Չորեքշաբթի, 25. 06. 2025

Armenian Wins Gold at Baku Games

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Seda Tutkhanyan, a native of Gyumri, who is competing on behalf of the Russian team won a gold medal Tuesday in the gymnastics team competition during the European Games.

The Russian team beat out the German and Dutch team to ascend to the gold. Tutkhanyan competed alongside her teammates Viktoria Komova and Aliya Moustafina.

Tutkhanyan has also advanced to the personal gymnastics competition finals and remains in the competition in the lead.

The 15-year-old Tutkhanyan is a junior Olympics champion and the daughter of world champion Gourgen Tutkhanyan. She began training in the sport when she was seven.

UCLA Summer Armenian Language Course for High School Students

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This summer UCLA is offering a special Armenian language course for high school students as part of its High School Heritage Language Program. The course is specifically designed for Armenian heritage speakers, who speak, understand, and/or hear Armenian at home and want to learn to read, write, and expand their listening and speaking skills. Students will get an opportunity to develop their Armenian proficiency in a four-week course while being immersed in a real life college environment at such a prestigious university.

The program uses the most up-to-date pedagogical methods in curriculum design, instructional approach, and assessment. The course is thematically designed and project based, providing students with an exciting and real-world context for language learning.

In addition to improving their heritage language, an equally important goal for the program involves introducing and exposing Armenian youth to UCLA. The course is taught at UCLA, providing high school students an opportunity to experience life on the university campus. Dr. Shushan Karapetian, a UCLA professor, as well as the Program Director, will be instructing the course. She has over ten years of teaching experience and specializes in heritage language education. The program also arranges for a college admissions counselor to give an in-depth presentation for students and parents on the UCLA admissions process. Many students end up writing about this rewarding experience on their college applications and also seeking letters of recommendation from their instructors.

The program runs from July 6-30, Monday-Thursday, 9am-2pm. The cost is only $200. For those who cannot afford it, fee waiver applications are available. Although students will not receive college credit for this course, they may receive one year of high school credit toward satisfying their high school language requirements.

All levels of heritage speakers are welcome. Please contact Dr. Karapetian with any questions at shushan.karapetian@gmail.com or call the UCLA Center for World Languages at (310) 825-2510. Registration and more information is available on the program website at https://www.hslanguages.ucla.edu/hslanguages.

«Պիտի Գան, Պիտի Երթանք… Կէլիճիլէր, Կէտիճիք…»

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Զմրուխտ Նէնէն եւ Այնթապի Թափուները- Փաստաթուղթերը

Գրեց՝ Զարմինէ Գ. Պօղոսեան

Հալէպի չոր ու տաք ամրան օրերէն մին էր:  Տնեցիները ամէն մէկը իր գործով դուրս ելած էին: Մարի Մաման-Կէսուր մայրս- օրուան ճաշին վերաբերեալ գնումներ կատարելու համար ելած էր: Երկրորդ  յարկի վրայ ապրող մեր երէցկին քեռկինը «շիրքէթի» գացած էր ինծի կարգ մը ապսպրանքեր կատարելէ ետք թէ՝  «Նէնէն մինակ է, աչքդ վրան պահէ…»:

«Նէնէն» ամուսնոյս մօրենական մեծ մայրն էր. Այնթապէն գաղթական հասած Հալէպ, ճամբուն վրայ 1916-ի ծնունդ Մարի Մամային Պէրիճիկի մօտերը, ծառի մը տակ, ափ մը ջուրով,  հապճեպ կնքելէ ետք- որպէսզի յանկարծ եթէ «բան մը» պատահի գաղթականութեան ճամբուն վրայ եւ անմեղ մանուկը մեռնի- անդենական հասնի մկրտուած եւ արքայութեան ներկայանայ որպէս հա՛յ եւ քրիստոնեա՛յ :

Անշուշտ, փառք տիրոջ, Մարի Մաման ողջ մնացածներէն էր:  Ողջ մնացած էր նաեւ 6-7 տարեկան Նիկտէյէն գաղթական որբուկ Կիրակոս Մավլեան –Պօղոսեանը: Ի՜նչ բախտաւոր զուգադիպութեամբ գաղթականութեան ճամբուն վրայ շուարած տղեկին իերնց համաքաղաքացի մէկը կը ճանչնայ որպէս «Նիյտէյի Սաաթճի Օվանէս Պօղոսեանին քրոջը տղան»  եւ ձեռքէն բռնած կը հասցնէ Սաաթճի-ժամագործ Օվանէսին կարաւանին: Որբուկ Կիրակոսը վստահ չէր կրնար յիշել թէ քանի՞ եղբայր, քանի քոյր ունէր: Ուրախ էր որ քեռին զինք գրանցած էր իր ընտանիքին եւ դարձուցած Պօղոսեան, յաւերժ կորսնցուցած ըլլալով իր ընտանիքի բոլոր անդամներուն հետ նաեւ ընտանեկան Մավլեան մականունը:  Ահաւասիկ Նիկտէէն Հալէպ հասած այդ որբուկը, քեռիին պէս ժամագործ դարձած, եւ ծառի տակ մկրտուած հայ քրիստոնեայ  աղջնակը Այնթապէն -երկու տարբեր քաղաքներէ գաղթական- Հալէպ հասած էին երիտասարդներ դարձած՝  կ՛ամուսնանան ծնունդ տալով  չորս դուստրերու եւ մէկ մանչ զաւակի որուն «հարսն»  էի ես 60-ականներու վերջին. ..:

Օրերը փոխուած էին: Մեր սերունդին համար հէքեաթային դրուագներ էին գաղթականութեան օրերու ապրուածները: Հալէպ քաղաքին Սէպիլի վրաններէն, Կիւրինցիներու Քէմբէն, Զէյթունցիներու Խանէն, թիթեղածածկ տուներէն հայ ընտանիքներ քարաշէն տուներ պատել տուած էին, շէնքերու կամ անձնական տուներու մէջ կ՛ապրէին հիմա, եւ ծառին տակ մկրտուող աղջնակը՝  կէսուր մայրս էր որ այդ օր ի՛ր  ալ  շիրքէթի օրն էր, պիտի երթար իր գնումներէն ետք:

Շիրքէթը խմբակցութիւն մըն էր կիներու,  նոյն ձեւով ալ երեկոյեան տղամարդիկ կը հաւաքուէին միեւնոյն նպատակով- ժամանց եւ խնայողութիւն: Այս առիթներով կիներուն նիւթը ճաշատեսակներու փոխանակումէն ետք կը դառնար թաղին յարմարագոյն թեկնածուները ամուսնացնելու, խնամախօսութեան կամ նշանտուքի ձեւերը խծբծելու,  տունի կահ կարասիներու փոփոխութիւնները ընելու եւայլն…:

Իսկ տղամարդիկ իրենց յատուկ խօսակցութեան կողքին  «Պլօթ կամ փօքէր խաղալու»  թղթախաղի հաճոյքը կը վայելէին:  Այս հանդիպումները  շաբաթը անգամ մը կը պատահէին կարգով, իւրաքանչիւր շաբաթ մէկ անդամին տունը:

Երկու պարագային ալ գլխաւոր նպատակը դրամահաւաքն էր խնայողութեան, հեռանկարով: Դրամատուներու չգոյութեան խնայասէր հայ տանտիկինները այս ձեւը ընտրած էին ամէն շաբաթ իրենց շաբաթական ծախսելու գումարէն  որոշ բաժին մը մէկդի դնելով, խումբին գանձապահին տալով տարեվերջի հաշուեփակին կոկիկ գումար մը ձեռք կարենալ անցնելու համար: Եթէ խումբի անդամներէն մէկն ու մէկը տարւոյն ընթացքին որոշ գումարի պէտք ունենար իրաւունք ունէր մէջ-ընդ-մէջ փոխ առնելու- տոկոս վճառելու պայմանով-  եւ մինչեւ փոխ առած գումարը վերադարձնելը ամսական տոկոս կու տար, տարեվերջին տոկոսներէն հաւաքուած գումարը հաւասարապէս անդամներուն կը բաժնուէր:

«Նոր հարս» ըլլալով հլու հնազանդ տունը մնալու շրջանս էր: Պարտականութի՞՞ւնս,  չորս կողմը հաւաքել, Հալէպի անվերջանալի փոշիներէն փոշոտած կարասիներուն «փոշին առնել» տունը կարգապահ պահել, եկող հիւրին սուրճ հրամցնել:  Հեռաձայնի չգոյութեան կազմ պատրաստ պէտք էր ըլլալ՝  կոկիկ հագուած, տունը մաքուր, սուրճը պատրաստ ըլլալու էր: Ոեւէ տուեալ պահուն կարելի էր մէկն ու մէկը դուռը զարնէր եւ սուրճ խմելու համար ներս մտնէր: Կը յիշեմ օրեր կային որ սուրճի բաժակները պահարանի հանգիստը չէին տեսներ: Հազիւ խումբ մը ճամբու դրած՝ գաւաթները կը լուացուէին եւ կրկին ափսէին կը շարուէին յաջորդ եկուորը հիւրասիրելու:

Այնթապէն գաղթական Հալէպ հասած Մարի Մամային մայրը Զմրուխտ Նէնէն՝  յիշողութիւնը կորսնցուցած էր այլեւս: Հսկողութիւն կ՛ուզէր: Ո՜ւր էին այն օրերը երբ ինք քսանէ աւելի դեռատի աղջիկներուն, հարսերուն վերահսկիչն էր: Ա՛լ բան չէր մնացած այդ չարքաշ եւ գործունեայ կնոջմէն: 20-անականներու սկիզբին Հալէպ հասնելէն ետք կորովի ձեռներէցութեամբ մը Զմրուխտ Խանըմը գործի մղուած էր եւ իր հետ համախմբելով խումբ մը հայ երիտասարդ մայրեր: Այնպիսի մէկն էր որ ի՛նք կը հսկէր քսանէ աւելի իգական սեռի այդ աշխատաւորներուն,  որոնք «Քէրկահին»  առջեւ նստած Այնթապի գործ կ՛աշխատէին,  որպէսզի Զմրուխտ Խանըմը իր կապերուն միջոցաւ ամերիկացի միսիոնարներուն ղրկէր եւ ամերիկայի մէջ ծախուելէն ետք տոլար ստանար՝ թէ՛ իր ընտանիքին եւ թէ այդ ընտանիքներուն օրապահիկ ապահովելով:

Այս օրերուն նման գործնական իգական սեռի ներկայացուցիչ մը կը պիտակաւորուի որպէս իսկակա՛ն առեւտրական մտածողութեամբ անձնաւորութիւն մը- «Պիզնէս մայնտըտ Վումըն» :

 Հալէպեան օրեր… վերապրողներու սերունդը… կիզիչ աւազներէն, վրաններու խլեակներէն, թիթեղածածկ սենեակներէն, տարուէ տարի, տասնամեակէ տասնամեակ սկսան քարաշէն տուներու մէջ ապրիլ, բարձրագոյն ուսման հետեւող զաւակներներ ունենալ, հայ եպրոցները նախակրթարաններէն երկրորդական վարժարաններու դռներ բացուեցան, թատրոն, երգահանդէսներ, ամառնային ակումբային պարտէզներու ելոյթներ կազմակերպել սկսան….

