Introduction: The Soul of Georgia in Action
What is Georgian Dance? More than Just Movement
In Georgian, the word for dance is Kartuli Tsekva (ქართული ცეკვა), and it’s far more than a performance art. It’s a lively, evolving language that expresses the history, spirit, and soul of the Georgian people. Beyond a series of movements set to music, it’s a deep dive into Georgia’s shared memory and enduring character, reflecting the nation’s strength, joy, creativity, struggles, and triumphs over the centuries.
This rich art form encompasses a wide range of styles, with roots in Georgia’s diverse regional folk traditions. Its history also includes medieval military movements, athletic games, and holiday dances. Each dance tells a story that reflects the unique traits of its origin, dramatizes social interactions like courtship, friendship, or war, and weaves historical context into its very steps. From the martial vigor of the dances in the mountainous highlands to the harvest celebrations and communal joy in the agricultural lowlands, Georgian dance showcases the many facets of life in the country.
Cultural Importance: A Tapestry of History, Identity, and Spirit
Georgian dance holds immense cultural importance as a key component of the country’s identity and history. Georgians consider it a “masterpiece” that embodies the soul of their nation and is central to their shared identity. It’s significant not only for its beauty and craftsmanship but also as a vessel for cultural memory and continuity.
The dance acts like a living history book, transmitting stories, values, and social norms from one generation to the next. Unlike static artifacts confined to museums, Georgian dance exists in its performance, requiring continuous practice, learning, and embodiment. Its performative nature makes it a powerful means of building and reaffirming national identity, especially crucial for a country that has endured numerous invasions and external pressures. The act of dancing itself becomes an assertion of cultural resilience and uniqueness. The art form also broadly showcases Georgia’s artistic prowess and rich internal diversity, attracting global attention and making it a key element of the country’s cultural tourism appeal. It also plays a role in education, where learning the dances helps children internalize the foundational narratives and values that have shaped Georgian society and continue to shape the identities of younger generations. Thus, Georgian dance is a vibrant expression of what it means to be Georgian, an embodied history and living heritage.
Echoes of the Past: Where It Came From and How It Changed
From Myth and Ritual to Folk Tradition
Georgian dance traces its origins to ancient times, possibly as far back as the 2nd or 3rd millennium BCE. Archaeological finds support these claims of ancient origins. Discoveries like the detailed images of masked hunters in a round dance on a silver bowl from Trialeti (circa 2nd millennium BCE), bronze belts depicting dance scenes, and ithyphallic statues provide tangible links to early dance practices. These findings suggest that the earliest forms likely served ritualistic purposes, perhaps connected to hunting, fertility cults honoring deities like Shushpa, or other fundamental aspects of early human life.
These early ritual dances were heavily influenced by ancient myths and cosmogony. Dance was seen as more than mere entertainment; it was a powerful way to connect with cosmic energies, ensure fertility, navigate challenging times, and gain favor from the gods. Communal dancing was believed to foster connection and generate collective energy, particularly during hardships like war or famine. Echoes of these ancient functions persist in modern dances. Xenophon, a Greek historian from the 3rd century BC, documented pre-battle ritual dances intended to guarantee victory, which resonate with the modern war dance Khorumi. Dances like the Perkhuli round-dances “Lile” and “Partsa” are also thought to preserve elements of ancient sun worship and astral symbolism through their circular forms (solar symbols) and lyrics, even after Christianization. Over millennia, these sacred and ritualistic components blended with martial arts, sports, agrarian cycles (work themes, peasant life), and evolving social interactions, gradually forming the diverse foundation of Georgian folk dance.
Medieval Life: Court, War, and Celebration
The Middle Ages marked a period of significant growth and refinement for Georgian dance. Dances continued to evolve, influenced by military drills, sports competitions, and celebratory occasions. During this time, distinct styles began to emerge, reflecting both the more formalized life of the royal court and the burgeoning urban and rural traditions.
The Golden Age of Georgian medieval culture, spanning approximately 1080 to 1240, also saw the peak of Georgian polyphonic music. This complex, multi-voiced singing style, with roots in the 10th century or earlier, became an integral part of the dances’ soundscape, likely influencing their structure and group interactions. Dances depicting courtship, competition, and social themes became more defined. The couple dance Kartuli, with its focus on chivalry and intricate etiquette, likely integrated elements from both courtly and folk cultures during this period of cultural flourishing. The introduction of solo and duet dances in the palace setting (Sdarbazo dances) further diversified the choreographic repertoire.
The Sukhishvili Phenomenon: Putting Tradition on Stage for the World
The founding of the Sukhishvili Georgian National Ballet in 1945 was a pivotal moment in the history and global recognition of Georgian dance. The company, initiated by visionary dancers Iliko Sukhishvili and Nino Ramishvili, set out to transform traditional folk dance into a world-renowned performing art. Their aim was not merely to preserve regional folk dances but to meticulously refine and adapt the best elements of each for the stage.
This transformation deliberately blended folkloric elements with classical ballet and modern dance techniques and styles. The Sukhishvilis cultivated a distinctive style characterized by perfectly synchronized group movements, stunning technical prowess from soloists, incredible athleticism from male dancers (including leaps, spins, and swordplay), and the ethereal, gliding grace of female performers. This fusion created a performance style that was authentically Georgian yet resonated with global audiences. Their unique choreography and energetic stage presence captivated audiences worldwide, taking Georgian dance from its indigenous context to the world’s grandest stages, including La Scala, the Metropolitan Opera, and Madison Square Garden. Over the past 70 years, the ensemble has undertaken hundreds of tours to nearly 100 countries, performing for an estimated 60 million people and reshaping global perceptions of Georgian dance.
