Jain Culture – The Relevance of Filmmaking in the Digital Age

 

In the past few decades and especially in the last ten years, video films, movies, or cinema have emerged as an important and simple medium for promoting various religious, social, and national-interest subjects in society. In the 21st century, the social impact of media and film is profound and far-reaching.

In the 21st century, the social impact of media and film is incredibly deep and far-reaching. Among young and middle-aged people, especially those educated in English-medium institutions, there has been a consistent decline in the interest in reading books and scriptures. Both Jain and non-Jain, religious and general educated followers have shown a decreasing interest in reading traditional books, texts, and scriptures.

With the rise of the internet and the digital age, this group now prefers to access all religious, cultural, and scriptural content through computers or mobile phones. They enjoy watching YouTube videos and video documentaries on various subjects, which can be viewed anytime and anywhere without needing to sit in a temple or a specific place at home. Gradually, for this segment of the Jain community, holding a book, reading, and reflecting has started to seem monotonous and tedious. Consequently, this tradition is heading towards extinction, remaining only among monks and scholars. The practice of studying scriptures and engaging in self-study has become increasingly limited to a select few.

In both sects of the Jain community—Digambar and Shwetambar—the tradition of self-study (swadhyaya) has existed for a long time. However, due to the recent advancements in information and technology, followers of both sects have seen a significant decline in reading Jain scriptures and engaging in the subsequent reflection and contemplation. It seems as if this invaluable cultural practice has come to a complete halt. This statement, though harsh, is a truth that applies to both sects. The issue is prevalent across both traditions, where the practice of swadhyaya is fading away rapidly.

The decline in the tradition of self-study (swadhyaya) in Jain society can be attributed to the significant shifts brought about by the current technological era, often referred to as the "machine-driven" or "mechanical" age. A key principle often cited in Jain culture is "Dravya, Kaal, Kshetra," which refers to the interaction of substance, time, and place. Understanding Jain culture and knowledge without considering these factors is nearly impossible.

In the present age, also known as Kalyug or the fifth era (Pancham Kaal), science and technology dominate every aspect of human life. The advent of the internet revolutionized the dissemination of knowledge, making information easily accessible through various platforms. Soon after, websites, portals, social media channels like YouTube, Facebook, Instagram, WhatsApp, blogging platforms, and OTT (Over-the-Top) services became available globally and to Indian society as well.

Cinema and theater had already established themselves as powerful mediums, both in India and globally, including in countries like the United States. These technological advancements have altered how people consume knowledge and entertainment, offering faster, more engaging, and more accessible formats compared to traditional book reading or scripture study. This shift in the medium of knowledge transmission has had a profound impact on the practice of swadhyaya.

In the context of this global modern transformation, the Jain community is facing a complex challenge. As mentioned earlier, the tradition of reading scriptures among ordinary Jain laymen and women is gradually disappearing. So, should we simply sit back and accept this reality, even though we don't wish for it?

The answer is no. We cannot just passively watch this decline and accept the erosion of such a rich tradition. It is essential for the Jain community to adapt to the modern era and find ways to preserve and propagate its teachings and culture. While the digital age has brought about changes in how people consume information, it also offers opportunities for innovative approaches to sharing Jain knowledge through platforms like videos, films, social media, and other digital mediums.

We must not allow this invaluable tradition to fade away but instead explore new methods to keep it alive for future generations. By embracing modern tools and technologies, the Jain community can ensure that its teachings remain relevant and accessible to today's and tomorrow's audiences.

The vast repository of knowledge contained within the Digambar Jain tradition holds immense potential. It is essential to disseminate this wisdom across the world, as doing so would significantly strengthen Indian culture and the nation's intellectual foundation. This effort will play a crucial role in helping India reclaim its status as a global leader in knowledge and spirituality.

Currently, Digambar Jain monks (Muni) and Aryika-Sadhvi groups are continuously studying this treasure trove of knowledge and effectively enlightening and educating society. Through their daily sermons and writings, they make this wisdom accessible to the community. By studying the Digambar Agam scriptures, they not only deepen their own understanding but also share this knowledge with the wider Jain society, ensuring its preservation and relevance in the modern world.

The Shvetambar Jain community has wholeheartedly embraced the new digital age. Like their Digambar counterparts, they possess an extensive repository of Agam scriptures and knowledge. Since India's independence, Shvetambar organizations and well-off, knowledgeable followers have made significant efforts to promote Jain culture. Utilizing the available resources and circumstances of their time, they have worked diligently to spread the virtues of Jainism across the nation.

To achieve this, they have effectively used film and cinema as tools for dissemination. In recent decades, the Shvetambar Jain community has produced and distributed a substantial number of Jain films, which are not limited to India but also reach audiences in America, Europe, Japan, and other countries. Within India, the Shvetambar Jain community is striving to leverage the latest technologies to communicate the knowledge of Jain culture and religion to both Indian and global societies in an accessible manner.

In contrast, the awareness of film media within the Digambar Jain community is quite limited. Here, videos of the sermons of monks and nuns are abundantly available on YouTube and Facebook, and with the rise of Instagram, they are also accessible on that platform. These videos are widely shared via WhatsApp, allowing many to watch and listen. This is all well and good, and there are also many documentaries available on the lives of saints on YouTube, which both Jain and non-Jain audiences enjoy viewing. The production quality is generally good.

However, there exists a segment within the society that wishes to delve deeper into Jain or Indian culture through cinema, theaters, and OTT video films. This segment is growing and is predominantly youthful, comprising both Jains and non-Jains. The Jain community cannot disregard the mindset of this demographic. Yet, this is where the shortcomings of the Digambar Jain community become apparent. Over the past few decades, some members of the Digambar community have attempted to make films for the big screen, with a few of these efforts being successful, but such attempts have been limited to just one or two.

