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ARMENIAN REPORTER
PO Box 129
Paramus, New Jersey 07652
Tel: 1-201-226-1995
Fax: 1-201-226-1660
Web: http://www.reporter.am
Email: [email protected]
April 14, 2007 -- From the Arts & Culture section
All of the articles that appear below are special to the Armenian Reporter.
For photographs, visit www.reporter.am
Briefly
1. A new Genocide documentary, Voices, will premiere in Istanbul (but
don't tell anyone just yet)
2. A sparkling Carnegie Hall debut for a promising young cellist
3. Akh'tamar Dance Ensemble's New Jersey performance will feature L.A.'s
Element Band
4. Complete on-line guide to Genocide commemorations and cultural events
5. Music: Agha, Jan!
* Cascade Folk Trio star resurfaces with new album
6. Film and stage: The boy-next-door, wholesome, talented Armenian (by
Tamar Salibian)
7. Music: Remembering the Genocide and celebrating survival (by Tamar
Salibian)
8. Ballet: The Saber Dance is for weddings (by Betty Panossian-Ter Sargssian)
9. Networking: Casitas Studios
* "The Armenian Warholesque factory" in Atwater Village
10. Fiction: That was it, just a seven to six-thirty job (by Sako Shahinian)
11. Stories of Armenian cinema unveiled: Hairik (by Betty Panossian-Ter
Sargssian)
12. Essay: Baby Love (by Armen D. Bacon)
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Briefly
1. A new Genocide documentary, Voices, will premiere in Istanbul (but
don't tell anyone just yet)
Artist and filmmaker Apo Torosyan recently completed a new 40-minute
documentary Voices, in which he interviews three survivors of the Armenian
Genocide (the oldest being 107), and one survivor of the Pontic Greek
genocide.
In April, Voices will be premiered at IHD, the Human Rights Organization
in Istanbul, Turkey. Istanbul is Torosyan's native city, but the artist,
who now resides in the United States, considers it dangerous to return
there since he has made several documentaries about the Armenian
Genocide.
According to Torosyan, the specific date and venue for the IHD premier
of Voices will not be announced until shortly before the event, in the
hope that this will circumvent disruptions by Istanbul's nationalist
elements.
Torosyan broached the subject during a January radio interview on New
York's "Radio Greece," alongside Ragip Zarakolu, the Turkish publisher
of (among other works) the Turkish edition of Peter Balakian's The
Burning Tigris. Zarakolu, who has faced severe harassment, legal and
otherwise, for publishing such books, discussed the possibility of
growing danger to those who speak about the Genocide within Turkey, in
the immediate aftermath of the Hrant Dink assassination.
For American audiences interested in viewing Torosyan's film, a short
version of Voices will be screened at Peabody City Hall, in Peabody,
Mass., on April 23, at 11:00 a.m. At 9:00 p.m. that same day, the local
Comcast Cable channel 22 will screen the full 40-minute version of
Voices. A DVD version may also be obtained through Hairenik Bookstore,
ALMA, Sardarabad Bookstore, and other sources.
connect:
Peabody City Hall 1-978-538-5700
[email protected]; [email protected];
books@sardaraba d.org
* * *
2. A sparkling Carnegie Hall debut for a promising young cellist
NEW YORK - Cellist Ani Kalayjian's Weill Recital debut at Carnegie Hall
was a memorable event. Performing with Sam Armstrong on piano, Kalayjian
included five aptly selected pieces that captured her talent and
versatility both as an accomplished musician and interpretive recitalist.
Kalayjian communicated, with deceptive ease, a delicate weaving of music
and passion in a melodious interaction between artist and instrument.
Ani's performance included the premiere of Edvard Mirzoyan's "Poem," a
graceful piece emblematic of the composer's style, which has been
described as "neoclassical yet laced with elements of Armenian
folksong." This cellist's interpretation perceptively engaged its
dramatic intensity.
In James Macmillan's "Kiss on Wood," Kalayjian captured the passion of
the composition in an expression delicate and rich with meditative
keenness. The piece allowed the artist to display her obvious "gesture
of love to the wooden instrument" - an objective its composer intended.
Benjamin Britten's "Sonata in C for Cello and Piano," and "Drei kleine
stücke" by Anton Webern demonstrated this cellist's internal mastery of
the music as well as her technical expertise. Rhythmically ambiguous,
mournful, morose, intelligently assembled, and brief in Webern's case,
the pieces allowed Ani to indulge these articulations with brevity,
concentration, and passionate restraint.
The finale of Ms. Kalayjian's recital was Frederik Chopin's "Sonata for
Piano and Cello in G minor," in which she immortalized the "daring . . .
notoriously ravishing musical language" of this underappreciated
composer. Ani was able to mirror and express Chopin's intermittent
flights into melancholia with the same intensity as she captured the
stirring, argumentative, grounding harmonies in this sonata.
Her performance was an excellent dialogue with shifts in mood, tone, and
technique, characteristic of her previous performances. The sold-out
debut, another testament to her talent, was presented by the Armenian
Radio Hour of New Jersey and Dr. and Mrs. Tavit and Sossie Najarian; in
attendance was the world-renowned violinist Ani Kavafian.
Kalayjian has previously appeared in concert both as a soloist and
chamber musician in the United States, Canada, and Europe. Her most
recent appearances include solo performances in Holland, the Czech
Republic, and at Oxford University in England, as well as a performance
with the Bayside Trio in Portland, Maine.
Ani recently won the Anglo-Czechoslovak Trust competition, where she was
granted the Bohuslav Martinu Foundation Prize. Among her upcoming
engagements are solo recitals in Montreal, Cape Cod, and a tour with
Trio Nareg, Ani Kavafian, and Armen Guzelimian, including a performance
at the Orange County Performing Arts Center in California in May 2007.
--Jean Githinji
* * *
3. Akh'tamar Dance Ensemble's New Jersey performance will feature L.A.'s
Element Band
The Akh'tamar Dance Ensemble's newest presentation for the New York-New
Jersey community will feature the Element Band from Los Angeles and a
special tribute to Hrant Dink. The show will take place on Sunday, April
29, at 4 p.m., at Felician College's Breslin Auditorium, in Lodi, N.J.
The Element Band will perform its unique blend of rock, traditional
Armenian renditions, and the bold-yet-warm sounds of the Mediterranean.
Under the direction of Ara Dabandjian, the band has applied new styles
and innovations to traditional musical. The band members include Saro
Koujakian and Soseh Keshishyan on vocals; Shant Mahserejian on violin;
Jeremy Millado on bass; with Dabandjian providing arrangements and
playing piano, accordion, guitar, and string instruments.
Over the past 10 years, the Akh'tamar ensemble has brought together a
group of more than 60 young Armenian girls, who dedicate hours of
rehearsal time under the tutelage of their director-choreographer Sylva
Asadourian. The ensemble is divided into two age groups, with younger
girls ranging in age from age 6 through 13, and older girls from age 14
to 25.
Combining the talent of the Akh'tamar Dance Ensemble, the Element Band,
and a special tribute to Hrant Dink, the April 29 performance promises
to be moving and enjoyable. Tickets run from $25 to $35.
connect:
Maral Kalishian (845) 729-1888
Maral Kaprelian (201) 252-2331
Elizabeth Ohanian (201) 666-5578
* * *
4. Complete on-line guide to Genocide commemorations and cultural events
For the past few years, Armenians looking for Genocide commemorations and
cultural events to attend have been using one web site --
www.GenocideEvents.com -- for a thorough listing of events worldwide.
Webmaster Armen Vartanian created the web page in 2003 to give Armenians
in Los Angeles a complete list of the dozens of commemoration events
taking place in Southern California. Vartanian is a recent graduate from
the Mt. Sierra College of multimedia arts and design. He says following
the site's inaugural year, Armenians began submitting their events from
all corners of the world. In 2006, Vartanian says, more than 40 thousand
people used the site at least one or multiple times.
This year, GenocideEvents.com is offering user-friendly drop-down menus
for each geographic region. The menus then lead to secondary listings by
country and city. Among the listings this year are more than 200 events
ranging from protests to rallies, from concerts to film screenings and
from prayer vigils to church services. The events listed are taking
place throughout the month of April and in various locations including
Australia, Europe, the Middle East to North and South America.
If your event is not listed this year, join the site's mailing list and
plan on adding your 2008 commemoration for the world to see.
connect:
www.GenocideEvents.com
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5. Music: Agha, Jan!
Cascade Folk Trio star resurfaces with new album
In the ol' days, "agha" was a title used to show respect. An agha was the
top man on the totem pole, the alpha dog, the leader, the chief, the boss.
Today, an agha is the it man, the man of the hour, the rabiz, cool one,
the playboy. And playing off his ancestral entitlement as an agha, singer,
songwriter, producer, filmmaker, and actor Arman Aghajanyan has titled his
newly released solo album, Agha Jan.
Arman began his career in the arts as an actor, then slowly ventured
into directing and music. The 33-year-old studied acting with Khoren
Abramyan at the Sundukyan Academic Theater before joining Sundukyan
Theater's professional troupe. Arman also studied music with Elvina
Makarian at the Pop and Jazz College in Yerevan and film direction at
the Khachatur Abovyan Pedogigical University.
Like most of the hottest performers in his generation, Arman was a
member of Artur Grigoryan's Armenian State Theater of Song. After three
years there, he moved to New York in 1997. Some of Arman's recent
collaborators in the arts also studied and are still strongly influenced
by Grigoryan's powerhouse, one-man performer-artist development machine.
In the Big Apple, Arman continued to focus on the arts. During his time
in New York, Arman connected with Ohanna Mtghyan and Armen Papikyan and
formed the group Cascade Folk Trio.
The three expats took their name from the Cascade, a huge stairwell
built into the side of a hill in Yerevan. The Cascade, site of the
Gerard L. Cafesjian Center for the Arts, is a park, a tourism must-see,
an amphitheater, home to Fernando Botero's monumental sculpture the Cat,
a 30-story climb for the health conscious, and a favorite hangout for
Yerevantsis, who climb the multiple-story structure to gaze at their
beloved Ararat and the lights of their favorite city below.
Longing for the Cascade and their old neighborhood, the expat trio
recorded and released two successful albums. The group's "Old Street" CD
is one of the most soulful, nostalgic, sweetest folk albums in recent
history. Using the traditional kanun, zurna, duduk, and dhol, mixing in
their sensational vocal prowess, folk songs, and powerful original
compositions, Arman, Ohanna, and Armen have created a modern classic.
"Old Street" is one of those CDs you can't get enough of, and the trio's
work was featured on the 2003 Hayastan All-Armenia Fund Telethon, Public
Radio International, and several mainstream music publications. The
album is still a bestseller and something that Armen, Arman and Ohanna
can be proud of for decades to come.
But years pass, people move, there are marriages, new career paths and a
new place to call home.
Arman, now married, moved to Los Angeles with his wife. Armen is a hit
with mainstream R&B and jazz musicians, styles hair, sings and records
background vocals before ending up in a California jail cell for not
having proper residency paperwork. His fate still undecided.
Arman continued on, directing music videos for dozens of his Armenian
counterparts, producing local cable television shows, offering
postproduction services, and making a living by sharing his creativity
and skills with a long list of clients. He also launched his solo music
career, releasing his first album.
The Armenian Reporter's Paul Chaderjian spoke to Arman about his latest
album, Agha-Jan, which is a compilation of duets with Armenian music's
most acclaimed female vocalists.
