Expressing yourself is probably one of the most important things you can do in your life. Photography is magic. Since it started about 200 years ago it still hasn’t left us. Mediums like film and music owe a lot of their method to photography. For me personally, I love capturing moments, things that move, things that need to stand still to be more appreciated. To me photography is all about the details.

The creation of details that aren’t appreciated to their maximum potential at their very moment of existence. Things that need to live on passed their moment of occurrence. Things in need of being shared, remembered, or cherished. Photo is also about feeling; love, hate, passion, beauty, ignorance.

A picture is captured, but so much is remembered, and photography is the only art form that can gather so much detail from a single moment of what’s really there, the truth, and re-present it in such a reflective and clearly understood and digested form.

I started working with photography from the age of 17. I got into because of my passion for filmmaking, but the magic of it just stuck with me. I left it aside for a while, then in 2009, while I was a student at Art Center College of Design in Pasadena, I picked it up again. Black and white photography is true magic in my opinion, because it never ceases to amaze me. Digital is fun, and you can do a lot with it, it really let’s you be as creative as possible, whereas with film you end trying to make the image come out before you think of experimentation.

The black and white photos you see below are from my time at Art Center. Two of them are from a series called Armerica: a documentary of Armenian-American immigrant businesses.

Sarco

Sarkis Iknadossian immigrated to the United States from Aleppo, Syria with his wife in the late 1970’s. After opening a small convenient store in Montebello, California Sarkis was quickly shut down because of the opening of a 7/11 market across the street.

Sarco

After re-establishing his family closer to the Armenian Community, in Glendale, Sarkis decided to open a household supply store in what is known today as Little Armenia, in Hollywood.

In addition to selling common household appliances, Sarkis also repairs kitchen and household electronics, such as vacuums, electric stoves, and toasters. Sarkis says that in recent years their business has once again fallen victim to competition coming from bigger stores and companies. Already past the age of retirement, Sarkis and his Wife continue to work despite their lack of energy to compete.

‘Round The Clock Cleaners

‘Round The Clock Cleaners has been owned and operated by the Kasparian family for over 20 years. The Kasparian’s immigrated the United States in the early 1980‘s, during the Lebanese Civil War. Their business became the very resource for their establishment in the United States. The location you see is currently managed by the Kasparian son, Johnny Kasparian. The family has also opened a few other locations that cater to various parts of the Pasadena and greater Los Angeles area.

Round the Clock

The Accordion Man was taken at the 3rd street promenade on a sunday evening. Summer of 2009.

The Accordian Man

In December of 2009 I ventured on to Armenia with the Birthright Armenia program. I spent most of my time there volunteering at Bars Media Documentary Film Studio and Manana Youth Center. Bars Media has been responsible for documentary films ranging in topics ranging from the Karapagh war, Tightrope Dancers in Armenia, and Donkeys in Lamu, Kenya. Their latest project The Last Tightrope Dancer in Armenia is what I worked on for the most part, translating dialogue for subtitles in English and promoting the film in the festival circuit.

Manana Youth Center is an after school center for kids in Yerevan that offers classes in Photography, Filmmaking, and Animation. I had a lot of fun working with them as a teachers assistant and helping out with whatever random tasks they needed.

Armenia was a great experience. I learned a lot from being around a completely different atmosphere for those 4 months. I took a lot of photos on my trip, but these two stuck out the most for me. One is probably very recognizable, the Mabib Babig statue in The Free Republic of Artsakh (Nogorno Kharapagh).

Mamig and Babig

The other is an old soviet car I would pass by on my way to the bus stop on a daily basis. I call that one A Daily Sight.

A Daily Sight.

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Editor’s Note: High resolution print copies of the photos in this blog can be purchased from this author for $45. Mammig and Babig and a Daily Sight are available for $55 . For more information, visit Avo’s website at avojohn.com or email/call him at: avojohn@me.com/818-251-6008. For more information about Birthright Armenia check out birthrightarmenia.org

Haytoug: Describe yourself in 5 words.

Antranig Kzirian: Committed. Creative. Adaptive. Persistent. Stubborn.

H: Where did you get the inspiration to pursue your field?

A.K.: The Armenian oud tradition of the Eastern United States strongly motivated me to explore and study the oud and the role Armenians played historically in mastering it.  Growing up I also incorporated various influences into my understanding of music and performing on the instrument.  I believe that traditions must be kept alive but also developed and grown so that they remain a living, breathing part of our perception of art and life.

H: Please describe your proudest achievements.

A.K.: Working with great musicians in various genres and learning as much as I can while striving to be a flexible musician.  Working with Viza, Aravod, History, Ara Dinkjian, Serj Tankian, Gor, Sonya Varoujan, and several musicians from all over.

H: Do you think identity is something that must be preserved or something that can evolve?

A.K.: Both – we must preserve but also help it evolve and survive in its surroundings.  Adding our own experiences and seasoning helps to keep identity fresh and current while still maintaining core values that we hold dear as Armenians and people of good conscience.

H: What are your thoughts about Armenian culture today in the Diaspora? In Armenia? Where is it headed? What do you see your role as?

A.K.: I see Armenian culture as dynamic – especially given the richness and complexity of the Diaspora.  I believe it’s headed in a positive direction generally, but we must work hard to make sure not to disqualify or marginalize certain components of our diverse art and music history. I see my role as trying to preserve one piece of the puzzle as best I can.

H: What does the future hold for you?

A.K.: More writing, performing, recording and collaboration. Raising awareness of the Armenian oud tradition.

Haytoug: Describe yourself in 5 words

Ara Soudjian: Mexican/Armenian filmmaker living in Los Angeles. (let’s count Los Angeles as one word.)

H: Where did you get the inspiration to pursue your field?

A.S.: My inspiration came from my Mother, who was an actress, and Spike Lee’s Do the Right Thing.

H: Please describe your proudest achievements.

