In the late nineteenth century, the orally transmitted Armenian legend about the folk hero David of Sassoun seemed doomed to oblivion when Ottoman Armenian clergyman Karekin Srvandzdiants published a tiny booklet containing the story that he had learned by chance. Srvandzdiants noted that he would be happy if the story could reach twenty people. Decades later, this hitherto little-known folk legend would be read, and its main heroes celebrated by tens of millions of citizens of the Soviet Union. Scores of variants of the epic were collected from all over the newly established Soviet Armenia; some of the most revered Soviet poets and linguists produced a collated text of the epic and translated it into dozens of languages. More importantly, David of Sassoun and other heroes of the epic cycle came to symbolize the newly forged Soviet Armenian national character in a vast totalitarian empire whose guiding ideology was inimical to various aspects of Armenian traditions. In this article, I examine the underlying messages of the epic, discuss how Soviet policies helped the epic captivate a large audience in a short period, and analyze the political calculations and ideological justifications behind the promotion of the epic.

The article addresses the question of the distinction between voluntary and involuntary immobility under emigration restrictions. Based on semi-structured in-depth interviews with people whose family members intended to emigrate from the Polish People’s Republic and the Russian Soviet Federative Socialist Republic but who have not fulfilled their intentions, it examines the role of the would-be migrant’s agency in driving the immobility outcome under the narrow opportunity structure for international mobility. The analysis of reasons for the emigration intentions of formerly aspiring migrants having remained unfulfilled demonstrates that the boundary between voluntary and involuntary immobility – similar to that of voluntary versus forced migration – is often blurred. The studied cases suggest it is more justified to view immobility through the lens of a continuum of (in)voluntariness rather than as a voluntary-involuntary binary. Moreover, the study shows how the blurriness of the boundary between voluntary and involuntary immobility may be understood through changes over time in the reasons for the non-realization of one’s migration intentions.

Only months after starting as KPFA’s music director, Charles Amirkhanian launched the radio show Ode to Gravity in March 1970. The evocative name referred to his 1968 experimental theatre piece that involved dropping objects such as a marble and car fender into a circle of spectators. The radio programme similarly released a range of avant-garde music and sound objects over the airwaves, reflecting Amirkhanian’s preferred title as KPFA’s ‘Sound Sensitivity Information Director’. Informed by analyses of archival broadcasts and other primary sources, this article frames Ode to Gravity as a conceptual extension of the 1968 piece and long-running ‘sound sensitivity’ experiment that sought to make sense of the contemporary musical landscape by collecting and propagating sonic data. Ode to Gravity’s consciousness-raising mission broadly, and the changes in content and presentation style over its twenty-five-year history specifically, add further texture to our understanding of post-war avant-garde impulses in music and sound.