FROM SACRED WRATH – A GENERATIONAL STORY OF THE ARMENIAN GENOCIDE
Citizen Global
March 15 2015
March 15, 2015
By: Iman McDonnaugh, Citizen Global correspondent
Taleen Babayan is a writer and journalist who is staging her
second play, “From Sacred Wrath,” in honor of the centennial
anniversary of the Armenian Genocide. The play hits the stage in
New York City on Saturday, April 18th 7-9pm and Sunday, April 19th
3-5pm at Davenport Theatre. Tickets are available for purchase on
fromsacredwrath.ticketbud.com.
Taleen recently spoke with Citizen Global (CG) on why the motives
behind our world’s tragic genocides are all so similar, despite
the fact that they have each originated in a different geographical
location.
CG: With the current conflicts around the world is there any
significance to the timing of your show? Why now? And why a Genocide?
TB: As the 100th anniversary of the Armenian Genocide approached,
I asked myself what I could contribute to the centennial. Over
the years, as a journalist I have interviewed genocide survivors,
including my own grandparents, and recorded their eyewitness accounts,
constantly in awe of their strength not only to escape such atrocities
but their ability to recreate their lives while shouldering their
painful pasts. While reflecting on their stories, I realized these
were the same ones I continued to read about in the news today.
The geography may have been different, but the motive was the same:
innocent civilians targeted for extermination because of religious
and/or ethnic differences. I was astonished as I thought to myself:
One hundred years has passed since the Armenian Genocide – the first
genocide of the 20th century – yet I am still reading about the
genocide in Darfur, the Rohingya genocide in Burma, and the hundreds
of thousands of people who are continuing to be massacred, displaced,
and deported. A century later, despite all the advances in society,
genocide continues globally. While writing a story in commemoration
of the Armenian Genocide, I wanted the play to be presented to a more
encompassing audience. By tying in the mention of other genocides
and introducing a character who survived the ongoing genocide in
Darfur into the play, my aim is to bring the Armenian Genocide to
the forefront while incorporating the tragic event into the greater
theme of human rights abuses that unfortunately continue to this day.
CG: Why did you decide to focus on the Armenian genocide as the
subject for this play?
TB: As an American-born Armenian, I was raised with respect towards my
country of birth, but also taught about my Armenian heritage, which has
a storied history that spans thousands of years. Last summer when I was
thinking about the centennial of the genocide, I began writing down my
thoughts, about the survivors, how we as descendants have processed
these stories, how they have shaped us as Armenians born in America,
and I came up with “From Sacred Wrath,” a generational story that
confronts the issues Armenians in the Diaspora face today. I wanted to
remove this notion of victimhood and, yes, discuss the genocide, but
also celebrate the rebirth of the Armenians and the fact that genocide
and the massacres of 1.5 million Armenians did not bring an end to
the people. Instead, they flourished in the face of obliteration,
like many other ethnic groups who were genocide victims throughout
history. The Armenian history does not begin and end with the Armenian
Genocide, but it has in a sense become the narrative. It is important
to remember and an important part of that remembrance is education
and I believe my play will educate and reinforce this message to not
only Armenians but those outside of the community as well.
To me, we have no control over what has happened in the past and
holding onto anger is unproductive. The important step to take in
the modern time is to educate and as a writer, I intend to do this
through the arts. It may be hard to believe considering the constant
news cycle we live in, but there are people who are unaware of not
only past genocides but current ones occurring as well. Perhaps this
can be remedied, not through news reports, but by theater. And coming
off of a recent play production, I decided the theater would be the
most intimate and sobering medium to present this story.
CG: Why did you decide to include Turkey in the play via the young
woman and journalist?
TB: When I began formulating thoughts about the play, I knew I wanted
to have a Turkish character in the story to explore the contemporary
relationship between Turks and Armenians. As a trained journalist,
I am seeped in objectivity and while this is a creative project,
it wouldn’t have been right to only focus on this Armenian American
family who shares mixed emotions about the 100th anniversary of the
Armenian Genocide. Because it is not just about us. The Turks are
part of the narrative as well. While it is completely unacceptable
that the Turkish government does not acknowledge or recognize the
Armenian Genocide and has instead waged a campaign of denial for
the past 100 years, there are prominent Turks who have spoken in
favor of genocide recognition and have chastised their government –
at the risk of being jailed – and even worse – killed.
