Armenia Politics Doc ‘The Winning Generation’ Aims To Connect With Diaspora V

Deadline
Mar 20 2026

EXCLUSIVE: Armenia politics documentary The Winning Generation will simultaneously world premiere at the Netherlands’ Movies that Matter Film Festival and launch on the White Rabbit streaming platform this weekend.

The work follows the trajectory of rising Armenian politician Shahen Harutyunyan from 14-year-old activist to emerging political leader, as he follows in the footsteps of his father and grandfather in Armenia’s long struggle for independence.

Along the way, he transforms their tradition of resistance into a new democratic vision, with the creation of the grassroots “Winning Generation” movement, which has since morphed into the Shant Alliance party.

The documentary’s launch comes at a pivotal moment for Harutyunyan and Armenia as the country gears up for national elections on June 7 2026. Having previously secured a significant regional victory in Kapan, Harutyunyan is running for office against a backdrop of political instability and strong Russian influence, as he redefines what a new generation’s fight for freedom could look like.

The Winning Generation is directed by Italian, Netherlands-based filmmaker Marco De Stefanis. He has worked on numerous productions for broadcasters including Rai, Mediaset, Discovery Channel, and History Channel, while his first feature documentary Waiting for Giraffes was selected for IDFA and CPH:DOX.

“Shahen’s story is more than a personal story; it is a portrait of a country striving to define its future. As Shahen says in the film, ‘Freedom is much easier to achieve than to maintain’, a sentiment that resonates far beyond Armenia, highlighting the fragility of democracy worldwide,” said De Stefanis.

The new feature is an Amsterdam-based BIND production in coproduction with EiE film, supported by Netherlands Film Fund, Netherlands Film Production Incentive, Italian Ministry of Culture, Film Commission Torino Piemonte and Regione Piemonte.

“Given the urgency of upcoming elections and timeliness of the subject, we wanted to make the film immediately accessible to audiences worldwide,” said BIND producer Joram Willink.

“Partnering with White Rabbit was the perfect way to achieve that, allowing us to implement a new distribution model for a socially relevant story and ensure viewers everywhere can engage with it immediately after its world premiere.”

The doc’s launch on the White Rabbit streaming platform will target Armenian diaspora communities, in places such as L.A., France, Canada, Buenos Aires, Georgia, and Ukraine – alongside politically engaged young audiences.

The Winning Generation is exactly the kind of film that can show why audiences matter more. For too long, the film industry has treated audiences as passive consumers rather than active supporters of the stories they believe in,” said White Rabbit CEO and founder Alan R. Milligan.

“White Rabbit empowers audiences and influencers to participate directly in a film’s journey, enabling them to share their experience with friends, communities, and networks. Cinema and festival audiences become the engine of discovery, helping important stories travel beyond the theater, and far beyond the limitations of algorithms.”

The human rights and social justice-focused Movies that Matter Film Festival runs from March 20 to 28 in the Dutch capital of The Hague.

Watch a trailer for the film below.

Binghamton oil painter honors Armenian culture through art

Binghamton Homepage
Mar 20 2026
Binghamton oil painter honors Armenian culture through art
Samantha Rich

BINGHAMTON, N.Y. (WIVT/WBGH) – The Broome County Arts Council is supporting a Binghamton-based oil painter this month as she works to keep the spirit and the stories of the Armenian people alive.

Jacqueline Kachadourian is the Arts Council’s Artist in Residence for the month of March.

Kachadourian studied painting and theatre at Binghamton University. While she was earning her degree, she researched the history of the Armenian people.

Through the use of both abstract expressionism and representational imagery, Kachadourian reflects Armenian culture, its people, and the hardships they’ve faced.

The collection she is working on now focuses on landscapes from Artsakh, a land where Armenian people once lived, but was taken over by Azerbaijan in 2023.

Being of Armenian descent herself, Kachadourian says both sides of her family have experienced genocide firsthand. She says it’s an honor to be able to share her art and heritage with the community.

“Being able to share those stories through my paintings is really important because a lot of times, not many people know about the Armenian genocide, and most recently, the displacement of people in Artsakh. I doubt anyone knows about that. It’s so unfortunate and very heartbreaking, and I think having a chance to talk about it through my paintings is one of the most important things I can do,” said Kachadourian.

The Artist in Residence program provides individuals with 24-hour access to studio space in downtown Binghamton. At the end of their given month, they will be able to showcase the art they’ve created at their own First Friday show.

