His reply: > > “. . . we do need a poet laureate... I’ve spent decades reporting on the least poetic > aspects of our world, and after all that time and all that misery I take for fact a line > from a poem by William Carlos Williams. He wrote: 'It is difficult to get the news > from poems, yet men die miserably every day for lack of what is found there.’” 69 > > Don't fret, though, over whether others, once they do read your poems, will "get it." Poet, > musician, critic, educator, anthologist and author Myra Cohn Livingston suggests: > > CHAPTER TEN > > “Poetry is a place where we are not expected to define or analyze or answer > questions. We can simply laugh or cry or wonder or turn the page until we find a > poem that sings the tune we wish to hear. It’s as easy as that.”70 > > The same holds true for you if your artistic endeavors are far removed from poetry. Read > the poems of others. Don't make it an intellectual exercise and tax your brain trying to > peel its layers to reveal its deeper meanings, at least not at the outset. Just take in the > rhythms and words like your breath and see how you feel afterwards. Let them percolate > a while before trying to parse them; you may not even need or want to. Just allow the > emotional and even spiritual component of poetry to stir your soul. > > You may wonder, How does a poet find their words? What is their source? Many poets > have written poems about how they write poems. One such is Steven A. Jarrell who > wrote: > > How the Poems Come > The Poems > They do not come like letters to a friend > Or essays of ideas > I feel them deeply stirring first > They are being distilled— > They are essences, > Attars of feelings, > Voices of my soul > And they rise and fall in me like dramatic skies > There are times when they are silent > Endless days and weeks of overcast veils > Then the winds of change stir and the light angles > And a glistening, or a palette of color, or a burst of emotion > Unveils itself and the words come > More often than not— > Miraculously whole, with a scent of heaven > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > The revelatory language used by the prophets of God, often profoundly poetic, has > enormous impact on millions of people every day. > > Let's explore the role of the poet, the purpose of poetry, and its magical ability to > affect your wellbeing as well as that of society. > > ~~~ > > CHAPTER TEN > > Coax Out and Caper with Your Creative Child > > Try writing a poem. Begin with a Haiku. That is a poem of only three lines. > > The first and third lines contain five syllables each. The middle line requires seven. > > Here are two examples. Read them and then write your own. > > Reach—beckon—connect Praying hands upraised > > what seems impenetrable seeming benediction of > > can be breached by love desert saguaro > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > To Poem > > The Spiritual Role of the Poet > > “It is the immediate influence of the Holy Spirit that causes words such as these (lines from > the poet Hafiz) to stream from the tongue of poets, the significance of which they themselves > are oftentimes unable to apprehend.’ ~ The Báb > > B eware of allowing your successes in The Arts and sciences to become a source of pride > or ego-building, because your talents and abilities come from outside yourself. (See > Whence Art) > > Along with the realization that your talent is a gift from God, it behooves you to > honor the Source and use your gift(s) to the best of your ability, ensuring it conduces to > your own wellbeing and improvement and to that of society. British author and lecturer > Geoffrey Nash suggests: > > “The poet is individual and subjective, but he is mankind’s conscience.”71 > > Bahiyyih Nakhjavani writes, > > “His [the poet’s] aim should be to speak with the tongue that whispers in the bones > and arteries of his audience, in such a way that the isolated and speechless > elements in the community find their voices in his harmony.”72 > > Dr. Glenn Eyford foretells that, > > “The poet will lead mankind into the future by giving expression to hopes and > visions that are often poorly articulated and little understood by most men.”73 > > He based that prophetic statement on his belief that: > > “Poets serve as interpreters and prophets by giving definite shape to feeling, to > thoughts only dimly perceived by others. They provide the images by which man > moves into the future.”74 > > The efforts of the poet not only heal the world—they can also lead to self-healing: John > Spencer Hill ponders:" > > CHAPTER TEN > > “What was it that motivated a poet to spend hours on end in his room polishing > verses when there was no prospect of financial reward—or even, in most cases, a > measure of recognition—for his labours?”75 > > Then he proposes: > > “The answer, of course, was a sensuous love of language and an irrepressible drive > to discover and express the essence of experience, to capture the evanescent > moment and distill its meaning into memorable and evocative images.”76 > > Wallace Stevens addresses the poet's "function:" > > “His [the poet's] function is to make his imagination theirs [the people's] and he > fulfills himself only as he sees his imagination become the light in the minds of > others. His role, in short, is to help people to live their lives.”77 > > But the poet doesn't just write for others. You (if you are the poet) must first write for > yourself—to find yourself. It’s been suggested that: > > “Writing a true poem is a voyage of discovery.“78 > > It's all part of a process, as you can see in this description from a biography of Emily > Dickinson: > > “She wrote her finest poetry out of scrutinizing her thoughts and sensations until, > stared out of countenance, they became malleable material which she could > crystallize into meaning for herself and everyone else. That is what poets do. If they > have the practical skill in their craft . . . they rise through introspection to objectivity. > That is, they find what seems to be the truth in their own feelings; then, in > memorable form, make it truth that others can share.”79 > > Poetry sweeps away your spiritual cobwebs. It cleanses your soul. It gives voice to your > innermost emotions, as explained in "The Place for the Poet:" > > “Poetry is especially effective at describing spiritual realities because the poet deals > with emotions: the non-physical, spiritual side of life.”80 > > Professor Amin Banani mused: > > “What is poetry, after all? It is the language that we turn to when there is no > language that can express our thoughts and feelings. Poetry is, in fact, the attempt > to move beyond language to communicate states of mind and states of spirit that > 81cannot be communicated in words, but which nonetheless must be expressed.”81 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Poetry feeds both the poet and the reader, yet, according to Jane Kenyon, should leave > them hungry for more: > > “The poet’s job is to put into words those feelings we all have that are so deep, so > important, and yet so difficult to name, to tell the truth in such a beautiful way that people > cannot live without it.”82 > > It seems to me that honey drips from the sweet tongues of poets. Let's consider now just > how the honey of poetry can sweeten your life. > > ~~~ > > CHAPTER TEN > > Coax Out and Caper with Your Creative Child > > Answer one of these questions: > > I’ve never enjoyed poetry because: > > I enjoy poetry because… > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > To Poem > > What Use Poetry? > > “Poetry is an act of peace. Peace goes into the making of a poet as flour goes into the making > of bread.” ~ Pablo Neruda > > “Poetry is the language in which man explores his own amazement.” ~ Christopher Fry > > hat is the use of poetry? This question probably has as many answers as there are > W poets, critics and professors of literature combined, yet all seem valid. Let’s examine > two different viewpoints: > > Why read a poem? Because, British poet and critic Dame Edith Sitwell says: > > “Poetry ennobles the heart and the eyes and unveils the meaning of things upon > which the heart and the eyes dwell.”83 > > She also asserts: > > “It is as unseeing to ask what is the use of poetry as it would be to ask, ‘what is the > use of religion?’”84 > > Lin Rolens’ review of Paul Portuges’ “The Flower Vendor” states: > > ”They [the poems} begin ticking—sometimes loudly—in the interior regions of your > sensitivities working toward a resonance that will affect you when you least suspect, > shaking you by the metaphoric shoulders of your own awareness.” 85 > > This can be said of the works of most skilled poets. They are of use to the reader because > they awaken them, stir them, and at times motivate them. > > It should come as no surprise that American Poet Michael Fitzgerald and Canadian > poet Roger White each answered the question with a poem (Roger answered it with > several poems, but for the sake of brevity I’ll only include one.) > > First, let’s consider Michael Fitzgerald’s poem The Uses of Art. Granted it is called > The Uses of Art, not The Uses of Poetry, but as poetry is an Art, and all Art basically serves > the same purpose, it is surely appropriate to use it in answer to the question. > > CHAPTER TEN > > What use art? A stretcher > to wheel in the wounded— > > a monument of blossoms— > a bit of lattice-work on the temple— > > each painting, a record of a psychic diver— > each poem, an artifact— > > life to be lived as a symphony, or > maybe just some chamber music for the few— > > each breath, a brush stroke— > each day, a dance—85 > > Roger White’s poem, Print Out, lists what poems do not do but ends with what they do > accomplish, thus explaining why, despite all obstacles real and imagined, poets write, > and how their art affects others. He delineates the reciprocity between reader and > writer, clearly demonstrating the use of poetry: > Poems do not prevent wars > or feed the starving poor > or right injustices. Stocks > Rise and fall blithely inattentive > to them. They will not unseat > the tyrant or defeat disease > or breathe life into the walking dead. > They are useless for picking locks > of prisons. Trains run on time > without their aid and production > quotas are set by worthy citizens and bores > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > exquisitely oblivious to their existence. > It is known that crafty Owen > brings to his bed > the giggling, lively maid > unassisted by their high-flown folderol. > Of what use are the silly things? > After all, they are rarely carried by > commuters on the tram, treaties are not > forged of them and the statistician > might despise their logic. Even computers, > like as not, can be programmed > to disgorge gaseous tommyrot. > Who gives a damn? > > “Reading your lines, I felt as though > you had lived my life,” > an unknown woman writes to me. And a man, > “Your words articulate my dreams.” > Perhaps we will always need the poet's print-out > that reader find the transcript of his dreams > and speaker learn from listener what he means.87 > > President John F. Kennedy proposes: > > “When power leads men towards arrogance, poetry reminds him of his limitations. > When power narrows the area of man’s concern, poetry reminds him of the > richness and diversity of his existence.”88 > > Professor Herbert Ravetch, in his Santa Barbara City College adult education course on > The Meaning of Life through Poetry, suggests: > > “Poetry is a sensitive guide that escorts us in a profound consideration and > penetration of the infinity of life. Poetry is a window on the world, our pathway to > > CHAPTER TEN > > the color and the sound and the emotion, the sorrow and the joy, the pain and the > exaltation of our existence. Poetry is a unique probe and mirror of humanity— > encompassing the humorous and the serious, the ideal and the real, the feeling and > the meaning and the understanding of life.”89 > > Ruth Gordon, American film, stage, and television actress, screenwriter and playwright. > likens poetry to an onion: > > “Peel the onion, layer after layer, until its very heart is reached...it adds taste, zest, > and a sharp but sweet quality that enriches our lives.”90 > > Another very visual comparison has been attributed alternately to French poet, essayist, > and philosopher Paul Valéry and to English poet, novelist, and critic John Wain. It is > elegantly accurate: > > “Poetry is to prose as dancing is to walking.” > > Now that we've looked at what poetry is, let's learn what is required for poetry to be > effective—to be of use. According to ethicist and author Michael J. Bugeja: > > “Poems . . . contain ideas . . . unify our thoughts or feelings. They shape how we > perceive the world and excite us with images of beauty, of moments of truth. Since > ancient times poets have been known more for their ideas than for the words they > used to convey them.”91 > > And this insightful statement, attributed to poet Archibald MacLeish, needs no further > elucidation: > > “A poem should not mean, but be.” > > That correlates with the advice given to writers in every genre: “show, don't tell.” John > Keats, advises: > > “Poetry should be great and unobtrusive, a thing which enters into one's soul, and > does not startle or amaze it with itself, but with its subject.”92 > > With all this information you have likely come to understand that poetry is not a luxury > but a necessity, as explained in this statement attributed to Chicano-American poet and > writer Jimmy Santiago Baca: > > “Poetry matters because life, tears, people, birth, human experience matter.” > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > We note in His letter to Louise Waite how 'Abdu'l-Bahá encourages those who understand > that the best use of poetry, or any art or endeavor, has a spiritual purpose: > > “Verily, I chanted thy poem. Its significance was beautiful, its composition eloquent > and its words excellent. It was like the melody of the birds of holiness . . . The breasts > of the friends were dilated, and the hearts of the maid-servants of the Merciful > were exhilarated by its chanting. Blessed art thou for uttering forth such an > excellent poem and brilliant pearl.”93 > > This theme is evident also in his message to Isaac, a nine-year-old boy from Hamadan, > Persia: > > “O thou who art sweet-tongued! Thy poem is a wonder to the minds and intellects > and thy composition an evidence of the gift of the great Lord. Therefore, thy wine > is the pure wine, thy heart the recess of light and thy brow radiant with love. If the > people of the world were fair in judgement, the sweetness of thy poem should be > a sufficient proof.”94 > > Pick up a volume of poetry to read or pick up a pen and write a poem. Better yet—do > both—and let the effort sweeten your life. > > ~~~ > > CHAPTER TEN > > Coax Out and Caper with Your Creative Child > Contemplate the following poem. Meditate on it. > > After the next section, To Essay, you’ll write your thoughts down. > > MINOR QUESTION > > A song for skipping rope > > A flag makes a very poor breakfast, an old woman observed. ~ Sally Belfrage > > It was a short-lived minor war > > But several Moshes are no more; > > Rather neighborly, the fray, > > Though many Ahmads bed in clay. > > The sun, unblinking, rose and set > > On fathers whose grey cheeks were wet; > > The moon heard mothers curse the guns— > > (They’d dreamt a kinder use for sons). > > ~ Roger White ~ > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > To Essay > > “The point of essays is the point of writing anything. It’s not to tell people what they > already think or to give them more of what they already believe; it’s to challenge people, > and it’s to suggest alternate ways of thinking about things.” ~ Meghan Daum > > M erriam-Webster Dictionary describes “essay” as an “analytic or interpretative > literary composition usually dealing with its subject from a limited or personal > point of view.” > > Connection is the goal of essay writing—the connection between the hearts and > minds of the writer and the reader. > > According to Rochelle Spears Wilson, in The Purpose of Writing an Essay, essays fall > into four categories: 1) to inform, 2) to persuade, 3) to explain, 4) to entertain. Many essays > will combine two or more of these types. > > Los Angeles Times columnist Meghan Daum, in an interview with Cressida Leyshon > for The New Yorker magazine, reveals: > > “I never sit down to write anything personal unless I know the subject is going to go > beyond my own experience and address something larger and more universal. To > me, having “material” for an essay means not only having something to write about > but also having something interesting and original to say about whatever that might > be.”95 > > To Inform > > “Knowledge is as wings to man's life, and a ladder for his ascent.96 ~ Baha'u'llah > > An informational essay seeks to enlighten, to provide facts, and only the facts. It does not > include personal opinion or any effort to persuade. An excellent site to read informational > essays is bahaiteachings.org. Writers from around the world share information on a > variety of topics from their personal viewpoint which is formed by their understanding > of the Bahá’í teachings. They fit into a number of different categories: history, religion, > culture, arts, spirituality, news (current events), science, and more. They are written to > > CHAPTER TEN > > inform; if they also happen to persuade, that is considered an extra and welcome result, > but is not the original intent. > > Informational writing can include journalism, articles and essays, letters to the > editor, and blogs. > > Have you thought “outside the box” in the way you approached a challenging > task? Perhaps you’ve figured out a new strategy related to child-rearing, a household > chore, or a new gardening hack—something to streamline and make a task easier—a > more efficient procedure? > > Writing step-by-step instructions, combined with the reasoning process that led > you to your successful new protocol would be an essay to explain or inform. > > If you can spike it with a bit of levity, which will enhance the recall by the reader. > > You write to express your thoughts, feelings, beliefs, worries, joys. You write to > communicate with others. You want to share the facts, and just the facts, if you are a > reporter. As a columnist you want to share your knowledge, your understanding of > Truth, and hopefully offer a ladder of ascent to those who read your work. Essays and > blogs help you mine subconscious emotions and underlying concerns so you can polish > and share the gems of your wisdom with others. > > Dr. John Persico, Jr. writes the blog, Aging Capricously: Divergent Thoughts on Life, > Love, and Death. The intriguing title is an indication of the wit and wisdom he shares, > along with his many questions—he’ll be the first to tell you the more he learns the more > he realizes how much he doesn’t know, and sprinkles it all with his own opinions and is > open to and welcomes those of his readers. I asked how he’d describe the majority of > comments received, and he answered, “ Quite a few of the comments received thank me > for helping the reader deal with some emotional trauma or pain in their lives. Many say > they are relieved to know that others share their pain and or concerns.” > > This is the point of journalism, whether you're a reporter digging and searching > for the true facts of a situation, an investigative journalist burrowing even deeper, a > columnist sharing your point of view, or a public information representative for your > company, organization, or religious community. > > Several references to journalism in of the Writings of the Bahá'í Faith point out the > standards writers should strive to achieve: Bahá'u'lláh wrote: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “In this Day the secrets of the earth are laid bare before the eyes of men. The pages > of swiftly-appearing newspapers are indeed the mirror of the world. They reflect > the deeds and the pursuits of divers peoples and kindreds. They both reflect them > and make them known. They are a mirror endowed with hearing, sight and speech. > This is an amazing and potent phenomenon. However it behoveth the writers > thereof to be purged from the promptings of evil passions and desires and to be > attired with the raiment of justice and equity. They should enquire into situations > as much as possible and ascertain the facts, then set them down in writing.”97 > > 'Abdu'l-Bahá added these thoughts: > > ”We may ascertain the progress or retrogression of a nation by its journalism. If > journalists should abide by their duties, they would be the promoters of many > virtues, among the community. Truth and the virtues would be fostered. This would > be so if they carried out the duties incumbent upon them. > > “Journalists must serve truth. Newspapers must investigate the means for > the progress of humanity, and publish them. Journalists must write significant > articles, articles that shall foster the public welfare. If they do so they will be the > first agents for the development of the community.”98 > > Shoghi Effendi counseled individuals who sought his advice: > > “Regarding your question about what courses would be most useful for you to > study: He feels that both radio and journalistic work are fields in which the Bahá'ís > could well learn to express themselves for the sake of helping their teaching work, > and advises you, if you have the time, to study these subjects. 99 > > “There is no objection to your being a journalist as long as you try to keep off > political issues; especially the big East-West issues. You have a talent for writing, > and it might be of help to you financially and in making contacts for the Faith.”100 > > Your writing should address relevant social issues while avoiding anything that might > devolve into partisan controversy. Avoid being prohibitive rather than welcoming of > other opinions. Strive to unite rather than separate people on opposite sides of an issue. > > Journalism is a vital career choice that, done well and with the highest of > intentions, becomes itself an Art form. > > If you only submit occasional articles or essays to newspapers, magazines, > newsletters, etc. you may not be a "journalist"(unless you actually work as a free-lance > reporter) but you are still practicing a form of journalism. Along with the submission of > > CHAPTER TEN > > letters to the editor and personal or professional blogs, the same standards and advice > apply. > > So, what’s stopping you? It’s time to stop hesitating . Write it! > > To Persuade > > These essays are written to offer your own point of view in an effort to stimulate others > to consider your opinion(s) and ultimately to be stirred into action. Perhaps you want to > address poverty, education, immigration, health issues, equality for women you’re your > organization’s agenda in a manner that might sway readers to accept your premises as > valid and in need of action. Here you combine the informational with your opinion, > making a case for how and why you arrived at your current point-of-view. > > Letters to the editor and to government representatives, while usually shorter than > an essay, still fall into this category. Opinion essays sent to newspapers occasionally get > printed. It helps if you already have some connection with the paper, perhaps as a public > information representative for your faith community or a civic organization. > > To be effective, endeavor to ensure what you’ve written is tactful and non- > judgmental. A non-accusatory tone is crucial. List issues that need to be addressed and/or > changed, offer some positive suggestions and, if possible, provide examples. If you go on > the attack, the person(s) you want to persuade will shut down and likely stop reading. > Even if they do finish the entire piece, it is doubtful anything will penetrate. > > Make your point clearly and dispassionately, your tone neutral, with facts > presented in clear, concise, and easily understood language. Be firm and unequivocal as > you call out what you perceive to be an injustice—the issue that requires fixing—but don’t > resort to an attack on the individual(s) or group(s) whom you want to consider your > idea(s). They’re more likely to pay attention and perhaps come to understand and respect > your position whether or not they acknowledge its validity. When being persuasive and > tactful, you open up the possibility that you might just help them to consider your > premise, perhaps even sway their opinion. > > Did you triumph over a painful personal experience? Write about it. Detail how > you overcame it. Perhaps your success will help a reader to recognize warning signs and > help to head off the problem in the first place or help them mitigate it if it’s already taken > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > hold in their life. This would also be an essay that both informs and persuades. > Bahá'u'lláh instructed writers: > > “Whatever is written should not transgress the bounds of tact and wisdom, and in > the words used there should lie hid the property of milk, so that the children of the > world may be nurtured therewith and attain maturity. We have said in the past that > one word hath the influence of spring and causeth hearts to become fresh and > verdant, while another is like unto blight which causeth the blossoms and flowers > to wither. God grant that authors among the friends will write in such a way as > would be acceptable to fair-minded souls and not lead to cavilling by the people."101 > > When you write a persuasive essay, you offer your own “two cents.”2 You have opinions, > you see the world from your own individual perspective. Your unique viewpoint adds to > the mix that serves to help others develop a more accurate and cohesive consensus and > plan of action. If you remain silent and neglect to offer your personal perspective, the > points you might have provided will necessarily go unconsidered. This may preclude the > full amount of information needed for someone or some group seeking to map out their > own path forward. > > Personal Essay/Memoir > > You may simply wish to record a factual family history that includes dates, places, and > miscellaneous facts. This would be informational non-fiction. Memoir indicates > storytelling: tales of people and events related to your relatives, friends and > acquaintances. > > The writer must be able to delve deep into their psyche and, with skill that comes > from study and experience, translate them into words that will resonate with readers. > This may be painful to do effectively. You have to be willing to expose experiences you > may have been trying to suppress. It will be cathartic for you and helpful, and if done > well, it will assist the reader in their own journey to discovery and healing. > > Tony DiMartino, Senior Editor, Mary Engelbreit's Home Companion magazine > admits: > > 2 "My two cents" ("my 2¢") and its longer version "put my two cents in" is an American > > idiomatic expression, taken from the original English idiom "to put in my two-penny > worth" or "my two cents". It is used to preface a tentative statement of one’s opinion. > > CHAPTER TEN > > “The personal essay is a tough genre to carry off. Many of the pieces fail to pass the > test because they're poorly written—not just in terms of grammar, but also because > of vague, weak, mushy writing. It isn't enough that a personal experience or > memory is deeply felt by the writer.”102 > > Author Cynthia G. La Ferle, shares wisdom she’s gleaned from experience: > > “...in the 12 years I've published essays in national magazines and newspapers, the > most important thing I've learned is this: heartfelt writing must also engage the > brain. That's not to say your essays shouldn't resonate on a deep emotional level. > In fact, readers tell me over and over that they'll often skip the hard news and flip > to the sections where personal columns or essays appear. They're hungry for writing > they can relate to...the real art of heartfelt writing is in gracefully walking the > tightrope between schmaltz and over-sophistication...