One individual among them, a non-Jain, successfully produced and directed a film titled Antaryatri Mahapurush, which was screened in various theaters across the country. Members of the Jain community watched and appreciated this movie, inspired by the life of Acharya Shri Guruvidyasagar Ji Maharaj. In contrast, some Digambar Jain films produced in previous decades did not leave a significant impact on the Jain community. Be it Digambar or Shvetambar, the situation is the same with others.

Why is this the case? Unless the director has a solid grasp of religion, culture, history, archaeology, the art of writing, storytelling, scriptwriting, character selection, and other related subjects, producing a successful Jain film is nearly impossible. Moreover, the director must possess comprehensive knowledge of Jain history as well. If the director lacks a deep understanding of Jain philosophy, they will never be able to portray accurate knowledge on the big screen, leading to confusion among the audience and society.

It is unfortunate that there is a severe shortage of experienced individuals with artistic inclinations within the Jain community. In the arts, the Jain community primarily supports with money rather than skill. Nowadays, figures like Shri V. Shantaram, who was Jain, are hard to find. Consequently, the production of high-quality Jain films is not feasible at present. Those that have been made are only viewed by a limited audience within the Jain community.

While some Digambar Jain films can be found on YouTube, most of them are documentaries, with only a few qualifying as films, and their quality is generally quite low. In the past decade, a wealthy Digambar Jain layperson attempted to create a feature film based on the famous saga of Maina Sundari, but it may never have been released on the big screen for reasons unknown to me. The effort was commendable and praiseworthy, yet it is currently only available on YouTube, where it seems to attract very few viewers. It is disheartening to see such a situation! A significant amount of money was invested by these laypersons in the film's production, and its success could have encouraged other Jains to create more films.

I would like to provide an example of a Jain layperson who has dedicated his invaluable time to showcasing Jain culture through theater, film, and documentary dramas. He resides in Kanpur and has successfully staged numerous theatrical productions on various Jain themes over the past twenty-five years. Alongside this, he has organized successful Jain films and documentary dramas at a time when such artistic endeavors were almost nonexistent, particularly within the Digambar Jain community. Jain art was limited to organizing Panch Kalyanakas, and there was little to no creative application of Jain culture and art beyond that. This was during the period of 1990 to 2000.

He began making Jain films after 2005, having a background in theater and the skills of filmmaking, along with a profound understanding of Jain philosophy, stemming from his upbringing in a deeply religious Jain family. As a result, he uniquely combined religion and art. The people of Kanpur and Lucknow honored his work greatly. However, beyond these cities, the Jain community did not show much enthusiasm. There were several reasons for this.

During various Digambar Jain festivals, he artistically presented the depths of Jain culture to society. Here, his theatrical skills and unique knowledge of Jainism were always on display. Currently, there seem to be very few experienced Jain directors (in theater and film) who possess adequate knowledge of Jain philosophy. Those who are visible are primarily producers in the film or serial industry, where financial power supersedes artistic merit.

The individual mentioned has successfully produced and directed three to four Jain documentary-dramas over the past decade. However, he and his organization faced significant challenges in broadcasting these works. The Jain community tends to prefer viewing this art without cost, which has resulted in limited young Jains entering the field of Jain art. Most of those present in this realm are affluent individuals. While they may have a significant presence in the media, film, serial, and OTT industries, their involvement is often restricted to finance and production alone.

Brothers, this topic and problem are new. Most Jains may not even be aware that this issue exists or not. Additionally, it is a somewhat complex problem that may not be easily understood at once. In the future, I will write more on this subject, and only then will the intricacies of the ideologies of both the Digambar and Shwetambar Jain communities unfold.

The Jain community must adapt to the times; otherwise, we will not be able to preserve the essence of Indian culture in the future. To familiarize a significant portion of Indian society with the values of Jain culture, we must take recourse to films and cinema. While the discourses of Jain monks and nuns are indeed essential for the community and the nation, the harsh truth is that a large segment of the Jain and non-Jain populace does not prefer listening to these teachings, particularly among the educated and affluent urban youth. They seek new ways to understand information or knowledge.

For instance, if the Jain community wishes to present the glory of Lord Rishabhdev to the country, it is imperative to adopt mediums such as films and television series. The significance of his life, both in terms of material existence and renunciation, must be showcased on the big screen so that the general public can appreciate the importance of Jain culture's antiquity. Even though this is a modern technique, the content displayed will remain under our control, ensuring that there is no distortion of our religion and culture.

One significant reason the Jain community has not embraced films and series is that they are often viewed merely as entertainment rather than a means of acquiring knowledge. The Digambar Jain community holds on to traditional thinking and is reluctant to easily let go of its heritage. As the tradition of self-study is nearing complete extinction in urban areas, what other suitable options do we have left for the propagation of our faith?

To improve the direction and outlook of the younger generation, the Jain community must implement fundamental changes in its ideology for outreach and propagation. If this is not done, followers of both the Digambar and Shwetambar sects will increasingly be drawn towards other cultures and Western civilization, or they may forget the Shramana tradition under the umbrella of Sanatan Vedic culture.

Sincerely,
Author: Akash Jain

V. Shantaram was born on 18 November 1901, in a reputed Jain family in the erstwhile princely state of Kolhapur in present day Maharashtra. He was a Jain and born to a reputed Jain family of Kolhapur. During his lifetime he was also honoured with Jain Samaj Ratna award given to outstanding Jains.