Kachadourian’s show will take place on April 3 from 6 to 9 and April 4 from 11 to 3.

The Arts Council is seeking artists for its next round of the program. Applications can be found by clicking here.

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Cairo: Ola Abdel Monem Explores Armenian Identity in New Novel

Sada El-Balad, Egypt
Mar 20 2026

Fri 20 Mar 2026 | 11:42 AM
Israa Farhan

Egyptian writer Ola Abdel Monem presents a powerful exploration of identity, memory, and survival in her latest novel “Taghribat Al-Duduk” (2026), offering a human-centered perspective on the Armenian experience across generations.

In an interview with The Armenian Mirror-Spectator in the United States, Abdel Monem outlined her vision of Armenians not as victims, but as survivors who have managed to preserve their identity despite historical trauma.

“For me, Armenians are not victims, but survivors,” she said.

The novel follows an Armenian family that fled the Armenian genocide and settled in Egypt, tracing their journey through four generations while examining questions of belonging and cultural continuity.

Abdel Monem explained that each generation reflects a different stage of identity formation. “My characters start as pure Armenians, carrying sorrow and longing for the past,” she noted, adding that later generations gradually integrate while maintaining ties to their heritage.

“Finally, the fourth generation is hybrid… they journey through it until the very end, carrying both memory and hope,” she added, describing a recurring cycle of exile and return.

The duduk, a traditional Armenian musical instrument, serves as a central symbol in the novel, representing sorrow and memory. At the same time, Abdel Monem pointed to Armenian resilience and global success as symbols of joy and pride.

“I believe that the success of Armenians in preserving their identity… can serve as a symbol of joy,” she said.

Originally from Assiut, Abdel Monem began writing at an early age and rose to prominence after winning the El Sawy Culturewheel Short Story Award in 2013. Her interest in Armenian history developed through early exposure to Egyptian artists of Armenian descent, later deepening through research into the Armenian genocide.

The novel received a strong reception at the Cairo International Book Fair, particularly among readers interested in history and cultural identity.

“What made me even happier was the positive response from the Armenian community in Egypt,” she said, noting plans to organize a future cultural event with the community.

Abdel Monem also expressed hope that the book will be translated into multiple languages, especially Armenian, to reach a broader international audience.

“I hope it will be translated… so that the story reaches everyone and they can understand how their ancestors survived against all odds,” she said.

Through “Taghribat Al-Duduk”, Abdel Monem delivers a broader message about resilience, emphasizing that memory can be a source of strength and that identity can evolve without being lost. 

Broome County Arts Council’s Artist in Residence explores Armenian heritage a

WBNG
Mar 20 2026
By Jess Liptzin

BINGHAMTON, N.Y.(WBNG) — Binghamton artist Jacqueline Kachadourian is spending March immersed in her work as an Artist in Residence through the Broome County Arts Council, using oil paint to explore family history and Armenian heritage.

In the studio, Kachadourian says she’s drawn to the way oil paint can drip and blur — an effect that can feel like something being “erased” or “melted away,” rather than preserved.

“Kind of seeing the dripping of the paint in the oils… kind of it being erased and melted away, and not preserved, which is something I want to touch on and bring awareness to,” Kachadourian said.

Inspired by a monastery and a community’s displacement

Kachadourian’s current piece is inspired by the Gandzasar Monastery, and she connects the work to the displacement of Armenians from Artsakh.

She said the situation facing the Armenian Artsakh community did not receive widespread attention in 2023, leaving many people around her unaware.

“This displacement of the Armenian Artsakh people was not heavily in the news back in 2023. And so a lot of my friends… people in my community had no idea that this was going on,” she said.

How the Artist in Residence program supports local creators

The Broome County Arts Council’s Artist in Residence program provides selected artists with 24/7 access to a dedicated studio space throughout the month, along with a $250 stipend to help cover the costs of creating new work.

Kachadourian said the flexible access makes it possible to keep painting outside of a traditional schedule.

“Oh, it’s wonderful to be able to come in after work hours and even on the weekends, to be able to paint and do it on my own time,” she said.

Muren Lum, the arts council’s marketing coordinator, said the program is designed to support a wide range of artists.

“They are looking at artists’ potential, artist skill, the diversity,” Lum said.

Lum said beyond the studio space and stipend, the residency encourages artists to experiment.

“They have a dedicated space to really push them to try something new,” she said.

With time left in the studio before the month ends, Kachadourian says she’s making the most of the opportunity — and encouraging other artists to apply.