“Heartfelt writing is honest > writing, and honesty isn't always pretty. You have to tell the bad with the good...the > essayist fails when she doesn't include the bumps and flaws, the shadow side, of > the characters in her narrative....Life rarely comes in neatly wrapped, color > coordinated packages. It helps to remember that a lot of us have weird relatives, > bad habits, career derailments and dishes that don't match. An essay that > acknowledges human imperfections will spring to life on the page, forging a warm > and real connection between you and your readers.”103 > > Essays to Entertain > > I’ve written a number of family anecdotes that are simply “to entertain.” A couple of them > are published in an anthology of Santa Barbara, California writers. When We Were Young. > One is included along with many others in my book Dizzy Izzy & the Red Witch: Memories > of My Parents. Some of the stories in the book about my parents will make you laugh and > others cry. Some combine both elements. They were written not as a genealogical effort > to detail family history, but rather to share the essence of their personalities and character. > Readers who never met them have told me they feel like they know them, or at least wish > they’d known them. Two different men have told me “I’m in love with your mother,” and > one added, “and I want to grow up to be your father.” > > The responses to these tales have been overwhelmingly positive. The book was > written for my family, to preserve the stories and keep my parents’ memories alive for > future generations. That non-family friends and acquaintances who knew my parents, or > just ones who know me, like the two gentlemen mentioned in the preceding paragraph, > read them, is understandable. But when I’ve had friends loan the book to others who > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > don’t know me and they’ve wanted to meet me (one Face-Timed me and another signed > up for a workshop I was giving so she could meet me) because some of these stories > resonated so deeply with them, it brought me the realization of the incredible power of > memoir. All this because I ensured that even the sad stories are entertaining and when > feasible, contain comic relief. > > If written creatively, as though you are writing a novel or like you’re having a one- > on-one conversation with the reader, they will feel like you’re actually telling the story > aloud, they will connect with you on a deeper level. A good friend remarked, “I could > hear your voice, as if you were telling it to me in person.” > > Don’t try too hard or over-think what you want to say beforehand. Tell the story. > Write it as you tell it. Perhaps record yourself telling your stories to a real person sitting > in front of you. Then transcribe it and polish it up. Everyone who has ever taken a breath > has stories to tell. You have stories to tell. Go ahead. Tell them. Share them. Give them > freedom and you’ll give yourself a sense of freedom as well. > > Do you plan to write a cookbook of traditional family recipes? Add stories, > anecdotal memories that include who developed it, how and/or why, the time period, > how it was used, e.g., every Christmas, weekly family dinners, etc., and then share > comments from those who partook of the memorable events and meals. If you then write > about the philosophy of how food can create a family tradition, you have an essay that > makes the reader want to try the recipe, and when they do, they’ll recall the story which > will take the enjoyment of the meal to a new level. > > If I knew the recipe for Grandma’s cinnamon-raisin bread and planned to write it > down, I’d also include a description of me sitting cross-legged on the floor beneath the > kitchen table, looking up at her flour-covered apron with brown cinnamon-spattered > spots that created an abstract design amongst the areas where flour fell onto it. I’d recall > the fresh bakery aroma that permeated the kitchen and caused a sudden rumble of > hunger in my tummy. Somehow, as the scent intensified and I knew it was almost done, > I’d climb onto a chair, watch her retrieve it from the oven and place it on an aluminum > cooling rack that I’d stare at until she grabbed a pair of potholders and turned it out onto > a plate. I’d be jumping up and down inside even if I was merely swaying in my seat while > she cut a slice, slathered it with the rich creamy butter she’d kept out to be tastier at room > temperature, and then write about how we faced each other, eye-to-eye and smile-to- > smile, as she handed me the plate and watched me sink my teeth into the warm, satisfying > > CHAPTER TEN > > dessert, humming “mmm” as I tried to remember to chew slowly in order to savor it > when I really wanted to just swallow it all at once. The story might inspire others to try > the recipe, perhaps conjuring up a picture of Grandma and me in her kitchen, or a > memory of them with their own grandmother, as they prepare their batter. The > combination of the cited categories turns your recipes into a memoir that both informs > and entertains. > > ~~~ > > Go ahead now—write on...write your story, write your poem, write your essay—write > on! > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > How did you feel after reading Minor Question? > > What can you learn from it? > > Write a short essay on the subject. > > CHAPTER TEN > > Reach Out: Connect Minds, Hearts, and Souls > Art: The Common Language of Human Existence > > “This is the power of art: The power to transcend our own self-interest, our solipsistic > zoom-lens on life, and relate to the world and each other with more integrity, more > curiosity, more wholeheartedness.” ~ Maria Popova > > “[Art] is a means of union among men, joining them together in the same feelings, and > indispensable for the life and progress toward well-being of individuals and of humanity.” > ~ Leo Tolstoy > > rt, while in the process of being created, is beneficial to you, the artist, as you draw on > A your inner knowledge and emotions and bring them forth into the material world > manifest for all to see. Now, it is ready to be seen, admired, and contemplated by > others and, perhaps, have an effect on their own thoughts and feelings. Marcel Proust > posits: > > “Only through art can we get outside of ourselves and know another's view of the > universe which is not the same as ours and see landscapes which would otherwise > have remained unknown to us like the landscapes of the moon. Thanks to art, > instead of seeing a single world, our own, we see it multiply until we have before us > as many worlds as there are original artists . . . And many centuries after their core, > whether we call it Rembrandt or Vermeer, is extinguished, they continue to send us > their special rays.”104 > > Let’s delve into the power of a few genres of the visual arts: > > ~~~ > > Photography: Capturing Divinity > > “Spirituality relates best to patient, slow photography, which takes the time to stop and > look, to wind down and be truly present, to see with the eye of your heart, to ‘receive’ or > ‘make’ a picture, rather than ‘take’ it.” ~ Philip Richter > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > P hotographer, artist, and educator Donald E. Camp developed a unique process that > goes beyond the printing of a photograph. He explains: > > “I seek to contrast broadly held public views that narrow a face into stereotype. I > attempt as an artist to produce prints that encourage viewers to explore the dignity > and nobility that can be found in the human face.” > > Camp’s award-winning series of photographs, Dust-Shaped Hearts, utilize earth > pigments—dust—in the development process, challenging the stereotypes of African > American men. This series has had a powerful impact on those who view it, speaking to > all but especially to other African American men, helping them see themselves in a new, > positive, and radiant light. For example, Mr. Camp relates: > > “The foundation of my work begins with a quote from The Hidden Words of > Bahá'u'lláh3. I chose to work with earth pigment or dust as it’s used throughout the > sacred writings of the Baha’i’ Faith: ’O Children of Men! Know ye not why We > created you all from the same dust? That no one should exalt himself over the other. > Ponder at all times in your hearts how ye were created. Since We have created you > all from one same substance it is incumbent on you to be even as one soul . . . ’ > > “As an African American man in America, The Hidden Word: ‘O Son of Spirit! > Noble have I created thee, yet thou hast abased thyself. Rise then unto that for > which thou wast created.’ also had special meaning to me. > > “One day, a few years after I started doing Dust Shaped Hearts, I parked my > car in a car lot that required that I sign in for the time that I’d be doing business in > that office. The guard checked the name and the license plate and then asked me > if I was Don Camp, the artist. I was a bit surprised but pleased by the recognition. I > responded that I was that artist and we both smiled. He then told me that he loved > my work because ‘It makes me feel like someone.’ I was surprised that he knew that > I did the work, but I was truly honored that it made him feel like someone. Noble. > As Black men we don’t often see representations of ourselves as noble.” > > Artists create out of the need to express their innermost feelings and can only hope that > their work reaches out and speaks to others. You may not always know whether or not > you’ve been successful. In that case, just keep going. That knowledge isn’t necessary as > long as you realize your own soul is being nurtured. But when it does happen, as with > > 3 A collection of lyrical, gem-like verses of scripture that convey timeless spiritual wisdom > > "clothed in the garment of brevity," > > CHAPTER TEN > > the individual who Mr. Camp was fortunate enough to encounter (whether that > encounter was serendipitous or by Divine design,) it reinforces your confidence because > you have the confirmation of knowing that you did indeed reach out and connect with > another soul through your Art. > > Regarding Mr. Camp’s later move toward more universality in his subjects, > Edward Sozanski, Contributing Art Critic for the Philadelphia Inquirer, noted in a review > of his work that: > > “. . . Camp has expanded his subjects to include women and white people. Hung > close together in a small room, the...faces create a cohort of imposing and dignified > survivors.”105 > > The importance of this expansion to other groups, to different races and to the female > gender, is also rooted in the teachings of the Bahá’í Faith, as is evident in the following > excerpt from the Writings of Bahá’u’lláh: > > “He looketh on all things with the eye of oneness, and seeth the brilliant rays of the > divine sun shining from the dawning-point of Essence alike on all created things, > and the lights of singleness reflected over all creation.”106 > > Douglas Jernberg finds that photography provides a direct link with the Divine. As he > wanders through natural settings, his eye is ever open for “the image which holds charm > and insight into divinity.” He explains: > > “In the evenings, as oft as I can, I take my little camera . . . with opened eyes, in > anticipation for what divinity might be revealed . . . As with many art forms, color, > light, shadow, and form, even the space between these composition items, that is > how things are in relation to each other, all are elements for composition. When > all are seen as a whole, proportion and scale can become elements used to tell a > story, reflective of divinity. If I can succeed in positioning the view finder to get all > the elements in perfect proportion and exposure, the result gives me a feeling of > heart/mind which I recognize as divine. I then can revel in this nearness. > > “Time and time again, sauntering out into the meadows of His nearness, > humbly open to His inspiration, and undoubtedly served by His inspiring angels, I > look for images in which my love for Him shines…. I find myself spinning ‘round like > a top moved by the angels of inspiration, as they call to me: “Look here! Look here!” > click, click, click… > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “My level of joy increases as divine images proceed one after another in a > whirlwind of blissfulness, I feel humbly in awe of His unending beauty. I hear myself > yielding peals of ”Wow !” . . . I can only hope to be open for more . . . but only if it > pleaseth Him. Omnipotent is His Beauty, unending His Kingdom. > > “These days, I like to say with a smile, ‘My eyes are failing me, but my vision > has never been better.’ I rely on the camera to help me see at a distance and up > very close. It is a tool to aid in my perception, just as eyes have been. The meanings > of such perceptions I recognize are often unspeakable, yet remember He says that > the primary purpose of utterance is to worship God, and is preceded only by His > recognition. I believe we can now say that “art” is a kind of utterance and a way we > might raise His praise, individually and for others, beginning first with a recognition > experience. This capacity grows through our endeavors. > > “This practice of art I consider to be an element of my spiritual practice. It > has become the fire and sincerity behind my prayers to the Beloved. When spoken > of, it lends the fire of meaning to whom spoken. When others see our arts done in > the love of divinity (godliness) their hearts are reached, and then are truly these > arts a service to His Kingdom on Earth. > > ~~~ > > Sculpture: a Parable in Three Dimensions > > “Sculpture is a parable in three dimensions, a symbol of a spiritual experience, and a means > of conveying truth by concentrating its essence into visible form. ... It must be the reflection > of the artist who creates it and of the era in which he lives, not an echo or a memory of other > days and other ways.” ~ Malvina Hoffman > > “Sculpture occupies real space like we do … you walk around it and relate to it almost as > another person . . .” ~ Chuck Close > > M ost of Joanne McClure’s sculptures develop out of a marriage of her own personal > history and quotations from the Bahá’í Writings that speak to those experiences. > > CHAPTER TEN > > Ms. McClure describes her process as a > compulsion from deep within her spirit. While > most sculptors take the time to think about what > they want to create and build a model, she just gets > an inspired picture in her mind and sets to work. > She confided, “A medium pours out through my > hands—I don’t have control over it.” > > On her website, she writes about her piece titled > “Enter Therein in the Name of God.”: > > “’ Princes shall come out of Egypt: Ethiopia shall soon > stretch out her hands unto God.’ – Psalms 68:31 > > “At an outstanding Conference of the Arts at the > Los Angeles Bahá’í Center some years ago, I was Enter Therein in the Name of God, by Joanne > McClure > impressed by the wide variety of high-quality > works in a variety of mediums. But my foremost > memory was not an art piece but something I came across in the bookstore. On the > back cover of an abridged version of The Dawn-Breakers, a book documenting the > early years of the Bahá’í Faith, was a quote from Shoghi Effendi. He advised > Bahá’í artists to gain inspiration from that tome for their art. I took that to heart and > on returning home, began to read it. When I got to the third paragraph on page 68, > that moment in history seemed to leap off the page and the vision for this sculpture > was born.” > > A story is told about a Persian gentleman, Mullá Husayn. A member of the Shaykhí sect > of Shí’íh Islam, he believed in the imminent arrival of the Qá’im—the Promised One of > Islám (the Mahdi to the Sunnís). His ardent search brought him to the city of Shíráz where > his goal was fulfilled. Ms. McClure includes a brief description of that life-changing event > on her website followed by an explanation of her sculpture: > > “… at break of day, Mullá Husayn, followed by Mullá ‘Alí, hastened to the residence > of the Báb. At the entrance of His house they met the faithful Ethiopian servant, > who immediately recognized them and greeted them in these words: “Ere break of > day, I was summoned to the presence of my Master, who instructed me to open the > door of the house and to stand expectant at its threshold. ‘Two guests,’ He said, > ‘are to arrive early this morning. Extend to them in My name a warm welcome. Say > to them from Me: Enter therein in the name of God.’ > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “The sculpture is like a stage set: a street scene depicting that moment > when they arrived at the home of the Bab. The gentleman portrayed is Hájí > Mubarak, the Ethiopian servant of the Báb, the forerunner to Bahá’u’lláh, Prophet- > Founder of the Bahá’í Faith. The servant is welcoming the men who have been > traveling in search of the Promised One.” > > Ms. McClure wrote to the Universal House of Justice for guidance and for permission to > embark on this piece describing the momentous occasion, which they gave with the > admonition to make it “as accurate as possible.” Filled with awe, she related, “On > completion, it was exactly as I had envisioned it.” > > The sculpture, which stands seven feet tall from the bottom of the base to the top > of the doorway, was gifted to the Bahá’í s of Ethiopia by Ms. McClure. It took a year to > arrive at its ultimate destination, residing now at their National Bahá’í Center in Addis > Ababa. She made two visits to Ethiopia. At one, where she sang with the Voices of Bahá > choir for the 75th anniversary of the presence of the Bahá’í Faith in that country. Following > the program, a woman sought her out backstage, hugged and thanked her profusely for > the gift which is treasured by the Ethiopian Bahá’ís. > > This type of appreciation wasn’t only received in that country. One year when she > attended a session at the Bosch Bahá’í School in Santa Cruz, California, an Ethiopian > couple in attendance embraced her and with tears expressed their gratitude for the > sculpture which honors their people. > > Other works also elicit emotional > responses. Used to women being moved on > viewing her piece, “A Cause for Peace,” she > was surprised by a man tearing up as he > gazed at the sculpture of a mother and > child. She asked, “What draws you? Who > are you in this sculpture?” He responded, > “I am the child.” > A Cause for Peace, by Joanne McClure > A good number of people have reacted > emotionally to “Free at Last” (see Art Heals: Paint (and Sculpt) Away Your Pain) and to > “Breaking Free.” Here’s her explanation of the latter piece from her website: > > “’Free me from the assaults of passion and desire, break off from me the shackles > of this nether world . . .” ~ Bahá’u’lláh > > CHAPTER TEN > > “Sometimes I don’t actually know what impels me to create > a particular sculpture. It is often well after its completion that > I realize, ‘Oh! That’s what it’s about.’ That was the case with > this work that was undertaken during a time of great personal > struggle, when I was trying to change old patterns of thinking, > behaving, doing, I was breaking chains of the past. > > “And, of course, life continues to present new chains, > or old ones which come to present awareness . . . but that > was a particularly difficult time. I think the man’s > expression and broken chains say it all.” Breaking Free, by Joanne McClure > > Ms. McClure describes the tendency of her sculptures to > reach out and connect with other souls as a silent inner communication in no need of the > spoken word: “Art communicates on the heart level, bypassing the intellect, going > straight to the soul.” > > ~~~ > > Architecture: A Social Act and the Material Theater of Human Activity > > ~ Spiro Kostof > > “Humanity leaves immortal echoes through its history using the media of language, art, > knowledge and architecture.” ~ Author Unknown > > “The mother art is architecture. Without an architecture of our own we have no soul of our > own civilization.” ~ Frank Lloyd Wright > > W hat comes to mind when you hear the word “architecture?” Are engineering and > math the first things that pop up? Do you simply consider buildings as being > constructed for utilitarian purposes? Does it all seem—yawn—boring? Or—do you > think of the “Art” in architecture—the attention to detail to create something that is not > only useful but draws one to contemplate its lines, colors and features as you would a > painting or a sculpture? > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Architecture is not merely the blueprint for the structure, the placement of doors > and windows, room dimensions, etc. It also includes artistic flourishes, on the inside as > well as out. Arthur Lyon Dahl says: > > “Art has long been one of the highest expressions of human culture, and particularly > of its religious and spiritual dimensions. The cave paintings of early man, the > temples and tombs of the Egyptians, Greeks, Hindus and Buddhists, the churches, > cathedrals and mosques of more modern times, are so often the greatest examples > of a culture’s artistic heritage, and still communicate their spirit to us today.”107 > > A building can be a plain square or rectangle and lack embellishment. It then serves a > merely functional purpose. But if it is devoid of interest, what effect might that have on > you, if any? Your environment helps set your mood. The modern skyscrapers of a city > seem to lend themselves to the frenetic pace of city life. A log cabin set among a small > clearing in the forest invites you to relax. The majestic designs of houses of worship are > conducive to the creation of a sense of awe and reverence. What is Architecture? expresses > this concept: > > “And yet a more modest, permeable idea of who we are would accept with good > grace that we remain in truth, very vulnerable to the voices of the largest, most > public objects in our environment. Our inner states are heavily open to influence > and we may be as harmed by architectural ugliness as we are by moral evil. Our > spirits can be decisively sunk by a grid of city streets designed without any talent or > care.”108 > > I can attest to that premise. When traveling through Romania shortly post-revolution, I > was dismayed at the unadorned architecture of scores of large apartment complexes with > barren exteriors: no lawns, trees, or any semblance of nature. One after the other they > stood as sentinels, each indistinguishable from the other. It was the Communist attempt > at keeping everything the same, but it created a dull, depressing atmosphere > > Thankfully, there is a movement within the field of architecture that directs > designers to take into consideration how the different elements of a building affect the > way people feel. In his book, Happy By Design: A Guide to Architecture and Mental > Wellbeing, Ben Channon suggests that whatever the purpose of the building and no > matter for whom, or from which culture, Light, Comfort, Control, Nature, Aesthetics, > Activity and Psychology must be considered in addition to the three standard ones of > Carbon Emission, Safety and Cost Control. The ultimate outcome, he believes, is that the > > CHAPTER TEN > > finished product be conducive to joy. If these elements are not considered, the result can > create a negative mood. > > Architect Doug Jernberg seeks inspiration from the divinity which he finds > omnipresent throughout the world of being. He meditates on his objective and then > endeavors to maintain a heart and mind open to inspiration. Jernberg believes that the > inherent divinity sanctifies the project and affects the comfort and wellbeing of those who > reside or work in, and even those who visit, the edifices designed by him and, also, by > others who utilize this same process. > > Similar to the apartments I saw in Romania, here in the U.S., the high-density inner > city tenement projects, full of unembellished, plain square or rectangular buildings, all > looking much the same, if not identical, only add to the depressed state most of the > residents find themselves in due to poverty, high rates of unemployment, and other > societal pressures. But forward thinkers are taking action, painting murals are on the > sides of buildings in some of these communities. People see things from new perspectives > since the artwork often addresses an issue and stimulates thought and meaningful > conversations, sometimes between total strangers. > > Murals added to the architecture in blighted areas can be the catalyst for > transformation. Dan Parolek, in an article about the power of public art, related: > > “Murals build a sense of community,’ muralist Grace McCammond told St. Louis > Public Radio. “They make it welcoming and walkable and they make you want to go > there. McCammond’s first mural in the St. Louis, MO, neighborhood known as The > Grove was commissioned fifteen years ago by a local property owner. It was so well > received that soon other property owners wanted murals too. At the time, The > Grove was a place most people avoided, but now it’s known as a local hotspot.”109 > > Two similar examples are related in Wherefore Art? > > William Hickling Prescott perceives architecture to be the “surest test of the > civilization of a people” and speaks of its connection with beauty: > > “The surest test of the civilization of a people—at least, as sure as any–afforded by > mechanical art is to be found in their architecture, which presents so noble a field > for the display of the grand and the beautiful, and which, at the same time, is so > intimately connected with the essential comforts of life.110 > > Renowned post-modern architect Frank Gehry believes: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “Architecture should speak of its time and place, but yearn for timelessness.”111 > > This concept is mentioned in the Writings of Bahá’u’lláh: > > “O people of creation! > > “It is incumbent upon you to build, in the cities and in the name of the Lord > of Revelation, Houses as perfect as can be built on earth, and to adorn them with > that which beseemeth them, not with images and statues. Magnify ye then therein > the praise of your Merciful Lord in a spirit of joy and radiance. Lo! it is through His > mention that hearts are illumined and eyes solaced.”112 > > What is the standard for an architect who wishes to design and build edifices that will > speak eloquently to future generations of the age in which they were constructed? If you > are considering this field, look to the guidance provided in the 1950s by Shoghi Effendi: > > “The Guardian [of the Bahá’í Faith] feels very strongly that, regardless of what the > opinion of the latest school of architecture may be on the subject, the styles > represented at present all over the world in architecture are not only very ugly, but > completely lack the dignity and grace which must be at least partially present in a > Bahá’í House of Worship. One must always bear in mind that the vast majority of > human beings are neither very modern nor very extreme in their tastes, and that > what the advanced school may think is marvelous is often very distasteful indeed > to just plain, simple people.”113 > > “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. Classical Greek > architecture, however, is an example of a mature art style. It is very beautiful now, > just as it has been beautiful for some two thousand years or more.”114 > > There are no clear, decisive arguments, though, against innovation or modernistic styles > other than they be pleasing to the eye and stand the test of time. Some of the newer > Bahá’í Houses of Worship around the world are testament to this fact, notably those in > Bahapur, India, known as the “Lotus Temple” and Peñalolén, Santiago, Chile, as well as > the design for the soon to be constructed shrine for ‘Abdu’l-Bahá. > > CHAPTER TEN > > Bahá’í House of Worship, New Delhi, India Baha'i House of Worship, Santiago, Chile > > If architecture is your calling, how nice to know that it offers you the opportunity to > combine art and science as it has been described as equally a social art and an artful > science. > > ~~~ > > Painting: Silent Poetry > > Painting is silent poetry, and poetry is painting that speaks. ~ Plutarch ~ > > “My only anxiety is what I can do...could I not be of use and good for something that would > console as much as music does.” ~ Attributed to Vincent Van Gogh > > “The world only concerns me in so far as I feel a certain debt and duty towards it, and out > of gratitude I want to leave some souvenirs in the shape of drawings or pictures—not made > to please a certain tendency in art, but to express sincere human feeling. “ ~ The Letters of > Vincent Van Gogh ~ > > H umans have been painting and drawing from the very beginnings of human > existence. The need to express what one sees, feels, and understands, along with both > a wish to share that with others and to leave a record for posterity, all contribute to > taking whatever medium has been available to create a pictorial record. In the online > article, “What is Art? Why is Art Important?” the author posits: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “Art has the power to take cultural practices from where they are from and then > transport and integrate them into different parts of the world without losing their > identity. > > “There, these art forms can be used to entertain, create awareness, and > even inspire foreigners to accept these cultures, no matter how strange or alien > they may seem.”115 > > And that’s exactly what John Dewey implies: > > ‘Barriers are dissolved; limiting prejudices melt away when we enter into the spirit > of Negro or Polynesian Art. This insensible melting is far more efficacious than the > change effected by reasoning, because it enters directly into attitude. > > “This is especially important in our highly globalized world. > > “Art has played an important role in helping fight against intolerance of > different cultures, racism, and other forms of unjust societal segregation.”116 > > Arts speak the same language to people who speak different languages. Art is the > common language of human existence. It facilitates communication and connection with > no need for words. This holds true no matter the medium or style of the work, be it > representational, non-representational or abstract. > > Representational, often called figurative Art, leaves no doubt as to the subject. > Always it is based on something seen and which the artist wishes to depict as they see it. > > “Abstract art exists on a continuum, from somewhat realistic representational work, > to work that is not based on anything visible from the real world. Even > representational work is abstracted to some degree; entirely realistic art is > elusive.”1167 > > Non-representational Art may consist of just lines, shapes, or squiggles, and color. Even > though it doesn’t represent anything physical, it often depicts the artist’s state-of-mind. > > ~~~ > > There are many more examples of visual Arts, such as quilting, needlecraft, pottery, > woodworking, stained, blown, and fused glass arts, puppetry, gourd carving and paper > crafting to name but a few. Each holds the same values as have been described for the > foregoing Art forms. > > CHAPTER TEN > > Which speaks to you? One? Several? Try them. Enjoy them. Make them. Improve > them. Share them. