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Tradition and a slow evolution: a look at Armenian dance within the Greater Los Angeles area
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Tradition and a slow evolution: a look at Armenian dance within the Greater Los Angeles area
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TRADITION AND A SLOW EVOLUTION:
A LOOK AT ARMENIAN DANCE WITHIN THE GREATER LOS ANGELES AREA
By
Lara Jeneviyev Altunian
A Thesis Presented to the
FACULTY OF USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(SPECIALIZED JOURNALISM: THE ARTS)
December 2016
Copyright 2016 Lara Jeneviyev Altunian
1
Acknowledgements
I am very grateful to the instructors, performers and companies I had the opportunity to interview
for this paper, along with many members of the Armenian community for sharing with me their
knowledge and expertise on the subject of traditional and modern dance.
I would also like to thank my USC community of professors and counselors, including Peggy
Bustamante and Salpi Ghazarian, and am especially indebted to Sasha Anawalt for her guidance
and patience in helping me complete my thesis.
Finally, I could not have taken on this project and very intense year of graduate school without
the continuous support of my family. I love you all.
2
Table of Contents
Acknowledgements………………………………………………………………………………..1
List of Figures……………………………………………………………………………………..5
Abstract……………………………………………………………………………………………6
Method, Elements and Need………………………………………………………………………7
What is Armenian Dance?………………………………………………………………………...9
A Brief History Lesson…………………………………………………………………..10
Armenians in Los Angeles……………………………………………………………….13
Overlying Characteristics of Folkloric Dance…………………………………………...15
Development and Evolution…………………………………………………..…15
Gendered Dancing……………………………………………………………….18
Structure………………………………………………………………………….20
Direction…………………………………………………………………………22
Holding On to One Another………………...……………………………………24
A Few Categories of Dance……………………………………………………………………...25
Wedding Dances…………………………………………………………………………25
Shavali ( Շա վա լ ի)……………………………………………………………….26
Shoorchbar ( Շո ւ րչպա ր)………………………………………………………...27
Warrior Dances…………………………………………………………………………..29
Kocharis ( Ք ոչարի)……………………………………………………………...30
Work and Harvest Dances……………………………………………………………….30
“Scythe Dance” (“ Գ եր ա նդի Պ ա ր”)……………………………………………32
3
Uncategorized……………………………………………………………………………33
Non-Folkloric Performance Dances…………………………………………………......33
Old, New and Somewhere in Between…………………………………………………………..35
Positions in the Debate…………………………………………………………………...35
A Look at the Teachers, Students and Their Philosophies………………………………37
Traditional – Satenik Ashikyan………………………………………………….37
The Instructor and Her Philosophy toward Dance…………………….....37
The Dancers……………………………………………………………...38
Description of Two Rehearsed Dances….….……………………………39
Shavali ( Շա վա լ ի) or Knamineri Bar ( Խն ա մ ինե րի Պ ա ր)…….39
Karino Kochari ( Գա րինոյ Ք ոչարի)…………………………...41
Moderate – Tom Bozigian……………………………………………………….43
The Instructor and His Philosophy toward Dance……………………….43
Advanced Group…………………………………………………………44
The Dancers……………………………………………………...44
Description of Two Rehearsed Dances….….……………………45
Hemshin ( Համ շ էն)………………………………………45
Ververi ( Վ երվ ե րի)……………………………………...48
Beginner Lessons...………………………………………………………50
The Dancers……………………………………………………...50
Description of Two Rehearsed Dances…………………………..50
Tamzara ( Թա մ զարա)…………………………………..50
4
“Karoun, Karoun” (“ Գ ա րուն, Գար ուն”)………………52
Modern – Hamazkayin Ani Dance Company……………………………………53
The Instructors and Their Philosophies toward Dance…………………..53
The Dancers……………………………………………………...54
Description of the Rehearsed Routine…………………………...56
Conclusion……………………………………………………………………………………….58
Bibliography…………………………………………………………………………………..…60
5
List of Figures
Figure 1: Map of the Kingdom of Armenia……………………………………………………...10
Figure 2: Map of modern day Armenia………………………………………………………….10
Figure 3: Image of Armenian orphans……….…………………………………………………..13
Figure 4: Image of arevakhach……………………………………………………………….….20
Figure 5: Image of traditional pinky-hold………………………………………………………..24
Figure 6: Image of fruit-picking hand gesture…...………………………………………………32
Figures 7-8: Image of Satenik Ashikyan demonstrating the Shavali…………………………….39
Figure 9: Image of Ashikyan’s troupe performing the Karino Kochari...……………………….41
Figure 10: Image of Tom Bozigian demonstrating the Hemshin dance…………………………45
Figure 11: Image of Bozigian and his troupe performing a ververi……………………………..48
Figure 12: Image of Bozigian demonstrating a tamzara…………………………………………50
Figure 13: Image of Bozigian demonstrating “Karoun, Karoun”………………………………..52
Figure 14: Image of the Hamazkayin Ani Dance Company practicing their routine…………....56
6
Abstract
This thesis explores Armenian dance in the Greater Los Angeles Area by examining the
preferred teaching styles of instructors at three different studios who range from partially to
extremely traditional in their approaches to folkloric dance.
My purpose in shadowing the dance groups began as a curious exploration of my own ethnicity
and the age old question of the true meaning behind the preservation of a culture. As a dance
writer, I think that having an appreciation of cultural dance, especially one’s own, is essential. In
turn, this also becomes a way of gaining insight into the desires and expressions of a group of
people, who not only exist as a community within the city, but help make up a part of Los
Angeles’ identity as well.
By documenting Armenian dance culture in Los Angeles I want to help preserve it, provide
people with knowledge that has mostly been passed down by word of mouth and form a basic
foundation to which others can add in the future.
My intention in presenting this paper is not necessarily to provide an all-encompassing record of
the thousands of years of Armenian dance. Instead, I want to provide readers with an
introduction to the origin and meaning behind some of the movements, how they evolved and a
look at the newer, more innovative elaborations on traditional styles of both well and little-
known dances. I also want to focus on the community’s general view on the evolution of
Armenian dance and their opinion about whether or not it is a necessary step for preservation.
7
Method, Elements and Need
My main sources of information for this project came from the instructors teaching at three
different studios who allowed me to sit in on their classes and company rehearsals. While
observing these sessions I took notes regarding the dancers’ movements and recorded sound in
order to capture moments of instruction within the classrooms. The recordings are mostly a
composite of interviews with both the instructors and their students. Many of my interview
subjects have been practicing some form of Armenian folkloric dance for over 10 years.
Video would have been my preferred method of portraying the movements that compose
Armenian dance. However, out of respect for the instructors who asked me not to film their
students I stuck to photography, audio recordings and written notes instead. Some of the
photographs have been included with this paper so as to better portray the movements that make
up the different regional dances, as well.
The main reason behind the decisions made to reject videography was the studios’ concern with
having their original choreography copied by rival dance groups. In the case of the instructors
who teach traditional folkloric dances, the fear comes from a potential loss of future revenue for
not being able to sell their up-and-coming instructional CDs in the future if footage of them
teaching is found online. Participating in my research allows them to help spread the word about
Armenian dance, while simultaneously allowing them to remain relatively obscure for now as
they preserve the movements mostly through in-person lessons and performances.
It is difficult to find a substantial amount of literature on the subject of Armenian dance,
especially in English. The language restriction makes it extremely difficult for even people
8
within the diaspora to learn about folkloric dance, let alone anyone outside of the community. By
writing this thesis, I hope to make Armenian dance less of a mystery to anyone curious about its
implementation and style.
9
What is Armenian Dance?
A major point in documenting Armenian dance in Los Angeles was to find out about the origin
of some of the old, traditional village and regional dances. I did not learn about them as a child,
but knew they existed because they were talked about at the Armenian school I attended in
Canoga Park called AGBU Manoogian-Demirdjian. Most of my classmates took dance lessons
after school. The studios they frequented within the San Fernando Valley where I grew up taught
choreographed dances with folkloric components and influences. However, it seemed difficult to
find out about the ancient dances that created the foundation for everything my friends were
learning. This remained true for me even after I got involved in a short-lived Armenian dance
group as an undergrad at UCI. The dancers and instructors I had spoken to seemed to have a
limited knowledge about the much older dances or the inspiration behind certain movements.
Having grown up around Armenian dance, I could always recognize it by the accompanying
music or the circular formations of group dances, but did not know which components helped
categorize the movements or where they came from. Storytelling is an important aspect of the
routines, but what were the original tales that came from the generations before and what is the
best way for today’s performers to really understand how to portray a piece or what it might be
telling them and the audience? I believe the best way to understand is to take a look back at the
influences of some of the original positions of the hands and feet in village dances and analyze
how much of it has carried over into the Angelino way of connecting to an identity stemming
from a location12,000 miles away.
10
A Brief History Lesson
Figure 1: Map of the Kingdom of Armenia, circa 95-55 BCE
Figure 2: Map of modern day Armenia, 2016
11
Armenian folkloric dance has evolved over a span of several thousand years in villages all
throughout what is known as “Badmagan Hayastan” (“ Պ ա տ մ ա կ ա ն Հայ ա ս տ ա ն”) or historical
Armenia. At its peak (95-55 BCE),
1
it was a large empire known as the Kingdom of Armenia
that stretched from the Caspian to the Mediterranean and Black Seas. The sheer vastness of the
territory resulted in pockets of Armenian villages that still exist throughout the Middle East
today. They can be found in parts of modern-day Turkey, Iran, Georgia, Azerbaijan, Iraq,
Palestine, Israel, Lebanon and Syria. These villages, which were not eliminated after the land
was conquered by new ruling bodies in the Middle East were instead made to pay taxes.
