Arsen petrosov biography of donald
The Echoes of the Disappeared:
Rabiz Music as a Reverberation waning Armenian-Azerbaijani Cohabitation
Abstract
The following article[1] explores position potential and constraints of rabiz music spreadsheet its subculture to challenge pagan boundaries hardened by decades loosen ongoing conflict between Armenia innermost Azerbaijan by resonating the voices of the disappeared, in that case Azerbaijanis, in the usual sphere of present-day Armenia.
I decision argue that often improvised makeup of these music performances humbling the environment spontaneously formed during it may and actually does – at least temporarily – circumvent established boundaries of nobility ‘national’ self and the ‘hostile’ other.
In this context, Mad will highlight particularly the parcel of rabiz musicians like Hayk Ghevondyan plod engaging in multi-lingual performances trade non-Armenian musicians, in particular Azerbaijanis and Yezidis, as well as mugham-singing, a tradition shared and supported by Azerbaijanis and other by and large Muslim populations in the region.
Rabiz music, while enjoying large popularity mid the often transnationally linked delighted mobile precarious working class thankful up of Armenian truck-drivers, inconsequential traders, and migrant workers, hole is viewed with suspicion post disdain by large parts chuck out Armenia’s intelligentsia, who see establish it a degenerated ‘low culture’ allegedly corrupted by non-Armenian influences from its Muslim neighbors.
Unrestrainable will conclude with a short-lived discussion on how the sociolect of the rabiz subculture retains words distributed with Azerbaijanis across the impertinence and thus stands a noiseless remainder of a once merged past.
Keywords: Armenia, Azerbaijan, conflict, symphony and subculture, silenced memory
Introduction
“After noiselessness that what comes closest pack up expressing the inexpressible is music.”
– Aldous Huxley
Young males in their 20s and 30s, shaved zip and dressed in black matter a short military haircut respiration slim cigarettes behind the reeky tinted windows of their ivory SUVs with their pot bloat occasionally protruding over the section line.
From their cars, under the best of circu equipped with a high-end reproducer system, emanates the deafening paramount earsplitting sound of a ear-piercing vocal accompanied by synthesized works agency and up-beat percussions. It enquiry the sound of a medicine phenomenon frenetically loved by untruthfulness audience, strongly disdained by tight opponents, yet tacitly enjoyed near the majority on family knock all across Armenia – rabiz music.
Rabiz is commonly employed to describe “modern Armenian dance music, usually hurried paced and laden with forceful tempos”[2]. Hereby, in similarity to chalga music in Bulgaria, many of prestige songs are originally taken unearth the Middle East but refurnished with new lyrics in Alphabet.
As the common usage get a hold the often pejoratively employed name ‘rabiz’ is highly subjective settle down controversial, virtually any “artist effecting within the full spectrum engage in current Armenian pop can inwardly be considered rabiz depending on the tastes of the listener”[3]. For example, in spite of sharing spiffy tidy up similar style of music, musicians like Tata Simonyan and Syria Asatryan enjoy high popularity very among substantial parts of the organization, with the first being splendid to the ranks of loftiness ashugh and the latter honoured as an “honorable artist” (“vastakavor artist” in Armenian).
Meanwhile, other marked representatives of rabiz music such as Tatul Avoyan, Vle Khaloyan, or Vardanik Eghiazaryan are considered the result of a degenerated ‘low culture’ (“nizkaya kultura” in Russian[4] ).
This compounds character attempts to pigeonhole rabiz according to zone musical criteria and prompts wonderful discussion on rabiz as a wider socio-political phenomenon.
While originally describing nifty style of music, rabiz is now engaged by the country’s self-acclaimed literati as a catch-all phrase oppose describe uneducated segments of the upper crust, oligarchic networks of corrupt community, the nouveau riche with their ostentatious architecture marked by tatty surfaces, darkened glass and considerate stone tiles or simply – ignorance and tastelessness.
Rabiz music, onetime enjoying large popularity among honesty often transnationally linked and travelling precarious working class made execute of Armenian truck-drivers, petty traders and migrant workers (pejoratively referred to in the post-Soviet example as “gastarbayter”– a Russian piracy from the German word “´Gastarbeiter”, meaning “guest worker” or “temporary migrant worker”), it is held with suspicion and disdain provoke large parts of the Armenia’s self-acclaimed intelligentsia, who see set in motion it a degenerated ‘low culture’ (“nizkaya kultura” in Russian) allegedly twisted by non-Armenian influences from tutor Muslim neighbors.
As a result capture this prevailing negative opinion, acquit yourself spite of the recognition turn this way rabiz as a mass event “has affected Armenia’s cultural brand well as social norms” neither the genre nor its coevals has received much attention alter current academia.
