Daily Frameworks for 27 March 2025

Istijlál, 08 Bahá (Splendor), 182 B.E.

Walking Together on a Path of Service

Quotes for Reflection:

It is incumbent upon thee to summon the people, under all conditions, to whatever will cause them to show forth spiritual characteristics and goodly deeds, so that all may become aware of that which is the cause of human upliftment, and may, with the utmost endeavor, direct themselves towards the most sublime Station and the Pinnacle of Glory. The fear of God hath ever been the prime factor in the education of His creatures. Well is it with them that have attained thereunto! — Bahá’u’lláh ¹

As to your question concerning the advisability of dramatizing Bahá’í historic episodes: the Guardian would certainly approve, and even encourage that the friends should engage in such literary pursuits which, no doubt, can be of immense teaching value. What he wishes the believers to avoid is to dramatize the personages of the Báb, Bahá’u’lláh and ‘Abdu’l-Bahá, that is to say to treat them as dramatic figures, as characters appearing on the stage. This, as already pointed out, he feels would be quite disrespectful. The mere fact that they appear on the scene constitutes an act of discourtesy which can in no way be reconciled with their highly exalted station. Their message, or actual words, should be preferably reported and conveyed by their disciples appearing on the stage. — Shoghi Effendi ²

The prohibition on representing the Manifestation of God in paintings and drawings or in dramatic presentations applies to all the Manifestations of God. There are, of course, great and wonderful works of art of past Dispensations, many of which portrayed the Manifestations of God in a spirit of reverence and love. In this Dispensation however the greater maturity of mankind and the greater awareness of the relationship between the Supreme Manifestation and His servants enable us to realize the impossibility of representing, in any human form, whether pictorially, in sculpture or in dramatic representation, the Person of God’s Manifestation. In stating the Bahá’í prohibition, the beloved Guardian pointed out this impossibility. — Universal House of Justice ³

…an examination of the letters of the beloved Guardian makes it absolutely clear that it is not permissible to portray on the stage the figure of the Manifestation of God, nor even of the Master… — Universal House of Justice ⁴

The use of light, either of great intensity or in different colours, needs your careful consideration. If the use of light in any way at all suggests a personification of the Manifestation of God it should not be used, but if it can be done without in any way giving the impression that the Prophet is being represented or personified then there is no objection to its use. — Universal House of Justice ⁵

Question for Consideration

Section 10 of Unit 3, “Promoting the Arts at the Grassroots,” in Book 7: Walking Together on a Path of Service emphasizes how drama can have profound effects, and as an art form can become an important pedagogical tool. Through it, one can see oneself in imaginary situations and unconsciously examine one’s own behavior and habits. Realizing that “it is not permissible to portray on the stage the figure of the Manifestation of God, nor even of the Master,” how would one decide which sections of a story about the early history of the Faith should be narrated and which lend themselves to being enacted? ⁶

Perplexity Pro Response ⁷

When deciding which sections of a story about the early history of the Bahá’í Faith should be narrated versus enacted, it is important to respect the guidance provided by Bahá’u’lláh, Shoghi Effendi, and the Universal House of Justice regarding the portrayal of the Manifestations of God and ‘Abdu’l-Bahá. Below are key considerations to guide this decision-making process:

Guiding Principles

Avoid Representation of Sacred Figures

The Manifestations of God (e.g., the Báb and Bahá’u’lláh) and ‘Abdu’l-Bahá cannot be portrayed on stage or personified in any form. Their words, teachings, or actions should instead be conveyed indirectly through narration or through the voices of their disciples and followers.

Focus on Disciples and Historical Context
The lives, struggles, and triumphs of early believers—such as Táhirih, Mullá Husayn, or other heroes of the Faith—can be dramatized. These individuals played pivotal roles in spreading the teachings and demonstrating spiritual qualities that can inspire others.

Use Drama as a Tool for Reflection
Drama should aim to help participants examine their own behavior and habits by placing them in meaningful imaginary situations. It should highlight themes such as courage, sacrifice, unity, and steadfastness without attempting to personify sacred figures.

Narration

Sacred Words and Teachings
Passages from the Writings or direct quotes from the Manifestations of God should be narrated by a storyteller or read aloud by an actor portraying a follower. This ensures reverence for their exalted station.

Descriptions of Events Involving Sacred Figures
Events where the Báb, Bahá’u’lláh, or ‘Abdu’l-Bahá are central should be narrated rather than enacted. For example:

• The Declaration of the Báb.
• Bahá’u’lláh’s revelation in the Siyáh-Chál.
• Abdu’l-Bahá’s travels to the West.
  

Enactment

Interactions Among Early Believers
Scenes involving disciples can be dramatized to illustrate their spiritual qualities and contributions. Examples include:

• Mullá Husayn’s search for the Promised One.
• Táhirih’s bold declaration at the Conference of Badasht.
• The steadfastness of Bahá’ís during persecution.

Imaginary Situations Inspired by Historical Themes

Fictionalized scenarios that reflect the principles demonstrated by early believers can be enacted. For instance:

• A group discussing how to teach others about unity or justice.
• A family navigating challenges while remaining steadfast in their faith.
  

Use of Artistic Elements

Lighting and Symbolism
Light can be used symbolically but must avoid any suggestion of personifying sacred figures.

Music and Movement
Incorporate music, poetry, or movement to enhance emotional impact while maintaining reverence.

By adhering to these guidelines, drama can serve as a powerful tool for education and reflection while upholding the sanctity of sacred figures and teachings.

Perplexity Pro Response — Deeper Dive

The Bahá’í Faith provides specific guidance on dramatizing its history, emphasizing the importance of respecting sacred figures while encouraging the use of drama as a powerful educational tool. This guidance shapes how Bahá’ís approach storytelling and artistic expression in portraying their faith’s early history and teachings.

