PARRHESİAPAR

Although Hagop Oshagan, who was born and raised in Sölöz, near Bursa, is a well-known writer in the diaspora, the fact that he is less known and read by Armenians in Turkey, and that his works have not been translated into Turkish, is a very telling absence. These works, which provide significant information about the last period of the Ottoman Empire, and daily life in the provinces, thus will be extremely illuminating at the intersection of literature and history.

This highly evocative performance can be interpreted differently by each viewer at a time when earthquakes, wars, and consequently forced migrations take up a lot of space in our psyches throughout the world. For Armenians like myslef, who are trying to fill in the gaps of the migration stories in their family history, this performance would probably have very strong echoes in their inner world.

Hrant Dink, who comes from an Armenian family from Malatya, took on his historical identity by leaving his daily life in the middle of the gap between the province (kawar) and Istanbul. It is an identity woven with annihilation, the erasure of traces, inconsolable mourning, and an endless sense of injustice.

With her “Dance with Armenian Letters” project in Berlin a few years ago, Babikyan approaches her return to the roots perhaps from the very beginning of the story, through the alphabet. Giving life to letters through bodily expression is a significant example in her unique artistic journey of exploration and teaching. Moreover, Babikyan does not keep this experience to herself but enables children and adult participants in the workshops to gain their own experiences, thereby involving them in this journey. At the core of this practice lies an artist’s awareness and sensitivity.