A.S.: First, winning two 2008 MVPA (Music Video Production Association) awards for best music video under 25k (Serj Tankian’s Money) and best Hip-Hop video (Wiz Khalifa’s Say Yeah). Second, producing content for the ANCA (Armenian National Committee of America). Third meeting my wife at an AYF Kebab night in Orange County! (Most important!)

H: Do you think identity is something that must be preserved or something that can evolve?

A.S.: The customs, language, history must be preserved but I also believe that a person’s identity can evolve over time.  We are human after all….

H: What are your thoughts about Armenian culture today in the Diaspora?

A.S.: The Armenian culture today in the Diaspora has evolved from 10 years ago. I feel that our culture is strong. I don’t think it’s as strong “culturally” as it was in the past, but I do believe we are stronger on the activism front. I believe we have assimilated, which is only natural. Some people may say that a lot of young Armenians can’t read or write the language. The white genocide is upon us, etc. Is that bad? Some would say so…but there are those who don’t speak the language but are still active in the community.

I would prefer having young “active” Armenians who care about our community and country any day over those who speak the language and do nothing positive.

H: What does the future hold for you?

A.S.: A successful filmmaking career along with a successful marriage and some future AYF-ers.

Haytoug: Describe yourself in 5 words.

Eric Nazarian: I am a human being.

H: Where did you get the inspiration to pursue your field?

E.N.: My father Haik inspired me to become a filmmaker and screenwriter.

H: Please describe your proudest achievements.

E.N.: Being awarded the Academy of Motion Picture Arts and Sciences Nicholl Fellowship in Screenwriting for my screenplay “Giants” and making my first feature film, “The Blue Hour.”

H: Do you think identity is something that must be preserved or something that can evolve?

E.N.: I believe in the evolution of our identities.  Identity evolves with age and experience.  I’d like to believe that I can evolve as a human being and preserve and advance my spiritual, cultural and artistic identity.

H: What are your thoughts about Armenian culture today in the Diaspora? In Armenia? Where is it headed? What do you see your role as?

E.N.: I can only comment as an Angeleno.  In Los Angeles, Armenian culture is alive and well.  So many events, screenings, concerts, lectures, etc.  Armenians as well as non-Armenians have several cultural activities to choose from.  In Armenia, the culture and history lives and breathes in the faces and stories of the Armenian people, the ancient monuments and churches, and the cinematic heritage now slowly being resurrected.  The Golden Apricot International Film Festival in Armenia is doing a phenomenal job with their annual film festival.  They attract so many countries and filmmakers to participate.  I see my role as a bridge builder through cinema, making films that can hopefully be interesting to international audiences.

H: What does the future hold for you?

E.N.: I don’t think anybody can answer that question truthfully since we don’t know what will happen ten seconds from now. I’d like to think the future holds great movies, amazing sunsets, lots of “kef” music, phenomenal food and wonderful friends dancing “shoorjbar”.  Cheers to the future!

By Lori Najarian

The horrendous crimes of genocide committed by the Ottoman Government against the Armenians in 1915 will forever be a bitter truth in Armenian history, but it does not identify us as a people.

We have much to celebrate in our few thousand years of existence and, most importantly, we must feel proud to have survived through what I hope was the worst of it. However, our existence today does not mean that our fight for survival is unnecessary; on the contrary, every day we are fighting for the survival of our language, our faith, our homeland, and especially the survival of our future.

This fight, of course, cannot be won if we continue to create divisions among ourselves. It is not a fight meant to be faced only by the Armenians of the Diaspora or by those living in Armenia. As different as the struggles and concerns are for both, they are not separate; we are not separate people, and the sooner we bring down these barriers, communicate and become aware of one another’s situation, the easier it will be to find proper solutions to our problems. It is the unity we are lacking that is necessary to win this fight for survival, and for this we can always count on the treasures of our culture as a means to unite.

I was born and raised in Toronto, Canada and blessed with parents who are full of Armenian soul and have been devoting their life to Armenian causes ever since I can remember. My brother and I grew up surrounded by every Armenian thing imaginable. Aside from attending Armenian Day School, my parents would take us to every Armenian event that took place. Of course, at the time, it seemed like a drag, but I love them for it and am forever grateful.

Armenian music was played not only in our house but in the car; I grew up watching our videotape collection of Armenian State Dance Ensembles and remember trying to mimic the graceful movements. Although I have been taking ballet lessons since childhood, I desperately wanted to learn Armenian dance but there was nowhere that offered this opportunity until I reached adulthood. When I heard the news of Hamazkayin bringing a dance teacher from Armenia I was among many who were thrilled. Unfortunately, our dance instructor was only able to stay for a little over a year, but it was enough to give me a good base and a great passion to pursue studying and performing Armenian Folk Dance.

Thanks to my parents’ undying support and the help of my dance instructor, I was recently given the opportunity to study Armenian ballet and character dance and graduate as a teacher and performer at the Yerevan State Dance Academy. Although I had been to Armenia several times before with my family and with Homenetmen Scouts, when I traveled to Armenia to study dance, it was different. I was no longer playing the role of the tourist.

I was excited, yet nervous to start this new chapter of my life in a completely different world. To everyone’s surprise, I adapted rather quickly to the lifestyle in Armenia. It felt as if I had been here for years. Despite the many obstacles I have faced during my time in Yerevan, I feel much wiser and have a greater understanding of certain things about this wonderful and crazy country; things that perhaps others might judge with criticism because they have not had the chance to see the ‘real’ Hayastan.

I have learned so much within the walls of the Dance Academy. Every one of my teachers has helped me gain as much knowledge in dance as possible and I am very thankful to them. Aside from the actual dance classes, the program I am enrolled in also offers classes on the history of art, music and dance. I have learned about Armenian composers, artists, choreographers and dancers. I also had the privilege of practicing with professional dancers from the various Armenian state ensembles; and, most recently, I had the honor of dancing on stage in my Motherland–an experience that words cannot describe.