PC: On the cover of your new album, you are illustrated with some of the
most beautiful and talented Armenian divas. Tell us about the new album.
AA: Agha-Jan began with the recording of the song, "Universe," on which
I collaborated with Armine Nahapetyan, and took off from there. The
project developed into a very personal endeavor. I had the great fortune
of collaborating with many dear friends. I had worked with some of them
earlier on in my musical career; I was working with some for the first
time. The experience was not only fun, but also very fulfilling
professionally.
My aim for this album was to present a very eclectic mix of songs
highlighting the unique styles each artist, with whom I recorded,
brought to the table. I was very diligent in trying to preserve their
stylistic integrity in order to create diversity in the album. Therefore
my choices to pair each artist with their respective song was a very
crucial element to the success of this album. For example, my duet with
Sirusho is an English-language R&B/pop song, a style for which she is
well known. "Agha-Jan" recorded with Nune has undertones of Armenian
folk rhythms. Elvina Makaryan's duet "Gooloolman," although a
traditional folk song, showed off this legend's jazz genius. Varduhi
Vardanyan's "Lost Lover" and "Breeze" with Shushan Petrosyan are in the
Armenian pop-contemporary genre. But the real success of each song is
found in the actual renditions. Each artist beautifully made her song
her own. I took my cues from them. Each recording was an invaluable
learning experience for me. This album is a testament to the high level
of professionalism and talent among these songstresses.
Regarding the creation of music and lyrics, I collaborated with many
people including the singers presented on the album. Shushan Petrosyan
wrote the lyrics for "Lost Lover" and "Breeze." Singer-songwriter Anna
Armenankyan was responsible for the words to "One Penny." Sirusho wrote
the words to my duet with Erna Yuzbashyan, "You are for Me."
Up-and-coming Russian star Yeliana, who is also showcased on the album,
wrote the lyrics to her duet, "Without Me." I would also like to note
that Arshalous Darbinyan and Anahid Shahbazian collaborated on writing
the lyrics for "Agha-Jan." In addition, Arsen Grigoryan and Karen
Margaryan wrote the music for "Agha-Jan." Karen Margaryan, who is
resonsbile for the musical arrangements of the entire album, also wrote
the music for "One Penny."
PC: I know you directed the music videos from this album. I especially
like video from the title song with Nune. Tell us about each of the
women you worked with.
AA: I have always been an admirer of Nune Yesayan's music and work
ethic, which has stood as a shining example. But I consider her a great
friend on whom I can always count. Shushan Petrosyan's accomplishment go
without saying. I had a great time working my good friend. She is fun,
professional, and honest.
Varduhi Vardanyan was my partner in crime. We must have been from the
same mother and father. I cannot add anything else because my love for
her is indescribable. She was a jewel of Armenia along with having one
of he most beautiful voices from our homeland. I was very lucky to have
her by my side.
Alla Levonyan and I began our musical careers at around the same time.
She has grown and blossomed in this industry. I am very proud of her.
Her every success brings me happiness. Elvina Makarian is a legend in
Armenian music, under which I had the great fortune and honor of
studying. I cannot imagine Armenian music without Elvina Makarian. She
has shaped Armenian popular music, and has influenced many generations.
Erna Yuzbashian is one of the most loved and established singers our
industry has seen. Although we have not known each other very long, we
immediately became close friends. We decided to collaborate on the song
"You are For Me" which was written by Anush and Inga Arshakyan.
As an artist, Armine Nahapetyan has successfully carved out her niche in
Armenian music. Her stylish popular music sets her apart from everyone
presented in this album. She is beautiful, sexy, and charismatic. I look
forward to working with her again. Sirusho is Armenia's rising star in
my opinion. I have known her since she was eleven. Sirusho is our
sweetheart, whom we all cherish. Her potential and talent is boundless.
I am confident that she has an incredible future.
I recently got to know Yeliana and respect her for her talent as a
songwriter and singer. It was a pleasure to work with her and look
forward to a continued friendship and working relationship.
PC: You had a very special relationship with the late Varduhi Vardanyan.
Who was she in your life? What do you hope to accomplish through her
foundation?
AA: I am very lucky to have many close friends and loved ones around me.
Each hold their own place in my life. But Varduhi was different. I put
her on the highest pedestal, to which she was more than worthy. Calling
her a sister is not even enough to describe our connection. She was an
exceptional human being in every way - her heart, humanity, talent,
humor, generosity, sincerity, everything. Varduhi was a big part of my
life and family, as my love and admiration for her was also shared by my
wife. Her physical absence has left a huge emptiness in my life. Her
memory, which I carry with me every day, will never be enough. This is a
pain with which I must live the rest of my days.
It is because I respected, loved, and admired her so much as an artist
and human being that I am committed to perserving her legacy through the
Varduhi Vardanyan Memorial Fund. The fund's mission is twofold: To
preserve and maintain Varduhi's legacy in music through the production
and distribution of her existing albums and never-before-heard
recordings; and to raise funds for the future of her only child - a task
she had begun while she was alive.
PC: Tell us about the Cascade Folk Trio. Your debut a few years ago
created a lot of buzz. What do you think of the album now, and do you
still hear from fans of the album?
AA: This project was another collaboration among friends. While living
in New York, Armen Papikyan, Ohanna Mtghyan, and I decided to form
Cascade. We created great songs that presented a modern twist on
traditional Armenian music, with influences from other forms of music
such as latin, jazz, soul, and so on. Cascade released two very
successful albums. It was a great experience for all of us. Cascade fans
are still around and enjoy our music.
PC: What is ahead for you in your music and directing careers? Do you
have any upcoming concerts and another solo album scheduled for release?
AA: I have an upcoming concert in Yerevan on June 10, at the Opera
Ballet Theater at 7 p.m. I continue with my directing career and will
always create music.
PC: Thank You.
******************************************** *******************************
6. Film and stage: The boy-next-door, wholesome, talented Armenian
by Tamar Salibian
Over the course of more than 15 years, Michael Goorjian, director and
costar in the film Illusion, has carved a niche for himself as a working
actor and budding filmmaker. His diverse acting roles range from playing
the artist Amedeo Modigliani on stage to the memorably angst-ridden Heroin
Bob in the film SLC Punk, to Neve Campbell's boyfriend on the television
program "Party of Five."
Sitting in a bustling cafe on Melrose Avenue in Los Angeles, Goorjian
fondly remembers his first acting job. "I went to an iffy junior high
and there was a senior citizen theater company that needed a kid for a
play about dealing with your grandparents," he says. "I auditioned kind
of to get out of school." At first glance, Goorjian resembles a college
student on break from his classes with a rather matter-of-fact,
unassuming demeanor. He carefully picks at the sesame seeds on his empty
plate and sheepishly recounts those early days when the play traveled to
his own school for a performance. "There were a lot of gangs and it was
pretty nerve-wracking to perform in school assembly," he says, "but it
turned out fine. The head of the junior gang came up to me afterward and
was like, 'That was great, man! I want to be an actor.' I guess after
that, there weren't too many things that made me that nervous."
Born in San Francisco to a second-generation Armenian-American father
and an American mother of Scottish-English descent, Michael Goorjian
grew up in Oakland, California. His father is a physicist for NASA and
his mother is a retired nurse. Goorjian's interest in acting began at a
young age. Soon after his first community theater role, he accepted
various television parts in programs such as "Growing Pains" and "Life
Goes On." While working in television, he also pursued film roles,
landing a part in Newsies in 1991. "It kind of flopped but it turned
into this huge cult hit," he animatedly says. "When I was going to
festivals with Illusion, someone always came up to me who was a fan of
Newsies to ask for an autograph."
While acting in Newsies, Goorjian got an early taste of the excitement
of making his own films. Eager to use his free time on the set
constructively, he made a short horror film called Blood Drips Heavily
on Newsies Square. What began as a simple project became a huge
collaborative event, he says. "We shot in order, so literally we'd shoot
a shot and press pause. Everybody started going, 'Well I want to be in
it!' Christian Bale's in it and Bill Pullman - most of the [Newsies]
cast is in it." Soon after Newsies, Goorjian accepted a role in the
television film "David's Mother" which earned him an Emmy award in 1994.
Despite his many successes, Goorjian remains rooted, modest, and
realistic about his career. "In a lot of ways, I'm very happy that I've
not been successful at certain things right away because I have to work
harder and I have to struggle harder." In addition to the opportunities
for hard work, his varying levels of success provide him with the
freedom from celebrity that he knows many famous actors in Hollywood
crave. "I'll be somewhere and people go, 'We went to school together
didn't we? I know you from somewhere.' I don't have the restrictions
right now that I think some people do."
After briefly attending UCLA, Goorjian dropped out to pursue acting full
time. He realized his hands-on approach to life early on. "I learn
things from doing them and not being told how to do them," he says. "At
UCLA, I was like, 'I don't want to read about Prague, I want to go to
Prague! The minute I left school, all of a sudden, I became interested
in learning." Goorjian remained close with his UCLA classmates,
eventually joining them to form the Buffalo Nights theater company. The
group has produced a handful of plays over the years. Keeping his hand
in more than one form of creativity has benefits that Goorjian
understands well and cultivates in each project. "The intimacy of
television and film brings certain aspects to what acting is and the
process on stage is a lot of times much more intense. They compliment
each other as directing and acting compliment each other," he explains.
"It's by working as a director that I've learned so much about what
acting is and a lot of what I bring to directing comes from my knowledge
of acting."
Flexing both his acting and directing muscles at the same time, Goorjian
began to work on his most recent project, Illusion, in 2001. The film is
loosely based on a 17th-century French play by Pierre Corneille and
stars Kirk Douglas as an aging film director who wants to find out about
the son he never acknowledged as his own. "The piece is very much in the
realm of magical realism," Goorjian says, "with the love story in the
son's life resembling Romeo and Juliet." Goorjian adapted the screenplay
with co-writers Tressa Di Figlia Brendon, Ron Marasco, and Chris
Horvath. To raise funds for the feature, he starred in the film as Kirk
Douglas's son and filmed the son's "play within a play" scenes before
casting the film's main role and even before securing completion funds.
"It was a scrappy, Armenian way of making a movie," Goorjian recalls. "I
went to everyone in my hometown to ask for help."
On the set of Illusion, Goorjian remained loyal to his collaborative
approach. He says that everyone was involved in the creative process.
The resulting film is one that is both emotionally charged and at the
same time asks questions. "It's not a perfect film," he says, "but it
has layers working on different emotional levels." These complexities
and layers appear in much of Goorjian's work. "Creativity should be
rooted in truth and in searching for the truth," he says.
In addition to his film, television, and theater projects, Goorjian is
involved with the Armenian Dramatic Arts Alliance. As a member of ADAA's
Board of Directors, he hopes to help the group establish a cohesive
network of creative Armenians. He is also a jury member for Armenia's
Golden Apricot Film Festival. Much like his approach to the creative
process, Goorjian's approach to culture is rooted in interaction and
life experience. "If I'm in Europe and I meet an Armenian there, I'm
going to be excited and he's going to be excited and there's a
connection. We're a part of something. It's an incredibly important
thing."
************************** *************************************************
7. Music: Remembering the Genocide and celebrating survival
by Tamar Salibian
While musician Vigen Sayadian is busy touring with his rock band Slow
Motion Reign and producing his solo recordings this month, he is also
organizing the annual Armenian Genocide Commemoration Concert (AGCC) in
Los Angeles. Sayadian is on the go, keeping music and art in the forefront
of his goals. With the commemorative concert, his mission is to help to
honor the Armenian artist, push for recognition of the Armenian Genocide,
and cultivate a network where Armenians can interact and communicate.