However, this process of adaptation and stylization involved a complex negotiation between preserving tradition and the demands of theatricality. While Iliko Sukhishvili reportedly believed some dances, like Kartuli, were so perfect they shouldn’t be altered, the ensemble’s overall philosophy embraced innovation. They intentionally modified costumes for theatrical effect, emphasizing shapes and colors, and pioneered virtuoso techniques like male toe-dancing that were not common in village practice. The work of the Sukhishvili ensemble established a benchmark for a specific, highly polished rendition of Georgian dance that could be enjoyed globally. This was a powerful act of cultural representation that necessarily involved selection and transformation, and could have sparked debate about authenticity versus innovation.
Navigating the Soviet Era and Post-Independence
The political climate of the Soviet Union significantly impacted the trajectory of Georgian dance, particularly for stage ensembles like Sukhishvili. Folk art became an avenue for cultural expression during periods when individual artistic expression was constrained. The Sukhishvili ensemble consciously highlighted the folk roots of their repertoire, which Nino Sukhishvili later described as an “elegant mystification” that helped the company thrive under the communist regime. Some accounts suggest that female dance styles, in particular, gained more dynamism and athleticism during this period, potentially influenced by broader societal shifts or state-sponsored performance ideals. Folk traditions were permitted and even encouraged, but they could also be instrumentalized for state propaganda.
Following Georgia’s re-establishment of independence in 1991, there has been a significant resurgence of interest in traditional Georgian dances, both domestically and internationally. This contemporary revival is intrinsically linked to the growing global appreciation for Georgian culture, of which dance is a vital component. Throughout Georgia, dance schools are nurturing new generations of dancers, often blending traditional techniques with contemporary choreographic concepts to ensure the art form remains vibrant and evolving. Simultaneously, modern Georgian designers are drawing inspiration from traditional costumes, integrating these elements into contemporary fashion, further imbuing modern life with this rich heritage.
A Nation Dances: Different Styles of Dance and Choreography
A Look at Highland Vigor and Lowland Grace
One of the most defining characteristics of Georgian dance is its distinct regional diversity, shaped by the country’s varied landscapes, histories, and local cultures. While classifications can be nuanced, a primary distinction is often made between dances originating from the mountains and those from the valleys or lowlands.
Highland dances, such as Khevsuruli, Mtiuluri, Kazbeguri, and Svanuri, typically exhibit traits associated with the rugged mountain environment and historical warrior culture. They often feature quick, sharp, and forceful movements, impressive acrobatic feats like high jumps and knee work, martial themes involving mock fights with swords and shields, and a competitive spirit. Tsertvla, or dancing on their toes, is a demanding and prominent technique performed by male dancers. Even dances by women from mountainous regions like Mokhevi can be more vigorous and dynamic than their lowland counterparts.
Conversely, dances originating from the valleys and lowlands, such as Acharuli from Adjara or the urban dance Davluri, tend to showcase smoother, more flowing movements, emphasizing grace and elegance. Common themes include courtship, flirtation rituals, communal celebrations like harvests, or depictions of aristocratic life.
These stylistic differences extend beyond mere aesthetics; they are deeply interconnected with the unique historical trajectories, social structures, daily lives, and geographical realities of each region. In this way, the dance landscape functions as a living map of Georgia’s internal cultural geography, with choreography embodying regional identity. For instance, highland dances often reflect centuries of mountainous defense, while lowland dances might celebrate agricultural abundance or urban social interactions. The Svanuri dance, for example, highlights the unique language and culture of Svaneti, a region historically isolated from the rest of Georgia.
Key Dances in the Spotlight
The Georgian dance repertoire is extensive and diverse. Here’s a closer look at some of the most celebrated and representative dances, highlighting their unique characteristics:
Kartuli (ქართული): Widely regarded as the most quintessential Georgian dance, Kartuli is a romantic couple dance often associated with weddings. It embodies themes of love, honor, and refinement. Though not region-specific, it’s believed to have originated in the 11th and 12th centuries and is performed throughout Georgia. The dance follows a strict five-part structure: the man invites the woman to dance, a joint dance, a male solo, a female solo, and a concluding joint dance. A crucial aspect is the code of conduct: the man never touches the woman, maintains a respectful distance, keeps his upper body perfectly still (a move called gasma), and gazes solely at her. The woman, conversely, maintains a downcast gaze and moves with an otherworldly grace, as if gliding like a swan. Despite its apparent simplicity, Kartuli demands immense skill and control, making it one of the most challenging Georgian dances. In 2020, Kartuli was designated a Monument of Intangible Cultural Heritage of Georgia.
Khorumi (ხორუმი): An ancient and powerful war dance primarily from the southwestern regions of Adjara and Guria, Khorumi is a structured narrative of battle, typically in four parts: searching for a campsite, scouting the enemy, the attack (often the most dramatic segment), and the final victory celebration, sometimes performed as the gadakhveuli Khorumi. Only men perform this dance, usually in an odd number, led by a commander (tavmosame). Historically performed by a small group, it can now feature thirty, forty, or even fifty dancers on stage. Its movements are strong, simple, and unique, emphasizing precise linear and circular formations. Khorumi embodies bravery, glory, patriotism, and the harsh realities of war. It’s accompanied by the doli (drum) and chiboni (bagpipe). The music is notable for its five-beat meter (3+2), often in 5/8 or 5/4 time with syncopation. Costumes are traditional Adjarian attire. Like Kartuli, Khorumi is also a Monument of Intangible Cultural Heritage of Georgia. Despite its clear martial theme, some scholars suggest links to ancient hunting or fertility rituals.
