Jain Dharm Ane Natak

Here's a comprehensive summary of the Jain text "Jain Dharm Ane Natak" (Jain Dharma and Drama) by Kirtiyashvijay, focusing on its core arguments and discussions:

Overall Theme:

The book critically examines the appropriateness and validity of dramatic performances, particularly dance-dramas, within the context of Jainism. It strongly argues against the modern trend of incorporating such performances in religious settings, emphasizing that they are detrimental to the core principles of Jainism and can lead to misinterpretations and moral decay.

Key Arguments and Discussions:

1. The True Nature of Jainism:

   • Jainism's existence and propagation are not dependent on publicity or outward displays like dramas but on conduct, thought, speech, adherence to limitations, and truthfulness.
   • The foundation of Jainism lies in the true understanding, faith, and practice of the principles propounded by omniscient beings (Jinas).
   • The true purpose of every Jain ritual and practice is to cross the ocean of worldly existence and achieve the pure state of liberation (moksha). Even worship and devotion are meant to cultivate detachment, not for materialistic gains.

2. Critique of Religious Dramas and Dance-Dramas:

   • Misuse of Art Forms: While scriptures mention dance and drama as forms of worship, these were performed before the divine presence with a specific intention: to express the dancer's inner realization of having overcome the cycle of birth and death through divine guidance.
   • Commercialization and Entertainment: Modern religious dramas are often motivated by entertainment and financial gain, not genuine spiritual purpose. This is considered a form of "anarthadand" (unnecessary harm/sin).
   • Inappropriate Content: These dramas often prioritize worldly emotions like sensuality (Shringar) and humor (Hasya), while the core Jain values of detachment (Vairagya) become secondary.
   • Distortion of Teachings: The performances often present the lives and characters of revered Jain figures (Tirthankaras, Acharyas) in a distorted and trivialized manner, leading to Ashatana (disrespect) towards them and Jain principles.
   • Erosion of Faith: Such practices fundamentally damage the element of faith, as they blur the lines between dharma (righteousness) and adharma (unrighteousness).
   • Comparison to Secular Entertainment: While secular dramas and cinemas have already caused immense harm, religious dramas are seen as even more dangerous because they mislead people into believing that these forms of entertainment are part of their religion.

3. The Case of the "Nem-Rajul Nritya-Natika" (Nem-Rajul Dance-Drama):

   • The book specifically addresses the controversy surrounding a proposed dance-drama based on the lives of Nemnath and Rajul.
   • Opposition from Devotees: A large section of Jain devotees strongly opposed this performance in Ahmedabad, leading to its cancellation with the intervention of the police commissioner.
   • Debunking False Claims of Support: The text refutes claims made by supporters of the dance-drama that it had the approval of revered Acharyas. It clarifies instances where attempts to perform such dances were either stopped or modified when the true nature of the performance was understood.
   • Misinterpretation of Historical Instances:
     • The dance performed during the consecration ceremony of Lord Munisuvratswami, where some aspects of Lord Nemnath's life were depicted, was allowed primarily for expressing devotional sentiments. However, when it started to become more theatrical or potentially misconstrued, it was stopped.
     • The text argues that even if certain arts were used in historical contexts (like by Suryabh Dev or Ravana), it was not for entertainment but for devotional expression or as part of specific ritualistic contexts, with the right intention and purity of heart.

4. The Role of the Artist and Audience:

   • For a dance-drama to effectively convey the emotions of a character, the artist often needs to internalize the character. This can lead to inappropriate imitation, especially when depicting revered figures.
   • The audience's perception is crucial. If they see the artist as the character, it can lead to misinterpretations and disrespect.
   • The book emphasizes that the intention behind any artistic expression matters immensely. Devotional intent is acceptable, but entertainment or profit-driven intent is not.

5. Distinction Between Divine Performances and Human Dramas:

   • The performances by celestial beings (Devas and Indras) before Jain Tirthankaras are presented as different from human dramas.
   • The Key Difference: The celestial beings possessed inherent divinity, deep devotion, purity of heart, and right faith. Their actions were an expression of their spiritual state. In contrast, human performers often lack this spiritual grounding, their intentions are often mixed with ego and desire for recognition or profit.
   • Lack of Scriptural Endorsement: The scriptures praise the devotional aspect of celestial performances, not the dramas themselves as a means of propagation. If dramas were a primary means of spreading dharma, the Tirthankaras would have prescribed them.
   • The Example of Rishabhdev: While Rishabhdev taught various arts, including drama, this was about knowledge of the arts, not their adoption for religious ceremonies in the manner seen today. Just because an art form is described in scriptures does not make it universally applicable or beneficial in all contexts. The scriptures describe many things (like forms of violence or intoxicants) but do not advocate for their practice in daily life.

6. The "Anjanashalaka" Analogy:

   • The book distinguishes between religious ceremonies like Anjanashalaka, which are conducted with strict adherence to religious principles, prescribed rituals, purity of environment, and attendee discipline, and secular dance-dramas.
   • It criticizes a Jain monk for comparing Anjanashalaka to dance-dramas, highlighting the vast difference in their sanctity and purpose.

7. The Influence of Time and Modern Mindset:

   • The current era is characterized by "jamanavad" (modernism/trend-following) which corrupts the mind.
   • The book urges readers to approach the issue with a clear, unbiased mind, free from the influence of trends, to understand the true essence of Jain teachings.
   • The author criticizes those who label proponents of traditional views as "superstitious" or "narrow-minded" for opposing these dramas.

8. Conclusion and Plea:

   • The book concludes with a strong plea for discerning truth from falsehood.
   • It urges followers to reject practices that are contrary to Jain doctrine and to uphold the teachings of the Tirthankaras and the limits set by the Jain Shasan (religious tradition).
   • The ultimate goal is for individuals to achieve self-welfare by adhering to the path of the Tirthankaras.

In essence, "Jain Dharm Ane Natak" is a passionate defense of the spiritual purity and ethical framework of Jainism, arguing that the introduction of modern dance-dramas into religious settings fundamentally undermines these core values and leads to detrimental consequences for the faith and its followers.