2
They
remained mostly isolated pockets of Armenian culture that were influenced over time by the
traditions of the new countries they became a part of. Often this influence can be heard in the
music or seen in some of the movements of the dances. This in turn sometimes makes Armenian
routines difficult to distinguish from national Georgian or Turkish dances because of the mixing
of cultures within the region, and often leads to strong arguments between different countries
that claim that one culture is copying the other.
Eddie Atoian, an Armenian dancer of more than 30 years whose family comes from Tehran, Iran
and Tbilisi, Georgia explains it best when he says, “Dance is a mixture—a mixture of tradition,
mixture of region, mixture of culture, and [Armenia and its neighboring countries] borrow from
each other.”
3
He discusses the subtle differences between these dances and the possessive
1
“The History of Armenia.” Little Armenia. Accessed September 09, 2016.
http://www.littlearmenia.com/html/little_armenia/armenian_history.asp.
2
Morabito, Stella. “What You Should Know About the Armenian Genocide.” The Federalist. April 24,
2015. Accessed September 09, 2016. http://thefederalist.com/2015/04/24/what-you-should-know-about-the-
armenian-genocide/.
3
Atoian, Eddie. “Traditional Folkloric Armenian Dance.” Interview by author. February 24, 2016.
12
attitude many people, Armenians included, take on when claiming they are the original creators
of the choreography that developed in these shared regions: “They think it’s theirs, but it’s not.
But it’s ok! The origin, let’s say [is] the Caucasus Mountains. Most of the dances are from there.
You see a lot of Georgian dances. The fast ones are Georgian dances. You come south or east,
it’s slower. You come to the border between Iran and Armenia, like Kapan or Meghri, it’s much
more subtle.”
4
Atoian is realistic in his acknowledgement that the origins of the dances are often
almost impossible to trace because of the wide variety of people and ethnicities that have made
their way through the locations over time. However, there are subtle distinctions between which
country or ethnicity chose to interpret the choreography. These stylistic distinctions, which range
from speed to the positioning of the feet,
5
are the characteristics that have become a source of
regional and national pride. Especially as each region has gone on to develop their own version
of staple dances such as those representing harvests, marriage, war, and other known aspects of
life.
4
Atoian, “Traditional Folkloric Armenian Dance.”
5
Georgian dance, which is frequently confused with Armenian, can often be distinguished by looking at
the performers’ feet. Generally speaking, Georgians tend to go further up on their toes than Armenians do when
performing traditional routines. (Atamian, Alec. “Armenian Dance.” Telephone interview by author. January 09,
2016.)
13
Figure 3: Armenian orphans engaging in traditional folkloric dance at the Near East Relief Center after
being saved from the Genocide
Armenians in Los Angeles
There are reports of Armenians living in the United States as early as the 1600s. However, it
wasn’t until late nineteenth century that the first wave of immigration to the U.S. took place. The
change came about because of the Armenian Genocide which was then going on in the Ottoman
Empire. There were orchestrated massacres throughout much of Eastern Turkey, formerly a part
of historical Armenia, as early as the 1890s. The peak of the Genocide took place 1915-1917 and
culminated in the loss of 1.5 million lives and the total destruction of many of the old villages
that Armenians had been living in for thousands of years. Those lucky enough to escape created
the second, small wave of immigration to the U.S. in the early 1920s.
6
6
“Armenian Americans.” Countries and their Cultures. Accessed September 09, 2016.
http://www.everyculture.com/multi/A-Br/Armenian-Americans.html.
14
It wasn’t until the third and largest wave however that Armenians started making their way to
Los Angeles. Because of various instances of political unrest that took place throughout the
Middle East during the 1950s through the ’70s, Armenians began moving to the United States in
larger groups and heading out farther west to Los Angeles.
7
They mostly settled in Glendale,
Pasadena and Hollywood.
8
Today the largest population of diaspora Armenians resides in
Glendale.
9
In the 1970s the culture really started integrating itself within the city and the people went from
just surviving in their new home to allowing their communities to expand through art. This was
around the time one of the first dance studios opened up in the city, the Hamazkayin Ani Dance
Company.
10
Despite the establishment of multiple churches, schools and studios in L.A., there is still a
general fear that Armenians have about their culture diminishing. This largely has to do with the
Genocide, historically the chief threat of the ethnicity’s extinction.
Though the Armenian identity has incorporated itself into Los Angeles over time, there is an
aspect of seclusion that remains evident within the community, especially in the case of dance.
7
“Armenian Americans.” Countries and their Cultures. Accessed September 09, 2016.
http://www.everyculture.com/multi/A-Br/Armenian-Americans.html.
8
Little Armenia, which is considered to be the birthplace of the community within the city of Los Angeles,
is located in East Hollywood. Though established during the third wave of immigration to the U.S., the name was
not officially given to the area until October 2000. (“About Us.” Little Armenia. Accessed September 09, 2016.
http://www.littlearmenia.com/docs/about.asp.)
9
“Armenians in Glendale, CA.” Hayk the Ubiquitous Armenian. Accessed September 09, 2016.
http://www.hayk.net/destinations/glendale-ca/.
10
“About Us.” Hamazkayin Ani Dance Company. 2008. Accessed September 09, 2016.
http://www.anidancecompany.org/index.html.
15
This is a leading force in the preservation movement, wherein folkloric routines are continuously
taught and practiced so that they may be passed on to future generations, or new routines are
taught based on Armenian steps in order to keep the younger generation interested in. But it also
causes a strong divide when it comes to the matter of allowing Armenian dance in Los Angeles
to evolve. There are traces of evolution by way of adjustments in choreography and modern-
based dance studios that combine old steps with new ones. However, there is no real presence of
a modern movement within Armenian dance. Modern is still traditional, just no longer
considered folkloric.
11
Is there then a recognizable new school of Armenian dance or an
Angelino-Armenian brand of dancing? The answer so far seems to be no. There is however a
deep desire to make sure people keep dancing and through this continual push to practice
Armenian dance, there is a chance that future generations is L.A. will develop their own
distinguishable style, if that’s something the community decides it wants.
Overlying Characteristics of Folkloric Dance
Development and Evolution
Because Armenian dance in Los Angeles is so roots-heavy it is important to first explore its
origins in order to understand what makes Armenian dance Armenian, then see how much of it
has survived the oversea voyage to L.A.
11
Several members of the Hamazkayin Armenian Dance Company confirmed that they do not consider
themselves modern dance because of their heavy reliance on traditional Armenian steps. (Ouzounian, Hovsep.
“Modern Armenian Dance.” Interview by author. November 19, 2015.)
16
Like with most cultures, dance has been a prominent art form of the Armenian people since the
earliest days of the civilization’s development around 3,500 BCE.
12
Despite inevitable influences
from other countries, there are many qualities that can be found throughout the regions once
inhabited by the civilization, regardless of the type of Armenian dance. According to Tom
Bozigian, who has been dancing Armenian folkloric dance since 1943 and has spent much of his
life cataloguing traditional dance straight from village sources throughout historical Armenia,
13
villagers have modeled some of the dances after what they observed around them. This includes
local animals such as goat and sheep, aspects of the natural land that surrounded their homes,
such as fissures and mountain elevations and the movements of the people performing everyday
tasks, such as weaving and farming.
14
The gestures and movements that go into each dance stem from the desire to tell a story, create a
mood or imitate life. Feet and leg movements are primarily used to express strength in stomping,
or wobbliness as a symbolic representation of walking on uneven terrain. London-based
choreographer and dancer Shakeh Major Tchilingirian
15
believes that hand gestures are used for
softer, flowy movements or to convey a deeper sense of emotion. It is difficult to assign dates to
the types of movements present in dances that have evolved steadily over long periods of time.
12
“The History of Armenia,” littlearmenia.com.
13
Bozigian, Tom. “Traditional Folkloric Armenian Dance.” Telephone interview by author. January 05,
2016.
14
Bozigian, Tom. “Traditional Folkloric Armenian Dance.” Interview by author. March 02, 2016.
15
Tchilingirian regularly hosts dance workshops throughout all of Europe. Some of her oldest
performances date back to the early 1970s. (“Early Years.” Shakeh Major Tchilingirian. Accessed September 09,
2016. http://www.oxbridgepartners.com/shakeh/index.php/gallery/gallery1.)
17
However, many of the dances I observed in folkloric studios consisted of bulkier motions that
involve harder transitions. Atoian, who is a member of Bozigian’s troupe and has been dancing
with him for over 10 years, has stated that many of the traditional routines have been polished
over time to appear more fluid. He describes the process as such: “They take a lot of movements
from the old dances, the old styles and the old village dances, and they put them together in a
more modern way [with] more fluid movements…because, remember, peasants are not fluid
people. They’re stocky and hard, so the dances are, you know, stocky, and [grunt, grunt] hard.”
16
The majority of what we know about dance has been passed down through oral tradition and in-
person dance lessons, therefore many choreographers have likely changed or adjusted steps over
time. These changes are sometimes documented, such as Bozigian’s knowledge of well-known
conductor and choreographer Tatul Altunyan’s
17
addition of a flowy upward and downward
swaying of the arms to the classic Martoonuh Kochari, which comes from the northern side of
Lake Sevan, located in modern-day central Armenia. In describing the steps Bozigian comments,
“When you turn, this [raises arm] is put up and this [lowers arm] is down because that was
performed on stage and they added that so it looks very, very nice,”
18
indicating that the
modification of the original routine was created purely for aesthetic purposes. However, in the
case of dances that come specifically from villages without being performed on stage, it is
impossible to say by whom or how they have been adjusted over the many millennia of
Armenia’s history.
16
Atoian, “Traditional Folkloric Armenian Dance.”