Outside of school I have taken advantage of seeing Armenian plays, admiring the state dance ensembles and ballets, listening to operas and Armenian music, and so on. My life in Armenia is mostly spent being surrounded by or taking part in anything cultural. After all, it is culture that brought me here to Armenia, my home.

My coming to Yerevan to study dance has created an unbreakable bond between myself and my Hayrenik. As sad as I am to be leaving Armenia in a few months after graduation, I am also looking forward to my return to Toronto so that I may pass along every bit of knowledge I have learned about our culture to our future generations. Yes, being active politically and socially is also crucial for our survival, however, it is our culture that fills the gaps and truly connects all Armenians as one.

Celebration and awareness of our culture creates an indestructible bridge and automatically connects us all to each other. I urge all Armenians to take part in building this bridge and embracing our culture as a means to unite.

I find myself growing increasingly perturbed by the term “white genocide.” First of all, we can’t use the word genocide to describe a trend where Armenians living in the United States are losing their sense of ethnic identity because nobody held a yatağan to your neck and forced you to name your child a non-Armenian name or forced you to stop speaking Armenian.  Not to mention that comparing it to an actual genocide is not only disgusting but insulting to the memory of countless Armenians who perished or the thousands who survived the Turkish persecutions.  Let’s call it what it is – cultural suicide.  We can try to blame television, music, cross-cultural dating or marriage, the cultural vacuum created by capitalism or other theories but the reality is that we have no one to blame but ourselves – or as the comic strip Pogo once wrote – we have met the enemy and he is us.

We are our own catalyst of assimilation because we not only set the bar very high for being a “real Armenian” but we also fail to reach our own markers.  For instance, many Armenians consider the speaking of Armenian as being a critical element to staving off assimilation, yet who do you consider to be more Armenian – a person who doesn’t speak the language but sends money to Armenian charitable organizations, calls their member of Congress to urge support of Armenian issues, and patronizes Armenian-owned businesses or the person who does none of the stuff the first guy did but instead listens to Armenian music, speaks Armenian and associates only with other Armenians.  Popular opinion would label the first person as assimilated and the latter as Armenian. But who is doing more to advance the Armenian Cause? If you said the first guy, then move up to the head of the class.  We agree on that.  Also, of those who said the second person is more Armenian, I would want to know how extensive your own knowledge is of core topics of Armenian competency – literature, art, political history, grammar, spelling, amongst other issues and topics.  I would guess that even the kids who go to Armenian schools in America and learn to read and write the language have a reading proficiency and vocabulary that does not go beyond the 5th grade level.  But let’s move on.

Why should I care if a person speaks fluent Armenian but won’t take the time to make one phone call to a politician who can vote to contribute tens of millions of dollars for foreign aid to rebuild Armenia and Artsakh?  This question may sound tired and redundant but it’s necessary to ask and understand the answer.  After all, this discussion is important but the people who would benefit the most from participating in it, probably would never pick up an issue of Haytoug unless there was a picture of the Kardashian sisters on it.  The answer is, that we shouldn’t.  I’d rather have 1000 Armenians who are informed on American issues and process and are engaged in making a difference than 100,000 who don’t care about anything other than expanding the ghettos of their mind.

So if we can agree that a person’s true Armenian identity is defined by their commitment to preserving the culture and society of the Armenian people in Armenia and worldwide, then all the other preconditions (spoken and written fluency in Armenian, listening to only Armenian music, eating only Zankou Chicken) are irrelevant.

Having said that, I understand that an appreciation for all things Armenian isn’t exclusive from the efforts to preserve them or be an advocate for all things Armenian.  But we can’t deny a path to either by being overly judgmental of people who are trying to return to their ancestral roots or labeling people on the peripheries of our community as “white washed” or “assimilated.”  I’ve seen it happen on more than once, where a person who knew very little of their Armenian ancestry began to explore his or her roots and this led eventually to a trip to Armenia and eventually a desire to learn how to speak Armenian.  In fact, one person I’m thinking about actually moved back to Armenia to help the country develop and improve.

So what term do we use to describe this phenomenon?  Definitely not “white genocide.”  And there isn’t a term that’s familiar to us because we are too focused on the negative aspects of our community than on the positives.  Don’t worry, it’s in our nature to focus on the negative. Spending 4000 years as history’s punching bag will drive that emotional trigger deep into your DNA.  The good news is that it’s not permanent.  And just by reading Haytoug, you’ve already committed yourself to a struggle whose outcome accepts nothing less than success for Armenians worldwide.

But being involved in the Armenian Youth Federation or any other youth group doesn’t immediately absolve one of responsibility of preserving and caring for the Armenian people and land. Instead, of those who have great power and organizing tools, much is expected.  And living in a society in America which emphasizes consumer conformity more than individuality and portrays ethnicity as a liability makes it hard to adopt the aspects of American culture, which will translate into success for the Armenian people of the United States and abroad.  But it is necessary.

Yes, some assimilation or “acculturation” is necessary for success. The most important things in life are usually the hardest to do and act upon.  Preserving our passion for Armenian causes and mastering the English language and American customs are equally important tasks for success.  Let’s be honest with ourselves.  If an Armenian-American is ever going to get elected to Congress from anywhere in the United States – I guarantee you that it won’t be a garlic breathed someone who wears a lot of jewelry and listens only to Tata.  It will be someone who is articulate and acculturated and who can speak about John Adams and Abraham Lincoln with as much ease and comfort as they can talk about Gomidas or Simon Vratsian.

So rather than worrying about how we can create a society where we sell out barahanteses and Armen(chik) concerts week after week after week, let us instead think about how we, ourselves, can engage our adopted homeland on its own terms and perhaps in the process, get it to see things our way and maybe adopt or absorb the best that our culture has to offer as well.

