Sirusho, Serge Sargsyan Pre-Election Campaign Rally, Komitas, Yerevan, Republic of Armenia © Onnik Krikorian / Oneworld Multimedia 2008

It might be considered a little cheesy by most music lovers in Europe and beyond, but countries such as Armenia, Azerbaijan and Georgia take participation in the annual Eurovision song contest very seriously indeed. Not only does the competition represent the South Caucasus moving closer to Europe, but given that this year has proven to be a political turbulent one for all three countries it might also provide people here with a welcome break from rigged votes and post-election unrest.

Well, maybe that’s hoping a little too much. Spectacular Self-Indulgence, for example, already reports that the venue for yesterday’s national final in Armenia had to be changed because of the state of emergency currently in place following clashes between the opposition and security services last weekend.

[…] The government has imposed a 20 day “State of Emergency” after eight people died in street battles between riot police and citizens who were protesting the result of a presidential election. […]

[…]

There will be a backlash, however. Mark my words. It’s one thing to engage in unlawful surveillance of your political enemies. It’s quite a different matter to f*** with a pop music contest.

The full post is available on Global Voices Online.

Komitas, Yerevan, Republic of Armenia © Onnik Krikorian / Oneworld Multimedia 2008

Today saw Serge Sargsyan pre-election campaign come to my doorstep — literally. Outside my apartment building, a stage erected the night before was having the final touches put to stacks of loud speakers as a huge banner depicting the prime minister and presidential election favorite was strung across above from one lamp post to another.

Security was also tighter than normal although it’s hard to tell whether that’s because of the shots fired first at the building housing the General Prosecutor’s Office and at two Sargsyan election campaign offices or not. Despite the extra concerns, however, security was still lighter than that surrounding the former president, Levon Ter-Petrossian. As usual, a mob of people tried to approach Sargsyan as he arrived and also as he left. Pretty much they could too.

Some controversy has been raised by Sargsyan’s campaign, and actually that of Kocharian in 2003 as well as the Republican party a few months later, and also during last year’s parliamentary election. In all three previous parliamentary and presidential elections, Armenia’s top pop stars have been paraded out to perform for the candidate or party of power. Sargsyan’s Republican party have certainly proven adept at controlling youth.

Today was no exception. From Shiker and Hayko to Susan Margaryan and her daughter, Eurovision Song Contest contestant Sirusho, it was a lineup to make any Armenian pop fan happy.

The full post is available on the Armenia Election Monitor 2008.

St. Vardanants, Yerevan, Republic of Armenia © Onnik Krikorian / Oneworld Multimedia 2008

This being the official pre-election campaign period it’s probably no surprise to discover that it’s impossible to escape campaigning for the presidential election to be held in less than three weeks time. Technically, the appearance of the prime minister, Serge Sargsyan, at the celebration of St. Vardanants today had nothing to do with the election, but of course in reality it did.

And because, also technically, the procession down Khanjian Street in central Yerevan was not political, it was almost certainly a sanctioned march. Even if it disrupted traffic the presence of Yerevan’s mayor, Yervan Zakarian, doubtless made the delays experienced by drivers worthwhile although it’s unlikely that anybody bothered to ask them. E-Channel has more.

On January 31, in relation with the St. Vardanants feast, the Araratyan Patriarchal Diocese and the Yerevan administration organized a crusade from St. Zoravor church to the Vardan Mamikonyan monument.

This crusade is a traditional one. Since the last year, the event is being conducted with the youth wing of Republican Party of Armenia (RPA.) This year, the Yerevan city administration was among the organizers, too. However, the main characteristic feature of the St. Vardanants feast crusade was prime minister, presidential candidate Serzh Sargsyan’s participation.

The presidential candidate had arrived to St. Zoravor church 10 minutes prior to the crusade and was waiting for the start with the gathered people. Among the attendees were numerous students wearing the jackets of ULNP – United Liberal National Party – supporting the nomination of Serzh Sargsyan.

There were lots of women, students, schoolchildren that approached Serzh Sargsyan, asking to have a picture with him. The candidate did not turn anyone down.

Navasard Archbishop Kchoyan, the Araratyan diocese vicar, arrived, and the crusade started. In the first line were the priests taking the cross, a rider on a white horse symbolizing Vardan Mamikonyan, and military people. During the whole crusade, the brass band of the RA Police Forces was playing a march.