17
Tatul Altunyan was the founder of the Armenian song-dance state ensemble in 1938. Named after him,
the Tatul Altunyan State-Honored Song Dance Ensemble, as it is now called, still exists to this day. (“T. Altunyan
State Honored Song and Dance Ensemble.” Zuider Strand Theater. Accessed September 09, 2016.
https://www.zuiderstrandtheater.nl/voorstellingen/2747/Upload_Klassiek_de_sterren_van_YouTube/?redir=1.)
18
Bozigian, “Traditional Folkloric Armenian Dance,” March 02, 2016.
18
Gendered Dancing
One thing that remains true however, is the influence of gender roles in different dances. The
majority of the routines were once practiced specifically by men, especially the ones surrounding
war. In an article written by Tchilingirian titled “Armenian Folk Dance: A Celebration of Life,”
she describes the men’s movements as “strong, fast and energetic.”
19
Women’s hand movements
have been used to portray gentleness and tranquility in opposition to men’s powerful and forceful
movements in most performances. Regarding the women’s role in Armenian dance, Tchilingirian
writes: “In women’s folk lyrical style, dance draws inspiration from the natural world with
gestures illustrating the flow of water or scented breezes, as in the dance (Tsaghkats Patent) or
the fertile and sacred earth, the protective mountains of the homeland or auspicious animals, like
the crane (kroong) or the deer (yeghnik).”
20
The emphasis on protection is also evidence of the
matriarchal society Armenia was during pagan times.
21
Over the centuries it has switched to a
patriarchy
22
like the majority of its neighbors in the Middle East, but it is through dance that we
19
Tchilingirian, Shakeh M. “Armenian Folk Dance: A Celebration of Life.” Shakeh Major Tchilingirian.
Accessed September 09, 2016. http://www.oxbridgepartners.com/shakeh/index.php/articles/11-armenian-folk-
dance-a-celebration-of-life-shaken-major-tchilingirian.
20
Ibid.
21
A further indication of Armenia as a matriarchy is the Mother Armenia ( Մ ա յ ր Հա յ ա ստ ա ն or Mayr
Hayastan) statue, which is a female personification of Armenia holding a sword. She was constructed in 1950 as a
historical tribute to women in Armenian society and stands in Victory Park high above the capital of Yerevan as a
guardian of the city. (“Mayr Hayastan / Mother Armenia - Victory Park (Yerevan, Armenia) - Figurative Public
Sculpture.” Waymark. Accessed September 09, 2016.
http://www.waymarking.com/waymarks/WMJ3Q0_Mayr_Hayastan_Mother_Armenia_Victory_Park_Yerevan_Ar
menia.)
22
Today the country has many problems regarding violence against women and sex selective abortions due
to a believed lack of women’s value in Armenian society. Currently, Armenia has no law criminalizing domestic
violence. (“Armenia - Events of 2015.” Human Rights Watch. 2016. Accessed September 09, 2016.
https://www.hrw.org/world-report/2016/country-chapters/armenia#d91ede.) And publications such as The
Economist, report heavy distortions in statistics regarding the amount of boys born in comparison to girls—currently
19
are able to form a connection to the past and through which some aspects of the culture have
been preserved.
Historically, war dances are only meant to be performed by men.
23
However, today women are
often seen joining in on military dances. Bozigian noted the change when discussing his group’s
interpretation of a dance called Khoshabi, a village dance marked by battle-based characteristics
in movement located within the Urmia Lake region in modern-day Iran: “If you want to trace a
lot of dances down to military, you can do that. It was military-themed, but a bunch of it lost its
meaning and everybody dances it. That had a lot to do with women’s freedom to dance, while
the military movements were lost and it became a male and female dance together.”
24
The fact
that the meaning of the dance within the culture has translated to an artistic expression everyone
is welcome to join is an evolutionary step that has more than likely allowed for better
preservation of the routine by inclusively permitting a wider range of people to participate and
take interest in the dance. It is unknown whether this concept took shape in prominent regions of
the diaspora such as Los Angeles, but it is now practiced in Armenia as well.
25
more than 115 to 100, as opposed to the natural 105 to 100, which follows a current trend in the Caucasus region
that Georgia and Azerbaijan have additionally fallen in line with. (“Gendercide in the Caucasus.” The Economist.
2013. Accessed September 09, 2016. http://www.economist.com/news/europe/21586617-son-preference-once-
suppressed-reviving-alarmingly-gendercide-caucasus.)
23
Tchilingirian, “Armenian Folk Dance: A Celebration of Life.”
24
Bozigian, Tom. “Traditional Folkloric Armenian Dance.” Interview by author. March 09, 2016.
25
This is evidenced by Gagik Ginosyan, an Armenian dance scholar who, like Bozigian, collects folkloric
dance. He is the leader of a large movement in Armenia that strives to teach all village dances to all regions of the
country and expand the peoples’ knowledge about traditional Armenian dance. Ginosyan is the creator of the
folkloric group Karin, which posts a lot of information about traditional choreography and demonstrational videos
on their websites. Despite his traditional roots, he also often features mixed gender dancing, indicating that this
practice is upheld in Armenia as well. (« Կ ա ր ի ն» Ավ ա ն դ ա կա ն Ե ր գ ի եւ Պար ի Հա մ ո ւյ թ. Accessed September
09, 2016. http://karinfolk.am/.)
20
Structure
Figure 4: Arevakhach in the center of a cross on a monument in Shamshadin, a historical region in the
modern-day province of Tavush, Armenia
One of the most distinguishing characteristics of Armenian dance is that it is performed in a
circle. Ancient “solar crosses” known in Armenian as “arevakhach” (“ ա րե վա խ աչ”) are a
symbol of eternity and light and have been found as decorative stone carvings all throughout the
country since pagan times.
26
They are initially swirling swastikas that carry the original meaning
of the symbol, which has to do with enlightenment.
27
As indicated by the picture above, the sign
has become permanently cemented in the culture by crossing over into Armenian Christian
26
“The Six Pointed Star of Armenia.” PeopleOfAr. 2015. Accessed September 09, 2016.
http://www.peopleofar.com/2012/01/14/the-six-pointed-star-of-armenia/.
27
Swastikas have been used in a wide variety of belief systems for thousands of years before they took on
the negative Nazi connotation. (“History of the Swastika.” United States Holocaust Memorial Museum. 2016.
Accessed September 09, 2016. https://www.ushmm.org/wlc/en/article.php?ModuleId=10007453.) They can be seen
on various statues and buildings throughout modern and historical Armenia, including Ani Fortress Tower, which
dates back to the tenth century CE. The city of Ani is now located in modern-day Turkey.
21
symbolism, where it is often directly incorporated with images of the cross.
28
In symbolizing
eternity, the arevakhach has also come to signify unity. Although the circular dance formation is
not a direct representation of this sign, unity is a common theme in Armenian village dances.
Folkloric dances were originally performed by villagers in their main square during special
occasions. Dancing was and always has been a way for the villages’ members to feel closer and
develop a tighter bond with one another. Tchilingirian discusses this in her piece, stating:
“Originally everyone in the community would join in closed or open circle(s) where the leader(s)
at the beginning of the line were ascribed special status. Men, women and children would all join
in. Dances would mark special community occasions, such as births, marriages, harvest, victory
at battles, deaths or losses.”
29
Nowadays, the majority of the dances are done in a half-circle so that audience members can see
the performers’ faces and better appreciate the stretching of their arms and legs. The leaders
position themselves at either end of the line of people. Almost always men, their role is to make
sure all of the dancers are in sync and to change the direction or the speed of the dance mid-
routine in order to keep things interesting. They do this either by whistling loudly or waving a
red or white handkerchief in their free hand in order to attract attention. The rest of the group
then makes eye contact and adjusts its movements accordingly. Sometimes these changes are
28
Armenians became the first country to adopt Christianity as a state religion in the year 301 CE, upon
which it became a major part of the national identity and culture, so much so that much of the pagan rituals were
aggressively forgotten or set aside in favor of Christian practices and values. That is one reason why many believe
that much of the information about pagan customs has been lost. (Nazaryan, Gevork. “Prominent Armenians.”
HyeEtch - The Armenians. Accessed September 09, 2016.
http://www.hyeetch.nareg.com.au/armenians/prominent_p2.html.)
29
Tchilingirian, “Armenian Folk Dance: A Celebration of Life.”
22
planned in rehearsals and anticipated during performance. Other times, they are spontaneous or
improvised, in which case the sudden shifts are usually attempted with advanced dancers. Being
appointed the leader of a dance is not something that necessarily goes to the person with the
lightest feet. Leaders are often selected based on their charm. The person who is the most
confident and enjoys him or herself the most is usually the one who takes the lead.
30
Direction
Most shoorchbars ( շ ուրչ պ ա ր) or circle-dances typically move counter-clockwise, or to the
right. This is said to be the direction of happiness or pleasure
31
because dance is seen within the
community as an overall joyous activity, even when involving work. This is a strong indication
of Armenians’ traditional attitude toward household chores, which are seen as a positive and
even celebrated part of everyday life.
There are, however, a few routines that move clockwise to the left, which Satenik Ashikyan, a
journalist from Armenia who practices and studies traditional folkloric dance, calls the direction
of duty. They are called tsakh bars ( ձ ախ պար) or “left-moving” dances
32
and seem to have no
other formal name attached to them, regardless of the region they are performed in. Duty here
refers to the community members’ duty to respectfully lay the deceased to rest.
33
30
Bozigian, Tom. “Traditional Folkloric Armenian Dance.” Interview by author. January 11, 2016.
31
Ashikyan, Satenik. “Traditional Folkloric Armenian Dance.” Interview by author. March 15, 2016.
32
Ibid.