Skeptik Sinikian is the property of Asbarez Newspaper. He is on loan to Haytoug and will be promptly returned upon the completion of this issue. Skeptik  loves baseball and baklavah.  His life mission is to educate and inform as many non-Armenians about the medicinal benefits of soujoukh sausage as he can. You can reach him for comments or questions at  SkeptikSinikian@gmail.com

By Vahe Abrahamian

“Thus saith the LORD of hosts, I remember that which Amalek did to Israel, how he laid wait for him in the way, when he came up from Egypt. Now go and smite Amalek, and utterly destroy all that they have, and spare them not; but slay both man and woman, infant and suckling, ox and sheep, camel and ass.”

For as bright and innovative as the Ittahadists, Nazis and Hutus were in the murder, slaying, raping of peoples, races, religions etc, etc. They really could have turned our very own omniscient and all-knowing deity for harbingers of holocaust. In the passage above we see «Ուր էիր աստուած» himself getting a little more proactive and asking King Saul to head out in the desert and make Paul Pot look passive. This sacrosanct yarn is an example of a greater problem when it comes to nationalist topics, a complacent tendency to leave the “sacred” unquestioned.

From the depths of the red meat and waxy cholesterol infused diets of our most pious children; whose elated eyes absorbed the refracted light of apostolic, stained-glass windows come an appropriately distorted concoction. But I can assure you a diversity of opinions on the theme “White Genocide,” and I’d like to speak on behalf of the fringes and factions of the modern Armenian people.

When I refer to these fractions, I’ll leave that category vague. I want to cast a wider net here, from the Atheist types to the Consumerists. From those with an existential view of the new era, who have seen the calamity and chaos of the nations’ history, and chosen more sensible goals, like tallying Facebook friends or finishing the Criterion Collection. Or Tarantino-generation types who think Drive-in Cinema references are the height of intellectualism.

The Armenian camp isn’t just Mamikonites and Tehlerianites, and I think perhaps we should start embracing this dichotomy. I come from the atheistic, nihilistic, bleeding heart, apologist milieu, and I have some bones and marrow to pick.

The concept of “White Genocide” runs clamorously towards a new genre of Armenosploitation; A generation of consciousness, so enveloped by Armenia’s greatest tragedy that the word “Genocide” now serves as an engine rather than an enigma. Exploitation so thorough, that to many members of our human comedy, the words “Armenian” and “Genocide” have become inseparable. This exploitation sees the same chestnuts repeated ad Pavlov: the Armenian grade school reading that awful William Saroyan passage on creating a new Armenia, armchair historians referencing “the Hitler Quote” and of course, grayscale genocide event posters of somber and wrinkled grandmothers holding worry beads.  Oh, and worse yet, people who think Ararat is a good movie, and much like that film, our nationalism tends to be overindulgent.
So with all the faux-organic posturing of a plastic fruit basket, “White Genocide” appears like a ghostly King Hamlet back to foretell against a new specter; using calamity as a crutch, and recycling a term that practically dominates our entire nation’s discourse already. The set of suckers who fell for the pitch of the massacre novelty advertiser, who couldn’t quite sell “White Auschwtiz” or the “Khmer White,” and the concept is as errant as the name.

“White Genocide” implies with some patriarchal, aristocratic arrogance that there are those who can define what denigrates Armenian culture. The natural conclusion we can follow is that these elitists can also define the entire Armenian nation as a whole.  This makes serving up “White Genocide” exclusionary, and it antagonizes international influence. The pitfall is, of course, that we absorbed ideas like Darwinism, Democracy and Feminism largely from outside influence, and they have dominated previously conceived Armenian notions. Just as Armenian achievements have likely broadened other cultures, “white” culture and others have enriched our nation. So what is the true incentive? Well it’s your garden variety “Gulf of Tonkin”–a fear based power play.

Living under phantom nuclear threats, gay marriage bans and constant god-peddling in America is a nice contemporary play of conservative backlash that “White Genocide” represents. The cardiac murmur of the red blooded right-wing nostalgic who wants to serve Christianity, Conservatism, Militarism, Nationalism as one big Armenian cure-all dose of steroids. This solution is not only claustrophobic and aggressive, but it is an admission of defeat. Radicalizing our rhetoric after years of fascist, intolerant and diabolic enemies of our past is about as smart as your great-uncle picking up that Committee of Union and Progress brochure from the soapbox salesman at the Turkish Bazaar. So slowly from the rigid categorizing, stereotyping, schema-crafting inclinations, the well intentioned hope of creating an Armenian Uber-man, just creates a hollow caricature.

Popular American media has already latched on to this cartoon facsimile, serving the same sappy Christian-victims narrative we’ve so categorically reinforced. The latest “60 minutes” piece on the Armenian Genocide is this kind of calamity. CBS interviewed a priest and displayed him praying on mass graves, as if the opinion of some human hallucinogenic is at all research journalism. Here we are a nation with no shortage of researchers or scholars, and yet we are being patronized by the media as a society driven by mystics. This sort of Spielbergian Girl-in-a-pink-dress corn syrup drags down our achievements and our causes and, unless we heighten our senses, I expect it to continue.

And believe me, I know the sunken feeling of fleeting time that tingles your stomachs…I know nostalgia, and empathy and pride. It is natural reaction for those seeking to breathe life into older concepts to pray on these sensibilities, but they are selling Hobson’s choice. Eventually we must loosen our fist from the glass walls of the hourglass and realize how inevitable change will come to replace an indelible past.

Did you really expect a generation gap that saw us sipping the waters of Nasirabad to plowing the fields of Farmville to not change world view? It’s like spinning the kaleidoscope and hoping to land on the same image twice, it’s not impossible… it’s just stupid.

Our nationalism must be far more flexible, if it is really the case that we would “like to see any power of the world destroy this race, then perhaps we shouldn’t be scared of our shadows.  I would hope Armenian language, culture and history will survive on the merits of our accomplishments, but if not that, it certainly won’t survive by packaging paranoia. Rather, it will be embracing the breadth of our passions. So many of our achievements drew from rebellion and iconoclasm; Parajanov, Saroyan and Gorky have become Armenian heroes precisely because they embraced new influences in art and found themselves on the front end of entire artistic eras.

