Maryam Şahinyan (1911 - 1996) was a famed Armenian photographer who is considered the first woman studio photographer in Turkey. Maryam Şahinyan was born in the city of Sivas (Sepastia). Her grandfather, Agop Şahinyan Paşa, was the representative of Sivas in the first Ottoman Parliament established in 1877. After the Armenian Genocide of 1915, at the age of 4, Maryam Şahinyan escaped to Istanbul via Samsun leaving behind many assets. The family settled in Istanbul and soon adjusted to a new lifestyle under the Republican Era of the Turkish Republic. She attended the local Armenian school Esayan.
Maryam Şahinyan’s father Mihran was avidly interested in photography. In 1933 he began to work for the Galatasaray Photography Studio in the Beyoğlu district of Istanbul. In 1936, Maryam’s mother Dikranuhi died a sudden death and left the family financially strained. Due to these circumstances, Maryam was forced to dropout of the French School Sainte-Pulchérie she attended in order to help her father out in the studio. By 1937, in order to assist the financial burden of the family, she started managing the studio independently. Maryam Şahinyan managed the studio until 1985. She died at her home on Hanımefendi Sokak in Şişli in 1996 and is buried in Şişli Armenian Cemetery. Şahinyan left behind a photographic archive made up of approximately 200,000 images. She knew French, Italian, Armenian and Turkish.
This photoset features subjects ranging from transgendered people and members of disenfranchised religious and ethnic groups to wealthy women, identical twins, babies and long-haired beauties.
The french House-Duo Daft Punk wanted to sould like Kraftwerk. Meanwhile, it has found its own concept.
The turning point for the Parisian dance music experts Thomas Bangalter and Guy-Manuel de Homem Christo came after the success of their ‘97 debut “Homework”. The day when everything changed was on 09.09.1999. Since then, both wear masks when they do photoshoots and even appear live with adventurous costumes. We were in the studio and worked on “Discovery” our new album. Thomas Bangalter says. “and suddenly a lightning struck into our studio and our mixing desk exploded. Since then we are Robots.”
The live as a single gigantic feedback, or someting like that. First the duo took the most interesting sounds, like Jean-Michael Jarre and his epochal work “Ogygéne” from France, out of their home machines and than this: condemned to life as a robot, callous, unemotional, cold-blooded. This is called fate - or clever marketing. Which of course only works if the result - the music - is right. No one doubted, that “Discovery” will surpass the success of “Homework” with two million copies sold worldwide. The US market begins to be interested in dance music from France, since the Armenian-French musician Mirwais Ahmadazai has produced parts of the new Madonna album. “Club music is getting more and more attention in the US”, Bangalter says - his mate de Homem Christo, who looks like a 10-year old without his mask, nodded eagerly. In addition, they both wear fitting outfits to the Masks - “But the costuming is only a part of the detailed marketing strategy, which plays a minor role in the music.” Thomas Bangalter says. “It is less important. The music was the driving force of all our activities, but our creativity has shifted enormously and so it is no longer the main focus. We are working on the continuous visualization of pop music.” Bangalter says. “This includes the permanent masquerade. Pop is not just about music, pop is visually, Pop is a work of art.”
The Masquerade is a part of Daft Punk. Inside there is a free spirit and no rules. They envision a kind of a city that is created by their rules, designed to their concept and everybody listens to their Music, of course. From the beginning, Bangalter and de Homem Christo set on their own label “Daft Life”. The DVD “Daft - A story about Dogs, Androids, Firemen and Tomatoes” was the first step to the total work of art - Video production was the next step. “We are working on Daft Punking the world” says Thomas. “We control everything we do and where the Name Daft Punk is on it. We won’t make mistakes like other Pop stars: Give things out of hand and allow other people to decide about us. We have everything in our hands. This gives us a good feeling.” But they don’t want to be considered as Pop stars. Because the two have a face and will be loved because of their appearance. Since no one knows who is behind the masquerade, Daft Punk have their fans brought up to love only two characters.
“Since no one knows what we look like, it helps us to preserve a piece of our normality.” says Guy-Manuel de Homem Christo, who is called Guy-Man by Thomas. “I can go to the bakery and pick my nose while waiting, nobody knows me. That’s cool.”