Sayadian and his identical twin brother became involved in music at a
young age. In 1978, he and his family moved to the Los Angeles area from
Iraq. Surrounded by a family of professional musicians, Sayadian played
the flute for years as a child before learning guitar and eventually
gravitating towards drums. In his early twenties, he moved to rock
music.
"It kind of fell in my lap," says Sayadian. "In 96 I was at this
Armenian rock music festival and there I met what eventually became IO."
Sayadian joined fellow Armenians Sebu Simonian, Sam Babayan, and Shant
Minas to form the rock band IO. Shant Minas soon left and was replaced
by Narek Pogosyan.
IO had a fierce following for the five years the band remained together
until creative differences pushed the members apart. In 2001, Sayadian
joined Narek Pogosyan, Rafik Oganyan, and Erwin Khachikian to create
Slow Motion Reign, a rock band with diverse musical influences.
"We weren't trying to cater to any image," he says. "Everyone was being
themselves and not worried about what kind of stamp to put on it, but it
was always rock music. It was great chemistry." Slow Motion Reign's
songs have a melodic backbone and solid instrumentation. The group has
achieved substantial success, touring with the likes of Ozomatli and
Alice in Chains' Jerry Cantrell.
As an adolescent, Sayadian joined local Armenian youth organizations,
but his early enthusiasm later turned to discontent. He made it one of
his goals as an adult to find different ways to perpetuate Armenian
culture.
"If you look at Armenian history and what our culture has to offer," he
explains, "our church has kept our culture alive, but if you look at our
churches in Armenia, they're works of art." As he studied many forms of
Armenian art in music, writing, and fine art, Sayadian began to think
about the creative legacy Armenians have, asking himself, "What's kept
our culture alive? What's the common thread?"
One answer to this question lies at the heart of the annual Armenian
Genocide Commemoration Concert in Los Angeles. Conceived by Sayadian in
2005 as a way to celebrate the Armenian artist, the event also honors
those who fell victim to the Ottoman genocide of Armenians. The annual
event highlights musical and creative talent by Armenians and
non-Armenians alike.
The first AGCC event took place at the Hard Rock Cafe at Universal City
Walk after a System Of A Down concert nearby. Vigen proudly remembers
how "the crowds just gravitated over to our show."
The following year, the event's venue changed to Hollywood's landmark
Derby nightclub where the event has been taking place for two years.
"It's important that we have such events where the commemoration is not
shrouded in this black curtain," Sayadian says. "We need to start
celebrating our survival and celebrate our art, which is one of the
major factors why we are who we are today."
Sayadian's only stipulation to the artists participating in the Armenian
Genocide Commemoration Concert is that they donate a portion of the
proceeds from the event to Armenian charities. Slow Motion Reign has
donated their proceeds in the past to such charities as the Needy Child
Foundation, which helps orphans and young people in need around the
world.
This year's event features performances by Slow Motion Reign, Visa,
Echocell, The Dirty Diamond, and many other musical acts. In addition to
the musical performances, the evening will feature poetry readings,
acoustic performances, and a silent auction of artwork, with an entire
room at the Derby devoted to art exhibitions.
The third annual Armenian Genocide Commemoration Concert will take place
on April 20 from 8 p.m. to 2 a.m. at the Derby.
Tickets are $15 and available on the night of the event at the Derby.
For more information, call (818) 663-0119 or visit
www.myspace.com/agccrecognize
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8. Ballet: The Saber Dance is for weddings
by Betty Panossian-Ter Sargssian
The first thing that comes to mind when someone mentions Aram
Khachaturian's ballet, "Gayane," is the famous Saber Dance. Did you know
that this rhythmic and dynamic celebration of muscularity, enthusiasm, and
union is also a celebration of the victory of love, marital union, and
happiness?
"Gayane" was staged on April 9 in Yerevan, at the Spendiarian National
Academic Theater of Opera and Ballet. It was conducted by Karen
Durgarian.
A ballet in four acts, Gayane was originally composed in 1942 and
choreographed by Nina Aleksandrovna Anisimova. The score was revised
twice, in 1952 and 1957.
The plot too has evolved over time. Once a tale of Soviet patriotism,
punishment of a traitor, victory of the collective, and the unity of
nations, it has become a romantic love story in three acts.
The first act reveals a love triangle, involving a young Armenian
village girl, the beautiful and vibrant Gayane (performed by M.
Divanian), who dances in the village center. She has a lover, Armen (R.
Harutiunian), but the poisonous envy of Giko (Z. Harutiunian), another
young man from the village, threatens the blossoming love of the two
young people. Giko desires Gayane and is driven to despair by her
refusal. He loses his peace of mind and the images of Gayane and Armen
inhabit his lively imagination.
The second act is set in the mountains. It is a chilly early morning,
and in the fresh mountain air Gayane and Armen are living their love to
its fullest. They dance their love in wonderful romantic duets, where
elements of classical ballet mix harmoniously with those of modern and
character dance.
But the shadow of Giko's envy is present in the air and, aided by his
friends, he abducts Gayane. Armen, a knight in shiny armor, comes to the
rescue of his beloved. Blamed by the whole village, Giko is thrown out
of his home.
The final act is brighter and more vivid. Based mainly on the tunes of
Armenian folk music, it includes many of the most popular parts of the
ballet, including the Saber Dance. With two of the couple's dear
friends, Karen (S. Avetissian) and Nune (M. Hovhannissian), the whole
village rejoices in the union of the loving couple and toward the end,
the festivities commence.
The five soloists gave very impressive performances. They were the
masters of their art and the stage, and in every way embodied the
characters they portrayed. Gayane is not a pure ballet in the classical
sense of the word; rather it's a combination of classical dance and
character dancing. Lots of Armenian and Caucasian folk dance elements
are present, and the five main characters succeeded in smooth
transitions from classical to folk to character dancing. At the same
time, they made their performances more expressive through miming
techniques.
Alas, the same could not be said of the whole dance group. Even in the
Saber Dance, the group did not give the impression of dominating the
stage.
The set was eye grabbing. Using the work of the renowned Armenian
painter Minas Avetissian, it pictured an Armenian village in the
mountains, where life pulsates to the shades of red, blue, and orange
typical of Armenia's nature.
The second performance of Gayane will be on April 27.
********************************************* ******************************
9. Networking: Casitas Studios
* "The Armenian Warholesque factory" in Atwater Village
In the 60s and 70s, one of the most sensational, cutting edge, hip and
creative places in New York City was Andy Warhol's Factory. The original
Factory was located in Greenwich Village, and it brought together Warhol's
Superstars, so-called art-workers, filmmakers, musicians, writers - and
every day something new would be created within the walls of the Factory.
Warhol's "art-workers" created his paintings and sculptures, starred in
his films, and created the legendary atmosphere chronicled in many films,
books, and documentaries. The Factory became a meeting place of artists
and musicians such as Lou Reed, Bob Dylan, Truman Capote, and Mick Jagger.
Others who paraded through included Salvador Dalí and Allen Ginsberg.
Flash forward forty years, and the new hip and happening spot in the Los
Angeles art scene is Atwater Village, a bohemian community of 13
thousand residents and home to the Casitas Studios (next to the former
Southern Pacific Railroad's Coast Line). Land developer Avo Tavitian's
visionary Casitas Studios on West Casitas Avenue between Fletcher and
Glendale Avenues has become an artists' colony. It is known for its
diversely talented tenants - painters, sculptors, designers, filmmakers,
architects, photo studios, theater playhouse, dance studio, gymnasium,
and exhibition spaces. Together, these tenants (with seasonal tenants
who shoot films in unused portions of the warehouse), along with the
clients of the tenants, their sponsors, and fans have created what some
have called the Armenian Warholesque Factory.
1. Hip comedians and performers Anais Thomassian and Voki Kalfayan (a
former Cirque du Soleil clown) from the Gazillionaire Show at the Open
House. Another talented performer at the event, Lory Tatoulian, called the
open house at the Casitas Studios "the Armenian Warholesque factory
party.Hee hee!" Photo: Sarine Gureghian.
2. Reporter contributor Maral Habeshian and he fiancé, musician Ara
Dabanjian of the band Element. Musicians and music were an important part
of the evening. In addition to a deejay, several musicians participated in
a jam session, bringing an eclectic mix of various backgrounds together.
Photo: Helena Grigorian.
3. Alen Tarassians and Lara Sarkissian of Alera Enterprises, a
postproduction (video editing) business located at Casitas Studios. Other
tenants of the community south of Glendale include attorneys, architects,
owner Dr. Avo Tavitian's medical billing offices, Vahag Dudukgian's Feng
Junk Accessories, Sevag Vrej's Pomegranate Pictures, the studios of
illustrator-designers Sako Shahinian and Roger Kupelian's Fugitive
Studios. Photo: Helena Grigorian.
4. Varoujan Koundakjian with Talin Gureghian and Maral Jerejian, who was
community liaison and production assistant on several films including
Sideways. Gureghian's ALSO Design is a branding consultancy, which also
calls the converted factory in Atwater Village home. Photo: Sarine
Gureghian.
5. From right to left, artist Vahe Berberian, former Armenian
International Magazine Managing Editor Hrair Sarkissian, graphic artist
and All-Armenia Fund graphic designer Helena Grigorian, Vahe's assistant
Christina and Vahe's wife Betty. Photo: Sarine Gureghian.
6. Connoisseurs of art, young, old, Armenian, non-Armenian, natives,
immigrants, white, Hispanic and African-American, blonde and brunette, all
came together to check out the art on display at the Casitas Studios. The
buzz about the event circulated on the net months in advance of the open
house and Vahe Berberian's Milagros exhibit. Many came to buy one of
Berberian's 100 pieces. Others came to mingle, enjoy the music, see and be
seen. The out-of-the-way location of the renovated factory was not an
obstacle to Armenians and non-Armenians gathering to celebrate art and
life. Photo: Sarine Gureghian.
7. Former physician and creator of the Casitas Studios Avo Tavityan, who
successfully brought together a young group of mainstream and
up-and-coming artists, professionals and established law and architectural
firms in one unique community, left, with attorney and photographer Sara
Anjargolian, Cafesjian Museum Foundation branding consultant Talin
Gureghian, and graphic designer Nathan Neshan Wong. Photo: Sarine
Gureghian.
8. Casitas Studios open house & Vahe Berberian's Milagros attract record
crowds. From twilight on Saturday, March 31, to 2 a.m., an estimated crowd
of three to four thousand Southern Californians attended the open house
and art show. Painter Vahe Berberian, a number of sculptors, photographers
and filmmakers welcomed the public to the new heart of arts and culture
south of Glendale. Photo: Helena Grigorian.
9. "Hayastan" All Armenia Fund Telethon Executive Producer Ara Madzounian
with graphic designer and photographer Helena Grigorian. Photo: Sarine
Gureghian.
10. A 16,000-square-foot empty warehouse turned into Vahe Berberian's
showroom on March 31. Opening their doors to the public were other artists
who work at the Casitas warehouse. Future plans for the neighborhood
include a multimillion-dollar redevelopment project aimed at bringing more
studio and live-work lofts to the area. Photo: Helena Grigorian.
11. Filmmaker Sevag Vrej (center) and his father Varoujan Koundakjian (to
his right) welcome visitors to the Pomegranate Pictures offices. Sevag
Vrej directed the award-winning full-length feature N4 along with two
documentaries about System Of A Down. Vrej traveled with the band on their
European tour to chronicle and interview the band members during one of
their biggest tours to date. Photo: Helena Grigorian.
