“The future belongs to those who believe in the beauty of their dreams.”
—Eleanor Roosevelt
NEW YORK—Karnig Nercessian had a dream. As an accomplished dancer, he sought out to launch his own company 12 years ago.
Joined by his able assistant Lena Orangian, the two choreographers formed what is today the Yeraz Dance Ensemble, housed at St. Sarkis Church in the Queens section of New York, which boasts a vast Armenian population.
The two answered a request from His Grace Anoushavan Tanielian—then a priest—to form a dance company and provide for the cultural enhancement of their heritage. “Yeraz” translates out to “dream” in Armenian.
From humble beginnings in the fall of 1999, the group rose from 8 dancers to over 90 today, giving performances near and far with both a youth and adult ensemble and a dedicated complement of adult volunteers.
“One part of us will never change,” says Nercessian. “We’re community-oriented. That’s how we started, performing to small picnics and church socials. We were a breath of fresh air and people loved watching us. That part of it hasn’t changed. But we’ve grown more refined over time.”
Had you been on this year’s ACAA Heritage Cruise, they rocked the stage with two exhilarating shows. One took place at midnight to a packed house. There’s talk now of a return.
A more recent visit to Merrimack Valley, in Massachusetts, on May 1 commemorated the 96th anniversary of Armenian Genocide with an opening number that simulated the eternal flame at the Dzidzernagapert Memorial in Yerevan with the 12 pylons while engaged to the haunting strains of “Dle Yaman.”
Prior to this, the troupe honored an invitation by the Armenian Relief Society to perform at George Washington University in D.C.
It’s no garden party. Rehearsals take place every Friday night from 8 to midnight and attendance is mandatory. Discipline remains in high order with no exceptions. Two groups comprise the ensemble: a younger (ages 5-13) and an older (ages 14-22). Several are in college.
Of those attending school, most all are honors students, despite the time constraints. One dancer remained in a hotel cramming for college finals during that Merrimack Valley appearance while the others were enjoying dinner at a nearby church the night before.
“We’re an extremely regimented group—you have to be,” says Nercessian. “The commitment and sacrifice our dancers have shown spills out onto a stage before appreciative audiences. All I ask in return is respect. Our intent is to become an advocate of the Armenian performing arts.”
Many of the steps originated from the villages and mountains of Armenia dating back over centuries. Others are more contemporary. The two groups weave in and out like a fine tapestry. Costuming is a cornucopia of color.
Nercessian is no tenderfoot when it comes to dance. Born in Kessab, Syria, he immigrated to New York with his family and found solace on the stage in 1974 with the Hamazkayin “Akhtamar” Ensemble. Two years later, he was performing with the AGBU Antranig Ensemble at places like Lincoln Center and Carnegie Hall.
After two decades with Antranig, it was time to branch out and start his own company.
Acting has been another passion with the entertainer, having performed a variety of roles with the Tekeyan Cultural Association of New Jersey as well as New York’s Hamazkayin Theater Group directed by Dr. Herand Markarian, a noted playwright.
It’s been nothing short of a family affair for the 55-year-old, joined by his wife Ani as general manager; daughter Maria as assistant director; a son Hagop; and cousin Shant Simonian. Five members of the immediate family have been there from the outset after propelling the enterprise.
“We travel together, eat together, dancing together, and commiserate together,” he points out. “If something tragic happens, we all feel the torment. If it’s a happy occasion, we share in the joy. It’s really been an extended family life. We’re cultivating relationships. If nothing else, the dancers are keeping their heritage alive.”
In a world governed by economics and high business standards, this ensemble doesn’t charge. A stipend is welcomed to subsidize shoes and costume costs. What’s earned through fundraisers and contributions helps to subsidize the budget.
In return, they get private lessons, access to a performing arts center, a lineup of concerts and venues like the cruise. Choreographers and stagehands work for gratis. Christina Vandian is an accomplished artist whose work is often integrated.
Slightly less than half are from abroad and both sides complement one another nicely, according to Nercessian. Dancing aside, the itinerary also calls for songs, instruments, and poem recitations. One small highlight is the voice of 11-year-old Zovinar Aghavian, taking after her operatic mom. Another might be the brother-sister tandem of Tonya and Hovnan Orangian.
The elder Orangian has been dancing since age 5 and has been through the circuit, now teaching the girls of this troupe.
“It takes a lot of patience, persistence, and determination to dance with heart and soul,” she says emphatically. “The energy is infectious.”
After six years of development, Yeraz made its debut before a thousand patrons at Queensborough Community College. Since then, there’s barely an empty seat in the theater. Their appearances in parades have also drawn loud applause.
Much can also be said about the tutelage of Vanoush Khanamirian, a former director of the State Dance Ensemble of Armenia, who worked with the ensemble for an entire month.
Nothing would please Nercessian and his colleagues more than to see their young dancers someday find their way to Armenia and dance before the foothills of Mount Ararat.
That would realize the ultimate dream.
Tom Vartabedian
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Nothing would please me more than to see these young dancers someday dance ON Mt Ararat! Lovely story!