“You never know where the opportunity may lead. You get to explore your work, create new things, and that’s an opportunity that doesn’t come about often. So definitely apply if you’re interested,” she said.

Armenian American Museum to host U.S. debut of pianist Laura Farré Rozada

Fox 11 Los Angeles
Mar 20 2026

Armenian American Museum to host U.S. debut of pianist Laura Farré Rozada

By Araksya Karapetyan


The Brief

  • U.S. Debut: Barcelona-based pianist and mathematician Laura Farré Rozada will perform her first concert for an American Armenian diaspora audience on March 25 in Glendale.
  • Unique Approach: The recital, held in collaboration with the Armenian American Museum, features works from her album Araspel and highlights her specialty of using mathematical structures to memorize and perform complex compositions.
  • Deep Connection: After traveling to Armenia to study its heritage, Rozada has dedicated her work to sharing the “healing power” of Armenian music and the compositions of Komitas with audiences worldwide.

GLENDALE, Calif. – Barcelona-based pianist and mathematician Laura Farré Rozada is bringing her unique blend of music and mathematics to Southern California. Her upcoming concert in Glendale on March 25, held in collaboration with the Armenian American Museum, marks her first performance for an Armenian diaspora audience in the United States and features works from her album, “Araspel.”

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The backstory:

Rozada, a concert pianist and mathematician from Barcelona, has built a career blending two seemingly different worlds—music and mathematics. Her work explores the deep connections between the two, from how we hear and process sound to how musicians can use mathematical structures to memorize complex compositions.

That passion for uncovering lesser-known works is what led her to Armenian music, starting with the compositions of Komitas, widely considered the father of Armenian classical music. Rozada traveled to Armenia, studied its rich musical heritage, and immersed herself in a culture she hadn’t previously known. Along the way, she says, the experience not only expanded her worldview—but transformed her as an artist.

‘A combination of curiosity’

What they’re saying:

“It really resonates with me,” she said. “It was a combination of curiosity … and when I traveled to Armenia to discover the country and its history, it really captivated me.”

“I studied simultaneously a bachelor’s in piano performance and a bachelor’s in mathematics,” she explained. “One of my specialties is memorizing music through mathematics… and I’ve tried to develop a profile as a performer discovering repertoire you don’t often hear in concert venues.”

“I learned a lot from it and I also grew as an artist… and now I’m presenting and sharing this music with people, touring as many countries as possible,” Rozada added.

“I think we saw during COVID that we cannot live without music,” she said. “To feel good with ourselves and to be emotionally healthy, we need music. It’s an amazing healing tool… and also a way of finding collective identity.”

Local perspective:

On March 25, Rozada will perform in Glendale in collaboration with the American Armenian Museum—marking her first concert with an Armenian diaspora audience in the United States. The recital will feature selections from her album, highlighting the richness and emotional depth of Armenian piano music. For her, the performance is more than just a concert—it’s an opportunity to connect, learn, and give back to a community that has deeply inspired her work.

Big picture view:

At the heart of it all is a belief in the power of music itself. In a world that often feels overwhelming, Rozada sees music as something essential. It is a space to reflect, to feel and to reconnect. And through Armenian music, she’s found not only inspiration, but a profound sense of purpose.

The Source: This article is based on direct interviews and biographical details regarding Dr. Laura Farré Rozada’s professional background as a mathematician and pianist. The information regarding her upcoming performance and her study of Armenian musical heritage was compiled from official event announcements and her personal accounts of her artistic journey.

Armenia’s cultural scene expands as rising demand drives up prices

JAM News
Mar 19 2026
  • Gayane Asryan
  • Yerevan

Cultural life in Yerevan and other major cities in Armenia has become noticeably more active. Rising demand has led to new offerings. This, in turn, has pushed prices higher.

Compared with previous years, ticket prices for cinemas, theatres, concert halls and art centres have increased significantly. Estimates put the average rise at 20–30%.

A regular theatre-goer, a marketing specialist and a sociologist share their views on the growing interest in cultural events and the increase in prices.


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Theatre performances become more expensive — in line with higher production quality

Gagik Aghbalyan closely follows the repertoire of local theatres. He says performances have become more visually engaging in recent years. Acting has improved, and so have stage design, sound and lighting.

“These changes have increased public interest. More people now go to theatres, and that has affected ticket prices. Almost all theatres have become more expensive. Some tickets now cost 8,000–10,000 drams [$21–27]. Five years ago, halls stood half-empty, and tickets cost 3,000–4,000 drams [$8–10],” he says.