And the “Daft World” is expanding. Long before “Discovery” was finished, Bangalter and de Homem Christo presented their new single “One More Time”. Which should be only a teaser, not more. It drew attention to the latest project the two earlier presented this year at Midem in Cannes - the virtual Daft Club. To get in there is very easy. Anyone who buys “Discovery” will find a card next to the CD with an access code. With this code you can download exclusive software on your computer. So the buyer can register online to the Club. This Forum makes Bangalter’s breast swell with pride. “We are very proud of this project because we can see from the record sales how many people are using our platform in the network.” This opens up completely new marketing and promotional areas and of course the communication. Music becomes a minor matter. The idea was to obliterate online pirates like Napster. Bangalter says sarcastically: “We should thank the people of Napster! With their offer downloading songs for free, they have brought all creative people to an idea. “We are so convinced about our platform, where you can hear exclusive Songs that are not on the album. The fact that some Hacker could go beyond the security area of the Club and share the songs online for free, does not deter Bangalter. “I won’t stick my head in the sand, risks are the only things that keep your mind alert.” Bangalter and de Homem Christo were not always so willing to take risks. The two have known eachother from school. In 1987 they have delt together with their passion for music for the first time. “I always thought Thomas was an asshole,” de Homem Christo says, who is just a year older. “Plus he always got better girls.”
Later, when the animosities were long lost, the unlikely couple worked on keyboards and computers for nights just to reach one goal - “To sound like Kraftwerk, but we just couldn’t manage to be as cool as they were.” Bangalter says. “We initially sounded awfully cramped, trying too hard.”
And today? “Even Madonna puts elements of house music in her songs.” Bangalter says. “You have to break new ground to be heard. You have to break the rules, be innovative.” The First Lady of Pop wanted one of her songs to be remixed and included on “Musique”, but the French refused - Working on “Discovery” had priority. “And also -” Bangalter says. “The song was shit. We don’t do this for the money or the glory, this is a matter of taste. Even with Madonna.”
Little pinkish flowers have been left between the pages of A. M. Garagashean’s Gaghierēn kʻerakanutʻiwn ěst Ōlēntōrfi (Constantinople: Tpagrutʻiwn H. Gavafean, 1887)—a French grammar in Armenian. I often wonder about the stories of how little things come to be left behind in books.
‘Azeri grandma with Armenian soldier’ a photo featured in the French newspaper “Libération’ of Sheikha Khanum, age 81 hugging Sargis Hatspanyan in Karvachar, April 1993.
Sargis himself has talked about the photo in an interview:
'There was an 81-year-old woman – Sheikha Khanum who was respected by everybody. She was a poet. I liked talking to her. She used to say: “This war is not the war of our two people, we like Armenians, we all know that this is the country of Armenians, there are Armenian graves everywhere, cross-stones, everywhere there are marks of Armenian culture”. And during this talk Zaven Khachikyan unnoticeably took our photo.'
He also addressed discovering that the Turkish newspaper 'Milliyet’ had used the picture in their own article, captioning it 'Azeri woman with her grandson, presenting him as an Azeri soldier:
'In Paris one of my friends sees this newspaper, accidentally he reads also the article in the «Liberation», takes both newspapers and sends to the European Union as a striking example of Turkish falsity and slander.’
Nina Katchadourian Accent Elimination, 2005 Six televisions, three pedestals, six-channel video (three synchronized programs and three loops), headphones and benches 13 m, 26 s Included in the 56th Venice Biennale as part of an exhibition of work by contemporary artists from the Armenian Diaspora.
In Accent Elimination, Katchadourian was motivated by the numerous adverts in New York for courses in ‘accent elimination’. Both her parents have very distinct accents, her father being a Lebanese born, French educated, Armenian man, and her mother a Finnish woman who speaks many languages. For this piece, Katchadourian worked closely with a professional speech improvement coach to ‘neutralise’ her parents’ accents and have them then teach each of them to her, on video. The recordings were then played on six televisions. In an interview, Katchadourian stated that the art work demonstrates “the tricky manoeuvring between the desire to preserve the distinctive marks of one’s culture, on one hand, and to decrease them in order to seem less foreign, on the other.”