33
Even today, Armenian-style funerals are one of the cultural aspects that are most thoroughly followed by
many members of the diaspora, including those residing in Los Angeles. They are carried out traditionally and with
deep notions of respect both for the person who has passed and the grieving family. In this case, respect specifically
23
Although the left-moving dances are almost always an indication of somber occasions, such as
the commemoration of a member of the community who has passed on, according to Ashikyan,
the dances are not necessarily slow or heavy. Many are fairly quick and seem light-hearted
because the dance is meant to be a celebration of that person’s life. Ashikyan believes that
another reason for this may be that the meaning has been lost over time making tsakh bars just
another dance in the bank of Armenian folkloric routines that people now perform with little
thought as to their original significance.
34
Either way, these dances are no longer a part of
contemporary Armenian funeral customs. Coupled with the fact that these routines are not often
performed in front of an audience, many people believe that there are no folkloric dances that
have to do with death.
35
They are practiced in Los Angeles mostly for fun.
means deep mourning for the occasion of death and little aspect of celebrating the person’s life. These rules are
rarely broken. This information comes from my personal experience as an Angelino-Armenian.
34
Ashikyan, “Traditional Folkloric Armenian Dance,” March 15, 2016.
35
This information comes from my personal experience going to Armenian funerals over the years and the
two commemoration ceremonies that follow—the first taking place 40 days after the burial and the second on the
first anniversary. Even many of the experts I spoke to, including Bozigian and Atoian, did not know about death-
related or left-moving routines because of the disconnect with past societal norms relating to the subject.
24
Holding On to One Another
Figure 5: Traditional pinky-hold
When it comes to forming a circle or line, there are a few different grips dancers use to hold on
to each other. The first is the pinky-hold during which dancers link their little fingers together.
The pinky-link allows dancers to have more range of movement and is, therefore, used in more
energetic dances marked by quick steps or more fervent arm sways. When the purpose of the
dance is to showcase power and strength, dancers hold on to each other with cupped hands or
tight, balled fists. The stronger the grip, the more it inhibits the movement of the arms, draws
bodies closer together and pulls the half-circle into a structure resembling a wall meant to act as
a visual representation of a unified force that intimidates and moves against the enemy.
36
This
becomes the basis of the warrior dances often found in regions like Van, now located in modern-
day Turkey. Bozigian further describes the pinky-hold and its origin: “The harder the dance, the
36
Bozigian, “Traditional Folkloric Armenian Dance,” March 02, 2016.
25
stronger the movement, the more or less likely they’re going to hold this [imitates the pinky-
hold]. This originated from solo dances gravitating into holding hands. And this finger [signals
the pinky] caused the least amount of movement to be restricted.”
37
A Few Categories of Dance
Wedding Dances
Not everyone practices traditional wedding dances at Armenian weddings in Los Angeles. When
it comes to family dances, many people have disconnected from their village traditions, which
have individual versions of routines related to marriage. They instead just dance what they know:
a simple “shoorchbar” or “circle dance.” There is, however, knowledge about some of the
matrimonial routines performed as part of stage productions or among some members of the
community that have kept closer ties with their heritage.
38
Despite Armenia’s strong connection with the Armenian Orthodox Church, many of the old
dances associated with weddings have pagan roots. The meanings behind the routines have been
lost over time. It is, however, a possibility that these dances are originally meant to be a tribute to
the old gods or idols, such as Anahit, the ancient goddess of fertility (a title once assigned to
another deity, Nar), birth, healing, wisdom and water. She was also known as the head of the
Armenian goddesses, the equivalent of the Persian goddess Anahita, or a combination of Greek
37
Bozigian, “Traditional Folkloric Armenian Dance,” January 11, 2016.
38
My personal experience regarding weddings and traditional dances is that simple variations of
shoorchbars are the only routines that many Armenians know to dance at weddings, at least the ones I have been to
in Los Angeles. However, there are people such as native-Angelino Atamian, who are still very much connected to
their home dances and therefore perform them at festive occasions, weddings included. (Atamian, “Armenian
Dance.”)
26
goddesses Aphrodite and Artemis. Another possibility is that the dances are for Astghik, who
became known as the goddess of fertility, love, maidenly beauty, water and springs
39
through a
combination of post-Alexandrian and Indian influence; she is also associated with Aphrodite.
40
Shavali ( Շ ա վա լ ի)
Shavali, also known as Knamineri Bar ( Խն ա մ ինե րի Պ ար), which means the “the dance of the
in-laws” is the primary wedding dance. The dance originally comes from Karin, today otherwise
known as Erzurum in modern Turkey. It is not known if the in-laws are a reference to the parents
of the bride, groom or both. Like many other traditional dances it has come to be performed by
the majority of guests at weddings with the in-laws often leading the dance, although it is more
common for participants to be middle-aged because of its association with the older generation.
41
Also like many dances that have been adapted to the stage, the formation has generally changed
to that of a half-circle in contrast to the traditional closed circle still seen at wedding ceremonies.
The pinky-hold is the preferred method for performers to connect with one another so as to allow
the most range in movement. It is characterized by swaying and short, interrupting left-moving
steps before the entire group continues to cross their legs and shift to the right at a 6/8 or 10/16
39
Astghik eventually gained more prominence in Armenia by influence of Hellenic culture, which
combined her pre-existing characteristics and traits with that of Aphrodite. Before then the creation of Astghik had
more Syrian influences. As she became steadily more important to the people of Armenia, she took over some of
Anahit’s responsibilities as goddess. (“Hellenistic Culture in Armenia.” Institute for Armenian Studies of Yerevan
State University - CULTURE. Accessed September 09, 2016.
http://www.armeniaculture.am/en/Encyclopedia_hellenistakan_mshakuyty.)
40
“Pantheon of Armenian Pagan Gods and Goddesses.” Armenian Mythology. Accessed September 09,
2016. http://www.armenian-history.com/Armenian_mythology.htm.
41
“ Շ ա վ ա լի.” « Կ ա ր ի ն» ա վ ա ն դ ա կ ա ն եր գ ի եւ պ ա ր ի հ ա մ ո ւյ թ. Accessed September 09, 2016.
http://karinfolk.am/?ps_promotion= շ ա վ ա լի.
27
tempo. As the left and right feet are alternatively extended forward, they remain briefly in the air
before being placed onto the ground. Although there is no set instrument exclusively combined
with the Shavali, the shvi ( շ վի), which is a light flute that emits a sound similar to a person
whistling, is often used for its light-hearted tone
42
and as a relief from the brazen sound of the
zurna ( զու րնա), a woodwind instrument that resembles an oboe and sounds like a bagpipe,
which demands too much exuberance for a dance that is considered to be quick, but gentle. Some
people may choose to feature a zurna or another heavier sounding instrument however if they
intend to perform it at a higher speed.
43
Shoorchbar ( Շո ւ րչպա ր)
Today, Armenian dances at weddings mostly consist of a simple shoorchbar so named after the
typical formation most group dances take on, which consists of a closed circle and represents the
feeling of unity connecting everyone at the event together. Despite the fact that it is not strictly a
folkloric routine, I think it is important to note because it has become so ingrained in Armenian-
American culture that it is seen at least once at every celebration. It may have been created by
either East or West coast Armenian-American immigrants as early as the 1960s or ’70s
44
or it
may have been simple choreography that was carried over directly from Armenia. I have decided
to include it in the wedding section because weddings are the biggest party events within the
42
Ashikyan, “Traditional Folkloric Armenian Dance,” March 15, 2016.
43
“ Շ ա վ ա լի,” karinfolk.am.
44
Oakes, Dick. “History of the Armenian Dance.” Phantom Ranch. Accessed September 09, 2016.
http://www.phantomranch.net/folkdanc/articles/history_armenian_dance_lind-sinanian.htm.
28
culture, but shoorchbars are also performed at baptisms, big birthdays and engagements as well.
The music often heard at weddings and associated with this type of dance comes from the zurna.
The most well-known routine of these shoorchbars is very simple: everyone holds their arms out
to the sides of their bodies, bends them at the elbow while keeping their hands floating slightly
above their shoulders, and with their feet together and pinkies linked, start the night off with the
routine known to almost every Armenian-American household and internationally as well.
45
The
crowd moves to the right by first stepping out with the right foot, then crosses behind it with the
left while simultaneously swinging its arms forward and down, before bending them up at the
elbow again and placing the feet together. The final step of the dance is to bend at the knees
twice, moving the lower body to the left as the upper body swerves slightly to the right, after
which the steps are repeated over and over again until the song changes. Although this dance
may resemble other Middle Eastern dances,
46
this combination of simple steps, some of which
make up routines seen in other folkloric dances of the Caucuses region, have become simple
enough to be widely spread throughout much of the Angelino community. This is another
example of a small step in the evolution of Armenian dances in the diaspora. Their simplistic
quality makes it easier for people who are farther away from their homelands to remember the
movements and pass them on to future generations. One could also argue that the dominance of
45
This estimation comes from the fact that I personally know Armenians in Argentina who are familiar
with this dance, leading me to believe that it is extremely widespread.
46
The pinky-hold, which is mostly associated with Armenian dance by Angelinos, is also seen in Kurdish,
Assyrian and Turkish folkloric dances, just to name a few. This is mainly, due to the heavy melding of cultures that
took place in the Caucuses area. Angelinos are more likely to site pinky-holds as Armenian because there are more
Armenians living in this city than Turkish, Assyrian or Kurdish immigrants. Therefore anyone outside of these
Middle Eastern cultures who may be familiar with this type of hand-holding was most likely exposed to it by a
group of Armenian dancers.
29
these routines over the more complicated village dances fuels the fire for traditional folkloric
groups to take on an insular approach to their preservation.
Warrior Dances
Warrior dances are among the most frequently practiced routines throughout both modern and
ancient Armenia and the Los Angeles community. Featured in almost every practice I attended
with the different instructors, they rank among some of the most popular forms of dance because
of their patriotic and encouraging movements. They are important for representing the strength
of a group of people whose history often shows them defending their land from neighboring
threats and enemies, as evidenced by the large loss of territory Armenia has experienced from the
time it was a fairly-sized empire during 95-55 BCE.