He adds that tickets for children’s performances have also risen sharply in price. At the same time, theatres now offer a more diverse, creative and innovative repertoire.

“When I was a student, I always bought tickets in the last row. I knew the front rows would be empty, and I could move closer to the stage. That no longer happens. Halls are full. Theatres offer interesting deals for schoolchildren, students and professional groups, and this helps attract large audiences.”

Gagik also notes that theatres have become spaces for social interaction. People gather in the foyer before and after performances, talk and exchange opinions.

“Several years ago, people avoided theatres and saw them as an unnecessary expense. Now ticket prices have doubled, but audiences have returned. I think the issue is not money. It is about producing quality content, which cultural centres now value and aim to deliver,” he says.

He believes that high-quality films, theatre, visual art and music have always attracted a limited but stable audience, regardless of prices, values or the political and social environment.

“Today, it has become harder to promote cultural content. In the past, advertising boards were enough. Now you need to actively use digital platforms and tools.”

Cultural centres in Armenia begin to recognise the role of marketing

Marketing specialist Simon Arabyan says the recent surge in cultural activity reflects more professional sales strategies. Cultural organisations have realised that selling a product requires serious effort, especially in a market where people do not readily pay for it.

“Last year, our team worked on promoting a theatre production. For three months, we prepared alongside rehearsals. We ran social media campaigns, put up posters, used mobile advertising, hosted live streams, invited guests to rehearsals and involved actors in promotion. We achieved strong sales results. The cast felt encouraged by that success and is now working intensively on a new production,” he says.

He adds that this is not an isolated case. Cinemas have also become more active. They offer strong film line-ups, promote screenings on social media and present casts in detail.

“I recently attended a solo concert by a very well-known French singer. The concert hall was full. The entire evening featured Valentine’s Day-themed surprises. The show was interactive, and it was clear the organisers had prepared it carefully,” Arabyan says.

He notes that Armenia has hosted several successful large-scale concert projects in recent years, featuring both international and local performers.

“In some cases, ticket prices reached several hundred thousand drams. That trend continues. Tickets for popular artists sell out months in advance, and organisers add extra shows. It is encouraging to see well-known performers from abroad being invited. Competent teams have formed, and they know what they are doing.”

Arabyan believes the greatest success has come in publishing and book sales, where marketers have chosen collaboration over competition.

“In this sector, people understand that cooperation drives sales. I have attended many events in recent years where different organisations jointly presented new books by Armenian authors and offered creative formats.”

He says many opportunities remain untapped. Cultural centres should focus not only on creating content but also on how they sell it.

“Even small investments can make an event visible, widely discussed and profitable. It is time to break the stereotype that theatre, books, art and handmade products do not sell in Armenia. I argue the opposite: the interest exists, but strong offers do not always follow.”

A chance to disconnect from social media

Sociologist Tatevik Avdalyan studies consumer behaviour. She says people have started visiting museums, art galleries and cinemas more often over the past two to three years.

“Many people now dedicate one day a week to going to the theatre, cinema, museum or another cultural venue. This trend is visible not only among middle-aged and older people, but also among young people. That is very encouraging. I speak with people from different generations. A large number of them try to step out of their usual environment and enter a more engaging reality.”

Avdalyan says young people who engage with real-life art often feel the need to distance themselves from social media.

“In their own words, the ‘reality’ of social media is often toxic, addictive and depressing. Humans are social by nature. They need real контакты, relationships, direct emotional exchange, a sense of belonging and shared interests.”

She says she has spoken with more than a hundred young people to understand what they expect from content creators.

“In Armenia, it is difficult to find artists, writers and theatre professionals who study public opinion in order to make their work more targeted, accessible and visible. At the same time, audiences have many interesting ideas and suggestions.”

She considers the rise in prices for cultural content to be logical. It reflects not only overall inflation but also changing public interests and growing demand for higher-quality content.

Armenia and Georgia rated ‘partly free’ in updated Freedom House report

OCCRP – Organized Crime & Corruption Reporting Project
Mar 19 2026

Armine Ohanyan, the top editor of a prominent independent newspaper, faces potential prison time over a 2024 editorial that critics say is being weaponized to silence opposition voices ahead of parliamentary elections.


