Their Generation, My Generation – Berj Parseghian

Berj Parseghian

Name: Berj Parseghian
Hometown: Pasadena

Berj joined AYF when he was 16 and has gone on to play a leadership role both at a chapter and central level. In 2008, he had the opportunity to lead the AYF’s Youth Corps summer program in Armenia. In addition, Berj has been involved in the Student Anti-Genocide Coalition (STAND), Amnesty International, and teaches martial arts to over 100 students. He is currently working on his Masters in Education and teaches history at Armenian Mesrobian School to grades 6-12.

Growing up, he describes how the mood of anger in his family about the past was one that he didn’t fully understand until he matured. “You’re supposed to come to understand the past and move on, live life,” he says. “But some pasts are hard to move on from; some pasts won’t leave a family or a nation alone. Some pasts define who you are. “

Nevertheless, Berj holds out a hope for reconciliation one day being achieved. “I simply want the trampling to end and a constructive future to be built,” he says. “Living in fear, hate, and pain sets up endless roadblocks. These roadblocks need to be taken down without trampling people.”

“That means the future must be based on truth and humanity,” he insists, calling for “common sense solutions that will ease troubles away with time, and not brew anger, distrust, and hate from any side of the aisle.”

Linking this hope for the future with his current activism, Berj explains, “This is why I’m active in the AYF and our community. Real solutions don’t come easy, they take persistent hard work, lots of time, and a positive outlook by everyone involved.”

Ancestor

Vahan Parseghian

Name: Vahan Parseghian
Relation: Grandfather
Hometown: Bursa

At the age of about ten years old, one day Vahan goes into the fields and sees Ottoman soldiers and tanks surrounding his village. Soon after, all of the inhabitants are told to lock their doors and come out. They are told they will be taken somewhere for a few days and then be brought back.

In reality, they were to be taken to Der Zor by train, encountering bandits along the way who spoke of how they were going to slaughter the Armenians.

Vahan saw dead bodies being eaten by crows, women and girls being grabbed and tossed around by their hair, and men being taken apart from groups to be murdered. Him and his sister witnessed the murder of their family of eight, and were spared only because they were able to hide beneath dead bodies undetected. Soon, they would be picked up and taken to an orphanage in Syria where they would be split up, with Vahan ending up in Lebanon and his sister in Bulgaria. They never saw each other again.

Berj recalls the following about his grandfather: “He was a principled man, hard as stone, and troubled, to put it lightly. He showed and received no emotion, living and passing on a life haunted by the worst of experiences that never left him alone.”

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Their Generation, My Generation – Emineh Noravian

Emineh Noravian

Name: Emineh Noravian
Hometown: La Crescenta

After many years of attending AYF Camp as a camper and then a counselor, I joined the camp’s committee and management and came to a realization that it was time to join the AYF. I have been a part of the La Crescenta “Zartonk” Chapter for almost 3 years now and dedicate a lot of my time and effort into the Armenian community. I have come to learn a lot about my heritage and myself ever since doing so. Taking this step has also taught me a lot about other cultures with similar struggles and has opened a lot of doors for me to gain knowledge about my family and ancestor’s past.

I’ve always learned from my mother, grandmother and great-uncle about our family history but it wasn’t until recently that I found out about who my great-grandfather was and what he did that really made me realize what an impact my role makes in the AYF. It gives me a great sense of pride to learn that my great-grandfather fought with some of the greatest figures of the ARF.

Today, we work and fight in a far different way than that of my great-grandfather and our other ancestors. We fight for what we believe in more with our words and our actions, yes, but I can only imagine how it must have felt for someone to once leave home with only a weapon, on horse or on foot, with only a small chance of return.

Ancestor

Yeghishe Pahlavuni

Name: Yeghishe Pahlavuni
Relation: Great Grandfather
Hometown: Igdir

My family traces its roots to the Pahlavunis, an Armenian noble family during the last years of the Bagratuni royal dynasty. The famous Amberd “fortress in the clouds” and Bjni were built and controlled by my family, the Pahlavunis.

My great-grandfather, Yeghishe Pahlavuni, carried on this noble tradition by serving as a heroic and well respected figure in the Armenian national liberation movement.

