5 The Role of Material Culture and Oral Histories in Cultivating Empathy: Documentation of The Armenian Genocide
Donna, on Armen’s Survival and Immigration
“We heard stories of our grandmother. . . Armen had to hide under her parents’ dead bodies, you know, in a pit, in order to survive, and I don’t know if she knew that’s what she was doing, she just knew she had to be quiet and her parents weren’t responding.”
“How old was she?”
“She was little. I think she was under ten. . . I know of that story and then she don’t want to talk about it, so I don’t know who raised her. I think she and her sister survived, I think her brother didn’t.”
Shock. Confusion. Fear. The emotions flooded me as my relative Donna explained how our family members survived and did not survive the Armenian Genocide. I did not anticipate for this project to reach as deep as it did. This Pressbook serves to document this process.
Stories like Armen’s are all too common among oppressed and marginalized identities around the world. While some stories make mass media and garner attention for the sake of morality reclaimation, many go unseen and unheard. Museums, in their stated institutional goals to be centers of education and the democratic spread of knowledge, are key players in sharing these stories. Through the lens of the documentation of the Armenian Genocide, I examine how conventional museum practices cultivate empathy, or, fail to, and I look to how oral histories can play a role in fostering cross-cultural empathy.
I chose this topic for a couple reasons. Firstly, I hope to make a small intervention in discovering how to make people empathetic. Could material culture and oral histories be a partial solution? Secondly, I seek to bring awareness to a marginalized civilization. Armenia does not typically capture the worldwide imagination. Furthermore, Armenian Genocide denial is still rampent and re-traumatizing an entire population. Armenia has a cultural impact that very few of us are aware of. Even right here in Los Angeles, there is a massive Armenian presence, with lots of bold, outdoor shopping malls run by Armenian families. Thirdly, I am of Armenian descent. I desire to see my family’s connection to our history.
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The Armenian Genocide was the systematic killing of Armenian people living in the Ottoman Empire during World War I. The death toll stands at around 1.2 million people (USHMM). As Christian minorities, Armenians were oppressed by several forms of abuse. Many males were executed right away, while women, children, and the elderly were deported. If not slaughtered immediately, Armenians were “subjected to every manner of misery – kidnapping, rape, torture, murder and death from exposure, starvation and thirst” (Sidebotham). Those who escaped deportation were forcibly converted to Islam, a process which stripped them of cultural and religious identity.
Donna, on Christian suppression and Armenian immigration
For as traumatizing as the actual genocide was to the entire Armenian population, the insistent denial of what happened by the Turkish government served as a reinfliction of the deep cultural wound. Active violence is still inflicted, since “a failure to face the issue or outright denial unfortunately continually keeps alive the possibility that such a tragedy can reoccur” (Sidebotham). Many Armenians have lived, or are living, in constant fear. They are restricted to a “state of victimhood” (Sidebotham). According to some scholars, though, it is not just Armenians who are victims, but rather, Turks are too. While Armenians fear they will experience the horrendous fate of their grandparents, Turks are indoctrinated by an educational system that renders them unable to develop the courage to face their own history.
Donna, on denial of the Genocide
Where are Armenia, Turkey, and the rest of the world to go from here? How do we appropriately recognize the past and work to ensure genocide never happens again? While this question requires a multifaceted approach, for the purposes of this project, I will focus on how museums can make small interventions as educational models in promoting empathy and the exchange of cross-cultural knowledge.
Museums can help convince people of the truth. Historical documents in particular help prove reality, as they share “an objective and impartial historical perspective” (Sidebotham). Therefore, artifacts from the Armenian Genocide serve as evidence of the massive injustice. Studying art emphasizes atrocities committed and the trauma suffered to those who are in denial about the events. For example, Tutundijan’s self-portraits document the feeling of losing one’s self-identity, facilitating a sharing of emotional states with the viewer (Kachadourian). This sharing of artwork, and thus events and emotions, raises questions of the ethical implications behind the public “sharing” or someone’s trauma. Throughout this project, I examine how we can properly and ethnically continue to tell stories and avoid commodification of trauma in the sharing and distribution of artwork, particularly Armenian artifacts. I propose a model for thoughtful sharing in which a combination of material culture and oral histories are respectfully shared.
If museums are to genuinely serve as places where cross-cultural knowledge can be shared and understanding can be developed, they need to implement practices that focus not just on people recognizing truth, but empathizing with those affected by this truth. In short, museums must do more to foster empathy.
