International Journal of Armenian Genocide Studies
This article sets the Armenian Genocide Museum-Institute, and the Tsitsernakaberd memorial complex, into the global context of genocide memorial museums. It discusses architectural and design features as well as the museum’s fi rst permanent exhibition (1995-2013, with updates and additions), and argues that while the museum and memorial complex conform to global trends in many ways, the museum exhibition itself showed some differences. Specifi cally, it seems that the experience of longstanding genocide denial and the continued international non-recognition of the genocide in the early 1990s means that the exhibition had to take on the ‘burden of proof’ and, unlike in other museums, was almost wholly devoted to constructing a ‘case for genocide’.
In April 1924, a group of Armenian women genocide survivors in the care of a Danish missionary organization in Thessaloniki staged a play; Sorrow is Turned to Joy, based on the 1909 Adana massacres. The article briefly explores the framework and context of the missionary organization, the actors, and the theatrical performance, followed by a translation of the entire play from Danish into English.
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