Arts & Culture

Born in Diyarbekir but destined to work, create and mingle among the artistic and intellectual circles of London and Europe, Zabelle Boyajian, an artist, writer, translator and British-Armenian intellectual remains a mystery to many.

The majority of the music we hear in contemporary Armenian films and TV-series are simply plucked from the Internet with little regard for copyright issues, professionalism or the suitability of the tracks.

In this new essay for the “True But Not Real” creative writing series, writer and journalist Lusine Hovhannisyan explores the love Armenians have for their homes especially in the context of the recent war in Artsakh: “We love our houses with the skill of a person who has lost their home.”

Chomalag, which means epidemic in one of the dialects of the Gegharkunik region of Armenia delves into the suspended lives of people in times of an epidemic.

Vanadzor’s Hovhannes Abelyan Theater, built in the early 20th century, is just a few meters away from the Fine Arts Museum. Both buildings hold the memories and feelings of Armenia’s third largest city.

When emphasizing the preservation of historic structures and their integration into unban life, we should keep in mind that heritage should not be perceived as only architectural heritage and we should not think that it is only the physical heritage that is endangered.

"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.”