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Coax Out and Caper with Your Creative Child > > List all the arts and crafts you enjoy. > > What is it about each that brings you pleasure? > > Which do you prefer to have others do and just admire? > > Which do you like to dabble in yourself? > > Which have you wanted to try, but didn’t? > > Was it because you don’t think you have the talent? > > Or was it because you felt guilty taking time from your responsibilities? > > Write these affirmations. Say them aloud. Determine to follow them. > > I am made in God’s image. God is the Creator. I am a creative child of God. > > God gifted me with creativity. I accept and appreciate this gift, > > and will use it to the best of my ability. > > CHAPTER ELEVEN > > C HAPTER E LEVEN > > The Standard for Human Action > “Old standards of ethics, moral codes and methods of living in the past will not suffice for > the present age of advancement and progress.” ~ 'Abdu'l-Bahá ~ > > W hat standards do you use to judge the worth of your art? Do you have specific > criteria? What do you use as your benchmarks for purpose, usefulness, quality, > effect? Even if you just begin to create with no end goal in mind, how do you judge > your work when it's finished? > > “His [Bahá'u'lláh’s]teachings are universal and the standard for human action. They > are not merely theoretical and intended to remain in books. They are the principles > of action. Results follow action.”1 > > The Bahá'í Writings are your best source. The Universal House of Justice addressed artists > on this subject. Some of it speaks to art that is specific to the Faith, but most of it is > pertinent to all your artistic efforts: > > “. . . one of the great challenges facing Bahá'ís everywhere is that of restoring to > the city. 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. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “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 > recording 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.”2 > > According to Shoghi Effendi, > > “The believers are free to paint, write, and compose as their talents guide them."3 > > But he cautions moderation: > > “...a chaste and holy life...involves no less than the exercise of moderation in...all > artistic and literary avocations....It condemns the prostitution of art and of > literature...It can tolerate no compromise with the theories, the standards, the > habits, and the excesses of a decadent age.”4 > > He also wrote about the need to distinguish between the art itself and the milieu in which > it takes place: > > CHAPTER ELEVEN > > “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.”5 > > Bahá'u'lláh Himself wrote about the need to beware of being swept into the dross of the > immoderate and demeaning trends that have no spiritual basis. Regarding music, He > admonished: > > “We have permitted you to listen to music and singing. Beware lest such listening > cause you to transgress the bounds of decency and dignity....We have made music > a ladder by which souls may ascend to the realm on high. Change it not into wings > for self and passion.”6 > > When you listen to music, especially in the company of others, examine your response. > Does it cause you to act in a way contrary to this advice? Or does it lift your spirit to > heavenly realms? Bahá'u'lláh also warned writers: > > “Great care should be exercised that whatever is written in these days doth not > cause dissension and invite the objection of the people. Whatever the friends of > the one true God say in these days is listened to by the people of the world.”7 > > In dramatic or dance programs, If the plan is to depict a story based on historical events > in Bahá'í history, the Guardian offers specific guidance as regards the Central Figure of > the Faith: > > “With reference to your question whether the figures of the Báb and Bahá'u'lláh > should be made to appear as characters in dramatic works written by the believers, > Shoghi Effendi's opinion is that such an attempt to dramatize the Manifestations > would be highly disrespectful, and hence should be avoided by the friends, even > in the case of the Master. Besides, it would be practically impossible to carry out > such a plan faithfully, and in a dignified and befitting manner.”8 > > If you live in a democratic society where individual rights and privacy are guaranteed, > you likely treasure that freedom. It is important, though, to know that spiritually and > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > morally, liberty is not an excuse for license. Beware this pitfall into which it is easy to get > trapped. People who congratulate themselves for having committed positive moral acts > often then find themselves justifying a temporary aberration to satisfy their perception of > deserving to stray now and then. If you find yourself tempted to indulge yourself in any > pursuit that might be contrary to the good pleasure of the benevolent God, turn to the > sagacity of the Universal House of Justice: > > “You, who live in a land where freedom is so highly prized, have not, then, to > dispense with its fruits, but you are challenged and do have the obligation to > uphold and vindicate the distinction between the license that limits your > possibilities for genuine progress and the moderation that ensures the enjoyment > of true liberty.”9 >  > >  > > CHAPTER TWELVE > > C HAPTER T WELVE > > The Wisdom of the Review Process > “Bahá'í authors should welcome review of their works.” ~ The Universal House of Justice > > elcome it, we’re told. Not put up with it even though you don’t like it. Not endure it, > W since you have no choice. Meditate on that concept: “welcome review.” Eunice > Braun, in A Reader’s Guide, explains the purpose of the review process: > > “The purpose of review is to protect the Faith from misrepresentation and to > ensure dignity and accuracy in its presentation. In general the function of a > reviewing committee is to say whether the work submitted gives an acceptable > presentation of the Cause or not. Reviewers may win the gratitude and good will > of authors by calling attention to such things as occasional grammatical or spelling > errors, but approval should not be refused on such grounds; all such details are > editorial matters for agreement between author and publisher.”1 > > It's not uncommon for authors to groan and grumble about the review process. You, too, > may think it takes too long, or feel that some of the decisions are unfair and/or unwise; > I've heard authors vent their frustration, and at times sensed their deeply hurt feelings. > > For artists, authors included, your creations are like your children—they were > often birthed on following a combination of love and pain and long hours of hard work— > and to think what they have brought into existence through that difficult process is not > acceptable or is deemed unworthy and dismissed can cause you to feel resentful and > protective, just as a parent would if someone disparaged their child. I would guess that > some of this occurs more from the publishing arm than the review board and artists may > not differentiate the two. > > Your goal then is to listen subjectively and rather than perceive the critique as a > personal attack, dispassionately consider the offered suggestions and ponder their merits. > Then if you still feel strongly that the review board has made an error, you can appeal to > them to reconsider, presenting rational arguments for your opinion. If afterward you > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > remain dissatisfied and unconvinced, you can further appeal your case to the National > Spiritual Assembly, and in the most extreme circumstances, to the Universal House of > Justice. But it is important to understand that the review board is arbitrary, its function is > solely to protect the reputation of our blessed Faith and ensure that inaccurate or > misleading information is not disseminated. > > The review process for writing that discusses the teaching and history of the Bahá'í > Faith dates back at least to the time of the ministry of 'Abdu'l-Bahá. He wrote: > > “But, whatever writings and articles which the believers may write for the spread > of the Cause of God, these they must necessarily send to the Holy Land, in order > to be corrected and rectified (or approved of) and then to be returned to them > and then published. Before their being corrected here and before securing > permission from here, their publication is by no means allowable.”2 > > The review board is neither tasked with making judgments on your writing style nor the > quality of your work. Their instruction is strictly to ascertain that your facts are accurate > and that the content maintains the dignity of the Faith. It is the publisher and your editor > who will discuss grammar and style with you and possibly suggest additional material > be added or some removed. Again, it is reiterated that: > > “… In general the function of a reviewing committee is to say whether the work > submitted gives an acceptable presentation of the Cause or not. Reviewers may > win the gratitude and good will of authors by calling attention to such things as > occasional grammatical or spelling errors, but approval should not be refused on > such grounds; all such details are editorial matters for agreement between author > and publisher.”3 > > Similarly, the Universal House of Justice explains: > > “The function of reviewing is, essentially, to check the Author's exposition of the > Bahá'í Faith and its teachings, which may include verification of any quotations > from Bahá'í writings. This function should not be confused with evaluation of the > literary merit of a work or of its value as a publication, which are normally the > prerogative of the publisher...”4 > > Review is not limited to books; it is for anything that will be read or seen by the general > public. If it is something that will be read widely, it is essential that it be approved by the > National Review Board. > > CHAPTER TWELVE > > “It is an obligation of all Bahá'ís to present the Faith in a dignified manner, and > therefore, when writing articles about the Faith, they should take into > consideration the type of magazine or other publication in which the article is to > appear. Should there be any question about its character, they should consult with > the National Spiritual Assembly. In addition, all authors should bear in mind that > anything written about the Faith for publication is subject to review before > submission to the publishers.”5 > > Even dramatic presentations should be approved if they directly address the Faith, its > Central Figures or history. > > “Literary work, whether a play or otherwise, has to be reviewed by the National > Spiritual Assembly of the country in which it is published. As to the performance > of a play in any country, this is a matter for decision by the National Assembly who > may rule that, for safety's sake, a certain drama (Bahá'í or non-Bahá'í) should not > be performed by Bahá'ís within its jurisdiction. That, however, is a different > question, and has nothing to do with review.”6 > > If your work is turned down by one national review board, you can send it to one in > another country, but if you choose that route, the work must be published in the country > from which you received approval. For instance, you can't have it approved in Canada or > India and then have it published in the United States. > > “As to your request for guidance from the House of Justice regarding the play you > are writing, we are asked to say that the friends are free to write whatever they > are moved to create. If, however, such works are about the Faith and are for > publication, they must be reviewed and approved by the National Spiritual > Assembly of the country in which they are first published.”7 > > “Bahá'í authors may submit their work for review to any National Spiritual > Assembly and may send their works, once approved, to any publisher they like, > Bahá'í or non-Bahá'í, at home or abroad. It should be remembered, however, that > the approval should be given by the National Spiritual Assembly of the country > where the work is to be first published. And in the case of a non-Bahá'í publisher, > the author should insist on use of the system of transliteration at present used by > the Faith for languages employing the Roman alphabet.”8 > > The Universal House of Justice exhorts you to consider the appropriateness of a particular > magazine, website, or some other widely read publication before submitting your work > to them. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “It is an obligation of all Bahá'ís to present the Faith in a dignified manner, and > therefore, when writing articles about the Faith, they should take into > consideration the type of magazine or other publication in which the article is to > appear. Should there be any question about its character, they should consult with > the National Spiritual Assembly. In addition, all authors should bear in mind that > anything written about the Faith for publication is subject to review before > submission to the publishers.”9 > > If the material is for a local publication, then the Local Spiritual Assembly can review it. > As listed in Lights of Guidance: > > “In the Feb. 'Bahá'í News', page 3, it mentions that magazine articles about the > Cause...'written by individual believers as their personal understanding of the > teachings'...need not be reviewed officially. He feels this is unwise, in view of the > Master's own instructions that articles about the Cause should not be published > by individuals without proper approval of some responsible body. > > “The Guardian says the Local Assemblies can pass upon such articles; it is > not necessary to refer them to a National Committee.”10 > > My weekly column, “Faith and Action,” ran for six years in the Eloy Enterprise, the local > weekly newspaper in the small city where I live. Addressing issues of the day, moral and > civic, or highlighting historical events, each one included at least one quotation from the > Bahá’í Writings. The column ran for several years before my community had enough > members to elect its own Local Spiritual Assembly (LSA), so I requested review by the > Local Spiritual Assembly (LSA) in a neighboring jurisdiction. They appointed two > trusted, knowledgeable individual(s), Kitty Lutness and Joyce Kleikamp, both of whom > are also writers, to serve as reviewers. I felt both relieved and grateful when they caught > anything problematic that could possibly be misconstrued. Even after Eloy formed its > first LSA, I asked, and they agreed, to continue as my reviewers. > > It is vital to understand and fully accept that the purpose of review is to protect > the Faith. It is not at all meant to place obstacles in your way or be a source of > discouragement. Rather you are encouraged and urged to help the Faith and its principles > through your literary talents. The Universal House of Justice urges you on: > > “It is hoped that Bahá'í authors will provide a constant stream of new works. > Introductory books, commentaries, dissertations on various aspects of the > Revelation, tex books, histories, reviews, audio-visual material are all needed to > stimulate study of the Faith and to promote the vital teaching work.”11 > > C HAPTER T HIRTEEN > > Promote Spiritual Transformation > at the Community Level > Development of The Arts > > “Artistic expression, such as music and drama, in reflection meetings, cultural events, and > other gatherings will quicken the hearts, enabling them, as ‘Abdu’l-Bahá wrote, to “become > inflamed with the fire of the love of God.” ~ International Teaching Centre > > O verall, this book addresses the reader personally, on a one-to-one basis. But there is > wisdom here for local communities as well. This "General" section on the > "Development of the Arts" is addressed to each Bahá’í individual who serves, or may > serve in the future, on a Local Spiritual Assembly, a Feast and/or Holy Day committee, or > who plans any event or program, be it a study circle, cluster reflection meeting, deepening > session, children's class, proclamation event, or fireside. For the reader of another faith, > or no faith, it can be for Bible Study, social gatherings, marriage enrichment sessions, or > any other activity you plan. It even pertains to weddings and funerals. > > • Don't ignore The Arts and omit them entirely from your programs and > gatherings. > • Don't merely schedule "entertainment." > • DO weave the arts into everything you do. > o Please note that I'm not denigrating entertainment for > entertainment's sake. That in itself will enhance any event. But when > The Arts become woven into the presentations and the music, > poetry, drama, or visual art is specific to the topic, it reaches the mind > and, beyond, that, penetrates the heart and soul. (See Art's > Underlying Purpose.) > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > For decades I've endeavored to educate about and encourage implementation of this > concept, but although most listened politely, not much weight was given to acting on the > idea of weaving the arts vs. using them as incidental entertainment, primarily as people > are arriving and to end the program. But perhaps now that the same thought has been > put forth by the Bahá'í International Teaching Centre, the friends will begin to take these > ideas to heart. In 2001, they stated: > > “As with all other aspects of the expansion and consolidation work, the > requirements of the time call on us to be more systematic in the use of the arts. > They should not be considered simply an embellishment to our programs or an > afterthought in our planning. Rather they must become an integral part of our > teaching plans and community life.”1 > > Their rationale: > > “The arts have a vital role to play in the process of entry by troops.”2 > > We all want to share our faith with others and offer them the greatest gift of all: the Divine > Elixir that can heal all the ills facing us on individual, community, national and world > levels. One of the most efficient ways of reaching hearts and moving souls is through > artistic mediums. > > Poet Roger White gave some sage advice to a group of young people gathered at > the Bahá'í World Centre, Haifa, Israel. It is advice that should reach everyone, not just the > youth. > > “Poetry, like all art, has a message for us. It says: care, grow, develop, adapt, > overcome, nurture, protect, foster, cherish. It says: your reality is spiritual. It says: > achieve your full humanness. It invites us to laugh, reflect, cry, strive, persevere. It > says: rejoice! Above all, it says to us: be! We cannot turn our backs on art. Art heals. > > “I am of the conviction that in the future, increasingly, one important > measure of the spiritual maturity and health of the Bahá'í world community will be > its capacity to attract and win the allegiance of artists of all kinds, and its sensitivity > and imaginativeness in making creative use of them. > > “Artists—not tricksters and conjurers, but committed artists—will be a vital > force in preventing inflexibility in our community. They will be a source of > rejuvenation. They will serve as a bulwark against fundamentalism, stagnation, and > administrative sterility. Artists call us away from formulas, caution us against the > fake, and accustom us to unpredictability—that trait which so characterizes life. > > CHAPTER THIRTEEN > > They validate our senses. They link us to our own history. They clothe and give > expression to our dreams and aspirations. They teach us impatience with stasis. > They aid us to befriend our private experiences and heed our inner voices. They > reveal how we may subvert our unexamined mechanistic responses to the world. > They sabotage our smugness. They alert us to divine intimations. Art conveys > information about ourselves and our universe which can be found nowhere else. > Our artists are our benefactors. > > “To the degree the Bahá'í community views its artists as a gift rather than a > problem will it witness the spread of the Faith "like wildfire" as promised by Shoghi > Effendi, through their talents being harnessed to the dissemination of the spirit of > the Cause. > > “In general society, artists are often at war with their world and live on its > fringes. Their lack of discretion in expressing their criticism—which may be hostile, > vituperative, negative, and offer no solutions—may lead to their rejection and > dismissal by the very society they long to influence. Artists are frequently seen as > trouble-makers, menaces, destroyers of order, or as frivolous clowns. Sometimes > the kindest thing said of them is that they are neurotic or mad. In the Bahá'í > community it must be different. Bahá'u'lláh said so. Consider that the Bahá'í > Writings state that All art is a gift of the Holy Spirit and exhort us to respect those > engaged in science, art and crafts. > > “The artist has among other responsibilities those of questioning our values, > of leading us to new insights that release our potential for growth, of illuminating > our humanity, of renewing our authenticity by putting us in touch with our inner > selves—as Rilke says—to change our lives. The artist aids in our transformation. > > “In the Bahá'í Order the artists will find their home at the centre of their > community, free to interact constructively with the people who are served by their > art; free to give and to receive strength and inspiration. It is my hope that all of us > who are gathered here will be in the vanguard of this reconciliation between artists > and their world. As Bahá'u'lláh foretells, the artists are coming home to claim their > place. I urge you: Be there! Welcome them! > > “Bring chocolate!”3 > > The most utilized art form that communities include is music. Shoghi Effendi > recommended including music at Feasts.: > > “With regard to your question concerning the use of music in the Nineteen Day > Feasts, he wishes you to assure all the friends that not only he approves of such a > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > practice, but thinks it even advisable that the believers should make use, in their > meetings, of hymns composed by Bahá'ís themselves, and also of such hymns, > poems and chants as are based on the Holy Words.”4 > > Writing about what an ideal Feast2 would look like, 'Abdu'l-Bahá indicated: > > “The believers of God must assemble and associate with each other in the utmost > love, joy and fragrance. They must conduct themselves (in these Feasts) with the > greatest dignity and consideration, chant divine verses, peruse instructive articles, > read the Tablets of ‘Abdul-Bahá, encourage and inspire each other with love for the > whole human race, invoke God with perfect joy and fragrance, sing the verses, > glorifications and praises of the Self-subsistent Lord and deliver eloquent > speeches.”5 > > In one sentence He advocates chanting, singing, and eloquent speeches among the > elements of a successful Nineteen-Day Feast. Each of these is an artistic endeavor. > > Increase your creative efforts. Add more than one art genre. This can’t help but > enhance all undertakings. > > Short monologues and skits are very effective uses of artistic mediums which can > be added to programs to enhance the message, rather than just "entertain." They still > entertain, but they have a lasting and profound effect, as shown in this excerpt from a > report by the National Spiritual Assembly of Brazil on their fifth Bahá'í National Unity > Conference: > > “The arts were one of the key features of the Conference . . . The youth presented > humourous theatrical plays on the development of virtues and the construction of > soundly established communities. > > “Dramatic presentations raised the enthusiasm of the participants. For > example, all were thrilled to watch the story of Anis brought to life on Soltanieh's > stage. The children also gave a special touch to the event. A large tent was pitched > where they had their activities. > > “As a result of the Conference, 12 new believers were enrolled. In addition, > four offers of pioneers were received, 17 friends volunteered as travelling teachers, > and 48 youth expressed willingness to serve in teaching projects in schools and > universities.” > > CHAPTER THIRTEEN > > Acclaimed artist Mark Tobey provides a wise explanation of why we need to return to > making art and artists central in the community: > > “All human beings are responsible to each other, and the lack of this consciousness > creates within communities restrictions and differences, for which the community > as a whole pays the price of less expansion. Society as a whole has shut the door to > the artist and creative person because they have individually and collectively shut > the door to their own creative sides. Feeling people are too difficult and demand > too much individual thought and time for the routine of their factual existence. > When people of any community learn that art may become a functional part of > their life they will find more life and not only that but a new eye and a new ear— > and the artist will step down from his ivory tower only too glad to become a part of > the whole again and both will come to see these and similar activities as the > manifestations of a higher state of human consciousness—the vision of the > whole.”6 > > Do you wish more life for yourself and your community? If so, be sure to tap into your > own creativity, recommit to your artistic self, or if you haven't yet done it, begin the > journey to discover your artist hidden deep inside your soul. (See Discover the Artist > Within). Encourage others in the community to do so, also. And offer your service to the > community in helping plan and execute the use of artistic elements in your community > life. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Promote Spiritual Transformation > at the Community Level > The Arts: Indispensable in School Curriculum > > “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.” ~ > 'Abdu'l-Bahá > > e’re warned by ‘Abdu’l-Bahá: > W “. . . In this new cycle, education and training are recorded in the Book of God as > obligatory and not voluntary. That is, it is enjoined upon the father and mother, as > a duty, to strive with all effort to train the daughter and the son, to nurse them from > the breast of knowledge and to rear them in the bosom of sciences and arts. Should > they neglect this matter, they shall be held responsible and worthy of reproach in > the presence of the stern Lord.”7 > > Wow! As a parent, if you don't ensure that your children are educated in the arts as well > as the sciences, you "shall be held responsible and worthy of reproach in the presence of the stern > Lord." That should make you stop and think. Two points stand out: > > First: The Lord is called "stern." This is rare in the scriptures of the Bahá'í Faith. > Bahá'ís are accustomed to God being referred to in terms like the Most Merciful, the Ever- > Forgiving, the Clement, the Gracious, etc. To use the term "stern" signifies great import > for the subject. It must be invaluable and affect both the individual and society > > Second: The vast majority of schools, at least in the United States, have eliminated > The Arts from their curriculum. A few have included it an elective or an after-school > activity which is often fee-based. > > So important is the question of Art that it is even specified in Bahá’í teachings to > be part of students’ curriculum. This is in stark contrast to the fact that when budget cuts > > CHAPTER THIRTEEN > > are needed in public schools, at least in the United States, Arts are usually the first classes > to be cancelled. 