 Ա՛յս էր կեանքը 60-70-ականներուն մեր Երազային Հալէպին մէջ քանի մը տասնեակ նախակրթարաններով, երեք գլխաւոր երկրորդական վարժարաններով, եկեղեցիներով, հայրենակցական եւ կուսակցական ակումբներով, Սարեան Արուեստի դպրոցով, հայո՛ւ անուն կրող հիւանդանոցով …

  Պարտականութիւնս չէի մոռցած:  Զմրուխտ Նէնէին աչք պահելու համար մէկ վերի յարկ կը վազէի, տեսնելու որ ի՞նչ գործի վրայ է Նէնէն, կրկին վարի յարկը գործիս վերադառնալու:

 Երեւի կէս ժամ անց էր ձայն մը լսեցի վերէն եւ աճապարանօք վեր վազեցի: Ի՜՜նչ տեսնեմ:

  Զմրուխտ Նէնէն իր դարակը պարպած էր,  ճերմակեղէնները «ՊՕԽՃԱ»  ըրած՝ ծրարած էր սաւանի մը մէջ չորս անկիւնները իրար հանգուցելով,  գլխուն գլխաշորը-եազման- ճիշդ հին օրերու ձեւով կզակին տակ կապած նստած էր իր ծրարին մօտ վախուորած-սառած աչքերը սեւեռած դուռին:

Իմ բացականչութեանս եւ թրքերէնով հարցիս վրայ թէ՝

  • Նէնէ ի՞նչ ըրիր- ո՞ւր կ՛երթաս…

 զգուշացնող ցած ձայնով մը, մատը շուրթներուն դրած,  թուրքերէնով  անշուշտ պատասխանեց,

  • Սո՜՜ւս կէլի՛ն, կէլիճիլէր.. կէտիճիք – Լուռ կեցիր հա՛րս, պիտի գան պիտի երթանք…

Չորս կողմի թափթփած վիճակէն, պարպուած դարակներէն դուրս մնացածները հաւաքել փորձեցի,  ի՜՜նչ տեսնեմ գետնին վրայ կտոր-կտոր դարձած փռուած էին պաշտօնական փաստաթուղթերու խունացած-դեղնած  ծուէնները,  բզիկ-բզիկ եղած ամբողջ անցեալի մը իրաւունքի՛ն փաստերը:

  • Նէնէ ի՞նչ են ասոնք, ի՞նչ պատռեր ես, ինչո՞ւ պատռեր ես…

Հիստերիք խնդուք մը արձակեց … միշտ շատ լուրջ եւ խիստ մամա-մեծ մամա հանգամանքով այս կնոջմէն նման խնդուք բնաւ չէի տեսած:

  • «Այնթապըն էվլէրիմիզին թափուլարը… քիմէ՞ եարար եավրում- Այնթապի մեր տան պաշտօնական փաստաթուղթերն են: Որո՞ւն է պէտք…ո՞վ է մեզի տուն տուողը…  Ահա կինէ այնըսը … կէլիճիլէր, կէտիճիք, պէնտէ պիլմիէմ նէրիյէ.. Ահա նորէն պիտի գան- պիտի երթանք.. ես ալ չեմ գիտեր ո՞ւր…»
  • Նէնէ՛, տե՛ղ մըն ալ պիտի չերթանք .. Հոս Հալէ՛պ է, քո՛ւ տունդ է, քու քահանայ տղուդ տունն ես, ամէն ինչ ապահով է հոս, հայերուն լաւ աչքով կը նային, մեզի մեր տուներէն վռնտող կամ տեղահան ընող չկայ…

    Լուռ նայեցաւ ինծի , գլուխը շարժեց … եւ տխուր աչքերը հեռուն պահած ըսաւ…

  • Կէլին սէն հի՛չ պիրշէտէն խապարըն եօք տըր… Կէլիճիլէր- կէտիճիք, սէվքիէթ տըր եավրում ….  Հարս դուն բանէ մը լուր չունիս .. պիտի գան ..պիտի տանին մեզի, տեղահանութիւն է զաւակս…

***

Հարիւր տարի ետք այսօր երբ կը խօսինք պաշտօնական արտօնագրերու, փաստաթուղթեր գտնելու, թափուներու մասին,  քառասուն տարի առաջուայ պատահած այս դէպքը,  Զմրուխտ Նէնէն աչքիս առաջ կու գայ իր պօխճայով, եազմայով  եւ մանրուած թուղթի կտորները գետնին,  որ 100 տարի առաջ Այնթապի իրենց տաքուկ բոյնին օրինական փաստաթուղթերն էին…