Although the dances vary depending on the region they come from, there are common
characteristics that can be found in many of them. These include an emphasis in structure and a
stomping of the feet as a way of accentuating the power of each village’s soldiers and army.
47
They are often performed to music consisting of the heavy drumming of dhols ( դհո լ), which are
double-headed drums, and the loud playing zurnas, all of which are meant to push the dancers
harder in their movements.
48
Warrior dances were usually performed in village squares either
before or after battles in order to get soldiers (which were in many cases the village men) excited
about the upcoming fights or to commemorate the battles, especially in times of victory.
49
47
Tchilingirian, “Armenian Folk Dance: A Celebration of Life.”
48
Bozigian, “Traditional Folkloric Armenian Dance,” March 02, 2016.
49
Tchilingirian, “Armenian Folk Dance: A Celebration of Life.”
30
Kocharis ( Ք ոչարի)
Almost every region of historical Armenia has its own version of a kochari. Kocharis are
modeled after the ram or goat, which is a prominent animal within the mountainous regions of
the Armenian Empire. The name is derived from the Farsi verb romanized as “quch,” which
means “to ram” because of the bucking movements in the dance. Some of the regions that are
known for their kocharis are Moush, Van, Haleh (or Halai), Martoonuh, Karin and Sgherdi.
Work and Harvest Dances
Although many regions throughout Armenia have developed their own versions of work dances,
they are not commonly seen, at least not in Los Angeles. Those who seem to know more about
them are generally artists and instructors who go directly to villages where the dances are still
preserved. Although these dances continue to exist in Armenia, one reason why they may be
taught less often in L.A. could be attributed to the fact that the movements are seen as less
exciting. According to Bozigian, they were formulated mostly as a way to imitate and celebrate
everyday life: “It’s natural from the movements, whether they see it from the animals or they see
it inside chores, work chores, outside picking grapes, picking the fruit from the trees…everything
that’s involved in life has evolved into those dances.”
50
The iconic movements of the dance rely
heavily on the hand gestures associated with choreography based off of using tools such as
scythes to cut wheat, and gestures imitating picking grapes to make wine and spinning thread to
50
Bozigian, “Traditional Folkloric Armenian Dance,” March 09, 2016.
31
make clothes. Based on what instructors such as Bozigian have said, different regions have
different versions of each work dance depending on local resources and customs.
51
Harvest-style dances were performed in village squares during special events related to
harvesting crops in the fall.
52
These pagan dances were usually attributed to the gods Astghik and
Anahit, and also the god Aramazd, who was known as the creator of all gods and goddesses, of
heaven and earth, and was responsible for the earth’s fertility. He is widely associated with the
Greek god, Zeus.
53
Vartavar, otherwise known as the “Festival of Roses,” is the only remaining
pagan holiday celebrated in the country today.
54
It once took place throughout all of historical
Armenia. During this time, Astghik was venerated with tributes of roses and celebrations of
water splashing. It was also the mark of the beginning of the harvest season: “With equal delight,
Armenians rejoiced over agricultural abundance during Vartavar. It either preceded or coincided
with the feast of the harvest, which was the Armenian New Year (Navasart-Amanor). It was
most likely held between August 1 and 6, each year.”
55
Traditionally, this also included music
and dancing, which would vary depending on the region.
51
Bozigian, “Traditional Folkloric Armenian Dance,” March 09, 2016.
52
Tchilingirian, “Armenian Folk Dance: A Celebration of Life.”
53
“Pantheon of Armenian Pagan Gods and Goddesses,” armenian-history.com.
54
It has since been adopted by the Armenian Church due to its popularity among the people. (“Today
Armenia Celebrates Vardavar – One of the Favourite and Jolliest Holidays for Children and Adults.” Public Radio
of Armenia. 2014. Accessed September 09, 2016. http://www.armradio.am/en/2014/07/27/today-armenia-celebrates-
vardavar-one-of-the-favourite-and-jolliest-holidays-for-children-and-adults/.)
55
“About Vartavar.” Armenian Apostolic Church. Accessed September 09, 2016.
https://www.armenianchurch-ed.net/feasts/transfiguration-of-the-lord/about-vartavar/.
32
Figure 6: Fruit-picking hand gesture
“Scythe Dance” (“ Գ երա նդի Պ ա ր”)
“Scythe dances” are among the most widely spread throughout historical Armenia. Though
lacking an official name (as far as my research is able to show), they are commonly performed in
various villages with prominent farming communities. The areas in Armenia where crops such as
wheat are harvested include the central valley and other flatland regions throughout both modern
and ancient Armenia.
It is more difficult to track down exactly which villages include a version of “scythe dances.”
However, a common identifying characteristic includes an extending and retracting arm motion
at an angle that suggests the performer is slicing through the air as though harvesting wheat. The
movement is done at a 5/8 rhythm to mimic the natural beat at which farmers gather the crop.
Although the footwork isn’t decidedly set as a standard for the dance and most probably differs
depending on the area of origin, it is more likely that the steps are twisted and purposely
33
unsteady because they come from flatland regions, which are known for their cracks and
fissures.
56
Uncategorized
Many folkloric dances do not belong to any one specific category. They may have been stories
that have been interpreted into dance, representations of historical events, brought to Armenia by
another culture or a combination of the three. An example is the various versions of the often-
performed tamzara, which are originally based off of an Assyrian dance created as tribute to
Tammuz, the god of food and vegetation.
57
These routines can be seen as standing alone, more
tied to their origin stories or regional pride than any one major dance category. In some cases,
this helps them retain a stronger identity for being a unique amalgamation of many factors that
have embedded them as part of the culture. Their blended background makes them the greatest
proof of evolution within the art form of Armenian dance.
Non-Folkloric Performance Dances
When it comes to Armenian cultural dance, the label “modern” has more to do with the creation
of new choreography for fun or performances. The steps are usually variations of classical
movements found in most traditional routines, which includes kicking up the knees, dancing in a
circle, pinky-grasps and other details repeatedly discussed in this paper. In some cases the new
dances are “salads” as Atoian refers to them because they combine several steps from various
56
Bozigian, “Traditional Folkloric Armenian Dance,” March 02 and 09, 2016.
57
“Tamzara.” World Public Library. Accessed September 09, 2016.
http://www.worldlibrary.org/articles/tamzara.
34
villages and regions throughout Armenia to create something new and representative of
Armenian dance
58
—strong movements of the feet from the men and dainty skips for the women.
Some of the newer movements that are incorporated into the routines are based off of what the
choreographers may feel or want to convey, the occasion the troupe is performing for or how the
dancers interpret the music they have to set the steps to.
59
The newer arm movements look as
though they may be influenced by contemporary forms of dance because of their upward
elongation. The movements I’m referring to do not seem to have a specific origin attached to
them. When observing practices and interviewing dancers in non-traditional groups such as
Hamazkayin Ani Dance Company about the choreography, the responses were often related to
either wanting to create something that looks similar to other forms of Armenian dance or
movements that are intentionally unique.
Another reason for the creation of modern dances is for the purpose of being more suitable to the
stage. Higher kicks and wide-spreading arms are not only more exciting to watch, but also easier
for viewers to see. This is proven by the success of Tatul Altunyan’s kochari modification, which
became so popular that 70 years later some instructors prefer to teach his version as opposed to
the less flashy original village dance. Some folkloric routines are stiffer and many of the motions
seem similar to someone not accustomed to watching Armenian dance. However, rather than just
a simple polishing of the movements as preferred by moderate-level instructors who teach
folkloric routines, full movement swap-outs are sometimes preferred for the sake of more
variation and creativity.
58
Atoian, “Traditional Folkloric Armenian Dance.”
59
Baghdasarian, Lilian. “Modern Armenian Dance.” Interview by author. November 19, 2015.
35
Old, New and Somewhere in Between
Positions in the Debate
Typically, there are about three different positions instructors take regarding the teaching of
Armenian dance within the city of Los Angeles. Members of these groups and their work have
been discussed all throughout this paper for their contribution to the L.A. dance scene. Below is
a clear break down of some of the instructors’ stances about how Armenian dance should be
taught along with examples of their work, which showcase these differing teaching styles.
The first is that of the extreme traditionalists who prefer to teach and learn folkloric village
dances as closely as possible to the original routines. Their main focus is the absolute
preservation of thousands of years of history. Much of the meaning behind some of these dances
has been lost. By not changing the routines, they hope to prevent further loss of information in
the future.
The second group consists of moderates who accept minor changes to the traditional routines.
Often people who fall into this category allow an occasional tweak or a willingness to polish
certain movements, which they believe helps to ensure that future generations will better be able
to remember and pass on the dances. Moderate instructors sometimes even teach old dances that
have become classical pieces well-known to members within the community. Examples would
be choreography from plays, operas or ballets that became famous on stage and have been
reproduced in future renditions over time.
36
Finally, there are the “modern” dance performers and instructors who still practice traditional
dance in that the movements are based around Armenian historical steps, but mix in
contemporary steps to create new routines. Those who belong to this group often step outside the
box with their choreography, but staunchly refer to themselves as traditional Armenian dancers.
However, these movements are usually applied to choreography of the moment in preparation for
specific events. There is no key individual style that comes together to form a new school of
Armenian dancing, despite the innovation involved in preparing a variety of the routines for the
stage.
The main source of discontent among these groups centers on the authenticity of movement.
There are those who claim that some instructors teach altered versions of old routines or their
own combination of steps, and label the new steps as being authentic.
