On October 12, 1981, TIME Magazine released a review of the Soviet Woodstock that drew 80,000 youths to a bicycle racing stadium in Yerevan, Armenia. It reads, “When the Yerevan festival was approved [by the Armenian Ministry of Culture], young Soviets came from as far away as the Baltic republics, central Russia and even Siberia… They loved it. They loved it all in Yerevan.”No more than a few days later, as one website recalls, an article was released to the Soviet press reprimanding the activities that took place at the festival, presenting it as “a disgrace to Soviet art”–despite the messages of acceptance and solidarity that the festival encouraged amongst youths.
To some extent, 1243K’s multi-ethnic make-up explains their emphasis on speaking up about social injustices that have become normalized into Armenian society. Monsalvo, an architect from Argentina, has been living in Armenia with his wife for the last 11 years working with the same firm that designed and constructed Zvartnots Airport.
Diaz is a Mexican-American who moved to Armenia 6 years ago to finish her master’s in social work. She says she decided to stay, as Yerevan reminded her of her hometown San Antonio, Texas she thought it was great place to continue her work studying migration. Despite the fact that the issues 1243K sings about are cross cultural, Diaz says she feels her not being Armenian makes people less receptive to the criticisms in her music reaction. She says she wrote the song ‘Criminales’ after about a year of living in yerevan and “understanding the governmental structure with oligarchs that everyone freely speaks about.”
Of the trio, Diaz is the most outspoken about their efforts to spread awareness of these issues. She recalls, when the band first started, insisting on subtitles with their lyrics visible for audiences at live shows. This dream did not materialize until recently, when they handmade 1243K ‘Hymnals’ for audience members, encouraging them to digest their lyrics and to sing-along.
The band’s final performance took place before the new year. After 11 years of residency in Armenia, guitarist Monsalvo has decided to return to Argentina and the remaining bandmates are still discussing plans for the future. The last concert was an extravagant show that took place at Vivaldi Hall, in front of an audience of hundreds, at a company party for several leading enterprises in Armenia. In light of their valuable contributions to the city’s underground music scene for the last 3 years, it seems bizarre that this article, released in the wake of their disbandment, is the first ever written evidence of their existence in Yerevan’s musical circuit.
What’s with the lack of incentive to record (both in journalism and in the recording studio) what’s happening in Yerevan’s music scene today? Is it the bands, so few in number they are recycled from pub to pub and often lack the dedication to practice regularly or even record their work? Or perhaps, it’s the lack of a critical and devoted audience, willing to reflect on the music they hear in writing and demand more of its performers, that will provide a stimulus for a scene to develop?
If 1243K is proof of anything, it’s the fact that bands in Armenia may be few in number compared to other cities, but they do have some important things to say, but as in any music scene, it’s a two-way street. Audiences also have a responsibility to respond to what’s going on. Otherwise, it’s hard to know who’s listening.