Այսօր Հալէպի իր եւ իր բոլոր հարազատներուն գերեզմանն անգամ ոտնակոխուած է … ո՜վքեր կան հոն թաղուած… Յակոբ Օշական, Համբարձում Էֆէնտի Պէրպէրեան.. քահանաներու, հոգեւոր հայրերու համար կառուցուած յատուկ դամբարանը- հապա՞ Այնթապի ինքնապաշտպանութեան յուշարձա՞նը, ուր ամէն Ապրիլ Մէկին կը նշուէր Ապրիլ 1, 1920-ին Այնթապի հերոսամարտը,  հսկայ թափօրով ծաղկեպսակ կը զետեղուէր Ատուր Լեւոնեան, Աւետիս Գալէմքեարեան, Արժ. Տ. Ներսէս Քհնյ. Թաւուքճեանի նման ինքնապաշպանութեան հերոս ղեկավարներու անունը կրող թամբարանին:

Այո՛, հիմա միեւնոյն հոգեվիճակները կ՛ապրին մեր հարազատները հոն Հալէպի մէջ:  Զմրուխտ Նէնէին եւ իր քահանայ զաւկին գերեզմաններուն այցելութիւնն անգամ վտանգուած է:  Ի՜նչ-ինչ երիտասարդներ կը զոհուին անորոշ փոսերու մէջ թաղուելով:

 Իսկ այն եկեղեցին, որ իր քահանայ տղան քառասուն տարի ծառայեց, հարիւրաւոր մանուկներ մկրտեց, քանի-քանի տասնեակ երիտասարդներու ամուսնութիւնը օրհնեց՝  հրոյ ճարակ դարձած է եւ անգործածելի՛  այսօր՝  2015-ին:

Կէլիճիլէր .. կէտիճիք…

 Հիմա ո՞ւր երթայ Հալէպահայութիւնը երբ նոյն խորշակը մուտք գործած է հո՛ն,  ուր հիւրընկալ Արաբ երկիրն էր ժամանակին 1915-ի ցեղասպանութենէն վերապրողներուն համար:

 Զարմինէ Գ. Պօղոսեան

Նիւ Եորք – Ապրիլ 10, 2015

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Anna Melikyan Wins Grand Prize of Kinotavr Russian Film Festival

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Filmmaker Anna Melikyan won the grand prize Sunday of the 26th Kinotavr Open Russian film festival for her film “About Love,” an anthology of five short stories. It also received Prize of Film Distributor’s Jury, “Asbarez” reports.

The annual Kinotavr is the most important Russian film festival and also the world’s largest of national cinema. In 2014, Anna Melikyan won the best director prize at Kinotavr.

Anna Melikyan is an Russian-Armenian film and TV director/ producer whose work has been recognized with several awards. After her participation at Sundance Film Festival she was listed in the TOP 10 of most perspective film directors by Variety magazine. In 2008 Melikian’s “Mermaid,” (Rusalka, 2007) was awarded by the Berlin International Film Festival Prize.

Awards: Berlin International Film Festival, FIPRESCI Prize for “Mermaid,” Clermont-Ferrand International Short Film Festival, 2001, Special Jury Award for “Poste restante”, Golden Apricot Yerevan International Film Festival, 2008, Feature Film for “Mermaid,” (2007), Karlovy Vary International Film Festival, 2008, Independent Camera Award for Rusalka (2007), Melbourne International Film Festival, 2001, City of Melbourne Award for Best Short Experimental Poste restante (2000), Sofia International Film Festival, 2008, Grand Prix for “Mermaid,” Sundance Film Festival, 2008, Directing Award, World Cinema – Dramatic for “Mermaid.”

Sirusho among Nine Biggest Stars in the World America has not Heard of

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One of the most popular websites Mic.com has compiled the list of nine famous musicians who, despite not having name recognition in the United States, are some of the biggest stars in the world. The list includes Indonesia native Agnez Mo, Belgian superstar Stromae, Armenian pop star Sirusho, Brazilian singer Gaby Amarantos, Indian musician A.R. Rahman, Nigerian pop mogul D’Banj, French electro-pop band Yelle and South Korean pop star/rapper CL, “Armradio reports.

According to the website, the Kardashians aren’t the only famous Armenians. Pop star Sirusho won her first award for singing at the tender age of 9, and has since piled up award after award for her contributions to Armenian music and the traditional culture there. In 2008, she was the first woman to represent Armenia at the Eurovision Song Contest.

“I have grown up in front of [Armenians’] eyes,” Sirusho told Eurovision before the 2008 contest. “They have seen me since I was very little. They have followed my career from the first time I entered the stage, they have given me my awards. Now that I entered the Eurovision Song Contest stage, I have seen that I have relatives not only among Armenians, but also among Europeans, who share the same feelings and the same passion for my song. I will just sing for all of them, and I love them the way they are!”

Christian Bale, Oscar Isaac Set to Star in Krekorian Produced Film on Genocide

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Oscar winning actor, Christian Bale, and Oscar-nominated actor Oscar Issac are set to star in a film about the Armenian Genocide being produced by billionaire Kirk Kerkorian, “Asbarez” reports according to showbiz411.com on Monday.

The entertainment site also reported that Terry George of “Hotel Rwanda” is set to direct the film, which he described as “a WWI love story, in the style of ‘Dr. Zhivago’ and ‘Reds,’ set against the backdrop of the Armenian genocide.”

According to The Wrap, the film follows a love triangle between Michael, a brilliant medical student, Ana, described as being beautiful and sophisticated, and Chris, a renowned American journalist based in Paris.

Bale will play Chris, who is in love with both a woman and the danger of being in a combat zone during WWI. Isaac will play Michael, who is in love with the same woman but conflicted by old-world traditions and his heart.