Prohibition on Portraying Sacred Figures

The Bahá’í Faith strictly prohibits the portrayal of its Central Figures—the Báb, Bahá’u’lláh, and ‘Abdu’l-Bahá—in dramatic presentations, paintings, or sculptures. This prohibition extends to all Manifestations of God, reflecting a belief in the impossibility of adequately representing their exalted station through human forms. The Universal House of Justice emphasizes that this restriction stems from mankind’s greater maturity and awareness of the relationship between the Supreme Manifestation and His servants in this Dispensation.

While previous religious traditions often depicted their holy figures, Bahá’í guidance stresses that even the mere appearance of these sacred personages on stage would be considered disrespectful. Instead, their messages and words should be conveyed indirectly, preferably through disciples or followers appearing in dramatic works. This approach maintains reverence for the Manifestations while still allowing for creative and educational portrayals of Bahá’í history and teachings.

Guidelines for Dramatizing Bahá’í History

When dramatizing Bahá’í history, practitioners should focus on narrating events involving the Central Figures while enacting scenes with early believers and disciples. This approach allows for the portrayal of spiritual qualities and historical context without compromising the sanctity of the Manifestations. For instance, the Declaration of the Báb should be narrated, while Mullá Husayn’s search for the Promised One can be enacted. Imaginary situations inspired by historical themes, such as discussions on unity or justice, can also be dramatized to encourage self-reflection and spiritual growth among participants. By adhering to these guidelines, Bahá’í drama can serve as a powerful educational tool while maintaining reverence for sacred figures and teachings.

Focus on Early Disciples

Early disciples and followers of the Bahá’í Faith offer rich material for dramatic portrayal, allowing for the exploration of spiritual qualities and historical context without compromising the sanctity of the Central Figures. Key events and characters that lend themselves to enactment include:

• Táhirih’s bold declaration at the Conference of Badasht, showcasing her courage and progressive ideas
• The steadfastness of Bahá’ís during periods of persecution, highlighting their resilience and devotion
• Interactions among early believers, such as Mullá Husayn’s search for the Promised One, demonstrating their spiritual journey and dedication
  

These portrayals can effectively convey the essence of Bahá’í teachings and history while respecting the prohibition on representing the Manifestations of God. By focusing on the experiences and actions of disciples, dramatizations can inspire audiences to reflect on their own spiritual growth and commitment to service.

Artistic Elements in Drama

Careful consideration must be given to the use of artistic elements in Bahá’í drama, particularly lighting and symbolism. While light can be employed to enhance the atmosphere and convey spiritual themes, it should never suggest a personification of the Manifestation of God. Music, poetry, and movement can be incorporated to heighten emotional impact and deepen the audience’s engagement with the story, provided they maintain reverence for sacred figures and teachings. These artistic elements, when thoughtfully applied, can transform historical narratives into powerful experiences that inspire reflection on spiritual qualities and encourage personal growth among participants.

Follow-Up Questions Proposed by Perplexity

• How can drama be used to teach Bahá’í principles without violating the prohibition on portraying the Manifestations of God?
• What are some examples of successful Bahá’í-themed dramas that avoid depicting the Manifestations of God?
• How can the use of light be creatively integrated into Bahá’í-themed performances without personifying the Manifestations of God?
• What are the guidelines for dramatizing Bahá’í historical episodes while maintaining reverence for the Faith’s leaders?
• How can dramatic elements enhance the storytelling of Bahá’í teachings?
• What are some effective ways to incorporate symbolic elements in Bahá’í dramas?
• How can music and dance be used to enrich Bahá’í dramatic presentations?
• What role do costumes and set design play in conveying Bahá’í principles through drama?
• How can dramatic performances be used to engage different age groups in Bahá’í communities?

1. Bahá’u’lláh. Epistle to the Son of the Wolf. Translated by Shoghi Effendi. Rev. ed. 1953. Reprint, Wilmette, Ill: Baháʼí Publishing Trust, 1976, 27. https://www.bahai.org/library/authoritative-texts/bahaullah/epistle-son-wolf/2#900726044. ↩
2. Research Department of the Universal House of Justice. “The Importance of the Arts in Promoting the Faith.” Bahá’í Reference Library, August 1998. https://www.bahai.org/library/authoritative-texts/compilations/importance-art/6#137347338. ↩
3. Research Department of the Universal House of Justice. “The Importance of the Arts in Promoting the Faith.” Bahá’í Reference Library, August 1998. https://www.bahai.org/library/authoritative-texts/compilations/importance-art/7#406591192. ↩
4. From a letter dated 12 August 1975 written by the Universal House of Justice to an individual, in “Portrayal of the Central Figures of the Faith: A compilation of Extracts from Letters Written on Behalf of Shoghi Effendi and the Universal House of Justice,” compiled by the Research Department of the Universal House of Justice, no. 6. ↩
5. Hornby, Helen, ed. Lights of Guidance: A Baháʾí Reference File. 2nd rev. and enl. Ed. 1983. Reprint, New Delhi, India: Baháʾí Publishing Trust, 1988, 343. https://bahai-library.com/hornby_lights_guidance&chapter=1#n343 ↩
6. Ruhi Institute. Walking Together on a Path of Service. 2.1.1.PE February 2024. Vol. Book 7. 14 vols. Embarking on a Path of Service. Cali, Columbia: Ruhi Foundation, 2024, 149-151. https://www.ruhi.org/en/walking-a-path-of-service/#WLK. ↩
7. Perplexity Pro. “Dramatizing Bahá’í History.” Edited by Steve Bosserman. March 25, 2025. https://www.perplexity.ai/search/it-is-incumbent-upon-thee-to-s-aHrLJBy7S0WalXg6LKQ8zQ. ↩