60
Similarly, some of the
instructors teaching Armenian dance today believe that dance, like other aspects of culture,
evolve and that as long as the moves are based on the general aesthetic of folkloric dance and
come from within the community, they can still call the steps traditional Armenian. Although
there are some who believe that a balance between traditional and modern is the way to go, the
main reason why many people take sides on either end of the spectrum has more to do with the
age-old concern among the over 6 million immigrants living outside of their homeland: what is
the best way to preserve the Armenian heritage?
60
Of all my interview subjects Bozigian is the main challenger of “fake authentic dancing.” (Bozigian,
Tom. “Traditional Folkloric Armenian Dance.” Interview by author. March 07, 2016.)
37
A Look at the Teachers, Students and Their Philosophies
In order to get a better idea of the different perspectives, I attended practices at three different
studios within the Greater Los Angeles area, each with their own ensembles and classes where
they exercised their personal philosophies relating to cultural dance and preservation.
It is often necessary to squint while driving around various parts of Glendale and other regions
within the Los Angeles area where there is a high concentration of Armenian-Americans in order
to find an Armenian dance studio. The signs are rarely in English and the studios themselves are
often hidden among a slew of other compact-looking businesses that line the streets. Locating
them can be difficult for anyone the first time around because of their discreet exterior. Minimal
advertising also makes these dance centers difficult to find. The majority of the work is
advertised through word of mouth with little more than a simple website online for confirmation
of various groups’ existence.
Traditional – Satenik Ashikyan
The instructor and her philosophy toward dance
Ashikyan is the most traditional
61
out of any of the people I observed because of her deep
dedication to preserving Armenian village dances exactly as they are. She started dancing with
Bozigian 10 to 12 years ago, but became the head of the Urmia Armenian Society dance group
about four years ago after taking initiative as the ensemble’s most active member. Rather than
61
Ashikyan, Satenik. “Traditional Folkloric Armenian Dance.” Interview by author. March 02, 2016.
38
include any flamboyant movements that were added to the dances by choreographers over the
years, she teaches and performs the movements as close to their original form as possible.
62
Ashikyan keeps the lowest profile out of all of the instructors. She is well-known among her
circle of dance enthusiasts, but does not advertise or really discuss much about modern dance.
Instead she is very much in line with Gagik Ginosyan’s school of thought (having been a student
of his for four years) about the need to have Armenians from all parts of the world learn about
the traditional village routines that all together make up Armenian dance culture.
The dancers
Many of the dancers in Ashikyan’s group are much like the ones found in Bozigian’s advanced
ensemble. The majority has a lot of experience, teach other classes or collect information about
dance in much the same way she and Ginosyan do; Bozigian is one of her students.
62
Ashikyan, “Traditional Folkloric Armenian Dance,” March 15, 2016.
39
Description of two rehearsed dances
Figures 7-8: Satenik Ashikyan demonstrates the steps to the Shavali by hopping on her right foot (left), then
crossing her left foot in front while moving to the right (right)
Shavali ( շ ա վ ա լի) or knamineri bar ( խ նամ իների պ ար). Although it comes specifically from
Karin, as explained in a previous section, the Shavali became widespread over time as a
traditional Armenian wedding dance. This most likely did not come about until more recent
history of immigration despite the dance being a few thousand years old. You can see the
definite sharing of various qualities in dances like kocharis and ververis. However it is not
common for one village to completely adopt an entire custom or routine without creating a
personal version of it over time. This leads to the new version of the dance taking on the name of
the village that modified it, e.g. Sasouni Shavali (which does not exist). As far as we know
however, the Shavali comes specifically from Karin, which means that a great contributor of the
spreading of this dance were immigrants, like many of the people in Ashikyan’s group who help
keep the tradition alive today.
Despite originally having been meant for the in-laws in the family to dance (hence the name
“knamineri”), the routine is now performed by everyone, as with most Armenian dances. In
40
performance-type settings there is a section during which the women dance by themselves. This
is to “showcase the beauty”
63
of the steps and the daintiness of the movements, which, depending
on the leader of the ensemble, can be performed delicately or in forward stomps more consistent
with the old village methods of making sure you make a point with your dancing. Ashikyan’s
group lands somewhere in between. The members perform it together for the purpose of having
everyone learn the routine. During their occasional performances at various Armenian events,
they dance as a unit much like they do during their practices.
The Shavali’s small bouncing beats are what makes it enjoyable to perform. The dancers’ feet
never stop moving as they accompany every step with arm swings that form small, forward-
moving circles in the air as if to keep balance while constantly moving the feet and body.
Connecting at the pinky, they push their arms outwards in the opposite direction of their
footwork, which consists of stepping out with the right foot, joining the left foot to it and
repeating the motion several times until wide-crossing steps take the group’s half-circle to the
right. The second speed of the dance, much like a ververi, consists of the ensemble performing
the same movements at a quicker rhythm, but switching out the pinky-grasp for throwing their
arms around each other’s shoulders in order to help create stability in speed. Some modern
choreographers choose to remove this from the dance altogether, especially if they want to
highlight the calmer, gentler aspects of the Shavali.
Because the bigger movements carry the dance to the right, it still conforms to the typical rules
of “pleasure” dances. However, the dance is particular for having the troupe shift left first.
63
“ Շ ա վ ա լի,” karinfolk.am.
41
Although this adds more variety, a great portion of folkloric dances do not move left at all unless
modern choreography indicates they switch directions for performance value. Historians say
these left-bound shifts are definite indications of pagan worship.
64
Now that the meaning of the
dance has been lost, it remains a testament to a time gone by and ironically becomes proof of a
part of the culture Armenians tried to erase after converting to Christianity.
Figure 9: Ashikyan’s troupe stomps forward during their Karino Kochari
Karino kochari ( գ ա րին ոյ ք ոչարի). Like many kocharis, the embodiment of strength is
presented in the classic stomps and harsh movements, and the closeness of the bodies, with the
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“ Շ ա վ ա լի,” karinfolk.am.
42
dancers’ tight stances giving off a secure sense of comradery similar to that present among
soldiers. A particular characteristic of the Karino Kochari is the formation of a wall by the
troupe. Ashikyan guides the ensemble backwards and as its members reach the back wall of the
studio before the music starts to play, they grip each other tightly and the full and half-circles of
fun and unity are gone. This sort of coming-together boasts a confidence of choosing to head into
battle, with simple steps that manage to change the atmosphere of the room. They begin by
taking a step forward and then leaning back with the right foot, before repeating the steps with
the left. With every backward lean, their heads tilt back as well, but their eyes are fixed ahead.
Side steps imitate the front-moving sways. The dance then picks up as the music does with high
knee lifts.
The sways are more likely than not due to the topography of the land, firm footholds matching
the bobbing of the body as an indication of a change in elevation or readjustments to the body as
an imitation of goats moving over dirt. However, there is an aspect of both attack and defense
present in the position of the troupe’s seeming willingness to move closer in their steps forward,
but simultaneous desire to keep its distance when moving back, as if to confuse the audience.
There is also a smugness to the tilting of the head that may trigger a feeling of wariness for an
observer as the group almost fools onlookers with their non-indicative movements, that is at least
until one figures out the rhythm of the dance. Like with ververis, the extra traditional approach to
teaching the dance allows it to keep its own flavor and helps to share a telling piece of the
region’s history.
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Moderate – Tom Bozigian
The instructor and his philosophy toward dance
Bozigian is best defined as a moderate because of his dedication to collecting and teaching
traditional village dances along with both modified routines and popular performance pieces,
which he deems have stood the test of time. He is very dedicated to finding out as much as he
can about original movements and relies on his own judgement and extensive knowledge about
dance to understand the rest. Bozigian believes that the best way to preserve Armenian dance is
to concentrate on folkloric routines, continuously relying on the word “authentic” to make his
point.
65
According to him, the newer routines help make up a part of the Armenian dance
repertoire, but are mostly for fun or the beginners he teaches at the Holy Martyrs A.R.S.
Pilavjian Preschool. When asked why he chooses to teach these newer routines, such as the one
he choreographed to the music from the well-known Armenian song “Karoun, Karoun”
(“ Գա րուն, Գա րուն”) or “Springtime, Springtime” his response is: “Because the dance is
already 50 years old. And so everyone already dances it and plays the music to ‘Karoun, Karoun’
and everybody loves it. For that reason, it’s worth preserving. But it’s not real or traditional.”
66
The terminology he uses for modern, choreographed dances is “created.” In his opinion, it is very
important to distinguish the difference between traditional and “created” dances because there
are many people who choreograph their own routines and try to pass them off as “authentic.”
65
Bozigian, “Traditional Folkloric Armenian Dance,” January 05, 2016.
66
Bozigian, “Traditional Folkloric Armenian Dance,” March 07, 2016.
44
This in turn affects the study of Armenian dance and therefore the connection with the past and
the historical understanding of the culture.
67
Advanced group
The dancers. The majority of the students/dancers are middle-aged. Many have been dancing for
years. In the 1980s Bozigian advertised dance classes on local Armenian channels that aired in
Glendale. Almost all those attending seem to be regulars, the majority of whom have been
dancing with him for about 10 years or so, such as Ashikyan. The two learn supplementary
dances from each other and use their knowledge to perfect the routines they already know.
Bozigian travels to locations with ancient Armenian villages like Armenia itself, Eastern Turkey
and Northern Iran to continue to document more original routines.
There aren’t too many younger students in the class. Twenty-four-year-old Pateel Ayvazian
heard about Bozigian through her mother. She began tagging along to lessons as a toddler and
has continued to dance with him despite joining other ensembles with which she performs on
stage.
68
Overall, Bozigian’s students and fellow dancers are a loyal group who have spent
decades creating and keeping the small folkloric community in Glendale alive.
67
Bozigian, Tom. “Traditional Folkloric Armenian Dance,” March 07, 2016.
68
Ayvazian, Pateel. “Traditional Folkloric Armenian Dance.” Interview by author. March 16, 2016.
