Tribute To An Art: Khmpayin Asmoungner

The attached is the preface of my mother's book titled  "Group Recitations and Live Enactments" in Armenian.

Tribute To An Art: Khmpayin Asmoungner

As I write the Foreword in our house in Loveland, OH; my mother Zvart Apelian is thousands of miles away in the Ararat Nursing Facility in Mission Hills, California. She has made the facility her last residence since the past three years although she does not seem to know it. The once dynamic person has become silent and disengaged. Dementia, to avoid the other dreaded word, has ravaged her once beautiful mind and deprived her of memory and recognition. In September 2014 I had her 90^th birthday celebrated at the monthly social the facility’s Ladies’ Guild hosts on the first Tuesday of every month.  She was there at the table but she was not with us. She was elsewhere, somewhere apparently the best of the human mind and intention cannot reach her any longer. Ironically a few years earlier when we both had attended the same function, on the spur of the moment she wanted to recite. She was invited to the podium. She captivated and mesmerized the audience with her recitation.

I liken my mother’s state to a broken record and recorder, for lack of a better analogy. Her mind once recorded and stored countless poems she had taught her students. Anywhere, on the spur of moment, she could retrieve any one of them upon request and recite them. She loved poetry and recited them movingly. To distract her from her continued mourning of her younger son’s, my brother’s death, I asked her several months after his funeral if she would like to recite and let me record. She agreed. We went to a local park and I started recording as she recited from memory one poem after another. After an hour or so I stopped recording. I had run out of tape but she could continue on reciting.

Fortunately, she put her unusual talent to good use. Throughout her teaching career that spanned five decades, she directed group recitations and staged live presentations. The terms as such do not convey the sentiments their Armenian terms, Khmpayin Asmounk and Gentany Badger, respectively do. The former is a responsive recitation over a theme where soloists recite followed by the group responding or affirming in unison to what the person recited. The latter - Gentany Badger - is a live reenactment and thus the performers are attired accordingly and voice from a prepared text around a theme. Both are cherished traditions in Armenian schools although they seem to be dying nowadays. At one time no graduation ceremony would take place without one of them being performed on the stage.

Group recitation and live enactment texts have not been collected in books. After she retired from teaching she made her mission to record the texts of the group recitations and live reenactments she had taught her students and presented on stage. Their texts filled hundreds of handwritten pages. She had them arranged in several volumes. Each volume is titled after a theme reflected in the texts of the recorded group recitations in that volume. This book is a reproduction of two of these volumes. One is simply titled  Group Recitations (Khmpayin Asmounkner). The other is both group recitations and live enactment in memory of Vartanants.

Usually, the person who directed the group recitation or the live reenactment would have been the person who arranged the text around the theme by quoting from authors or by arranging an author’s poetry or prose in such a manner that it became a responsive group recitation or live enactment. She put together most of the group recitations she taught her students. In one such recitation, she cites having quoted from seven well-known authors. In another, she cites having quoted from eight authors. Naturally, it is not uncommon that the person who directed the recitation could also have presented an arrangement made by another person. In both cases, the person must have a good knowledge of the Armenian literature and the literary works of authors to put together such an arrangement around a theme and present it on stage.

Staging group recitation and or live enactment celebrating or commemorating an important Armenian historical date, such as the Battle of Avarayr the Armenians waged in 451 in defense of their right to worship their Christian religion or about the Armenian Genocide and others themes, cemented the sentimental bonds between the school and the community. It also became an avenue to delight the parents seeing their sons and daughters on the stage. The group reciting could number from a few students to many more. My mother claimed that she was always mindful to have many students in the group and many soloists taking part reciting thus giving an opportunity for many parents to see their children perform on the stage. It should be noted that group recitation did not require any elaborate stage preparation in having a group of students reciting in front of an audience made up mostly of their parents and relatives.

Group recitation and live enactment served a pedagogical purpose as well. Their staging helped train students express themselves publically.

My mother never warmed up to computers. She did not even attempt to sit in front of a monitor and have someone explain to her that computers can also be used as a typewriter of sorts she knew using. Many years ago she ordered a manual typewriter with Armenian fonts. They were not commonly available then and were made by special order. She never warmed up to it also. She found the fonts from the typewriter dull and unappealing. Had she warmed up to computers she could have learned that nowadays she would have a choice for different types of fonts and sizes. Having long given up typewriter she resorted to handwriting the group recitations and the live enactments in the several volumes that added up to hundreds of pages. She had a good handwriting. As I view the pages or read the recitations I remain at owe seeing her beautiful handwriting in straight lines over blank pages with the same consistency page after page. Her unusual memory became very helpful to her. Most of the group recitations and live enactments in these handwritten volumes were written from memory. Copying them from a source while making sure that they were copied correctly would have made her task exceedingly more difficult.

Why handwritten?

Finally, I might not be mistaken to say that she was the last of the Mohicans who practiced this art since she embarked on teaching as a young woman in Kessab, Syria and then in Beirut and in Bourj Hammoud in Lebanon and lastly in Los Angeles, California. The art seems to have died in Armenian schools, especially among the schools in the Western World. There is a good reason for it. The teacher and the students are not exempted from class to prepare a group recitation. A teacher had to make room during her lunch breaks and after school to have a group of willing students participate in the group recitation. That is what she did throughout those years. I am sure her uncanny ability to retain the recitation by heart helped her direct such presentations with relative ease. If a teacher were to hold the text and read from the text to train the group and subsequently continue on referring to text while hearing the students recite to correct their errors or remind them of the word or the sentence they might have forgotten would have made the task of training a group of students exceedingly difficult. In her case, she knew the group recitation by heart so it did not become difficult for her to correct a student, or remind the soloist or the group on that very spot of the word or the sentence they might have forgotten. I am sure she became a good example as well for the students to emulate. She claimed that having the group repeat the recitation over and over again is the key for successful stage presentation.

This book is meant to retain a glimpse of the art she practiced throughout her teaching career and to preserve her meticulous handwriting. Fewer and fewer of us nowadays in the Diaspora reads in Armenian, let alone writes in Armenian. Calligraphy in the caliber that was her norm has almost disappeared from our midst, as handwriting is becoming a thing of the past in this fast age of computers and word processing.

In the foreword of the volume reproduced within the cover of this book, she wrote about why she chose to handwrite instead of having the recitation typed. She also painstakingly noted that she does not want to think about the eventual fate of the volumes she prepared. The thought that they might be lost or ignored would grieve her immensely, she wrote. She ended the forward saying that she found this art nourishing her soul more than her nourishment for sustenance.

I want to believe that the publication of this volume would have put her concerns to rest.

Vahe H. Apelian

Loveland, OH

April, 2016