12. A mask from the upcoming Vartan Mamigonian miniseries to be directed
by talented Hollywood filmmaker Roger Kupelian. "We were not only amazed
at the sheer turnout," says Kupelian about the Open House at the Castias
Studios. "For many it seemed like a delightful accident, in terms of
discovering Fugitive Studios and what we did. Others came down
specifically to talk to us and find out more about specific projects. It
really helped to have the variety of companies and artists participating
as it opened up new audiences across the board." Photo: Helena Grigorian.
************************************** *************************************
10. Fiction: That was it, just a seven to six-thirty job
by Sako Shahinian
In the summer of 97, I had so much strength in me that I did not know what
to do. I went to gyms, hit the tracks, did push-ups, chin-ups, boxing,
lifting, pulling, and pushing. Bruce Lee was 5'8" and so was I. He was 138
pounds and so was I. Then, one day my father told me, "You know, son, when
I was your age I had three jobs and I still could have kicked your ass."
That translated into "get a job." So I did.
My first job was in Glendale, on San Fernando, right by the train
tracks. It was as industrial as Glendale could get. Amco Distributing
was the name. It was a distributing warehouse for Middle Eastern kitchen
appliances. I would unload 18-wheelers all day, and once a week I would
go on a delivery tour with quiet Harry, the chief of the back-lot
workers. Harry was a 56-year-old Armenian. He had a full head of white
hair. His hands were covered with faded tattoos. And he was blessed with
a De Niro mole on his cheek. That was it, just a seven to six-thirty
job.
Every morning at seven o'clock, the truck used to be waiting. Harry would
open the container, and me and five other underpaid Mexicans would get to
work unloading pallets and hundreds of damaged, loose boxes full of tacky
glass cups and plates. We would stack the boxes 50 feet high in the
warehouse, "the Oven," where there were no shelves, no ladders. At twelve
noon, the Oven would reach around 120 degrees and the truck would be half
full. We would get an occasional break when the hot 38-year-old,
mini-skirted, extra-make-up-wearing Lebanese secretary would cross the
street to the other office. The Mexicans would start to sing in Spanish
and I would always give her cheap chatter with the three words of Arabic I
knew.
Two months into my job, on the hottest day of the summer, Harry and I
went to make a delivery in downtown L.A. We loaded the rusted van and
hit the road. That day, he opened up to me on the road back. Turns out
he used to be a millionaire in the seventies; he said he had it all. He
would open the faucet of the sink and gold would pour out. At first he
owned seven junkyards, but the cocaine really made him big. Then he lost
his wife and half his money, then got caught and did twenty. That day
Harry told me something that changed my summer. He looked at me while
shifting down to third gear and said "I'm closer to the end of my life
than the beginning, and you're so young and in the same boat as I am,
quit your job and don't look back." So I did.
Sako Shahinian was born in 1980 in Beirut, Lebanon. He graduated from
Art Center College of Design in 2004 with a bachelor of fine arts with
honors in illustration. He runs an independent design shop. Sako's works
have been published in the New Yorker, the Progressive, and
Communication Arts, where his work was selected as one of 2005's best
advertising illustrations. Log on to www.sakodesigns.com to experience
more of his work.
******************************************* ********************************
11. Stories of Armenian cinema unveiled: Hairik
by Betty Panossian-Ter Sargssian
In Armenian cinematic history, the drama Hairik (1972) belongs to the wave
of the films that were fashionable to make in the 1970s. Hairik celebrated
Armenian masculinity and the capital city of Yerevan.
Hairik was the second film made by legendary Armenian filmmaker Henrig
Malian. After his triumphant Menk enk, mer sarere, Malian was expected
to quench the public's thirst and expectations of yet another original
film that would wow Armenian audiences.
Screenwriter Aghasi Aivazian was forced to rewrite his original script
several times to incorporate the changes dictated by censors in Moscow.
When the film was completed, Hairik had become a film quite different
than the one Aivazian had envisioned. However, the collaboration between
Malian and Aivazian set the groundwork for the duo's future film,
Yerankouni - considered one of the most important films of Armenian
cinema.
Hairik is about a family with five sons and one daughter. Director
Malian insisted that the young actors cast as actor Frounzik or Mher
Mkrtchian's on-camera sons should have a strong resemblance with the
prominent nose of the popular actor. Unfortunately, only the actors
playing the older son and the son-in-law had the larger, stereotypical
Armenian noses.
The actor playing the role of the oldest son, Hrachia Kostanian, was a
medical student who was also studying acting the HyeFilm actor's studio.
Director Malian decided to coast Kostanian merely because of his nasal
endowment over anything else. Ironically, Kostanian is one of the most
cclaimed plastic surgeons in Armenia. Rumor has it that he has performed
the largest number of rhinoplasty in the Republic, but he has yet to
change his own nose.
One of the other actors cast as Frounzik's son was the late Ashot
Melikjanian, one of the most handsome actors in Armenian Cinema.
Melikjanian's attractive features landed him roles in many foreign
films, and he was one of only a few Armenian actors enjoying
international celebrity.
On this week's Armenia TV program, "The Making of a Film," program host
and writer Anna Terjanian reveals that Melikjanian survived the
September 11, 2001, terror attacks on the World Trade Center in New York
City. However, he was tragically killed in another airliner crash only
months after the terror attack in NYC.
Terjanian also provides some background on Armenian Cinema's fascination
with their capital city. Terjanian reports that in 1972 HyeFilm had
produced four full-lengh features that were all about Yerevan.
"It may be that the citizens of Yerevan had begun to appreciate their
city," says Terjanian. "Yerevan was growing fast with its new streets
and beautiful corners."
The fast-growing metropolis and its beautiful neighborhoods are
pridefully share with film audiences in Hairik. The characters in the
film walk her streets, accidentally meeting with such iconic figures as
painter Minas Avedisian and filmmaker Frounzeh Deuvletian.
Hairik also shows off Yerevan through the wide windows of city
residences. But ironically, these panoramic shots of the city were not
real-life views of the city from local homes.
"During the production, these panoramic shots captured through the lens
of Malian were taken from several kilometers outside the City," says
Terjanian. "
One of the reasons for these panoramic shots from afar were because two
of the main actors in the film were part of the Soundoukian Theater, and
the acting troupe had been invited to perform shows in Moscow. To
continue production of Hairik, Marlian was forced to shoot some of the
scenes at the RussFilm Studios, using sets with the panoramic photos of
Yerevan as backdrops.
In preparing her documentary about Hairik, Terjanian faced the
challenges of getting the entire story, even though key actors and the
film's director had long past away. Terjanian says there were no
archival records of the film and its production. "And since this film
can in a way be considered a documentation of Yerevan," says Terjanian,
"we were able to show archival photos of the city from the early 1970s
in our behind-the-scenes documentary of Hairik."
Terjanian and her team were fortunate to locate nearly all the actors
who were on the set of Hairik. Terjanian also interviewed some of the
production crew members to chronicle what it took to bring one of
HyeFilm's classics to the silver screen. "It was so interesting to see
the actors and how they had aged, changed and grown," says Terjanian.
"While many film critics have contradicting views of this film," says
Terjanian, "Hairik is a film that is still remembered as one of
Armenians' favorite films. No matter what critics have had to say,
audiences have always cherished this film."
No doubt in its restored version, Hairik will also become an overnight
favorite for younger audiences, who will get to see the classic the way
its filmmaker had intended it to be seen, restored, color corrected and
perhaps better than some of the prints that were screened around the
country after its initial release.
This episode of Terjanian's "The Making of a Film" premieres on Armenia
TV, on Monday, April 16, at 10:30 P.M. local time (check the satellite
guide for broadcast time in the U.S.) The behind-the-scenes documentary
about Hairik will be followed by the restored version of Hairik.
Enjoy the show.
******************************************* ********************************
12. Essay: Baby Love
by Armen D. Bacon
Ooh baby love
My baby love
I need your love
Ooh ooh I need your love
- Diana Ross & the Supremes
I first heard these lyrics ions ago when I was barely a teenager and 40+
years later here I am suddenly singing them again with a kick in my step
and a hip swaying movement that may have you wondering what's gotten into
me? No I am not auditioning for "American Idol." No, I have not lost my
mind. Well, maybe a little bit. I am crazy in love with two little people
and at moments it feels as though I might even burst. What is it about
babies? Well, let's just call it "baby love" and I will try my best to
elaborate.
You put them in your arms or sit them on your lap, and suddenly the
aches and pains of the universe are gone. Feeling blue? Look into their
eyes and suddenly everything's coming up roses. It's magical, mystical,
and oh, by the way, they call me "Mimi." We decided early on that
grandma was not the right title. Mimi was a better fit. It sounded fun,
French and well, more like "me." (Hence, Mimi).
Who would have ever thought that a simple verse of "The wheels on the
bus" or "Dzapig-Dzapig" could have me clapping and chanting nursery
rhymes that would bring these little ones to such a state of
contentment? Are they humoring me or can it be that we are all having
the time of our lives? I love that their universe is so tiny and simple.
They are teaching me an important and valuable lesson about downsizing
and simplifying my own life. One toy at a time. One day at a time. Make
eye contact. Smile. React. Kiss. Hug. And then lay your head down and go
night-night. Let's face it, if we all did just that, the world would be
a better place to call home.
So who are they? They are my grandchildren: Logan and Arden. I call him
my "Angel Boy" and she is my "Gigi Girl" (as in Maurice Chevalier's
"Thank Heaven for Little Girls"). Logan arrived three years ago and
became a beacon of light and hope for the future at a time when quite
honestly, I had almost given up on this planet. It was with him that I
learned to throw rocks in the lake, make outlandish wishes, and watch
the palm trees in the back yard dance. We also discovered the moon
together (he calls it "La Bella Luna" and he is especially pleased when
it is full and bright). We have also been known to invite a group of
passing ducks to join us for a feast of breadcrumbs. It's all so simple.
And simply, divine.
Her name is Arden D. She arrived last December. Barely one year old, she
is my daughter's daughter. She lends truth to the adage that every
mother needs a daughter. I have taken it one step further: every mother
needs a granddaughter. She is beautiful, active, curious, and spirited.
I see generations of fight and resilience in her fierce spirit. She has
an old soul and loves her freedom. And why not? Her ancestors fought for
it and she is insistent to take it to the next level. She has strong
legs and a smile that can melt butter. She needs space to move and
speaks her mind. Even though for now, it is a montage of sounds and
noises. As she discovers her own voice, I am confident that she will
speak it as she wishes. The night she was born it felt as though the
earth moved. We were one step closer to heaven. Just moments after her
birth, a huge rainbow appeared. She reduced us to tears. Each day still
feels like a miracle, and as her personality evolves, she makes us giddy
with delight. It's a feeling that simply cannot be put into words.
There is a sweet innocence that she and her cousin bring to my world.
They keep me grounded and optimistic - happy and hopeful. They
accomplish this all while the world around me spins out of control and
tries to make me a cynic. They prevail. Every time. When they are in the
room, I smile, laugh, and rejoice. There is peace in the world - at
least our private little world of legos and puzzles, blankies, and well
. . . baby love.
March 18, 2007
* * *
Armen D. Bacon was born and raised in Fresno, Calif., and is senior
director, communications/public relations for the Fresno County Office of
Education. She received her B.A. in psychology from Fresno State and holds
a master's degree in organizational management. Since 2004, her thoughts
and writings have been published in the Valley Voices section of The
Fresno Bee and in April 2007, she will launch a daily radio feature titled
"Live, Laugh, Love" for K-JEWEL radio.