Reported by

Mariam Shenawy
OCCRP

Escalating fears of a crackdown on press freedom ahead of national parliamentary elections, Armenian authorities summoned the top editor of a prominent independent newspaper for questioning over accusations that she called for a violent overthrow of the government.

Armine Ohanyan, the editor-in-chief of the independent newspaper Hraparak, was interrogated on by the country’s Investigative Committee over an editorial she wrote in December 2024. Following the questioning, she was compelled to sign a non-disclosure agreement, according to her publication.

The investigation centers on Article 422 of the Armenian Criminal Code, a statute that criminalizes public calls for the seizure of power, the breach of territorial integrity, or the violent overthrow of the constitutional order. If formally charged and convicted, Ohanyan faces between two and five years in prison.

The move has sent a chill through the country’s opposition and independent media corps. Hraparak, which has been a persistent critic of the government, characterized the probe as a politically motivated assault designed to muzzle dissent before voters head to the polls.

“Article 422 has become a lifeline for the government and is now a primary tool for political persecution,” the newspaper said in a statement. The publication noted that rumors had circulated for months that law enforcement agencies planned to target “several editors of free media outlets on the eve of the elections.”

The summons drew swift condemnation from political figures, who warned that the ruling party was weaponizing the justice system to neutralize its critics. Mane Tandilyan, a former minister of labor and social affairs, accused the government of dragging up old writings to manufacture a crisis.

“Material written years ago is suddenly being turned into a subject of a criminal case,” Tandilyan said, arguing that the law enforcement apparatus is being appropriated “to silence the speech of the opposition.”

She warned that the government’s actions were inflicting profound damage on the country’s democratic institutions.

“These fears of power have an irreparable impact on our society and, in this case, on the right to free speech,” Tandilyan said. “This is a consistent attempt to restrict free _expression_ by labeling its manifestations as ‘public calls to seize power and overthrow the constitutional order.’”


https://www.occrp.org/en/news/armenia-targets-independent-editor-in-widening-crackdown-ahead-of-elections

At the edge of the war, an uneasy calm: dispatches from the Armenia–Iran borde

OC Media
Mar 20 2026

As civilians trickle across the border, some seeking security others returning home, local residents are feeling the economic consequences.

Pashinyan claims Armenia faces war if opposition wins parliamentary election

OC Media
Mar 20 2026

Prime Minister Nikol Pashinyan has claimed that Armenia would face a war if the opposition would come to power, suggesting that they want to ‘revise’ the peace brokered with Azerbaijan. He further accused his main opponents in the upcoming 7 June parliamentary elections of being backed by Russia and Belarus.

The remarks were made during Pashinyan’s press briefing on Thursday.

Pashinyan stated that his Civil Contract party ‘expect[s] to have a constitutional majority’ following the election. He claimed that such a showing would guarantee that ‘in the context of regional peace, we make these processes fully irreversible’.

He further accused the opposition of being a ‘war party’.

This explicit usage of ‘war party’ narrative is a new feature of Pashinyan’s rhetoric, first used in his speech to the EU Parliament earlier in March about the ongoing confrontation between his government and the Church, which has escalated since May 2025.

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On Thursday, Pashinyan said that although the opposition claims they support peace with Azerbaijan, they intend to ‘revise [that] peace’ if elected.

Pashinyan insisted that this would lead to an ‘inevitable war’ for Armenia, arguing that it would result ‘not only with territorial losses, but also with a loss of sovereignty’. He even provided a timeframe when the war could occur — ‘not long after the elections, at most by autumn’.

To support his claim, Pashinyan referenced a narrative associated with Russian–Armenian tycoon Samvel Karapetyan’s Strong Armenian party — that Armenia needs to have a ‘strong peace’ with Azerbaijan.

Karapetyan’s party has promised to strengthen peace in several ways, including by having ‘several guarantors’, as well as bolstering the country’s army.

Pashinyan also referenced a poem cited by a supporter of Karapetyan, which emphasised that Nagorno-Karabakh should be ‘held captive for long’.

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He also brought up comments made by Armenia Alliance MP Anna Grigoryan in March highlighting Armenian symbols and heritage sites, declaring that Ararat Mountain, in present-day Turkey, as well as Gandzasar and Dadivank medieval Armenian monasteries, located in Nagorno-Karabakh and the surrounding area, ‘are ours’.

‘Some of them, apparently, do not even understand what they are saying, because it is obvious to me that the texts they are voicing — at least part of them — are written elsewhere, and they are simply in the state of readers’, Pashinyan said.

