Armenian writers, musicians and artists have always been the nation's best cultural "ambassadors", opening new windows to their people, history and heritage which dates back to over 2000 years. Unlike diplomacy, their work and talent has reached the far away corners of the world well before embassies were opened and Armenia was recognized as an independent nation. "Art always travels faster than politics and diplomacy," explained Shakeh Avanessian, a talented artist who has given a whole new meaning to Armenian dance and folklore. Avanessian, who was born in London and lived in Tehran until the age of 15 before settling in England, is not just a performer, a dance teacher or a choreographer. For that matter, she is also not an entertainer. "There is so much depth and meaning in Armenian dancing, and what I do is present this art form with all its background, soul and deep connection to our national history and culture," she explained in a recent interview in London. Using dance as a "communications tool", Ms. Avanessian has turned her talent to a one-person outreach program and in workshops where the participants not only get a taste of what Armenian dance is all about, but also learn about Armenian history and culture. "There is a wide international circle of dance enthusiasts, whose interests go far beyond entertainment. They want to know the meaning behind every step and movement, every expression," she said. Ms. Avanessian, who is an eye-care specialist and a mother of two young boys, often travels across Europe, teaching, talking and sharing Armenian culture with audiences in Germany, France, Austria, Sweden and of course England. "Those who sign up for my workshops are mostly—if not exclusively—non-Armenians. They come for the culture, and not just to learn a few steps or a dance routine," she said. "They want to know who the Armenians are. Where they come from. How did Christianity start in Armenia. What is their alphabet. In short, what I provide is a crash course in Armenian history and culture using dance as a vehicle," she said. The information-packed workshops extend over a three to four day period during which Ms. Avanessian introduces her students to all facets of Armenian life. "Each Armenian dance has a deep history behind it. So does each of the costumes the dancers wear," she explained. In one of her most expressive dances called The Gazelle from Karabakh, Ms. Avanessian concludes the routine with the following footnote: "The deer's life is like the Armenian's life—the embodiment of pride, dignity, beauty and grace, which makes it all the more vulnerable." But dance is not the only tool. Music also plays a great role in introducing a nation to the rest of the world. The name—and fame—of the Chilingirian Quartet is well known around the world. It made its first appearance in the world of chamber music in 1971 when Cyprus-born Levon Chilingirian and three of his classmates from the Royal College of Music got together and gave their first recital. "I sometimes don't believe that it has already been 30 years. We have performed in more than 50 countries and the list keeps growing," Chilingirian said in an interview which was more a reflection of his deep involvement in helping Armenian musicians than his success and fame in the world of music. The Chilingirian Quartet, which the Boston Globe has called "one of the great string quartets of our day", and was described by the German publication Basler Zeitung as "world class from the first stroke," has also played an important role in introducing Armenian music to international audiences. "You have to listen and pay more attention to the works of Komitas," he said. Chilingirian is also an acclaimed solo violinist who has performed with the London Philharmonic, the Liverpool Philharmonic, the Scottish Chamber Orchestra, the Russian National Orchestra and the Armenian Philharmonic. He has received a number of prestigious awards, and in January 2000, an OBE (Order of the British Empire) in the Queen's Honors List for his "services to music." Despite his international fame, there is another side to Chilingirian. In recent years, Chilingirian has devoted a lot of his energy to supporting young musicians and performers in Armenia. "I am amazed at the musical talent, but the sad part is that many are leaving. I see them in every European city and town," he said. In a personal effort to halt the exodus of young talent, Chilingirian funds several groups in Armenia, providing them the necessary window of opportunity to get financially independent through occasional performances in Europe. "My main motive is to keep these talented Armenian musicians in Armenia by not only creating the necessary musical atmosphere there, but also making it financially possible for them not to leave their country," Chilingirian said. Each artist, musician or author takes a different road in the wider context of exposing Armenian life and culture to the world. For Ms. Nouritza Matossian it was a "pilgrimage"—a journey which led to the publication of her book: Black Angel, The Life of Arshile Gorky. "My fascination with Gorky goes back to when I was 16 years old," she said in an interview. "But to think that one day I will write his biography and be involved in the process of (Canadian-Armenian cinematographer) Atom Egoyan's latest film Ararat would have been too much of a dream—even for a 16 year-old," she said. But the fascination had already taken hold of her, and in 1983 Matossian started a process which over a period of nearly 15 years involved interviewing more than 100 people, including Gorky's sister, widow and a list of close friends of the artist around the world. "I spent days and months reading his letters. I spent endless hours with his friends and family. I wanted to get into Gorky's soul and not just put down on paper details and facts about his work and life, she said. "My long meetings with Gorky's sister were priceless. She was reluctant to speak at first, but all that changed in time. The more I talked to people the deeper I got involved ... there was no turning back," she said. In 1998, the book was published, but Matossian's journey was not over. She had already discussed her project with Egoyan, and even suggested he consider making a film on Gorky's life. "In fact, I sent him a copy of the book when he was doing a film project at the Brentwood Studios in London. When he returned home to Canada, he called me to say that he had read the book on the flight back and could not stop crying," she said. "He did not take my suggestion to turn the book into a movie, but Gorky's life story was so powerful, that Egoyan artfully weaved it into his latest film, Ararat." But is Matossian only a writer? Soon after the publication of Gorky's biography, Matossian was already in the process of adapting her book into a roving stage performance and taking her one-person show to stages across England, Europe, the United States and recently, Lebanon. In her solo performances, Matossian tells the story of Gorky's life through the eyes of the four women who loved him, his music and his art. "There is so much we can tell the world about Armenians through Gorky's life," she said. If bringing Armenian music, culture and art to the international arena is an achievement in itself, the climb up the ladder of professional acting and entertainment is just as competitive—something which Sevan Stephan knows far too well. "Working hard is just not enough," the 32 year-old London-born singer said in a dressing room interview after a recent performance of the West End modern musical version of Romeo and Juliet in which he plays the role of Friar Lawrence. Stephan, who studied physics and computers only to realize that he was not set for a career of scientific research, began acting during his high school years and a few years after leaving college he enrolled at the prestigious Old Vic drama school. "Science was not for me. As a child, I sang in the choir of the Armenian Church—something which I still do when I get a chance and when I am in London," he said. After a few years touring England with various theater groups, his first major break came when he auditioned for a part in French-Armenian singer-composer Charles Aznavour's musical Lautrec. Over a period of six weeks, Stephan sang, acted and even danced in front of the musical's producers, the director, the choreographer and of course Mr. Aznavour himself. "To tell you the truth, I was nervous. At the end of the last audition, Mr. Aznavour looked at me and said ... Sevan, you have to lose some weight for the part. Don't eat too much of your mother's Armenian cooking ... especially dolma. He gave me the title role of Henri de Toulouse-Lautrec, and yes, I took Mr. Aznavour's advice and did lose weight," he said. The musical had a very successful run at the Shaftesbury Theater in London and helped launch his career. But Stephan has a dream. "I hope one day I will have the opportunity to do something in the Armenian language," he said as he locked his dressing room and left for home after yet another ovation for his powerful role in Romeo and Juliet.
Image