****************************************** *********************************
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April 14, 2007 -- From the Arts & Culture section
All of the articles that appear below are special to the Armenian Reporter.
For photographs, visit www.reporter.am
Briefly
1. A new Genocide documentary, Voices, will premiere in Istanbul (but
don't tell anyone just yet)
2. A sparkling Carnegie Hall debut for a promising young cellist
3. Akh'tamar Dance Ensemble's New Jersey performance will feature L.A.'s
Element Band
4. Complete on-line guide to Genocide commemorations and cultural events
5. Music: Agha, Jan!
* Cascade Folk Trio star resurfaces with new album
6. Film and stage: The boy-next-door, wholesome, talented Armenian (by
Tamar Salibian)
7. Music: Remembering the Genocide and celebrating survival (by Tamar
Salibian)
8. Ballet: The Saber Dance is for weddings (by Betty Panossian-Ter Sargssian)
9. Networking: Casitas Studios
* "The Armenian Warholesque factory" in Atwater Village
10. Fiction: That was it, just a seven to six-thirty job (by Sako Shahinian)
11. Stories of Armenian cinema unveiled: Hairik (by Betty Panossian-Ter
Sargssian)
12. Essay: Baby Love (by Armen D. Bacon)
****************************************** *********************************
Briefly
1. A new Genocide documentary, Voices, will premiere in Istanbul (but
don't tell anyone just yet)
Artist and filmmaker Apo Torosyan recently completed a new 40-minute
documentary Voices, in which he interviews three survivors of the Armenian
Genocide (the oldest being 107), and one survivor of the Pontic Greek
genocide.
In April, Voices will be premiered at IHD, the Human Rights Organization
in Istanbul, Turkey. Istanbul is Torosyan's native city, but the artist,
who now resides in the United States, considers it dangerous to return
there since he has made several documentaries about the Armenian
Genocide.
According to Torosyan, the specific date and venue for the IHD premier
of Voices will not be announced until shortly before the event, in the
hope that this will circumvent disruptions by Istanbul's nationalist
elements.
Torosyan broached the subject during a January radio interview on New
York's "Radio Greece," alongside Ragip Zarakolu, the Turkish publisher
of (among other works) the Turkish edition of Peter Balakian's The
Burning Tigris. Zarakolu, who has faced severe harassment, legal and
otherwise, for publishing such books, discussed the possibility of
growing danger to those who speak about the Genocide within Turkey, in
the immediate aftermath of the Hrant Dink assassination.
For American audiences interested in viewing Torosyan's film, a short
version of Voices will be screened at Peabody City Hall, in Peabody,
Mass., on April 23, at 11:00 a.m. At 9:00 p.m. that same day, the local
Comcast Cable channel 22 will screen the full 40-minute version of
Voices. A DVD version may also be obtained through Hairenik Bookstore,
ALMA, Sardarabad Bookstore, and other sources.
connect:
Peabody City Hall 1-978-538-5700
[email protected]; [email protected];
books@sardaraba d.org
* * *
2. A sparkling Carnegie Hall debut for a promising young cellist
NEW YORK - Cellist Ani Kalayjian's Weill Recital debut at Carnegie Hall
was a memorable event. Performing with Sam Armstrong on piano, Kalayjian
included five aptly selected pieces that captured her talent and
versatility both as an accomplished musician and interpretive recitalist.
Kalayjian communicated, with deceptive ease, a delicate weaving of music
and passion in a melodious interaction between artist and instrument.
Ani's performance included the premiere of Edvard Mirzoyan's "Poem," a
graceful piece emblematic of the composer's style, which has been
described as "neoclassical yet laced with elements of Armenian
folksong." This cellist's interpretation perceptively engaged its
dramatic intensity.
In James Macmillan's "Kiss on Wood," Kalayjian captured the passion of
the composition in an expression delicate and rich with meditative
keenness. The piece allowed the artist to display her obvious "gesture
of love to the wooden instrument" - an objective its composer intended.
Benjamin Britten's "Sonata in C for Cello and Piano," and "Drei kleine
stücke" by Anton Webern demonstrated this cellist's internal mastery of
the music as well as her technical expertise. Rhythmically ambiguous,
mournful, morose, intelligently assembled, and brief in Webern's case,
the pieces allowed Ani to indulge these articulations with brevity,
concentration, and passionate restraint.
The finale of Ms. Kalayjian's recital was Frederik Chopin's "Sonata for
Piano and Cello in G minor," in which she immortalized the "daring . . .
notoriously ravishing musical language" of this underappreciated
composer. Ani was able to mirror and express Chopin's intermittent
flights into melancholia with the same intensity as she captured the
stirring, argumentative, grounding harmonies in this sonata.
Her performance was an excellent dialogue with shifts in mood, tone, and
technique, characteristic of her previous performances. The sold-out
debut, another testament to her talent, was presented by the Armenian
Radio Hour of New Jersey and Dr. and Mrs. Tavit and Sossie Najarian; in
attendance was the world-renowned violinist Ani Kavafian.
Kalayjian has previously appeared in concert both as a soloist and
chamber musician in the United States, Canada, and Europe. Her most
recent appearances include solo performances in Holland, the Czech
Republic, and at Oxford University in England, as well as a performance
with the Bayside Trio in Portland, Maine.
Ani recently won the Anglo-Czechoslovak Trust competition, where she was
granted the Bohuslav Martinu Foundation Prize. Among her upcoming
engagements are solo recitals in Montreal, Cape Cod, and a tour with
Trio Nareg, Ani Kavafian, and Armen Guzelimian, including a performance
at the Orange County Performing Arts Center in California in May 2007.
--Jean Githinji
* * *
3. Akh'tamar Dance Ensemble's New Jersey performance will feature L.A.'s
Element Band
The Akh'tamar Dance Ensemble's newest presentation for the New York-New
Jersey community will feature the Element Band from Los Angeles and a
special tribute to Hrant Dink. The show will take place on Sunday, April
29, at 4 p.m., at Felician College's Breslin Auditorium, in Lodi, N.J.
The Element Band will perform its unique blend of rock, traditional
Armenian renditions, and the bold-yet-warm sounds of the Mediterranean.
Under the direction of Ara Dabandjian, the band has applied new styles
and innovations to traditional musical. The band members include Saro
Koujakian and Soseh Keshishyan on vocals; Shant Mahserejian on violin;
Jeremy Millado on bass; with Dabandjian providing arrangements and
playing piano, accordion, guitar, and string instruments.
Over the past 10 years, the Akh'tamar ensemble has brought together a
group of more than 60 young Armenian girls, who dedicate hours of
rehearsal time under the tutelage of their director-choreographer Sylva
Asadourian. The ensemble is divided into two age groups, with younger
girls ranging in age from age 6 through 13, and older girls from age 14
to 25.
Combining the talent of the Akh'tamar Dance Ensemble, the Element Band,
and a special tribute to Hrant Dink, the April 29 performance promises
to be moving and enjoyable. Tickets run from $25 to $35.
connect:
Maral Kalishian (845) 729-1888
Maral Kaprelian (201) 252-2331
Elizabeth Ohanian (201) 666-5578
* * *
4. Complete on-line guide to Genocide commemorations and cultural events
For the past few years, Armenians looking for Genocide commemorations and
cultural events to attend have been using one web site --
www.GenocideEvents.com -- for a thorough listing of events worldwide.
Webmaster Armen Vartanian created the web page in 2003 to give Armenians
in Los Angeles a complete list of the dozens of commemoration events
taking place in Southern California. Vartanian is a recent graduate from
the Mt. Sierra College of multimedia arts and design. He says following
the site's inaugural year, Armenians began submitting their events from
all corners of the world. In 2006, Vartanian says, more than 40 thousand
people used the site at least one or multiple times.
This year, GenocideEvents.com is offering user-friendly drop-down menus
for each geographic region. The menus then lead to secondary listings by
country and city. Among the listings this year are more than 200 events
ranging from protests to rallies, from concerts to film screenings and
from prayer vigils to church services. The events listed are taking
place throughout the month of April and in various locations including
Australia, Europe, the Middle East to North and South America.
If your event is not listed this year, join the site's mailing list and
plan on adding your 2008 commemoration for the world to see.
connect:
www.GenocideEvents.com
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5. Music: Agha, Jan!
Cascade Folk Trio star resurfaces with new album
In the ol' days, "agha" was a title used to show respect. An agha was the
top man on the totem pole, the alpha dog, the leader, the chief, the boss.
Today, an agha is the it man, the man of the hour, the rabiz, cool one,
the playboy. And playing off his ancestral entitlement as an agha, singer,
songwriter, producer, filmmaker, and actor Arman Aghajanyan has titled his
newly released solo album, Agha Jan.
Arman began his career in the arts as an actor, then slowly ventured
into directing and music. The 33-year-old studied acting with Khoren
Abramyan at the Sundukyan Academic Theater before joining Sundukyan
Theater's professional troupe. Arman also studied music with Elvina
Makarian at the Pop and Jazz College in Yerevan and film direction at
the Khachatur Abovyan Pedogigical University.
Like most of the hottest performers in his generation, Arman was a
member of Artur Grigoryan's Armenian State Theater of Song. After three
years there, he moved to New York in 1997. Some of Arman's recent
collaborators in the arts also studied and are still strongly influenced
by Grigoryan's powerhouse, one-man performer-artist development machine.
In the Big Apple, Arman continued to focus on the arts. During his time
in New York, Arman connected with Ohanna Mtghyan and Armen Papikyan and
formed the group Cascade Folk Trio.
The three expats took their name from the Cascade, a huge stairwell
built into the side of a hill in Yerevan. The Cascade, site of the
Gerard L. Cafesjian Center for the Arts, is a park, a tourism must-see,
an amphitheater, home to Fernando Botero's monumental sculpture the Cat,
a 30-story climb for the health conscious, and a favorite hangout for
Yerevantsis, who climb the multiple-story structure to gaze at their
beloved Ararat and the lights of their favorite city below.
Longing for the Cascade and their old neighborhood, the expat trio
recorded and released two successful albums. The group's "Old Street" CD
is one of the most soulful, nostalgic, sweetest folk albums in recent
history. Using the traditional kanun, zurna, duduk, and dhol, mixing in
their sensational vocal prowess, folk songs, and powerful original
compositions, Arman, Ohanna, and Armen have created a modern classic.
"Old Street" is one of those CDs you can't get enough of, and the trio's
work was featured on the 2003 Hayastan All-Armenia Fund Telethon, Public
Radio International, and several mainstream music publications. The
album is still a bestseller and something that Armen, Arman and Ohanna
can be proud of for decades to come.
But years pass, people move, there are marriages, new career paths and a
new place to call home.
Arman, now married, moved to Los Angeles with his wife. Armen is a hit
with mainstream R&B and jazz musicians, styles hair, sings and records
background vocals before ending up in a California jail cell for not
having proper residency paperwork. His fate still undecided.
Arman continued on, directing music videos for dozens of his Armenian
counterparts, producing local cable television shows, offering
postproduction services, and making a living by sharing his creativity
and skills with a long list of clients. He also launched his solo music
career, releasing his first album.
The Armenian Reporter's Paul Chaderjian spoke to Arman about his latest
album, Agha-Jan, which is a compilation of duets with Armenian music's
most acclaimed female vocalists.
PC: On the cover of your new album, you are illustrated with some of the
most beautiful and talented Armenian divas. Tell us about the new album.