Born in Igdir in 1884, my great-grandfather finished his schooling in his hometown and went on to study in military academies in Russia and Poland. In his youth he befriended General Dro and was a pupil of Avedis Aharonian. His house was frequently visited by generals, freedom fighters, and revolutionary activists.

He became a fedayi and participated in numerous battles as a commander alongside the legendary General Antranik, Kerri and Ishkhan during WWI. He helped defend and liberate many towns and villages from the Tatars in the oil fields of Baku in Azerbaijan, which was home to a large number of Armenians at the time. As one of the leaders, he organized the evacuation of those Armenians towards Enzeli in northern Iran when the Turks occupied Baku in 1918. We was then summoned to help in Armenia where, during the Armeno-Turkish war, he was captured as a POW for over a year. He later returned to Armenia, only to be captured again, this time by the CHEKA, the Soviet secret police. He was exiled to Tashkent-Siberia but managed to escape and eventually make his way to Tabriz, Iran in 1925.

He dedicated his whole life to the ARF and the Armenian Cause, especially in the Iranian Armenian community where he lived the last 35 years of his life. He died on February 3, 1961, in Tehran, at the age of 76.

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Their Generation, My Generation – Arpa Hatzbanian

Name: Arpa Hatzbanian
Hometown: Glendale

Arpa is an active member of the La Crescenta “Zartonk” AYF. She has long been involved in the community as both a student and AYF member, taking on leadership positions, volunteering for organizations such as the ANC and serving on countless committees in the AYF. She is currently studying to pursue a career in the field of education.

As a child, Arpa spent a lot of time with her maternal grandmother who told her stories about her great-grandfather and especially “Jebel Musa” (Musa Ler). She spoke about people resisting and struggling.

“Hearing these stories made me aware that there was more important things than just myself,” says Hatzbanian. “Although this sounds cliché, I’m not exaggerating. I always had the will to make a difference and make something of my life so I could live up to the family name.”

She describes how the passing of her maternal grandfather, Antranig Ourfalian, after her 15th birthday was a turning point in her life. The impact he had in the Armenian community was motivational for her.

“Today, when my work in the AYF begins to get too hectic,” she explains, “I remember two things: my grandmother’s stories—and how much easier my struggles are—and my grandfather’s lasting impact. With these memories, I will keep working hard and help motivate my ungers, so together we can honor our ancestors and leave a lasting impact.”

Ancestor

Name: Serop Sherbetjian
Relation: Great Grandfather
Hometown: Musa Ler

During the Genocide, Musa Ler (a mountainous region on the Mediterranean coast) was attacked by the Turks but the brave people fought back and were victorious. It was one of the rare instances of self-defense organized by Armenians and their heroic stance has been memorialized in Franz Werfel’s epic novel, The Forty Days of Musa Dagh.

For a short period, those who survived Musa Ler were brought back to their homes with the help of the French. At this time, Serop became the Muidur (mayor) of the region. He did his best, given the conditions, to serve his people who had worked so hard to keep their sacred land.

By the onset of World War II, however, relations between France and Turkey changed and the people of Musa Ler were once again exiled from their lands, this time to Anjar, Lebanon. In Anjar, Serop and his family were able to create a very influential Armenian community where he continued his leadership role as the first mayor. Until today, Anjar maintains a strong Armenian community.

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State of the Arts – Sako Design

HAYTOUG: Can you tell us a little about yourself? Some background on where you’re from and how you got involved in art in general?

SAKO SHAHINIAN: I was born in Beirut, Lebanon. At the age of eight my family and I moved to the Unites States. As a child I drew everything I saw or wanted to see. Buses, animals, tanks, and explosions are just a few examples of my childhood drawings. In fact, the drawings I completed helped hone my skills as an artist. Throughout high school I would complete a sketchbook every few months with elaborate doodles, studies, and illustrations. Hence, I continued this passion in my formal education at Art Center College of Design in Pasadena, Ca. Upon graduation from Art Center, I quit my part time job at an advertising company and started freelancing.

H: Is your foundation based on formal training or did you develop your talent in other avenues?

