Following Gagik Ginosyan’s “dance-woven” footsteps

Every time I listen to interviews of the late Gagik Ginosyan, my heart fills with courage, patriotism and joy. Each of his sentences feel like a powerful quote from a bestselling book. He danced and spoke from his soul — the Armenian soul — and perhaps that is why his messages, whether in the form of words or movement, resonated deeply in our hearts. For the few Armenians unfamiliar with dance-ethnographer Gagik Ginosyan, he was “founder and artistic director of the Karin Folk Song and Dance Ensemble; organizer of the publically accessible “We and Our Dance” monthly dance classes (with Karin Ensemble); and working on incorporating the National Song and Dance discipline into the curricula of ordinary schools in Armenia”—to name just a few of his many accomplishments. Even after Ginosyan’s passing in February 2024, his impact remains deeply felt in Armenian national discourse and will likely continue for generations to come. On February 25, 2025, the Gabriel Sundukyan National Academic Theater in Yerevan will host “Khngahot Ergir,” a production authored by Ginosyan. The performance centers on a dialogue between a grandfather and his grandson about “Ergir,” the former’s ancestral homeland before massacre and forced migration. As the conversation unfolds, the grandfather’s stories come to life on stage, with musical accompaniment by Karin Ensemble, creating an immersive journey through time and memory. Though I never had the chance to meet Gagik Ginosyan, I recently interviewed his worthy successor and daughter, Ani Ginosyan, who is carrying forward his mission, ensuring that the Armenian soul continues to beat to the rhythms of Armenian dance. Milena Baghdasaryan (M.B.): Gagik Ginosyan’s contributions to Armenian dance and culture are immeasurable. You now bear the great responsibility of continuing his patriotic work and giving new impetus to the projects he left unfinished. Was this a choice, or did it feel like an inheritance—a calling you could not refuse? Ani Ginosyan (A.G.): Losing a loved one is not easy for anyone. If we look at the question from that perspective, the members of [the Karin Traditional Song and Dance Ensemble] also lost their ideological leader, elder friend, advisor, a father who always cared for all of us. The first challenge is coming to terms with this loss, which I think will accompany us for a long time, especially me. At the same time, the members of the ensemble he founded consider themselves soldiers of the idea they are spiritually close to. It may seem that we were left without a leader, but the reality is that our leader is absent only physically, while the ideas he sowed and the path of struggle were clearly defined for us. We would not be his real disciples if we did not carry these ideas within ourselves. Now, we are collectively engaged in continuing the struggle our leader started and spreading the same values. Of course, the responsibility is great for me, but there can be no question of me refusing or giving up anything. I have been a member of the ensemble since 2010, and since 2017, we have been planning its activities, performances and tours together with my father. As his workload increased day by day, I helped him to the best of my ability. M.B.: The Karin Traditional Song and Dance Ensemble plays an important role in bringing together young people, both in Armenia and outside Armenia’s borders. The last Friday of every month feels like a holiday— an opportunity to reaffirm our identity through dance. How did the“We and Our Dance” initiative come about? Did you anticipate the response it would receive? A.G.: The “We and Our Dance” initiative was born in 2005 with the direct support of the Narekatsi Art Union, where we still gather on the last Fridays of the colder months. At first, there were fewer participants than ensemble members. Gradually, the number of participants began to grow, which is why from 2011 until now, we started holding the event in the Cafesjian Sculpture Garden during the summer months, [allowing] the initiative to spread more widely. For us, conducting such a large-scale dance instruction has been a dream. For Gagik Ginosyan, I think it was a goal that he achieved through long and patient work, and today we must continue with the same spirit and diligence. M.B.: How does national dance contribute to preserving Armenian identity? What can be expressed through dance that other art forms cannot? A.G.: Let me quote from Gagik Ginosyan’s work, “The Dance:” “Dance was born when, for the first time, man could not express his enthusiasm through words or even song. Dance grew, strengthened and became the crown of the arts, because it was the only one that fused the human soul and body.” When discussing traditional dances and culture, I must turn to his profound insight. In shaping an Armenian identity and providing an Armenian upbringing, national culture holds even greater importance than mathematics and perhaps surpasses even the Armenian language itself. Furthermore, unlike many standard school subjects, art — particularly national dance — serves as a vehicle for both conscious and subconscious education, a point that Komitas astutely observed. This unique quality of art, especially dance, allows it to deeply ingrain cultural values and identity in ways that go beyond intellectual understanding. M.B.: Gagik Ginosyan often emphasized the role of national military dances in uplifting Armenian soldiers. This is an interesting approach, as Ginosyan proved that dancing is not shameful, but rather, encouraging, inspiring, sobering and Armenianizing. Now, you teach national dance at Ayb School. How does the younger generation respond? A.G.: In reality, dance becoming so public helped us as a nation to get rid of the complex that boys don’t dance or that it’s shameful. Fortunately, today