The full post is available on the Armenia Election Monitor 2008.

Simon Maghakyan at Blogian just sent me an email to draw my attention to a new site he’s partly responsible for — the Djulfa Virtual Memorial and Museum. Interestingly, and somewhat commendably in my opinion, there’s also a blog component, Djulfa Blog: Sacred Stones Reduced to Dust.

YouTube has a video of Shakira performing Whenever, Wherever in Tbilisi, Georgia, two days ago. Didn’t even realize Shakira was performing there, but anyway. Reuters, however, posted a story about the pop star’s performance days earlier, but I didn’t realize until today. A pity as I would have considered venturing up there.

For most European capitals a Shakira concert is nothing special, but for tiny ex-Soviet Georgia the arrival of the hip-swiveling pop star may be a sign their economy is crawling back from the dead.

The Grammy award-winning singer from Colombia, known for her hit-single “Hips Don’t Lie,” is the biggest pop performer to play in Georgia, and local media report that her fee for Sunday’s show is between $1 and $3 million.

Shakira is coming to Tbilisi by invitation of a company building the city’s Park Hyatt hotel, part of a wave of foreign investment pouring into Georgia since reformist President Mikhail Saakashvili was elected in 2004.

“We have never dealt with such a big show before,” concert promoter Mikhail Giorgadze told Reuters. “None of the other entertainment projects that we have done before can even come close to this commercial scale,” he said.

Fans of Shakira will listen to her for free at an open square in the centre of Tbilisi on Sunday.

Tbilisi has hosted past concerts by the late Ray Charles and English pop band Simply Red, as well as artists from the Russian entertainment world, but never by a performer with Shakira’s mainstream commercial appeal.

Georgia’s economy imploded after the end of the Soviet Union as the country was pitched into civil war, separatist fighting and political chaos.

But foreign direct investment has been rising fast under Saakashvili and is forecast to reach $2 billion this year. Two years ago it was $700-$800 million. International hotel chains are among the investors attracted to Tbilisi.

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Yesterday a friend told me that I had too much politics on my blog even though not only is it election time in Armenia, but it’s also part of my work. Nevertheless, perhaps it’s time for a break if only for one post, and as music plays an important part in my life, what better a subject to cover and not least since in the past few months, the monotony of the type of music being produced in Armenia has really gotten to me.

With one or two exceptions, even the rock scene is mundane, predictable and lacking in any spirit. Music for the masses is just as bad, although many would argue that the same is true in the even more commercially-driven Western market. Still, what we do have in Europe and the U.S. is a more diverse selection and five decades of pop and rock music — some of which stands the test of time.

Of late, for example, I’ve rediscovered the Sex Pistols, England’s most notorious punk rock band of the 1970s. Arguably manufactured by music impresario Malcom McLaren, whatever people might think of the Sex Pistols, I remember that they turned the country upside down. Aged seven when they were formed, even now I can remember the shock and outrage that accompanied the very mention of their name in the British media.

Sex Pistols are an English punk rock band that formed in London in 1975. The band originally comprised vocalist Johnny Rotten, guitarist Steve Jones, drummer Paul Cook and bassist Glen Matlock (later replaced by Sid Vicious). Although their initial career lasted only three years and produced only four singles and one studio album, the Sex Pistols have been described by the BBC as “the definitive English punk rock band.” The Pistols are widely credited with initiating the punk movement in the United Kingdom and creating the first generation gap within rock and roll.

The Sex Pistols emerged as a response to what was perceived to be the “increasingly safe and bloated” progressive rock and manufactured pop music of the mid-1970s. The band created various controversies during their brief career which captivated Britain, but often eclipsed their music. Their shows and tours repeatedly faced difficulties from authorities, and public appearances often ended in disaster and riot. Their 1977 single, “God Save the Queen”, was widely regarded as an attack on the British monarchy and British nationalism.

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As mentioned in the comments section of my own post on Sksela’s Rock for Freedom event, Anush at Transitions Online’s The Armenian Patchwork has posted some of my photographs from the event there.