SS: Self-motivation and self-education has always been the core of my training. However, I am always eager to learn new techniques and explore different areas in Art. I have taken private lessons by countless local artists, signed up for drawing sessions, and participated in various art shows. During high school, I enrolled in many art classes such as figure drawing, life drawing, painting, etc. Furthermore, I graduated from the Los Angeles County High School of the Arts. After graduation, I enrolled in figure drawing classes at Glendale Community College in order to prepare for a possible acceptance to Art Center College of Design. Soon after, I was accepted to the Art Center College of Design Illustration department where my formal training officially began.

H: How would you describe your style?

SS: I have always been torn between style and function. Some viewers suggest my artwork can be characterized by a particular style, but my ultimate concern is to be functional. Each job requires a different style and purpose; therefore, I believe an artist must possess the ability to function within those diverse circumstances. I consider my work to have an attitude rather than a style. Artists go through great lengths just to create a style of their own, however, when a particular job calls for another type of style, it becomes difficult for such artists to be functional.

Sample of Sako Shahinian's graphic design work

H: Can you tell us a little about Sako Designs? When did it start, what kind of things do you do and what are some key projects that you’ve worked on?

SS: In 2004, I officially launched Sako Designs. Throughout the years, I have worked on interesting projects within very different industries. For example, in the music industry, I have worked with System of a Down and Wiz  Khalifa.

In the magazine and print industry, I have created a cover for Progressive Magazine and an illustration piece for The New Yorker. Some other key projects I’ve worked on include commercial companies such as Nintendo, where I created a graphic animation for their main store in New York, and Camel Cigarettes, where I developed a concept for the packaging.

H: Is your focus on print and design only or do you dabble in other mediums as well?

SS: I don’t limit myself to print and design. I work with multiple mediums such as motion, photography, corporate branding, and product development.

H: For many people, finding motivation to be creative and developing original concepts is not easy. Where do you find your inspiration?

SS: Unfortunately, there is no inspiration well I can tap into every time I have to develop a concept. On the other hand, interest in a subject and just the process of developing something itself is what I need for inspiration.

Another Example of Sako Shahinian's Graphic Skills.

H: What role do you think art and design plays in Armenian culture, especially for us today in the Diaspora?

SS: Art plays a fundamental role in Armenian culture; it is one of the brightest features in our national identity. For many years, in the Diaspora, we have had a preservationist approach towards art, which is understandable, but I would like to see us create more and more art to push forward a newer, better identity for ourselves, rather than a static one.

H: What are some recent and upcoming projects we can expect from you?

SS: I just signed on to a big project called 180South. It’s a new outdoor brand that makes high quality mountaineering and expedition gear. I am in charge of creative direction and development of visual. We are slated to launch next year, and are planning a Mt. Ararat expedition. We will be giving 1% of all sales to charitable organizations and plan to make Armenian environmental issues a priority. I hope AYF members who love the outdoors could participate in the brand and we can voice our common concerns together.

H: How can people get in touch with your company if they want to commission any work?

SS: My contact information can be found on my website: sakodesigns.com

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State of the Arts – Bei-Ru

Haytoug: Can you tell us a little about yourself? Some background on where you’re from and how you got involved in art in general?

Bei Ru: I was born and raised in Los Angeles – my parents moved to the U.S. in the mid-1970s from Lebanon. As a kid, my parents would play a lot of Armenian music in the house. We visited Armenia when I was 6, and my folks took me and my siblings to see orchestral concerts and operas. I think all of that nurtured my love for music. I also started taking piano lessons around the time of our Armenia trip, and stuck with it for about ten years. When I was 15 I started getting more and more into hip-hop and DJ’ing, which is what I eventually started to pursue. I got a job at a local dry cleaners and saved up enough money to buy a set of turntables, a mixer, an amp and some speakers. After DJ’ing house parties and clubs for some years, I bought a small Casio keyboard and started working on creating my own music.

H: Is your foundation based on formal training or did you develop your talent in other avenues?

B: The years of piano lessons definitely helped, and DJ’ing gave me a better understanding of the structure of contemporary music, so I guess it was ultimately a combination of training and experience.

H: How would you describe your style?