'Abdu'l-Bahá gave a new and unique view on how to structure the school > day: > > “He must study every day from morning till noon, so that he may learn how to read > and write. From noon till about sunset he should acquire a craft. The children must > both learn to read and acquire an art or skill.”8 > > 'Abdu'l-Bahá also addresses the purpose of the arts and why children must be > encouraged and nurtured in their artistic endeavors: > > “Encourage the children from their earliest years to master every kind of learning, > and make them eager to become skilled in every art—the aim being that through > the favouring grace of God, the heart of each one may become even as a mirror > disclosing the secrets of the universe, penetrating the innermost reality of all things; > and that each may earn world-wide fame in all branches of knowledge, science and > the arts.”9 > > And He indicates that: > > “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.”10 > > He then assures: > > “This verily is a matter beyond all doubt, a pledge that shall certainly be > redeemed.”11 > > These statements are borne witness to by many who probably never read the words of > 'Abdu'l-Bahá. or perhaps even heard of him, or who lived long before Him. > > The ancient philosopher Plato called for inclusion of music education: > > “I would teach children music, physics and philosophy; but most importantly music, > for the patterns in music and all the arts are the keys to learning.”12 > > Eloquent Evidence: Arts at the Core of Learning, a 1995 publication of the President's > Committee on the Arts and Humanities, states: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “Schools that incorporate music, art, drama, dance, and creative writing into the > basic curriculum have found that teaching the arts has a significant effect on overall > success in school. Because the arts are closely associated with important ideas and > events in history, students who have a good background in the arts are likely to have > a richer source of information and insight to draw upon, compared to those who > do not study the arts. > > “For example, students of the arts continue to outperform their non-arts > peers on the Scholastic Assessment Test, according to The College Entrance > Examination Board. In 1995, SAT scores for students who studied the arts more than > four years were 59 points higher on the verbal and 44 points higher on the math > portion than students with no coursework or experience in the arts.”13 > > How good and how accurate is your own recall after you’ve heard a great lecture? No > matter how profound the message, how eloquent the speaker, you retain but a fraction of > what they said. You can take notes, which can help, but at the risk of missing something > valuable that is being said while you're busily jotting away. > > When something is presented visually, musically, or dramatically, your retention > increases, especially if it is easily memorized in the form of a song or poem. > > You probably learned the alphabet by singing your ABCs. > > The number of days in any given calendar month can be recalled easily by reciting > the poem Thirty days hath September . . . surely you remember that one from your school > days. I still recite it occasionally if I’m unsure of how many days are in a particular month. > > Changing Education Through the Arts (CETA), a program of the John F. Kennedy > Center for the Performing Arts, has as one of its main goals, to: > > “Help students learn more fluently and with greater motivation by providing > professional development that builds teachers’ knowledge and skills in integrating > the arts across the curriculum…”14 > > One CETA Teacher explains: > > “Through the CETA program, teachers come to understand that the arts really turn on lights > in children's minds—their learning is more meaningful and deeper.”15 > > And a third-grade student in the CETA program suggests: > > CHAPTER THIRTEEN > > “Just reading a book doesn’t make things stick in your head, but when you do a > tableau, what you read really sticks in your head.”16 > > Beyond just an art class or art instruction, CETA calls on schools to fully integrate the arts: > > “Arts Integration is an APPROACH to TEACHING in which students construct and > demonstrate UNDERSTANDING through an ART FORM. Students engage in a > CREATIVE PROCESS which CONNECTS an art form and another subject area and > meets EVOLVING OBJECTIVES in both.”17 > > Sometimes adults are so intent on making their own pronouncements that they forget to > ask the students themselves for their input. Yet, The Arts can have a deep impact on them. > Let’s see what one young woman says about how she is impacted by The Arts . A high > school student at Vista Grande High School in Casa Grande, Arizona says: > > “So many kids don’t know how to express themselves, but then they take an art > class and they learn the techniques they need to express themselves through art. > For me, art not only allows me to express myself, but it also has a calming effect on > me. Teens need that.”18 > > Whether or not you are a parent, you can advocate for change in our public schools. You > can make friends and family aware of the importance, nay the necessity, to bring back > and/or enhance the type and amount of arts education offered in our schools. In the > interim, find independent art classes or tutors for your children so they can reap the > benefits which will enhance their futures. And take to heart for yourself the value of art > in your own life, whatever your age. Art matters. You can (and probably should) immerse > yourself in it, too. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Promote Spiritual Transformation > at the Community Level > The True Worth of Artists and Craftsmen Should Be Appreciated > > “It hath been revealed and is now repeated that the true worth of artists and craftsmen > should be appreciated, for they advance the affairs of mankind.“~ Bahá’u’lláh > > “Artisans, craftsman, agriculturalists and tradesmen are seen in the Bahá'í perspective as > enjoying an intrinsic station of worth and value.” ~ Bahá’’í International Community > > W e've examined why art and artists are essential to the growth of a well-rounded, > healthy community life, and therefore, why it’s essential to incorporate The Arts > into your own life. > > After reading and considering this information, you’ve gained knowledge, but > knowledge alone is insufficient. It doesn’t change anything. However, if this knowledge > has brought you an understanding of, agreement with, and acceptance of the premises > presented, you now realize its vital importance. > > Now let’s transfer this knowledge to the community. As a community member or > leader, it’s vital to first have a firm understanding, a belief, of the positive results that will > take place when The Arts are woven into your community life, or to realize that what > already exists should be expanded to strengthen and enhance what is already taking > place. Volition is when desire turns to will and determination. Knowledge and volition > are the prerequisites, but even together they matter not unless they lead you to action. > > What will push you to ensure these vital changes take place? That comes when > you internally, not just rationally, come to respect and appreciate the artists in your > community and their work, then encourage them—nurture them—include them— > consult openly and honestly with them—become comfortable with them—welcome > them. You don’t have to “Bring chocolate,” (see previous section: Development of The > Arts) but that would be a delightsome touch! The result? They will inspire the community > to explore and test out artistic inclusions in all facets of community life. > > CHAPTER THIRTEEN > > A perusal of the sacred scriptures of the Bahá'í Faith, shows the importance of, > respect for, and appreciation of artists and craftsmen elevated to a level never before seen > in religious texts. Bahá’u’lláh states: > > “Great indeed is the claim of scientists and craftsmen on the peoples of the > world.”18 > > He admonishes: > > “The people of Bahá should not deny any soul the reward due to him, should treat > craftsmen with deference, and unlike the people aforetime, should not defile their > tongues with abuse.”19 > > Further, He declares: > > “In this Day the sun of craftsmanship shineth above the horizon of the occident and > the river of arts is flowing out of the sea of that region. One must speak with fairness > and appreciate such bounty. . .”20 > > What exactly is meant by deference? The Merriam Webster Dictionary describes it as > "respect and esteem" and dictonary.com says it is "respectful or courteous regard." > > Unfortunately, in current society, aside from some famous celebrities, artists are > frequently treated with disdain rather than respect, esteem, and courteous regard. > Bahá'u'lláh warns, > > “Beware, O My loved ones, lest ye despise the merits of My learned servants whom > God hath graciously chosen to be the exponents of His Name `the Fashioner' amidst > mankind. Exert your utmost endeavor that ye may develop such crafts and > undertakings that everyone, whether young or old, may benefit therefrom.”21 > > The Bahá’í International Teaching Centre tells us: > > “…we must be sensitive to the fact that Bahá’í artists may sometimes feel outside > the mainstream of community life because they are unsure as to what form their > service might take. They may feel their contributions are not valued if service to the > Faith tends to be equated only with serving on committees or Assemblies. These > feelings may be especially apparent in indigenous cultures where the traditional > arts have sometimes been denigrated by society at large.”22 > > Once this respect becomes genuine—something given automatically—without need for > thought—action will follow naturally. You won't have to struggle with the question, > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > "Should we include Sam the singer?”—or “Polly the poet?”—or "Should we incorporate > some artistic element?" You'll just do it. You won't consciously do so because you know > it should be done, but rather because you couldn't imagine anything worthwhile being > accomplished without it. > > Some adults are wont to give scant credence and little respect to youth—to their > ideas, their expressions, their art. It would be well to stop, listen, and learn from young > artists—to encourage them and invite their collaboration and participation. Shoghi > Effendi attested to this: > > “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.”23 > > Julio Alcala, a high school student who worked as a part-time clerk in my office, > hailed from the barrio in Oxnard, California. Julio received poor grades in English due to > difficulties with spelling and grammar. But the emotions evoked by his poetry were > palpable. This sample is called Running to Hide: > > Where will I stand > When god stops the hands > And all of this is over > Will my picture frame > Show the shame of me > Running to hide > Where they can’t hurt me > As today As yesterday > I’ve hidden my treasures > My hopes and dreams > What can not be seen > Can not be broken > What would they say > Once they saw my > Treasures > Would they judge me > > CHAPTER THIRTEEN > > for a fool > I can not take a risk > I’ll go on > Running to hide > Where they can’t hurt me > There will come a time > When the world isn’t so big > And I’m not so small > Then I’ll open my > Treasures > But until then > I’ll hide my friend > And I’ll just go on > Hurting > > When Julio brought me samples of his poetry, I could have pointed out grammar and > punctuation that needed correcting, but he wasn't seeking a critique—just a chance to > share his work with someone who loved poetry. I spoke only of what I liked about it— > which truly was almost. I complimented word choices and phrases that I felt especially > moving or compelling. Julio, as is made obvious in the poem, needed someone to trust— > someone whose appreciation of his talent was sincere—support he felt lacking both at > home and at school. He needed encouragement and an outlet to present his efforts. Each > poem spoke to me on a deep soul level. I can only hope that it helped him, somehow, > later in his life and that he’s stopped “running to hide” and now feels safe and welcome > to “open [his] treasures.” > > May you be both the giver and receiver of similar encouragement. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Promote Spiritual Transformation > at the Community Level > Encouragement: Essential to Success > > “Encouragement is...given to commerce, the arts, science, agriculture and scientific > discovery. The people are commanded to bring forth fruit upon the earth. "The principle of > faith is to lessen words and increase deeds.” ~ ‘Abdu’l-Bahá ~ > > he fruit brought forth by the deeds of ethical and honest businessmen is trust. In science > T it is knowledge and in agriculture the benefits of more abundant and healthier food > choices. The deeds of an artist are their efforts to improve and bring forth works of Art > that will bear fruit in the inspiration and awareness they provide the > viewer/reader/audience. These benefactors of society will flourish if given sincere > encouragement. If not, their spirit may wither, and with it their artistic output. > > Bahá’í Counselor Stephen Birkland, noting the power of nonverbal > communication, encourages you to encourage others: > > “In teaching and training, encouragement is essential to success. ... We must > encourage through empathetic listening and smiles in addition to verbal praise. Set > up possibilities.”24 > > He goes further and suggests: > > “We should encourage poets, playwrights and musicians to write artistic pieces > regarding encouragement.”25 > > Many artists feel misunderstood, unappreciated, devalued, and ignored. This often keeps > them apart from participation within the community, and some move to different groups > they find welcoming. Others succumb to the pressure and set aside their creative > aspirations. A few are strong enough in their faith in themselves and in their > understanding of the Bahá'í teachings not to feel intimidated or guilty, they refuse to be > deterred. There are many, too many, who feel alienated from their Bahá'í family. The > National Spiritual Assembly of the Bahá’ís of the United Kingdom advised: > > CHAPTER THIRTEEN > > “If the friends can encourage each other to express themselves through their arts, > from the heart, it will undoubtedly prove a source of greater understanding > between them, a means of breaking down barriers of coldness and conventionality > and getting to know each other on the spiritual level. Try to consult with each one, > draw out the shy ones. It is surprising, when the friends are asked directly regarding > their skills and hobbies, to find out just what a talented group of people we are. > Sometimes artists, even professional ones, can be very reserved and need to be > coaxed into coming forward.”26 > > Following are a few examples of true incidents based on interactions between artists and > their fellow Bahá'ís: > > Canadian author, Marlene Macke shared this story at the first annual (2018) > writer's retreat, The Write Life, held at the Desert Rose Bahá’í School in Eloy, Arizona > > “My first book took nearly a decade to write. The delay in getting it finished lay in > my paid employment and my service in the Bahá’í community. When you live in a > tiny Bahá’í community, one feels compelled to be at every meeting, study group, > devotional, Holy Day, fireside, Feast and Assembly meeting, and when push comes > to shove, I felt guilty about wanting to stay home and write. > > “Then I went to a writer’s workshop at the Louhelen Bahá’í School in > Michigan and had an epiphany! The facilitator of the workshop addressed this very > issue of writers being torn between life’s commitments, Bahá’í service and writing. > She told us that our writing was service, that no one had our “voice” and if we did > not write, then that voice was lost forever. She said that others can chair meetings, > take minutes, organize Ruhi classes and so on, that our gift of service was a > particular one that no one else could offer, that we ought to recognize our gift of > service, honour it, and just do it. > > “This freed me from my former guilt (and, yes, some resentment) and I > became purposeful in getting my book written. I let my fellow Bahá’í community > members know of my epiphany, although I recall being met with a wall of silence > at the time. Now, a decade later, these same community members seem proud > that one of theirs has published a book about a beloved fellow Canadian believer, > they tell others how excited they are that I have another book ready for print, and > they introduce me as an author. > > “The community has even asked me to continue with a series of dramatic > readings that I started writing a couple of years ago. Together we have walked a > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > path of transformation: me in feeling free to pursue my service and they in coming > to honour the place of the arts in the Bahá’í community." > > My own story comes in two parts. > > First: At 34 years of age, I had been a homemaker and stay-at-home Mom for 16 > years. Even though I dearly loved my husband, my two children, and the many and > diverse Bahá'í activities in which I was involved, I felt unfulfilled. My yearning for a > creative outlet led me to try all the stereotypical female crafts that could be done at home: > sewing, knitting, crocheting, needlepoint, etc. Unfortunately, it became all too apparent > that I was inept at each of them. Secretly, I yearned for an outlet outside of home and > hearth. > > In November 1979 I attended the first play presented by the newly formed > Carpinteria Community Theater group (Carpinteria, California then our hometown). I > found myself delighted and inspired. I knew, or knew of, almost everyone in the cast. > Their joy in their craft was obvious. I could tell they loved what they were doing. It > recalled to me that same sense of joy and fulfillment I’d experienced in my high school > drama class, and I realized this was where I belonged. They offered a ten-week acting > course which I took along with both of my children, and I was hooked! > > The negative side, or so some thought, was that rehearsal and performance > schedules often conflicted with Feasts, Holy Days, and committee meetings. Several of > the friends resented my putting the theater before the needs of the community. One went > so far as to say, after I'd told her I was unavailable for something she considered vital, > "Damn that theater." Sounds similar to what Marlene Macke experienced, doesn’t it? > How many other artists have been treated, or perhaps its more apt to say mistreated > thusly? > > What my friend didn't understand is that because I worked full-time in a small > office, I was with the same few people day in and day out. I then came home to a husband > and two children and in my spare time worked almost full-time again with various Bahá'í > activities and commitments, interacting mainly with the same set of people, all of whom > were Bahá'ís. When I spoke at a Fireside of public meeting, it wasn’t me who was inviting > guests to attend. I had no one to invite. Then I entered the world of theater. Each play > brought me in contact with new people and inevitably I had at least one person in the > cast or crew curious about the Faith and its teachings, some of whom had never before > > CHAPTER THIRTEEN > > heard of the Faith. What a joy to be able to share the divine message of Bahá'u'lláh with > people who expressed interest and had questions they wanted answered. These were > opportunities had been rare before theater became my avocation. > > My friend's vehement resentment about my intensive foray into this pursuit > dissipated in 1991. On being cast in each of the two one-act plays on Bahá'í history, > written by Canadian playwright Ann Boyles scheduled for presentation to approximately > 6,000 youth from around the world during the 1992 Bahá'í World Congress in New York > City, she looked me in the eyes, and with contrition in her voice, declared, "Now I > understand why it was so important for you to be in the theater. Without all that > experience you might not have been good enough to do this." It took 12 years for her to > come to that realization—12 years during which she was known to frequently grumble— > but she never grumbled again. > > Second: An enlightened Bahá'í friend gave me some wise words of encouragement > when I needed them the most. In the early years of our marriage, I'd often expressed to > my husband my wish to move abroad as Bahá'í pioneers. My husband was adamant that > we should wait until after our children were grown and finished with their schooling. > When that time arrived, he was ready to pack up and go. I wasn't. The thought of not > being involved in theater tore at me. I not only did community theater but also performed > pieces related to Bahá'í history and others that reinforced Bahá'í principles like race unity > and the equality of women and men. I developed feelings of guilt for putting the theater > before service to the Cause, yet an insistent inner voice told me to stay. I no longer felt > any desire to pioneer. If anything, I dreaded the thought of leaving. In discussing this > with an understanding friend, she said, "Jaine, you are pioneering. You are a homefront > pioneer in the field of theater for teaching the principles and the history of our Faith. > There are so few people doing what you do. You're needed here." Her kindness, her > words of advice, freely and honestly given, absolved me of all guilt and I continue to use > my acting talent in service to the Faith all these years later, even now as a senior citizen. > It wasn’t a mere platitude or simple rhetoric. Perhaps she was just wise, or she may have > been familiar with the statement of Shoghi Effendi noted earlier (See Drama: Pulpit of the > Future), in which he foresees the ultimate purpose of these efforts: > > “That day will the Cause spread like wildfire when its spirit and teachings are > presented on the stage or in art and literature as a whole.”27 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Then why not, I ask—I plead— include the creative accomplishments of your members > in your activities. Many artists feel alienated within their own communities. Heed the call > of the Universal House of Justice to encourage: > > “. . . Bahá'í artists and musicians to contribute, and consider inviting their non-Bahá'í > colleagues to contribute, to the effectiveness of…activities by giving expression > through the various arts to important themes relating to world peace.28 > > I'll share one success story on this point: > > Musician/singer/songwriter Chris Ruhe relocated to Eloy, Arizona to become the > Station Manager of radio station KURE, located on the grounds of the Desert Rose Bahá'í > Institute (DRBI in Eloy), AZ. Demanding and time-consuming as that position is, Chris > was not about to give up playing music. He couldn't survive without it. He searched out > and made connections with Arizona musicians with whom he now collaborates. Several > of them have played for various Bahá'í functions. One of these friends came to the > realization that his happiest, most fulfilling and soul-satisfying moments are when he's > playing for and mingling with people at Bahá'í events. The venues included DRBI, the > Scottsdale, AZ Bahá'í Center, Macy's European Coffee House and Bakery in Flagstaff, AZ > where the owner hosts a monthly Bahá'í fireside. He decided, following one of DRBI’s > annual Artist & Scholars Symposiums, to embrace Bahá'í Faith and enrolled as a member. > > Let us continue to encourage artists. > > Societal and personal problems will begin to resolve themselves once the Bahá'ís, both > individually and collectively, develop a true respect and acceptance for the artists in their > midst, encourage them, and then tap their talents for the betterment and welfare of the > community within and to assist with outreach to the community at large. > >  > > CHAPTER THIRTEEN > > Promote Spiritual Transformation > at the Community Level > Criticism is Easy; Art is Difficult > > “Criticism is easy; art is difficult. ~ Philippe Destouches > > “When a work lifts your spirits and inspires bold and noble thoughts in you, do not look > > for any other standard to judge by: the work is good, the product of a master craftsman.” > > ~ La Bruyère > > T he art of critique, also known as "constructive criticism," is a vital aspect of artistic > appreciation. Done right, it is an art. Done wrong, it is poison. > > Sometimes, though, those dearest to you, and whose opinion means most—your > own “Tía Annie” (See The True Worth of Artists Should Be Appreciated)—may cause > unintentional damage to your artistic sensibilities. Perhaps they thought they had your > best interests at heart. Who's to say that one’s opinion is correct for the person to whom > it is proffered? Henry James wrote, > > “We must grant the artist his [and her (author’s addition!)] subject, his idea, his > donnée: our criticism is applied only to what he makes of it. If we pretend to respect > the artist at all, we must allow him his freedom of choice, in the face, in particular > cases, of innumerable presumptions that the choice will not fructify. Art derives a > considerable part of its beneficial exercise from flying in the face of > presumptions.”29 > > Varied levels of proficiency exist among artists and their output—all need to be > encouraged—but each has their appropriate place. Some can be incorporated into Feasts, > firesides, study circles, children's classes, Holy Days, and small community gatherings, > but are not appropriate for a large event to which the public is invited. It takes tact and > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > wisdom to help the budding artist understand and not feel that they are being weeded > out of the creative garden. Tread with care. You don't want to crush anyone's spirit or > artistic soul but rather encourage continued study, practice, and perseverance which will > lead to improvement—a striving toward excellence. (See Strive for Excellence) > > Beware when and how you offer an opinion. Judgment by an artist on the quality > of another's art is fraught with danger. More perilous to an artist than the criticisms of > the general public or even family and friends, is that of other artists. Theirs can be > especially poisonous. > > “That isn’t real music!” exclaimed my musician/singer/songwriter friend when I > put needle to platter to listen to a favorite vinyl record. The artists weren't present, so > they didn’t hear his hurtful words, but what did that say about me, who truly liked every > song and every singer on that album? He didn't realize what an insult that could be to > me. > > “That’s bad poetry,” complained a literature professor and popular author during > an artists’ retreat after we’d viewed excerpts from PBS’ The United States of Poetry, a > program that highlights poets of varied races and ethnicities from all around the country > reading aloud their poems. Those of us who had planned the retreat had chosen this > because we believed in the value of the work. > > An acquaintance of mine confided that his peers had pronounced that his work > didn’t qualify as “fine art.” > > “Sculptor Seward Johnson Celebrates American Life1,” Lisa Fields’ March 28, 2014 > article on the website, American Profile, demonstrates that even renowned artists suffer > demeaning criticism. Art critics denigrated his popular series, Celebrating the Familiar, > as "kitschy and unoriginal." Fields lauds the fact that when inducted into the New Jersey > Hall of Fame, “Johnson was hailed for staying true to his artistic calling and diverse > audience instead of pandering to critics.” Remember this if you find yourself similarly > the subject of criticism because your art doesn’t fit a critic’s personal viewpoint. > > I once had a colleague exclaim "I hate your poetry!" She believed my efforts > unworthy of being considered poetry. Soon after her pronouncement, I received a > message from a woman on the poetry e-mail list to which I belonged (this was in the years > prior to the emergence of Internet-based social media sites) in which she added to her > praise of my recent submission, "You are my favorite poet." > > CHAPTER THIRTEEN > > Similarly, after opening night of the second play I’d ever been in, and in which I > held a major role, the drama critic was not merely unkind, his comments were snide and > hurtful. But that same night, I was sought out after the show by a well-known and highly > regarded local actor, who also happened to be an English instructor by day. He wanted > to meet me and tell me much he enjoyed my performance. > > These examples should help you, as an artist, not to take to heart any negative > comments. Instead ponder what people do or don't like, however difficult it may be with > the latter. Consider their comments; if there is value in what they say and you come to > agree that something should be changed, go ahead and work to improve it. If in the end > you disagree, then just keep on. You will never please everyone. Also, strive to maintain > or even surpass what is already being done well—there is always room for improvement. > > Why do people judge art so harshly? They might consider what Baha'u'llah says: > > “Arts, crafts and sciences uplift the world of being, and are conducive to its > exaltation.” 30 > > Let’s not forget that He also advises that craftsmen should be treated "with deference." > What a contrast to the biting and denigrating tone many professional critics use. Even > worse is when they are dismissive. James Boswell declared: > > “A man who tells me my play is very bad is less my enemy than he who lets it die in > silence.”31 > > In discussing what I believe to be the injustice and cruelty of dismissive pronouncements > with the aforementioned professor of literature who declaimed about “bad poetry,” he > insisted, "After all my years of education, training—and degrees—I’ve earned the right > to make these judgments." > > But has he? Well, yes and no. From a technical point of view, a critic might note > weaknesses and strengths and offer—tactfully—constructive criticism. But to dismiss > something, to declare it “bad art”—or "not art," diminishes the very essence of the effort > and the individual who created it. British author Samuel Butler said, > > “Every man's work, whether it be literature or music or pictures or architecture or > anything else, is always a portrait of himself.” 