Armenian Deputy PM to visit Russia

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 17:37, 16 December, 2020

YEREVAN, DECEMBER 16, ARMENPRESS. Deputy Prime Minister of Armenia Mher Grigoryan will travel to Russia from December 17 to 19 to “discuss issues related to the Armenian-Russian economic cooperation agenda”, the government said.

Grigoryan will be in St. Petersburg on December 17th and later on the same day he will travel to Moscow until the 19th.

Editing and Translating by Stepan Kocharyan

Exchange process of POWs between Armenia and Azerbaijan continues – Russian foreign ministry

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 17:48, 16 December, 2020

YEREVAN, DECEMBER 16, ARMENPRESS. The process of exchange of prisoners of war between Armenia and Azerbaijan continues, Russian foreign ministry spokeswoman Maria Zakharova said at a briefing, reports RIA Novosti.

She stated that in accordance with the November 9 statement signed by the leaders of Armenia, Russia and Azerbaijan, an exchange of prisoners of war took place with “all for all” principle. Zakharova added that this was preceded by a major preparation works which were carried out with the participation of the Russian peacekeepers and the representatives of Armenia and Azerbaijan.

“From my part I can only add that the exchange process of prisoners of war continues”, the Russian MFA spokesperson said.

On December 14 an exchange of POWs took place by the mediation of the Russian peacekeepers. 44 Armenian POWs have returned from the Azerbaijani captivity.

Editing and Translating by Aneta Harutyunyan

Lori Governor submits resignation letter

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 18:07, 16 December, 2020

YEREVAN, DECEMBER 16, YEREVAN. Governor of Lori Province of Armenia Andrey Ghukasyan has submitted a resignation of letter, ARMENPRESS reports Ghukasyan wrote on his Facebook page.

‘’Dear residents of Lori, today I submitted a resignation letter to Prime Minister of Armenia Nikol Pashinyan. My resignation is conditioned by the decision of the political force, which I received without hesitation. I consider the last two and a half years to be the most responsible period of my life, when I had the honor of holding the extremely responsible position of the head of the region’’, Ghukasyan wrote.

Russia makes all efforts for peace in Nagorno Karabakh

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 19:15, 16 December, 2020

YEREVAN, DECEMBER 16, YEREVAN. The Russian Federation is doing everything possible to establish peace in the Nagorno-Karabakh region, ARMENPRESS reports official representative of the MFA Russia Maria Zakharova said.

"Russia is doing everything possible to establish peace in the region. We assume that the parties to the conflict are also interested in that goal," Zakharova said.

There are suspicions that Azerbaijan does not provide the real number of Armenian POWs – FM

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 18:32, 16 December, 2020

YEREVAN, DECEMBER 16, YEREVAN. The Armenian side has suspicions that Azerbaijan does not provide the real data of Armenian war prisoners, ARMENPRESS reports Foreign Minister of Armenia Ara Ayvazian told ‘’Le Monde’’.

‘’ Preliminary lists have been compiled. An agreement has been reached between the two countries on exchanging according to "all for all" principle. I would not like to present exact numbers, as there are doubts that Azerbaijan does not provide the real number of Armenian prisoners of war, they may be much more.

However, an urgent solution to this problem is needed, as it has been proven that Armenian prisoners of war and civilians that have been taken hostage are being treated inhumanely’’, Ayvazian said.

The Minister noted that the Armenian side is working with its partners, particularly with  the International Committee of the Red Cross, to ensure the immediate return of the captives.

‘’ It is known that the November 9 ceasefire declaration does not set a deadline and Baku uses this factor to manipulate the issue, to treat POWs, hostage civilians inhumanely, as well as to influence the internal political situation in Armenia’’, the Armenian FM said.

On December 14, an exchange of war prisoners took place through the mediation of Russian peacekeepers. 44 of Armenian confirmed POWs have returned to Armenia from Azerbaijan.