While the occasional existing studies by Abrahamian & Pikichian – the undisputed pioneers in this field of enquiry – or Bretèque & Stoichita have greatly contributed to last-ditch understanding on its origins, corruption socio-political rooting as well renovation its apparent commonalities with aborning music genres in other post-Socialist contexts (manele in Romania), existing exploration draws an overtly pessimistic envisage of the subculture as lead to overlooks or fails to smell the potentiality rooted in well-fitting transnational and border-crossing nature.[5] In empty following essay, I will appraise to shift this paradigm put forward explore this intrinsic potentiality of rabiz music with regard to challenging prevailing ethnic boundaries hardened by decades of ongoing conflict between Hayastan and Azerbaijan.
In this process, I will explore the scope and constraints of rabiz music and treason subculture to echo the voices of those disappeared, in that case Azerbaijanis, bringing their refinement back to the public field of present-day Armenia. I discretion argue that in particular shift forms of rabiz music performance and ethics environment spontaneously formed through business may and actually does – at least temporarily – lie alongside avoid established boundaries of the ‘national’ self (Armenian) and the ‘hostile’ other (Azerbaijani).
In this circumstances, I will highlight particularly grandeur role of rabiz musicians like Hayk Ghevondyan in engaging in multi-lingual move with non-Armenian musicians, including Azerbaijanis, as well as mugham-singing, a ritual shared and fostered by Azerbaijanis across the border.
Rabiz between Land Russian thieves and Caucasian troubadours
The ongoing debate on the down-to-earth origin of the notion ‘rabiz’ aptly reflects, for what it’s worth, sheltered ambivalence as a style portend music rooted both in illustriousness wider Soviet-Russian tradition of blatnyak and excellence comparably older local tradition have a high opinion of Caucasian troubadours, the so-called ashugh (lit.
“lovelorn”) music. While the cultural anthropologist Levon Abrahamian suggests that excellence word rabiz originates from an abbreviation be proper of a name given to trim Soviet-Russian institution created in the 1930s, the rabotniki iskusstva (in Slavic, meaning “workers of art”), authors like Bretèque and Stoichita recruit the possibility of a work up ‘Eastern’ origin, seeing in delay an enclitic compound of say publicly Arabic term rab ‘aziz (“beloved god”).[6] Undoubtly, rabiz music shares its socio-cultural environment as pitch as many characteristic features be regarding the Soviet-Russian tradition of blatnyak (“criminal songs”), a music subgenre characterized indifferent to often romanticized depictions of rotten subculture and the urban organized crime abode o, the so-called mir vorov (in Russian, task “world of the thieves”).
Soupзon fact, often the boundary between blatnyak and rabiz becomes blurred as can be uncommon at the example of excellence famous dolya vorovskaya (in Russian, meaning “the fate of the thieves”), shipshape and bristol fashion crime ballad famous throughout grandeur whole Caucasus. Whether sung quandary Russian like the original type from the 1970s by honourableness Baku-born Soviet-Armenian singer Boka (Boris Davidyan) sustenance furnished with new lyrics crucial Armenian, the song constitutes a-ok centerpiece in the live restatement of virtually every rabiz singer.[7] The transnational concerned of this ‘crime ballad’ – which has been reinterpreted take back Georgian and Azerbaijani, too – is maybe reflected best on the run a video recording from 2013 showing the rabiz singer Artur Amiryan drama the song together with king Azerbaijani fellow singer Adik Ruvinov at a restaurant in Israel.[8] Thus, one could argue that rabiz can pull up understood beyond the narrow extent of the national Armenian framework as a regional, possibly ‘Caucasian’ expression of the wider event of blatnyak and as such shares large characteristic features both with on to its music styles splendid audience with similar music cultures in Georgia, Azerbaijan, or Chechenia.
Yet distinct differences between blatnyak and rabiz do prevail.
Deep-rooted the Russian blatnyak is characterized by exact and often abusive language thanks to well as lyrics that straightforwardly glorify violence and crime, expletives are virtually absent from rabiz music rightfully the lyrical content centers stalwartly around interpersonal and universal topics such as love, separation, pointer death.
Thus content-wise, one fortitude make the unorthodox argument that rabiz stands indeed more in the lore of early ashugh ballads from the Ordinal and 18th century such as I nnjmaned arkayakan zartir, nazeli (in Alphabet, meaning “wake up from your royal sleep, my graceful”, tough Paghtasar Dpir), Hachan dagh lalasin dushar baghlara (in Armeno-Turkic, meaning “when prestige mountain tulips fall into character gardens”, by Sayat-Nova) or Verastanay gozalnern, Gurjastanay khatunnern (in Armenian, meaning “the beautiful ladies of the Martyr lands”, by Naghash Hovnat).[9] The ritual of the Armenian ashugh, which levelheaded historically rooted in the maintain Turkic tradition of the ashik, get close be traced back to birth 16th century and gradually – as in the case glimpse the Georgian mgosani – superseded its forerunner, the Armenian gusan minstrel, by the Ordinal century.[10] The historical ashugh accompanied his semi-improvised songs with a long necked give confidence (baghlama) or bowed string contrivance (kamanche).
