[Congressional Record Volume 140, Number 144 (Thursday, October 6, 1994)]
[Senate]
[Page S]
From the Congressional Record Online through the Government Printing Office [www.gpo.gov]


[Congressional Record: October 6, 1994]
From the Congressional Record Online via GPO Access [wais.access.gpo.gov]

 
          ``A TALE OF TWO FACES, RIGHT OF PASSAGE IN ISTANBUL''

                                 ______

 Mr. Simon. Mr. President, recently, I had a chance to catch up 
on my reading and had the opportunity to go through the magazine 
published by the Armenian General Benevolent Union.
  In it is an article titled, ``A Tale Of Two Faces, Right of Passage 
in Istanbul'' written by Sahan Arzruni. He is an internationally 
acclaimed pianist, who lives in New York City.
  What I found interesting was the small bit of hope that as an artist 
of Armenian background, he received a warm welcome in Istanbul. In his 
article he writes: ``Perhaps it was by chance that during my short stay 
in Istanbul an infusion of Armenian artists, invited by the Ministry of 
Culture, presented concerts in the main auditoriums of the city: The 
Chilingirian String Quartet from the United Kingdom and the Beaux Arts 
Trio with violinist Ida Kavafian from the United States.''
  In another part of the article he writes: ``What blew me away, 
however, was the reception given on the occasion of the publication of 
Hagop Mntsouri's collected works (1886-1978), in translation, by a 
Turkish establishment. At the soiree in which various Armenian literati 
and progressive Turkish intellectuals extolled the qualities of 
Mntsouri's work, their explication of the events of 1915 astonished me. 
Having been raised at a time in a culture where no mention of the 
Genocide was made either in school or at home, I was taken aback by 
such a frank exchange of ideas concerning its historic events.''
  Germany has faced the problems of her past and is emerging as a 
highly respected member of the international community.
  I know that Turkey wants to join the European community more fully, 
and I believe that part of that will come with Turkish acknowledgement 
that in the past, their country--as other countries, including ours--
has committed some gross violations of human rights.
  I believe my colleagues will find the article by Mr. Arzruni of 
interest. At this point, I ask unanimous consent to insert it into the 
Record.

                          A Tale of Two Faces

                           (By Sahan Arzruni)