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Empathy is commonly defined as sharing an emotional state (Jankowiak-Siuda et al.). Because the regions of the brain that are activated by pain and aesthetics are also involved in empathy, seeing others experience pain or strong emotion can make the viewer experience empathy or that specific emotion themselves. While I certainly do not advocate for victims to be forced to share their pain for the purposes of instilling empathy in privileged listeners, I do want to recognize the importance of the sharing of strong emotions. Museums can utilize thoughtfully curated exhibitions of material culture and oral histories to share these strong emotions with viewers.
Emotional experience is the basis for empathy. This is because emotional experiences are part of the human condition; we recognize someone’s heightened emotions as inherently human, and therefore we often relate to them. I often think of myself watching videos of soldiers returning from war to loved ones; while I have no military connection, I still tear up. If museums can capitalize on this humanistic instinct to empathize, they could better promote a more understanding world. Material objects themselves may be a piece as to how they can do this. If we look to the Armenian Genocide, we learn that “a novel about Armenian self-defense (Franz Werfel’s The Forty Days of Musa Dagh) was secretly passed from hand-to-hand among Jews imprisoned in ghettos during the Holocaust” (USHMM). These Jews “saw in it an inspirational analogy to their plight and a call to resistance” (USHMM). The Forty Days of Musa Dagh, an artifact of the genocide, remains an example of how a physical object can facilitate empathy and even serve as a catalyst for action and resistance to oppression. If museums can ethically curate objects like this, which clearly share an emotional state, perhaps they can make a small yet tangible change in promoting global empathy.
Donna, on our family’s cultural artifacts
While material culture can do much to facilitate empathy, it still has its faults. Sometimes, objects feel removed from any living person. It can be difficult to imagine the artist who made a certain piece of pottery. Therefore, it is imperative to present the past in a way that includes the “cultural-mental elements which cannot generally be deduced from material remains alone” (Klompmaker). I propose that oral histories can be a pivotal version of these cultural-mental elements. Empathy is not sympathy, and material culture can often instill feelings of the latter due to a lack of identification with a living person. Oral histories, on the other hand, shrink the distance between the subject and the viewer, and thus promote empathy in a deeper way. As Field puts it, the empathy from oral histories involves “imagining past scenes through the positions and perspectives of the speaking other.” The spoken lived experience becomes a central part of education. Deeper understanding can happen from engagement with first-person narratives.
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I myself felt a deeper engagement with my Armenian heritage when learning from oral histories as opposed to other forms of media. Throughout this project process, I spoke to three relatives: my father, my uncle, and my “cousin” Donna. My dad gave me an overview of our family’s story. He explained how I am ¼ Armenian, since he is half. He spoke of how his grandma and sister crawled across the border as refugees. They were very young children, and their parents had been killed. Many family members had been murdered, and they were taken in by Presbyterian ministries and stayed in those schools. Eventually, the women ended up settling in Iraq. My dad’s birth mom was born in Baghdad. Then, they immigrated to Iran, but left well before the fall of the shah. When they came to the United States, part of the family settled in California, and part of the family settled in New York.
My dad did not know if we have specific family heirlooms directly from Armenia. He suggested I ask my Uncle Mark, and that I speak with his cousin Donna Weikert.
My Uncle Mark also did not really remember any objects that he and his brothers valued and treasured when they grew up in Brooklyn. He doesn’t think they have any objects directly from Armenia, but he promised me he would look around his basement. While he did not share material culture with me, he did share an oral history. He told me of how my great Aunt Satenik was shot in the hip when fleeing from Turkish soldiers. He spoke of how the family fled from Turkey to Iran and to Iraq; they were all over the place. Eventually, they immigrated to America to find better economic and educational opportunities. For that generation, the genocide is really real – it was their parents who were murdered or barely escaped. Uncle Mark knows several family members, and even non-family members who are Armenian Americans, who “haven’t forgotten.” The genocide is still very much part of the group experience. The pain, trauma, and anger varies by family and generation though. Uncle Mark, my father, and Uncle Paul, are all half Armenian. However, they were raised in a very American way; they didn’t learn Armenian, nor did they engage in common cultural practices. This caused judgment from some sides of the family. At one point, Uncle Mark and his brother were told by their grandmother that they were “half-breeds.” Furthermore, when Uncle Mark married a Turkish woman, my Aunt Selda, his Uncle Victor and others did not even acknowledge the wedding invitation. Despite this intense emotional distancing, Uncle Mark’s cousin Donna is still very much in touch with him and those who were Americanized at a young age.