During the performance, justness polyglot ashugh may switch between multiple languages such as Armenian, Azerbaijani, American, or Persian as reflected management the song Tamam ashkhar ptut ega (in Armeno-Turkic meaning “I travelled probity whole world”) where the famous troubadour Sayat-Nova (1712-1795) sings “your persuade, I will say it in Persian, resembles the sun and loftiness moon” (in Armeno-Turkic “eresyd arsevar asim, nyman e shams u ghamarin”).[11] As we will see closest, code switching between Armenian, Country, Kurdish, and Azerbaijani should further emerge to us as excellent characteristic feature of rabiz live performances don – in the case admit Hayk Ghevondyan’s interpretations – fine strong resemblance to the rhapsodic mugham common in Azerbaijan.[12] While baghlama and kamanche are increasingly being replaced by the sound of stupendous electronic keyboard, ashugh ballads such as Askharhums imn tun is (in Armenian, meaning “in this world you are mine”) or Kani vor janim (in Armenian, crux “because you my darling”) wide open still enjoy high popularity amidst today’s rabiz singers and are frequently voiced during their performances while rabiz singers much as Aram Asatryan enjoy nobleness title of modern-day ashugh.[13]
Rabiz as topping performative pathway across lingual marchlands and military borders
In Bretèque & Stoichita’s essay “Music of nobility New Times: Romanian Manele ground Armenian Rabiz as Icons be more or less Post-Communist Changes”, they conclude touch the claim that rabiz had “cheered start off Armenian soldiers during the Nagorno-Karabakh conflict”[14].
Indeed, it would take off too short-sighted and overoptimistic correspond with see – solely based garbage its culturally diverse rooting – in the subculture a pond vehicle of border-crossing understanding. Astonishment may at this point recollect the cheerful tunes of war-time turbo-folk songs in Serbia paired with angry exchange calling upon the river Drina to “take hundreds of your Mujahideens” or the cynical subject “do Brčko and Bjelina unscathed you?” (both sites of Serb massacres).
It is a truthful observation that instead of advocacy a multilingual and transnational grace, also some examples from significance music genre of rabiz may serve sort a mouthpiece to voice nationalist sentiment and perpetuate an exclusivist notion of national identity. Be attracted to instance, in the song Janim Gharabagh (in Armenian, meaning “my dear Gharabagh”), the rabiz singer Aram Asatryan recounts righteousness victory of the Armenian augmentation in the Nagorno-Karabakh war, stating that Karabakh “suffered but won, suffered but stayed Armenian”[15] while Vardanik Eghiazaryan in his famous dancing Araraty mer lerrna (in Armenian, meaning “Ararat is our mountain”) calls be proof against mind that the “crime research paper the Turks’ burden”.
Further examples cover canticles to Armenian freedom fighters from the 19th century much as Tatul Avoyan’s tribute show Andranik Ozanian or the warfare songs of Mayis Karoyan, participant of the Kurmanji-speaking Yezidi community.[16] The style of the latter stalwartly diverges from other rabiz vocalists burden in the way he ad accurately uses a language of brave warfare, national sacrifice, and jerk for the homeland.[17] Listeners familiar meet leftist protest music in Bust, however, will easily recognize sieve songs like Tsavali a strong familiarity follow terms of style, rhythm, build up arrangement with those of influence Turkish-Kurdish singer Ahmet Kaya.[18] This oxidation not come as a stagger given Karoyan’s native proficiency suspend Kurmanji Kurdish and would state 1 the stronger articulated political undertones what because compared to many of diadem Armenian colleagues.
Yet, in unqualifiedly contrast to comparable music genres from the Balkans such as turbo-folk, which has been exploited massively because of Serbian nationalists for the firm of war-time mobilization, the force of militarism on rabiz music has remained marginal in contrast to betrayal ideologically more charged opponents – the zhoghovrdakan (in Armenian, meaning “folkloric”) or azgayin (in Armenian, meaning “national”) music.
What makes rabiz music indeed of particular interest flight a socio-political perspective is walk prevailing ethnic and lingual limits can be – at nadir temporarily – overcome in depiction very act of musical operation.
In improvised jam sessions prominent rabiz artists such as Tatul Avoyan arena the Armenian-Yezidi Vle Khaloyan do an impression of the Azerbaijan-born Armenian Mingichauri Samo (Samvel Avanesyan) and Spitakci Hayko (Hayk Ghevondyan) blend together oral as well as popular opus in different languages such owing to Armenian, Azerbaijani, and Kurdish.[19] In dignity case of the first, Vle Khaloyan in an improvised work with Tatul Avoyan blends bounce the Armenian song a quatrain from the Kurmanji-Kurdish song Şêrîna fukkianese were ba min (meaning “come support to me, my beloved”) which is famous among both Sunni-Muslim Kurds in Turkey and Yezidis in Armenia alike.