B: I think it’s a combination of all the music I’ve been exposed to and still listen to. I’m just a fan of real, soulful music, no matter where it comes from. I really just try to add certain elements of whatever style fits a particular piece of music.

H: Can you tell us a little about Bei Ru? When did you start doing what you do, what kind of music do you create and what are some key projects that you’ve worked on?

B: I started out working in a group called the Backwash Foundation with a couple of friends who were vocalists. After working in a group for a few years, I started to branch out and work with other vocalists and musicians, mainly hip-hop and R&B based. I released a remix project of Jay-Z’s American Gangster album in 2008, where I took his acapella vocals and added my own music to it. It was really well-received and was even published in the legendary hip-hop magazine The Source, as one of the best remix projects of that year. That definitely gave me the push to take it even further and come up with the ideas that lead to the beginning of Little Armenia.

H: Your album Little Armenia reveals that you do not stick to a singular genre but are instead more global with your music, can you talk more about that and the different types of music you explore.

B: My tastes in music tend to shift every now and then. I think it’s crucial that any musician be open to every genre of music, no matter the style. It’s really all the same when it comes down to it. I listen to a lot of jazz, hip-hop, funk, soul, rock, folk, classical, electronic, you name it. I’ve definitely always been partial to Armenian music, and that’s one of the main reasons I decided to make the Little Armenia album. I wanted to try and use Armenian music as the foundation to work around and add my own touch to.

H: For many people, finding motivation to be creative and developing original concepts is not easy. Where do you find your inspiration?

B: My inspiration really comes from everywhere. I think musically speaking, there’s a certain energy you get from listening to a song that moves you. When you surround yourself with that type of energy, it cultivates your own inspiration. That’s something I try to stay immersed in, that energy; and music is just one facet of it. Sometimes it happens by just looking at the sky or making eye contact with someone you passed on the street. It’s just a matter of how you take that feeling and express it through your own outlet.

H: What role do you think music (and the reinterpretation of it) plays in Armenian culture, especially for us today in the Diaspora?

B: Music has always been a huge part of our culture. Armenians in the Diaspora tend to gravitate towards whatever popular music is big in their respective countries. It’s not a bad thing at all, but many times people tend to forget their own culture’s music. Many Armenians I spoke to told me they don’t listen to Armenian music, but they loved Little Armenia. I think that a lot of Armenians in the Diaspora have lost touch with their music, mainly because contemporary Armenian music brings up thoughts of pop influenced dance tunes that you’d hear at a wedding. I wanted to show people that there’s a whole world of beautiful Armenian songs and melodies out there that I simply presented in a different light, with my own ideas and concepts.

H: What are some recent and upcoming projects we can expect from you?

B: I’ve started work on a follow-up to Little Armenia. I initially planned on it being a one-shot thing, but after all the love and support it’s received and the fact that I had a blast making it, I couldn’t resist the idea of a follow-up album. It’s not quite a sequel, more of a continuation. I’m also working on some collaborative projects with various vocalists as well as a project with an instrumental band, all of which I’ll be revealing more about in the next few months.

H: How can people get in touch with your company if they want to collaborate or want you to mix at an event?

B: People can contact me through my website, beirumusic.com. Thanks to everyone for all the kind words and support they’ve been sending my way! To anyone who hasn’t yet heard Little Armenia, you can sample the entire album on iTunes or Amazon if you just search “Bei Ru”. I hope you enjoy… Peace.

A Sample of Bei Ru’s Work…

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State of the Arts – Rouben Malayan

Haytoug: Can you tell us a little about yourself? Some background on where you’re from and how you got involved in calligraphy in general.

Rouben Malayan: I was born in Yerevan in the spring of 71. Went for four years to Terlemezian college of art (painting), continued to the academy (graphics) and in May 93 left Armenia to Israel. 16 years in Tel Aviv, 2 years in Amsterdam, now I am trying my luck back home in Hayastan. Many questions, few answers, but its an ongoing process of reconnection and I was prepared for it before I made the leap forward. Its challenging but very interesting experience. Two years ago I had a request from the Editor of upcoming “The Encyclopedia of World Calligraphy” to contribute to the edition by drawing samples of Armenian script. It was a challenge since I have not practiced calligraphy extensively and my interest in the art of writing was part of a larger issue of typography in graphic design. But it was clear to me that calligraphy is where it all begins. I was fascinated with what I have found when I began to look for answers. Some of it can be found here http://15levels.com/art/armeniancalligraphy/

H: Is your foundation based on formal training or did you develop your talent in other avenues?