AA: Agha-Jan began with the recording of the song, "Universe," on which
I collaborated with Armine Nahapetyan, and took off from there. The
project developed into a very personal endeavor. I had the great fortune
of collaborating with many dear friends. I had worked with some of them
earlier on in my musical career; I was working with some for the first
time. The experience was not only fun, but also very fulfilling
professionally.
My aim for this album was to present a very eclectic mix of songs
highlighting the unique styles each artist, with whom I recorded,
brought to the table. I was very diligent in trying to preserve their
stylistic integrity in order to create diversity in the album. Therefore
my choices to pair each artist with their respective song was a very
crucial element to the success of this album. For example, my duet with
Sirusho is an English-language R&B/pop song, a style for which she is
well known. "Agha-Jan" recorded with Nune has undertones of Armenian
folk rhythms. Elvina Makaryan's duet "Gooloolman," although a
traditional folk song, showed off this legend's jazz genius. Varduhi
Vardanyan's "Lost Lover" and "Breeze" with Shushan Petrosyan are in the
Armenian pop-contemporary genre. But the real success of each song is
found in the actual renditions. Each artist beautifully made her song
her own. I took my cues from them. Each recording was an invaluable
learning experience for me. This album is a testament to the high level
of professionalism and talent among these songstresses.
Regarding the creation of music and lyrics, I collaborated with many
people including the singers presented on the album. Shushan Petrosyan
wrote the lyrics for "Lost Lover" and "Breeze." Singer-songwriter Anna
Armenankyan was responsible for the words to "One Penny." Sirusho wrote
the words to my duet with Erna Yuzbashyan, "You are for Me."
Up-and-coming Russian star Yeliana, who is also showcased on the album,
wrote the lyrics to her duet, "Without Me." I would also like to note
that Arshalous Darbinyan and Anahid Shahbazian collaborated on writing
the lyrics for "Agha-Jan." In addition, Arsen Grigoryan and Karen
Margaryan wrote the music for "Agha-Jan." Karen Margaryan, who is
resonsbile for the musical arrangements of the entire album, also wrote
the music for "One Penny."
PC: I know you directed the music videos from this album. I especially
like video from the title song with Nune. Tell us about each of the
women you worked with.
AA: I have always been an admirer of Nune Yesayan's music and work
ethic, which has stood as a shining example. But I consider her a great
friend on whom I can always count. Shushan Petrosyan's accomplishment go
without saying. I had a great time working my good friend. She is fun,
professional, and honest.
Varduhi Vardanyan was my partner in crime. We must have been from the
same mother and father. I cannot add anything else because my love for
her is indescribable. She was a jewel of Armenia along with having one
of he most beautiful voices from our homeland. I was very lucky to have
her by my side.
Alla Levonyan and I began our musical careers at around the same time.
She has grown and blossomed in this industry. I am very proud of her.
Her every success brings me happiness. Elvina Makarian is a legend in
Armenian music, under which I had the great fortune and honor of
studying. I cannot imagine Armenian music without Elvina Makarian. She
has shaped Armenian popular music, and has influenced many generations.
Erna Yuzbashian is one of the most loved and established singers our
industry has seen. Although we have not known each other very long, we
immediately became close friends. We decided to collaborate on the song
"You are For Me" which was written by Anush and Inga Arshakyan.
As an artist, Armine Nahapetyan has successfully carved out her niche in
Armenian music. Her stylish popular music sets her apart from everyone
presented in this album. She is beautiful, sexy, and charismatic. I look
forward to working with her again. Sirusho is Armenia's rising star in
my opinion. I have known her since she was eleven. Sirusho is our
sweetheart, whom we all cherish. Her potential and talent is boundless.
I am confident that she has an incredible future.
I recently got to know Yeliana and respect her for her talent as a
songwriter and singer. It was a pleasure to work with her and look
forward to a continued friendship and working relationship.
PC: You had a very special relationship with the late Varduhi Vardanyan.
Who was she in your life? What do you hope to accomplish through her
foundation?
AA: I am very lucky to have many close friends and loved ones around me.
Each hold their own place in my life. But Varduhi was different. I put
her on the highest pedestal, to which she was more than worthy. Calling
her a sister is not even enough to describe our connection. She was an
exceptional human being in every way - her heart, humanity, talent,
humor, generosity, sincerity, everything. Varduhi was a big part of my
life and family, as my love and admiration for her was also shared by my
wife. Her physical absence has left a huge emptiness in my life. Her
memory, which I carry with me every day, will never be enough. This is a
pain with which I must live the rest of my days.
It is because I respected, loved, and admired her so much as an artist
and human being that I am committed to perserving her legacy through the
Varduhi Vardanyan Memorial Fund. The fund's mission is twofold: To
preserve and maintain Varduhi's legacy in music through the production
and distribution of her existing albums and never-before-heard
recordings; and to raise funds for the future of her only child - a task
she had begun while she was alive.
PC: Tell us about the Cascade Folk Trio. Your debut a few years ago
created a lot of buzz. What do you think of the album now, and do you
still hear from fans of the album?
AA: This project was another collaboration among friends. While living
in New York, Armen Papikyan, Ohanna Mtghyan, and I decided to form
Cascade. We created great songs that presented a modern twist on
traditional Armenian music, with influences from other forms of music
such as latin, jazz, soul, and so on. Cascade released two very
successful albums. It was a great experience for all of us. Cascade fans
are still around and enjoy our music.
PC: What is ahead for you in your music and directing careers? Do you
have any upcoming concerts and another solo album scheduled for release?
AA: I have an upcoming concert in Yerevan on June 10, at the Opera
Ballet Theater at 7 p.m. I continue with my directing career and will
always create music.
PC: Thank You.
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6. Film and stage: The boy-next-door, wholesome, talented Armenian
by Tamar Salibian
Over the course of more than 15 years, Michael Goorjian, director and
costar in the film Illusion, has carved a niche for himself as a working
actor and budding filmmaker. His diverse acting roles range from playing
the artist Amedeo Modigliani on stage to the memorably angst-ridden Heroin
Bob in the film SLC Punk, to Neve Campbell's boyfriend on the television
program "Party of Five."
Sitting in a bustling cafe on Melrose Avenue in Los Angeles, Goorjian
fondly remembers his first acting job. "I went to an iffy junior high
and there was a senior citizen theater company that needed a kid for a
play about dealing with your grandparents," he says. "I auditioned kind
of to get out of school." At first glance, Goorjian resembles a college
student on break from his classes with a rather matter-of-fact,
unassuming demeanor. He carefully picks at the sesame seeds on his empty
plate and sheepishly recounts those early days when the play traveled to
his own school for a performance. "There were a lot of gangs and it was
pretty nerve-wracking to perform in school assembly," he says, "but it
turned out fine. The head of the junior gang came up to me afterward and
was like, 'That was great, man! I want to be an actor.' I guess after
that, there weren't too many things that made me that nervous."
Born in San Francisco to a second-generation Armenian-American father
and an American mother of Scottish-English descent, Michael Goorjian
grew up in Oakland, California. His father is a physicist for NASA and
his mother is a retired nurse. Goorjian's interest in acting began at a
young age. Soon after his first community theater role, he accepted
various television parts in programs such as "Growing Pains" and "Life
Goes On." While working in television, he also pursued film roles,
landing a part in Newsies in 1991. "It kind of flopped but it turned
into this huge cult hit," he animatedly says. "When I was going to
festivals with Illusion, someone always came up to me who was a fan of
Newsies to ask for an autograph."
While acting in Newsies, Goorjian got an early taste of the excitement
of making his own films. Eager to use his free time on the set
constructively, he made a short horror film called Blood Drips Heavily
on Newsies Square. What began as a simple project became a huge
collaborative event, he says. "We shot in order, so literally we'd shoot
a shot and press pause. Everybody started going, 'Well I want to be in
it!' Christian Bale's in it and Bill Pullman - most of the [Newsies]
cast is in it." Soon after Newsies, Goorjian accepted a role in the
television film "David's Mother" which earned him an Emmy award in 1994.
Despite his many successes, Goorjian remains rooted, modest, and
realistic about his career. "In a lot of ways, I'm very happy that I've
not been successful at certain things right away because I have to work
harder and I have to struggle harder." In addition to the opportunities
for hard work, his varying levels of success provide him with the
freedom from celebrity that he knows many famous actors in Hollywood
crave. "I'll be somewhere and people go, 'We went to school together
didn't we? I know you from somewhere.' I don't have the restrictions
right now that I think some people do."
After briefly attending UCLA, Goorjian dropped out to pursue acting full
time. He realized his hands-on approach to life early on. "I learn
things from doing them and not being told how to do them," he says. "At
UCLA, I was like, 'I don't want to read about Prague, I want to go to
Prague! The minute I left school, all of a sudden, I became interested
in learning." Goorjian remained close with his UCLA classmates,
eventually joining them to form the Buffalo Nights theater company. The
group has produced a handful of plays over the years. Keeping his hand
in more than one form of creativity has benefits that Goorjian
understands well and cultivates in each project. "The intimacy of
television and film brings certain aspects to what acting is and the
process on stage is a lot of times much more intense. They compliment
each other as directing and acting compliment each other," he explains.
"It's by working as a director that I've learned so much about what
acting is and a lot of what I bring to directing comes from my knowledge
of acting."
Flexing both his acting and directing muscles at the same time, Goorjian
began to work on his most recent project, Illusion, in 2001. The film is
loosely based on a 17th-century French play by Pierre Corneille and
stars Kirk Douglas as an aging film director who wants to find out about
the son he never acknowledged as his own. "The piece is very much in the
realm of magical realism," Goorjian says, "with the love story in the
son's life resembling Romeo and Juliet." Goorjian adapted the screenplay
with co-writers Tressa Di Figlia Brendon, Ron Marasco, and Chris
Horvath. To raise funds for the feature, he starred in the film as Kirk
Douglas's son and filmed the son's "play within a play" scenes before
casting the film's main role and even before securing completion funds.
"It was a scrappy, Armenian way of making a movie," Goorjian recalls. "I
went to everyone in my hometown to ask for help."
On the set of Illusion, Goorjian remained loyal to his collaborative
approach. He says that everyone was involved in the creative process.
The resulting film is one that is both emotionally charged and at the
same time asks questions. "It's not a perfect film," he says, "but it
has layers working on different emotional levels." These complexities
and layers appear in much of Goorjian's work. "Creativity should be
rooted in truth and in searching for the truth," he says.
In addition to his film, television, and theater projects, Goorjian is
involved with the Armenian Dramatic Arts Alliance. As a member of ADAA's
Board of Directors, he hopes to help the group establish a cohesive
network of creative Armenians. He is also a jury member for Armenia's
Golden Apricot Film Festival. Much like his approach to the creative
process, Goorjian's approach to culture is rooted in interaction and
life experience. "If I'm in Europe and I meet an Armenian there, I'm
going to be excited and he's going to be excited and there's a
connection. We're a part of something. It's an incredibly important
thing."
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7. Music: Remembering the Genocide and celebrating survival
by Tamar Salibian
While musician Vigen Sayadian is busy touring with his rock band Slow
Motion Reign and producing his solo recordings this month, he is also
organizing the annual Armenian Genocide Commemoration Concert (AGCC) in
Los Angeles. Sayadian is on the go, keeping music and art in the forefront
of his goals. With the commemorative concert, his mission is to help to
honor the Armenian artist, push for recognition of the Armenian Genocide,
and cultivate a network where Armenians can interact and communicate.