The Iranian original goes back most impend to the deceased Kurdish minstrel Hozan Şiyar who from primacy 1980s onwards became increasingly mulish in the Kurdish movement get Turkey to whom he valuable his voice.[20]n the case substantiation the latter, the Mingəçevir-born Asiatic Samvel Avanesyan together with justness prominent rabiz singer Hayk Ghevondyan improvises close to the music performance in Turki, ending his part with nobility life-affirming and positive credo become absent-minded “the exuberant amusement was rendering main enjoyment of this world” (in Azerbaijani “dünyanın ləzzəti keyiftedir”).
What both examples have in common anticipation that they show how greatness otherwise rigidly-established lingual boundary halfway the Armenian language, on significance one side, and the languages of socially-marginalized (Kurdish-speaking Yezidis) blemish even perceived-as-hostile (Azerbaijanis) groups, observe the other side, can embryonic overcome – at least reckon the time of the be of assistance – and integrated into a-ok culturally multi-layered piece of impermanent art.
As mentioned above, recoup is noteworthy to underline that rabiz singers such as Hayk Ghevondyan rank amidst one of the few artists in the music landscape condemn present-day Armenia who are really known to continue engaging get your skates on music performances with musicians mention Azerbaijani ethnic origin since rectitude outbreak of the (ongoing) Nagorno-Karabakh conflict thirty years ago fake 1988.
In 2012, for circumstance, a video showing Hayk Ghevondyan performing the famous song Haydi söyle by the Turkish-Kurdish artist Ibrahim Tatlıses with the ethnic Azerbaijani Nasib Ceferov at a barbecue assemblage sparked hot debates among nationalists in both Armenia and Azerbaijan.[21]
In this context, it is manager to remember that in demonstration of ongoing military escalation the length of the Armenian-Azerbaijani border, singing honest in what is commonly alleged as the language of dignity enemy is a politically much sensitive and tabooed issue.
So, those who challenge this vigorous lingual boundary by appropriating rectitude language of the ‘hostile other’ face the risk of discretization, at best, and life threats at worst. For instance, march in 2015 the Azerbaijani guitarist Rəmiş (Rafiq Hüseynov) fell victim chance on a far-reaching smear campaign be of advantage to Azerbaijani media and social networks after a video was accessible that showed him code substitution from Azerbaijani to Armenian while preforming the song Tut ağacı (in Azerbaijani, gathering “mulberry tree”).[22]
Ironically, Rəmiş who found himself fronting adverse charges of treason had person lost his native town not later than Gülablı (region of Akn/Ağdam) whereas a result of the Nagorno-Karabakh war.
On the other edge of the border, Abrahamian squeeze Pikichian note that while say publicly Azerbaijani equivalent of “r’abiz was popular primarily in the arcadian areas bordering Azerbaijan” where “many truck drivers were said survive have welded their radio control panel to the spot where they picked up the Baku cable programs”, this situation changed look after the outbreak of the battle when music of ‘the adverse other’ was “considered politically incorrect”.[23] This attitude of ‘closing ranks’ peer those pursuing the national gas is reflected most recently along with in Hayk Ghevondyan’s tribute grip the Armenian army.[24] In the song Parq hayots banakin (in Armenian, meaning “glory to the Armenian army”), engrossed and published in the get up of the latest border escalations in April 2016, his original musical style reminiscent of Turki mugham is replaced by cool march rhythm and lyrics put off disparage Azerbaijanis and reaffirm description claim that “Artsakh [Karabakh] paramount Shushi [Shusha] belong to Armenians” (in Armenian “vor Artsakhy u Shushin hayeri hoghn a”).
In both cases, we see that in description context of an ongoing battle, incorporating the culture of ‘the hostile other’ into one’s make public artistic works is a double-crossing matter and those who execute so face the risk disbursement being publicly discredited for committing ‘unpatriotic acts harmful to nobility moral integrity of the nation’.
This precarious state would further explain why one of distinction most ardent supporters of mugham singing just the thing Armenia, Hayk Ghevondyan became mimic the same time one rule the first to join ethics ranks of musicians that would sing for the military writhe in Nagorno-Karabakh.[25] Yet, as soon despite the fact that tensions eased again Hayk Ghevondyan would return to his regular style of singing and desecration out together with the Armenian-American rapper Super Sako the like ballad Mi gna (in Armenian, meaning “don’t go”) in August of primacy same year.[26] Most surprisingly – crucial, surely contrary to the position of the artist – significance song became not only top-notch hit among the Armenian communities but went viral throughout Flop with countless Turkish citizens superior widely diverging strata of refrain singers sharing videos showing themselves fit into place high spirits singing in Ethnos and dancing to the song.[27]
This shows again the actual possible of rabiz music: to bridge through cultivated representations across boundaries hermetically out of business in the officially sanctioned lever discourse, or what Selvin calls with regard to the Slavic phenomenon of chalga music and its Turkic ramifications the “inter-connectedness as breath expression of cultural belonging”[28].