There are so many urban legends that circulate in the Catholic blogosphere, and I don’t have the time to write the book it would take to rebut them. But concerning Vatican Council II and the “New Mass” (Ordinary Form), let me just make a few historical notes for the benefit of the Catholic Tumblr community. These are taken from conversations I had with my seminary liturgy professor.
My professor was actually at Vatican II. These are some things he pointed out.
–The Catholic bishops met between 1962 and 1965.
–They did not meet every day for the whole year. Each session of Vatican II took place at St. Peter’s in Rome, in the months of October, November, and the beginning of December.
–Before flying to Rome, and after leaving Rome in December, each bishop received packages in the mail with huge stacks of documents to be studied and discussed later at the council.
–The bishops gathered in St. Peter’s basilica, which had an excellent sound system set up with microphones so that bishops could make interventions and comments during the council presentations and talks.
–The seating was like a stadium, with sections. There was a section for Protestant observers. They had no microphones and were not allowed to speak, at all, to the gathered bishops–only listen.
–Bishops could visit with, an interact with, the Protestants, before or after the working day of speeches and presentations. But during Vatican II, no Protestant ever spoke, even once, to the Catholic bishops, or voted, even once, on anything published at Vatican II.
–Besides the Protestant “auditores” (observers) there was another section for the Catholic nuns who were invited to be “auditrices” (female observers). These were women from the major religious orders.
–It never occurred to the Catholic bishops to ever allow the Sisters to speak or give input. Like the Protestants, they had no microphones.
–We find it bizarre, but in those days people took it for granted that a Church Council was for Catholic bishops to give input at, and everyone else was to be quiet, to be seen and not heard, even Catholic Sisters who did at least 50% or more of all the Catholic apostleship.
–My professor knew impeccable Latin and French. So, as the council bishops spoke in Latin, he would be facing the Protestant observers, who had earphones on their heads and would have everything translated to them in French. He had help from other translators who worked during Vatican II.
–A few Catholic bishops were stubborn and refused to speak in Latin, but spoke in French instead, which was considered something of an international language at the time.
–There were lots of nice dinners and parties throughout Rome during the Council. The bishops liked to have nice social dinners LOL. Many of the bishops interacted with the Protestant observers, who were all scholars and very educated theologians in their own churches.
–Fr. Hans Kung was making a lot of money from his liberal books and articles. He bought an expensive sports car and drove around Rome showing it off, along with his flashy new suits. So much for liberal priests always being into poverty and social justice.
–Concerning the Mass, my professor said it was only the Tridentine Mass recently edited by St. John XXIII in 1962.
–My professor would laugh when people would speak of the “liberal Mass of Vatican II” since they did not realize that the only Mass at Vatican II was the Latin, Tridentine Mass.
–Everything at Vatican II, prayers, ceremonies, speeches, were conducted in Latin, except for the few times a bishop would insist on speaking in French. One bishop who spoke only in French was Armenian Cardinal, Greg Agagianian.
–After the 1962 session, the bishops called for a “thorough reform” of the rites. All of these bishops had grown up only with Latin and the rituals from the Council of Trent. But they believed that the Mass and sacraments needed an updating by 1962.
–A “Consilium” was set up during Vatican II. It was a liturgical commission for studying the Mass and Sacraments with a view to reforming them.
Now, this is where it gets tricky. In the traditionalist Catholic blogosphere, people speak of Protestants observing, and then giving input. That’s where you get that famous black and white photo of Pope Paul VI allegedly meeting with Protestants who “helped put together the Novus Ordo.”
What is lost is this. First of all, the “Novus Ordo” is not from Vatican II. The Novus Ordo did not go into effect until November of 1969, four years after Vatican II had already disbanded.
We must make a distinction between the COUNCIL, and the CONSILIUM. Yes, there were Protestants at the Vatican Council. NO, there were no Protestants on the Consilium.
The Consilium, or commission for drafting new liturgical texts, was composed of bishops and priest scholars who had been writing about the liturgy for decades. It only met a few times a year in Rome.