RB: I was lucky to be born to a family of an artist, so from the day one I was exposed to the world of art. My father taught drawing in the Academy for over 40 years and I had the privilege to learn from one of the best teachers of the old generation. Academic background in fine art is essential for anyone who seriously wants to develop and I caught few good years in the college and academy, before we began to loose our teachers, one by one. Today almost nothing is left of once glorious art education we had in Armenia. Its mediocre at best.

H: How would you describe your style?

RB: I am a realist. And I love form. Somehow I have little envy for people who have a rich perception of color, since I am a graphic artist; I see the world in shapes, contours, light and shade, but rarely color. My father was a great colorist, but you can’t be good at everything. But I think once I have the right conditions, I will go back to experimenting with color.

H: Can you tell us a little about 15 levels? When did it start, what kind of things do you do and what are some key projects that you’ve worked on?

RB: When I wanted an online portfolio, I looked for a suitable name for the domain, something abstract but with a meaning for myself. It was the years (1997) when electronic music was making it’s first steps and a German DJ Riz Mazlen was recording under the label of “Neotropic”. She released an album called “15levels of magnification” which I loved. So there was the name I was looking for. Basically it became the test field for my design ideas, changed its appearance for countless times, but today I am very satisfied with the way it looks. I was among the first generation of graphic designers who went digital when it became clear its the only way forward. For past decade I have been working for broadcast, art directing commercials, TV channel branding and promos in Israel and Netherlands. Now I am the creative director of a post production and 3D animation agency based in Erevan – “Triada Studio” ( www.triadastudio.com ). They have a lot of talent and a bright future, no doubt.

H: Can you tell us about some of the Armenian genocide awareness posters you have designed

RB: In Amsterdam (2000), I found myself living in a predominately Turkish neighborhood of the city. I realized how small and underprivileged was the Armenian community, which was almost entirely assimilated at some point. Turks have the advantage of numbers and politics are influenced by voters. Holland is a democratic country, has a good education system, people know and remember history. But they knew little about the Armenian genocide and the atrocities Turks committed against the Armenians. The idea was born to educate the general public using graphic posters which are accessible to everyone. We called on designers to participate in the project and with help of few Dutch and Armenian friends published five winning posters (one in Turkish). On the morning of April 24th we placed them wherever we could in the city. It was an amazing feeling to see our work draw attention. I want to believe the project contributed to the efforts to have Armenian genocide recognized by the Dutch parliament. The project can be found here:  http://ArmenianGenocidePosters.org/

H: For many people, finding motivation to be creative and developing original concepts is not easy. Where do you find your inspiration?

RB: First and foremost, our own culture. So many beautiful works of art, thousands of years of history, without roots we have no future. These days it’s very easy to get absorbed in the mainstream flow of popular culture, which has very low standards when it comes to quality and originality. Everything is done and redone, copied without any discrimination. So to me, only art which passed the test of time has a real artistic value. In short, for me it stops with the Avant-garde.

H: What role do you think art and design plays in Armenian culture, especially for us today in the Diaspora? And in Armenia?

RB: I think we need a very different approach today. For Diaspora our language is “the last line of defense” so to speak. And I mean the Armenian which is not polluted by slang. Its so irritating to hear Armenians speak some sort of mutation. Our language is beautiful and rich, it needs to be treated as such. And written language is inseparable from spoken one. We have serious issues with contemporary typography in Armenian which is an essential element in visual communication. Now and then we see some problems being dealt with, thanks to the positive and constructive approach of people who haven’t given up on it. Sadly the new generation is absorbed by subculture which has very little to do with anything Armenian, or anything really valuable. There always will be the forces of destruction and as long as we keep creating quality work to counterbalance it – we are good. People should realize that our intellectual and cultural potential is all we have. From that (eventually) will come unity.