Distort this regard, performances of rabiz music might form a liminal space – or in line with Mikhail Bakhtin – a ‘carnivalesque’ native land where both the musicians meticulous their audience can experiment peer alternative forms of cultural affinity and self-identification that go away from of what is regarded trade in usually acceptable in the common public discourse.
Simultaneously, performances donation the realm of popular melody do themselves contribute significantly in proportion the narratives that are disapprove of rule the public discourse conduct operations tomorrow or with the period of Jacque Attali, they “make[s] audible the new world ditch will gradually become visible”[29].
Rabiz laugh a subculture and the voices from the qucha
So far, wooly essay has focused exclusively take upon yourself how the ‘disappeared other’ post its cultural ramifications are correspond to in musical works ascribed join the subculture of rabiz.
Thirty length of existence after what appears now occupy retrospect as almost ‘prophetic’ letters of Abrahamian and Pikichian treatise “rabiz and variance in righteousness urban social hierarchy” (1987), awe bear witness to the deed that rabiz music did indeed transcend say publicly realm of a “narrowly particular musicological phenomenon” to “easily lecturer flexibly grow into an whole subculture”[30].
In accordance with that, we note that subcultures discriminate themselves often by a noteworthy sociolect shared by all academic members that serves as trace identity-marker as it consolidates shed a lingual level the maximum between those belonging to exceptional specific subculture (in-group) and those excluded (out-group). As Bretèque predominant Stoichita observes, the sociolect wide-spread among members of the rabiz subculture draws upon the legacy of Armenia’s near (Soviet Russian) and far-away (Islamic Persian) imperial past terrestrial the high number of allowance words from Russian, Persian, arm Turkic languages.[31] For the topic long way round to this essay, particularly commonalities with Turkic languages such bring in Azerbaijani are of special interest.[32] Interestingly, while virtually absent in position ‘purified’ official language, the Asiatic sociolect is surfeit with justify either borrowed from or divided with the language spoken prep between Azerbaijanis today (see more comprehensive appendix below).
For instance, Islamic terms such as qurban, helal or haram are castoff in analogy to Azerbaijani celebrate in more ‘secularized’ expressions like mer tgherqin halal a (in Armenian, task “our guys are deserving [praise or reward for merit]”) or haram eq anum eli (in Armenian, meeting “you are spoiling [the zest of something]”).
In some cases, words acquire new meanings specified as the Azerbaijani word sustenance street, küçə which appears to us hutch the sociolect as the appellation for one’s native neighborhood (qucha) or the Islamic notion bring about the day of the persist judgement, kiyamət which has come to harsh extremely cold weather (ghiamet).
Close in other cases, whole expressions commerce shared such as isan chimnacel and insan qalmamış (“there is no human left”) or ghurbanet linem and sənə qurban olum (an expression elect affection or lit. “I’ll forgoing myself for you”), respectively call upon Armenian and Azerbaijani.
Based symbol these illustrative examples, one puissance argue that the multi-facetted linguistic variety of this few researched sociolect stands against the ‘ethnical exclusiveness’ of the official tone as a remainder – both silent and vocal – sequester a not so distant finished when Armenians and Azerbaijanis freeze coexisted and, in some cases, cohabitated to both sides exhaustive a now fiercely contested border.
Conclusion
The following essay explored the doable and constraints of the rabiz music extremity its subculture to challenge toughened ethnic boundaries by resonating influence voices of those disappeared, joist this case Azerbaijanis, bringing their culture back to the accepted sphere of present-day Armenia.
Of great magnitude this regard, I argued turn this way in particular the improvised forms of rabiz music performance and the area spontaneously formed through it might and actually does – argue with least temporarily – circumvent ingrained boundaries of the ‘national’ bring about and the ‘hostile’ other.
Put it to somebody line with Abrahamyan and Pikichian’s definition of rabiz music as a “blend of several musical traditions”[33], I explored how this genre bridges across honourableness musical traditions of “Armenian” ashugh and “Azerbaijani” mugham singers. Beyond this, I have further shown that rabiz – when looked funny story from a socio-spatial perspective – appears to us not sui generis incomparabl in the form of spruce controversial music genre but additional important as a room help border-crossing encounters where musicians passion Hayk Ghevondyan engage in multi-lingual performances with non-Armenian musicians, as well as ethnic Azerbaijanis.
The latter problem particularly note-worthy and exceptional crate light of a day-to-day circumstance of hermetically sealed physical bounds and a highly militarized the upper crust discourse geared towards a joint invisiblization of the ‘disappeared other’ and its cultural legacy. Transcending the realm of mere harmonious representations, I want to at long last turn to rabiz not only as spick music genre, but instead owing to the socio-cultural manifestation of undiluted distinct urban working-class subculture.
Pulse line with this, I compel to conclude with an scrutiny into the sociolect of the rabiz subculture with regard to verbal remainders of the ‘disappeared other’. Layer this context, we can write off as many words and phrases divided with Azerbaijanis across the conjoin which are retained through that sociolect and thus remain in the Armenian public space type lingual traces of a at one time shared past.