These are hoisted Armenian achievements precisely because they weren’t afraid of some enforced purview of their culture. Yet, here we are on the tail end of Soviet–Stalinism, Khomeini-Islamofascism and other cluttered political maw, and we are returning to the same intolerant assumption; having a leader guide our moral compass isn’t bad; it just needs a better navigator.

But everyone has to sit around and question the dogma once in a while. For instance, do you know what did end up happening to the prospective holocauster King Saul? Well this monarch found it a little offensive to do the Lord’s deed…and was promptly punished. “Because you did not obey the LORD or carry out his fierce wrath against the Amalekites, the LORD has done this to you today.”  Now…how is that for A Shameful Act?

Ինչպէս մեր միւս պատմական եկեղեցիներն ու վանքերը, Ամարաս նոյնքան, եթէ ոչ աւե՛լի, հետաքրքրական առասպելներ ունի։ 4րդ դարու սկիզբը Ամարաս վանքը կառուցուած է Գրիգոր Լուսաւորիչի հրամանով եւ իր թոռը, Գրիգոր եպիսկոպոսը, շինարարութիւնը աւարտած է։ Ներկայիս գտնուած մատուրին խորանի բաժինը շինուած է 5րդ դարու վերջը, Վաչական Գ Բարեպաշտ թագաւորի հրամանով, հիմնադիր Գրիգոր եպիսկոպոսի գերեզմանին վրայ։

Ամարասի վանքը հոգեւոր կեդրոն ըլլալու կողքին, 5րդ դարէն սկսեալ կը դառնայ նաեւ մշակութային ու տնտեսական կեդրոն, մանաւա՛նդ երբ Մեսրոպ Մաշտոց վանքին մէջ կը հիմնէ Արցախի առաջին դպրոցը։ Հետաքային, այս դպրոցը գլխաւոր դեր պիտի ունենայ հայկական ձեռագիր լեզուի կազմաւորման եւ աճման գործընթացքին։

5րդ դարէն ետք, Ամարաս Վանքի ճակատագիրը կ’ամփոփէ Հայ ժողովուրդի մօտաւորապէս հազար տարիներու պատմութիւնը։ Դարեր շարունակ, Ամարաս վանքը ներփակուած էր հաստավեմ պարիսպներով եւ դարձած էր բերդամրոց ոեւէ մօտակայ վտանքի ժամանակ։ Այս պատճառով ալ տարիներ շարունակ միշտ աւերածութեան ենթարկուած է։ 5րդ դարուն արդէն իսկ գրաւուած է Պարսիկներուն կողմէ, ետքը՝ 7րդ դարուն Արաբներու կողմէ, իսկ 13րդ դարու վերջաւորութեան՝ Մոնկոլ Ճենկիզ Խանի զօրքերուն միջոցաւ, սակայն վանքը միշտ ալ արագօրէն վերականգնած է։ Վանքը բազմաթիւ անգամներ քանդուած եւ վերակառուցուած է որ ան դարձած է ժողովրդական աւանդութիւն։ Այս աւանդոյթը լսելով՝ մօտաւորապէս 150 տարիներ ետք, աւերակիչ Լենկթիմուրի զօրքերը կը յաջողին անգամ մը եւս քանդել գեղեցիկ Ամարասը եւ վանքին քանդուած քարերը մէկիկ-մէկիկ կը նետեն գետին մէջ, որպէսզի այս անգամ անկարելի դառնայ անոր վերակառուցուիլը։ Կ’ըսուի թէ, Լենկթիմուրի զօրավարներէն փրկուած Հայ վարդապետները թշնամիին հեռանալէն ետք, փախած են իրենց թաքստոցներէն եւ Երասխ գետէն քարերը հանելով վանքը վերակառուցած են… Լենկթիմուրը չլսէ…։

Այս վերջին արշաւանքին իբրեւ հետեւանք, Ամարաս խիստ կերպով աւերուեցաւ, սակայն երբէք եպիսկոպոսի աթոռը չկորսնցուց եւ այդ ամենէն դժուարին պայմաններուն մէջ միշտ ալ եղաւ Հայ մշակոյթի ու լեզուի կեդրոն։ Այսօր շատ մը թանկարժէք ձեռագրեր ունինք մեր գանձարաններուն մէջ շնորհիւ այս վանքին։ Այժմ Ամարաս իր բաց մոխրագոյն սրբատաշ քարերով, Արցախի տեսարժան վայրերէն մէկն է։ Տակաւին պարիսպներէն եւ վանքի օժանդակ շինութենէն կարգ մը բաժիններ պահպանուած են, նաեւ այնտեղ յայտնաբերուած է 925 թուականով թուագրուած խաչքար մը. (պէտք է այստեղ յիշենք որ, թուագրուած խաչքարերը աւելի վաւերագրական են հետեւաբար՝ աւելի յարգի)։

Ամարասի աւանդոյթը զիս կը մղէ զանազան մտորումներու ի տես ազգային եւ հասարակական կեանքին…

Մենք 21րդ դարուն տակաւին մեր գաղութները կը փորձենք ղեկավարել Լենկթիմուրի օրուայ Ամարասի վարդապետներուն որդեգրած քաղաքականութեամբ փոխան՝ Մաշտոցի։

Միշտ օտար թշնամիի վտանքը մեզ զօրակոչի կ’ենթարկէ պաշտպանելու հայրենիքը կամ բարգաւաճելու ժողովուրդի պայմանները, կարծես թէ վարժ չենք խաղաղ ժամանակներուն համագործակցութեամբ, սէր միութեամբ յառաջխաղաց ունենալու… Լենկթիմուրը յաղթական…

Միշտ կը փորձենք ժողովուրդը զգաստ եւ արթուն պահել թշնամիի մօտալուտ վտանգը յայտնաբերելով։ Կը կարդանք եւ կը լսենք Ազերիներուն ներկայ բանակին հզօրացումը. կամ ահազանգ կը հնչեցնենք Թուրքիոյ Հայաստանը մեկուսացնելու քաղաքականութեան դէմ, որպէսզի գաղութներ եւ ինչու չէ հայրենիքի հայկական բոլոր զանգուածները զօրաշարժի ենթարկուին եւ բրնցքուելով աշխատանք տանին ի նպաստ հայրենիք-սփիւռք հզօրացման։