Khevsuruli (ხევსურული): A dynamic and intricate mountain dance from the Khevsureti region, considered one of the purest expressions of the Georgian spirit. It intertwines themes of love, courage, respect for women, tenacity, competition, and skill. The narrative typically begins with a flirtatious exchange between a couple, followed by the appearance of a rival suitor, escalating into a fierce and energetic battle between the two men and their supporters, involving complex sword and shield work. A traditional Khevsur gesture is the woman throwing her headscarf or veil between the combatants, signaling an obligatory cease-fire. However, the fight resumes with even greater intensity after she departs, only to conclude definitively with the dance’s end and the woman’s final donning of her veil. The ending is intentionally ambiguous, leaving the battle’s outcome to the audience’s imagination. Khevsuruli is highly technical and demanding, requiring extensive practice and precision for its intricate footwork, jumps, spins, and safe weapon handling. Costumes are vibrant traditional Khevsur garments, and the music features instruments like the panduri (lute) and doli (drum).
Acharuli (აჭარული) and Gandagana (განდაგანა): These two names refer to a bright, joyful, and playful dance originating from the Adjara region on the Black Sea coast. It depicts a lighthearted, casual flirtation between men and women, contrasting with the formal nature of Kartuli. The dance features colorful costumes, with red being a dominant hue. Women perform graceful, independent movements, while men execute quick, skillful steps. Some theories suggest its origins are linked to women’s breaks from work. It frequently incorporates jumps, stomping, and distinctive hand and arm movements. The Acharuli/Gandagana is also a monument in Georgia as part of its intangible cultural heritage.
Mtiuluri (მთიულური): A “festival” dance from the Mtiuleti region, similar to Khevsuruli in its competitive spirit. Here, the primary competitors are two groups of young men who showcase their skill, artistry, and agility through complex movements. This male competition is often integrated into the dance structure, followed by a graceful dance by girls, and then solo performances by men who execute impressive “tricks” on their knees and toes. The male movements are described as sharp, strong, and impulsive, while the female movements are lively and brisk. The overall effect is that of a joyous mountain celebration, accompanied by haunting melodies and pulsating rhythms. Historically, the Mtiuls people were horse riders and hunters, and the dance reflects this heritage.
Kazbeguri (ყაზბეგური): A powerful men’s dance originating from the Kazbegi municipality in Georgia’s northern Caucasus Mountains. Its character is defined by strong, austere movements and loud foot stomping, intended to convey the cold, harsh, and rugged nature of the high mountains. The dance reflects the toughness, strength, and indomitable spirit of the mountain dwellers. Dancers wear traditional Kazbegi attire, typically a long black shirt (chokha), black pants, black boots, and black headgear (papakhi). The accompanying music features instruments typical of the region, such as bagpipes (gudastviri), the panduri (lute), the changi (harp), and drums (doli). In performance, groups are often led by a commander, and dancers execute brief physical contact with crossed legs and synchronized movements. It demands significant strength, balance, and coordination.
Kintouri (კინტოური): A distinctive urban dance from Tbilisi that vividly portrays the city’s bustling, multicultural street life. The name derives from the “Kintos,” witty and cunning small street vendors who were an integral part of the city’s social fabric. The dance captures their vivacious personalities and interactions with energetic steps, expansive movements, playful and humorous gestures, and an Oriental rhythmic sensibility. Dancers often mimic the actions of the Kintos, such as handling goods, while typically wearing a silk shawl draped from a silver belt. Performers usually wear black costumes with baggy pants, reminiscent of the Kintos’ traditional attire. Kintouri has evolved into a more sophisticated stage form while retaining its folk roots and character.
Davluri (დავლური): A graceful urban couple’s dance performed by men and women, depicting the urban upper class. It shares similarities with Kartuli but features simpler movements and a less formal interaction between partners. Accompanied by colorful costumes and music, the dance evokes the atmosphere of a grand aristocratic feast or ball, sometimes resembling the European minuet. It is often performed by numerous couples simultaneously. People sometimes mistakenly refer to it as “Daisi,” which is the title of a well-known opera by Zakharia Paliashvili, whose symphonic music is often used to accompany Davluri performances. Costumes can be highly elaborate, utilizing materials like satin, velvet, and pearls.
Simdi (სიმდი): A beautiful and graceful Ossetian folk dance popular in Georgia, frequently performed at weddings. It is executed by many couples, and its beauty lies in its strict graphic outline, the stark contrast between the men’s black and women’s white costumes, the fluidity and elegance of the movements, and the precision of the line formations. The dance steps often incorporate intricate symmetrical patterns, with rows splitting and mirroring each other to create a dreamlike effect. The costumes are notable for their exceptionally long sleeves (historically implying non-contact between partners) and very high headwear for both men and women. Though originating in Ossetia and ancient (initially performed only by men), it is now common in Georgia. It features 4/4 and 2/4 time signatures and includes various formations such as circle (Mymbyl), two-line (Narton), and partner (Tymbyl).