Donna Weikert (maiden name Ohanessian) is my dad’s cousin. She is my dad’s Uncle Victor and aunt Margaret’s daughter. So, my dad said that Donna could be considered my second cousin loosely. Although Donna is not Armenian by blood since she was adopted, she was raised in close connection with the culture. She was brought up to be more Armenian than my dad was. Donna knows a lot about our family’s heritage, so I have compiled some sections of our interview below that I found most compelling. I have also attached photos and footage of family heirlooms that she sent me. These artifacts include my great-grandmother Armenouhie’s Persian rug, her Armenian Bible, and other artifacts. Note that Pressbook requires you to download the videos to view them.
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Donna, on my great-grandmother’s survival, working through cultural suppression and hatred, reaching forgiveness, and Armenian notions of family
“Your great grandmother survived the Armenian Holocaust, as a child. So, she’s very, very sensitive to that time of her life, I believe, the stories that have been shared was that she was buried alive, you know, and really had to dig her way out. And so she had a lot of, I want to say, culturally suppressed, and inflamed hatred of those who oppressed her.
[she was] raised as an Armenian Catholic. . . it’s very culturally supportive. So she went through the motions of forgiveness, you know, and repentance and, and did all the things the steps that she should but still had that in her heart.
So, sadly, and a lot of Armenians that were of that generation also have that generationally influenced hatred, if you will, towards being oppressed. So being oppressed is part of that culture. . . So it defines a lot of what they do, and how they react to things. And it also explains why family is family. There’s a Persian Armenian phrase called “konami” (ընտանիքը ընտանիք է; yntanik’y yntanik’ e), which means if we’re family, you know, we’re all part of it. And you kind of get adopted into this. So my being adopted at birth really didn’t impact how my family treated me. Except for those solid Armenian cultures. Because then by blood, I wasn’t, you know, but our family never made me feel that way.”
Donna, on denial of the Genocide
“And those who remained in Armenia, they were oppressed from the Russian regime, you know, fundamentally their whole lives. And even though the Holocaust ended, because there wasn’t this worldwide worldwide acceptance of the Holocaust. . . You know, there really wasn’t any. What is the word for it? Um, resolution, you know, because it was never addressed. It was there and kind of ‘move on.’”
Donna, on Christian suppression and Armenian immigration
“So when the Shah’s regime fell. . . and Armenians were then almost like enemies of the state. It’s kind of like, succumb to our ways and suppress your Christian ideals and become Muslim in practice and wear the burqa and all that, that they started fleeing. And if you were directly related to regimes, whether it’s in Russia or Iran, you had to toe the line, or you were killed, and that’s what it was. So they started fleeing and when the United States opened their doors, everybody came on Visa. And they fled, they landed in Glendale. And they were getting food stamps and all that to get under their feet.”
Donna, on Armen’s survival and immigration
“They had to go into hiding. And they had to cross the border. And when it was taken, when Armenia was taken, they had to cross over into the villages as children
When the Turks had invaded, that’s when they had to cross the border. Because they were looking for Armenian children. . . we heard stories of our grandmother. . . So Armen had to hide under her parents dead bodies, you know, in a pit, to survive. And I don’t know that she knew that’s what she was doing. She just knew she had to be quiet. And her parents weren’t responding.”
How old was she?
“She was little, I think she’s under 10.”
Wow.
“And at that point, I don’t know. I don’t know, like the gap between like I know of that story. And then she didn’t want to talk about it. So I don’t know who raised her. I think she and her sisters survived. I think her brother didn’t. Like there’s a big family. The only ones that came over were two sisters.”
Wow. So after the genocide, the two sisters are still in the villages.
“They’re still in the villages, raised by their “honamis” (մեծ ընտանիք; mets yntanik’), raised by their extended family that then became their active parents and raised these children as their own. So they kind of regrouped as family for the remaining children. So not sure if they’re like seen as aunts and uncles by bloodline or by circumstance.”
Gotcha. And then they were in the villages for some time.
“Mm hmm.”
And then came to America.
“Then, you know, yes. Then at that point, at some point Armin must have gone to Iran to meet my dad’s dad. Because she married – she had my dad when she was 15. So she was like 14 when she married this Iranian. So and I don’t know how that connection happened because it wouldn’t have happened by families right. . . it must have been one of the things where she escaped if she escaped Armenia and then traipsed over I don’t know how she got back to Iran. That gap. I don’t know. I know that she was there when she then at that point she met and married my dad’s dad. And had my dad. And then when he passed away, she went back to her roots, because she didn’t have any family in Iran. And she went back to Armenia. . . [and then came to America] and then met her next husband, who raised my dad, and they had Gladys.”