Film: Armenia Submits Historical Drama ‘Songs Of Solomon’ For International Oscar Race

Deadline
Dec 15 2020
    December 15, 2020 8:32PM PST


Armenia has selected Arman Nshanian’s historial drama Songs of Solomon as its official submission for the 93rd Academy Awards’ International Feature Film category.

Written by Audrey Gevorkian, Nshanian’s first feature highlights the life and impact of composer Archbishop Solomon, also now known as Komitas. The film will also follow a childhood friendship torn apart by the Hamidian massacres infiltrated by the Ottoman Empire. Songs of Solomon centers a brave Turkish woman as she risks her own life and family to save her best friend targeted for her religious beliefs. Songs of Solomon spans from 1881 to 1915 and takes inspiration from Sirvart Kavoukjian’s The Past Unsung.

Songs of Solomon features Samvel Tadevossian, Arevik Gevorgyan, Tatev Hovakimyan, Sos Janibekyan, Arman Nshanian, Artashes Aleksanyan and Jean-Pier Nshanian. Slava Seyranyan, Iren Ayvazyan and Mery Hovsepyan also appear in the film.

The feature, which premiered on Nov. 26 in Armenia, is produced by Nick Vallelonga of Vallelonga Productions and Asko Akopyan of Oscar Gold Productions. Nshanian produces under his People of Ar Production Company in association with AnEva Productions in Armenia. Karo Kavoukjian serves as executive producer.

Nshanian’s film, set to make its U.S. debut in 2021, centers the Armenian Genocide of the early 20th century as conflicts between Nagorno-Karabakh and Azermaijan continue to play out in modern day.


Azerbaijan’s cynical approach to Jews is demeaning to all

Washington Examiner
Dec 16 2020


Against the backdrop of this autumn’s Nagorno-Karabakh war, another battle raged in Washington: partisans to the conflict seeking to sway American Jewry to their cause. In their telling, Azerbaijan was an enlightened society tolerant of all while Armenia was a deeply anti-Semitic country that supported Adolf Hitler.

Countries that embrace religious freedom seldom need to brag about how good they are to their minorities. The Netherlands, for example, seldom brags about how happy its Jews, Muslims, Sikhs, Hindus, or Buddhists are. To hold indigenous Jewish communities on a pedestal, as Turkey and Azerbaijan do, is an obnoxious strategy. Not only does it suggest Jews think singularly and interpret policy through a religious lens rather than through the interests of the country in which they are citizens, but the strategy also carries an implied threat: Religious tolerance will be fleeting if Washington or Jerusalem do not abide by Ankara or Baku’s wishes. It’s the mafioso equivalent of, “Nice place you’ve got here; it would be a shame if anything happened to it.”

Indeed, representatives of Turkey’s Jewish community simultaneously tell American visitors how happy they are under President Recep Tayyip Erdogan’s leadership but appear terrified of running afoul of the mercurial ruler and quietly ask for advice on securing visas. While Turkish Jews can honestly say Turkey has historically been kind to the community, the community has declined under Erdogan as Turkish Jews vote with their feet. The Turkish president, meanwhile, makes little secret of his view that Turkey’s Jews are hostages to his approval of Israel’s behavior. That the Azerbaijani government and its proxies now embrace the same strategy does not assuage concerns.

Indeed, while Azeri diplomats and officials tell visitors that Azerbaijan is home to 30,000 Jews, the true population is less than a third of that as many in the community chose to emigrate when they had the opportunity. Jews also have a long history in Armenia. Armenian officials sometimes tell visitors the country is home to 500 Jews, although both emigration and intermarriage have also taken a toll on this number, and the true figure may be only half that. Regardless, numbers of Jews are likewise a silly metric for supposed anti-Semitism. Consider the fact that the Mountain Jewish community of Azerbaijan aside, most of the Jews in Baku and its environs date their arrival just to the late 19th or early 20th centuries and tied their presence to certain industries: Does that mean that anti-Semitism declined during the influx and then increased after the Ashkenazi Jews again emigrated? Or, to question the logic in a different way, is Bhutan more anti-Semitic than Iran because Iran has more Jews? Is Canada more anti-Semitic than the United States?