Suliko (სულიკო) and Kokebi (ქოქები): These are graceful women’s dances that utilize water jugs called kokebi as props. The narrative depicts women journeying to a stream to fetch and carry water. It is characterized as a slow dance, highlighting the inherent grace of Georgian women. While the name Suliko is associated with this dance, it’s also the title of a renowned Georgian folk song and poem by Akaki Tsereteli about searching for a lost beloved (often interpreted as Georgia). The precise connection between the song and the dance requires further clarification, as most sources discuss the dance under the name Kokebi or primarily link Suliko to the song.
Khandjluri (ხანჯლური): A competitive and fiery men’s dance, often portraying shepherds. Dancers, typically wearing red chokhas (traditional coats) and sometimes fur hats, compete to display their bravery, athleticism, and impressive skill with daggers (khanjali). Performers take turns executing complex and dizzying movements, dramatically stabbing daggers into the stage floor. Dancers must be extremely cautious while moving around the stage, as it can be littered with sharp daggers. The dance demands high skill and practice, given the use of real weapons. In 1961, Iliko Sukhishvili and Nino Ramishvili famously choreographed a stage version where dancers initially wear black felt cloaks, then transition to blood-red robes.
Svanuri (სვანური): A vigorous dance prevalent among the Svans, a unique ethnic group inhabiting the high mountains of Svaneti in northwestern Georgia, known for their distinct language and ancient customs. Like other mountain dances, Svanuri features highly dynamic male movements, often incorporating specialized toe-dancing techniques. The dance reflects the archaic and sometimes austere aspects of Svan culture often referenced. Svanetian music, which accompanies the dance, is characterized by its ancient and weighty nature, featuring three-part polyphony with close harmonies often moving in parallel motion, non-tempered intonation, a powerful vocal timbre suited for outdoor rituals, and a narrow melodic range often ending on a unison. In Svaneti, round dances (Perkhuli) are a highly important ritual type, and many Svan songs, including sacred hymns, can be performed in a circle. Traditional Svan instruments include the changi (a type of harp often played by women) and the chuniri (a bowed fiddle). The provided text doesn’t offer specific details on Svanuri costumes but notes regional variations in attire.
Perkhuli (ფერხული) / Partsa (ფარცა): Perkhuli is the oldest form of Georgian dance, essentially a folk round dance often accompanied by singing. Traditionally, it’s primarily a male dance, but nowadays, participation is open regardless of gender or number of participants. Numerous variations exist (at least 20), with Svaneti possessing the largest repertoire of Perkhuli songs. Popular types include the “multi-level” Perkhuli, where one group dances on the shoulders of another (music in 3/4 time), and versions with slow and fast rounds (music in 4/4 time). The circular formation itself carries symbolic meaning, often linked to the sun or the cosmos. In 2013, Perkhuli was added to Georgia’s list of Intangible Cultural Heritage. Partsa is a specific, well-known Perkhuli originating from the Guria region. It features an exceptionally fast pace, lively rhythm, festive atmosphere, and vibrant color. Partsa performances are noted for their speed, grace, and the creation of “live towers,” likely multi-level human formations akin to the Catalan castells. The one-, two-, or three-circle formations of the Gurian Partsa are believed to represent astral symbols and cosmic movements. In 1969, the Sukhishvili ensemble famously performed Partsa at La Scala.
Samaia (სამაია): A serene and graceful dance performed by three women. Though believed to have pre-Christian roots, it is now primarily associated with honoring Queen Tamar, Georgia’s beloved female monarch from the 12th and 13th centuries. Some interpretations suggest the three dancers embody Queen Tamar in different aspects: as a young princess, a wise mother, and a powerful ruler. Others propose they represent the three muses of Art, Poetry, and Music, inspired by an ancient fresco. The choreography is described as both majestic and subdued, featuring simple, soft, and graceful movements. The dancers’ hands exhibit fluid motions. The dance aims to evoke the beauty, glory, and power of Queen Tamar’s reign. Simon Virsaladze designed the costumes based on depictions of Queen Tamar in old frescoes.
Parikaoba (ფარიკაობა): A warrior dance from the northeastern highland area of Khevsureti. The narrative involves a girl seeking her lover, who then encounters rivals, leading to an exciting battle with swords and shields. A prominent element is the traditional Khevsur custom of the woman throwing down her headdress to temporarily halt the fighting. The dance often incorporates impressive acrobatic moves that showcase strength and speed. Some modern versions have integrated more explicit romantic themes into the dance, often referred to as “Khevsuruli parikaoba.”
Jeirani (ჯეირანი): This dance tells the story of a hunt, typically for a magical doe or gazelle (the word “Jeirani” means “gazelle”). It’s described as an eastern-style dance performed in a Georgian manner. Nino Ramishvili choreographed a renowned stage version for the Sukhishvili ensemble, incorporating classical ballet movements to convey the hunt’s narrative. It can feature strong individual movements, such as jumps and arm swings, alongside group coordination.
Karachokheli (ყარაჩოხელი): This dance is centered on the Karachokhelis, a group of ordinary craftsmen in historical Georgia. They were known for their diligence but also their carefree approach to life, with a fondness for Georgian wine and the company of beautiful women. Dancers typically wear a black chokha when performing Karachokheli.
Mkhedruli (მხედრული): The name Mkhedruli derives from mkhedari, meaning “cavalryman.” The dance begins at a very fast pace and progressively accelerates. The dancers’ legs execute rapid movements, mimicking a horse’s gallop, while their arms and upper bodies perform actions suggestive of combat.