The subject of the Armenian Genocide has been near and dear to George, who in March 2013 was a guest of the Armenian State Pedagogical University, where the Irish filmmaker compared the Armenian Genocide to the 1994 Rwandan Genocide, which he portrayed in his Oscar-nominated 2004 film “Hotel Rwanda”.

Bale has been featured in a number of films about other cultures, having recently starred in the Chinese-language production “The Flowers of War.” The Oscar-winning star of “The Fighter,” “American Hustle” and the “Dark Knight” trilogy made his feature debut in Steven Spielberg‘s historical drama “Empire of the Sun.”

Isaac has garnered major attention thanks to his upcoming roles in “Star Wars: The Force Awakens” and “X-Men: Apocalypse.” He also has a new HBO miniseries “Show Me a Hero” on the horizon, and has been touted as a possible Oscar contender for his supporting performance in the acclaimed sci-fi movie “Ex Machina.”

Showbiz411 initially reported the news of the Kerkorian-funded film in February. Roger Friedman, reporting for showbiz411 said: “This could be a big epic hit. I expect with this updated news, a studio will become involved shortly.”

Plácido Domingo and Haigazian University Hit A High Note!

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Haigazian University is celebrating its 60th Anniversary on October 3rd with a black-tie Gala fundraiser and a performance by Grammy award-winning tenor and conductor Plácido Domingo in the title role of Woody Allen’s production of Puccini’s “Gianni Schicchi.” The Dorothy Chandler Pavilion in Los Angeles will play host to the evening’s celebration which will be co-chaired by Harry Nadjarian and Tina Segel.

Speaking of the upcoming celebration, Mr. Domingo expressed words of welcome and nostalgia.   “My mother, who was a wonderful singer, studied with an Armenian vocal teacher, so I have had a lifelong admiration for the Armenian Community’s rich tradition of music and performing arts. I am proud to welcome you to [the] LA Opera and I look forward to a wonderful celebration with you in our home.”

The evening will begin with a champagne and Lebanese mezze pre-reception for Haigazian guests, followed by two stunning performances by the incomparable Domingo—first, on stage, to sing the title role in Woody Allen’s production of the near-century old opera, “Gianni Schicchi” after which he will take to the podium and conduct Franco Zeffirelli’s production of Leoncavallo’s “Pagliacci.”

Following the performances, the evening will continue in the prestigious Grand Hall where guests of the Anniversary Celebration will dine and mingle during the Gala Supper.

Honorary Committee members include Governor George Deukmejian, Baroness Caroline Cox, Vartan Grigorian, and Joyce Philibosian Stein.  More special guests to be announced.

Haigazian University may be half a world away in Beirut, Lebanon, but its influence and purpose is felt globally.  With many of its founding roots planted in the United States, the University has been preserving Armenian culture and preparing future educators in the Diaspora for nearly 60 years.  This upcoming Anniversary is a celebration of both the School and all for which it stands.

Ticket information will be announced soon.  All proceeds to benefit Haigazian University. PLEASE SAVE THE DATE!

Armenian National Philharmonic Orchestra Will be Performing at Beiteddine Festival

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A concert dedicated to the Centennial of the Armenian Genocide with  the Armenian National Philharmonic Orchestra, the National Chamber Choir of Armenia & The Hover Chamber Choir will be held on August 8 2015 within the 2015 Beiteddine Festival Program Maestro Eduard Topchjan will be conducting the orchestra and the program will include A. Khachaturian: Spartacus Ballet Suites,  J. Brahms: Violin Concerto in D major by with the exceptional participation , of Sergey Khachatryan, violin and W.A Mozart: Requiem in D minor .

The event is being organized with the support of AGBU and is sponsored by the Emirates Lebanon Bank.

About Beiteddine Art Festival

The Beiteddine Festival is one of the leading festivals in the Middle East. It takes place in a large and magnificent 200-year old Palace in the Chouf Mountains, in Lebanon. The Palace is a jewel of Lebanese architecture with its many courtyards, monumental gates, elegant arcades and leveled galleries.
Each year, in the months of July and August, the Festival presents outstanding performances by world famous stars and Lebanese artists.
Concurrent with the performances, the Palace houses one or more international art exhibits.
The Festival’s first edition was launched in the summer of 1985 amidst the war. It came as an act of faith in Lebanon’s cultural role and power of creativity, a call for normality amidst the chaos and madness of war. It was born and has grown in very difficult times and made it against all odds. As of 1987, when Nora Joumblat and an Executive Committee took over the organization of the Festival, it gradually gained regional and international recognition. Since 1997, a new step forward is recorded: the external courtyard of the Palace is fitted to host 5,000 persons. On the creative level, the Festival started producing its own performances, particularly Lebanese plays. The variety and the quality of the Festival’s activities attract an ever-increasing audience (51,000 persons in 2003) in which the young generation is worthily represented The Festival is a non-profit organization. Its growth from a local venture to its current status as an international event is due to 2 main factors:

  • An increasingly loyal public
  • The support of sponsors and partners.

65% of the Festival’s budget comes from ticket sales and 20% from sponsors and a symbolic governmental aid of 15%.
Every summer, around 50,000 spectators gather in the Palace’s spectacular courtyards to attend different performances.
The Beiteddine Festival has presented an impressive variety of artists.

 

About the Conductor

Eduard Topchjan is the principal conductor and artistic director of the Armenian Philharmonic Orchestra.