Դժուարին ժամանակներու ժողովուրդ ենք։ Ինչո՞ւ խաղաղ ժամանակը չ’օգտագործել բարեզարդելու եւ զարգացնելու հայրենիքը… եթէ վտանք գոյութիւն չունի, շատ աւելի կարեւոր գործունէութիւններ կան, օրը մէկ՝ կազմակերպութիւն ստեղծել եւ միւս խմբակներուն դէմ պատերազմ մղել, կամ երկու թեմերու եկեղեցիներ մէկ թաղի մէջ զետեղել եւ վիճաբանիլ թէ՝ որ մէկը «մեր»ն է, կամ ալ, հին լուրերով տասը հատ օրաթերթ տպել եւ 1970-ականի որակով հեռատեսիլի կայաններ ստեղծել՝ աւելի թափով այս խայտարակութիւները զրուցելու։

Ղեկավար չկա՞յ. ով որ ինքզինքը մխրճած է քանի մը հայկական կազմակերպութիւններու մէջ եւ պաշտօններու տէր է՝ ինքն իրեն ղեկավար կը կարծէ եւ նայելով շուրջի իր ընկերներուն, որոնք կ’ուզեն իր պաշտօնը տիրանալ կը համոզուի, որ ինք ղեկավար է եւ թէ համայն հայութիւնը իր ցանած սերմերու պտուղները կը վայելէ. վերջապէս ամէն մարդ իր աթոռին տիրանալ կ’ուզէ, կը նշանակէ որ ինք բան մը կ’ընէ, իսկ այն անձերը, որոնք քիչ մը հեռուէն կը դիտեն ո’չ կը տեսնեն սերմ եւ ո’չ ալ պտուղ, այլ՝ անձնասէր սերմնացաններ։ Նոյն ղեկավար թեկնածուները, միշտ իրենց նուագով-աթոռախաղ կ’ընեն ապակիէ պարիսպի մը մէջ… միայն իրենք կը լսեն այդ երաժշտութիւնը եւ գիտեն այդ կոպիտ խաղը, իսկ ժողովուրդը զիրենք ապակիին ետեւէն կը դիտէ եւ իրենց ապարդիւն հեւքը տեսնելով ապշահար կը հեռանայ…։ Լենկթիմուրը անգամ մը եւս յաղթական։

Եկէ՛ք խաղաղ ժամանակները ի նպաստ մեր ժողովուրդի պայծառացման, հայրենիքի եւ Ամարասի ու անոր պէս հազար ու մէկ վանքերու, ուսումնարաններու եւ կրթօճախներու կառուցման ծառայեցնենք։ Մեր հայկական հոգեբանութենէն դուրս բերենք թշնամիներէ վախնալով ճգնաժամեր ստեղծելու քաղաքականութենէն։

Հայը պարտի տիրանալ խաղաղ ժամանակներու մէջ ստեղծագործելու գաղտնիքին…

Vahe Berberian “Sky” photo by Lilly Dong.

It was my usual Thursday afternoon. I was at work about to go home when I received a text message from my sister inviting me to attend Vahe Berberian’s one-man show titled ‘Sաgաyn’. At this point I knew very little about Berberian; just the occasional YouTube clip promoting one of his plays or a friend mentioning his name in passing. In spite of this, I decided to attend the show and see what all the excitement was about. At the show, I was blown away with his hilarious monologue. His fresh and unique perspective on society, life, and the Armenian community captivated the sold-out audience and filled the venue with laughter.

After the show, my curiosity led me to find out more about Vahe and his work.  Thirty seconds and a Google search later, I discovered the diverse artistic talents of Vahe Berberian. To my amazement, his monologues are only the tip of the iceberg when it comes to the diverse mediums that he expresses himself in. He is also an accomplished painter, writer, director, and actor. His paintings have been displayed in international art exhibitions, he has directed and produced numerous plays, published several books, written screenplays, acted in movies, and performed in theatre. Berberian’s paintings are sought after by notable collectors in the art community. In addition, his art has been featured in blockbuster Hollywood films such as: I Am Legend, Oceans 13, and Spiderman.

Born in Beirut, Lebanon, Vahe grew up in the coastal Mediterranean city and spent the majority of his childhood and teenage years reading books.  “The love of books is a major facet in the formation of my character,” says Berberian. “I was very lucky to grow up in a house that was full of books. We literally had thousands of books in our home.”

While growing up in Lebanon, Berberian began to participate in the local theater and became the youngest member of the theater company.  “Everything that I loved: I loved painting, I loved writing, I loved acting, I loved music, and everything else that I loved about art I found in the theater.”

He continued to hone his talents while living in Lebanon. However, with the politically sensitive environment of the Lebanese Civil War, he also became interested in politics and was an active member of the AYF. “I was very involved in the Armenian community in Lebanon,” remembers Berberian. “In hindsight you might see a duality in this because how can one be a ‘flower child’ and care so deeply about politics. However, there was not dichotomy there. I was a hippy, but I was very much interested with the politics of it all.”

Reflecting upon his activities as a youth, Berberian elaborates, “I was writing songs, I was painting, but at the same time was very much involved in politics—especially leftist politics. I was a devout socialist. I had read a lot of socialist literature, and also I would read literature regarding Armenian politics and the Armenian armed resistance.”

At the age of 17, Vahe left Lebanon and travelled among communities in Europe. “I think in a lot of ways I discovered myself while I was traveling,” he explains. “It’s funny how you discover your identity when you are away from your immediate surroundings.” After briefly returning to Lebanon, however, due to the Civil War, he decided to move to Canada and eventually settled in Los Angeles, where he reunited with his theater colleagues and continued his education.