Other Notable Dances: The Georgian repertoire includes many other dances, such as Samani (a women’s war dance), Lasuri (dance of the Black Sea coast inhabitants), Tsdo (a men’s mountain dance), Otobaia (an Abkhazian dance), Juta (depicting horse thieves), Nanila (a lullaby dance), Tamashi (a dance game), Ornament (a fantasy dance), Ilouri (an initiation dance), Honga (a graceful Ossetian wedding dance, related to Simdi but distinct), Narnari (a women’s dance for festive gatherings), Kalta Mokheuri (an active women’s dance from the high mountains), Lazuri (an elegant dance of the Laz people), and Rachuli (an energetic dance from the Racha region).
The Sensory Experience: Music, Costumes, and Techniques
The Sound of Georgia: Instruments, Polyphony, and Rhythmic Energy
The soundscape of Georgian dance is as rich and distinctive as its visual spectacle. Georgian folk music is globally renowned, primarily for its ancient and complex style of vocal polyphony, intimately linked to dance traditions. This singing style, often featuring three distinct voices, is a cornerstone of Georgian culture, dating back to before Christianity’s arrival in Georgia (4th century AD). Its significance is underscored by its inscription on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity in 2008 (initially proclaimed in 2001).
This polyphonic music is built on modal systems distinct from Western tonality, characterized by its sharp dissonant harmonies—including seconds, fourths, and sevenths—and intricate modulations. The resulting sound is powerful, unique, and deeply expressive. While vocal music often takes precedence, a diverse array of traditional instruments provides rhythmic and melodic accompaniment for the dances. Key instruments include:
Wind instruments: The duduki (double-reed woodwind), zurna (shawm), salamuri and pilili (flutes), gudastviri or chiboni (bagpipes), and the larchemi or soinari (panpipe).
String instruments: Plucked lutes like the panduri (three-stringed) and chonguri (four-stringed), the changi (harp), and bowed fiddles like the chuniri or chianuri.
Percussion instruments: The doli (large double-headed drum), daira or doyra (frame drum, sometimes with jingles), diplipito (kettledrums), and tsintsila (cymbals) are vital for maintaining the rhythmic pulse. In stage ensembles, modern instruments like the accordion (garmoni) and clarinet sometimes substitute for or augment traditional ones.
The interplay between this complex music and dance choreography appears to be profoundly integrated, a subject often explored in choreomusicology. Music isn’t merely background; it establishes the mood, sets the tempo, and guides the dancers’ movements. Certain dances, like Khorumi, possess unique and intricate rhythmic patterns (such as a 5/8 or 5/4 meter with syncopation) that intrinsically shape the choreography. The multivoiced collaboration in polyphonic singing parallels the intricate group, partner, and competitive dynamics seen in dances like Simdi or Mtiuluri. The dialogic structure found in Eastern Georgian polyphony, where embellished melodic lines interact over a drone, can be likened to the leader-follower dynamics or alternating solos and group sections common in many Georgian dances. This deep connection means that truly appreciating Georgian dance necessitates an understanding of its rich musicality.
The Chokha and Other Regional Costumes Make Up a Woven Identity
Georgian dance costumes are more than mere aesthetics; they are an integral part of the performance, imbued with cultural significance, and directly influence the dancers’ movements. Each dance typically features attire reminiscent of historical garments from specific Georgian regions, thereby reinforcing the dance’s narrative and origin. These outfits have evolved from functional clothing suited to Georgia’s climate and terrain into powerful symbols of social status, regional identity, and even political expression.
The chokha, a high-necked woolen coat historically worn by men across the Caucasus, is the most iconic element of male attire. Numerous variations exist in Georgia, with the Kartli-Kakheti, Khevsurian, and Adjarian types being the most prominent. The Kartli-Kakheti chokha is most commonly seen in performances, characterized by its long cut, often in black, dark red, or blue, and featuring distinctive gazyrs (cartridge holders, now decorative) on the chest. The shorter Khevsurian chokha is highly ornate, while the Adjarian style has its own unique accompanying garments. The chokha itself symbolizes the warrior spirit, national pride, and Georgian identity, frequently worn for significant events like weddings and official ceremonies. Historically, wearing a black chokha signified membership in the elite “Chokhosani” order.
Women’s costumes are equally significant. They typically consist of long, elegant dresses crafted from luxurious fabrics such as silk, satin, velvet, or brocade. These garments often feature intricate embroidery depicting floral or geometric patterns, carrying symbolic meaning rooted in regional myths, beliefs, and narratives. Adornments like pearls, beads, metalwork, and coins further enhance their richness. Regional distinctions are evident: Western Georgian attire often employs brighter colors reflecting the lush environment, while Eastern costumes may feature a more subdued palette but with greater symbolic ornamentation. Unique headpieces and veils enhance the dancers’ grace and contribute to the storytelling.
Costumes directly impact the dance’s aesthetics and movement. The long, flowing skirts of the women’s dresses facilitate their characteristic gliding, creating the impression of effortless movement. The structure of the chokha not only represents masculinity and martial heritage but also allows for the diverse jumps and turns performed by male dancers. Specific dances are paired with particular costumes; for instance, Kintouri dancers wear black outfits and baggy pants, Simdi dancers wear stark black and white attire with long sleeves, Khandjluri dancers don red chokhas, and Kazbeguri dancers wear traditional mountain clothing. Costume serves as a crucial element in Georgian dance, embodying identity, enhancing narrative, and enabling unique movement vocabulary.