Topchjan studied violin at the Yerevan Komitas Conservatory and went on to study conducting with Armenian conductor Ohan Durian followed by consultations from Sir George SoltiClaudio Abbado and Nello Santi.

Topchjan started conducting in 1991 when with a group of his friends from the Yerevan Komitas Conservatory he created the Serenade Chamber Orchestra, later known as the Armenian Chamber Players. The group has performed at over 1000 concerts in Europe, winning prizes at various international competitions and releasing CDs on the Thorofon label.

Eduard Topchjan made his debut with the Armenian Philharmonic Orchestra in 2000, when an orchestra composed of the Serenade Chamber Orchestra musicians and a group of leading APO musicians had an appearance at Bad Fussing Festival,Germany. The same year he was appointed as the Artistic Director and Principal Conductor of the APO and started appearances with the APO in Yerevan and abroad, interpreting the main symphonic repertoire as well as new compositions.

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In 2001, he appeared with the Armenian Philharmonic Orchestra at the Grand Hall of the Moscow Conservatory, and in 2003, at the Bolshoi Theater.

In autumn 2006 the APO led by Eduard Topchjan participated in the 41st International Music Festival Moravian Autumn held in BrnoCzech Republic and continued the tour visiting also PragueBratislava and Nuremberg (Germany).

In February 2007 the APO with Maestro Topchjan toured France and appeared in NiceSt. EtienneLyonValanceMarseille,Issy les Moulineaux, which was the culmination of the Year of Armenia in France.

In 2008 the Armenian Philharmonic Orchestra led by Eduard Topchjan made a very successful tour over Japan with 15 concerts in the best concert halls in Tokyo, Osaka, Niigata, Nagoya, Hamamatsu and many others.

Topchjan is especially known for introducing music to both the orchestral and operatic repertoire. He has performed with this orchestra the operas AïdaThe Barber of SevilleIl TabarroMadama ButterflyTurandotSimone BoccanegraRigolettoI Pagliacci and others.

Eduard Topchjan has appeared with such artists as Steven IsserlisDavid GeringasRenato Bruson, Kim Kashkashian, Alexei Lubimov, Emmanuel PahudBernd Glemser, Tibor Varga, François-Joël ThiollierBernard RingeissenZoran TodorovichMischa MaiskyBoris BerezovskySergey KhachatryanIsabel Bayrakdarian, Sergei BabayanSahan Arzruni,Julia Fischer, Wolfgang Meyer, Sergey Larin, Hasmik Papian, Vladimir Chernov, Sergei Nakariakov, Catherine Manoukian,Placido DomingoPinchas Zukerman, Konstantin Lifschitz, Francois-Frederic Guy, Vag Papian, Mario Brunello, Kirill Gerstein, Kolya Blacher and many others.

As a guest conductor he appeared with many orchestras in Europe, among them the Frankfurt Opera, the Mecklenburgisches Staatstheater Schwerin, the Staatsphilharmonie Rheinland-Pfalz, the National Philharmonic Orchestra of RussiaRomanian TV and Radio Orchestra, the Pasadena Symphony and Kärntner Sinfonieorchester.

He was Artistic Director of several festivals. Since 2007 he has been the principal conductor at the Yerevan International Music Festival, which is an annual event and hosts numerous world-known musicians.

His vast repertoire includes all epochs from baroque to contemporary music, symphonic works as well as the chamber orchestra repertoire and operas. Several pieces by composers from Armenia and abroad have been written for him and world premiered by him and his orchestras. In 2007 the Ministry of Culture of Armenia awarded him with Meritorious Worker of Art title. In 2011 he was awarded a Gold Medal of the Ministry of Culture of Armenia.

In Autumn 2013 Maestro Topchjan was befitted with knighthood being awarded the Italian Order of Merit for Labour.

Sis Catholicosate Return Demand Is The First Step To Return All Church Estates

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At the international conference, devoted to the Armenian Genocide, held on June 19 at the Parliament of France under the title “Justice and compensation of the consequences to the Armenian nation”, His Holiness Aram I, the Catholicos of the Great House of Cilicia spoke about the demand to return the Catholicosate of Sis and stressed that the claim to be filed by the Catholicosate at the Turkish Constitutional Court is clear and unbreakable. Armenpress was informed by the press service of the Great House of Cilicia that Aram I said that the procedural approaches related to the trial should not be confused with the purpose of the trial. “There are two principled approaches to fulfill this objective – the return of the estate of the Catholicosate and the reconfirmation of the right to implement religious ceremony inside the Catholicosate. The demand to return the Sis Catholicosate is the first step to return all our national and church estates”, – stated the Catholicos Aram I.

Erdoğan’s “New Turkey”: End of Pragmatism?

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Ahmet Davutoğlu: Turkey’s Nine-story-tall Prime Minister; Image Credit: Oguz Alyanak

By OGUZ ALYANAK and UMIT KURT

On June 7, 2015, Turkish constituents will be visiting the ballot box to elect a new leader. The Justice and Development Party (AKP), which has won seven consecutive elections (three general, three local and one Presidential) in the past 13 years, is once again the main contender of this election cycle.

This time, however, there are different dynamics shaping the political scene. For one, opposition parties wage a wiser election campaign this time. Rather than focusing on ideological divides (Turkish/Kurdish; laicite/Islam), and blaming the AKP for polarizing the nation (which has been a valid critique that surprisingly did not gain them much leverage in previous elections), they prioritize social policies pertaining to welfare and democratization. The constructive language that they adopt in their election programs and the concrete steps they lay out online, through social media, and on the ground, through political rallies, instil in the constituents greater confidence, and more importantly, relief that the AKP is no longer the sole contender for Turkey’s progressive and innovative political party slot.