32 > > If you’re told your work is unworthy, you may assume the comment is an indication that > you are unworthy. Regardless of the level of competence, whether novice, amateur, > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > highly accomplished, or master level, each artistic creation has value; each artistic offering > is drawn from the well of the spirit of its maker. To trample that spirit might sever the > line holding the bucket that dips into the well. If you quit, you deprive yourself of the > opportunity for improvement; future possibilities will vanish. Develop creative resilience > and find your way back. A New Yorker article on criticism cautions: > > “...it’s naïve to think that negative reviews have no effect on artists’ psyches or > careers, and critics should consider what it takes to recover from wounds before > inflicting them.”33 > > Experts have a right to, and should, recognize when something is poorly executed, but > that comes with the obligation to word their critiques tactfully. They, more than the > average person without an artistic education, should understand the dangers of harsh > criticism. James Playstead Wood, biographer of Emily Dickinson, asserted, > > “Critics may set up standards for the forms of poetry, decide what subjects are and > are not suitable for poetic treatment, and lay down laws about language and style— > they have done it since Aristotle, but they seldom satisfy anyone but themselves > and other critics.”34 > > Shakespeare referred, in his Sonnet 66, to the effects of criticism as > > “Art made tongue-tied by authority.” > > Rudyard Kipling cleverly points this out in The Conundrum of the Workshops: > > “And the first rude sketch that the world had seen was joy to his mighty heart—Till > the Devil whispered behind the leaves, "It's pretty, but is it art?” > > What makes some critics offer such scathing diatribes? Self-aggrandization, perhaps, due > to feelings of inferiority and/or envy? Possibly they once aspired to greatness in the field > of their passion only to realize their own talent lacked the ability to achieve their goal. > The power they hold can be their way to strike back at what they perceive as slights or > injustices they suffered and a way to act on resentment and jealousy towards others who > did succeed. > > If you wish to pursue your innate artistic creativity in a spirit of service—and to > serve others is to serve God and ties in to all the teaching plans being developed in our > communities, clusters, regions, and on an international scale—then heed this advice from > Shoghi Effendi: > > CHAPTER THIRTEEN > > “Let him not wait for any directions, or expect any special encouragement, from the > elected representatives of his community, nor be deterred by any obstacles which > his relatives, or fellow citizens may be inclined to place in his path, nor mind the > censure of his critics or enemies.”35 > > 'Abdu'l-Bahá emphasizes a culture of encouragement. If every critic followed His advice, > we might have more artists endeavoring to make art. For instance, he says: > > “If a pupil is told that his intelligence is less than his fellow pupils, it is a very great > drawback and handicap to his progress. He must be encouraged to advance by the > statement, "You are most capable, and if you endeavor, you will attain the highest > degree."36 > > My son Corey’s experience is an apt example. Seemingly unable to sit still for any length > of time in his kindergarten and first grade, he never appeared to be paying attention. Yet > when questions were asked, he had more correct answers than fellow students who sat > in one place and kept their eyes on the teacher. One told me, “Corey learns by osmosis. > When he transferred schools mid-year during first-grade, the school counselor looked > over his records and asked Corey’s new teacher, “Do you think I need to work with Corey > on a regular basis.” She replied, “You don’t need to work with him on any basis. She let > Corey know she believed in him and in his abilities and not only gave him > encouragement, but positive feedback every time he sat longer, finished an assignment > in time, etc. He lived up to all her expectations and was thriving. The teacher in second- > grade was not as hands on, but he performed well. The third-grade teacher didn’t know > how to handle him. She felt he was too out of control and rather than helping, working > with him, her frustration and disappointment were evident. She criticized but didn’t > encourage. His grades plummeted. The rest of his grade school years, fourth, fifth, and > sixth, the teachers again were positive, and he flourished. The old adage, “It’s not what > you say, it’s how you say it,” seems fitting here. > > Conversely, a different danger lurks: over-praising, especially when it borders on > adulation. Do you tend to exclaim, "You're wonderful!" "I love your work." "You're such > a great/talented musician / actor / painter." Of course, it is important to give credit where > it’s due, but you do no favor by speaking in a manner that might inflate someone's ego. > Neither diminish anyone's self-worth nor give them reason to think themselves better or > more privileged than their peers. To give underserved praise because you don’t want to > seem rude and don’t know what else to say is also problematic. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Samuel Johnson, described by the Oxford Dictionary of National Biography as > "arguably the most distinguished man of letters in English history" understood this. He > observed: > > “He that applauds him who does not deserve praise, is endeavouring to deceive the > publick; he that hisses in malice or sport, is an oppressor and a robber.”37 > > How do you find the balance? Direct your comments and accolades to a description of > what effect the performance had on you. How did you feel? What new thoughts or > considerations did it raise for you? For example, during a high school drama class we > invited another class in to watch us perform an intense scene from The Miracle Worker. I > portrayed Helen Keller as a young deaf and blind child being taught to eat with a spoon. > One of the students in the audience approached me afterwards and said, "My knuckles > turned white," while demonstrating with her hands how hard she'd held on to the arms > of her chair. So intense were her feelings that she entered what in theater is called > “suspension of disbelief,” the ability to become so immersed in the realities of the play > that you are able to believe what you see and hear on stage. She didn't have to say, "You > gave such a tremendous performance." Her knuckles said it for her. > > If given a direct personal accolade, the actress, musician, or other artist might > think, Hey, I am terrific, I am really something special, an ego boost that then acquires a need > for more adulation and often a sense of entitlement. Lee, Chief of Product Management > at Lifehack.org explains: > > “Excessive compliments take us away from our original motivation of simply > enjoying an activity. We start doing the activity purely for the sake of receiving ego- > satisfying praise.”38 > > Depending on the character of the artist, a generalized personal compliment rather than > one with a specific example, might be imagined as empty words, What else are they going > to say? They’re just being polite. This does nothing to help build self-esteem, which is > different from becoming egotistical. > > Susanne Perry says, “In education we call this ‘praise vs. encouragement.’” When > sincere encouragement is given, it indicates belief in the individual which is equal to > praise but not ego-inducing. > > CHAPTER THIRTEEN > > If you note some specifics, they’ll know they did well; they accomplished what > they set out to do. That encourages without being ego-inflating. Here are examples of > how to praise the action, not the individual > > • I felt so energized/uplifted by the music. > • Listening to the high notes brought tears of joy to my eyes. My entire being > vibrated. > • I've always loved reading about those times/that person, but your > performance actually transported me there; I felt I was a part of > it/witnessing it in real time. > • [The character] came to life — became real for me. > • I never realized just how bad things must be for those people. > • I didn't want to take my eyes off that painting. It was so compelling; it just > drew me in. > • After experiencing that talk/performance I'm now questioning some of my > previous assumptions. > > As to undeserved praise for a lackluster performance, if you’re writing a review, be > honest but tactful. Don’t cut people down in order to demonstrate your own clever wit. > If you are a spectator, speaking with a performer following a show, avoid addressing the > performance itself and say something like, “You looked like you were truly enjoying > yourself,” “How nice that you get to do what you love,” or that script has a great > message.” You’re saying something positive without speaking to the performance itself. > You’re being kind without compromising your ethics. Only address a person’s > performance, with gentle honesty, if asked directly for your opinion. > > All this being said, don’t eschew “constructive criticism”—welcome it. In fact, you > might wish to seek it. Don’t fear it being harsh as long as it’s sincere and not demeaning. > Brian Lee explains: > > “Without receiving negative feedback and criticisms from others, our growth and > opportunities become stunted. And in the long term, we’re not only liable to fail— > but to fail badly . . . If you always think you’re right but don’t get feedback from > anyone else, how do you know for sure that what you’re doing is any good? > Listening and acting on honest views will tell you precisely what you’re doing well— > and what you can do better. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “This type of feedback forces you to evaluate your actions and the way you > work. If you use constructive criticism wisely, it can guide you away from bad > practices and move you towards good ones. > > “The right kind of criticism is honest feedback that will benefit you.”39 > > This can come from experts, yes even professional critics, who truly care about the art > and aren’t using it for a perverse sense of power to earn themselves a bit of cachet. It can > even come from a most unexpected and seemingly unqualified individual. Both of these > sources are addressed by Bruce Grierson in his Psychology Today article, “Why It’s So Hard > to Take Advice.” > > Grierson wrote about filmmaker and actor M. Night Shyamalan being panned by > the critics and deciding to give serious consideration to what they said didn’t work. > Shyamalan kept it in mind on his next project which turned out to be a huge success. > > Grierson also related an incident where professional baseball pitcher Wade > LeBlanc, feeling down about his performance on the field, had a cab driver suggest he try > “going over your head in your windup.” LeBlanc could have brushed it off, even been > annoyed by the cabbie’s audacity to offer him advice on how to improve his game, > instead. Instead, he tried it the cabbie’s way the next day and, according to Grierson, “He > was brilliant, allowing only one hit over seven innings.” > > You may wonder, Why did she include an example from baseball in a book on The Arts? > There must be other anecdotes from the Art world. Anything done well, with study and > practice and improvement, becomes a skill, and skill developed to its highest degrees > becomes Art, thus the expression “the Art of cooking” is heard when that skill is brought > to the level of excellence. It follows that there is “the Art of baseball.” And all these “Arts” > are subject to critique. > > A venue for constructive criticism for authors is a writers’ group where people > gather to share their works-in-progress and have the others indicate what does or doesn’t > work for them—and why. The presenter is free to heed or reject the advice as they deem > appropriate. Often the suggestions taken benefit the work. > > The word “criticism,” it seems, has multiple layers of meaning and intent. > > Artist Mark Tobey anticipated a less critical future: > > CHAPTER THIRTEEN > > “If I do anything important in painting, some age will bring it forth and understand. > One naturally looks forward to the time when absolutes will reign no more and all > art will be seen as valid.”40 > > Are you sufficiently convinced now as to how you can offer honest, thoughtful critique > without stifling another’s spirit? Are you ready to become a source of encouragement? > > Remember not to internalize criticism of your own art as a personal insult. Listen > with an attitude of learning. Feel free to accept or reject suggestions, but first give them > due consideration. Your artistic sensibilities and skills will flourish, you’ll feel freer rather > than stifled, and you’ll fortify your fortitude. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Promote Spiritual Transformation > at the Community Level > Why to Utilize The Arts > > “Art has the power to transform the living. It helps transcend the obstacles and barriers in > our life that hide God from us. Artists are the midwives in the passage to a new World.” ~ > Aaron Gallegos ~ > > “If we, citizens, do not support our artists, then we sacrifice our imagination on the altar > of crude reality and we end up believing in nothing . . .” ~Yann Martel, The Life of Pi > > O ne of the most important reasons to utilize The Arts in your community endeavors > is because every effort will be more successful. Isn’t that your goal? > > The Arts, especially music, enhance memory retention. (See Art Indispensable in > Education) > > This relates to the use of The Arts in Feasts and Holy Day observances, firesides, > study circles, junior youth sessions, children’s classes, cluster reflection meetings, and > public presentations. > > Bahá'í Counsellor Steven Birkland writes about the effectiveness of incorporating > The Arts: > > “Arts are emerging organically. In Cartagena, Colombia youth and junior youth in > study circles are writing their own songs/poems/anthems (for their particular study > circle). > > “It is important to make plans based on current capacity (strength-based > planning). If we try to do more than we are capable of accomplishing, we set > ourselves up for failure and disappointment. We should do accurate—brutally > accurate—assessment of our cluster (but do factor in divine assistance!). Don’t > make plans based merely on a wish list. > > CHAPTER THIRTEEN > > “The most important things to start with are study circles, children’s classes, > and devotional gatherings.”43 > > My hope is that institutions and planning committees will commit to utilizing the arts in > all meetings, programs, and events, whether just for the Bahá'ís or ones that include the > public. If there are no professional or proficient artists or performers in the community > or nearby, there’s a wealth of recorded material from which to choose. Also consider > calling on the talents within the greater community. Locally we’ve invited locally based > singers, dancers, and musicians to perform, and sometimes to help plan, an activity. > > Let’s next explore how to utilize art and the talents of artists for mutual benefit. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Promote Spiritual Transformation > at the Community Level > How to Utilize and Support The Arts and Artists > > “Cognizant of the power of the arts to enhance the vitality of our community life and to > extend the influence of the Cause, we cannot delay in our wholehearted commitment to > their diffusion.” ~ International Teaching Centre ~ > > W hen presenting the workshop The Arts: A Key to Spiritual Transformation, from which > this book developed, it was always gratifying when participants later informed me > with a sense of joy and enthusiasm that they'd returned to practicing their Art after > a long period of avoiding it due to their sense of guilt at taking time away from more > "practical" ways of serving their faith and their communities. But one time, I felt blessed > to be told something about resolve to assist an artist. One participant happened to be a > member of a Local Spiritual Assembly that had turned down a request for support from > an artist in their community. After several Assembly members took the workshop, they > revisited the topic at their next Assembly meeting and decided to approve the artist's > request. I’m unsure of the nature of that support, whether it was monetary, material but > not with funding, or perhaps logistical, but there are a couple of things to consider about > finances and artists. Before we address that topic, let’s first look at what the International > Teaching Centre says on how their inclusion benefits the community: > > “Artistic expression, such as music and drama, in reflection meetings, cultural > events, and other gatherings, will quicken the hearts, enabling them, as ‘Abdu’l- > Bahá wrote, to ‘become inflamed with the love of God.’ When non-Bahá’í artists > are invited to share their talents at such events, they too come into contact with > the compelling spirit of the Faith.”44 > > Whether you are an individual planning an event or program or you serve on a > committee or administrative body, there are various ways to support the artists in your > community. > > CHAPTER THIRTEEN > > • First and foremost is encouragement, which is addressed in more detail in > Encouragement: Essential to Success. > • Artists can be invited to plan and implement a program. > • Singers and musicians can be asked to include selections pertinent to the > topic or Holy Day. Pertinent is underlined to indicate how vital it is that > The Arts be used to exemplify and amplify the theme of the presentation. > > Considering the last point, to open a presentation, ‘Abdu’l-Bahá recommends a musical > introduction, because: > > “It has a great effect upon the human spirit....If a person desires to deliver a > discourse, it will prove more effectual after musical melodies...”41 > > This requires thought into the appropriate music, the psychology of your intent and your > goals. (See Music: Wings for the Spirit.) > > I recall being at a Holy Day program when, following the readings from the Bahá'í > Writings, someone "entertained" with Irish ditties. For me, even though I liked the music, > it felt out of context and diminished the solemnity of the occasion. I felt as though I’d been > rising on a heavenly cloud only to be abruptly dropped back down into a secular > environment before I was ready. > > Ample are the songs written for specific Holy Day observances, and many others, > though not specific, are fitting. These would have enhanced rather than dissolved the > reverent atmosphere. > > Invited to select and read poetry as part of a Race Unity Day program, I asked for > the specific topic. The individual with whom I spoke seemed baffled. I explained that if > the speaker was zeroing in on oneness and unity, I wouldn't choose a poem about the > pain and suffering caused by prejudice, and vice versa. The goal was to choose a poem to > strengthen and solidify the information being imparted. > > For a Naw-Rúz program hosted by Lou and Eva Tuman, artists from among the > wider community in addition to some Bahá'ís, including poets, musicians, vocalists, and > a puppeteer, offered performances on the topic of spring. By the end, people were so > uplifted they had a "spring" in their step! > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > The times and places for light and entertaining tunes would be, for instance, at a > strictly social gathering, a concert planned for that purpose, or perhaps an Ayyám-i-Há > celebration. > > Another consideration in your planning is integrating the arts—weaving them > throughout your presentations, creating if you will a tapestry of the various elements. > This conduces to the understanding that participants take away will be more “meaningful > and deeper.” To maximize the level of potential recall, Luna Mohanty suggests: > > “Use more than one sense. The more of your five senses you pay attention to when > trying to create a memory, the more connections you will make in your brain, which > leads to a stronger, longer-lasting memory.”42 > > It’s also possible, and often successful, to have an entire program be Arts-Centered. > Storytelling rather than cold reading from books, songs, poems, dance, or any > combination of these and other art forms, used to convey the facts and/or spirit of a Holy > Day can be extremely effective. When presenting such a program for a Ridvan > celebration, which also including a dramatic reading, I was approached afterwards by > several people who wished to express their appreciation and how moved they were. All > but one were guests of the Bahá’ís. > > From 1997 to 2020, Anne & Tim Perry put together Ridvan pageants in the Dallas > area. The programs included costumes, set, staging, music, dramatized stories, dance, > and acting. Elements included red roses, fez representing Baha'u'llah, a boat, water, a red > roan stallion (occasionally a live one), and the spirit that characterized Ridvan--joy at the > Revelation and sorrow about the exile of Baha'u'llah. Numerous people were involved, > making it a more immersive program, and participants spanned from young children to > seniors. This created a culture of cooperation which fostered friendship and > understanding between age groups. When outdoors, a tent was erected. Indoors a > background gave the feel of a tent, as would be done on a stage set. The costumes were > colorful and authentic. Indoors a cutout or other prop simulated a red roan stallion. There > is no end to the creativity one can use to enhance a celebration. > > CHAPTER THIRTEEN > > Another issue that I've witnessed again and again in my more than six decades as > a Bahá'í is the unfair and unjust expectation that everyone who is invited to serve a > community, at a fireside or public meeting, whether as a speaker a singer, musician, or > dancer invited to perform, someone who will offer a dramatic presentation or dance > program, a teacher who travels to assist with children's classes, junior youth groups, > study circles, teaching efforts or anything else, should donate their time and efforts, to > include paying their own travel expenses. There are some people who both wish to do so > and have the financial resources to do so, but there are likely many more for whom this > is a financial burden. > > Years ago, when Bill George took his unique and mesmerizing stage production, > The Kingfisher's Wing, to communities throughout the country, he often met with > astonishment and resentment from people when he mentioned remuneration. Once he > was told, "Well Dizzy Gillespie came and he performed for free." It didn’t occur to that > individual that Dizzy Gillespie was a headliner, a highly-paid major celebrity and could > afford to work for free on occasion for his beloved Faith. But Bill and so many more > people like him earn their living—which doesn’t bring a celebrity’s salary—doing their > art fulltime. Just like someone who works in an office, in a trade, or anywhere else, they > have to earn money for housing, food, insurance, etc. If this is their job they must be paid. > The costs of Bill’s equipment, his puppets, his travel expenses including gasoline, wear > and tear on his vehicle, housing and meals on the road, of which much was doubled > because musician Styve Homnick traveled and performed with him, would have run out > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > fast and he'd have been unable to keep traveling and sharing the play on Bahá'í history > which had so deeply touched audiences, many of whom were not members of the Bahá'í > Faith. I’ve recently learned that renowned Lakota flutist, storyteller, and hoop dancer, > Kevin Locke, faced this same issue. > > At a minimum, gas money, if people are driving, and hospitality can be offered to > these people who so graciously give of their time and talent. This is different than the > caution given by the Universal House of Justice: > > “A word of caution accompanies this call to promote the arts more vigorously. The > emphasis on the arts and on utilizing the services of Bahá’í artists is not intended > to result in financing performances or publicizing the talents of a handful of > individuals. Rather it is intended to facilitate the efforts of artists to use their > abilities to serve the Faith. The House of Justice explains this principle in a recent > letter to an individual believer: ‘...the patronage of artists and their life in art, while > important in itself, is not a stated goal of the Cause in its current unfoldment, any > more than the support for believers practicing medicine or working in agriculture, > worthy as these fields are in themselves.”45 > > Patronage is not the same, nor should it be conflated with, payment for services rendered > or for reimbursement of travel costs. Financing performances, on the other hand, > indicates in their entirety, from start to finish, paying to develop it and produce it. > > You wouldn’t expect a plumber or electrician to come work for free, so if you invite > an artist of whatever genre, they too deserve payment for their services. > > At the Desert Rose Bahá'í Institute (DRBI), friends who are already there > participating in a weekend or weeklong seminar and wish to share their talent for the > evening programs, offer this service without charge. One year, however, during the > Thanksgiving weekend school, Ginny Healy, then DRBI General Manager, decided it > would be good to bring some local talent in—good for the friends to experience > something fresh and good for the locals to know their talent is appreciated and > welcome—good also for them to become familiar with DRBI. I put Ginny in touch with > Rule of 3, a trio of women who not only blend incredible harmonies, but who each have > great stage presence and a terrific sense of humor. Their established fee exceeded DRBI’s > budget. They all consulted together, and the musicians took into account that DRBI is a > non-profit entity and they finally agreed on an amount acceptable for both. The show was > a huge success. The audience didn’t want to let them stop and the women were thrilled; > > CHAPTER THIRTEEN > > they said this was by far their best and most enthusiastic audience. One of the singers > remained in touch with DRBI about future artistic possibilities. Some of the friends > worked with her first through her position at Central Arizona College’s (CAC) music > department, and later as the Director of the Pence Theater, CAC’s performing arts venue. > She’s become a good friend of the Bahá’ís. > > The Arts, and the opportunities to include them, are vital to us as individuals, > artists, and art appreciators, they are imperative to creating stronger, more cohesive, and > unified communities. The Arts energize our minds, bodies, and souls. Let’s support them. > > If you're unsure how to include The Arts effectively at the community level, here > are a few suggestions: > > • Devotionals (including the devotional portion of the 19-Day Feast) benefit > from The Arts, especially music. At the monthly interfaith devotions my > husband Don and I host, artistic elements are always included, occasionally > live music by an attendee, often music videos, and usually poetry, each > selection pertinent to that month's theme. Participants sometimes share > personal stories afterwards and occasionally visual art, paintings, > sculpture, even dolls, have been brought, as everyone is invited to bring > something to share, related to the theme, that has moved their spirit. > • You can provide music to listen to or encourage people to sing along. > Musical instruments, such as drums, maracas, tambourines and triangles > can be made available to those who prefer to play along rather than singing > themselves. > • Dance and movement can be woven in, as well. > • If you want to set a more meditative, reverent tone, soft music and candles > in a softly lit room can help set the tone. Or instead of recorded music, > perhaps someone could be drumming or playing a flute softly in the > background. > • For children's classes and junior youth gatherings, and yes, even for adult > study circles, The Arts enhance any learning experience and help > participants retain the lesson, but again they should be relevant to the > lesson's theme. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > • Participants can be asked to break a poem up into two or more voices and > even to act them out. They can portray a story through movement and > dance. > • For public presentations, 'Abdu'l-Bahá advises to set the tone by beginning > with music that will put the audience in a receptive mood. Strategically > woven into the presentation, visuals, poetry, and dramatic readings, as well > as songs that emphasize points, enhance the experience and assist with > recall. You might wish to invite expressive readers and talented singers to > present these segments. A variety of voices helps a program move along > and helps maintain interest. > > A tip to help you and your community going forward would be to survey the friends in > your own and in surrounding communities as a start, then keep moving further afield, to > find out what talents and skills people have and what they are willing to offer and what > requirements they’d need, for example, microphones, AV equipment, hospitality, and > travel expenses. > > If you're hesitant to try any of the foregoing possibilities yourself, I suggest just > "Try it; you'll like it!" Unlike the fellow in the Alka-Seltzer commercial which originated > that saying, who kept being told “Try it; you’ll like it,” over and over again, and finally > tried it and groaned, “Thought I was gonna die,” I feel pretty confident you will find > success and you'll like it just fine. > >  > > CHAPTER FOURTEEN > > C HAPTER F OURTEEN > > Beauty Enhances and Enriches the Spirit > "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 and beauty are pleasing to the heart and > spirit..." ~ ‘Abdu'l-Bahá ~ > > A rt emanates from and promotes the intrinsic beauty in both our material and our > spiritual natures. Musician and composer Ludwig Tuman explains: > > “Beauty may be regarded as an attracting quality that radiates from the > Manifestations of God, is reflected in all God's handiwork, and felt in the human > heart as a stirring and awakening of love. Beauty then, plays an essential role in > aiding man to fulfill the very purpose of his existence: to know and to love God.”1 > > Keith Ransom-Kehler asserts: > > “In the aesthetic experience there is a lavish out-rushing of the soul’s fine gift of > response to and recognition of something from which it cannot derive any possible > personal benefit … > > “The very nature of the recognition of beauty requires a complete > withdrawal from self, for the first definition of anything beautiful is its freedom from > the utilitarian. We can imagine something of the bewildering tempestuous ecstasy > that swept through the first soul who discovered that though putting on some > ornamentation on his crude earthen vessel did not in any sense increase its > usefulness, or enlarge its content, it did release in him new levels of response, new > powers of expression, a new hope, a new sensibility, a new vision. The addition of > this element or decoration to his utensil could not feed his body, but it performed > the more eternal task of nourishing his soul. > > “It is beauty upon which the spirit feeds, for spirit is limitless and its nutrient > can never come from those sordid restrictions that please the impertinent.”2 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > A deep sense of pleasure arises from the beauty inherent in much art. > > Tuman explains that beauty not only emanates from God's chosen messengers, but > it in turn becomes an "attracting quality" that brings us closer to God. He calls it a > > "... spiral of spiritual growth, carried upward on the wings of love toward the > Kingdom of the Most Great Beauty."3 > > When asked by Professor Chris Kavelin for advice in developing a college course on > Spirituality and Social Transformation, Aunty Mary Anne Coconut, an Aboriginal elder > from Weipa, a remote community in the far north of Australia, shared her wisdom with > him: > > “Well, the first thing is to let the students know that if they have any challenge that’s > facing them, anything that they need done in their lives that they don’t feel they > can do, that they should go out into nature and find some place that’s beautiful. > Find someplace like a beautiful tree and go sit next to that tree. Then say a prayer > to God or to their soul, or to whatever their understanding of the ‘Other’ or > ‘Spiritual Reality’ is and to ask for help and say, 'This is beyond me. I need > assistance.' Then they should trust that there will be an answer of some kind and > that when they feel that answer has arrived they should act on that answer.”4 > > Professor Kavelin zeroed in on the prayer aspect, which of course is the crux of Aunty’s > advice. I, however, am struck by the point that the supplicant should find a “beautiful” > spot in nature in which to offer their prayer and commune with their Maker. She doesn't > elaborate on this point, but it makes perfect sense. > > We should endeavor to surround ourselves with beauty. So important is beauty to > our spiritual growth that the Bahá’í International Teaching Centre wrote: > > “. . . an appreciation of beauty is one of the spiritual forces that lifts us to higher > realms of existence. To strengthen this power of attraction it is beneficial for the > friends to be exposed to various forms of art.”5 > > Beauty enhances and enriches the spirit. Have you ever had an artistic experience that > moved you to shed tears of utter joy? That's happened to me at times while listening to > Sarah Brightman sing, especially songs of the spirit. An ethereal quality in her voice > transports my soul to another realm: it seems to transcend my body and I feel a closeness > to God that no other voice has ever created for me. > > CHAPTER FOURTEEN > > When standing among the towering redwoods in California, or gazing at God's > incredible palette of colors and the unique natural sculptures at Canyon de Chelly and > the Grand Canyon in Arizona, watching and listening to the waves crash along the shores > of the Pacific Ocean, the rest of the world, all its crises and its busyness, just disappear. > The natural beauty immerses me in a sense of well-being; I feel enveloped in the arms of > the Creator. In my home, on a smaller yet satisfying scale, I've placed beautiful pieces of > art. If stresses or worries arise, I focus on one of them and agitation eases. I then feel calm > enough to commune with God in prayer or meditation. > > These sentiments are more profoundly explained in poetic form, as in Touched by > Beauty, whose author remains unknown: > > We all want to be touched > by wonderful music, beautiful art, > love of our fellow man. > To be moved, drawn, > taken to places unknown. > To feel an overwhelming chill > from a beautiful orchestral phrase, > to be filled with warmth and joy > from the color of a canvas, > to feel the wonder from > touching the creativity of mankind. > How music, art and poetry > cause such emotion is unknown. > but we all know when we are there — > > what a cold world it would be without > the beauty of music, art, poetry and love. >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Beauty Enhances and Enriches the Spirit > Ugly Art Can Be Beautiful: The Beauty in Protest Art: > > Art and Justice: Twin Triggers of Human Transformation > “The beautiful, which is perhaps inseparable from art, is not after all tied to the subject, > but to the pictorial representation. In this way and in no other does art overcome the ugly > without avoiding it.” ~ Paul Klee ~ > > I f Art is meant to be beautiful, why does some art seem to prize ugliness that seems to > scream at the viewer? Could it be, perhaps, that beauty and ugliness can be equally > valid and important? Might there be beauty in the ugliness? > > We’ve already considered beauty and its spiritual effect. Now let’s examine how > the ugly can instigate change. The beauty is in the result—the transformation. > > “Beauty and Ugliness" on encylopedia.com, points out that: > > “Kant [philosopher Immanuel Kant] holds that good art is beautiful, although it > differs significantly from natural beauty: a good work of art is a beautiful > representation. A representation can be beautiful even if its subject matter is not > beautiful.”6 > > Though this is valid, it is equally important to note author/ cartoonist Ashleigh Brilliant’s > understanding that: > > “Beauty can come out of pain—but that doesn't make pain beautiful.”6 > > Sometimes you need to be (metaphorically) slapped in the face—or be the "slapper"—to > stimulate the movement from knowledge, to volition, to action. You may require a > bracing wake-up call before you come to care enough and, also, to wish to help others > also realize change is needed, urgently needed. This awakening may not only bring you > to want to see the change happen, but cause you, to finally determine to work towards > accomplishing that change. Otherwise, It’s easy to remain complacent in the face of > injustice when you are protected by your own personal cocoon of safety, be it family, job, > privilege, or material security. > > CHAPTER FOURTEEN > > That’s one of the reasons I think Baha’u’llah so strongly emphasized justice. He > wrote: > > “Justice is a powerful force. It is, above all else, the conqueror of the citadels of the > hearts and souls of men, and the revealer of the secrets of the world of being, and > the standard-bearer of love and bounty.”7 > > Thus, the need for the artist to move the world toward justice, one artwork to one soul at > a time. > > I don’t think there's ever been a time when some Art didn’t express dissatisfaction > with injustice or challenge the status quo. Whether it be poetry, literature, drama, > comedy, paintings, murals, cartoons, dance, songs, storytelling, performance art, street > art, or any other form of artistic expression, people will use their Art to protest—to try to > shake up society, from the grass roots to the ruling class. > > War, prejudices, human rights, hypocrisy, and economic inequality are common > targets of protest artists who are, indeed, agents of change. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Beauty Enhances and Enriches the Spirit > Ugly Art Can Be Beautiful: The Beauty in Protest Art: > > The Arts: the Non-Lethal Weapon to End War > > Art significantly influences public perception of war by shaping narratives and evoking emotional > responses. – Clara H. Whitman > > A nti-war songs and poetry, with their long history as artistic vehicles and cries for > justice, remain in both the conscious and subconscious mind. They trigger an urge to > ponder and consider their messages. > > Anti-War Songs Abound > > Folk singer Pete Seeger’s hit, Where Have All the Flowers Gone? asks, > > Where have all the young girls gone? > > Taken husbands every one > > They find their loves, it blossoms, then suffer when the new husbands become soldiers > who leave them behind when they’re sent off to war. > > Where have all the young men gone? > Gone for soldiers every one > > They return — not to their wives — but to the graveyard. > > Where have all the soldiers gone? > > Gone to graveyards every one > > War withered and destroyed the flower of their youth and of their love. > > Where have all the graveyards gone? > Covered with flowers every one > > Each verse ends with the question: > > CHAPTER FOURTEEN > > When will they ever learn? > > Perhaps that last line should read: > > When will we ever learn? > > In the 1987 song, I Don't Want to Be a Hero by Johnny Hates Jazz, the reluctant recruit > offers this heartbreaking lament: > > Oh send me off to war > In a far away land > I never knew existed > Subject me to the truth > To the horror and pain > Until my mind is twisted > > The young man in the song doesn't want to go off to kill someone he doesn't even know > just to satisfy the anger of the rulers who can't get along. He fears returning home > wounded, not just physically but mentally, emotionally, and spiritually. > > The use of The Arts to protest against war relates to this opinion by Howie > Lasseter: > > “History proves that war is better at abolishing nations than nations are at abolishing war.”8 > > *** > > The Power of Anti-War Poetry > > Poets attack the very concept of war. During World War I, the famed British poet and > soldier Wilfred Owen wrote in graphic ugliness of the carnage and the suffering that > soldiers endure. He ends this poem by imploring the reader: > > My friend, you would not tell with such high zest > To children ardent for some desperate glory, > The old Lie: Dulce et decorum est > Pro patria mori. > > That final line, taken from the Latin odes of the Roman poet Horace, means “It is sweet > and proper to die for one’s country.” The poem, published posthumously in a 1920 book > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > simply titled Poems, includes this preface by Owens himself. He writes: "This book is not > about heroes...My subject is War, and the pity of War. The Poetry is in the pity." > > That pity can't help but well up in the reader of poet Roger White's, January 1991: > Israel.9 The poem opens with this memory: > > Other-worldly in our goggled headgear, > mock monsters in a monstrous time, > we huddle in sealed rooms and wonder > whether this is the promised Armageddon, > shivering to think what reign it ushers in. > > Further on, White stuns us with the fact that the "goggled headgear" of the gas masks > meant to protect, sometimes had the opposite effect: > > not too soon to mourn the innocent, > the few elderly women and the child, > smothered in their masks, through ignorance > of the mechanics of protection. > > The shock value he employs in Nursery Rhyme10 is especially effective to shake up our > sensibilities, rouse them from their apathetic slumber as he illustrates what happens > when war turns normal people into unthinking, unfeeling killing machines as seen in > these two stanzas: > > Georgie-Porgie Pudding-and-Pie, > Assisted by some others, > Strafed the children, made them die, > and broke the hearts of mothers. > Margery Daw, King Cole and Mary, > Well see your garden grow, > With mushroom cloud, quite contrary, > And corpses, row by row. > > CHAPTER FOURTEEN > > Ed McCurdy's Last Night I Had the Strangest Dream is one of several songs that used the > opposite tack. Instead of showing us the negative via the ugliness of war, he dangled the > carrot of the positive, and the beauty of the possible, as the dream sees that “the world > had all agreed to put an end to war:” > > I dreamed I saw a mighty room > The room was filled with men > And the paper they were signing said > They'd never fight again > > And when the papers all were signed > And a million copies made > They all joined hands and bowed their heads > And grateful prayers were prayed > And the people in the streets below > Were dancing round and round > And guns and swords and uniforms > Were scattered on the ground > > This song became so popular it was recorded by numerous artists, including Simon & > Garfunkel, John Denver, Pete Seeger, Bob Dylan, and Johnny Cash. Adopted as the official > song of the Peace Corps, it was sung by a choir of children as the Berlin Wall crumbled. > > Poet W. B. Yeats insisted: > > “Man shouldn't make war; it opposes the natural spirit, and don't let anyone tell > you otherwise.”11 > > ‘Abdu’l-Bahá addressed this subject several times using similar messages. I especially like > His suggestion: > > “For 6,000 years man has been at war. It is time to try peace a little while. If it fails, > we can always go back to war."12 > > The following is an excerpt from an interview He did with W. H. Short, Sec. N.Y. Peace > Society, and Hudson Maxim at the Hotel Ansonia, New York City, 15 April 1912: > > Hudson Maxim: "Do you consider the next great national war necessary?" > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > 'Abdu'l-Bahá: "I hope your efforts may be able to prevent it. Why not try peace for > awhile? If we find war is better, it will not be difficult to fight again; but if we find > that peace is the glorification of humanity, the impulse of true civilization, the > stimulus to inventive genius and the means of attainment to the good-pleasure of > God, we must agree to adhere to it and establish it permanently."13 > > Rev. Albea Godbold paints a word picture of the result of war which compels > contemplation: > > “If full scale war comes, all men may be cremated equal.”14 > > War is not the only ugliness attacked through art. Let’s examine some of Art’s other > targets. > >  > > CHAPTER FOURTEEN > > Beauty Enhances and Enriches the Spirit > Ugly Art Can Be Beautiful: The Beauty in Protest Art: > > The Wall and the Call: Public Art and Social Change > > "There is much that is needed to be said, to make people stop, look and listen, to confront > social injustice issues. Art can often say what words cannot.“ ~ Karen Gutfreund ~ > > V isual art, especially public art, should provoke an emotional response, which explains > why the Education is Not a Crime mural campaign has touched so many hearts > around the world. > > That global public mural campaign, which began to protest the prohibition of > higher education for members of the Bahá'í Faith in Iran, also addresses the lack of > education for girls in many other countries, and as well as the persecution of journalists. > > As people pass by, many stop to study the murals and contemplate the symbolism > chosen by the artist. Some find themselves caring about the plight of the subjects, coming > to a new awareness of the value of education and the conviction that it is a universal > > human right. > Mural by Camo, Sydney, Australia street artist > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Creative artists use what’s available, whether it’s a wall or a collection of toys, to get their > message across. The renowned Chinese artist Ai Weiwe, described as “one of China’s > most prolific and provocative contemporary artists,” uses diverse genres in his quest to > promote change. He speaks through his Art to promote themes related to human rights. > > Trace, one of his most famous visual works, uses Legos to create the faces of > detainees and exiles from over thirty mostly Asian countries. On the Smithsonian > Institution’s Hirschhorn website, we learn the artist’s philosophy behind the use of a > children’s building toy for such an important work of art: > > “Inspired by his five-year-old son, Ai chose LEGOs as a disarmingly playful and > ubiquitous material that can easily be constructed, or deconstructed, on a massive > scale—in some ways acting as a metaphor for freedom.” > > It further explains why he opts to use a wide variety of ordinary object in his works: > > “Ai is known for appropriating materials such as pearls, porcelain, and salvaged > wood in his works, and the artist has a tendency to use mass quantities of objects— > and large numbers of volunteers—to help create his work, playing with the > dichotomies of individual and collective effort, unity and fragmentation.” > > Even though his artistic activism led to his being jailed for 81 days in 2011, the website > indicates: > > “. . . the artist has continued to create art that transcends dualities between East > and West, focusing on fundamental questions about the interrelations between art, > culture, society, and individual experience.” > > A good source to learn more about some of the most impactful protest artists is A Brief > History of Protest Art on format.com. > > When you ponder the profound work of protest artists in their quest for justice, > consider these words of Bahá'u'lláh: > > “Justice is, in this day, bewailing its plight, and Equity groaneth beneath the yoke of > oppression. The thick clouds of tyranny have darkened the face of the earth and > enveloped its peoples. Through the movement of Our Pen of glory We have, at the > bidding of the omnipotent Ordainer, breathed a new life into every human frame, > and instilled into every word a fresh potency. All created things proclaim the > evidences of this world-wide regeneration. This is the most great, the most joyful > tidings imparted by the Pen of this wronged One to mankind. Wherefore fear ye, O > > CHAPTER FOURTEEN > > My well-beloved ones? Who is it that can dismay you? A touch of moisture sufficeth > to dissolve the hardened clay out of which this perverse generation is molded.”15 > > Let’s pray that the power generated through the deep sense of justice underpinning these > artworks will indeed be the moisture that makes pliable the hardened clay of the hearts > which perpetrate the injustices plaguing our world. May that hard clay soften and > convert into a rich soil from which positive change will grow and flourish. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Beauty Enhances and Enriches the Spirit > The Beauty in Protest Art: > > Dramaturgy for Social Justice > > “All drama is about the choices that we make to other people and to ourselves.” ~ Edward > > Albee > > O ne film or play can affect you for the rest of your life, and perhaps set you on a new > path not previously considered. Art works to open your mind and your heart. > > As poet Roger White explained in Bring Chocolate (see Development of The Arts): > > “Art conveys information about ourselves and our universe which can be found > nowhere else. Our artists are our benefactors.” > > Theater at its best addresses issues and disseminates information in a manner that is > much more effective than sitting and listening to an excellent lecturer. While watching, > you can experience it as if it is happening in real life right in front of your eyes and you’re > a part of it—a first-hand witness. I think of it as a sermon minus the preaching. It can > replace the pulpit. (See The Spiritual Influence of the Drama). Playwright Edward Albee > wrote: > > “I like the fact that the theater always exists in the present tense, and that at its best > it is an argument against the status quo. A serious play always holds a mirror up to > people and says, ‘Look, this is who you are. This is how you behave. If you don’t like > it, why don’t you change?’”16 > > Two examples are the musicals, West Side Story and Zoot Suit. > > West Side Story, a modern day take on Romeo and Juliet, depicts the anguish of two > young people whose love is thwarted by their peers—members of rival gangs from > different cultures. The audience witnesses the sacrifices they make to honor their love for > each other. Whether watching the modern musical or the Shakespearean drama, the > > CHAPTER FOURTEEN > > viewer takes away a realization of how ludicrous, how irrational, is tribalism, and how > dangerous is prejudice against and distrust of “the other.” > > There is no legitimate basis for dividing ourselves—there are no “others.” ‘Abdu’l- > Baha posited: > > “White doves and gray doves associate with each other in perfect friendship. Man > draws imaginary lines on the planet and says, "This is a Frenchman, a Musselman, > an Italian!" Upon these differences wars are waged. Men are fighting for the > possession of the earth. They fight for that which becomes their graves, their > cemeteries, their tombs. > > “In reality all are members of one human family – children of one Heavenly > Father. Humanity may be likened unto the vari-colored flowers of one garden. There > is unity in diversity. Each sets off and enhances the other's beauty.”17 > > My Chicano History class from Santa Barbara City College took a field trip to Los Angeles > in 1978 to attend a live performance of Zoot Suit. The summary of this play on enotes.com > explains: > > “The first Chicano play on Broadway, Zoot Suit incorporates bilingual dialogue and > alienated Mexican Americans. The play grew out of California Chicano guerrilla > theater. Luis Miguel Valdez questions newspaper accounts of the Los Angeles zoot- > suit-Columbus Day riots and the related Sleepy Lagoon Murder Trial (1942). The > drama uses song, dance, and a unifying narrative based on the traditions of the > Mexican corrido (a ballad form that often reflects on social issues). Newspapers > described zoot-suiters knifing and killing until stopped by the U.S. Navy and Marines > and deservingly imprisoned (‘Police Nab 300 in Roundup’); Valdez contrasts this > yellow journalism with a very different reality: lively, harmless singing and dancing > interrupted by police violence (‘Marines and Sailors … stomping like Nazis on East > L.A.’), mass arrests, and brutal police interrogations.” > > The stage décor was equally as effective as the spoken words. Stacks of newspapers > created the illusion of desks, chairs, etc. For the audience, they served as a silent, visual > recognition of the power of the press, which can be used for good or ill at the whim of > writers and editors. > > Historical dramas also wield great power. Two one-act plays by Anne Boyles: To > Walk in His Footsteps and When the Moment Comes were presented to youth in attendance > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > at the 1992 Bahá’í World Congress in New York City. Both fleshed out stories and > statistics and transported the audience back in time—with a visceral impact. > > To Walk in His Footsteps introduced us to three characters with typical human flaws > whose lives were transformed through, respectively, learning of Bahá’u’lláh’s teachings > and acceptance of His Station, meeting ‘Abdu’l-Bahá, and correspondence with Shoghi > Effendi. > > When the Moment Comes took the young audience inside the prison where a group > of Bahá’ís, some very young like themselves, were incarcerated following the 1979 Islamic > Revolution in Iran—their only crime being a believer in the persecuted Bahá’í Faith. The > youthful prisoners, most of whom (like many of their elders) had previously taken their > freedoms for granted, gained a new appreciation for them and developed a deeper, more > meaningful sense of connection with their fellow Bahá’ís who continue, to the present > day, to suffer persecution in the cradle of their Faith. > > When we reprised these plays on the West coast, a journalist from Voice of > America covered a production of When the Moment Comes at the Los Angeles Bahá’í > Center. As the cast gathered onstage following the performance for an interview, he kept > stumbling on his words, unable to begin to ask his questions. Noticeably uncomfortable, > he finally requested I cover my feet, which were made up to look like the wounds > following a beating with the bastinado—a wire whip smacked over and over against the > soles of the feet. His mind knew what he saw wasn’t real, but his heart experienced it as > if it were. His soul had been transported right into the prison, he entered the “suspension > of disbelief,” and he felt like a first-hand witness to what they endured. > > You can be moved, perhaps even changed, after being immersed in the drama of > an alternate reality, whether it is quite different from that which you experience on a daily > basis, or similar to the environment in which you live. That’s what a good play does. It > uses the Art of the playwright, the vision of director, and the ability of the actors to > embody all of it, to serve as a mirror. As you view it, read it, listen to it, contemplate it, > may you recognize something of yourself in the antagonist and wonder, "Is this who I > really am? Do I want to go on like this? Should I change?" > > You may be inspired by the reactions of the persecuted. Depending on the strength > of your feelings, you may determine to emulate them when facing vicissitudes in your > own life, or recognize that the effect on you is weak and determine to work toward > > CHAPTER FOURTEEN > > developing a higher sense of empathy. You may also find you wish to find a way to work > to end the injustices as they exist offstage in actual society. > > You, with your innate human creativity, can become an agent of change by > morphing the ugly into the beautiful through your own Art. > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Beauty Enhances and Enriches the Spirit > Ugly Art Can Be Beautiful: The Beauty in Protest Art: > > Writing to Right Wrongs > > “Words are a form of action, capable of influencing change.” ~ Ingrid Bengis > > In writing, humanity is our canvas, humility our medium, enlightenment our purpose. ~ > Source Unknown > > O ne of the functions of Art involves awakening in you a determination to protest and > fight injustices everywhere. > > Artists address all social problems, such as hunger, poverty, various forms of > violence: child abuse, sexual assault, and domestic abuse, as well as the many forms of > prejudice and racism. > > These social ills may impel you to shriek your outrage. Consider doing so through > your own Art. Discover alternative outlooks and challenge yourself to take creative action > towards resolution of a problem you choose to address. Art that attacks these issues > engenders hope and empowers you to propel your community toward its needed change. > Here are a few literary examples of using Art to address injustice: > > Fiction > > The Land, Mildred Taylor’s prequel to her Logan family series of novels, introduces the > reader to Paul Edward Logan, born to a Black slave and a White plantation owner. > Accepted by his father, but not in a manner equal to his White half-siblings, Paul finds, > as described on the website Goodreads: ”Black people distrust him because he looks > white. White people discriminate against him when they learn of his black heritage. Even > within his own family he faces betrayal and degradation.” In the novel, Paul sets off to > find and settle land of his own, land every bit as good as that of his father. The impact of > this story is evident in the reviews of its readers: A teacher relates: > > CHAPTER FOURTEEN > > “I almost thought I had made an error in judgement in choosing it for my 7th > graders. How could Taylor possibly cover this controversial part of our history in > terms that they could understand? She did. At some points I gasped out loud at the > harshness of the reality of this world I couldn't imagine. And yet it was so different > than other books written about this time. It focused on hard work, and it didn't have > any easy answers. It made me so angry for Paul at times.” > > One reader shares these thoughts: > > “This story isn't simply about life after the Civil War and the racial conflicts that > arose. This is Paul Logan's story and the many challenges he faced in order to gain > personal achievement.” > > Another reader describes the protagonist as > > “… a man of quiet strength, resolute morals, and audible ambition.” She finds the > novel: “a masterfully-paced story that reminds you of the deep pleasure found in > hard work aimed towards an honest end …” > > The lessons of courage and perseverance in the face of seemingly insurmountable > obstacles, and the fact that these attributes of Paul’s character led to his eventual victory > in achieving the end for which he’d striven while up against the odds, will affect you on > a level no amount of lecturing or mere list of facts and statistics could manage. Your mind > understands the numbers, but your soul is affected by the stories of people and their > struggles. You relate to them on a personal level. This holds true with non-fiction stories > as well. > > ~~~ > > Nonfiction > > Wangari Maathai's Unbowed: A Memoir relates her growing awareness that the loss of > forests in her country, Kenya, a result of the greed of the business world married to > government corruption, turned a once fertile nation into an arid wasteland. Though > physically beaten, jailed, and publicly shamed, Wangari Maathai never lost her > determination and drive to strive for change. She founded the Green Belt Movement > which encouraged and assisted poverty-stricken women to grow seedlings and then > plant them in an effort towards reforestation. > > Vilified by her own government, which even refused her permission to travel to > accept the Nobel Peace Prize for her efforts, Maathai remained undaunted. With > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > unwavering courage and determination, she worked towards her goals right up until her > passing in 2011. You can’t help but be inspired by such a life and realize that you, too, > could be an agent for change. > > ~~~ > > Poetry > > What is poetry? The suggestion, by the imagination, of noble grounds for the noble > emotions. ~ John Ruskin > > Poetry doesn’t belong to those who write it but to those who need it. - Mario Ruoppola > > The following poems provide examples of poetry which will reach deep into your soul > and stir up sadness, and outrage. > > Addressing miscegenation and depicting the pain it engenders, Roger White wrote > Whom Love Blinds, dedicated to Catherine M’boya:18 > > Black was she, > And white was he, > Love bathed their hours with colour. > > Fate's bleaching whim > Wrenched her from him > And oh! their lives were duller. > > Grief's swart dye > Stained his mind's eye, > His pitch world lacked all lightness. > > Tear-blinded, she > Could only see > His absence as a whiteness. > > CHAPTER FOURTEEN > > Perusing these words, you can’t help but feel the pain their separation caused. The reality > of their situation might erupt in an excruciating sense of righteous indignation as your > empathy is stirred in just these few lines. You ache at the depth of the injustice in forcing > people apart people who are meant to be together, simply due to their skin color. > > Sometimes one Art project stimulates another. After walking along the green in > Washington D.C., Rhea Harmsen came across The Clothesline Project, a public Art > installation which provides women who’ve suffered various forms of violence and abuse > the opportunity to paint their pain into art on t-shirts which are then hung on a clothesline > and displayed in public spaces. > > The exhibit haunted Ms. Harmsen, and she was moved to write about its effect on > her psyche. She aptly titled the poem after the name of the exhibit, The Clothesline Project:19 > > On that green were these rows of T-shirts > hanging on a clothesline. > And on each shirt a story, > pictures, a poem, an expletive . . . > Haunting by virtue of its ugliness, > its truth, and its violence. > Each was the story of a woman abused, > a child violated, > a human temple desecrated . . . > She described what she’d seen: > T-shirts now branded in my memory. > Color-coded for each crime, > pink, red, orange for rape victims, > green-blue for the battered and abused, > yellow and brown for sexually molested children, > and white "in memoriam" of the silent women > dead by the violent hand > of their husband or lover. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Ms. Harmsen lamented the fact that on returning home with an urgent need to share with > others that powerful experience, she found no listening ear, not one person willing to > help her process the disturbing thoughts that swirled relentlessly through her mind. > > Not the subject of polite conversation, I thought … > But because I wandered through > those T-shirt corridors of struggle and survival > I still hear them. > Their strangled cries echoing into eternity. > > She described some of the designs and the words written upon them in graphic detail, > such that on reading them, I choked up, and do so each time I reread them. How much > more intense it must have been to be there in person, to have seen the art as well as the > words, the t-shirts, one after the other—so many mind-boggling and tragic stories. Ms. > Harmsen described them as: > > Now a link in a chain, > pulling the weight of the ages > off the backs of the downtrodden. > Each a tiny hailstone that will beat > upon the windowpane of our consciousness, > intrude in the paths of our notice, > tug like a child on our sleeve > till we look at them and see them plain. > > Art transports you vicariously experience someone else’s life and facilitates an > empathetic reaction. Artists deserve enormous gratitude for guiding you to remove your > blinders and truly see. > >  > > CHAPTER FOURTEEN > > Beauty Enhances and Enriches the Spirit > The Necessity of Beauty in Your Life > > “Hidden beyond the veil of mystery, Beauty is eternally free from the slightest stain of > imperfection. From the atoms of the world, He created a multitude of mirrors; into each one > of these He cast the image of His Face; to the awakened eye, anything that appears beautiful > is only a reflection of that Face...Now that you have seen the reflection, hurry to its > Source!”- Jami > > W e’ve touched on beauty in its most common sense and in how even “ugly” art can > be beautiful. Either way, beauty is a necessity. It fosters your spiritual > transformation. > > Similarly, don’t begrudge yourself beautiful possessions. You need only avoid > becoming obsessed with material objects. Think of your life as the cake and the > adornments as the icing. Though the cake itself is sweet and delicious, the icing makes it > that much more special. > > As in all things, moderation is the key. Bahá’u’lláh advises: > > “Whoso cleaveth to justice, can, under no circumstances, transgress the limits of > moderation. He discerneth the truth in all things, through the guidance of Him Who > is the All-Seeing. The civilization so often vaunted by the learned exponents of arts > and sciences, will, if allowed to overleap the bounds of moderation, bring great evil > upon men.”20 > > On the necessity of beauty in our lives, Tuman posits: > > “Acting as an agent of spiritual attraction, beauty thus plays an essential role in the > process whereby art seeks to help ennoble the human soul.”21 > > This kind of artistic ennoblement is at the crux of our spiritual development. ‘Abdu’l-Bahá > provides this example: > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “For the noblest part of the tree is the fruit, which is the reason of its existence. If > the tree had no fruit, it would have no meaning.”22 > > ‘Abdu’l-Bahá also writes: > > “All that has been created is for man, who is at the apex of creation, and he must > be thankful for the divine bestowals. All material things are for us, so that through > our gratitude we may learn to understand life as a divine benefit. If we are disgusted > with life, we are ingrates, for our material and spiritual existence are the outward > evidences of the divine mercy. Therefore, we must be happy and spend our time in > praises, appreciating all things.”23 > > And for those who create the beauty with which we surround ourselves, ‘‘Abdu’l-Bahá > suggests: > > “It behoveth the craftsmen of the world at each moment to offer a thousand tokens > of gratitude at the Sacred Threshold, and to exert their highest endeavor and > diligently pursue their professions so that their efforts may produce that which will > manifest the greatest beauty and perfection before the eyes of all men.”24 > > Indigenous cultures weave beauty into every aspect of life. Most don’t even have a word > for “Art.” It is just one of the essential elements that makes people and society whole, and > their incorporation is automatic, not something that has to be debated or decided. > Appropriately, let's end this section with a Navajo prayer, part of a nine-day ritual called > the Night Chant:25 > > In beauty may I walk. > All day long may I walk. > Through the returning seasons may I walk. > On the trail marked with pollen may I walk. > With grasshoppers about my feet may I walk. > With dew about my feet may I walk. > With beauty may I walk. > With beauty before me, may I walk. > With beauty behind me, may I walk. > With beauty above me, may I walk. > With beauty below me, may I walk. > > CHAPTER FOURTEEN > > With beauty all around me, may I walk. > In old age wandering on a trail of beauty, lively, may I walk. > In old age wandering on a trail of beauty, living again, may I walk. > It is finished in beauty. > It is finished in beauty. >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > CHAPTER FIFTEEN > > C HAPTER F IFTEEN > > Art and Science—a Symbiotic Relationship > “. . . there is really no such thing as a primacy of art or physics, but both disciplines, each > way of apprehending the world we experience, is part of a complementary pair...” ~ > Howard Rheingold > > O n initiating my search for references to The Arts in the Bahá'í Writings, it > immediately became apparent that in almost every instance where The Arts are > mentioned, science is referenced as well. None specifically relate them to each other, > but they appear to be given equal importance. > > It seems they are like two halves of a whole, and if Art is a key to spiritual > transformation, then so can science be, as well, when the two are married and used for > the right purposes. > > An Internet search resulted in a plethora of articles and talks that point to the > reality that the art in science and the science in art combine these seeming opposites till > they are harmonized and inseparable. Historically this concept has not been accepted by > the majority of the populace, yet there have always been some who understood it and > foresaw it becoming universally accepted. According to French novelist Gustave > Flaubert: > > “The more Art develops, the more scientific it will be, just as science will become > artistic. Separated in their early stages, the two will become one again when both > reach their culmination. It is beyond the power of human thought today to foresee > in what a dazzling intellectual light the works of the future will flower.”1 > > Physicist Adam Frank explains: > > “Very often it’s through art (dance, poetry, painting, sculpture, etc.) that we get to > explore the half-recognized relationship between ourselves and the world we > inhabit. We often discover meaning through art. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “There are deep connections between meaning-making and object-making. > Those connections are exactly where the resonances between art and science find > their potency.”2 > > Frank offers these examples of the way art and science are two parts of a whole: > > “Every painter experiments with the colors they can, or cannot, create from tubes of acrylic > or oil. Every sculptor must confront the actual brittleness of their stone or the flexibility of > their metal. Every dancer experiences the limits of muscle and sinew as part of the > language of choreography.”3 > > The importance of recognizing that the two disciplines hold equal value and should be > integrated became most apparent when I read an article by Robert Root-Bernstein, > Professor of Physiology at Michigan State University about how Nobel Prize winners in > science also are adept in at least one art form. (See Wherefore Art?) > > Art and science intersect in various ways. Think of the science involved in much > Art: music and mathematics, sculpture and physics, mixing paints and chemistry. > Scientists utilize artistic techniques in both their research and in their graphs and charts > for their reports and presentations. They just never recognized that these steps are Art. > > Science can in fact inspire the artist. Quantum physics > interests painter Jalaliyyih Quinn. Her fascination with the > subject, coupled with her imagination, has translated into > some intriguing artwork that compels the viewer to study > the painting with an intensity similar to that which > captured the mind of the artist. > > Arriving for a meeting at a medical research firm, I > entered the building and immediately zeroed in on the > brilliant colors in the apparent abstract artwork that hung > in the lobby and along the stairway leading to the upper > floor. They invited contemplation. It surprised me to learn > they were in fact photographs of cells and other organisms within the human body. How > delightful to see the beauty that exists within us—we are a combination of science and > art! > > Both artists and scientists begin with a premise, often initiated through intuition. > They research the possibilities to achieve their goal. They hypothesize different scenarios > > CHAPTER FIFTEEN > > to achieve their ends. Form and structure are part of both of their processes. They accept > that failures will occur, but choose to look at them not as failures, but rather as steps of > elimination, considering what they can do differently in order to improve on, and move > forward with, their projects. > > It is worth noting that many of the engineers helping Apple be such an innovative > company are accomplished musicians and artists. > > Artists and scientists, according to artist/historian Tamara Troup, are both: > > • concerned with knowledge > • concerned with truth(s), or untruth > • concerned with universality > • reliant on systematic methodologies > • seeking to communicate4 > > Willamette University student Erynn Rebol majored in Biology and took a minor in Art > because she understands that: > > “You can talk with someone or show them a published paper saying that bad things are > happening, but sometimes that doesn’t get through. I have realized that my art could > be a medium through which I could speak to people about the environment.”5 > > One of her early efforts is an excellent example. She describes the concern that she wishes > to address: > > “There has been a lot of negative coverage of the terns in the media because they eat > so many salmon. However, the more research we did, the more we realized how other > factors, such as dams, over-harvesting, illegal salmon fishing and dredging, have a much > larger impact on salmon populations. Despite this, Caspian terns are viewed by the > locals as the root cause of the problem.”6 > > Two of her paintings illustrate the problem, as described by Tamara Troup: > > “Her paintings portray two human arms—one showcasing a series of blue veins and > holding a healthy salmon; the other where the veins are the Columbia River and its > tributaries, with a series of dams. This arm holds a small, sickly fish.”7 > > This is an excellent example of combining science with Art to help reach out to others with a > message that can stimulate knowledge that may lead to volition and then to action. Only > then will positive and lasting change take place–the change craved by all people all around > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > the world. The effort alone induces a healing and uplifting effect on the soul, and with each > step forward, the effects grow and with them, the intention and resolve to keep improving > strengthens. The union of The Arts and Science will ensure success. > > Here are two steps that can be taken by scientists and artists to increase creativity and > have their efforts be more effective: > > First, hire artists to work in scientific environments, both doing their own art, inspired > by the science, and consulting on the research and experiments. Vibeke Sorenson of the > California Institute of the Arts suggests that: > > “Unless the scientist is also an artist, it seems that the very best situation in a scientific > environment is for scientists to work with a fine artist in a team. This artist should be a > person with enough science background to understand the basis of the research, and > potentially a person whose own work is related to the research field. This person can > help to identify significant problem areas and keep a stimulating dialog with the > scientists. This person should also be sensitive to the purpose of the research, as well > as applications to society, a thinker with a conscience.”8 > > This approach has already been followed to good effect by a few companies, including IBM, > Xerox, the Massachusetts Institute of Technology and the New York Times. The website > PopTech is a believer in creating hybrid networks, including artists and scientists, to push > innovation to new levels. You can read articles and watch videos on their website, > poptech.org, that illustrate and stimulate successful collaborations > > Next, re-establish Arts education in the schools, including the study of music, dance, > drama, and visual Arts, and use The Arts to teach various subjects. (See Art Indispensable in > School Curriculum.) > > An important consideration is that both art and science are skills you can utilize to > discover and experience truth. > > Artists are often seers; they conceive of things that are considered impossible and > their works are termed science fiction. Then, years later, scientists move these concepts > from fiction to reality. For example, > > • Credit cards were first conceived of by novelist Edward Bellamy in Looking > Backward, published in 1888. > • Modern Electronics Magazine printed a story in 1911 by Hugo Gernsback that > depicted people seeing and speaking to each other via a device he called a telephot. > > CHAPTER FIFTEEN > > • Aldous Huxley's 1931 Brave New World saw mood-altering medicine used to help > keep Londoners sane. Research on antidepressants didn't really get going until the > 1950s. > • Air touch technology, or screenless computer screens, as seen in the 2002 film, > Minority Report, became, less than twenty years later, available to consumers. > > Physicist Adam Frank closes his NPR talk, Where Art and Science Meet, Exactly, with these > sage words: > > “One of the great ironies of human existence is that art and science are both > optional costs for culture. You don’t have to put any money into them if you think > they are not worth it. And yet, the only cultures we remember, the only ones that > matter across the long march of history, are those who did think they mattered. > From the Hellenistic Greeks to the genius of the Renaissance, art and science have > forever been paired together as the lasting expressions of truly great societies. > > “Woe unto those who forget that lesson.”9 > > Art and Science complement each other. They make great partners with a symbiotic > relationship. > >  > >   > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > >  > > C HAPTER S IXTEEN > > There’s a New Era Coming— > The Arts Will Usher it In > “It is an age of universal reformation. … Sciences and arts are being molded anew. > Thoughts are being metamorphosed.” ~ 'Abdu'l-Bahá > > A new age for mankind. A new era of spiritual reality and understanding. The > beginning of a cycle which will usher in the Most Great Peace. This era began with > Bahá'u'lláh’s announcement that He is the One promised in the religious Scriptures > of all the world’s major religious faiths, as well as in the varied spiritual traditions of > indigenous people around the world. > > What does this mean? What will it look like? > > Each new revelation from God throughout recorded history brings newer, > broader, and deeper ideas that manifest themselves in The Arts of the age. What will the > current era bring? I don't know. Anything I'd say would be mere supposition from an > uneducated individual who is anything but visionary. However, we find glimpses of > answers in the Bahá'í Writings, and from some artists and scholars. Their wisdom and > eloquence begs to be shared. > > “There will be a new art, a new architecture, fused of all the beauty of the past, but > new”.1 ~ 'Abdu'l-Bahá > > “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”.2 ~ Shoghi Effendi > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > “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.”3 ~ Shoghi Effendi > > “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.”4 ~ Shoghi Effendi > > “. . . the first Mashriqu’l-Adhkár [House of Worship] 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.”5 ~ Shoghi Effendi > > “It is from their [Bahá'í artists'] desire to glorify God through their creative activities > that new arts and sciences will gradually develop to enrich a new culture.”6 ~ Universal > House of Justice > > “There has been released into the world a new impulse, a creative force, that is > being reflected in every area of human thought, every endeavor including, of > course, the arts, perhaps even especially the arts…Whatever force has been > unleashed must be, I feel, benevolent and constructive. Perhaps it will lead to a > greater understanding among the people of the world.”7 ~ Roger White > > “…when asked, after a lecture at one of their [Bahá’í] meetings, about an official > "Bahá’í Art," [Mark] Tobey replied that modern literacy has made didactic art > unnecessary, and that ‘art would be free in a Bahá’í world.’”8 > > “Without tradition, art is a flock of sheep without a shepherd. Without innovation, > it is a corpse.”9 ~ Winston Churchill > > “Every age has its pleasures, its style of wit, and its own ways.”10 ~ Nicolas Boileau- > Despréaux > > “Great nations write their autobiographies in three manuscripts—the book of their > deeds, the book of their words, and the book of their art.”11 ~ John Ruskin > > “From the mid-nineteenth century onward, the world has witnessed a spectacular > growth of public interest in the arts. Many arts have come to be practiced by non- > professionals on a scale that has no precedent in the history of civilization. The > computer and the satellite, with their impact on education and artistic practice, are > helping to bring the knowledge and the skills of art within the reach of the masses. > The emergence of art practiced by a vast number of skilled amateurs and > > appreciated by an ever-growing public made up of informed and sensitive > enthusiasts, is one of the remarkable features of the world-wide transformation of > human culture that has been set into motion.”12 ~ Ludwig Tuman > > Isn’t it exciting to know that there’s so much to look forward to in the coming years. You’ll > benefit from innovations that move the world ever forward while some classic styles keep > you grounded. Who knows? You and I may not still be here to see all of it, but we can > appreciate the sense of anticipation that comes with the expectation and the glimpses > we’ve had so far, for example, in architecture. The various Bahá’í Houses of Worship > around the world are an excellent example of the creative spark that’s been released. > > Aren’t you thrilled to be a part of this? Are you eager to nurture your creativity > and add to the successes of the future? > > Go forth now–create! > >  > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > End Notes > > Chapter Two > Art is an Act of Spirituality > > 'Abdu'l-Bahá, in Bahá'í World Faith, p. 227 > 'Abdu'l-Bahá in London, p. 107 > Gleanings from the Writings of Bahá'u'lláh (Wilmette: Bahá'í Publishing Trust, 1983), > LXXIV, pp. 141-42 > 4 'Abdu'l-Bahá in London, p. 87 > 5 Ibid. p.92 > > Chapter Three > To Create is to Worship > > 'Abdu'l-Bahá, quoted in Lady Blomfield, The Chosen Highway, p. 167 > 'Abdu'l-Bahá, Bahá'í World Faith, p. 377 > Ibid., p. 378 > > Chapter Four > Art! Who Comprehends Her? > > Kid Talk, Coastal View News, Carpinteria, CA, March 19, 1998 > > Manuel Luz, Imagine That: Discovering Your True Unique Role as a Christian Artist 2009, > > Moody Publishers > 3 George Sand, The Haunted Pool, ch. 1 [1851] > > ENDNOTES > > 4 Eric Gill, British sculptor www.poulinmorris.com/about.html > Thomas Hoving, Artist, libquotes.com > > Chapter Five > Whence Art? > > 1Rex Jung, in Sandee Lamotee, Here’s How Improvising Can Make You a More Creative > Person, CNN.com (April 29, 2018), Copyright © 2018 by Cable News Network > Johannes Brahms, in Wood, Beulah, Finding Creative Ideas: You Must Dig the Bait, > vivediting.com > 3 Giacomo Puccini, in Basirico, Larry, Art as a spiritual experience, theflorentine.net > William Blake, in William Blake: Imagination & Eternity — The Meaning of Life, > November 11, 2022, ExcellenceReporter.com > Paul Robeson, in https://americanswhotellthetruth.org/portraits/paul-robeson/ > 6 Bahá'u'lláh, Gleanings from the Writings of Bahá'u'lláh, p. 157 > Bahá'u'lláh, Tablets of Bahá'u'lláh, p. 39 > Editorial, “The Bahá’í Magazine,” in Star of the West, Vol. 23, p. 329 > 9 'Abdu'l-Bahá, Some Answered Questions, pp. 217–218] > 'Abdu'l-Bahá, Paris Talks, p.85 > 'Abdu'l-Bahá. 'Abdu'l-Bahá in London, p. 23 > > Batdorf, Thaya. “The Bahá’í Teachings and the Artist, Bahá’í Studies Notebook, A > > publication of the Canadian Association for Studies on the Bahá’í Faith, 1, No. 1, > December 1980 > Bahá'u'lláh, Gleanings from the Writings of Bahá'u'lláh, p. 160 > > [Batdorf, Thaya. “The Bahá’í Teachings and the Artist, Bahá’í Studies Notebook, A > > publication of the Canadian Association for Studies on the Bahá’í Faith, 1, No. 1, > December 1980] > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Chapter Six > Wherefore Art? > > 1 Tablets of 'Abdu'l-Bahá v2, p. 448 > > 2 Alexander Pope, in www.simple-poetry.com > Robert Root-Bernstein, Hobbled Arts Limit Our Future, in Los Angeles Times, > September 2, 1997 > Ricardo Lopez, “Working-class barrio turns into huge rainbow mural,” August 1, 2015, > apnews.com/664e9c91529344f8b932330ab15d9f02 > 5 Ibid. > 6 Ibid. > Universal House of Justice, 10 Feb 1980, quoted in Bahá'í National Review, Jan 1982, p. 1 > 64 Ways to Practice Nonviolence (#13), www.k- > state.edu/nonviolence/media/64ways_list.htm] > 9Charles Dickens, in Amiel Schotz, Theater Games and Beyond: A Creative Approach for > Performers > Rollo May, My Quest For Beauty > 11 [President John F. Kennedy, www.arts.gov/about/kennedy-transcript > > Olafur Eliasson, quoted in Amy Funderburk, These Extreme Artworks > > Embody the Climate Crisis, www.artandobject.com] > > Brenda Euland, in Julia Cameron, The Artist's Way, A Spiritual Path to Higher > > Creativity, p. 4 > “Kid Talk,” Coastal View News, Carpinteria, CA, March 19, 1998 > > Chapter Six a > Wherefore Art? Arts Underlying Purpose > > Editorial, "The Bahá'í Magazine," in Star of the West , February 1933 Vol. 23. No. 12, > pp. 327-329 > > ENDNOTES > > 16 Leo Tolstoy, What is Art? > Cao Yu, in Robert Andrews, The New Penguin Dictionary of Modern Quotations > E. M. Forster, in https://www.inspiringquotes.us/ > 19 The Universal House of Justice, in Baha'i World, Vol. XVIII, p. 358] > www.colbyjeffers.com/ > 21 Ludwig Tuman, Mirror of the Divine, Art in the Bahá'í World Community, pp. 29–30 > Bahá'u'lláh, Tablets of Bahá'u'lláh, p. 72 > Bahá'u'lláh, Epistle to the Son of the Wolf, p. 26 > From a letter to an individual, written on behalf of Shoghi Effendi, in The Importance of > the Arts in Promoting the Faith, compiled by the Research Department of the Universal > House of Justice > 25 Olafur Eliasson, Why art has the power to change the world, January 18, 2016, > www.weforum.org/agenda/2016/01/why-art-has-the-power-to-change-the-world/] > Ludwig Tuman, Mirror of the Divine, Art in the Bahá'í World Community, p. 50 > > Chapter Seven > Art Heals > > artztherapy.wordpress.com/art-therapy-quotes/ > 2 Catherine DiGiacomo, Creators.com, Mar 3, 2016 > “Dance is liberation!” Lisa Janti, Bahá’í, The New Vision, p. 94 > Buckles, Shawn, What Does Aristotle Say About Art, > wisdomshort.com/philosophers/aristotle/on-art > carljungdepthpsychologysite.blog/2020/10/13/psyche-quotations/ > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Chapter Seven a > Art Heals: Music to Heal Body and Soul > > Forever Young: Music and Aging. Hearing before the Special Committee on Aging, > United States Senate. One Hundred Second Congress, First Session, Washington, D.C. > August 1, 1991 > www.musictherapy.org/about/quotes/ > 8 Superior, WI Telegram, August 14, 1991 > www.furious.com/perfect/nufflyrics-trenchtownrock.html > 10Suzanne B. Hanser, EdD, MT-BC and Susan B. Mandel, PhD, MT-BC, Music Therapy > for Pain Management. > Dennis Thompson, Music Therapy for Pain Management, > > www.everydayhealth.com/pain-management/music-therapy-for-pain- > management.aspx > Ibid. > > Sacks, Oliver, quoted in Music as Medicine, > > https://www.pacificsymphony.org/blog/2023/01/30/music-as-medicine > > Gaynor, Mitchell, The Healing Power of Sound: Recovery from Life-Threatening Illnesses > > Using Sound, Voice and Music > Gardner, Kay, Sounding the Inner Landscape > 16 ‘Abdu'l-Bahá, Selections from the Writings of Abdu'l-Bahá, p. 147 > ‘Abdu’l-Bahá, “Table Talk," quoted in Herald of the South, January 13, 1933 > > Music Therapy May Help Children with Autism, August 30, 2013 by the Autism Science > > Foundation > https://www.musictherapy.org/about/quotes/ > Willie Nelson, It’s a Long Story > Ibid. > ‘Abdu'l-Bahá, Selections from the Writings of 'Abdu'l-Bahá, p. 112 > > ENDNOTES > > Chapter Seven b > Art Heals: Paint (and Sculpt) Away Your Pain > > www.psychologytoday.com/us/therapy-types/art-therapy > 25 arttherapy.org/about-art-therapy/ > 26 ‘ > Abdu’l-Bahá, Paris Talks, p. 163 > > https://joannemcclure.com/gallery/free-at-last/ (website