The Georgian Dance Lexicon: Male Strength (Tsertvla), Female Grace, and Codes of Chivalry
Georgian dance is renowned for its unique and highly structured movement language, particularly in its portrayal of gender and social values.
Male dancers are celebrated for their incredible strength, athleticism, and precision. Their movements are often quick, energetic, and involve impressive leaps, gravity-defying jumps, rapid spins and turns, intricate knee work (including falls and turns on the knees), and powerful, expressive arm gestures. Tsertvla, or dancing on the toes, is a unique and prominent aspect of male technique. The dancer, wearing soft, unpadded leather boots, bends their toes backward, balancing weight on the top (dorsal) surface. This demanding skill, likely stemming from ancient displays of warrior strength and endurance, involves walking, running, jumping, hopping, and turning on the toes. Stage ensembles like Sukhishvili have further developed and stylized these toe routines. In paired dances, toe-dancing can also convey respect and sophistication.
Conversely, female dancers embody grace, lyricism, and elegance. Their movements are characterized by small, delicate steps performed with a reserved posture and an unmoving upper body, creating the famous impression of gliding or floating across the floor, often likened to the movement of a swan. Smooth, refined, and lyrical arm and hand movements provide expression. In performance, particularly in couple dances like Kartuli, the woman maintains an expression of restraint, self-respect, and regality, often keeping her eyes downcast. Jumps are generally not performed by women, though exceptions exist in some of the more vigorous mountain dances.
These distinct movement vocabularies for men and women, coupled with prescribed interaction patterns in dances like Kartuli, are not merely aesthetic choices. They are deeply embedded in, and actively reinforce, Georgian cultural values concerning respect, gender roles, social restraint, and order. The man’s controlled power and chivalry, juxtaposed with the woman’s contained grace and modesty, reflect societal ideals. These cultural norms are performed and perpetuated on the dance floor.
Things that Mean Something in Motion: Veils, Daggers, and More
In Georgian dance choreography, certain objects often play important roles, extending the dancers’ movements and carrying a lot of symbolic weight:
Veils and Head Scarves: In the dramatic warrior dances Khevsuruli and Parikaoba, a woman’s veil or headscarf is a potent symbol of peace and authority. When thrown between two fighting men, it traditionally signifies an obligatory cessation of combat, illustrating a unique form of female intervention in disputes. Veils are also common elements of women’s dance costumes, enhancing their graceful appearance.
Daggers and Swords (Khanjali): These weapons are central to the identity and performance of several male dances, especially Khandjluri and Khevsuruli. They are not merely props; they are used in displays of skill, mock combat, and competitive bravado. The khanjali is a traditional double-edged dagger from the Caucasus, often richly decorated, with historical ties to dance and social customs, including pre-marital traditions in Khevsureti. The dancers’ ability to wield these weapons with speed and precision demonstrates their training and the martial essence of the dances. A traditional wool hat called a papakhi is often worn with these warrior-themed dances, particularly in mountain regions.
Water Jugs (Kokebi): These are the primary props for the women’s dance Suliko/Kokebi. They transform the mundane task of water fetching into a graceful and elegant performance.
Silk Shawl: In the Kintouri dance, a silk shawl, originally draped from the merchant’s silver belt, is used playfully for handling goods or as an integral part of the dance itself. This adds color and movement to the performance.
Georgian Dance Around the World
Sukhishvili, Rustavi, Erisioni, and Metekhi are Legendary Ensembles
Several famous professional dance groups from Georgia have served as cultural ambassadors for decades, significantly contributing to Georgian dance’s global recognition.
Sukhishvili Georgian National Ballet: Founded in 1945 by Iliko Sukhishvili and Nino Ramishvili, it is by far the most well-known of the ensembles. They pioneered the stage performance of Georgian folk dance, integrating traditional folk elements with classical ballet discipline and modern choreographic ideas. Sukhishvili has captivated audiences worldwide with their electrifying energy, the incredible athleticism of the male dancers (featuring signature toe-dancing and swordplay), the ethereal gliding of the female performers, and stunning costumes. They have performed on almost every major international stage. The company is still led by the founders’ grandchildren, Iliko Jr. and Nino Sukhishvili, who maintain its dynamic nature and commitment to evolving the art form while preserving its core spirit.
Rustavi Ensemble (Georgian State Academic Ensemble): Founded in 1968 by the renowned folklorist Anzor Erkomaishvili, its mission is to present ethnographically accurate folk songs and dances from across Georgia. While Sukhishvili is celebrated for its balletic fusion, Rustavi aims to combine the raw, traditional sounds and movements of regional folk performance with a polished presentation suitable for the concert stage. They are particularly acclaimed for their mastery of Georgian polyphonic music, for which they received the UNESCO Pacha Prize in 2001. The ensemble has toured in over 50 countries. Pridon Sulaberidze, a celebrated dancer trained by the Sukhishvilis, served as their principal choreographer for many years.
Erisioni (Georgian State National Singing and Dancing Academic Ensemble): One of Georgia’s oldest and most respected ensembles, with roots tracing back to 1885, Erisioni is often referred to as an “ensemble-museum.” Erisioni has a long-standing dedication to preserving and presenting masterpieces of professional folk creation from all over Georgia, maintaining exceptional ethnographic accuracy in song, dance, and costume. They gained significant international recognition with grand productions like “Georgian Legend,” and in 2002, they were awarded a Golden Disk in Paris. Soloists from Erisioni performed the song “Chakrulo,” which was famously sent into space on the Voyager Golden Record in 1977. Under the direction of current artistic director Shermandi Chkuaseli, the ensemble continues to tour globally with compelling shows like “Georgian Treasure.”