While there are solid indicators to be optimistic about the growing support for the opposition, the AKP is expected to maintain its position as leading party. Most recent surveys estimate the AKP will have no less than 40 percent of the votes casted. Depending on how well the opposition parties do (whether, for example, the Peoples’ Democratic Party/HDP could pass the 10 percent electoral threshold, which would cost the AKP 60 or so seats in the Parliament), 40 percent may or may not translate into the AKP gaining enough seats to form the government. The danger with that is President Erdoğan’s ego, which, we argue, not only harms the AKP in the long run, but also dispenses with the Islamo-pragmatic political culture it was able to construct in the past 13 years. With Erdoğan pushing the AKP to the limits in order to obtain enough votes to force a constitutional change (thereby transforming Turkey into a presidential system—making him both the President of Turkey and the leader of the AKP), the AKP may have more than just this election to lose.

AKP: 2002-2011

Looking back at the past 13 years of AKP rule, one could speak of a transformation of AKP’s policies and political identity, which becomes particularly evident after the AKP won general elections for the third time in 2011. To highlight this change, compare two phases in these 13 years: the AKP phase between 2002 and 2011 and the Erdoğan phase from 2011 onwards. The main difference is in Erdoğan’s role in the party. Whereas in the first two terms, Erdoğan’s political identity is part of a bigger and shared whole—that of the Islamic movement in Turkey—since 2011, we see Erdoğan breaking ties with this tradition and initiating his own movement, that of Erdoğanism (or what others call Sultanism), which requires subservience not to an ideal, or a dava (that of Islamic movement), but to a leader (Erdoğan himself). Hence his emphasis on transforming Turkey’s parliamentarian system into a presidential one where the President no longer assumes a symbolic role, but extensive administrative duties.

In 2002, when the AKP won the general elections, Turkish constituents cast a protest vote. They purged a dysfunctional system (a coalition government) and actors who were victims of their own ego battles. When the AKP today instils fear in constituents over loss of stability in an AKP-less future, the year 2001 plays a principle role. In February 19, 2001, the tension between the then President of Turkey, Ahmet Necdet Sezer and the then Prime Minister, Bülent Ecevit, reached its peak at a National Security Council meeting. Sezer and Ecevit fought over Sezer’s initiative to audit the banking system in Turkey (via the State Supervisory Council presided by Sezer), thereby limiting Ecevit’s control over economic (banking) affairs. When Ecevit asked Sezer to stop meddling in his affairs, Sezer threw the physical copy of the Constitution at Ecevit, and told him that what he was doing was well within his constitutional power. The crisis in the National Security Council spread to the economy, which, already standing on shaky grounds, collapsed—leaving Turkey with the worst economic crisis in its history.

Calls for early elections that year led to the 2002 general elections, and to the introduction of AKP, then a new political actor, onto the Turkish political scene. At a time when the constituents’ trust in the existing political actors was lost, the AKP had given people a path forward: EU integration, economic growth, foreign investment, jobs, stability, greater educational opportunities for all, better services, in short, a country that lives up to its potential rather than wasting away its energy in ideological battles. People had qualms about a party that was born out of Turkey’s Islamic movement. Many of the names in AKP had previously served in the Welfare Party during the 1990s, which was closed down in 1997 for violating the constitutional principle of laicite, and its successor, the Virtue Party, closed down in 2001 for the same reason. Nevertheless, in 2002, pragmatism won out, and the AKP was given enough seats to form the government.

The success of the first term instilled greater trust in the AKP. Nonetheless, AKP’s Islamic past was brought up various times. Its ambition to elect a president (Abdullah Gül) whose wife wears the headscarf led to mass demonstrations in major cities around Turkey, and brought about an e-memorandum/online statement by the Turkish Armed Forces hinting at the possibility of a coup d’etat. Despite the challenges, the AKP grew bigger and once again won enough seats to form the government.

The second term initiated with the AKP electing Abdullah Gül as the 11th President of Turkey through a widely contested election process in the Parliament, and then enacting constitutional changes through a referendum (2007) that took away the power to elect the President from the Parliament and give it to the people. This show of power, however, had its backlash. One of the battles that the AKP had to fight was the Ergenekon trial where leaders of a covert organization were tried and convicted for preparing a coup d’etat against the AKP. This trial, which left many ex-army Generals convicted, was a show of force by the AKP over the military, which, up until that point, was seen as the vanguard of laicite. The second battle that the AKP waged was against the judiciary where the AKP faced closure in the Constitutional Court for pursuing policies that ran counter to the principle of laicite. Similar to the 1997 trial of the Welfare Party in the Constitutional Court, not only the AKP, but an entire heritage of the Islamic movement in Turkey was put on trial. Seen as the inheritors of a tradition, the AKP was to face the consequences of the burden that was passed onto them. As a political party, the AKP was able to withstand the challenges. Having learned its lesson, the first step that the party leaders took was to force another constitutional package, which would allow the AKP greater supervision over both the military and the judiciary. The reform package of 2010, also supported by the EU as a step towards further democratization, was not able to gain qualified majority in the Parliament. Yet, similar to the referendum of 2007, the AKP was able to bring it to the people’s vote, which was voted in favor by 57 percent of the constituents.