In more recent times, the mood in Turkey – among its people – has
shifted, particularly after the assassination of Hrant Dink, a Turkish
born Armenian journalist, who championed human rights in Turkey, not
just for Armenians, but for all marginalized citizens. This bravery,
ultimately, cost him his life. But it spurred action at a grassroots
level. Thousands of Turks and Armenians marched for justice, side by
side in solidarity. This was symbolic because it demonstrated that
Armenians are not fighting denial by themselves anymore, in fact the
“other” side has joined in unity.
My understanding is – and I’ve had conversation with Turks about this –
that a lot of them are either unaware or want to suppress the notion
that their ancestors could be culpable of perpetrating genocide. This
was important to explore in the play so I created the role of a
Turkish journalist who forges a friendship with the young Armenian
woman in the play and they discuss the genocide, which at the outset,
he has trouble labeling as such. “From Sacred Wrath” is unique in that
it highlights hope for reconciliation between the Armenians and Turks.
CG: Is the Armenian Genocide, along with Armenian culture, something
that you feel is not talked about enough or are you using the theme
to address a broader issue?
TB: Armenians around the world have done an admirable job of promoting
Armenian culture and history while also becoming contributing members
to their adopted country. Although the Armenian Genocide is not widely
recognized, one hundred years later, it is now a known fact and many
people have joined the cause of recognition, Armenians aren’t alone in
those efforts anymore. The play serves two purposes – to memorialize
the victims and also to connect the genocide to modern day.
CG: How did you come up with the Title “From Sacred Wrath?” What does
that mean?
TB: A prolific 20th century Armenian poet, Vahan Tekeyan, wrote a
poem titled “Sacred Wrath,” which in a sense conveys the anger against
injustice and the emotional effects of the Armenian Genocide on this
nation of people. I wanted to use a symbolic title that paid homage
to the past and also incorporates how far the Armenians have come
since 1915.
****
Jamie Alana is a New Jersey born actress with a BA from Northwestern
University in Journalism and Middle-East studies who is currently
pursuing her Masters Degree in Fine Arts from the Actor’s Studio Drama
School at Pace University. Jamie also spoke with Citizen Global (CG)
about the importance of her role in “From Sacred Wrath” as a Sudanese
Genocide survivor.
CG: Jamie Alana, your role in this play is as a Sudanese survivor. How
does your role fit into the play?
JA: My character, Ayesha (20s), plays a critical role in helping
Aghavani (104) heal. Ayesha and Aghavani are both genocide survivors.
Ayesha survived the genocide in Darfur and she has built a beautiful
life for herself in the United States. Aghavani survived the Armenian
genocide yet she still carries a victim’s consciousness. These women
have a huge generational gap between them but they are definitely
kindred spirits.
CG: What kind of preparation did you make for this play?
JA: To prepare for this role I had to embrace all the pain of my
personal and ancestral path. After fully embracing this pain I
had to look for my strength. Ayesha and I have had very different
upbringings. Our obstacles and challenges are incomparable but I
think the through line is in our strength.
CG: Was it a difficult/challenging role to play?
JA: I think Ayesha is a very well written role and that helps to
alleviate a lot of the challenges. I wouldn’t say it’s an easy role
but it is definitely one that I am well prepared for.
CG: In your opinion how/why was the theme and timing of this play
relevant and/or critical?
JA: The theme/timing of this play are so relevant because there
is still so much humanitarian work to be done. We all have a
responsibility to create positive change in our communities. Silence
is a form of passive consent. I am thankful for organizations like
Citizen Global. I am very hopeful for the future of the human race.
Taleen Babayan is a graduate of Columbia’s Graduate School of
Journalism and Tufts University, where she studied history and
international relations. She staged her first play last year, “Where
Is Your Groom?” a comedic play revolving around an Armenian-American
family that is pulled between their cultural traditions and modern day
society. The production made it’s debut at The Players Theatre in New
York City and has since then been performed across the country. For
further information on Taleen, please visit TaleenBabayan.wordpress.com