Metekhi Ensemble: Founded in 1978 by Gelodi Potskhishvili, this ensemble specializes in traditional Georgian dances. Currently led by Davit Potskhishvili, the company stages choreographic productions that explore Georgian history and folklore. Examples include “The Cross-road,” which examines the influence of the Silk Road and the blending of urban and mountain traditions, and “MAMBER,” based on historical and mythical figures. Principal company soloists often perform alongside dancers from the Children’s National Ballet Potskhishvili.
While all these ensembles showcase the beauty of Georgian dance and music, they each possess distinct artistic philosophies. Sukhishvili is celebrated for its pioneering fusion of folk traditions and theatricality, which forged a new form of stage art. Conversely, Rustavi and Erisioni prioritize ethnographic authenticity and the preservation of regional nuances in music and dance, acting more as conservators and presenters of heritage, albeit in a concert-ready format. Metekhi appears to focus on choreographic works rooted in folkloric and historical themes. This variety among the leading ensembles offers audiences diverse perspectives on Georgia’s performing arts legacy.
Experiencing the Show: Festivals and Venues in Tbilisi and Other Places
For both visitors and locals, numerous opportunities exist to witness Georgian dance live and experience its captivating energy, particularly in the capital city of Tbilisi.
Major Theaters and Concert Halls: The Tbilisi Opera and Ballet State Theatre and the Kote Marjanishvili State Drama Theatre are prominent state venues. While primarily hosting opera, ballet, and drama, they occasionally feature folklore events or festivals. The Shota Rustaveli State Drama Theatre has also hosted folklore concerts. The Tbilisi Concert Hall (Philharmonic) is the main venue for large ensemble performances, with Sukhishvili, Erisioni, and other major groups regularly performing there. The Black Sea Arena in Shekvetili, located not far from Tbilisi, hosts large-scale events, including past performances by Erisioni. Performance schedules are often available on ticketing sites like TKT.ge.
Dinner Shows at Restaurants: Several restaurants in Tbilisi offer dinner shows, providing an excellent opportunity to experience Georgian dance and music in a more intimate setting. The Tsiskvili Group is particularly well-known for this, with venues like Ethno-Tsiskvili, Wine Yard, and their new “Theater” space featuring live bands playing folk and ethno-jazz music nightly, alongside Georgian dance performances. These shows often include elaborate costumes and dramatic presentations. Other restaurants and cultural centers offer similar experiences, sometimes featuring dance school students in a “family atmosphere.”
Festivals: Annual festivals provide concentrated opportunities to witness a wide array of folk performances.
The Art Gene Festival, held every summer since 2004, is arguably the most significant folklore festival. It tours various locations before culminating in a multi-day celebration at the Tbilisi Open Air Museum of Ethnography. Art Gene is crucial for promoting and preserving folk traditions, featuring a diverse range of traditional music and dance groups from across Georgia, as well as contemporary artists, craft fairs, and food exhibitions.
Tbilisoba, a major celebration of Tbilisi held every October, includes numerous cultural events, concerts, and traditional folk music and dance performances across the city.
Specific events like the International Folk Dance and Music Festival “PERKHULI” bring together Georgian and international folk groups in Tbilisi and other locations.
Other regional festivals, such as Alaverdoba in Kakheti and Lomisoba in the highlands, also incorporate folk dance performances.
Workshops and Classes: For those interested in a hands-on experience, private or group Georgian dance workshops and classes are available in Tbilisi. Often led by professional dancers, these classes offer tourists and locals alike the chance to learn fundamental steps and movements of popular dances like Acharuli, Kartuli, Mtiuluri, and others, fostering a deeper cultural immersion.
Protecting a Living Heritage
Passing the Torch: National Identity, Education, and Young People
The transmission of Georgian dance to younger generations is recognized as vital for its survival and continued relevance as a symbol of national identity. Formal and informal educational institutions play crucial roles in this process. Dance schools and cultural centers throughout Georgia are not merely venues for learning steps; they serve as “custodians of tradition,” instilling a profound sense of national pride and belonging in young Georgians. Students learn the intricate steps, rhythms, and choreographies of these dances while internalizing the narratives, historical contexts, and social values they embody. This educational process ensures that dance remains a living language, connecting today’s youth to their cultural heritage and collective identity.
Significant infrastructure already exists for this transmission. Numerous children’s dance studios operate in Tbilisi and other regions, many affiliated with renowned professional ensembles like Sukhishvili, providing early opportunities for learning and practice. At the tertiary level, institutions such as the Shota Rustaveli Theatre and Film University have dedicated departments for Georgian Folk Music and Choreography, training future performers, choreographers, and educators. Furthermore, programs like summer schools, camps, competitions, and youth cultural centers target young people, encouraging their engagement with traditional performing arts. This multi-layered approach underscores the societal importance placed on ensuring the relevance and generational transfer of Georgian dance.
Ways to Protect: From UNESCO Recognition to Efforts at the Local Level
Given its cultural significance, Georgian dance and its traditions are subject to various protection efforts at national and international levels.
UNESCO has provided global recognition for certain aspects of Georgia’s performing arts heritage. Georgian polyphonic singing was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2008, and this singing style is fundamental to many dances. In 2018, Chidaoba, a traditional Georgian form of wrestling that incorporates music, dance, and costume (chokha), was also added to the list. Within Georgia, specific dances like Kartuli, Khorumi, and Perkhuli have been designated as national Intangible Cultural Heritage Monuments. However, as per the most recent information, they are not yet individually listed on UNESCO’s international registers.