This time photographs from Onnik Krikorian of the latest rock event, organized by Sksela movement. The event was generally enjoyed as rock gatherings always are, but raised some controversial opinions because of its security. Several photos here, and more can be viewed in Onnik’s post.

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Artyom at iArarat sent me an email yesterday with a link to the web site of jazz guitarist Al di Meola which details two concerts he is set to give in Yerevan in a week’s time. I haven’t seen any posters in Yerevan, but there must be some as a forum has posted one. What’s unclear, however, is whether the first date is a solo concert or not. One post on the forum says Al di Meola will be a guest performer implying that he will play as part of a much larger concert.

However, the prominence given to his name on the poster suggests that it is a proper concert by Al di Meola and Arto Tuncboyacian.

He will also be taking part in another concert in Republic Square which will also feature Tuncboyacian and the Armenian Navy Band. Interestingly, Al di Meola already has links with jazz in the South Caucasus. In 1995 he played guitar on Azerbaijani jazz artist Aziza Mustafa Zadeh’s Dance of Fire, and Tuncboyacian has performed and recorded with him in the past, including on World Sinfonia: The Grande Passion. Last year, Al di Meola performed in Baku as part of his European tour.

What’s confusing, however, is that the Al di Meola web site says he will be preforming in Yerevan on 12-13 September, while the forum and the uploaded poster says 12 and 14 September. Does anyone have any more information on any of this? If so, please post a comment.

The Turkish Daily News reports that world-renowned Armenian duduk player Djivan Gasparian will perform today in Istanbul, Turkey, alongside saz player and vocalist Yavuz Bingöl to mark the International Day of Peace. Reconciliation and looking forwards seems to be the point of the event.

“My instrument is the voice of peace; I came here to lend a breath for the brotherhood of two nations,” says Gasparyan, stressing that the trauma between Turks and Armenians would be overcome through tolerance and understanding.

Gasparyan and Bingöl will play in the Open Air Theatre in Harbiye. Gasparyan aims to reinforce peace and brotherhood between the two countries as he emphasizes how wrong it is to feed young generations with hostility. Following his Istanbul concert, Gasparyan will meet his fans in Ankara tomorrow evening at MEB Şura Hall.

[…]

From time to time, the origin of folkloric songs causes controversy between Armenians and Turks, says the artist. “This is unnecessary,” he adds. “We have lived together for centuries. It is difficult to decide the origin of an anonymous piece.” He says that they will provide the lyrics to the anonymous “Sarı Gelin” folk song both in Armenian and Turkish. “This folk song is claimed by Azeris and Iranians as much as Turks and Armenians. We should put discussions aside and concentrate on the feeling this song gives us inside.”

The full story is here.

MDP, Puppet Theatre, Yerevan, Republic of Armenia © Onnik Krikorian / Oneworld Multimedia 2007

Last night saw a break from the Pan-Armenian Games and a rock festival staged in Yerervan. Actually, I missed most of the bands such as Oaksenham and Bambir, but at least got to catch the last two acts — MDP and Vostan Hayots. MDP were particularly good and I had forgotten how heavy these guys were. Anyway, for those of you interested in rock music in Armenia, interviews with MDP and Vostan Hayots are here and here.

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A very big thanks to A. for finding the 1993 album “Always” by Aziza Mustafa Zadeh available online. It’s got to be the best album I’ve heard by any jazz artist from the South Caucasus and one of my favorites in general. That’s because Azerbaijani jazz singer and musician Aziza Mustafa Zadeh plays the piano like a dream on this album and manages to fuse western, eastern, jazz, classical and traditional influences to seamless perfection.

In 1993, Columbia released Always, where Aziza was accompanied by then Chick Corea alumni, Dave Weckl (drums) and the irrepressible John Patitucci (bass). The album roared through Europe, dazzling listeners and wowing critics. It was awarded the ECHO prize from the German Gramophone Association. Was the album pure breathtaking jazz? Never quite so. Aziza can never be put into a singular groove. She had already lit up the sky with her otherworldly interpretation of mugam, appropriated to the landscape of jazz! Azeri mugami harmalodics buffeted with the clash and crash of Weckl’s percussion pyrotechnoques and the deeply resonant pedal-point and ostinato of Patitucci’s bass. Mugam-jazz-harmolodia was born at the slender hands of the soulful Azeri pianist.

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