The members all had full time jobs and did not have time to be in Rome having meetings all the time. Mostly, each guy worked from his home location. They were all priests. No lay people. No nuns. And absolutely NO PROTESTANTS.
Again, Vatican II had Protestant “observers.” The Consilium’s members were only Catholic bishops and priests. Clear? Capisce?
The rest of the year, documents circulated among members and were then sent with revisions to Rome, where priests working in the Vatican began writing or putting together new rituals based on the Consilium suggestions and the suggestions of bishops/Cardinals who were not on the Consilium, but were still consultors.
The Consilium members had all studied the Missals and Sacramentaries of the Ancient Church and early Medieval Catholicism. While keeping many of the Tridentine prayers from the Traditional Latin Mass, they also incorporated texts from the Ambrosian, Gelasian, Leonine, and other ancient texts of the liturgy.
So, it is not historically true that the Novus Ordo was made up, on the spot, and out of thin air. Even the rumors that some prayers were made up in the cafes of Rome would not be accurate, because the Consilium carefully documented the sources for the prayers of the Missal.
For instance, Eucharistic Prayer III which was supposedly invented out of thin air was composed by Fr. Cipriano Vagaggini in the 1940′s, and was circulated and discussed by bishops even before Vatican II. Eucharistic Prayer II which was supposedly composed at a cafe in Rome can easily be seen as originating from the prayers of St. Hippolytus in the 2nd and 3rd century of Rome. Let us repeat again that in the Ordinary Form, there are still many, many prayers lifted out of the Missal of Pius V.
Besides the debates between scholars regarding the Ordinary Form, we have a record of numerous cardinals and bishops who wrote in after they received the huge draft copies in the mail. The bishop of my diocese, Aloysius Willinger, used to speak of comments and input he gave back in the mid-60′s when he would get draft copies from the Consilium.
The canard about the Roman Missal of Paul VI being used by Protestants is simply laughable and preposterous. There was not one, single Protestant denomination that adopted the New Mass. The language of “offertory” and the Latin “offerimus” found throughout the Novus Ordo in Latin was found to be extremely objectionable.
For all the talk that the Novus Ordo has “no sense of sacrifice” the Protestant theologian Max Thurian made very clear that in Protestantism, nothing is “offered” to God. That, he said, is Catholic theology of the Mass as propitiatory sacrificed “offered to God.”
Protestant theology insists that the only offering given to God was given by Jesus at the Cross. Therefore, even the supposedly watered down language of the Novus Ordo presupposes with “offering” that we are making a sacrifice to God.
Such language contradicts clearly the teaching of the Protestant Reformers, who said that at worship we can praise God, thank Him through Jesus, and repent of sin. But in no way can Protestant liturgy accept the idea that at worship, we “offer” anything for we are nothing and Christ is alone the One who offers sacrifice to His Father.
Hopefully, this gives the Tumblr Catholic community a sense of how to see the traditionalist accusations of Paul VI. I hate to say it, but it is now a given that anything quoted from Paul VI or Consilium head, Annibale Bugnini, has to be taken with a grain of salt and vetted to see if there is any accuracy to the quote. Quite a few juicy traditionalists quotes are practically made up out of thin air, if not a complete distortion of the words of Paul VI and Bugnini.
Armenian feminist and a very succsesful novelist. One of the first Armenians to write about gender equality in her books.
Dussap was born during a period of cultural reawakening for Armenians in the Ottoman Empire, during which women began to carve out a place for themselves in the public sphere. One of these pioneering women was Dussap’s mother, Nazli Vahan, a staunch advocate for women’s education and the founder of charitable and educational organizations to help Armenian girls.
Nazli’s great concern for girls’ education drove her to give her own daughter an excellent education: Srpouhi was educated first at a local French school until the age of 10, and then at home with her older brother, who tutored her in French, Greek, Italian, classical literature, science, and history.