At the national level, the National Agency for Cultural Heritage Preservation of Georgia is the primary body responsible for safeguarding intangible cultural heritage, including dance. This involves collaboration between government agencies, NGOs, local authorities, and research institutions. Georgia has been developing a legal framework for cultural heritage protection since 2008, aiming to enhance institutional capacities, particularly at the local level. In 2012, the National Register for Intangible Cultural Heritage was established, enabling the formal listing and categorization of elements. Researchers and communities are encouraged to contribute to the inventorying of elements and propose new additions. Active efforts for safeguarding include documentation (including audio and video recording), research, promotion through media campaigns and publications, and training for regional authorities and communities. The State National Folklore Centre plays a vital role through its expeditions, organization of festivals and competitions, master classes, and publications on folk traditions.
Funding for preservation comes from various sources. While the provided materials don’t detail specific Georgian government programs solely dedicated to folk dance preservation, general state support for arts and culture is channeled through bodies like the Georgia Council for the Arts. International assistance, such as the U.S. Ambassador’s Fund for Cultural Preservation (AFCP), provides grants for projects supporting the documentation and dissemination of traditional music and dance forms through written and audiovisual records. Grassroots efforts, exemplified by festivals like Art Gene, are also crucial, providing vital platforms for traditional performers, artisans, and community folklore sharing.
Modern Currents: Problems and New Ways of Looking at Things
Despite strong traditions and preservation efforts, Georgian folk dance faces contemporary challenges. However, it demonstrates remarkable adaptability and enduring relevance.
Globalization presents a significant challenge, potentially exerting pressure on local customs, leading to homogenization or marginalization. Maintaining distinct cultural practices requires deliberate effort in the face of pervasive global media and cultural flows.
There’s also an inherent tension between authenticity and stage adaptation. Transforming folk dances, often rooted in specific rituals or communal settings, into choreographed performances for a proscenium stage inevitably involves alterations. This process, pioneered by Sukhishvili, is crucial for broader reach and visibility of the art form. It includes stylization, introducing new movements into the vocabulary, incorporating techniques from other genres (like ballet), and re-imagining music and costume design. This sparks discussions about what constitutes “authentic” Georgian dance and how to balance preservation with innovation. Differentiating between primary folk dance (community-based and often ritualistic) and secondary/stage folk dance (performance-oriented) is crucial for understanding contemporary folk dance practice.
Funding remains an implicit challenge, as with most traditional arts sectors globally, requiring ongoing support from state, private, and international sources.
Even with these challenges, Georgian dance maintains significant contemporary relevance and diverse interpretations. It continues to be performed at weddings, feasts (supras), holidays, and community festivals, as it has for centuries. Professional ensembles like Sukhishvili embrace evolution, creating new dances based on folk themes like “Sno” and “Karabsha” and integrating modern elements into their performances to maintain appeal and dynamism for contemporary audiences. Modern choreographers and dancers are also re-examining Georgian folk dance elements, deconstructing traditional gendered movements, and forging new artistic dialogues and languages rooted in this rich heritage. Furthermore, the unique power and beauty of Georgian dance continue to influence dancers and choreographers worldwide.
Ultimately, Georgian dance today exists across a spectrum. At one end are the preserved, often archaic ritual forms that continue to thrive in certain communities, particularly in the highlands. At the other are the highly stylized, internationally acclaimed stage productions that transform and adapt tradition for global audiences. This tension is precisely what makes Georgian dance so dynamic: its ability to honor its deep historical roots while remaining a living, breathing art form that adapts to contemporary Georgian society and the broader world. Striking the right balance between preservation and creative evolution remains vital for its continued vitality.
Conclusion: Georgian Dance Has a Lasting Effect
In all its forms, Georgian dance is a strong and lasting testament to the spirit, history, and cultural richness of Georgia. It is much more than just entertainment; it is a fundamental part of national identity, a living archive of collective memory, and an art form that is always changing while staying true to its ancient roots. Georgian dance has told the story of its people—their strength, their values, their joys, and their sorrows—through ritualistic echoes from thousands of years ago, medieval courts and highland battles, and polished global stages today.
The striking differences between the fierce athleticism of mountain dances like Khevsuruli and Mtiuluri and the graceful elegance of lowland dances like Kartuli and Acharuli give a clear picture of Georgia’s cultural landscape. The complex polyphonic music, the symbolic meaning of the costumes (especially the famous chokha), and the strict rules for movement, including the unique male technique of tsertvla, all make for a one-of-a-kind and interesting sensory experience.
Visionary artists like Iliko Sukhishvili and Nino Ramishvili, as well as groups like Sukhishvili, Rustavi, Erisioni, and Metekhi, have helped Georgian dance become known around the world, showing off its beauty and power to millions of people. But the art form is still very much a part of Georgian life. Dedicated schools teach cultural pride to young people, and festivals like Art Gene connect modern society with its folkloric roots.
Even though globalization, funding, and the natural tension between ethnographic authenticity and stage adaptation are all problems that Georgian dance faces today, it is still very alive. It has the power to inspire new interpretations while keeping old ones alive. Whether you see Georgian dance at a village festival, a dinner show in Tbilisi, or a big concert hall, you’ll never forget the connection it makes with the heart and soul of Georgia. This is a country whose history is written not only in books but also in the breathtaking movement of its people.
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