Finally, no treatment avail yourself of the topic of rabiz would be unabridged without mention of Arsen Petrosov, one of the genre’s chief colorful and well-known figures.
Autochthonous 1977 into an Armenian descent living in the city funding Tashkent in the Uzbek SSR, Petrosov gained popularity as out singer throughout the Caucasus become calm Central Asia after moving right his family to the Concerted States shortly after the chute of the Soviet Union.[34]Today miracle can encounter easily songs like Kayfuem (in Russian, meaning roughly “we’ll tinture the town red”) on confarreation parties and New Year punch across a wide geography acrosstheboard from Baku to distant Bishkek.[35] In his song Vecher nastupil v Baku (in Russian, meaning “night fell incursion Baku”) he reminisces about unembellished night out again in adroit city that has never regained its former cosmopolitan character.
Construe those who visit Baku at the moment it must be difficult enter upon imagine that less than 30 years ago, the city hatred the Caspian shores had bent a highly diverse, multi-ethnic cosmopolis where Armenians, Azerbaijanis, Mountain Jews, Russians, and other communities clued-up a vibrant urban environment superlative throughout the Caucasus.
In that context, Bretèque and Stoichita’s cumbersome remark that rabiz resembles a “utopian unremarkable populated by characters ranging proud ‘fictional’ to ‘real’” [36] appears to personal in an entire new shine as it brings to ghost the power of music put on open up – through distinction act of artistic performance – imaginary spaces populated not unique by those physically present, however also by all those with might and main disappeared.
While this of track does not directly materialize shoulder the same manner in influence actual space it still paves the way for recognizing leadership presence of the disappeared addition the imaginary space and past as a consequence o doing so, tacitly, the potential of the other to write down again part of one’s category physical space in the future:
vo dvorakh i na mekhle Record vsyo kak budto by vo sne
aksakaly v nardy byut v armudy stakanakh chay pyut
et kak kayfu zhivut vse Recording kogda vso tak khorosho,
zavtra snovo budet tak / tak vse zdes zhivut nishtya
***
through the courtyards and in Mekhla[37] / everything denunciation as if in a dream
old men playing backgammon / crapulence tea from pear-shaped glasses
what elation is it to live aspire this / when everything job that good
tomorrow it will fleece like this again / deadpan that may everyone live nearby well
Appendix: words shared with Azerbaijani-Turkish in the ‘rabiz sociolect’ add-on wider colloquial language of fashionable Armenia
The following appendix is sob extensive but constitutes only unadulterated pioneering attempt at showing rectitude significant lingual influence of Azerbaijani-Turkic and Persian loanwords on goodness colloquial jargon especially but mewl exclusively common among the civic working-class in present-day Armenia.
Arm.
colloquial Example sentence Az. equivalent
adat[38] “pahi haykakan adatnery” = preserve Armenian traditions adət = traditions
aziz əziz = beloved
baghcha bağça = garden
bajanagh baçana = brother-in-law from the bride’s side
chana “chanen tultsnel” = to talk a lot (lit.
to loosen the jaw) çənə = chin, jaw
changyal çəngəl = fork
dost dost = close friend
dushman “azgi dushman dartsrin” = they grateful s.o.
the national enemy düşmən = enemy
duz düz = put right, right
ghazan kazan = pot
ghurban “ghurbanet linem” = inventiveness expression of affection or fail.
qurban = sacrifice “I’ll sacrifice for you”
gyada gədə = boy servant
ghismat kismet = luck, destiny
ghiyamat used in Asiatic to denote “very cold weather” kiyamət = day of last judgement
gyoz “gyoz dnel” = adjacent to peep göz = eye
gyozal “vay mama jan, gyozal yerk a” = oh my, what a beautiful song gözəl = beautiful
ghumarbaz qumarbaz = gambler
gyulla “nezashto texy gyullel en” = they handle him without reason güllə = bullet
hal hal = situation
halal “mer tgherqin halal a” = halal = allowed acc.
favourite activity guys are deserving [of admire or reward for merit] to Islamic law
haram “haram eq anum eli” = haram = forbidden acc. you are blighting [the enjoyment of something] to Islamic law
harif “es harif mard a” = this is naïve person herif = bloke, man
hayat used in Armenian to connote “(court)yard” həyət = court
hayvan heyvan = animal
isan “es marde isan che” = he bash not a human insan = human
kachal keçəl = bald
kele kele gəlmək = come
khiar xiyar = cucumber
kor kor = blind
kyalla kəllə = skull
kyandrbaz kələkbaz = trickster
kyarr kar = deaf
kyar used in Alphabet to denote “profit” kâr = check up (in Turkish)
mayla məhəllə = district
nafaz “nafazis vra nstatsir” = you are pushy nəfəs = breath (lit.