Donna, on our family’s cultural artifacts
“The carpets to them were like fur coats to the next generation . . . they were a part of their heritage . . . it was very much an heirloom that they passed down . . . you can envision them carrying carpets on their shoulders like they did with luggage”
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While I could conduct an analysis of this interview, I prefer to let Donna’s words speak for themselves by including the transcriptions and snippets of dialogue throughout this Pressbook. I would like to briefly touch on my experience throughout this interview though, as it fostered cultural connection and empathetic understanding.
As Donna was speaking, I frequently felt myself getting emotional. When she described our great-grandmother laying underneath her parents’ dead bodies, I had a visceral reaction. This had not happened to me when researching online about the atrocities of the genocide. The presentation of injustice through an oral history resonated with me on a much deeper level. I hope that you, too, have felt the effects of listening and engaging with a speaker.
Oral histories can cultivate empathy (Mayotte). When educating about atrocities like the Armenian Genocide that may not have many cultural objects left, museums can utilize oral histories. My dad’s grandmother lived not that long ago – it is near crazy that there is nothing left in our family’s connection, and this speaks to the near total erasure and denial of Armenian culture and experience. In lieu of artifacts, I suggest that my family and Armenian museums preserve oral histories. Family stories can help rectify the emotional and cultural losses from the lack of material.
Amplifying oral histories also raises different ethical concerns than those typically examined in archaeology. You cannot possess someone’s oral history – it is a lived experience. Is the sharing of oral histories then inherently more ethical? This is a question I wish to explore further. It is of note that the person being recorded does give informed consent, like my dad, Uncle Mark, and Donna all did. This is drastically different from the lack of consent associated with several archaeological objects on display.
While concrete objects help share stories, so do oral histories. I propose that more educational spaces utilize oral histories as artifacts and channels to develop empathy for those who hear the stories. Museums are so often trying to create one singular narrative, that I suggest they make it clear these oral histories are one individual person’s story. That way, if this oral history exhibit is the only contact a non-Armenian has with the Armenian culture, they are not encouraged to reduce a vibrant, diverse culture into a singularity riddled with stereotypes and false interpretations.
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Are there museums that are currently telling the story of the Armenian Genocide? Are there any museums sharing specific narratives? What cultural objects are being displayed? Are oral histories being utilized as channels of empathy? These are all questions that arose during my research. I would like to briefly touch on two museums in America that I came across, one currently open and one planning to be open in 2024.
My initial research led me to discover that the Armenian American Museum and Cultural Center of California is scheduled to open in Los Angeles in the summer of 2024 (Armenian American Museum). I was disappointed to learn I will have to wait a couple of years to visit, but visiting their website began to build my excitement. The process of building this museum began long ago. In 2021, the Armenian Genocide Centennial Committee Western USA was established in Los Angeles. The purpose of this committee was to lead “the multifaceted commemorative activities” in this region in preparation for the 100th anniversary of the genocide (Armenian American Museum). Building this museum was one of the major actions adopted by the committee, as they hoped to showcase a “message of strength, perseverance, and hope for future generations” (Armenian American Museum).
As their website states, the museum’s mission is to “promote understanding and appreciation of America’s ethnic and cultural diversity by sharing the Armenian American experience” (Armenian American Museum). The cultural campus’s vision is one that “enriches the community, educates the public on the Armenian American story, and empowers individuals to embrace cultural diversity and speak out against prejudice” (Armenian American Museum). If the museum can live up to these statements, it will truly make great strides in how Americans perceive and interact with Armenian heritage. I am curious to see the precise means by which the museum hopes to accomplish these lofty goals. I am also curious to see how the museum will balance the past with the future; will Armenians be represented as victims, or a blooming population? I wish I had more information to share, but sadly the website is not populated with it yet.
The website does share with anyone on the Internet that the museum will include a Permanent Exhibition, Temporary Exhibitions, Auditorium, Learning Center, Demonstration Kitchen, Archive Center, and Gift Shop (Armenian American Museum). To me, this appears to be a wonderful array of hands-on, educational learning experiences for the public. I am most excited to see how the Learning Center and Demonstration Kitchen function in reality. How will the museum promote cultural empathy with youth in the Learning Center? How will they utilize the shared experience of cooking together in the Demonstration Kitchen in order to foster understanding of Armenian culture? I absolutely love the idea of the shared kitchen and cannot wait to see it brought to fruition.
