Imagine surviving an event so distressing, the aftermath of which causes epigenetic changes in the embryos of descendants, passing from offspring to offspring in the form of transgenerational trauma. The Armenian Genocide of 1915 was such an event. More than 1.5 Armenians - including women and children - perished in what is widely considered to be the first systematic mass cleansing of an ethnic population in the 20th century, as well as the precursor to the Holocaust. In fact, the term “genocide” was coined by Raphael Lemkin to describe the tragedy, as well as other similar atrocities.
For the past 107 years, demanding justice for the victims has been an integral part of the Armenian struggle. A struggle which is relentless, as the current Turkish government continues to deny the war crimes of its Ottoman past and refuses to recognize the atrocities as genocide, referring to the victims as “collateral damage” in a turbulent time in history, WW1.
That being said, the Armenian struggle is not merely limited to calls for justice and recognition. From those who were fortunate to survive the massacres, to the generations who came after them, the Armenian struggle has always meant one thing: perseverance against incredible odds.
After all, one does not escape a humanitarian catastrophe such as a genocide unscathed. It has been long documented that the descendants of those who survive such atrocities are more prone to conditions such as PTSD, even if they were not yet born during the events. Through epigenetic modification and the influence of culture and psychology, the trauma is passed on and if not treated correctly, becomes a burden on the shoulders of recipients, manifested in various forms, including but not limited to, physical, emotional, and psychological abuse, neglect, discrimination, and displacement.
Art as a Means of Catharsis
In his work, Poetics, Aristotle introduces the concept of “catharsis” when speaking about tragedy, referring to it as “the purging of the emotions of pity and fear that are aroused in the viewer of a tragedy.” If we were to consider art as an imitation of life, then manifestations of the Armenian Genocide in the form of art would act as the catharsis which the descendants of this great tragedy require as a means of surviving its aftermath. This is perhaps why many Armenian artists have tried to transfer their inherited emotions and trauma from the genocide into works of art in various formats, from painting to cinema, theater, and everything in between. This has been done both consciously and subconsciously.
One of the earliest examples of survivor’s guilt and trauma projected through art can be traced in the works of Arshile Gorky, a genocide survivor who went on to become one of the leading figures in the Abstract Expressionism movement. His paintings, especially The Artist and His Mother and The Plough and the Song are manifestations of the trauma he experienced when fleeing the massacres at age 10, with the former being one of the most iconic images when it comes to the genocide.
Many written works have also focused on the 1915 events, with the earliest ones being non-fiction books by Armin Wegner, the German medic and soldier who documented the genocide while serving on duty in the Ottoman Empire. These are unfortunately lost, being burnt by Nazi officials upon Wegner’s return to Germany. How he managed to sneak in the photographs and publish them is nothing short of a miracle in its own right.
In 1933, the German writer Franz Werfel penned the novel The Forty Days of Musa Degh which drew a lot of attention and focused on the genocide as its backdrop. The Armenian-American writer William Saroyan, Kurt Vonnegut, and the exiled Azerbaijani writer Akram Aylisli are just some of the writers who have been influenced by the Armenian Genocide.
Tragedy Through the Silver Screen
The cinematic arts have never shied away from depicting human tragedies on the silver screen. Who could forget Spielberg’s Schindler’s List or Elem Klimov Come and See? The Armenian Genocide has also been depicted in various motion pictures over the years, with the first being Ravished Armenia, made in Hollywood only 4 years after the genocide (1919), depicting the life of survivor Aurora Mardiganian.
While most films made about the Armenian Genocide are made for what some argue as “niche” audience of Armenians, many have also attracted global attention: Atom Egoyan’s Ararat, Elia Kazan’s America America, Henri Verneuil’s Mayrig, and Terry George’s The Promise to name a few. Many documentaries have also been produced on the subject, with Joe Berlinger’s Intent to Destroy, Andrew Goldberg’s The Armenian Genocide and Carla Garapedian’s Screamers being prime examples. The latter features members of Armenian-American metal band System of a Down, whose music and lyrics often include references to the genocide, as the band members are all direct descendants of survivors.
“Sing a Song of Woe and Hope”
“I am, I am genocide, mixed with Turkish lies, yeah!” This line can be found in a song from Daron Malakian’s Scars of Broadway, a band he formed after System of a Down went on a hiatus. Both projects have played an important part in informing the public about the Armenian Genocide.
Music has been a popular medium of choice for Armenian artists when it comes to exploring their ancestors’ tragic history. The song “P.L.U.C.K” from the first System of a Down album (short for Politically Lying, Unholy, Cowardly Killers) deals directly with the Armenian Genocide, as does “Kars” by renowned pianist and composer, Tigran Hamasyan. The second part of Kars bears the subtitle “Wounds of the Centuries.” Acclaimed classical composer Alan Hovhaness wrote his "Symphony No. 1" as a commemoration and tribute to the fallen. French-Armenian singer Charles Aznavour released the song “Ils sont tombés” in 1976 in honor of the genocide, and the list goes on.
Through the creative process, Armenians around the world have managed to externalize their internal experiences, regain a sense of control, process complex emotions generated from such a turbulent past, and build social connections with both themselves and non-Armenians. This perseverance through art has taken many forms, including traditional art forms and public art projects. By engaging in artistic manifestations, survivors of the Armenian Genocide have promoted healing, resistance, and resilience, reclaiming their cultural identity and sense of community while continuing the struggle toward bringing the perpetrators of this great human tragedy to justice.
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