Erdoğan: 2011-2015

The AKP entered the third general elections in 2011 with the promises of a new constitution. In front of the constituents was a choice between the AKP, a party that not only stood strong in face of allegations dispatched by members of the military and judiciary, but also the global economic crisis of 2008-9. During this period, Erdoğan’s charisma started to extend beyond the party’s identity. His return to Turkey from his one-man show in Davos in 2009 and greeting by thousands, some holding the banners “Sultan Erdoğan”, was an affirmation of his constituents’ acceptance of his bloated ego. Erdoğan’s cult did not go to political rallies to only hear about how they would benefit from another term under the AKP rule. Instead they wanted to go and see Erdoğan in the flesh. As early as 2008, a commentator following the then Prime Minister Erdoğan in a speech given to a Turkish audience in Cologne wrote: “the staging is reminiscent of a superstar’s pop concert. There are flashing multi-colored lights and dramatic music, and images of the prime minister are projected onto an enormous screen set up on the stage.”

The landslide victory in 2011 was a reaffirmation of confidence not only in the AKP but also Erdoğan. Aware of his popularity, Erdoğan took matters more into his own hands during the third term. He started to enjoy his fame under the spotlight, which came at the expense of dispensing with his friends at home and abroad. Hence began his “drift towards isolation.” Over the years, Erdoğan’s visibility in the party has reached such a level that it is now next to impossible to separate the party’s identity from Erdoğan’s image. Especially following the Gezi Park Protests, his proponents pursued an aggressive media campaign, transforming him into the omniscient figure he is today. He was on billboards, in documentaries, and even in songs. In his recent article onPolitico, Steven Cook makes apt observations about the process through which Erdoğan established his one man show: first, the removal of Abdullah Gül in 2007 by granting him Presidency, then Gül’s supporters in the following years, followed by unease at Davutoğlu’s appointment as the next Prime Minister, unease at Erdoğan’s support for MPs facing corruption charges in 2013, which led to his reshuffling of the Cabinet and appointment of his kin (his own daughter, and her brother-in-law) to advisorial positions.

To Cook’s examples, one could add Erdoğan’s ongoing battle with another significant actor representative of the Islamic movement in Turkey, Fethullah Gülen. The crisis between the two egos was made public following another one of Erdoğan’s shows, this time within the context of the Mavi Marmara flotilla incident for which Gülen criticized Erdoğan. The rift between the two widened first in Erdoğan’s handling of Gezi, and then in the corruption tape scandal, for which Erdoğan blamed Gülen. Erdoğan’s loss of the Gülen movement network led to massive (and ongoing) purges from key institutions (media, judiciary and the police). The most recent episode in this clash was the prosecutors’ attempts to examine trucks “allegedly” carrying weaponry across the Syrian border, and Erdoğan’s outburst at it, which Emma Sinclair-Webb recently wrote about for openDemocracy. Today, anyone who disagrees with Erdoğan’s policies, let alone competes with him for power, is being discarded. This leaves the AKP with new and younger faces for whom the decades-old Islamic davameans little. Such is the “New Turkey” that Erdoğan left for the Turkish Prime Minister Davutoğlu.

Whether Erdoğan’s megalomania was a work in progress as the Council of Foreign Relations senior fellow Steven Cook argues, or if he was simply “corrupted by his long time in power” as opines former New York Timescorrespondent Stephen Kinzer, one point hard to ignore, and particularly relevant for the upcoming general elections in Turkey is that the Sultanism/Erdoğanism displayed during the AKP’s third term, even after Erdoğan was elected President in 2014, squanders not only the credibility that the AKP gained by pursuing pragmatic policies but also respect won for the Islamic movement in the eyes of the public over the years.

His insistence on transforming Turkish politics into a presidential system puts further tension on the AKP. It expects of its leader, Davutoğlu, to replicate what Erdoğan was able to achieve in the Presidential elections of 2014—by winning over 51 percent of all votes cast. Even then, the AKP might not be able to win enough seats to gain the two-thirds qualified majority necessary to single-handedly introduce constitutional change. This would not only cast Davutoğlu in a bad light, but force AKP constituents to revisit whether an Erdoğan-less party is worth investing in for future elections. If, however, the AKP gains high enough votes to make Erdoğan’s dream come true, Davutoğlu’s achievement could secure the undermining of his own position as Prime Minister of Turkey and leader of the AKP.

Today, all the progress achieved by the AKP over the years—building rapport with the Kurds, making Islam and headscarves an accepted and lived reality, establishing strong regulatory mechanisms to stabilize the Turkish economy, negotiations with the EU, foreign policy in the Middle East—depend on Erdoğan’s Presidential dream. This points to a clear divergence from the pragmatic policies that the AKP pursued during the first two terms—policies which constituents voted for.

It takes Turkey back to the pre-2001 context in which ideological clashes and the battle of clashing egos brought the country’s political and economic system to the brink of collapse. For Erdoğan, who gradually dispensed with close friends with whom he shared the same seats during his former Islamist years, there is now no way out but to force the AKP to achieve his dream. But this may come at the expense of the political heritage of a modernized and pragmatic Islamic movement in Turkey that the AKP so skilfully engineered in its first two terms.

About the Author

Umit Kurt is a Ph.D. candidate in the department of history at Clark University and a lecturer at Sabanci University. His research focuses on Aintab Armenians and the confiscation and appropriation of Armenian properties during 1915-1921.