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MAGICAL WORLD: 19TH CENTURY ARMENIAN FAIRY TALE GETS ANIMATED
ianyan Magazine
April 18 2013
Posted by Milena Abrahamyan
Aregnazan is an Armenian fairy tale written at the end of the 19th
century by Ghazaros Aghayan. It tells the story of a father who has
three children, two of whom are girls. The sex of the third child is
not explicitly stated, but the father declares in the beginning of the
story that Aregnazan will be a girl in order to protect her from evil
spirits. Although Aregnazan has been declared a girl, she is not
interested in the particularly typical things that are assigned to her
gender. So she learns, with the encouragement of her father, to hunt,
use weaponry, ride horses and do other things that would traditionally
be done by boys. Eventually she proves her worthiness of being able to
fight for the king and is declared a boy by her father in order to
fulfill this duty.
Once Aregnazan is in the kingdom, he proves his abilities and strength
by defeating a bear and saving the king. During this time, the king's
daughter, Princess Nunufar, falls madly in love with Aregnazan, but
Aregnazan refuses her, partially due to her embarrassment regarding
her hidden sex. Nunufar, being the princess that she is, becomes
extremely ill after being refused and the king sends Aregnazan on a
journey to find the "eternal water," which is promised to be the cure
for Nunufar's illness/hysteria.
On the way Aregnazan meets a dove-girl who transforms Aregnazan into a
"real" man and also finds and brings the "eternal water" for him. As
Aregnazan continues on his journey, he stumbles upon Stone City where
all of the inhabitants have been turned to stone by an evil witch,
except for the king who is only half-stone. Aregnazan helps bring the
king back to life by giving him some of the eternal water and they
defeat the evil witch, restoring the kingdom. Once his feat is
finished Aregnazan returns to the kingdom, gives Nunufar a drink of
the eternal water, thus saving her life. Since he became a real man
during his travels, he is able to marry Nunufar and they live happily
ever after.
Magical World is an adaptation of Aregnazan's story by two Armenian
artists, Arpi Adamyan and Melissa Boyajian, who are using a queer,
feminist and futuristic perspective in an attempt to empower
conventional female characters in the original story and to offer an
alternative understanding of gender roles within traditional Armenian
stories and lived lives. The adaptation is currently raising funds so
that it becomes fully realized.
Q. Can you tell me a little bit about how this project came about?
Arpi: I had been talking to Melissa since last year about
collaborating together and we were discussing many different ideas.
But it was quite suddenly that I remembered the story of Aregnazan.
It's a story that my mother used to read to me when I was very little
and that I had forgotten altogether. So I remembered the name,
Aregnazan, but nothing else from the story except that it was an
interesting one. I read it again and realized how much this story had
affected me as a child and to an extent as part of my growing up. When
you hear this story as a child your interpretation is completely
different from how you may interpret it as an adult. In our
conservative society we would not necessarily relate this story with
the gender issues that are apparent in the story, because it is
assumed that one's sex and role within society are already set.
Melissa: I don't have the same relationship to this story that Arpi
did with her mother reading it to her when she was young. I would
imagine that if it was read to me as a child I would also find the
gender transformation in the story to be really interesting. Of course
when you're really critical of this story you see how it's a typical,
patriarchal story where Aregnazan does not become a true hero until
becoming male, but it is still very unusual that there is this kind of
hiding of gender in the beginning of the story.
Q. So obviously there are many instances in the story where you see a
kind of patriarchal ideology. I know that you plan to adapt the story
from a more feminist and queer perspective. I'm curious about how you
plan to change things around to make it fit this radically different
perspective. Especially, what are some of the elements in the story
that can possibly move the imagination beyond the traditional
understanding of gender and the Armenian family?
Melissa: Well, we keep Aregnazan's gender rather ambiguous in our
adaptation, but Aregnazan never becomes a boy.
Arpi: She's both. And because in the Armenian language you don't have
this gender dynamic with pronouns, it makes this ambiguity easier. Of
course, it's different when you translate from one language to another
(Armenian to English) and even when we speak in English during our
process it can be confusing. But when you read the story you don't
have this confusion in Armenian. It works.
So the first thing about gender is that our actress will be a girl. We
thought to have her (Aregnazan's) character stay a girl, but then we
thought that we'd rather have her be both. Throughout the whole story
many people try to confuse her about his gender, but she resists and
remains both.