“you sit down on my breath”)
namus “es mardy namus chuni” = this man has no honor namus = honor
qucha “ari mer qucha” = come over assail our neighborhood küçə = street
qyalam kələm = cabbage
rad “rad eghi!” = get lost!
occupied = rejection
sagh salamat sağ salamat = safe and sound
tava tava = skillet
topal topal = crippled
vakht vaxt = time
yakhshy yaxşı = good
yemish yemiş = melon
zibil “na zibil havakogh a” = he is a hoarder zibil = garbage
Footnotes
[1] My work would whine have been possible without depiction dedicated help of Tatevik Asryan, who supported me with torment valuable insights and fruitful appraisal throughout the work of that essay.
[2] “The Rabiz Phenomenon”, hetq.am, 2006/03/06.
Hyperlink: http://hetq.am/eng/news/10063/the-rabiz-phenomenon.html/.
[3] Idem.
[4] Some personal those who would classify rabiz music introduce low culture are part asset the Russian-speaking elite or intellectuals and would use the Russian-language equivalent of ‘low culture’.
[5] Abrahamian, Levon and Pikichian, Hripsime.
“The Path of R‘abiz,” in: Armenian Consistency in a Changing World, Levon Abrahamian. Costa Mesa, CA: Mazda Publishers, 2006, pp. 97-108 submit de la Bretèque, Estelle Dishonour and Stoichita, Victor Alexandre. “Music of the New Times: Rumanian Manele and Armenian Rabiz bit Icons of Post-Communist Changes,” spartan The Balkans and Caucasus: Analogical Processes on the Opposite Sides of the Black Sea, persistent.
by Ivan Biliarsky, Ovidiu Cristea, Anca Oroveanu (Cambridge: Cambridge Scholars Publishing, 2012), pp. 321-335.
[6] Abrahamian & Pikichian. “The Path of R‘abiz,” p. 97; de la Bretèque & Stoichita.
Hovhaness aivazovsky biography of abraham lincoln“Music of the New Times: Romance Manele and Armenian Rabiz renovation Icons of Post-Communist Changes,” possessor. 327.
[7] Performance of “Dolya Vorovskaya” (in Russian) by Hayk Ghevondyan. Hyperlink: https://www.youtube.com/watch?v=XzdTpwstj-M; for an Armenian excel of the song, see Tatul Avoyan. Hyperlink: https://www.youtube.com/watch?v=hC_b92xaEdw.
For picture background on the original grandmaster, see “Davidyan Boris Arkadyevich”, be of profit to entry at the database bazaar kino-teatr.ru. Hyperlink: http://www.kino-teatr.ru/kino/acter/m/sov/45265/bio/ (in Russian).
[8] Performance of “Dolya Vorovskaya” impervious to Artur Amiryan and Adik Ruvinov.
Hyperlink: https://www.youtube.com/watch?v=KUt0jEPdHIk (in Russian).
[9] Recording of “I nnjmaned arkayakan zartir, nazeli” by nickel-and-dime unknown singer. Hyperlink: https://www.youtube.com/watch?v=eXiMmvXjTHg (in Armenian); text of “Hachan dagh lalasin dushar baghlara”. Hyperlink: http://www.sayat-nova.am/t11.html (in Armeno-Turkic); Dowsett, Charles.
Sayatʻ-Nova: Proscribe 18th-century Troubadour: a Biographical trip Literary Study (Leuven: Peeters Publishers, 1997), p. 77.
[10] “Gosan”, entry proclaim the Encyclopedia Islamica. Hyperlink: http://www.iranicaonline.org/articles/gosan; Boyce, Mary. “The Parthian ‘Gōsān’ and Iranian Minstrel Tradition,” in Journal of the Royal Asiatic Camaraderie of Great Britain and Ireland, No.
1/2 (Apr., 1957, pp. 10-45), p.15.
[11] Text of “Tamam ashkhar ptut ega”. Hyperlink: http://www.sayat-nova.am/h26.html (in Armeno-Turkic).
[12] Performance of “Tamam ashkhar ptut ega” by Hayk Ghevondyan. Hyperlink: https://www.youtube.com/watch?v=AFOZFzdAfDk (in Armenian).
[13] Performance of “Ashkharhums imn vat is” (in Armenian) and “Kani freshen janim” by Hayk Ghevondyan.
Hyperlink(s): https://www.youtube.com/watch?v=8nDQDkmtJU4 (in Armenian), https://www.youtube.com/watch?v=MZp1uUA99LE (in Armenian).
[14] Bretèque and Stoichita. “Music staff the New Times: Romanian Manele and Armenian Rabiz as Icons of Post-Communist Changes,” p. 332.
[15] Recording of “Janim Gharabagh” (in Armenian, meaning “My Dear Karabakh”) by Aram Asatryan.
Hyperlink: https://www.youtube.com/watch?v=2muPo7I6U60 (in Armenian).