H: What are some recent and upcoming projects we can expect from you?

RB: The book on the Art of Armenian Calligraphy, is what I want to keep working on, the idea is to collect into one beautiful volume the best and the most interesting material, most of which is inaccessible because its been long forgotten in the libraries scattered around the world. I’d love to go do research in BnF (The National Library of France) but I need a grant for it. Venice, Vienna and London have fantastic libraries as well. And its only a tip of the iceberg, so much more is yet to be re-discovered. I think the time is ripe to bring about a positive change in the education system and revive the studies of Calligraphy as a discipline in the school. Our children should learn to write a beautiful version of our letters, rather than the most primitive one. Its only changing the sample, imagine, how simple yet effective a change like that can be? There are school books which are still used in Persia, where Armenian Classical Education is taught. I have written an article on it which was published in Asbarez and Armenian Weekly. http://asbarez.com/90950/the-art-of-calligraphy-script-in-its-purest-forms/

H: How can people get in touch with your company if they want to purchase any work?

RB: – or just search for me on the web. I’d love to exhibit my works, if any assistance will be offered; I’d love to share what I have done.

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From Las Vegas to AYF Tri-Regional Seminar

By Carnie Armenian

The Armenian Weekly

The Armenian Youth Federation (AYF) Tri-Regional Seminar: Most see it as an opportunity to attend a series of lectures and debates, to improve our understanding of current events in Armenia, and to learn the details of our organization’s history. This was exactly what my expectations were. Being from Las Vegas, the “Sosse Mayrig” AYF Chapter sits at a distance from the rest of the Western Region. Hearing of the AYF Tri-Regional Seminar, taking place at Camp Haiastan from June 3-8 in little Franklin, Mass., I could not pass up the opportunity. As a member who loves our organization and is wholly dedicated to the Armenian Cause, I am always eager to learn from ungers of our ranks and to bring this knowledge back to the Las Vegas chapter.

Throughout the week, the 80 attendees from the AYF Western Region, Eastern Region, and Canada participated in a number of educationals. Hovsep Avakian (Eastern Central Committee) and Hayg Oshagan (Bureau) held a discussion regarding the goals and struggles our organization has and will encounter. This lecture opened our eyes to the harsh truth that as Armenians we are a dying race. This is why our generation must choose to stand up and continue fighting for a Free, Independent, and United Armenia. It was during this lecture that I saw the passion in my fellow ungers’ eyes grow stronger as the fight within each one of us continues untouched. It is discussions like these, in our nation and across the globe, where we become “re-motivated” and our enthusiasm for the Armenian Cause grows stronger. And as Hagop Der Khatchadourian (Bureau) reinforced in us, “There is no such thing as a dream that is not realizable.” After all, our previous generation could have never imagined an independent Armenia. With this dream now a reality, we must set our sights towards a new dream.

The attendees also had the privilege to be given a lecture by Antranig Kasbarian (Eastern Central Committee) regarding the ARF, and by Dikran Kaligian (Eastern Central Committee) regarding Turkish-Armenian reparations. Additionally, George Aghjayan (Eastern Central Committee) discussed the assurance of the success of the Armenian Diaspora and Jirair Beujekian (executive director of the ARS) discussed the necessity to work with our sister organizations to aid our country.

The weekend’s youngest lecturer, Raffi Sarkissian (published author and Canada ARS Day School vice principal), proved to us that the time to make a difference is now; our celebrated revolutionaries were our age when they chose to step forward to lead the cause. He instilled in us that it does not matter what we do, as long as we contribute to the Armenian nation. And for us the AYF is our greatest source and outlet to benefit the Armenian communities. Sarkissian’s accomplishments at his young age genuinely inspired and proved to our members that we can find a way to make a difference in our communities doing what we love; for him, it has been literature and education.

The Pyunik Band leads as a great example, as they perform in the U.S. and Canada staying true to their Armenian roots. You may have heard their music and appreciate their passion, but from the members’ interactions at the seminar I felt their enduring dedication to our people, to our nation, and to our cause.