45
F
Figure 10: Tom Bozigian and his group raising their arms upward during the Hemshin dance
Description of two rehearsed dances. Hemshin ( Համ շ էն). The Hemshin are a group of Muslim
Armenians that hale from the Black Sea region of what was once historical Armenia, now
modern-day Turkey. Armenians who were taken to this area by their leader Hamam during the
seventh century moved to escape oppression by nearby Arabic and Georgian groups who
destroyed their villages. Today, the Hemshin are considered to be a separate ethnicity. Although
they are historically seen as being descendants of Armenian people, many have disassociated
with that identity due to their ancestors’ conversion to Islam which took place after the Ottomans
took over the land during the fifteenth century. In the olden days, families that would convert to
Islam would not only do so as an alternative of being put to death. Oen it was a way for families
46
to hide their identity altogether, as many did during the Armenian Genocide at the beginning of
the twentieth century. Those who used that as a survival method to blend in with their
environment often withheld the information about their traditional beliefs and religions from
future generations. For that reason, there are many Hemshin who are not sure about their
Armenian heritage, while others completely refute the notion. Despite the controversy,
Armenians as a whole accept the Hemshin as having been originally an Armenian people and in
the case of Bozigian and his Karavan troupe still practice their routines, which they weave into
the greater narrative of folkloric dance.
69
The Hemshin dance Bozigian and his group performed is very flowy, which is a quality that may
be tied to its geographical location on the Black Sea.
70
This particular routine came from two
towns called Reze and Hopa located on the Turkish/Georgian border. One of the livelier
Armenian dances, it is divided into several parts, which increase in speed as the music gets
faster. The first consists of the dancers picking up their knees before placing their foot onto the
ground, continuously shifting to the right in a half circle. Their arms rise theatrically in front of
them to a point slightly above their head with an energy that guides their bodies upward before
they lower their arms again and gracefully bend forward at their torsos as if to mimic the
movement of water. They take steps backward when their arms rise and they widen their stances
while skipping to the right with their arms in the air for a few counts. Their bodies bunch closer
together when they lower their arms again and pull each other into a smaller circle, continuously
69
“The Hemshin: A Community of Armenians Who Became Muslims.” Asbarez. December 29, 2010.
Accessed August 15, 2016. http://asbarez.com/90870/the-hemshin-a-community-of-armenins-who-became-
muslims/.
70
Bozigian, Tom. “Traditional Folkloric Armenian Dance.” Interview by author. March 16, 2016.
47
grasping on to one another with their pinkies. The dance then slows down a bit as they move
side-to-side with bent elbows and small sidesteps before the music gets faster and each person
throws their arms over their neighbor’s shoulders while kicking up their feet, then rotating to
their right for the second part, which resembles a war dance. After a few beats, everyone lets go
to extend their left-arm above their head and their right arm outward from their body, flaring
their wrists as they shuffle to the left, then bringing their hands back down to their hips to swivel
in the opposite direction and clap rhythmically as they move again, this time to the right. The
movements are suddenly dainty and more intricate. They turn to shuffle outward from the circle
before repeating their shoulder-to-shoulder spin and finally finish off the routine with a third
portion that has them holding hands and side-skipping across the floor in the pattern of an “s.”
The dance ends when they return to their half circle, relax their bodies and let out a breath of
relief at their smooth completion.
The teaching of Hemshin dancing is truly something valuable in that this dance in particularly
full of fun-to-move-to, intricate elements and proof of the interwoven history of Armenians with
their surrounding neighbors. It is not certain if there are many other studios in Los Angeles that
teach folkloric Hemshin, but the fact that something so seemingly obscure is being passed along
and incorporated into the repertoire of available dances that can be learned in the city is one of
the reasons why the preservation of dance is important and should be continued.
48
Figure 11: Bozigian and his troupe holding hands and turning their bodies while performing a
ververi
Ververi ( Վ երվ ե րի). Named after the Armenian word for “up,” the word ververi translates to
“hopping dance” in English. There are different versions of ververis all over the country, which
in a way makes the name an umbrella term for joyful dances that include an outward kick to the
right and vertical jumping movements.
Bozigian rehearses the ververi he will perform with his group before turning on the music and
commencing the string of dances he has paired together to music played by what he calls “The
State Ensemble.” After the troupe goes through the steps and perfects the sections of the dance
that the members are unsure of, they turn on the music and the loud sound of classical Armenian
instruments mixed with a modern keyboard fill the room. The classical sounds are composed of
49
zurnas, ouds ( ուտ), which are pear-shaped string instruments resembling a guitar, and qanuns
( քա նոն), which are pyramid-shaped string instruments resembling a harp.
This particular version comes from the Urmia Lake region in Iran, once a part of the southern
region of historical Armenia. The steps are fairly basic: the dancers step out right as they lean in
the opposite direction, cross left, then repeat. The switch-up in this version is to then shift the
body to the right, but continue to hold hands as the members of the group guide each other
forward in a half-circle like children grasping one another’s fingers when crossing the street. The
dance has a second, faster speed that has everyone grab onto each other’s shoulders as they brace
to do the same movements at a quicker pace, matching the increasing tempo of the instruments.
71
Other than adding another element to the routine for the sake of variety, the reason for shifting
stances is unclear. However, the simplistic nature of the dance has even the more hesitant
members of the troupe joining in. Ververis are meant to be a dance of fun and joy. The faster it is
performed, the more pronounced the bouncing becomes and the more entertaining it is to watch
as well. The fact that it is not just taught in Los Angeles, but more importantly noted as having a
region of origin, which helps it stand out in a sea of similar dances, reflects the value of a unique
version of an old classic.
71
“Armenian National Dance Ver-veri: Jump Up High.” Armenia Tourism Blog. Accessed September 09,
2016. http://www.armenia-hayastan.com/2012/07/armenian-national-dance-ver-veri-jump.html.
50
Beginner lessons
The dancers. The wide mix of students in Bozigian’s beginner classes consists of younger
students, many of whom attend in groups. This environment is a heritage-driven exploration of
both ancient and modern examples of a staple art within the culture. Here people expect to be
immersed in what they recognize as familiar and to simultaneously be taken completely out of
their element, seeing as most are not dancers.
Figure 12: Bozigian and his assistant clapping along to the rhythm of a tamzara
Description of two rehearsed dances. Tamzara ( Թ ա մ զարա). Much like kocharis and ververis,
there is a wide variety of tamzara dances that are performed in villages throughout all of Eastern
and Western historical Armenia. It was traditionally an Assyrian dance that was made popular in
Armenia and other regions in the Anatolia area including Greece and Azerbaijan. The Assyrian
Empire conquered the area that was historical Armenia around 669–627 BCE, during which time
it introduced its culture to the region, including this dance which many believe was meant to be a
51
tribute to their god, Tammuz. Performed at a 9/8 rhythm
72
and sometimes accompanied by lyrics
that were later added to different composer’s version of the music tamzaras are danced to, the
song is usually associated with joy and frivolity.
Bozigian’s more traditional, advanced group performs a version of this widely spread folkloric
dance as well. However, the routine he teaches from a region in Erzurum in modern-day Turkey
is simple enough for a classroom of first-time dancers to learn. Bozigian starts by stepping out
with his right foot, crossing behind him and then shifting his weight back and forth between his
feet. He then steps out again to his right before crossing his foot back and repeating the process.
The arms are usually bent and raised above the elbow. There is no swaying in the dance, but the
unsteady gait is suggestive of uneven topography constituted by fissures in the ground of the
flatlands that make up Erzurum and the unsteady steps of small farm animals that may have been
found in the region such as sheep and lambs. Although the dance was not created by Armenians,
it is very difficult to track down the exact evolution of how it was changed by the Armenians in
the region. But the consistency of what may have been a topographical influence on the dance
steps, as is common with many regional folkloric dances, may be one of the factors that have
helped this dance evolve and permanently incorporate itself within Armenian culture.
As soon as Bozigian has finished demonstrating, once with his partner who stands in front of him
and claps along to keep time and once by himself within the circle of onlookers, he signals his
class to be ready and starts the dance again. His students follow this time. They hold onto each
other in a half circle cupping their hands together with fingers rolled into one another’s palms as
they sway their arms side-to-side in the opposite direction of their feet to allow for balance. The
72
Arax Dance. 2010. Accessed September 09, 2016. http://www.araxdance.org/mission.htm.
52
grasp, not as free as the pinky-hold or as stiff as the shoulder-to-shoulder stances, allows for
fluidity between the hopping movements, but enough support to keep each other steady as they
sway. Laughter and applause follow the completion of each new routine amid Bozigian’s comic
anecdotes about dancing tamzaras with others years before.
Figure 13: Bozigian demonstrating the cross-step in his “Karoun, Karoun” routine
“Karoun, Karoun” (“ Գ ա րուն, Գար ուն”). The dance based on the song of the same title is not a
folkloric Armenian dance, but rather centered on a number from the opera, Anoush, composed by
Armen Tigranian in 1912. Bozigian created the dance close to 50 years ago when the music
became available to the public and now teaches it as a classic because it is set to a song most
older Armenians recognize and enjoy, even if its not a folkloric piece, which is what he
specializes in.
53
The name of the dance means “springtime, springtime,” and as the title indicates, it is meant to
be an exciting and lively routine meant for fun and celebration. When creating a dance such as
“Karoun, Karoun,” Bozigian, like many choreographers, puts together simple, lively steps to the
beat of the song in order to make it fun and easy to remember. In turn, the choreography created
by an L.A.-based dancer and acknowledged as being created within Los Angeles rather than
having its origins blended into a non-specific narrative of dance no one can trace helps create the
unique identity of cultural Armenian dance within this city.