I had the opportunity to personally meet with Berberian at his studio to acquire a firsthand knowledge about his life and work. While I was in the studio, I was overwhelmed by the setting. Surrounded by paintings, art supplies, musical instruments, books, and murals, the space had a very enchanting atmosphere. As I absorbed all the art that was around me, I began to wonder where Berberian’s inspiration comes from.

“My inspiration comes from three things,” he replied. “First of all, people; interesting and lucid people inspire me. Second is my surrounding. I feel very much attached to my lifestyle and the way I live. For me, my immediate surroundings are almost part of my art. Finally, art itself—as in literature, music, and good theatre. All these things have a profound influence on my art.”

“Barekam” Painting photo by Mher Vahakn.

Berberian went on to comment that as a result of being an active member of the Armenian community, his Armenian heritage has had a heavy influence on his art. He insists that, “The source of all evil and wrongdoing can be traced back to insecurity. Therefore, being secure with your national identity is a tremendously important part of who you are as an artist.”

Although Berberian creates art in many different mediums, he does not prefer one over the other. “At certain times I prefer one thing and at other times I prefer something else,” he explains. “It all depends on timing. It is almost like I have all these children that I love equally. However, if asked which one you like most, I answer the one that behaves.”

I could not help but notice certain common motifs in Berberian’s art. For example, several of his paintings feature fish and wheels. I wondered if these motifs represented a certain message that he was trying to project through his art. However, I learned that this was not the case. Berberian’s use of different motifs in his art is based on aesthetics.
“As far as my painting goes, I do not use symbolism at all,” said Berberian. “Whatever I use in my painting, I use it as a form by itself. Even when I use letters and words, I use them for their shape and not so much what they mean. If I wanted to say something specific, I would write it or use it in one of my monologues. The reason why I paint is because there are certain layers in my insight that cannot be expressed in any other way other than painting.”

Berberian’s art has gone through multiple stages. Initially, he started his career with an abstract style. He then transitioned to more figurative work, though, gradually transitioned back into the world of abstract art. Today, he considers himself as more of a minimalist and has been able to sustain a living as a full-time artist—a feat that is rarely accomplished in the art world.

“I consider myself very lucky for two reasons,” he points out. “The number one reason is the fact that I can live off my art. And number two, which is very important, when I was growing up, I thought of a successful artist as someone who would paint these incredible paintings and die of starvation. People would then discover his amazing work and say wow he was good, we have starved another one. I had a very romantic notion of a successful artist. I could never really imagine that an artist could become successful and actually enjoy the fruits of his labor.”

Reflecting upon his current career, however, he notes, “Now, with acknowledgment—I don’t like the word success—but with acknowledgment comes a sense of security. And with this security, your work as an artist becomes more raw and more honest because you are no longer worried about selling your work or making it more presentable. Therefore, your work becomes more real and that is very, very important to me and how I approach my work.”

For more information about Vahe Berberian and his art, visit his official website: vaheberberian.com

Only 21, Yura Movsisyan has already played on two MLS professional soccer teams, competed with the best players in Europe, and is being sponsored by Adidas. But he did not reach his goal of becoming a professional soccer player by just wishing for it.

Movsisyan was born on July 6, 1987 in Baku, Azerbaijani SSR, Soviet Union. As a boy he learned to play soccer on the streets of his hometown and grew to love the game. Unfortunately being in Baku as an Armenian was not safe, especially during the pogroms of the late 1980s and 1990s.

Armenians generally were not respected or tolerated in Baku and, in 2000, Movsisyan and his family fled Azerbaijan to come to the United States. They were blessed enough to move to Pasadena, Calif., where they started a new life, with new hopes and dreams. This is where his dreams truly started to come true.

He quickly joined an organized soccer club called Lazio FC. When asked what drew him to join the team, he replies, “I had a lot of love for soccer ever since I was a child. I wanted to be a professional soccer player and I felt proper training was key.” He joined two more club soccer teams: Flyers FC and Arsenal.

Movsisyan explains that maintaining his Armenian identity was initially a daunting task, but he vowed he would never forget where he or his family came from. “Soccer did help me feel more comfortable to be in the United States,” he explains, “and it was a way for me to get away from the rest of the world, it made me feel really happy.” Even though Yura’s life is and was completely surrounded by soccer he didn’t forget about his roots. He maintained his culture by doing what he knew best: every year he would play Forward for the Homenetmen “Azadamard” soccer team at the Navasartian Games.

The young Movsisyan also attended Pasadena High School (PHS), playing for his school and his future mentor, Cherif Zein. He shattered the PHS goal record by seven goals, making 32 goals in 13 games. “Breaking the record in high school was nice,” recalls Movsisyan. “During the season it wasn’t the amount of goals I wanted to make, for me it was just making goals till the end and it was nice to have it on my resume.”

While living in the United States and even in Baku, Yura did not attend any Armenian Schools. “The other day, I went to Pilibos Armenian School to speak,” says Movsisyan, “and that is the only time I have ever been inside an Armenian School.” Yet, to this day, he knows how to read and write fluently in Armenian.

After high school Movsisyan moved on to college soccer. While, at first, he was not very interested in attending college, his mind was quickly changed after his mentor Cherif told him that if he played for Pasadena City College (PCC) for one season, he would guarantee that professional coaches would see him. Yura played his heart out, becoming the MVP of the Pacific League, scoring 18 goals in 19 games, and accounting for half of his team’s goals for that season. Cherif’s promise proved to be true as Yura was pronounced eligible for the MLS draft within three months of playing for PCC.

Movsisyan’s dream had finally come true. He was a professional soccer player playing for Kansas City. “It was a dream come true playing for Kansas City. It was the best feeling actually attaining my goal,” says Movsisyan. He admits, however, that, “I did feel out of place being in Kansas City, not being with my family or other Armenians.”

Since then Movsisyan has moved on to play for the MLS soccer team, Real Salt Lake. This past season he scored eight goals and assisted one goal. When asked what his goals are for the upcoming season his answer was, “to score more goals and be healthy.”