at Ayb School as well, traditional dances are loved among teenagers and are an integral part of school life. Of course, there are children who do not want to dance and have a stereotypical opinion that Armenian dances are old or backward. Fortunately, at Ayb School, national dance is a compulsory subject in tenth grade and students develop a love for it while dancing. Also, students regularly dance together in the yard during breakfast breaks at school. This scene also creates great enthusiasm and desire among non-dancing students to get involved. M.B.: How was the “Պարահեն ինքնություն/Dance-Woven Identity” project created? Why was the Karin region specifically chosen? A.G.: “Dance expresses the characteristic features of each nation, especially its morals and degree of civilization.” The logical conclusion of this Komitas prophecy justifies that through the analysis of dances of a nation or region, we can reveal its characteristics, civilization, morals and identity. Opening a new furrow in the field of Armenian culture, particularly dance art, and even more so in identity discovery, is not an easy task. This realization prompted us to narrow our focus from a national perspective to a more regional specific approach, concentrating on an area we have studied in greater depth. Based on the dances of the Karin world of Upper Armenia, we aim to reveal the inner world, mentality, cultural temperament and ultimately the identity of the Karin Armenian. To reveal the identity, one must analyze and uncover the Karin dance, which is not an easily solvable problem. This led us to the idea that by combining various factors, we will be able to outline the “dance-woven” identity of a part of the nation, in this case, the Karin Armenians. These factors include historical and geographical developments that have influenced the dance, climatic features that have impacted its centuries-old formation process, beliefs, cultural uniqueness, peculiarities, traditional costumes, ornaments, unique dialect and economic developments interconnected with all of the above. By analyzing the interconnectedness of these factors and their influence on dance, along with the analysis of dance movements, the semantic interpretation of every step and the secrets contained in the beats, turns and oscillations, we can uncover the “dance-woven” identity of the Karin Armenians. M.B.: What future plans do you have for the Karin Ensemble and Ayb School? A.G.: With the “Karin” Traditional Song and Dance Group, we continue our work in the direction of spreading traditional culture. We have performances, concerts and tours. We have started several new initiatives: “Path of Identity” — Monthly hikes with lectures and teaching of dances and songs. “Ethnography Theater” — This genre was founded by Gagik Ginosyan. On February 25, the premiere of his authored performance “Khngahot Ergir” (Incense-Scented Land) will take place at the Gabriel Sundukyan National Academic Theater. “Karin” Orchestra — Last year, our orchestra gave its first solo concert. This year, the orchestra will also present both concert activities and the release of recordings. We have a scientific center that deals with the study of the scientific aspect of traditional culture, and we will soon publish a collection of articles. Thanks to the efforts of the “National Song and Dance Academy” educational-cultural foundation, the subject of National Song and Dance has been introduced in RA public schools, and Military Dances are taught at higher military institutions in Armenia. At “Ayb” School, the “Կաքավագիր/Kaqavagir” project-based learning club continues its activities. All students in grades 6-10 study national dances, and in grades 11 and 12, on an elective basis. M.B.: Besides being the founder and ideologist of the Karin Ensemble, Gagik Ginosyan was also an intellectual, a devoted patriot and an exceptional cultural figure. How have his character and work influenced your personal and professional development? What is the best advice your father gave you, and what advice would you like to pass on to your students today? A.G.: When I was little, we rarely saw dad. He was always working and coming home late. Often, when he asked what to give me for my birthday, my only request was for him to be at home. When I was 14, I spent three days with my father. During that time, he was being filmed for a documentary and the filming was taking place at Yerablur. During those days, I realized how deep and multi-layered my father was, whereas previously, I had known him only from one side. I asked him to allow me to join Karin’s rehearsals — to spend more time with him. Soon after, Karin became a second family for me and the ideology became mine. A few years later, my father urged me to start teaching. Constant consultations with him helped me improve as a dance instructor. There have been numerous pieces of advice, because starting from when I was 14, we spent a lot of time together. The advice has been both practical and personal. Since my father was endowed with the ability to explain everything very vividly, almost all the advice is engraved in me, and I often share that advice with others. But there is one piece of advice that has become my daily companion—not only mine but also Karin’s. On one occasion, when I had a problem with one of my friends, I confided in him and asked for advice on how to act. Unexpectedly for me, he said: don’t cling to that story, but remember that life is a race, I’ve set a clear finish line for myself and I must reach it; I don’t have time to stop and engage in pointless fights with others.

Following Gagik Ginosyan’s “dance-woven” footsteps

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Milena Baghdasaryan

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Milena Baghdasaryan

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