Modern – Hamazkayin Ani Dance Company
The instructors and their philosophies toward dance
“The mission of the Hamazkayin Armenian Education and Cultural Society, established 80 years
ago, is to express pride of, promote and preserve Armenian arts and culture, as well as to
encourage the perpetuation of Armenian lifestyle in the diaspora.”
73
The Hamazkayin Ani Dance Company was founded in the spring of 1974 under the leadership of
Yeghia Hasholian and Suzy Barseghian-Tarpinian. Together with Ballet Master Norayr
Mehrabyan, they have created a dance group that takes traditional Armenian steps and dances
and uses them to inspire new routines. Over the last 40 plus years, they have gained international
notoriety through their blend of balletic movements with a folkloric throwback. They have
73
“About Us,” Hamazkayin Ani Dance Company.
54
performed in many places around the United States, and in other countries such as Canada and
Armenia.
74
This particular ensemble works together to help choreograph many of the movements
75
and
consists of dancers who have auditioned to be a part of their company, regardless of their
heritage.
76
Other dance studios do not necessarily reject non-Armenian dancers, but don’t seem
to attract anyone outside of the community either.
The dancers
The performers that make up the ensemble are a mix of immigrants and native-born Americans,
all of whom take great pride in their work at Ani. The general consensus among the performers is
that dance must evolve and with evolution comes new ways of doing things, especially with the
new generation. Hovsep Ouzounian, a dancer who has been with Ani since about January of
2016, but who has been dancing since he was young and always felt strong passion for his
culture, reflected this opinion best: “You can’t just keep the old and not have some new elements
in there. Otherwise things that go old, they die eventually.”
77
What many of the dancers were open about is that there is a taboo to dancing and being
Armenian in other countries. Dance became their escape and their way of bonding with their
fellow Armenians in every home they made. Lilian Baghdasarian came to the United States as a
74
“About Us,” Hamazkayin Ani Dance Company.
75
Baghdasarian, “Modern Armenian Dance.”
76
Elizabeth Nylander has been dancing with Ani Dance Company for four years now. (Nylander,
Elizabeth. “Modern Armenian Dance.” Interview by author. November 19, 2015.)
77
Ouzounian, “Modern Armenian Dance.”
55
way to escape a lot of the oppression she felt as an Armenian living in Iran. She has been with
the company for years and spoke about what it means to her to find a safe space to dance:
“Dance has not always been just an art. It’s something to build up groups, teams and grow in an
environment that teaches us our tradition, keeps us in our values and traditions and culture.”
78
Many of these young dancers who range between the ages of 18 and 35 make up the latest wave
of immigrants. They come from war-riddled countries such as Syria or constrictive and
oppressive nations such as Iran. They share many similarities with the Armenians who came to
Los Angeles during the third wave of immigration in that they are running away from their
ancient villages or the capitals of the countries these villages belonged to for survival. This
explains the strong attachment they have to their traditions and their dedication to preservation.
However, one difference here is that unlike many of their older counterparts, they are more
willing to alter the steps and express their freedom by making the biggest changes to Armenian
choreography. This is not to say that everyone in the older generation rejects the concept of
changing up Armenian dance, especially since Barseghian-Tarpinian and Hasholian created the
group 40 years ago. What seems to be the biggest concern is which label to adopt when
describing the work, which can potentially be seen as being in transition. In other words, the
evolution is there; it is just very slow.
78
Baghdasarian, “Modern Armenian Dance.”
56
Figure 14: The Hamazkayin Ani Dance Company preparing for the ARF show
Description of the rehearsed routine
Ani Dance Company’s prominence within the Angelino-Armenian community means that they
are often preparing to perform at new community events. One such proceeding was the one
hundred and twenty-fifth Anniversary of the founding of the Armenian Revolutionary Federation
(ARF), a prominent political party in Armenia with strongly supported branches in the United
States. Over 3000 people, myself included, saw the show
79
and watched the dance unfold in
multiple parts including duets, a solo and a strong beginning and end portion during which all of
the participating dancers were on the Pasadena Civic Auditorium stage in their colorful costumes
with flags, sword props and triumphant smiles.
79
“Capacity Crowd of Over 3,000 Comes Together to Mark ARF’s 125th Anniversary.” Armenian
National Committee of America. 2016. Accessed August 15, 2016. https://anca.org/capacity-crowd-of-over-3000-
comes-together-to-mark-arfs-125th-anniversary/.
57
During rehearsals before the big event they started by standing in a grid-like pattern, the mixed
troupe of young men and women spreading its arms out to either side, then bending down in a
curve one way first, then another, before dividing into multiple groups. Contrary to many forms
of traditional dance, they were not holding on to one another, but rather stood as individuals,
each with their own center of gravity on the wooden floor. After moving into their own selected
dance circles which were divided by gender, they rehearsed the steps consistently until one of the
instructors asked them to stop or try again. Many of the corrections had to do with the angle of
their extremities or the energy they portrayed during the late hours of rehearsal.
As a reflection of what is clearly the gender norms that have always been a part of Armenian
dance, the men’s steps were loud and powerful, and their arms remained in straight, strong lines
when jutting out from their bodies or holding imaginary flags up into the air. When they marched
together they created a wall with their bodies, which were pressed up against each other, arms
thrown over shoulders in a gesture similar to those that help make up the Karino Kochari.
The women skipped in a more gentle fashion and tilted their heads from one side to the other
when they moved their arms above their shoulders. With broken wrists and bent elbows that
extended outward and framed their faces in a diamond-like shape, they created a unique gesture
completely unlike any associated with Armenian dance. They then formed small circles during
which they held onto one another’s pinkies and swayed in simple skips that took them first in
one direction, then the other. Their shoes clicked as they crossed the dance floor in non-
traditional jazz shoes now often seen during modern Armenian dance performances.
58
A continual thread throughout the routine was the stiff marching that later the women
participated in as well, which took the focus off of the gendered movements and placed it on
them as united soldiers fighting for their nation, a representation of the beliefs of the ARF for
which they were choreographing. Contrary to the stockiness seen in the men’s military
movements these stances focused on elongation, with the body stretching to either side in an all-
encompassing way. This quality became the most memorable of their performances in rehearsal
and on stage.
Conclusion
In a city as big as Los Angeles it is just as easy to find a group that can remind you of home as it
is to get lost in the mad swirl of the melting pot. For all of their differences in opinions and
teaching styles, there is no doubt that preservation is the main goal the instructors I interviewed
have regarding teaching and performing Armenian dance. There is also no doubt that there is no
right way to go about achieving it.
Traditionalists are important for keeping history straight, modernists are important for making
history more relatable and accessible and evolution is vital for the future relevance of Armenian
dance. There is a good chance that Armenian dance may continue to exist in some form even
without evolution because of the various movements striving to keep it alive now more than
ever. But why shouldn’t the younger generation be allowed to express their version of Armenian
dance as well, especially since change is inevitable? As hard as traditionalists try to preserve
things as they are, there is a strong likelihood that in the future choreographers will alter other
parts of traditional routines and if the new movements were to gain in popularity, it can be
59
assumed that in a limited amount of time, these new steps may actually replace parts of historical
dance sequences.
The fact that there is no strong Angelino-Armenian dance identity yet does not necessarily
indicate that there will never be one. Because of studios like Hamazkayin Ani Dance Company’s
willingness to stand out through their choreography, it may just be that not enough time has
passed yet for the new generation to create its own brand of dancing in the city of L.A. Stepping
away from tradition may seem difficult or disloyal, but as long as the value of unity remains in
the movements why could there not be a new way of doing things that could still be called
Armenian? This would not necessarily pose a threat to traditionalists whose enthusiasm is
necessary for a deep knowledge of the culture’s roots, but with time, the moderates can even add
to or help create what could be a modern dance movement that allows the culture to flourish.
And what better place to start than in Los Angeles, which provides an ideal breeding ground for
both insularism and evolution to flourish due the sheer number of Armenians living in the city? It
may be a matter of time, but the first step would be to toss the labels aside and pass on not just
the old routines, but new choreography as well so that others can be inspired to add on to an
already-developing and unique identity.
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Abstract (if available)
Abstract
This thesis explores Armenian dance in the Greater Los Angeles Area by examining the preferred teaching styles of instructors at three different studios who range from partially to extremely traditional in their approaches to folkloric dance. By documenting Armenian dance culture in Los Angeles I want to provide readers with an introduction to the origin and meaning behind some of the movements, how they evolved and a look at the newer, more innovative elaborations on traditional styles of both well and little-known dances. I also want to focus on the community’s general view on the evolution of Armenian dance and their opinion about whether or not it is a necessary step for preservation.
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University of Southern California Dissertations and Theses
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Asset Metadata
Creator
Altunian, Lara Jeneviyev
(author)
Core Title
Tradition and a slow evolution: a look at Armenian dance within the Greater Los Angeles area
School
Annenberg School for Communication
Degree
Master of Arts
Degree Program
Specialized Journalism (The Arts)
Publication Date
09/29/2016
Defense Date
09/28/2016
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
Armenian,Dance,Evolution,folkloric,Los Angeles,Modern,OAI-PMH Harvest,tradition
Format
application/pdf
(imt)
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Anawalt, Sasha (
committee chair
), Bustamante, Peggy (
committee member
), Ghazarian, Salpi (
committee member
)
Creator Email
altunian@usc.edu,laltunian@gmail.com
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-c40-310098
Unique identifier
UC11214654
Identifier
etd-AltunianLa-4847.pdf (filename),usctheses-c40-310098 (legacy record id)
Legacy Identifier
etd-AltunianLa-4847.pdf
Dmrecord
310098
Document Type
Thesis
Format
application/pdf (imt)
Rights
Altunian, Lara Jeneviyev
Type
texts
Source
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Access Conditions
The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...
Repository Name
University of Southern California Digital Library
Repository Location
USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA
Tags
folkloric
tradition