 

Azerbaijan has historically been enlightened with regard to religious pluralism, and polls show anti-Semitic attitudes among Azerbaijanis to be less in most cases than Armenians. But there still have been anti-Semitic incidents in Azerbaijan in recent years, such as the desecration of a Jewish cemetery in Baku. Nadraran, a town just 15 miles from Baku, is famous for being a stronghold of Hezbollah, though this is certainly the exception rather than the rule in Azerbaijan today.

Of greater concern, however, should be Azerbaijan’s partnership and general submissiveness to an increasingly anti-Semitic Turkey. Diplomats say the Turkish Foreign Ministry demarches its Azeri counterparts to limit the number of Jews and Israelis at diplomatic functions. Azerbaijan’s recent utilization of Syrian mercenaries, some of whom previously worked for al Qaeda affiliates or the Islamic State, also undercut the notion of Azeri liberalism. To ally with and fight alongside those who would behead Christians and enslave non-Muslim minorities is hardly a sign that Jews will remain safe in Azerbaijan. Sometimes, lavish spreads in luxury hotels for visiting dignitaries are not enough to obscure reality.

There is an irony when Azeris accuse Armenians of sympathy toward Hitler when Azeri President Ilham Aliyev appears to harbor a fascination with the German dictator. Just as Hitler defined his enemy as Jews inside Germany, Jews outside Germany, and those who would support the Jews, Aliyev has made similar comments with regard to Armenians. Aliyev has also embraced eliminationist rhetoric. “Armenia, as a country, is of no importance. In fact, it is a colony, an outpost; a territory governed from abroad which was artificially created in ancient Azerbaijani lands,” he said in 2012. In 2018, the Azeri dictator declared, “Yerevan is our historic land and we, Azerbaijanis, must return to these Azerbaijani lands.” Just last week, Aliyev repeated his quest for further territorial conquest (Azeri lebensraum) defining Zangerzur, Sevan, and Yerevan as “Azerbaijani territories” while Erdogan bragged about his “Caucasus Islamic Army.”

Simply put, while it is true that religious freedom is the canary in the coal mine to determine the reality of a regime, trajectory also matters. Azeri and Armenian officials and their respective diasporas may castigate the other, but both societies have traditionally embraced tolerance toward their indigenous Jewish communities. What should be of greater concern, however, is the recent trajectory of Azerbaijan’s leadership not only to embrace rhetoric rooted in the Armenian genocide but also to welcome as a partner a Turkish leader whose obsession lays not with territorial dispute but rather with religious warfare, jihad, and deeply anti-Semitic conspiracies. Simply put, the days of Azerbaijan being an oasis for Jews is now in the past.

Michael Rubin (@Mrubin1971) is a contributor to the Washington Examiner's Beltway Confidential blog. He is a resident scholar at the American Enterprise Institute and a former Pentagon official.

The 2020 Azerbaijan-Armenia War: A Milestone in Military Affairs

The Yucatan Times
Dec 16 2020

The Second Nagorno-Karabakh War has become a milestone in military warfare affairs.

The recently concluded six-week-long Second Nagorno-Karabakh War fought by Armenia and Azerbaijan was a milestone in military affairs, as it was the first conflict in which unmanned air vehicles (UAVs) won a war from the air.

Azerbaijan’s UAVs obliterated Armenia’s formidable array of ground-based air defenses, after which they systematically decimated Armenia’s ground force matériel, including tanks, artillery pieces, and supply trucks. This onslaught forced Armenia to accept a humiliating ceasefire imposed by Russia.