Sayadian and his identical twin brother became involved in music at a
young age. In 1978, he and his family moved to the Los Angeles area from
Iraq. Surrounded by a family of professional musicians, Sayadian played
the flute for years as a child before learning guitar and eventually
gravitating towards drums. In his early twenties, he moved to rock
music.
"It kind of fell in my lap," says Sayadian. "In 96 I was at this
Armenian rock music festival and there I met what eventually became IO."
Sayadian joined fellow Armenians Sebu Simonian, Sam Babayan, and Shant
Minas to form the rock band IO. Shant Minas soon left and was replaced
by Narek Pogosyan.
IO had a fierce following for the five years the band remained together
until creative differences pushed the members apart. In 2001, Sayadian
joined Narek Pogosyan, Rafik Oganyan, and Erwin Khachikian to create
Slow Motion Reign, a rock band with diverse musical influences.
"We weren't trying to cater to any image," he says. "Everyone was being
themselves and not worried about what kind of stamp to put on it, but it
was always rock music. It was great chemistry." Slow Motion Reign's
songs have a melodic backbone and solid instrumentation. The group has
achieved substantial success, touring with the likes of Ozomatli and
Alice in Chains' Jerry Cantrell.
As an adolescent, Sayadian joined local Armenian youth organizations,
but his early enthusiasm later turned to discontent. He made it one of
his goals as an adult to find different ways to perpetuate Armenian
culture.
"If you look at Armenian history and what our culture has to offer," he
explains, "our church has kept our culture alive, but if you look at our
churches in Armenia, they're works of art." As he studied many forms of
Armenian art in music, writing, and fine art, Sayadian began to think
about the creative legacy Armenians have, asking himself, "What's kept
our culture alive? What's the common thread?"
One answer to this question lies at the heart of the annual Armenian
Genocide Commemoration Concert in Los Angeles. Conceived by Sayadian in
2005 as a way to celebrate the Armenian artist, the event also honors
those who fell victim to the Ottoman genocide of Armenians. The annual
event highlights musical and creative talent by Armenians and
non-Armenians alike.
The first AGCC event took place at the Hard Rock Cafe at Universal City
Walk after a System Of A Down concert nearby. Vigen proudly remembers
how "the crowds just gravitated over to our show."
The following year, the event's venue changed to Hollywood's landmark
Derby nightclub where the event has been taking place for two years.
"It's important that we have such events where the commemoration is not
shrouded in this black curtain," Sayadian says. "We need to start
celebrating our survival and celebrate our art, which is one of the
major factors why we are who we are today."
Sayadian's only stipulation to the artists participating in the Armenian
Genocide Commemoration Concert is that they donate a portion of the
proceeds from the event to Armenian charities. Slow Motion Reign has
donated their proceeds in the past to such charities as the Needy Child
Foundation, which helps orphans and young people in need around the
world.
This year's event features performances by Slow Motion Reign, Visa,
Echocell, The Dirty Diamond, and many other musical acts. In addition to
the musical performances, the evening will feature poetry readings,
acoustic performances, and a silent auction of artwork, with an entire
room at the Derby devoted to art exhibitions.
The third annual Armenian Genocide Commemoration Concert will take place
on April 20 from 8 p.m. to 2 a.m. at the Derby.
Tickets are $15 and available on the night of the event at the Derby.
For more information, call (818) 663-0119 or visit
www.myspace.com/agccrecognize
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8. Ballet: The Saber Dance is for weddings
by Betty Panossian-Ter Sargssian
The first thing that comes to mind when someone mentions Aram
Khachaturian's ballet, "Gayane," is the famous Saber Dance. Did you know
that this rhythmic and dynamic celebration of muscularity, enthusiasm, and
union is also a celebration of the victory of love, marital union, and
happiness?
"Gayane" was staged on April 9 in Yerevan, at the Spendiarian National
Academic Theater of Opera and Ballet. It was conducted by Karen
Durgarian.
A ballet in four acts, Gayane was originally composed in 1942 and
choreographed by Nina Aleksandrovna Anisimova. The score was revised
twice, in 1952 and 1957.
The plot too has evolved over time. Once a tale of Soviet patriotism,
punishment of a traitor, victory of the collective, and the unity of
nations, it has become a romantic love story in three acts.
The first act reveals a love triangle, involving a young Armenian
village girl, the beautiful and vibrant Gayane (performed by M.
Divanian), who dances in the village center. She has a lover, Armen (R.
Harutiunian), but the poisonous envy of Giko (Z. Harutiunian), another
young man from the village, threatens the blossoming love of the two
young people. Giko desires Gayane and is driven to despair by her
refusal. He loses his peace of mind and the images of Gayane and Armen
inhabit his lively imagination.
The second act is set in the mountains. It is a chilly early morning,
and in the fresh mountain air Gayane and Armen are living their love to
its fullest. They dance their love in wonderful romantic duets, where
elements of classical ballet mix harmoniously with those of modern and
character dance.
But the shadow of Giko's envy is present in the air and, aided by his
friends, he abducts Gayane. Armen, a knight in shiny armor, comes to the
rescue of his beloved. Blamed by the whole village, Giko is thrown out
of his home.
The final act is brighter and more vivid. Based mainly on the tunes of
Armenian folk music, it includes many of the most popular parts of the
ballet, including the Saber Dance. With two of the couple's dear
friends, Karen (S. Avetissian) and Nune (M. Hovhannissian), the whole
village rejoices in the union of the loving couple and toward the end,
the festivities commence.
The five soloists gave very impressive performances. They were the
masters of their art and the stage, and in every way embodied the
characters they portrayed. Gayane is not a pure ballet in the classical
sense of the word; rather it's a combination of classical dance and
character dancing. Lots of Armenian and Caucasian folk dance elements
are present, and the five main characters succeeded in smooth
transitions from classical to folk to character dancing. At the same
time, they made their performances more expressive through miming
techniques.
Alas, the same could not be said of the whole dance group. Even in the
Saber Dance, the group did not give the impression of dominating the
stage.
The set was eye grabbing. Using the work of the renowned Armenian
painter Minas Avetissian, it pictured an Armenian village in the
mountains, where life pulsates to the shades of red, blue, and orange
typical of Armenia's nature.
The second performance of Gayane will be on April 27.
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9. Networking: Casitas Studios
* "The Armenian Warholesque factory" in Atwater Village
In the 60s and 70s, one of the most sensational, cutting edge, hip and
creative places in New York City was Andy Warhol's Factory. The original
Factory was located in Greenwich Village, and it brought together Warhol's
Superstars, so-called art-workers, filmmakers, musicians, writers - and
every day something new would be created within the walls of the Factory.
Warhol's "art-workers" created his paintings and sculptures, starred in
his films, and created the legendary atmosphere chronicled in many films,
books, and documentaries. The Factory became a meeting place of artists
and musicians such as Lou Reed, Bob Dylan, Truman Capote, and Mick Jagger.
Others who paraded through included Salvador Dalí and Allen Ginsberg.
Flash forward forty years, and the new hip and happening spot in the Los
Angeles art scene is Atwater Village, a bohemian community of 13
thousand residents and home to the Casitas Studios (next to the former
Southern Pacific Railroad's Coast Line). Land developer Avo Tavitian's
visionary Casitas Studios on West Casitas Avenue between Fletcher and
Glendale Avenues has become an artists' colony. It is known for its
diversely talented tenants - painters, sculptors, designers, filmmakers,
architects, photo studios, theater playhouse, dance studio, gymnasium,
and exhibition spaces. Together, these tenants (with seasonal tenants
who shoot films in unused portions of the warehouse), along with the
clients of the tenants, their sponsors, and fans have created what some
have called the Armenian Warholesque Factory.
1. Hip comedians and performers Anais Thomassian and Voki Kalfayan (a
former Cirque du Soleil clown) from the Gazillionaire Show at the Open
House. Another talented performer at the event, Lory Tatoulian, called the
open house at the Casitas Studios "the Armenian Warholesque factory
party.Hee hee!" Photo: Sarine Gureghian.
2. Reporter contributor Maral Habeshian and he fiancé, musician Ara
Dabanjian of the band Element. Musicians and music were an important part
of the evening. In addition to a deejay, several musicians participated in
a jam session, bringing an eclectic mix of various backgrounds together.
Photo: Helena Grigorian.
3. Alen Tarassians and Lara Sarkissian of Alera Enterprises, a
postproduction (video editing) business located at Casitas Studios. Other
tenants of the community south of Glendale include attorneys, architects,
owner Dr. Avo Tavitian's medical billing offices, Vahag Dudukgian's Feng
Junk Accessories, Sevag Vrej's Pomegranate Pictures, the studios of
illustrator-designers Sako Shahinian and Roger Kupelian's Fugitive
Studios. Photo: Helena Grigorian.
4. Varoujan Koundakjian with Talin Gureghian and Maral Jerejian, who was
community liaison and production assistant on several films including
Sideways. Gureghian's ALSO Design is a branding consultancy, which also
calls the converted factory in Atwater Village home. Photo: Sarine
Gureghian.
5. From right to left, artist Vahe Berberian, former Armenian
International Magazine Managing Editor Hrair Sarkissian, graphic artist
and All-Armenia Fund graphic designer Helena Grigorian, Vahe's assistant
Christina and Vahe's wife Betty. Photo: Sarine Gureghian.
6. Connoisseurs of art, young, old, Armenian, non-Armenian, natives,
immigrants, white, Hispanic and African-American, blonde and brunette, all
came together to check out the art on display at the Casitas Studios. The
buzz about the event circulated on the net months in advance of the open
house and Vahe Berberian's Milagros exhibit. Many came to buy one of
Berberian's 100 pieces. Others came to mingle, enjoy the music, see and be
seen. The out-of-the-way location of the renovated factory was not an
obstacle to Armenians and non-Armenians gathering to celebrate art and
life. Photo: Sarine Gureghian.
7. Former physician and creator of the Casitas Studios Avo Tavityan, who
successfully brought together a young group of mainstream and
up-and-coming artists, professionals and established law and architectural
firms in one unique community, left, with attorney and photographer Sara
Anjargolian, Cafesjian Museum Foundation branding consultant Talin
Gureghian, and graphic designer Nathan Neshan Wong. Photo: Sarine
Gureghian.
8. Casitas Studios open house & Vahe Berberian's Milagros attract record
crowds. From twilight on Saturday, March 31, to 2 a.m., an estimated crowd
of three to four thousand Southern Californians attended the open house
and art show. Painter Vahe Berberian, a number of sculptors, photographers
and filmmakers welcomed the public to the new heart of arts and culture
south of Glendale. Photo: Helena Grigorian.
9. "Hayastan" All Armenia Fund Telethon Executive Producer Ara Madzounian
with graphic designer and photographer Helena Grigorian. Photo: Sarine
Gureghian.
10. A 16,000-square-foot empty warehouse turned into Vahe Berberian's
showroom on March 31. Opening their doors to the public were other artists
who work at the Casitas warehouse. Future plans for the neighborhood
include a multimillion-dollar redevelopment project aimed at bringing more
studio and live-work lofts to the area. Photo: Helena Grigorian.
11. Filmmaker Sevag Vrej (center) and his father Varoujan Koundakjian (to
his right) welcome visitors to the Pomegranate Pictures offices. Sevag
Vrej directed the award-winning full-length feature N4 along with two
documentaries about System Of A Down. Vrej traveled with the band on their
European tour to chronicle and interview the band members during one of
their biggest tours to date. Photo: Helena Grigorian.