This past summer, Movsisyan was invited to play at a tournament hosted by Adidas called “Generation Adidas”—where the best in the MLS are asked to compete. For the future, Movsisyan has his sights set on one day playing for a soccer club in Europe. “Eventually I want to end up playing in Europe whether its next year or in the next five years, I really want to go,” says the ambitious Movsisyan. “Any good team in Europe is fine with me; any good team would be good.” Currently, he is also hosting a soccer camp in Arcadia, Calif., where he is teaching and training many young athletes. Movsisyan will also continue to play for Real Salt Lake this upcoming season.

This exciting new band is made up of Mariela Moumdjian, Pablo Kaloustian, Jacqui Boghossian, Gabriel Giogourtzian, and Juan Abadjian, all of whom met as youth in the Armenian community of Buenos Aires, Argentina. Each one of them came from a different area in this community and grew up listening to different styles of music.

The bandmembers all attended separate Armenian schools where they forged their passion for Armenian culture early on. Pablo and Gabriel went to St. Gregory School, Jacqui went to AGBU, Mariela attended the Mekhitarian School of Buenos Aires and Juan, the Tertzakian Institute. In addition, they stayed active in the Armenian community through such organizations as the AYF and Homenetmen, competing regularly in sporting events and various community activities.

Naturally, with such an upbringing and circle of friends, the band members had a great sense of Armenian pride; they felt the need to combine this pride with their creative talents and form an Armenian band.

Los Armenios has achieved a great deal of notoriety since the release of their first album in December 2006 and when they were nominated in 2007 for an Armenian Music Award for best alternative album. When asked if there was one piece of advice they would give to the Armenian Diaspora, Mariela urged the following: “Make an effort to keep the traditions and, what is really important, keep on speaking the Armenian language.”

Indeed, this is one of the main goals of Los Armenios itself, whose original compositions are penned and performed in their native Armenian. As artists, they hope to make Armenian culture better known in Argentina. “What’s more,” adds Gabriel, “we consider that through music we can awake the Armenians of the new generation to do something for Armenia and for the Diaspora, just the same thing that our exiled Great Parents did for us.”

For more information about the band, visit them at their website: www.losarmenios.com

We are referring to R-Mean (Armin Hariri), a seasoned Los Angeles rapper who is perhaps best known in the Armenian community for his track, ‘Open Wounds’, which deals with the pain and injustice of the Armenian Genocide.

R-Mean recently released a brand new album and we caught up with him for this exclusive interview.

HAYTOUG: How did you first become interested in Hip-Hop and a career in music?

R-MEAN: As much as Hip-Hop was everything to me, I never thought I could be a part of it musically. It never even crossed my mind. But I used to get a lot of single cd’s that had instrumentals on it and one day I was listening to the ‘Paparazzi’ beat by Xzibit and I just started flowing.  Then, gradually, a hobby turned into my main passion in life.

H: You grew up in Amsterdam for the better part of your youth. How did that influence you as an artist?

R-M: As an artist anything you experience influences you and your art in some way, so absolutely. The lifestyle and mentality you grow up with is different than if you would grow up here in LA, for example. But most of the type of Hip-Hop I was exposed to growing up in Holland was really different as well. To this day Hip-Hop is in a more pure form out there than here so I grew up with a great sense of what Hip-Hop was really meant to be.

H: What artists would you like to work with?

R-M: There are a lot of artists I would love to work with. I get excited when I see real talent, no matter what style or genre of music.  In regards to Armenian artists I would love to collaborate with Serj Tankian, of course, and I would love to do something with Jivan Gasparian.  I am a big fan of using Armenian instruments and influences in my music.  As far as Hip-Hop artists and producers there are too many to name but, of course, all the great ones like Eminem, Fifty Cent, Nas, Jay-Z.

H: Can you talk about the track “Open Wounds”?

R-M: The first time I wrote a song about the Armenian Genocide is when I took an Armenian History class in college. I wrote the whole song in class. After that, Blind and I did a couple tracks but every time it wasn’t the one. So when we were working on the Broken Water album we thought let’s do another one but this has to be “the one.”

I had the idea to use duduk in the beat so I got a bunch of cd’s with duduk stuff on it and brought them to Blind for him to sample. I had also met Soseh, the girl that sings the chorus, at UCLA and so I already knew I wanted her on the song too. Once Blind created the beat, I wrote my verses and Soseh came up with the idea of doing the chorus in Armenian and using “Kilikia”. It just all came together perfectly, and when it was done we definitely knew it was “the one.”

I think the song conveys the message perfectly both in words and emotion. The best thing for me was that so many non-Armenians learned about the Genocide through that song because people that don’t speak Armenian still get the message through the raps and the emotion and pain through Soseh’s voice. Hopefully one day we can still push the song to an even greater audience.

H: What inspired you to write a song about the Armenian Genocide?

R-M: I was raised with the Armenian Cause instilled in me from a young age so it was always important to me. I want my music to convey an important message and I always knew that I wanted to express the pain and frustration I feel about 1915 and pay tribute to the 1.5 million Armenians that were annihilated during the Armenian Genocide through my music.

I always wanted to help somehow but just going to protests and all that wasn’t enough for me. Once I started making music I knew my voice can be heard and especially the youth—which is the most important portion of the population but, at the same time, the hardest to reach—can be educated.

H: Can you explain the title of your new album?

R-M: The Risin Son is a nickname I acquired years ago….It symbolizes the rise of the next generation….the next generation of Hip-Hop. Originally it was just going to be a mixtape of some of my unreleased material but as we were putting it together it sounded so good that we had to make it a complete album. Ras Teo and Soseh are featured on the album as well as Romeo from the Goodfellas, Roscoe from DPG, and a few other guest appearances. It’s an incredibly well put together album and if you love Hip-Hop you’re going to love this album.

To learn more about R-Mean and his music, visit his website at www.r-mean.com.