This summer, nine young diasporans from California traveled to Gyumri to set up a day-camp for the city’s youth–to live among them, share in their experiences, and make a small but positive impact on their lives. They were not surprised that dozens of boys and girls flocked to the camp, excited that Armenians from abroad had come to their hometown to spend the summer with them.
The Turkey-Armenia Protocols ushered in an unprecedented wave of international outcry against the policies of the Armenian government. Given the widespread opposition and detrimental effects the Protocols are deemed to have on such pan-Armenian interests as Genocide recognition, legal claims to the Armenian homeland, and the liberation of Artsakh, many people have been left to wonder why Yerevan has pushed forward with this controversial policy with such vigor.
“If a tree falls in the forest and no one is there to hear it fall, does it actually make a sound?” asks the old adage. Does sound exists without the tool which interprets it? By the same token, what is art without the audience to appreciate it as such? Like the tree and the artist, a writer is in the same position. Words are only words without the reader who sees them and attaches meaning to them.
It was a crisp November morning when I arrived at a Burbank, California, studio to visit the set of KTLA Channel 5’s new television show, Hollyscoop. The excitement at the pit of my stomach was a telling sign of how much fun I was going to have meeting with the three Armenian women who had worked their way into becoming media, celebrity, and fashion virtuosos.
With the submission of this column to Asbarez, I’ve now officially been un-retired more times than Michael Jordan and Barbara Streisand combined. Most of the people reading this probably don’t even know that I had a semi-regular column in Asbarez. It has been a while since I actually had the energy and wherewithal to sit down and put together a piece or updated my own defunct blog.
This year’s trend in Armenian theater had to be satire, given that it seemed to thread virtually every significant production of the past 12 months. It appeared in both Armenian- and English-language scripts, in original scripts and revivals of classic scripts, and it served as the sign of a maturing theater community that not only entertains its surrounding society, but enlightens it by exposing its follies. Here, I take a look back at the best of these theatrical offerings – the ones that stood out for piercing wit and potency.