Meeting Dove Girl is a critical moment in the story when Aregnazan
experiences a physical transition and becomes male. In our adaptation
we will show this as not necessarily a physical transition, but rather
a transition or expansion of thought. Dove Girl is a character who
helps Aregnazan understand that he doesn't have to make a choice about
which gender she is and that she doesn't have to divide herself
according to the gender binary. So Aregnazan becomes the embodiment of
someone who refuses to divide herself into parts.
Melissa: We also change Nunufar's character. We don't have her as a
sick princess. She is almost like the second protagonist of the story.
Even though Aregnazan is the hero in some regards, we're trying to
shift this dynamic so that the story is not about individualism in
that sense. Nunufar and Aregnazan save the citizens of Sleeping City
together. They do it with the citizens of the city by empowering them
to break free.
Arpi: Can I just add something? You know how in the original story
there is this kingdom and Nunufar is the princess, a privileged one at
that. We also change this in our adaptation by playing with class
representations. Nunufar is no longer a princess. She's half-cyborg.
Melissa: In our plot the Sleeping City is our adaptation of Stone
City. In the original story all of the people of Stone City have been
turned to stone. In ours, they are all repeating the same tasks over
and over with their eyes closed. It's symbolic of Armenia, especially
with regards to the economic situation. If you know anything about
Armenia you know that there was the economic collapse in the 90's,
many people are unemployed or if they have jobs they are working for a
minimum salary that can barely cover living costs. This is also
connected to the vast privatization of all resources here. There are
very few people who are rich here and they have become wealthy through
illegal means. This kind of corruption goes all the way to Serzh
Sarksyan who has been fraudulently elected already twice.
Arpi: Maybe your first impression upon hearing "Sleeping City" is that
everyone is sleeping there and that something is happening which they
do not see. But in reality that is not the case. It's more about the
general situation of that city and how there is a sense of a kind of
"sleeping" condition in the city...that it can't wake up.
But I just want to bring it back to Nunufar for a moment. First of all
it was interesting for us to leave her name as it is in the original
story. I'm sure you know that in the process of adaptation we can
change names of characters and their appearance. But for us it was
interesting to keep her very feminine, almost fragile name and yet
have her appearance change. Nunufar is a princess and so she is part
of a kingdom where she is protected and even spoiled in many ways. It
was important for us to take her out that context. We end up not
knowing much about her family. So she becomes more independent and
mobile. We shift the patriarchal understanding of a man (Aregnazan)
being someone who leaves the home and can travel and the woman
(Nunufar) being someone who stays in the home and waits for the man.
Melissa: These actions are things that are taken from patriarchal
aspects of Armenian culture whether in storytelling or even things in
the domestic sphere.
Arpi: For example, Aregnazan resists her father with a lasso. It
references the story of Artashes and Satenik. Artashes dominates
Satenik with a lasso and is able to "have" her in that way. In the
case of our adaptation, it's Aregnazan who does this action to her
aggressor, who she doesn't know is her father and who she also doesn't
wish to "have" in this way. She is simply fighting to resist being
stopped on her way. This is not only an illustration of what happens
in a patriarchal society, but it's about gender codes. We are trying
to play with those codes that we have internalized in order to change
them and take them to the extreme. If criticism is sometimes very
intense it can offend certain groups living in your society, but when
the criticism of something is taken to the extreme, the absurd, it
becomes something more tangible. The absurd is a very interesting
method for working with a problem.
Melissa: For me, as a Diasporan Armenian I can attest to the fact that
many Armenians from the Diaspora live in the past. It's a culturally
different experience to compare my family to the people here. But to
be able to envision something that is not in the past was important
for me. And also there being a potential for a future in that things
could change. That was important for me in setting this story in the
future.
I think that Armenia as a Republic and also a people all over the
world is a pretty crucial question. What will it be to be Armenian in
50 years? Will there be anyone living here anymore? And I know that's
very dismal, but hopefully that won't be the case. In any case, to be
able to imagine something in the future that could have the potential
for change was important for me.
Arpi: The original story takes place in the 19th century during the
time of the Tsar. In our adaptation we do not represent a time in
which there are the same social-class problems. I think that Melissa
and my experiences are a little bit different. For me, as someone
living in a very conservative society, adopting a futuristic view for
this story provides an opportunity with which it becomes possible to
change something at a much faster pace than how things are changing in
Armenia today. In this type of traditional society things tend to
change very slowly. Things seem to be staying within the boundaries of
that same conservatism, order, tradition, etc. Often we see how even
people who are trying to change something are still staying within the
bounds of that conservatism. Take for example today's revolution...