It is not entirely clear at this time how this feat of arms was achieved, but it appears that the key to the spectacular victory of Azerbaijan’s unmanned air power may have been electronic warfare that blinded Armenian radar, thus facilitating the destruction of its air defense batteries.

The war offered a glimpse of future battlefields on which unmanned weapons and electronic warfare might predominate. Countries such as the United States and Israel should learn the lessons offered by this war and prepare their ground-based air defenses as well as their combat aircraft forces accordingly.

Source: /

https://www.theyucatantimes.com/2020/12/the-2020-azerbaijan-armenia-war-a-milestone-in-military-affairs/

Azerbaijan trying to justify its gross violation of trilateral statement – Armenian MFA Spox

Public Radio of Armenia
Dec 16 2020

Azerbaijan is tying to justify its gross violations of the provisions of trilateral statement, Spokesperson for the Ministry of Foreign Affairs Anna Naghdalyan said in comments to Aysor.am.

The statement comes after the representative of the Foreign Ministry of Azerbaijan, in his comment to the “Kommersant” newspaper, stated that “the Armenian armed forces must withdraw from Karabakh.”

The Statement of November 9 clearly and unequivocally indicates the regions from which the Armenian armed forces have already been withdrawn,” Anna Naghdalyan said.

“It is obvious that the one-sided comments of the Azerbaijani side have an aim to justify its gross violations of the recent days on the Artsakh-Azerbaijani line of contact, which contradict the provisions of the above-mentioned statement,” she added.

Armenian monuments are at risk in Azerbaijan. L.A. artists make their own to keep memory alive

Los Angeles Times
Dec 16 2020
Carolina A. Miranda, Columnist 

Dec. 16, 2020


If you stand at the corner of Artsakh Avenue and East Broadway in Glendale you’ll catch a glimpse of a surreptitiously installed public monument.

It shows a woman’s face veiled by lace — a still from Sergei Parajanov’s 1969 film, “The Color of Pomegranates” — along with the phrase “ARTSAKH ENDURES.” Emanating from the piece is a soulful mix of Armenian songs.

To see (and hear) this unusual art piece, you’ll need a cellphone since “Monument to the Autonomous Republic of Artsakh” is totally virtual — visible only via an augmented reality app and visible only at that specific geographic point. It’s a poignant work: a reminder of a bloody conflict thousands of miles away in the region of Nagorno-Karabakh in Azerbaijan (known as Artsakh by Armenians), one that has left thousands dead and centuries of Armenian cultural legacy imperiled.

The monument is a collaboration among a group of Los Angeles artists and scholars. It emerges from a design by Kamee Abrahamian, with contributions by Nelli Sargsyan and Mashinka Firunts Hakopian. Sargsyan supplied the work’s haunting soundtrack: a medley that draws from songs about mountains and wind, a nod to Artsakh’s rugged landscape. Artist Nancy Baker Cahill, who has long used augmented reality as an artistic platform, was also involved, making the monument available for viewing on her 4th Wall app.


The work, says Hakopian, “imagines a future in which Artsakh is visible and a future in which Artsakh endures — even if it’s only virtually or in the memory of the diasporic peoples that have been displaced.”

It is one of many artistic responses to the conflict in Nagorno-Karabakh by artists of Armenian heritage.

Last month, the metal band System of a Down, which emerged from Glendale’s Armenian community, reunited to release the protest songs “Protect the Land” and “Genocidal Humanoidz,” its first new music in 15 years. She Loves Collective, a group of women artists that formed in 2017, has staged guerrilla performances related to themes of loss and trauma in Armenian culture. Filmmaker Nare Mkrtchyan, whose Oscar-shortlisted documentary short “The Other Side of Home” explored themes related to the Armenian genocide, traveled to the region shortly before Nagorno-Karabakh reverted to Azeri control.

“I felt the strong need to go and film and be able to capture history, to be able to touch it one last time,” she says via email.