“What kind of equality is it that places half of humanity at the feet of males? What kind of liberty is it that deprives women of the ability to protest, to act and to initiate?” - Srpouhi Dussap
Sprouhi was born in Constantinople in 1842 to a upper class Armenian family, Constantly traveling in Western Europe and recieving her education there made her loose interest for her Armenian heritage. However after being tutored by the famous Armenian poet Mkrtich Beshiktashlian, She began to show a deep affection for her language and culture. Her first writings were written in Classical Armenian.
In 1870, she married a French musician named Paul Dussap. He fully supported her literary goals, and together they ran a salon where French and Armenian intellectuals met to discuss literature and the social issues of the day. Dussap was also involved in Armenian community life in Constantinople; in 1879, she became the head of the Philomathic Armenian Women’s Association, which trained Armenian women to teach in Armenian girls’ schools in Anatolia. Her experiences in this organization led her to write a series of articles on women’s rights, specifically on rights to education, employment, and social autonomy.
“Srpuhi Dussap was a trendsetter. She was a feminist, a visionary and the first Armenian woman to publish a novel (1883). Her work greatly influenced the women who followed in her wake; Sibyl and Yesayian sought guidance and inspiration from her.” – Hermig Yogurtian
Armenian group formed to represent Armenia in the Eurovision Song Contest 2015. With the song “
Face The Shadow”. All six members are already successful as solo artists or as part of other groups. Five of the members come from different continents, the sixth member Inga Arshakyan is from Armenia . What unites the group is their shared common Armenian descent whose families once spread all over the world after the Armenian Genocide 1915.
Five of the members each represent a continent each, In the following order of
announcement the members of the group are Essaï Altounian, a very famous French-Armenian Francophone singer, songwriter, producer and actor. He represents Europe. The second member Tamar Kaprelian is a internationally known Armenian-American singer and songwriter signed by Interscope Records, she represents the Americas.Third member was Vahe Tilbian, an Armenian-Ethiopian singer among many other things, He is famous mostly in Ethiopia but also some other parts of Africa. He represents Africa. Stephanie Topalian is a Japanese-Armenian singer, songwriter and actress of mixed Japanese and Armenian descent. Stephanie is signed with SME Records Japan, part of Sony Music. She represents Asia. Fifth member is Mary-Jean O'Doherty Basmadjian, an Australian opera singer of Armenian and Greek descent.
She was the first prize winner in the 2013 Paris Opera Awards
Her. She represents Australia. The last member of the band is Inga Arshakyan, a very talented singer that forms a duet with her sister Anoush Arshakyan. Very famous in Armenia and the Armenian diaspora and needs no introduction in the Eurovision World as the sisters represented Armenia in the Eurovision Song Contest 2009.
The song the Group will perform was called “Don’t Deny” but because of complaint from certain other contesting countries the name was ordered to be changed by the Eurovision organizers,
Representatives of Azerbaijan, which, alongside Turkey, denies the genocide. Criticized the song for its alleged political themes, and stated that they would “act adequately” to prevent the contest from being “sacrificed to the political ambitions of a country. The song name was forcibly changed to “Face the Shadow” Those who complained ment that the song name was politicized because it was reffering to the Armenian Genocide. And as usual Europe, more correctly the Eurovision committee would rather discriminate the entire Armenian people and all other christians who perished during the Armenian Genocide, forget about freedom of speech and freedom of expression so it won’t hurt the feelings of the fascist and dictator governments of Azerbaijan & Turkey.
Like all the rest of Eurovision entries from Armenia, the song is composed, written and produced by Armenians in Armenia. Unlike other Eurovision contesting countries that simply buy songs. The song is composed by Armen Martirosyan and the lyrics are by Inna Mkrtchyan. The music video for the song was directed by Aren Bayadyan.
Papier d’Arménie, or Armenian Paper, is a room deodorizer made of sheets of paper, which are coated with the dried sap of styrax trees. At the end of the 19th century, Auguste Ponsot discovered that Armenian households would burn Styrax as a fragrance and disinfectant. M. Ponsot adopted this habit with the help of the pharmacist Henri Rivier, whereby benzoin resin was dissolved in alcohol, then infused onto a blotting paper support. The “alchemy” inherent in Papier d’Arménie became a huge success with the emerging importance of hygiene from 1888–1889, and has been steadily produced in Montrouge, France since 1885.