Q. So, just to dive a little deeper into the question of what this
means for Armenia and maybe not only for Armenia, but for Armenians in
the world as well. How do you make those links?
Melissa: There are some things that I think are prominent in most
Armenian families regardless of where they are. For example, my family
is extremely patriarchal. In either case, there are some traditions
that can be applicable on a wider scale, even if some things are
specifically located here in Armenia.
Arpi: There is a way in which one becomes socialized and learns as a
child how to interpret certain stories. Society starts to carve you
out according to its rules and codes so you can play your respective
role. This is the whole problem. What would it be like if Aregnazan's
sex is not dependent on his father, the Dove Girl, or the love of a
capricious princess? We see how Aregnazan is someone who plays out
other people's desires, something that is very characteristic of the
Armenian culture in which a child is taught from a young age to have
desires according to the codes that society has already set out for
him or her.
We are never taught that we can make choices for ourselves. That we
can change and transform. This is something that absolutely does not
exist in our culture. For me adapting Aregnazan's story means to
create an entirety of characters who have the possibility to choose
and transform through a series of relations and conflicts. This is
also the thing that made the original story so interesting for me: the
fact that there is a possibility for transformation, because as we
see, Aregnazan, in any case, does change. Of course this change is
also within the bounds of what the world in which she lives in will
accept for a hero, but she still changes and transforms in every way
possible. Even if she is not changing, it's still her choice not to
change.
It's like the crossroads that characters in fairy tales often stand in
front of. This is something that we don't see women heroes in Armenian
fairy tales usually have the opportunity to do, but Aregnazan is that
character who has the opportunity to stand at a crossroads and choose
a path. And this is what I think is most important about this story
and its adaptation: change and transformation, the thing that I think
we need the most.
Q. So in other words it is something that affects everyone and
something that we can all relate to. It's not just for people who
thinks about and work on issues of sex and gender.
Arpi: Well, it definitely raises questions of gender, but also the
generational question, traditions and living outside of those
traditions, adopting different life-styles. But the main thing we see
is the question of change and transformation, which is something that
can go beyond gender.
Melissa: There are also many connections to what is happening in the
country right now, economically and politically speaking. We don't
specifically speak about these things in the film, but many of the
current problems of Armenia make themselves known throughout our
adaptation.
Arpi: For example we have an evil oligarch...
Melissa: It's a symbol of the problem and not necessarily anyone in particular.
Something worth mentioning is that all of our characters will be
played by women, with the exception of one character who will be
Nunufar's best friend. So the oligarch will be played by a woman, and
the father as well. This is also a connection to the Armenian theater
of the 1930â~@²s when the actress Siranush would play male roles. In a
way she popularized this trend within Armenian theater.
Q. So you have an Indiegogo campaign online and you have another 5
days left to raise 6,000 dollars to fund this amazing project. Can you
briefly tell us why you think this project is an important one to
support?
Melissa: Well, because there need to be more representations of
powerful characters from Armenia that are not so extremely
patriarchal. And there needs to be a revision of some of the
traditions, too. People should support us because it's going to be an
awesome project. It is an awesome project.
Arpi: For me there is also this element of how this fairy tale, the
original one, is rather unique in the sense that it tells of an old
time kingdom in which there is also a transition of gender. So I think
this story is not only interesting because it is in the context of
Armenian culture, but also that I don't know if there are many other
such stories in other cultures.
In reality I am very happy with all of the positive responses we have
gotten from people who are supporting this project. It makes me happy
to see that we are doing something that many other people truly
believe is needed for them to understand the culture in which they are
living in. So this is not just a story, it's not just an
adaptation...it's very much connected to our lives. We are living all of
this. We are living those traditions and we are also changing them.
So with this project we are representing not only ourselves, but also
many other women. We are also representing men who don't think in the
traditional and conservative way.
I think that each person should support us according to their own
world-view so that it can be possible for us to realize this project.
It is always refreshing to see that people want change. And supporting
this project means just that.