The future of our nation is our choice and is in our hands, the hands of young revolutionaries. We can no longer idly stand around; rather, the time has come to take a stance. On the final day, members participated in a round-table discussion regarding how each region operates, what has proven to work and what does not work, and how to ensure the organization will succeed in the future. On behalf of all the attendees, I can say that we learned greatly from the Tri-Regional Seminar, and have a better understanding of the direction of the AYF as well as our nation.

Clearly, our expectations were met and the goals of the agenda were accomplished. But the critical moments where the Tri-Regional Seminar proudly exceeded any and all expectations was when we were able to relive thehistory of our organization through a tour of the Hairenik Building in Watertown, Mass. We were able to stand in the exact spots where our forefathers established this organization that has added such meaning to our lives. As we laid our eyes on the endless archives and generations of history, we felt the duty we hold to our country, to our fedayis with the same goals in mind, to our ancestors who suffered, and to our lands wrongfully taken from us.

Yes, each of us realized the duties we hold, but seeing that we are not alone in this made the biggest impact on me. As we united in singing revolutionary songs, we guaranteed one another that this is not the end of our path. Our new friendships provided assurance that through each struggle and each fall, we will continue to push each other to always fight for more. We continue to dream of our nation together as one, but for now I am more than satisfied to say that our diaspora has come together, as one.

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Janabar

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And so the journey begins….

Well actually the journey began over 17 years ago in 1994 when a group of impassioned and visionary AYF members created the Youth Corps program to gather young diasporan Armenians to travel to villages in newly-liberated Artsakh to do modest, but meaningful rebuilding work hand-in-hand with our sisters and brothers there.

This is the same program that has evolved into Youth Corps today. Working to provide diasporans an opportunity to see our homeland…not as tourists. To better understand the daily lives of our people and to better understand the reality that is our country, with the eventual goal of seeing Armenia as a home..not just a postcard.

For me the journey didn’t begin tonight.. It began years ago, starting with a love for Armenia that developed well before I had the chance to meet her. That led me to work with the AYF Youth Corps program..one of the most meaningful and tangible ways i have seen to build and strengthen the bridge between the Republic of Armenia and the diaspora.

The results that our program has shown in the last three years have spoke for themselves and have led to the 2011 group being the biggest group to ever participate.

You will hear stories from 25 people. You will feel their experiences. You will smile when then do. You will be frustrated when they are. And my hope is that you, along with our group, see that our future as a people depends on our people’s genuine care for our country. A care that leads past talk..

Monday I will be in Armenia setting up some final logistics for our participants. And soon 25 of them will arrive as well.
You are a part of their experience.

I hope you enjoy the journey.

Vache Thomassian
06/18/11

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Artsakh Fighters Educate Youth at AYF Seminar

WRIGHTWOOD, Calif.—The 2011 AYF Educational Seminar took place the weekend of May 20th at AYF Camp. The theme was “Artsakh: Past, Present and Future.”

Several lectures were presented by individuals who were involved in the Artsakh Liberation Movement and were there from the beginning of the Republic’s self determination efforts.

The attendees were told firsthand stories of the liberation struggle.  They learned about the humble beginnings of the movement and about how brave volunteers carried supplies on foot across Azeri lines. The attendees were inspired by untold stories of local heroes who live among us in different parts of California. During the lectures, the participants discussed future steps necessary to ensure Artsakh’s survival as an independent and prosperous region.

AYF member and organizing committee member, Gev Iskajyan said, “We often sing to the tune of the past, not quite realizing the past is the present. The heroes, sons, and daughters of the Artsakh liberation movement are everywhere around us. There is nothing more relevant to our identity as a people than Artsakh, with its beautiful mountains and extraordinary people. Solutions to the lingering problems in Artsakh need to be addressed, and we are here this weekend to educate ourselves about them.”

The weekend included an AYF oath ceremony and a night of singing commemorative songs to honor the heroic deeds of fedayees, past and present. Participants also held an in-depth brainstorm discussion regarding activism in pursuit of justice for the Armenian Genocide.

Founded in 1933, the Armenian Youth Federation is the largest and most influential Armenian-American youth organization in the United States working to advance the social, political, educational, and cultural awareness of Armenian-American youth.

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