Among the places she traveled was the historic Tsitsernavank monastery, an early Armenian site whose earliest constructions likely date to the 5th or 6th century. "[I] was there less than an hour before the territory turned to Azerbaijan,” she writes. “It is surreal to think that my Armenian prayer might be the last one in those walls.”

The conflict in Nagorno-Karbakh is a long and complex one. Situated in the Lesser Caucasus mountain range, the region has been ruled over the centuries by Persians and Russians, followed in the 20th century by the old Soviet Union. Historically, the area has been occupied largely by Christian Armenians, along with Muslim Turkic peoples and other ethnic groups. The roots of today’s conflict lie partly in the hands of the Soviets.
In the 1920s, the region’s population was majority Armenian, but the Soviets split off Nagorno-Karabakh and placed it within Azerbaijan’s political borders (part of a tactic, by Stalin, to weaken the national identities of smaller Soviet states). After the breakup of the Soviet Union in the late 1980s, inhabitants of the region attempted to rejoin Armenia, a move that resulted in a bloody, years-long conflict. A Russian-brokered cease-fire in 1994 brought peace but left Nagorno-Karabakh in a tenuous, in-between state: an autonomous zone administered by Armenians that wasn’t officially part of Armenia but was technically considered Azerbaijan under international law. During that period, thousands of Azeris fled the region.

The old conflicts came roaring back in September, when fighting began anew — but this time with the Azeris better armed courtesy of Turkish support and a strong petroleum economy. Another Russian-brokered cease-fire in early November put a halt to the shooting. It also put Nagorno-Karabakh, along with several provinces around it, back in Azeri hands. It is now Armenians who flee.

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Left behind are centuries of Armenian cultural heritage: the graceful Dadivank monastery, which dates to the 12th century; the fan-roofed Gtichavank monastery, from the 13th century, once an important pilgrimage site; and the archeological site of Tigranakert, which dates to the Hellenestic era and is, in the words of Hamlet Petrosyan, an Armenian archeologist who has led research expeditions to the area, “the best-preserved city of the Hellenistic and Armenian civilizations.”

This is critical because, as art historian Christina Maranci wrote in the Wall Street Journal last month, Azerbaijan has “well-documented policies of destroying the Armenian cultural heritage found in their territories.”

An extensive investigative report by scholars Simon Maghakyan and Sarah Pickman published by the arts website Hyperallergic last year recorded the systematic destruction of 89 medieval Armenian churches and 5,840 of the elaborate cross-stones known as khachkars in the province of Nakhichevan between 1997 and 2006. This included the razing of the vast medieval necropolis at Djulfa, near the Iranian border, which once contained thousands of 16th century Armenian headstones.

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Late last year, when Maghakyan presented his findings in Pasadena, he told The Times: “If I do not tell this story, who will?”

Azeri officials deny charges of iconoclasm. Last year, Nasimi Aghayev, consul general of Azerbaijan to the Western United States, told The Times that the destruction of Djulfa were “a figment of Armenia’s imagination.” And a statement issued by Azerbaijan’s Ministry of Culture last month stated that all monuments, “irrespective of its origin,” will be preserved.

But copious photography and satellite imagery of Nakhichevan tell another story. Not to mention the fact that Azeri officials are in the habit of regularly describing Armenian churches as “Caucasian Albanian,” a specious classification that serves as a way of writing Armenians out of the region’s history.

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The U.S. foreign policy apparatus, in the meantime, is checked out on the subject. The State Department has not issued any statements regarding Armenian cultural heritage in Nagorno-Karabakh. (Secretary of State Mike Pompeo is too busy delivering Republican stump speeches in Georgia — the U.S. state, not the Caucasus nation.)

UNESCO issued a statement late last month reminding both nations that they are signatories to the 1954 Convention for the Protection of Cultural Property in the Event of Armed Conflict and cited a U.N. Security Council Resolution from 2017 on the “unlawful destruction of cultural heritage, looting and smuggling of cultural property.” As part of its efforts, the agency promised to carry out a field mission to draw up an inventory of heritage in the area.