To help Magical World come to life, You can donate to the project at
Indiegogo.com
http://www.ianyanmag.com/2013/04/18/magical-world-19th-century-armenian-fairy-tale-gets-animated/
From: Emil Lazarian | Ararat NewsPress
ianyan Magazine
April 18 2013
Posted by Milena Abrahamyan
Aregnazan is an Armenian fairy tale written at the end of the 19th
century by Ghazaros Aghayan. It tells the story of a father who has
three children, two of whom are girls. The sex of the third child is
not explicitly stated, but the father declares in the beginning of the
story that Aregnazan will be a girl in order to protect her from evil
spirits. Although Aregnazan has been declared a girl, she is not
interested in the particularly typical things that are assigned to her
gender. So she learns, with the encouragement of her father, to hunt,
use weaponry, ride horses and do other things that would traditionally
be done by boys. Eventually she proves her worthiness of being able to
fight for the king and is declared a boy by her father in order to
fulfill this duty.
Once Aregnazan is in the kingdom, he proves his abilities and strength
by defeating a bear and saving the king. During this time, the king's
daughter, Princess Nunufar, falls madly in love with Aregnazan, but
Aregnazan refuses her, partially due to her embarrassment regarding
her hidden sex. Nunufar, being the princess that she is, becomes
extremely ill after being refused and the king sends Aregnazan on a
journey to find the "eternal water," which is promised to be the cure
for Nunufar's illness/hysteria.
On the way Aregnazan meets a dove-girl who transforms Aregnazan into a
"real" man and also finds and brings the "eternal water" for him. As
Aregnazan continues on his journey, he stumbles upon Stone City where
all of the inhabitants have been turned to stone by an evil witch,
except for the king who is only half-stone. Aregnazan helps bring the
king back to life by giving him some of the eternal water and they
defeat the evil witch, restoring the kingdom. Once his feat is
finished Aregnazan returns to the kingdom, gives Nunufar a drink of
the eternal water, thus saving her life. Since he became a real man
during his travels, he is able to marry Nunufar and they live happily
ever after.
Magical World is an adaptation of Aregnazan's story by two Armenian
artists, Arpi Adamyan and Melissa Boyajian, who are using a queer,
feminist and futuristic perspective in an attempt to empower
conventional female characters in the original story and to offer an
alternative understanding of gender roles within traditional Armenian
stories and lived lives. The adaptation is currently raising funds so
that it becomes fully realized.
Q. Can you tell me a little bit about how this project came about?
Arpi: I had been talking to Melissa since last year about
collaborating together and we were discussing many different ideas.
But it was quite suddenly that I remembered the story of Aregnazan.
It's a story that my mother used to read to me when I was very little
and that I had forgotten altogether. So I remembered the name,
Aregnazan, but nothing else from the story except that it was an
interesting one. I read it again and realized how much this story had
affected me as a child and to an extent as part of my growing up. When
you hear this story as a child your interpretation is completely
different from how you may interpret it as an adult. In our
conservative society we would not necessarily relate this story with
the gender issues that are apparent in the story, because it is
assumed that one's sex and role within society are already set.
Melissa: I don't have the same relationship to this story that Arpi
did with her mother reading it to her when she was young. I would
imagine that if it was read to me as a child I would also find the
gender transformation in the story to be really interesting. Of course
when you're really critical of this story you see how it's a typical,
patriarchal story where Aregnazan does not become a true hero until
becoming male, but it is still very unusual that there is this kind of
hiding of gender in the beginning of the story.
Q. So obviously there are many instances in the story where you see a
kind of patriarchal ideology. I know that you plan to adapt the story
from a more feminist and queer perspective. I'm curious about how you
plan to change things around to make it fit this radically different
perspective. Especially, what are some of the elements in the story
that can possibly move the imagination beyond the traditional
understanding of gender and the Armenian family?
Melissa: Well, we keep Aregnazan's gender rather ambiguous in our
adaptation, but Aregnazan never becomes a boy.
Arpi: She's both. And because in the Armenian language you don't have
this gender dynamic with pronouns, it makes this ambiguity easier. Of
course, it's different when you translate from one language to another
(Armenian to English) and even when we speak in English during our
process it can be confusing. But when you read the story you don't
have this confusion in Armenian. It works.
So the first thing about gender is that our actress will be a girl. We
thought to have her (Aregnazan's) character stay a girl, but then we
thought that we'd rather have her be both. Throughout the whole story
many people try to confuse her about his gender, but she resists and
remains both.