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The goals of the Armenian American Museum mirror much of the work already being accomplished by the Armenian Museum in Watertown, Massachusetts (Armenian Museum of America). This museum has over 25,000 artifacts, making it home to the largest and most diverse collection of Armenian objects outside of the republic of Armenia. Through their extensive collections of “ancient Urartian artifacts, medieval manuscripts, Kütahya ceramics, textiles, liturgical objects, and contemporary art,” the museum aims to tell the Armenian story and “promote awareness and appreciation of the culture in engaging and dynamic ways” (Armenian Museum of America). These goals are similar to the vision of the Los Angeles museum. While I am unable to visit the Massachusetts museum, I spent a large amount of time visiting their website. To me, the museum has done an excellent job in utilizing their website and media to achieve their goals.
The Armenian American Museum boasts of being a “living museum and library” (Armenian Museum of America). They have the largest collection of Armenian textiles in North America, 180 Armenian inscribed rugs, and many historically significant objects, such as five of the Armenian Bibles printed in Amsterdam in 1666. How is one to learn deeply without seeing these objects in person then? While difficult to do, I believe the museum has successfully fostered this learning in the mediasphere.
The museum appears to have an extensive collection of exhibitions, even though less than 5% of all artifacts are on display at any given time (Armenian Museum of America). The exhibitions vary in subject; for example, there is a whole exhibition specifically about the Armenian Genocide, detailing the events, impact, and continued denials. While not everything is documented virtually, the museum does do an excellent job of showcasing important objects on the internet. There are varying levels of information given about each object; some include a personal story, while some descriptions are solely about the physical characteristics of the artifact. Essentially all of these objects were “donated,” with the museum sharing how “some of the objects were part of extensive collections that were generously donated by private benefactors, but many items were cherished family heirlooms that were donated to Armenian Museum of America by individuals” (Armenian Museum of America). Names of donors are always listed, and this leaves me wondering how exactly this process happened. Was it entirely ethical?
The photos of objects on the website are quite good at instilling learning in the virtual audience. The pages of the illuminated manuscripts were especially engaging to see. I also appreciate how there are many videos of Curator Gary Lind-Sinanian explaining multiple objects. While the website shares how there are in-person events, concerts, and studio classes like Armenian dance lessons, there are also many virtual specialities. There is a whole section of Armenian recipes, a detailed sound archive, virtual studio classes, a Share Your Stories section, and virtual exhibitions. The personal stories are shared so that “we may more completely remember victims and survivors of the Genocide” (Armenian Museum of America). The website makes note that “the Museum does not in any way profit from the sale or use of these resources.” I am glad to hear that this museum is taking action to ensure that they are not inflicting further trauma on the Armenian population by commodifying their stories and grief.
I am also impressed by the museum’s virtual exhibitions. These exhibitions are a chance “to present our objects and scholarship to the public, even as we are unable to welcome you to the Museum itself” (Armenian Museum of America). The virtual exhibitions are highly informative, and I admire the strides towards accessibility. While not as fully immersive as in-person learning, these virtual spaces are fundamental tools in instilling empathy across wide populations.
At this point, I was very supportive of the Armenian Museum of America. What really garnered my enthusiasm, however, was learning about the Oral History tapes that were recorded from survivors of the Armenian Gencoide. The stories of 287 survivors have been recorded on cassette tape and are now stored in a climate-controlled room (Armenian Museum of America). The tapes are so fragile that use was limited to academic researchers and families of survivors. In 2005, the tapes were digitized and preserved for prosperity. Clearly, the museum also sees the potential of utilizing oral histories to develop cultural empathy.
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Media is a powerful tool. It can trigger empathy, which can in turn fuel a revolution (López). If museums can successfully utilize empathy, like the Armenian Museum of America is doing with its virtual exhibitions, sound recordings, and detailed photographs, they can better achieve their goals of democratizing knowledge and promoting cross-cultural awareness. I suggest that any educational space hoping to ethically explain traumatic injustices such as genocide utilize these techniques. I hope they recognize the abilities of oral histories to cultivate empathy and expand their collection past physical objects to make us all more understanding of each other and our differing, yet collective, histories.
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Acknowledgments:
I would like to extend my deepest thanks to Donna Weikert, Mark Coyne (my uncle), Robert Coyne (my father), and Jody Valentine (my course instructor) in offering their knowledge and guidance throughout this process. I express my deepest gratitude to you all.
References:
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