In the 1940’s, Adolf Hitler and his Nazi army battled Russia for control of Eastern Europe in World War II. Consequently, tens of thousands of people who called these warn torn pieces of land home were reluctantly uprooted and shipped off to labor camps in Germany. Among the thousands of displaced persons, or DPs, were Armenians.

Albert Petrossian, one of the DPs who established Montebello’s Armenian Community, recalls life in these camps. “We lived in labor camps, maybe 800 Armenians in some, 400 people in others. It was a mixture of Russians, Armenians, Ukrainians.”

For the Armenians – along with the estimated 11 to 20 million displaced persons in Europe at the time – the future was uncertain. Many of them, like Petrossian, couldn’t return home because their home was constantly switching borders between the Nazis and the Soviets – life under either regime’s rule was far from enticing.

When the Americans liberated Germany in 1945, the Axis powers made available a large army barrack called Funker Kaseme Camp for the Armenians to live in. “It was beautiful, just beautiful,” explains Petrossian. “All the Armenians found out about this camp near Stuttgart and started flocking there. We eventually had over 2,000 Armenians.”

By 1946, the camp had well over 2,000 Armenians, and was known by many in the region as Little Armenia. Supported by the U.S. Army, the Armenians created a world that somehow seemed indifferent to the hardships and atrocities of war they had all born witness to. They wasted no time improvising the concept of home as the DP’s built a tight knit community from scratch.

“We had a school, church, theater, stores, restaurants, bakeries,” remembers Petrossian. “It was a very happy life for us, especially for the kids.”

Eventually, the DPs of Europe needed to be placed somewhere. Luckily for the Armenians at Stuttgart, General George Mardikian, an Armenian American in charge of the American food supply at the camps, personally saw to it that the Armenian DPs made it to United States.

Displaced again – but experienced in the art of survival. The DPs settled in the East Los Angeles city of Montebello ready to sew the roots of a prosperous and bustling Armenian American Community.

The Montebello Armenians fashioned their community much like the one at the camp, and paved the way for future Armenian communities in the Southern California Area.

The Holy Cross Church, Bagramian Hall, and Tumanjian Hall near the corner of Lincoln and Montebello Blvd were among the first staples of the Montebello Armenian community. The first Armenian school in Los Angeles, Armenian Mesrobian School, opened its doors in Montebello in 1965.

In 1968, the Montebello Armenian community also built the Armenian Genocide Martyrs Monument. It is the first and only monument commemorating the memory of the victims of the Armenian genocide on public land in the world. “We wanted to keep our history, teach the history of Armenia, and keep everyone together.”

After much hard work the San Gabriel Valley ANCA recently succeeded in approving the installment of a massive freeway sign on Route 60 Freeway noting the “Armenian Genocide Martyrs Monument” near Montebello. This will be the first time the word “Armenian Genocide” will permanently be inscribed on US soil.

With the ideals of community and cultural awareness embedded in the consciousness of many Montebello youth, the Vahan Cardashian-AYF chapter is building on the very foundations set almost 70 years ago- a foundation rooted in community, in our own “Little Armenia”.  Ani Petrossian, a grandchild of Montebello DP’s describes the current state of the chapter and community as whole. “Our agoumps [Armenian Centers] have become nothing less than a second home and our members have become extended members of a larger family”.

A place where formalities are non-existent and friendships ever present; Montebello has become a perfect Saroyan cliché. Where members of a displaced community have planted roots for their own Armenia outside the motherland. The local AYF chapter holds cooking classes where mothers teach the younger generation of traditional favorites and the younger badanees hold dinners for families to come together, connect with friends, and make new ones.

Many of the AYF membership come from Displaced Families. Just like their parents and grandparents before them, they have continued to take responsible in the community and their Armenian identities. Nick Cabraloff states, “we feel like it is an obligation for us to take an active role in the community, in one that has done so much for us.”

From the United States to France, Syria to Lebanon, and any other country which boasts an Armenian Population; Dislocated Armenians, such as ones from the Montebello community have come together to prove that Armenia is not just a location on a map, but rather a state of mind.

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

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.

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.

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.

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

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.