Meeting Dove Girl is a critical moment in the story when Aregnazan
experiences a physical transition and becomes male. In our adaptation
we will show this as not necessarily a physical transition, but rather
a transition or expansion of thought. Dove Girl is a character who
helps Aregnazan understand that he doesn't have to make a choice about
which gender she is and that she doesn't have to divide herself
according to the gender binary. So Aregnazan becomes the embodiment of
someone who refuses to divide herself into parts.
Melissa: We also change Nunufar's character. We don't have her as a
sick princess. She is almost like the second protagonist of the story.
Even though Aregnazan is the hero in some regards, we're trying to
shift this dynamic so that the story is not about individualism in
that sense. Nunufar and Aregnazan save the citizens of Sleeping City
together. They do it with the citizens of the city by empowering them
to break free.
Arpi: Can I just add something? You know how in the original story
there is this kingdom and Nunufar is the princess, a privileged one at
that. We also change this in our adaptation by playing with class
representations. Nunufar is no longer a princess. She's half-cyborg.
Melissa: In our plot the Sleeping City is our adaptation of Stone
City. In the original story all of the people of Stone City have been
turned to stone. In ours, they are all repeating the same tasks over
and over with their eyes closed. It's symbolic of Armenia, especially
with regards to the economic situation. If you know anything about
Armenia you know that there was the economic collapse in the 90's,
many people are unemployed or if they have jobs they are working for a
minimum salary that can barely cover living costs. This is also
connected to the vast privatization of all resources here. There are
very few people who are rich here and they have become wealthy through
illegal means. This kind of corruption goes all the way to Serzh
Sarksyan who has been fraudulently elected already twice.
Arpi: Maybe your first impression upon hearing "Sleeping City" is that
everyone is sleeping there and that something is happening which they
do not see. But in reality that is not the case. It's more about the
general situation of that city and how there is a sense of a kind of
"sleeping" condition in the city...that it can't wake up.
But I just want to bring it back to Nunufar for a moment. First of all
it was interesting for us to leave her name as it is in the original
story. I'm sure you know that in the process of adaptation we can
change names of characters and their appearance. But for us it was
interesting to keep her very feminine, almost fragile name and yet
have her appearance change. Nunufar is a princess and so she is part
of a kingdom where she is protected and even spoiled in many ways. It
was important for us to take her out that context. We end up not
knowing much about her family. So she becomes more independent and
mobile. We shift the patriarchal understanding of a man (Aregnazan)
being someone who leaves the home and can travel and the woman
(Nunufar) being someone who stays in the home and waits for the man.
Melissa: These actions are things that are taken from patriarchal
aspects of Armenian culture whether in storytelling or even things in
the domestic sphere.
Arpi: For example, Aregnazan resists her father with a lasso. It
references the story of Artashes and Satenik. Artashes dominates
Satenik with a lasso and is able to "have" her in that way. In the
case of our adaptation, it's Aregnazan who does this action to her
aggressor, who she doesn't know is her father and who she also doesn't
wish to "have" in this way. She is simply fighting to resist being
stopped on her way. This is not only an illustration of what happens
in a patriarchal society, but it's about gender codes. We are trying
to play with those codes that we have internalized in order to change
them and take them to the extreme. If criticism is sometimes very
intense it can offend certain groups living in your society, but when
the criticism of something is taken to the extreme, the absurd, it
becomes something more tangible. The absurd is a very interesting
method for working with a problem.
Melissa: For me, as a Diasporan Armenian I can attest to the fact that
many Armenians from the Diaspora live in the past. It's a culturally
different experience to compare my family to the people here. But to
be able to envision something that is not in the past was important
for me. And also there being a potential for a future in that things
could change. That was important for me in setting this story in the
future.
I think that Armenia as a Republic and also a people all over the
world is a pretty crucial question. What will it be to be Armenian in
50 years? Will there be anyone living here anymore? And I know that's
very dismal, but hopefully that won't be the case. In any case, to be
able to imagine something in the future that could have the potential
for change was important for me.
Arpi: The original story takes place in the 19th century during the
time of the Tsar. In our adaptation we do not represent a time in
which there are the same social-class problems. I think that Melissa
and my experiences are a little bit different. For me, as someone
living in a very conservative society, adopting a futuristic view for
this story provides an opportunity with which it becomes possible to
change something at a much faster pace than how things are changing in
Armenia today. In this type of traditional society things tend to
change very slowly. Things seem to be staying within the boundaries of
that same conservatism, order, tradition, etc. Often we see how even
people who are trying to change something are still staying within the
bounds of that conservatism. Take for example today's revolution...
