"Not a True Story But a Real Story" series is a reflection on individual transformations of collective identity and the concept of home. Armen of Armenia (Ohanyan) ponders why “housecat-like Armenians” didn’t just sit tight within their four walls when they could have become “heroes” by simply staying home.
This is neither a true story nor a real story. But it could be either if fate ever stepped in to deliver a surprising lesson on toxic masculinity.
When a State of Emergency was declared on March 16 in Armenia, cultural institutions mobilized their resources and opened their treasuries digitally showcasing the gems of Armenian culture.
For Armenians in the Ottoman Empire, and for Syrian-Armenians in Yerevan, crafting served as a way of earning a living and as a process of rebuilding and reimagining a social world through the temporal markers that help them nurture a sense of “home.”
A story weaving together the fragments of a woman’s life who organized the chaos of reality into a sensible and livable realm offhandedly called “home” but no one recognized it until she was gone.
Christopher Atamian reviews two documentaries by two diasporan filmmakers about Armenia’s Velvet Revolution and writes that both deliver a somewhat hagiographic portrayal of Pashinyan and his supporters.
The translation of prose or poetry is not a news headline or a tweet, it is a piece of literature that demands time, contrasting thoughts, artful concentration and the ability to publish, writes Aram Pachyan.
Mariam and Eranuhi Aslamazyan are two of the most well-known female painters of Soviet Armenia. They broke stereotypes in the art world and left behind a rich legacy and heritage.
Armenia produces a lot of garbage. Innovative artists throughout the country are taking that waste and turning it into art.
The forced detachment of April 24, 2020, brought an essential degree of cerebral contemplation that allowed us to meditate upon our loss, but also see the many ways that we've managed to (and continue to) overcome it.