12. A mask from the upcoming Vartan Mamigonian miniseries to be directed
by talented Hollywood filmmaker Roger Kupelian. "We were not only amazed
at the sheer turnout," says Kupelian about the Open House at the Castias
Studios. "For many it seemed like a delightful accident, in terms of
discovering Fugitive Studios and what we did. Others came down
specifically to talk to us and find out more about specific projects. It
really helped to have the variety of companies and artists participating
as it opened up new audiences across the board." Photo: Helena Grigorian.
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10. Fiction: That was it, just a seven to six-thirty job
by Sako Shahinian
In the summer of 97, I had so much strength in me that I did not know what
to do. I went to gyms, hit the tracks, did push-ups, chin-ups, boxing,
lifting, pulling, and pushing. Bruce Lee was 5'8" and so was I. He was 138
pounds and so was I. Then, one day my father told me, "You know, son, when
I was your age I had three jobs and I still could have kicked your ass."
That translated into "get a job." So I did.
My first job was in Glendale, on San Fernando, right by the train
tracks. It was as industrial as Glendale could get. Amco Distributing
was the name. It was a distributing warehouse for Middle Eastern kitchen
appliances. I would unload 18-wheelers all day, and once a week I would
go on a delivery tour with quiet Harry, the chief of the back-lot
workers. Harry was a 56-year-old Armenian. He had a full head of white
hair. His hands were covered with faded tattoos. And he was blessed with
a De Niro mole on his cheek. That was it, just a seven to six-thirty
job.
Every morning at seven o'clock, the truck used to be waiting. Harry would
open the container, and me and five other underpaid Mexicans would get to
work unloading pallets and hundreds of damaged, loose boxes full of tacky
glass cups and plates. We would stack the boxes 50 feet high in the
warehouse, "the Oven," where there were no shelves, no ladders. At twelve
noon, the Oven would reach around 120 degrees and the truck would be half
full. We would get an occasional break when the hot 38-year-old,
mini-skirted, extra-make-up-wearing Lebanese secretary would cross the
street to the other office. The Mexicans would start to sing in Spanish
and I would always give her cheap chatter with the three words of Arabic I
knew.
Two months into my job, on the hottest day of the summer, Harry and I
went to make a delivery in downtown L.A. We loaded the rusted van and
hit the road. That day, he opened up to me on the road back. Turns out
he used to be a millionaire in the seventies; he said he had it all. He
would open the faucet of the sink and gold would pour out. At first he
owned seven junkyards, but the cocaine really made him big. Then he lost
his wife and half his money, then got caught and did twenty. That day
Harry told me something that changed my summer. He looked at me while
shifting down to third gear and said "I'm closer to the end of my life
than the beginning, and you're so young and in the same boat as I am,
quit your job and don't look back." So I did.
Sako Shahinian was born in 1980 in Beirut, Lebanon. He graduated from
Art Center College of Design in 2004 with a bachelor of fine arts with
honors in illustration. He runs an independent design shop. Sako's works
have been published in the New Yorker, the Progressive, and
Communication Arts, where his work was selected as one of 2005's best
advertising illustrations. Log on to www.sakodesigns.com to experience
more of his work.
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11. Stories of Armenian cinema unveiled: Hairik
by Betty Panossian-Ter Sargssian
In Armenian cinematic history, the drama Hairik (1972) belongs to the wave
of the films that were fashionable to make in the 1970s. Hairik celebrated
Armenian masculinity and the capital city of Yerevan.
Hairik was the second film made by legendary Armenian filmmaker Henrig
Malian. After his triumphant Menk enk, mer sarere, Malian was expected
to quench the public's thirst and expectations of yet another original
film that would wow Armenian audiences.
Screenwriter Aghasi Aivazian was forced to rewrite his original script
several times to incorporate the changes dictated by censors in Moscow.
When the film was completed, Hairik had become a film quite different
than the one Aivazian had envisioned. However, the collaboration between
Malian and Aivazian set the groundwork for the duo's future film,
Yerankouni - considered one of the most important films of Armenian
cinema.
Hairik is about a family with five sons and one daughter. Director
Malian insisted that the young actors cast as actor Frounzik or Mher
Mkrtchian's on-camera sons should have a strong resemblance with the
prominent nose of the popular actor. Unfortunately, only the actors
playing the older son and the son-in-law had the larger, stereotypical
Armenian noses.
The actor playing the role of the oldest son, Hrachia Kostanian, was a
medical student who was also studying acting the HyeFilm actor's studio.
Director Malian decided to coast Kostanian merely because of his nasal
endowment over anything else. Ironically, Kostanian is one of the most
cclaimed plastic surgeons in Armenia. Rumor has it that he has performed
the largest number of rhinoplasty in the Republic, but he has yet to
change his own nose.
One of the other actors cast as Frounzik's son was the late Ashot
Melikjanian, one of the most handsome actors in Armenian Cinema.
Melikjanian's attractive features landed him roles in many foreign
films, and he was one of only a few Armenian actors enjoying
international celebrity.
On this week's Armenia TV program, "The Making of a Film," program host
and writer Anna Terjanian reveals that Melikjanian survived the
September 11, 2001, terror attacks on the World Trade Center in New York
City. However, he was tragically killed in another airliner crash only
months after the terror attack in NYC.
Terjanian also provides some background on Armenian Cinema's fascination
with their capital city. Terjanian reports that in 1972 HyeFilm had
produced four full-lengh features that were all about Yerevan.
"It may be that the citizens of Yerevan had begun to appreciate their
city," says Terjanian. "Yerevan was growing fast with its new streets
and beautiful corners."
The fast-growing metropolis and its beautiful neighborhoods are
pridefully share with film audiences in Hairik. The characters in the
film walk her streets, accidentally meeting with such iconic figures as
painter Minas Avedisian and filmmaker Frounzeh Deuvletian.
Hairik also shows off Yerevan through the wide windows of city
residences. But ironically, these panoramic shots of the city were not
real-life views of the city from local homes.
"During the production, these panoramic shots captured through the lens
of Malian were taken from several kilometers outside the City," says
Terjanian. "
One of the reasons for these panoramic shots from afar were because two
of the main actors in the film were part of the Soundoukian Theater, and
the acting troupe had been invited to perform shows in Moscow. To
continue production of Hairik, Marlian was forced to shoot some of the
scenes at the RussFilm Studios, using sets with the panoramic photos of
Yerevan as backdrops.
In preparing her documentary about Hairik, Terjanian faced the
challenges of getting the entire story, even though key actors and the
film's director had long past away. Terjanian says there were no
archival records of the film and its production. "And since this film
can in a way be considered a documentation of Yerevan," says Terjanian,
"we were able to show archival photos of the city from the early 1970s
in our behind-the-scenes documentary of Hairik."
Terjanian and her team were fortunate to locate nearly all the actors
who were on the set of Hairik. Terjanian also interviewed some of the
production crew members to chronicle what it took to bring one of
HyeFilm's classics to the silver screen. "It was so interesting to see
the actors and how they had aged, changed and grown," says Terjanian.
"While many film critics have contradicting views of this film," says
Terjanian, "Hairik is a film that is still remembered as one of
Armenians' favorite films. No matter what critics have had to say,
audiences have always cherished this film."
No doubt in its restored version, Hairik will also become an overnight
favorite for younger audiences, who will get to see the classic the way
its filmmaker had intended it to be seen, restored, color corrected and
perhaps better than some of the prints that were screened around the
country after its initial release.
This episode of Terjanian's "The Making of a Film" premieres on Armenia
TV, on Monday, April 16, at 10:30 P.M. local time (check the satellite
guide for broadcast time in the U.S.) The behind-the-scenes documentary
about Hairik will be followed by the restored version of Hairik.
Enjoy the show.
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12. Essay: Baby Love
by Armen D. Bacon
Ooh baby love
My baby love
I need your love
Ooh ooh I need your love
- Diana Ross & the Supremes
I first heard these lyrics ions ago when I was barely a teenager and 40+
years later here I am suddenly singing them again with a kick in my step
and a hip swaying movement that may have you wondering what's gotten into
me? No I am not auditioning for "American Idol." No, I have not lost my
mind. Well, maybe a little bit. I am crazy in love with two little people
and at moments it feels as though I might even burst. What is it about
babies? Well, let's just call it "baby love" and I will try my best to
elaborate.
You put them in your arms or sit them on your lap, and suddenly the
aches and pains of the universe are gone. Feeling blue? Look into their
eyes and suddenly everything's coming up roses. It's magical, mystical,
and oh, by the way, they call me "Mimi." We decided early on that
grandma was not the right title. Mimi was a better fit. It sounded fun,
French and well, more like "me." (Hence, Mimi).
Who would have ever thought that a simple verse of "The wheels on the
bus" or "Dzapig-Dzapig" could have me clapping and chanting nursery
rhymes that would bring these little ones to such a state of
contentment? Are they humoring me or can it be that we are all having
the time of our lives? I love that their universe is so tiny and simple.
They are teaching me an important and valuable lesson about downsizing
and simplifying my own life. One toy at a time. One day at a time. Make
eye contact. Smile. React. Kiss. Hug. And then lay your head down and go
night-night. Let's face it, if we all did just that, the world would be
a better place to call home.
So who are they? They are my grandchildren: Logan and Arden. I call him
my "Angel Boy" and she is my "Gigi Girl" (as in Maurice Chevalier's
"Thank Heaven for Little Girls"). Logan arrived three years ago and
became a beacon of light and hope for the future at a time when quite
honestly, I had almost given up on this planet. It was with him that I
learned to throw rocks in the lake, make outlandish wishes, and watch
the palm trees in the back yard dance. We also discovered the moon
together (he calls it "La Bella Luna" and he is especially pleased when
it is full and bright). We have also been known to invite a group of
passing ducks to join us for a feast of breadcrumbs. It's all so simple.
And simply, divine.
Her name is Arden D. She arrived last December. Barely one year old, she
is my daughter's daughter. She lends truth to the adage that every
mother needs a daughter. I have taken it one step further: every mother
needs a granddaughter. She is beautiful, active, curious, and spirited.
I see generations of fight and resilience in her fierce spirit. She has
an old soul and loves her freedom. And why not? Her ancestors fought for
it and she is insistent to take it to the next level. She has strong
legs and a smile that can melt butter. She needs space to move and
speaks her mind. Even though for now, it is a montage of sounds and
noises. As she discovers her own voice, I am confident that she will
speak it as she wishes. The night she was born it felt as though the
earth moved. We were one step closer to heaven. Just moments after her
birth, a huge rainbow appeared. She reduced us to tears. Each day still
feels like a miracle, and as her personality evolves, she makes us giddy
with delight. It's a feeling that simply cannot be put into words.
There is a sweet innocence that she and her cousin bring to my world.
They keep me grounded and optimistic - happy and hopeful. They
accomplish this all while the world around me spins out of control and
tries to make me a cynic. They prevail. Every time. When they are in the
room, I smile, laugh, and rejoice. There is peace in the world - at
least our private little world of legos and puzzles, blankies, and well
. . . baby love.
March 18, 2007
* * *
Armen D. Bacon was born and raised in Fresno, Calif., and is senior
director, communications/public relations for the Fresno County Office of
Education. She received her B.A. in psychology from Fresno State and holds
a master's degree in organizational management. Since 2004, her thoughts
and writings have been published in the Valley Voices section of The
Fresno Bee and in April 2007, she will launch a daily radio feature titled
"Live, Laugh, Love" for K-JEWEL radio.
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