       ``When elected to the House, I will rect the bust of 
     Garabed Bayan in front of the Dolmabahce Palace,'' prounced 
     congressional candidate Hayati Asilyazici to a mostly 
     Armenian audience in Istanbul, Turkey, recently. He was 
     referring to an illustrious member of the Balyan dynasty that 
     served the Ottoman Sultans and built some of the most 
     splendid edifices in Constantinople during the eighteenth and 
     nineteenth centuries. Ironically, until the Turkish edition 
     of an exhaustive study of the Balyan family by the Armenian 
     art historian Pars Tuglaci, the architect of the magnificent 
     seraglio was officially identified as ``an Italian named 
     Baliani.''
       Since my last visit to Istanbul two years ago, things have 
     changed considerably. While state-controlled Turkish 
     television now refers to our kin in the homeland as ``savage 
     Armenians,'' the officialdom in Istanbul coaxes the local 
     folk to an engaged relationship. I had been invited to 
     Istanbul to present a piano recital devoted entirely to 
     Khachaturian's music on the occasion of his ninetieth 
     anniversary. The sold-out concert held at the Ataturk 
     Cultural Center in a 550-seat auditorium was received with 
     kudos, particularly from the Turkish press. The response was 
     so overwhelming that soon after the recital the State 
     Conservatory extended an invitation to me to repeat the 
     program and introduce Khachaturian's ``wonderful'' music to 
     the graduating class. Indeed I was also asked to deliver a 
     previously scheduled lecture on Armenian music in Turkish for 
     the benefit of the wider public.
       Perhaps it was by chance that during my short stay in 
     Istanbul an infusion of Armenian artists, invited by the 
     Ministry of Culture, presented concerts in the main 
     auditoriums of the city: The Chilingirian String Quartet from 
     the United Kingdom and the Beaux Arts Trio with violinist Ida 
     Kavafian from the United States.
       The number of cultural activities taking place in Armenian 
     community centers were also astounding. In addition to the 
     events already mentioned, the Armenians celebrated the 125th 
     anniversary of Komitas, Odian and Toumanian, the 
     commemorations often including insightful commentary by 
     author Robert Haddeler. These occasions were attended by 
     young and old alike, audiences eager to absorb their cultural 
     traditions. The Komitas celebration was particularly 
     impressive, for it was organized by the new generation which 
     is now experiencing a compelling awareness of its Armenian 
     heritage. The keynote speaker, married to a young woman from 
     Yerevan where they have made their home, discussed Komitas's 
     cultural contribution with knowledge and conviction. An 
     ensemble of three talented musicians presented arrangements 
     of some of Komitas's lesser-known songs. One student recited 
     poems about Komitas.
       The Armenian community in Istanbul is indeed remarkable. 
     Reportedly 50,000 strong, they display a clear sense of 
     belonging and an unshakable belief in their national 
     traditions. Their support for the religious and educational 
     institutions is perhaps peerless. On designated Sundays, a 
     large contingency attends one of the nearly 30 churches, 
     gathering around the ``siro seghan'' (love feast) to raise 
     the funds needed to balance the yearly budget of the church 
     and the adjacent school. No tax deductions here!
       The venerable Surp Prgich National Hospital, originally 
     designed to help the Armenian needy, now serves both Armenian 
     and Turkish patients. In fact, Turks in the neighborhood seem 
     to prefer this hospital's medical expertise and care to some 
     of their own institutions, despite the relatively steep price 
     schedule. Its four operating rooms feature the latest 
     technical equipment available in the Balkans. The hospital 
     serves an additional, perhaps more significant function: 
     Since Turkish law prohibits the bequesting of personal 
     properties to minority organizations, many Armenians now sell 
     their real estate holdings and donate an amount not less than 
     $10,000 to the hospital while living, with the understanding 
     that the hospital will take care of them for the rest of 
     their lives in attractive, semi-private accommodations on its 
     grounds.
       Although there is no official restriction regarding use of 
     the American language in Turkey, the younger generation finds 
     it easier to speak Turkish. As in the United States, daily 
     life dictates the use of the local language. Yet, Zahrad and 
     Khrakhuni, two internationally acclaimed poets, work with a 
     group of interested youngsters several evenings every week, 
     teaching them advanced Armenian and literature. There are 
     also two Armenian-language dailies, Marmara and Jamanak, that 
     help keep the mother tongue alive. To stimulate readership, 
     each paper includes coupons, good for free Armenian books. At 
     the time of my visit, Vartan Gomigyan's collection of short 
     stories, Hamrichi Hadigner (Rosary Beads), just off the 
     press, and a recently-published, lavish four-color 
     reproduction of Kristin Saleri's paintings were among the 
     offered titles.
       What blew me away, however, was the reception given on the 
     occasion of the publication of Hagop Mntsouri's collected 
     works (1886-1978), in translation, by a Turkish 
     establishment. At the soiree in which various Armenian 
     literati and progressive Turkish intellectuals extolled the 
     qualities of Mntsouri's work, their explication of the events 
     of 1915 astonished me. Having been raised at a time and in a 
     culture where no mention of the Genocide was made either in 
     school or at home, I was taken aback by such a frank exchange 
     of ideas concerning its historic events. That the Armenians 
     were exiled was mentioned as a matter of course; that they 
     were murdered was spoken without dispute. Only when the 
     Armenian moderator suggested that there would have been many 
     more Mntsouris had it not been for the 1915 events, did one 
     of the Turkish editors assert somewhat irately that they were 
     there to celebrate what was and not what could have been.
       It was a revealing journey for me. In my youth I was 
     ignorant of the Ottoman Turkish atrocities; in my formative 
     years here in America I was hateful and intolerant of Turks; 
     and now, in my old age I am prepared to take advantage of the 
     opportunities presented there. The diplomatic skills of the 
     Turkish government are well known. That they want to present 
     a kinder, gentler face to the world in order to participate 
     in the European Common Market is well established. That they 
     are quite cognizant of the reality of the new Republic of 
     Armenia on their Eastern border is obvious. Ever vigilant and 
     alert, I shall enter into an artistic dialogue with my 
     colleagues in Turkey and reiterate purposefully my culture, 
     my art my civilization. Perhaps it is foolhardly to expect 
     that Balyan's monument will be placed in a public square in 
     Istanbul, but it certainly is not foolish to press the case.
       Sahan Arzruni enjoys an international reputation as a 
     pianist, ethnomusicologist and author. In his efforts to 
     disseminate Armenian musical arts, he has recorded numerous 
     albums, written in scholarly and popular publications, and 
     participated in academic symposia. He lives in New York 
     City.

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