came down after her > > passing—now some is available on Facebook) > > Chapter Seven c > Art Heals: Drama: The Healthy and Acceptable Way to Act Out > > creativepsychotherapy.com > 29 www.nadta.org/what-is-drama-therapy-html > Ibid. > > Yvette Brazier, “Drama Therapy: Unlocking the Door to Change.” Medical > > News Today, March 30, 2016 > 32 Ibid. > creativepsychotherapy.com > > Chapter Seven d > Art Heals: Dance through the Dark in Order to See the Light > > https://adta.org/2014/11/08/what-is-dancemovement-therapy/ > Gabrielle Roth, Sweat Your Prayers: Movement as Spiritual Practice: The Five Rhythms of > the Soul > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Kay Gardner, Sounding the Inner Landscape, p.59, Caduceus Publications, Stonington > > ME, 1990 > Gabrielle Roth, Sweat Your Prayers: Movement as Spiritual Practice: The Five Rhythms of > the Soul, > Allegra Fuller Snyder, American Dance Therapy Association Journal, 1972 > Gabrielle Roth, Sweat Your Prayers: Movement as Spiritual Practice: The Five Rhythms of > the Soul > > Nina Utne, “15 Ideas That Could Shake the World: ‘Singing and Dancing,’” Utne > > Reader, March - April 1999 > Brian Swimme, “Do-re-mi and the Galaxy,” Creation, II-3, (July/August 1986) pp. 24–25 > > Chapter Seven e > Art Heals: Write Your Way to Health > > Adrian Furnham, Writing As Therapy, Psychology Today, (online version) August 29, > > 2013 > Nordquist, Richard. "What Is Freewriting?" ThoughtCo, Feb. 11, 2020, > thoughtco.com/what-is-freewriting-1692850 > > Karen A. Baikie, Kay Wilhelm, Emotional and physical health benefits of expressive > > writing, Advances in Psychiatric Treatment Aug 2005, apt.rcpsych.org/content/11/5/338 > Ibid. > 46 James W. Pennebaker and Joshua M. Smyth, Opening Up by Writing It Down > Kevin Bennett, Ph.D., 10 Good Reasons to Keep a Journal, psychologytoday.com > 48Salmonsohn, Karen, “Memoir Therapy: 5 Tools to Write Your Way to a Happier Life,” > https://www.notsalmon.com/2016/09/25/memoir-therapy/ > > Amor, Alexandra, “Writing Tips: How to Write a Memoir About a Difficult Subject,” > > The Creative Penn.com. October 4, 2018.] > Rabbani, Ruhiyyih, “Say Yes, My Love, Poems of the Passing, pp. 78–79 > Sabet, Mahvash, Prison Poems. p. 59 > 52 Ibid. p. 101 > > ENDNOTES > > Chapter Eight > Discover the Artist Within > > 'Abdu'l-Bahá, Selections from the Writings of 'Abdu'l-Bahá, p. 140 > 2 Ibid. > Ibid. > Ibid. > 5 Shoghi Effendi, in Importance of the Arts > Ibid. > 7 Johann Wolfgang von Goethe, Faust > John Ruskin, The Stones of Venice, vol. 1, ch. 4 > 9 Boris Pasternak, On Modesty and Bravery (Speech delivered at a Writer's Conference)] > George Leonard, The Silent Pulse > 11 Bahá'u'lláh, The Hidden Words (from the Persian, #80 > Remarks by Roger White from an interview with Mark Sadan, videotaped in Haifa, > Israel > > Chapter Eight a > Discover the Artist Within: Inhibition is a Four-Letter Word > > Kid Talk, Coastal View News, Carpinteria, CA, March 19, 1998 > www.goodreads.com/author/quotes/5282.Scott_Adams > ‘Abdu’l-Bahá, in Blomfield, The Chosen Highway,p. 167 > ‘Abdu’l-Bahá, Foundations. pp. 109-110 > ‘Abdu’l-Bahá, Paris Talks, p. 82 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Chapter Eight b > Discover the Artist Within: Are You a Shadow Artist > > Baha'u'llah, Hidden Words, (from the Arabic) #3 > Mary Daley, in Cameron, Artist’s Way, p. 2 > 20 Julia Cameron, Artist’s Way, p. xiii > Baha’u’llah, Epistle to the Son of the Wolf, (Wilmette: Bahá'í Publishing Trust, 1988), p. > Bahá’u’lláh, quoted in Extracts from the Writings Concerning Arts and Crafts, > compiled by the Research Department of the Universal House of Justice > Baha'u'llah, Hidden Words, (from the Arabic) #11 > Baha'u'llah, Hidden Words, (from the Arabic) #13 > Serros, Michele. “Annie Says,” Chicana Falsa and other stories of death, identity, & Oxnard > 26 ‘Abdu’l-Bahá, in Star of the West, Volume 1, p. 10 > > Marianne Williamson, A Return to Love: Reflections on the Principles of A Course in > > Miracles, p. 165 > Shoghi Effendi, Arohanui — Letters to New Zealand, p. 34 > Edgar Degas, www.goodreads.com/quotes > Julia Cameron, The Artist's Way, p. 30 > Ibid. > > Chapter Eight c > Discover the Artist Within: Why to Develop Your Artistic Talent(s) > > Julia Cameron, The Artist's Way, p. 3 > > ENDNOTES > > Chapter Eight d > Discover the Artist Within: Give Yourself Permission to Create > > 'Abdu'l-Bahá, Selections from the Writings of 'Abdu'l-Bahá, p. 140 > Jan Phillips, No Ordinary Time, www. janphillips.com > 34 Jan Phillips and Ruth Westreich, Creativity Unzipped, p. 68 > > Chapter Eight e > Discover the Artist Within: Meditation: The Key for Opening the Doors of > Mysteries > > Selections from the Writings of ‘Abdu'l-Bahá, p. 140 > `Abdu'l-Bahá,` Abdu'l-Bahá in London, p. 97 > > Bahá'u'lláh, The Hidden Words, #32, from the Arabic > The Universal House of Justice, Messages 1963 to 1986, pp. 589–590 > 39 ‘Abdu'l-Baha, Selections from the Writings of ‘Abdu'l-Bahá, p. 241 > > Chapter Nine > Strive for Excellence > > The Báb, from the Persian Bayan, provisionally translated by Nader Saiedi in The Gate > of the Heart, p. 317 > 2 'Abdu'l-Bahá, in Bahá'í Teachings on Music, pp. 5-6 > The Universal House of Justice, A Wider Horizon, Selected Letters 1983-1992, p. 38 > 'Abdu'l-Bahá, in The Importance of the Faith in Promoting the Arts, compiled by the > Research Department of the Universal House of Justice > Ibid. > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > 6 Ibid. > George Eliot, in "Quotable Quotes," Reader's Digest, September 1995, p. 201 > 'Abdu'l-Bahá, The Promulgation of Universal Peace, p. 49 > 9 Ibid. > Salvador Dali, Diary of a Genius > > Aristotle, quoted in Durant, Will, The Story of Philosophy: The Lives and Opinions of the > > World’s Greatest Philosophers > 12 www.inspiringquotes.us/quotes/Zwjn_jY7gNoBL > teachingpicasso.wordpress.com/] > > George Sand, Amadnine Aurore Lucie Dupin, Baronne Dudevant, in an 1872 letter to > > Alexandre Saint-Jean > > Chapter Nine > Strive for Excellence > The Art of an Eloquent Tongue > > James, Geoffrey. 9 Speaking Habits That Make You Sound Smarter. > > www.inc.com/geoffrey-james/9-speaking-habits-that-make-you-sound-smarter.html > Ibid. > 17 Gleanings from the Writings of Bahá’u’lláh, p. 303 > Bahá’u’lláh, Epistle to the Son of the Wolf, p. 12 > Bahá’u’lláh, The Summons of the Lord of Hosts, pp. 109-110 > Tablets of Baha’u’llah, pp. 172-17] > > 'Abdu'l-Bahá from the “Diary of Mírzá Ahmad Sohráb,” 25 July 1914. In Star of the > > West - 5 > > Bahá’u’lláh, from a previously untranslated tablet in a compilation on Bahá'í > > education compiled by the Research Department of the Universal House of Justice, > Bahá'í World Centre. In the Compilation of Compilations, vol. 1, p. 244] > > ENDNOTES > > 23James, Geoffrey. 9 Speaking Habits That Make You Sound Smarter. > https://www.inc.com/geoffrey-james/9-speaking-habits-that-make-you-sound- > smarter.html > > Chapter Ten > Reach Out: Connect Minds, Hearts, and Souls > > From a letter of the Universal House of Justice, dated 3 April 1991, to all National > Spiritual Assemblies > Universal House of Justice, Ridvan Letter 1996, to the Bahá’ís of the World, > paragraph 31 > Universal House of Justice, Ridvan Letter 1996, to the Bahá’ís of Europe, > paragraph 9 > 4 Eliasson. Olafur. Why Art has the Power to Change the World, 18 January 2016. > > www.weforum.org/agenda/2016/01/why-art-has-the-power-to-change-the-world > 5 Ibid. > Ibid. > Ibid. > > Chapter Ten a > Reach Out: Connect Minds, Hearts, and Souls: > Music: Wings for the Spirit > > Holladay, Marvin “Doc” “World Music: A Perspective.” Where Art & Faith Converge, > > Michael Fitzgerald, ed. George Ronald. Oxford. 2008 p. 111 > 'Abdu'l-Bahá, Tablets of 'Abdu'l-Bahá v3, pp. 581–582 > https://www.quotes.net/mquote/988408 > Gass, Robert, Chanting: Discovering Spirit in Sound, New York : Broadway Books 2000 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Warner, Jennifer, Music Gives Brain Natural Buzz, WebMD Health News, January > > 10,2011, www.webmd.com/brain/news/20110109/music-gives-brain-natural-buzz > > www.socratic-method.com/quote-meanings-and-interpretations/ludwig-van- > > beethoven-music-is-the-mediator-between-the-spiritual-and-the-sensual-life > Letter on Behalf of Shoghi Effendi, quoted in U.S. Bahá'í News, #71, Feb. 1933 > 15 Sa-adyah Gaon (892-942 A.D.), Jewish musician, On the Influence of Music > 'Abdu'l-Bahá, Tablets of 'Abdu'l-Bahá v3, pp. 581–582 > Ibid. > 18 Johnson, Mark, in an interview on Bill Moyers Journal, October 24, 2008 > > Miller, Amy. Somewhere Over in Crenshaw: Music Makes a Difference. > > October 19, 2006, www.edutopia.org/somewhere-over-crenshaw > 20 Rosellini, Lynn. A Joyful Noise in “Real-Life Miracles,” Readers Digest, December 2007 > Ibid. > 22 Ibid. > Selections from the Writings of ‘Abdu’l-Bahá, p. 146 > 24 Tablets of Bahá’u’lláh, p. 168 > > Bahá'u'lláh: Cited from the Kitáb-i-Aqdas in a compilation of Extracts from the > > Bahá'í Writings on Music, March 1, 1972, p. 1 > Abdu’l-Bahá, Tablets of ‘Abdu’l-Bahá, v. 3 , p. 687 > 27 ‘Abdu'l-Bahá, Selections from the Writings of 'Abdu'l-Bahá, p. 147 > > Chapter Ten b > Reach Out: Connect Minds, Hearts, and Souls: The Spiritual Influence of > the Drama Will Turn the Stage into the Pulpit of the Future > > Roger White, “Bring Chocolate,” in The Language of There, p 79 > > K. David Jackson, quoting the novelist Joaqim Maria Machado de Assis n Machado de > > Assis, A Literary Life > > ENDNOTES > > 30Konstantin S. Stanislavski, quoted in Sonia Moore, The Stanislavski System, The > Professional Training of an Actor > ‘Abdu'l-Bahá, quoted by Loulie Mathews in The Magazine of the Children of the Kingdom, > June 1923 > Konstantin S. Stanislavski, quoted in Sonia Moore, The Stanislavski System, The > Professional Training of an Actor > Ibid. > Ibid. > Tablets of Bahá'u'lláh, pp. 168-169 > 36In a letter, dated 10 October 1932, on behalf of Shoghi Effendi to Mrs. Clara Weir, cited > in Bahá'í News #73, May 1933 > Abdu'l-Bahá in London, p. 93 > 38 Coleridge, Samuel, Biographia Literaria > 39https://www.goodreads.com/quotes/313004-the-stage-is-a-magic-circle-where-only- > the-most > McGuire, Frank, Miracle! > > Chapter Ten c > Reach Out: Connect Minds, Hearts, and Souls > Dance: The Hidden Language of the Soul > > Bill T. Jones, Body Against Body: the dance and other collaborations of Bill T. Jones > and Arnie Zane, Station Hill Press, NY 1989 > 42 Isadora Duncan, The Art of the Dance, pp. 135, 62, 136 > https://www.goodreads.com/quotes/741333-to-watch-us-dance-is-to-hear-our-hearts- > speak > https://www.goodreads.com/author/quotes/73397.Doris_Humphrey > https://www.theodysseyonline.com/dance-hidden-language-soul > Lyall Watson Gifts of Unknown Things > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Elaine Woo, “Choreographer created memorable sequences for Broadway and > > Hollywood”, Los Angeles Times, December 25, 2007 > "Around the world, Bahá'í youth workshops promote tolerance," One Country, > July-September 1977, Volume 9, Issue 2 > > 49 20 June 1991, on behalf of the Universal House of Justice to a National Spiritual > Assembly, The Importance of the Arts in Promoting the Faith, also listed with a > different date, July 26, 1989, to a National Spiritual Assembly - NSA USA - > Developing Distinctive Baha'i Communities > > Chapter Ten d > Reach Out: Connect Minds, Hearts, and Souls > To Story—To Poem—To Essay—To Write > > Huxley, Julian, quoted in Reader's Digest "Points to Ponder," May 1995, p. 210 > 50 Jong, Erica. “Doing it For Love” in The Writer’s Handbook, 1998 Edition. > > 'Abdu'l-Bahá, October 15, 1920 letter to Mr. Sensui Saiki (Azizullah Bahadu, tr), in > > Shoghi Effendi, Japan Will Turn Ablaze, pp, 39–40 > Ueland, Brenda, If You Want to Write > > Chapter Ten d-i > Reach Out: Connect Minds, Hearts, and Souls > To Story—To Poem—To Essay—To Write: > To Story > > Shoghi Effendi, in a 30 November 1932, to an individual, in The Importance of the Arts > in Promoting the Faith > https://www.socratic-method.com/quote-meanings-interpretations/maya-angelou- > there-is-no-greater-agony-than-bearing-an-untold-story-inside-you > > ENDNOTES > > Chapter Ten d-i-1 > Reach Out: Connect Minds, Hearts, and Souls > To Story—To Poem—To Essay—To Write > To Story: Fiction > > “Does reading fiction make us better people?” > https://www.bbc.co.uk/future/article/20190523-does-reading-fiction-make-us-better- > people > > Chapter Ten d-i-2 > Reach Out: Connect Minds, Hearts, and Souls > To Story—To Poem—To Essay—To Write > To Story: Memoir > > Nancy Mairs, Voice Lessons > 58 Frederick Buechner, Tellimg Secrets > Frederick Buechner, I Am My Secrets > > Chapter Ten d-i-3 > Reach Out: Connect Minds, Hearts, and Souls > To Story—To Poem—To Essay—To Write > To Story: History/Biography > > Ken Eikenberry, Five Reasons to Read More Biographies, > https://kevineikenberry.com/coaching-developing-others/five-reasons-to-read-more- > biographies/ > Ibid. > 62 Gilstrap, Dorothy Freeman, Copper to Gold. p. xxi > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > 63 'Abdu’l-Bahá, in Blomfield, Chosen Highway, p. 167 > > Chapter Ten d-ii-1 > Reach Out: Connect Minds, Hearts, and Souls > To Story—To Poem—To Essay—To Write > To Poem: Why Poetry? > > '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 (The Compilation of > Compilations vol, II, p. 79) > 65 Yeats, W. B. The Celtic Twilight. A Word to the Wise. 2013 > John Betjeman (1906-84) British poet. The Observer, 'Sayings of the Year', 1974 > E.J. Montini, "All hail Alberto Ríos, Ariz.'s 'versifier in chief'", Arizona Republic, August > 25, 2013] > Ibid. > 69 Ibid. > Myra Cohn Livingston, from the introduction to A Tune Beyond Us, Myra Cohn > Livingston, ed > > Chapter Ten d-ii-2 > Reach Out: Connect Minds, Hearts, and Souls > To Story—To Poem—To Essay—To Write > To Poem: The Spiritual Role of the Poet > > 71 Geoffrey Nash, in “The Place for the Poet," Baha’i News, June 1989 > Bahiyyih Nakhjavani, “Artist, Seeker, and Seer,” Baha’i Studies, No. 10, p. 14 > Dr. Glen Eyford, in “The Place for the Poet, Baha’i News, June 1989 > 74 Ibid. > > ENDNOTES > > 75 John Spencer Hill, Ghirlandaio’s Daughter > Ibid. > Wallace Stevens, The Necessary Angel > 78 attributed to American poet C.D. Wright > James Playstead Wood, Emily Dickinson, A Portrait, p. 176 > “The Place for the Poet," Bahá’í News, June 1989 > 81 Amin Banani, Tahirih, a Portrait in Poetry > Jane Kenyon, A Hundred White Daffodils > > Chapter Ten d-ii-3 > Reach Out: Connect Minds, Hearts, and Souls > To Story—To Poem—To Essay—To Write > To Poem: What Use Poetry? > > Sitwell, Edith. Rhyme and Reason > 84 Sitwell, Edith The Outcasts > > Lin Rolens, review of “The Flower Vendor” in Santa Barbara News-Press, March 27, > > 2005 > 86 Michael Fitzgerald, “The Uses of Art,” Glimpses of Hope, p. 240 > White, Roger. “Print Out.” The Language of There, p. > President John F. Kennedy, The Atlantic, "Power and Poetry," February 1964 > Ravetch, Herbert. The Meaning of Life Through Poetry > Gordon, Ruth. Peeling the Onion > Bugeja, Michael J. The Art and Craft of Poetry > Keats, John. Letter to J. H. Reynolds, February 3, 1818 > Letter to Louise Waite, in Tablets of 'Abdu'l-Bahá, Volume 1, pp. 57-58 > Letter to nine-year old boy named Isaac, Tablets of 'Abdu'l-Bahá, Volume 2, p. 403 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Chapter Ten d-ii-2 > Reach Out: Connect Minds, Hearts, and Souls > To Story—To Poem—To Essay—To Write > To Essay > > Leyshon, Cressida. “Not Getting with the Program: An Interview with Meghan > > Daum,” The New Yorker, September 26, 2014 > Baha'u'llah, Epistle to the Son of the Wolf, p. 26 > Tablet of Tarázát, in Tablets of Bahá'u'lláh Revealed after the Kitáb-i-Aqdas, pp. 39-40 > 98From the Pennsylvania Public Ledger, in Mina Yazdani’s essay for Abdu’l-Baha’s > Journey West, p. 151, reprinted in The Apostle of Peace, a Survey of References to > Abdu’l-Baha in the Western Press, 1871-1921, by Amin Egea, pp. 364-365 > 99From a 15 August 1945 letter to an individual, written of behalf of Shoghi Effendi, in > the compilation Extracts from the Bahá'í Writings on the Subject of Writers and Writing, > compiled by the Research Department of the Universal House of Justice > > From a letter written on behalf of Shoghi Effendi to an individual believer, November > > 30, 1950, Lights of Guidance, p. 103 > > Bahá'u'lláh, to an individual believer, in Extracts on Writing and Writers, p. 1, > > compiled and written on behalf of the Universal House of Justice > > Tony DiMartino, Senior Editor, Mary Engelbreit's Home Companion ("Home Is Where > > the Heart Is," a personal-essay page open to readers.) in Cynthia G. La Ferle, “Getting > Personal: Use Your Head to Write Heartfelt personal essays that move readers—and > editors.“ Writer’s Digest, February > > Cynthia G. La Ferle, “Getting Personal: Use Your Head to Write Heartfelt > > personal essays that move readers—and editors.“ Writer’s Digest, February 1999 > > ENDNOTES > > Chapter Ten e > Reach Out: Connect Minds, Hearts, and Souls > Art: Common Language of Human Existence > > Marcel Proust, The Maxims of Marcel Proust [1948 > > Chapter Ten e-i > Reach Out: Connect Minds, Hearts, and Souls > Art: Common Language of Human Existence: Photography: Capturing > Divinity > > Edward J. Sozanski, “Art: Art? No, ' just my way'”, Philadelphia Inquirer, February 11, > > 2011 > Bahá’u’lláh, The Seven Valleys, p. 18 > > Chapter Ten e-iii > Reach Out: Connect Minds, Hearts, and Souls > Art: Common Language of Human Existence: Architecture > > Dahl, Arthur. “The Fragrance of Spirituality: The Art of Mark Tobey.” The Bahá’í > > World, vol. XVI, p. 638. Bahá’í World Centre. Haifa. 1978 > “What is Architecture? “Architect Journal July 31, 2018 > Parolek, Dan. The Power of Public Art: How Murals Beautify Cities and Build > Communities.Opticosdesign.com. November 19, 2014 > https://opticosdesign.com/blog/the-power-of-public-art-murals/ > 110 William Hickling Prescott, The Conquest of Peru [1847], bk. I, ch. 5 > The Deeper Meaning of Timeless Architecture, archeyes.com, March 23, 2023 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Bahá’u’lláh, quoted in Extracts from the Writings and from Letters of the Guardian > > and the Universal House of Justice on the Arts and Architecture, compiled by the > Research Department of the Universal House of Justice > Letter on behalf of Shoghi Effendi, dated 11 July 1956, to a National Spiritual > Assembly, quoted in Extracts from the Writings and from Letters of the Guardian and > the Universal House of Justice on the Arts and Architecture, compiled by the Research > Department of the Universal House of Justice > Extract from a letter from the Universal House of Justice, quoted in Extracts from > the Writings and from Letters of the Guardian and the Universal House of Justice on the > Arts and Architecture, compiled by the Research Department of the Universal > House of Justice > > Chapter Ten e-iv > Reach Out: Connect Minds, Hearts, and Souls > Art: Common Language of Human Existence: Painting > > 115 Afzal, Ibrahim, https://www.theartist.me/art/what-is-art/#Why_is_Art_Important > 116116 Dewey, John. Art as an Experience > Lost in Thought, paintandsimple.com, October 20, 2017 > > Chapter Eleven > The Standard for Human Action > > 'Abdu'l-Bahá, The Promulgation of Universal Peace, p. 155 > 2[From a 4 September 1987 letter written on behalf of the Universal House of > Justice to an individual, in The Importance of the Arts in Teaching the Faith] > From a letter written on behalf of Shoghi Effendi, in The Dynamic Force of Example, p. > Shoghi Effendi, The Advent of Divine Justice, p. 30 > > ENDNOTES > > 5From a 30 June 1952 letter written on behalf of the Guardian to the National Spiritual > Assembly of India, Dawn of a New Day, p. 153 > Bahá'u'lláh, in Extracts from the Bahá'í Writings on Music, March 1, 1972, p. 1 > Bahá'u'lláh, in Extracts on Writing and Writers, p. 1 > 827 January 1935 to a National Spiritual Assembly, quoted in U.S. Bahá’í News, > March 1952, p. 1, Directives from the Guardian, No. 52, p. 19 > The Universal House of Justice, from a letter dated December 29,1988, A Wider Horizon, > Selected Letters 1983-1992, p. 219 > > Chapter Twelve > The Wisdom of the Review Process > > A Reader's Guide by Eunice Braun, p. 150 > ‘Abdu'l-Bahá, Tablets of `Abdu'l-Bahá, p. 464 > 3Universal House of Justice: Memorandum on Bahá'í Publishing, Ridvan 1971, in Lights of > Guidance, p. 101 > The Universal House of Justice: from a letter to the National Spiritual > Assembly of the British Isles, March 11, 1965, in Lights of Guidance, p. 101 > From a letter to the National Spiritual Assembly of the United States, 15 Sep > 1968, in A Compilation of Use to Writers, compiled by the Research Department of > the Universal House of Justice > 6Art, compiled by the Research Department of the Universal House of Justice, 22 > February 1982 > Ibid. > The Universal House of Justice, Memorandum on Bahá'í Publishing, Ridván 1971, in > Lights of Guidance, p. 101 > From a letter to the National Spiritual Assembly of the United States, 15 Sep > 1968, in A Compilation of Use to Writers, compiled by the Research Department of > the Universal House of Justice > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > 10From a letter written on behalf of Shoghi Effendi to the National Spiritual > Assembly of the United States and Canada, April 13, 1946 in Lights of Guidance, > p. 101 > The Universal House of Justice: Memorandum on Bahá'í Publishing, - Ridvan > 1971, in Lights of Guidance, p. 100 > > Chapter Thirteen a > Promote Spiritual Transformation > at the Community Level > The Development of The Arts > > The Bahá'í International Teaching Centre, 5 November 2001 letter to the Continental > Counselors > Ibid. > 3 White, Roger. The Language of There. pp 79–80. > From a letter on behalf of Shoghi Effendi to an individual, in Bahá’í Meetings and > the Nineteen Day Feast, p. 25 > 5 'Abdu'l-Bahá, Tablets of 'Abdu'l-Bahá v2, p. 468 > 6Mark Tobey, quoted by Arthur Lyon Dahl, “The Fragrance of Spirituality, An > Appreciation," in Mark Tobey / Art and Belief > > Chapter Thirteen b > Promote Spiritual Transformation > at the Community Level > Art Indispensable in School Curriculum > > Selections from the Writings of ‘Abdu’l-Bahá, pp. 126–127 > From a Tablet translated from the Persian, in Art, compiled by the Research > Department of the Universal House of Justice > > ENDNOTES > > 9 Ibid. > 'Abdu'-Bahá, in The Importance of the Arts in Promoting the Faith > Ibid. > 12 www.musictherapy.org/about/quotes/ > Eloquent Evidence: Arts at the Core of Learning, a 1995 publication of the > President's Committee on the Arts and Humanities > education.kennedy-center.org/education/ceta > 15 Ibid. > Ibid. > St. Aude, Mellissa. “Vista Grande students to show off artistic side.” February > 25, 2020, Casa Grande Dispatch > > Chapter Thirteen c > Promote Spiritual Transformation > at the Community Level > The True Worth of Artists and Craftsmen Should Be Appreciated > > Bahá'u'lláh, “Tablet of Tajallíyát,” in Tablets of Bahá'u'lláh, p. 52 > Tablets of Baha'u'llah, p. 38 > > Tablets of Bahá'u'lláh Revealed after the Kitáb-i-Aqdas (Haifa: Bahá'í World Centre, 1988) > > pp. 38-39 > Tablets of Bahá'u'lláh, pp. 150-151 > > The Bahá’í International Teaching Centre, 5 November 2001 Letter to the Continental > > Counsellors > From a letter written on behalf of Shoghi Effendi, in Unfolding Destiny, p. 429 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > Chapter Thirteen d > Promote Spiritual Transformation > at the Community Level > Encouragement: Essential to Success > > Birkland, Stephen. The Systematic Growth and Art of Encouragement > Ibid. > 26National Spiritual Assembly of the Bahá'ís of the United Kingdom, 1 March > 1995 letter to Bahá'ís gathered at the Feast of Bahá (Splendor > Shoghi Effendi, quoted in U.S. Bahá'í News, #73, May 1933, p. 7 > Universal House of Justice, Messages 1963 – 1968, p. 653 > > Chapter Thirteen e > Promote Spiritual Transformation > at the Community Level > Criticism is Easy; Art is Difficult > > 29 libquotes.com/henry-james/quote/lbf3x1i > > 30 Bahá’u’lláh, Epistle to the Son of the Wolf, p. 26 > James Boswell: A Journal of a Tour to the Hebrides > https://www.goodreads.com/quotes/84908-every-man-s-work-whether-it-be- > literature-or-music- > How to Be a Critic,” The New Yorker, August 22, 20212 > James Playstead Wood, Emily Dickinson, A Portrait > Shoghi Effendi, The Advent of Divine Justice, p. 50 > 'Abdu'l-Bahá, The Promulgation of Universal Peace, pp. 76–77 > www.samueljohnson.com/qotw03q4.html > > ENDNOTES > > 38Brian Lee, Why a Criticism is Better than a Compliment. > https://www.lifehack.org/656171/why-criticism-is-better-than-compliment > Ibid. > quoted by Arthur Lyon Dahl, “The Fragrance of Spirituality, An > Appreciation,” in Mark Tobey / Art and Belief > > Chapter Thirteen f > Promote Spiritual Transformation > at the Community Level > Why to Utilize The Arts > > Table Talk, Acca, July 1909, quoted in Herald of the South (January 13, 1933), pp. 2-3 (The > > Compilation of Compilations vol II, p. 77) > Luna Mohanty, Brain Enhancement Tips for Improving Memory, Amazine.com > Steven Birkland, The Systematic Growth and Art of Encouragement > > Chapter Thirteen g > PROMOTE SPIRITUAL TRANSFORMATION > AT THE COMMUNITY LEVEL > > How to Utilize The Arts > > The Bahá'í International Teaching Centre, 5 November 2001 Letter to all Continental > > Counselors > Ibid. > > Chapter Fourteen > Beauty Enhances and Enriches the Spirit > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > 1 Ludwig Tuman, Mirror of the Divine, pp. 57-58 > > 2 Keith Ransom Kehler, “When Beauty Streams,” The Bahá’í Magazine, in Star of the > > West, Vol. 15, p. 361 > 3 Ludwig Tuman, Mirror of the Divine, pp. 59 > > 4 Chris Kavelin, Learning Indigenous Spiritual Technology, May 15, 2016, > > bahaiteachings.org > 5 International Teaching Centre, 5 November 2001 letter to Continental Counsellors > > Chapter Fourteen a > Beauty Enhances and Enriches the Spirit > Art and Justice: Twin Triggers of Human Transformation > > Copyright Ashleigh Brilliant 2025 > 7 Bahá’u’lláh, Epistle to the Son of the Wolf, p. 31 > > Chapter Fourteen b > Beauty Enhances and Enriches the Spirit > The Arts: The Non-Lethal Weapon to End War > > https://archive.org/stream/treasuryofstorie012324mbp/treasuryofstorie012324mbp_djvu. > txt > White, Roger. "January 1991: Israel" in The Language of There, p. 61 > White, Roger. "Nursery Rhyme," Another Song, Another Season. pp 161-162 > Statement attributed to W. B. Yeats, in Ireland, by Frank Delaney > > Star of the West, Vol X, p. 195, from an article by Marion Weinstein in the Globe and > > Commercial Advertiser, New York, 17 July 1919 > Star of the West, vol. III:7, 13 July 1912, pp. 9–10 > > ENDNOTES > > 14 Rev. Albea Godbold, Religion in Life > > Chapter Fourteen c > Beauty Enhances and Enriches the Spirit > The Wall & the Call: Public Art and Social Change > > 15 Gleanings from the Writings of Baha’u’llah, pp. 92–93 > > Chapter Fourteen d > Beauty Enhances and Enriches the Spirit > Dramaturgy for Social Justice > > Edward Albee, Speech at National Press Club luncheon, November 29, 1995 > 17 Abdu’l-Bahá, Divine Philosophy, pp. 25–26 > > Chapter Fourteen e > Beauty Enhances and Enriches the Spirit > Writing to Right Wrongs > > 18 White, Roger. “Whom Love Blinds,” in The Witness of Pebbles, p. 124 > Harmsen, Rhea. “The Clothesline Project” in Language of the Heart, pp. 32—35 > > Chapter Fourteen f > Beauty Enhances and Enriches the Spirit > The Necessity of Beauty in Your Life > > [Gleanings from the Writings of Baha’u’llah, p. 342 > > THE ARTS: A KEY TO SPIRITUAL TRANSFORMATION > > 21 Ludwig Tuman, Mirror of the Divine, p. 59 > ‘Abdu’l-Bahá, Bahá’í World Faith, P. 311 > 'Abdu'l-Bahá, in Dr. J.E. Esslemont, Bahá’u’lláh and the New Era, p. 103 > 24 'Abdu'l-Bahá, Selections from the Writings of 'Abdu'l-Bahá, p. 145 > https://www.wildmind.org/walking/inbeauty > > Chapter Fifteen > Art and Science — a Symbiotic Relationship > > Gustave Flaubert, quoted in Charles Newman’s The Post-Modern Aura, 1985 > > Frank, Adam. “Where Art and Science Meet, Exactly,” NPR Feb. 7, 2012 > > 3 Ibid. > > Tamara Troup, answering What thing can best describe the relationship between > science and art?, on Quora, July 13, 2013 > [Willamette] University Communications, Student forges connections between art and > science > 6 Ibid. > Ibid. > Vibeke Sorenson, The Contribution of the Artist to Scientific Visualization > Frank, Adam. “Where Art and Science Meet, Exactly,” NPR Feb. 7, 2012 > > Chapter Sixteen > There’s a New Era Coming, and the Arts will Usher it in > > 'Abdu'l-Bahá, quoted in Star of the West, Vol. VI, pp. 30-31 > Letter on behalf of Shoghi Effendi to an individual believer, dated 3/4/32 > > ENDNOTES > > 3 Letter on behalf of Shoghi Effendi to an individual believer, dated 12/11/31 > > 4 Letter on behalf of Shoghi Effendi to an individual believer, dated 12/23/42 > > 5From an undated letter from Shoghi Effendi to the Bahá'ís of Canada, in > Messages to Canada, pp. 21-22 > Universal House of Justice, from an unpublished letter dated 22 February 1980 > to an individual believer > Roger White, A Sudden Music, p. 12] Roger White, A Sudden Music, p. 12] > 8 William C. Seitz, quoted in Mark Tobey / Art and Belief] > > 9 International Churchill Society > Nicolas Boileau-Despréaux, The Art of Poetry, canto III, 1. 374 > 11 John Ruskin (1819-1900), preface to St. Mark's Rest > Tuman, Ludwig, Mirror of the Divine: Art in the Bahá’í World Community, Preface > and Acknowledgements > > — *The Arts: The Key to Spiritual Transformation (Used by permission of the curator)*