Pashinyan suggested that the ‘emissaries’ would pursue war  ‘to keep Armenia in the status of a periphery’. He further blamed them for having issues seeing how ‘Armenia has become independent’ under his tenure.

‘They are emissaries meant to prevent Armenia from becoming independent’, Pashinyan claimed.

‘They will preserve the billions they have in certain countries, because they have been sent here and told: if you do not solve the problem, what is formally registered in your name will no longer exist’, Pashinyan said, explicitly naming Russia and Belarus as the places where their assets are held.

Pashinyan suggested that his comments were directed at three opposition forces, but did not explicitly name them.

However, it was widely understood that he was referring to his main political opponents who have declared their participation in the elections — tycoons Karapetyan, who built his fortune mainly in Russia, Gagik Tsarukyan, who has business both in Russia and Belarus, as well as close ties with Belarusian leader Aliaksandr Lukashenka, and former President Robert Kocharyan.

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The opposition harshly criticised Pashinyan’s statement, suggesting that despite him being ‘the symbol of the war and defeat’, he tried to blame the opposition for pursuing war, which threatens Armenian society.

‘In the opposition field, I do not see any political force making revanchist statements, talking about re-liberating Artsakh [Nagorno-Karabakh] after coming to power’, MP Grigoryan told RFE/RL.

‘[The opposition speaks] about defending certain values, returning our prisoners [held in Azerbaijan]. Yes, the return of prisoners does not mean war; defending our churches does not mean war’.

Currently, there are 19 Armenian prisoners held in Azerbaijan, among them former Nagorno-Karabakh political and military leaders.

Speaking to RFE/RL, Karapetyan’s associate Gohar Meloyan suggested that Pashinyan possess ‘one tool to get re-elected’, which is ‘threatening people with war’.

Armenian Catholicos Karekin II’s presence at Georgian Patriarch Ilia II’s fun

OC Media
Mar 20 2026

Armenian Catholicos Karekin II’s attendance at the funeral of the Georgian Orthodox Patriarch Ilia II remains uncertain due to a travel ban enacted in February amidst ongoing tensions between the Armenian Apostolic Church and the state. When asked about the matter, Armenian Prime Minister Nikol Pashinyan said he ‘does not recognise’ Karekin II as Catholicos.

The long-serving head of the Georgian Orthodox Church, Ilia II, passed away on Tuesday evening at the age of 93.

Obituary | Patriarch Ilia II — the one constant in Georgia’s modern history

Following Ilia II’s death, Pashinyan sent a letter of condolence on Wednesday to his Georgian counterpart Irakli Kobakhidze, wishing Georgians ‘strength and resilience during this difficult time.’

Karekin II also sent similar condolences that day.

‘[Ilia II’s] patriarchate was marked by a revival of spiritual life in Georgia, as well as by the strengthening and revitalisation of church life’, Karekin II’s letter read.

Despite the messages of condolence, it remains unclear if Karekin II will be able to attend the funeral, as he has been under investigation and a travel ban since February amidst the ongoing confrontation between the Church and Pashinyan’s government.

The criminal proceedings are connected to the alleged failing of the Church to execute a judicial act, or obstruct its enforcement, concerning senior, pro-Pashinyan clergymember Bishop Gevorg Saroyan, who was later defrocked.

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Pashinyan was asked directly about the issue during his Thursday press briefing, saying that Armenia ‘will participate in the funeral at the highest level.’

In his remarks, he also used the word ‘unfortunately’, but did not finish his thought, only adding that he intends to call Kobakhidze and personally extend his condolences. This fueled speculation that Pashinyan himself might skip the funeral.

In response to a follow-up question regarding Karekin II’s attendance, Pashinyan stated that he ‘does not recognise’ him as the Armenian Catholicos.

Following the briefing, Pashinyan did indeed have a telephone conversation with Kobakhidze on Thursday, offering his condolences.

Separately, on Friday, the Church told Armenian media that Karekin II had already received an official notification from the Georgian Church regarding Ilia II’s funeral and the related ceremonies.

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‘His Holiness intends to visit Georgia, attend the funeral ceremony’, the Church stated, adding that their lawyers ‘are taking steps’ regarding the travel ban.

Also on Friday, Armenia’s Investigative Committee confirmed receiving a motion from Karekin II’s lawyers ‘to lift the preventive measure applied’ and stated that it will be examined within the legally established timeframe.

Ilia II’s funeral is scheduled for Sunday.