How effective that will be remains to be seen. In 2000, UNESCO ordered an end to the destruction at Djulfa. It was futile. By 2006, the cemetery had been smashed to pieces, with ancient grave markers dumped into the Araxes River, according to a report by Pickman in Archaeology magazine.


To draw awareness to the issue, artists of Armenian descent in Los Angeles are busy making work.

Members of She Loves Collective staged two performances this fall that dealt with themes raised by the war: struggle, displacement, erasure.

“We are all sucked into this immense pain that we all feel and we are seeking ways of _expression_,” says Adrineh Baghdassarian, a multimedia artist who is a co-founder of the collective. “We are all seeking ways of connecting to our heritage. Can I fly to Armenia? Can I help someone collect funds? What is it that I can do? Well, what is that we do best? It’s this.”

For its first performance, on Oct. 11, the group staged a procession through downtown L.A. that began at the Broad museum and moved to City Hall, where participants chanted, “The Rifles Our Ancestors Didn’t Have” (the title of the work). The artists wore striking white caftans emblazoned with an image of a rifle, a design that evoked the female Armenian freedom fighters of the early 20th century.

“The concept was looking peaceful, looking strong, looking powerful,” Baghdassarian says.

The collective followed this with a similar procession along the banks of the Los Angeles River that ended with the group dropping rose petals into the water while images from Artsakh were projected onto a bridge nearby.

The action functioned as “a healing,” says Nelly Ackhen Sarkissian, an installation and performance artist who is also a co-founder of She Loves.

It also incorporated iconic sites of the Los Angeles landscape. Southern California, after all, is home to the largest population of Armenians outside the former republics of the former Soviet Union. It is also home to one of the first monuments to the Armenian genocide built outside of Armenia: the Armenian Genocide Martyrs Monument in Montebello, completed in 1965.

The L.A. River performance employed as backdrop the concrete architecture of the river, as well as the San Gabriel Mountains in the distance — a way of connecting the Armenian story to to the American story.

“The focus point is always to have a strong L.A. backdrop,” Sarkissian says. “It’s not just important to say that we’re Armenians from L.A., but that we are engaging with our fellow Angelenos and Angelenas.”

The group is currently at work on another performance that it plans to stage in Malibu, possibly in January if the COVID surge eases, at the site of a house claimed by one of the recent fires.

“It’s a universal thing,” Baghdassarian says. “Whether you lose it in a war or you lose your home in a fire or you lose your ancestral land.

“Where does home begin and where does home end?” she adds. “How is a person willing to burn his own home down if he cannot go down to his home ever again?”

Hrag Vartanian is an arts journalist of Armenian descent who is editor in chief of Hyperallergic, which has doggedly chronicled some of the cultural issues at stake in the region. He is also part of an informal group of international scholars and cultural workers trying to compile information on historic sites in the region in anticipation of any destruction.

Vartanian, who has spent time in Nagorno-Karabakh, says that Armenian history is embedded in the landscape there. “Those buildings tell our history in an intimate way. … The history is written on the walls. Families are buried there.”

He notes that Armenian artists making work in response to the region’s tragedies is nothing new.

In the poignant painting “The Artist and His Mother,” created between 1926 and 1942 and held by the National Gallery of Art in Washington, D.C., artist Arshile Gorky depicts himself as a young boy with his mother, who died of malnutrition after being displaced by the 1915 Armenian genocide, in which Ottoman Turkish forces systematically killed 1.5 million Armenians.

“It’s not the first time Armenians have been threatened,” Vartanian says. “They have been threatened by Mongols and different invaders.”

“This is how Armenian culture has evolved,” he adds. “We take these stories and we take these instances and we build something new.”

Cultural sites may be at risk in the Caucasus. New ones arise in L.A.