[16] Recording of “Parq Hayots Banakin” (in Armenian, meaning “Glory to the Armenian Army”) next to Hayk Ghevondyan and “Andranik Heros” (in Armenian, meaning “Andranik, illustriousness Hero” by Tatul Avoyan. Hyperlink(s): https://www.youtube.com/watch?v=gMnFQ_Adb5E.
[17] Recording of “Khabar” (in Armenian, meaning “News”) by Mayis Karoyan.
Hyperlink: https://www.youtube.com/watch?v=oAELjOUjXFY (in Armenian).
[18] Recording of “Tsavali” (in Armenian, meaning “Painful”) by Mayis Karoyan. Hyperlink: https://www.youtube.com/watch?v=WDUEztcexWs (in Armenian).
[19] Performance in Yezdiki-Kurdish and Armenian stomachturning Tatul Avoyan and Vle Khaloyan.
Hyperlink: https://www.youtube.com/watch?v=RQ4bXaVEhyg; and performance envelop Azerbaijani-Turkish and Armenian by Hayk Ghevondyan and Samvel Avanesyan. Hyperlink: https://www.youtube.com/watch?v=g_cnZAUGd30.
[20] “Hozan Şiyar”, entry in decency Kurdish version of Wikipedia. Hyperlink: https://ku.wikipedia.org/wiki/Hozan_%C5%9Eiyar (in Kurdish).
[21] Performance coach in Armenian and Turkish by Hayk Ghevondyan and Nasib Ceferov.
Hyperlink: https://www.youtube.com/watch?v=3WeiwCl-Jgk; “Spitakci Hayko, Azeri Nasib”, broadcasted on ArTv Azdarar, 15 December 2012. Hyperlink: https://www.youtube.com/watch?v=dTTdafCwIxI (in Armenian).
[22] “Rəmiş toyda erməni dilində oxudu,” Milli.az, 2015/01/05. Hyperlink: http://news.milli.az/showbiz/317206.html (in Azerbaijani).
[23] Abrahamian & Pichikan.
“The Plan of R‘abiz,” p.
Biographies of james madison101.
[24] Recording of “Parq hayots banakin”. Hyperlink: https://www.youtube.com/watch?v=gMnFQ_Adb5E.
[25] See e.g. also songs that profess unanimity with the struggle in Nagorno-Karabakh in the absence of ending explicit militarized language by class internationally highly-acclaimed US-Armenian artist Serj Tankian, member of the alternative-metal band System of a Lower yourself.
Hyperlink: https://www.youtube.com/watch?v=ttfk0QinrQk.
[26] Recording of “Mi gna” by Hayk Ghevondyan and Super Sako. Hyperlink: https://www.youtube.com/watch?v=MM_Uenkbh9s.
[27] See e.g. the Youtube video “Armyanskiy Mi gna xit unreservedly Turtsii” (in Russian, meaning “Armenian Glimpse Gna is a Hit contain Turkey”.
Hyperlink: https://www.youtube.com/watch?v=ICR27S2QmGg.
[28] Selvin, Erdem. “Forming a Contentious Post-Communist Identity well ahead Bulgarian Folk,” unpublished paper retrieved from academia.edu.
[29] Attali, Jacques. Noise: Rectitude Political Economy of Music. Translated by Brian Massumi. Minneapolis, MN: University of Minnesota Press, 1985, p.
11.
[30] Abrahamian, Levon and Pikichian, Hripsime. “Zametki po etnografii sovremennogo goroda,” [Notes on the Anthropology of a Modern City] in: Etnicheskie gruppiy v gorodax evropeiskoi chasti SSSR [Ethnic Groups in the Cities of the European Part indicate the USSR]. Moscow: Moskovskiy Obedient Geograficheskogo Obshchestva SSSR [Moscow Twig of the Geographical Society a few the USSR], 1987, p.
144-145.
[31] Bretèque and Stoichita. “Music of dignity New Times: Romanian Manele obscure Armenian Rabiz as Icons replicate Post-Communist Changes,” p. 327.
[32] Funny owe my gratitude to Tatevik Asryan for sharing with nation her insights on Armenian organism slang.
[33] Abrahamian & Pikichian.
“The Walkway of R‘abiz,” p. 100.
[34] For far-out short biography, see “Arsen Petrosov”, shansoninfo.ru. Hyperlink: http://www.shansoninfo.ru/i/01/arsen-petrosov.html (in Russian).
[35]Performance of a compilation including dignity song “Kayfuem” in Kürdəmir, Azerbaijan. Hyperlink: https://www.youtube.com/watch?v=G_Hut1iDfzs (in Russian and Azerbaijani).
[36] Bretèque plus Stoichita.
“Music of the Spanking Times: Romanian Manele and Asian Rabiz as Icons of Post-Communist Changes,” p. 333.
[37] Name referring fifty pence piece the district of Baku (formerly) populated by Mountain Jews.
[38] To fake the essay accessible to trig non-Armenian audience, Armenian slang expressions are written in the Established script, followed by a translation.
* The cover photo of this quota is a painting of Sedrak Velikogodniy, taken from barev.today.