Q. So, just to dive a little deeper into the question of what this
means for Armenia and maybe not only for Armenia, but for Armenians in
the world as well. How do you make those links?
Melissa: There are some things that I think are prominent in most
Armenian families regardless of where they are. For example, my family
is extremely patriarchal. In either case, there are some traditions
that can be applicable on a wider scale, even if some things are
specifically located here in Armenia.
Arpi: There is a way in which one becomes socialized and learns as a
child how to interpret certain stories. Society starts to carve you
out according to its rules and codes so you can play your respective
role. This is the whole problem. What would it be like if Aregnazan's
sex is not dependent on his father, the Dove Girl, or the love of a
capricious princess? We see how Aregnazan is someone who plays out
other people's desires, something that is very characteristic of the
Armenian culture in which a child is taught from a young age to have
desires according to the codes that society has already set out for
him or her.
We are never taught that we can make choices for ourselves. That we
can change and transform. This is something that absolutely does not
exist in our culture. For me adapting Aregnazan's story means to
create an entirety of characters who have the possibility to choose
and transform through a series of relations and conflicts. This is
also the thing that made the original story so interesting for me: the
fact that there is a possibility for transformation, because as we
see, Aregnazan, in any case, does change. Of course this change is
also within the bounds of what the world in which she lives in will
accept for a hero, but she still changes and transforms in every way
possible. Even if she is not changing, it's still her choice not to
change.
It's like the crossroads that characters in fairy tales often stand in
front of. This is something that we don't see women heroes in Armenian
fairy tales usually have the opportunity to do, but Aregnazan is that
character who has the opportunity to stand at a crossroads and choose
a path. And this is what I think is most important about this story
and its adaptation: change and transformation, the thing that I think
we need the most.
Q. So in other words it is something that affects everyone and
something that we can all relate to. It's not just for people who
thinks about and work on issues of sex and gender.
Arpi: Well, it definitely raises questions of gender, but also the
generational question, traditions and living outside of those
traditions, adopting different life-styles. But the main thing we see
is the question of change and transformation, which is something that
can go beyond gender.
Melissa: There are also many connections to what is happening in the
country right now, economically and politically speaking. We don't
specifically speak about these things in the film, but many of the
current problems of Armenia make themselves known throughout our
adaptation.
Arpi: For example we have an evil oligarch...
Melissa: It's a symbol of the problem and not necessarily anyone in particular.
Something worth mentioning is that all of our characters will be
played by women, with the exception of one character who will be
Nunufar's best friend. So the oligarch will be played by a woman, and
the father as well. This is also a connection to the Armenian theater
of the 1930â~@²s when the actress Siranush would play male roles. In a
way she popularized this trend within Armenian theater.
Q. So you have an Indiegogo campaign online and you have another 5
days left to raise 6,000 dollars to fund this amazing project. Can you
briefly tell us why you think this project is an important one to
support?
Melissa: Well, because there need to be more representations of
powerful characters from Armenia that are not so extremely
patriarchal. And there needs to be a revision of some of the
traditions, too. People should support us because it's going to be an
awesome project. It is an awesome project.
Arpi: For me there is also this element of how this fairy tale, the
original one, is rather unique in the sense that it tells of an old
time kingdom in which there is also a transition of gender. So I think
this story is not only interesting because it is in the context of
Armenian culture, but also that I don't know if there are many other
such stories in other cultures.
In reality I am very happy with all of the positive responses we have
gotten from people who are supporting this project. It makes me happy
to see that we are doing something that many other people truly
believe is needed for them to understand the culture in which they are
living in. So this is not just a story, it's not just an
adaptation...it's very much connected to our lives. We are living all of
this. We are living those traditions and we are also changing them.
So with this project we are representing not only ourselves, but also
many other women. We are also representing men who don't think in the
traditional and conservative way.
I think that each person should support us according to their own
world-view so that it can be possible for us to realize this project.
It is always refreshing to see that people want change. And supporting
this project means just that.
To help Magical World come to life, You can donate to the project at
Indiegogo.com
http://www.ianyanmag.com/2013/04/18/magical-world-19th-century-armenian-fairy-tale-gets-animated/
From: Emil Lazarian | Ararat NewsPress