Georgian Dance

Davluri - Davluri is an elegant city dance performed by pairs of men and women. It portrays the city aristocracy, in a dance reminiscent of the minuet of the European courts. The movements in Davluri are less complicated and the male/female relationship is less formal than most of the other styles of Georgian dance. The dance is performed by many couples and with the music and the colorful costumes, it paints a picture of an aristocratic feast on stage.

Kartuli - Kartuli is the quintessential Georgian dance. This dance has never choreographed for the stage but is danced according to very strict rules of sequence which describe the relationship between men and the women. It consists of 5 distinct sections: the man invites the woman to join him, they dance together, the man dances solo, the woman dances solo, and they conclude by dancing in unison. The dance expresses the chivalry between Georgian men and women. The man shows a most respectful attitude towards the woman by keeping his upper body very still. Kartuli is governed by very strict rules, for example, the man must not touch the woman at all, not even with his coat.

Jeirani - An oriental dance performed in the Georgian style representing the hunt for a magic doe.

Honga - This graceful dance is based on Ossetian wedding dances. Three couples demonstrate the virtuoso styling of these dances, with the men performing the traditional men's dance on their toes. The long sleeves of the men indicate the respect and restraint that the men show towards the women.

Svanuri - The mountainous region of Svaneti has its own language and is culturally separate from the other regions to the east—a reality reflected in their cultural dances. As in other mountain dances the men dance with vigor and on their toes using special techniques.

Narnari -A women’s dance, danced at festive gatherings.

Kazbeguri – In this powerful dance from the mountain region of Kazbegi, each dancer puts his best foot foreward. Kazbeguri is a dance from the Northern Mountains of Georgia—a region marked with a diverse culture and traditions. The relatively cold and rough atmosphere of the mountains is shown through the vigor and the strictness of the movements. This dance is performed by men and portrays the toughness and endurance of the mountain people.

Kalta Mokheuri - The women in the high mountain regions dance with a much more active style than in the other regions of Georgia. With grace and energy, each dancer shows her skill.

Parikaoba - A warrior dance from the far northeastern region of Khevsureti. A girl enters, looking for her beloved. He appears only to encounter others, precipitating an energetic battle with swords and shields. According to tradition, when the girl throws down her headdress, the men must stop, only to renew their battle shortly thereafter.

Partsa - Dances from Adjara, Guria, and neighboring regions of southwestern Georgia, along the Turkish border are known collectively as Partsa. This group of dances captures Georgian history and spirit. Partsa is an ancient dance, traditionally popular at village festivals. It is a vibrant dance characterized by its fast pace, rhythm, festive mood, and colorfulness. Partsa brings joy into the town, village and stage and creates a mood and a desire to party!

Khorumi - Khorumi is an ancient war dance from Adjara. Some of the dance positions are thought to date back thousands of years. Khorumi expresses the infinite strength of character of the Georgian people. Originally it was performed by men only, but over time it has evolved. Khorumi traditionally has four parts: a few men search the area for a campsite and for the enemy camps. Afterwards, they call the army onto the battlefield and engage in fierce battle.

Adjaruli - Adjaruli is distinguishable from the other dances by its playful mood and its simple but definite movements. The dance is graceful and soft, showcasing a playful flirtation between the men and women onstage. The relationship between men and women in this dance is more informal and lighthearted.

Khanjluri - Khanjluri is a competitive dance. In this dance, shepherds, dressed in red chokhas (traditional men’s jerkins) compete with each other in the usage of daggers and show off by performing difficult maneuvers. Each performer replaces the previous dancer in a cycle of escalating displays of courage and skill. Since the Khanjluri involves daggers and knives, it requires tremendous skill and a great deal practice.

Kintauri  - The word “kinto” refers to street merchants in old Tbilisi. But a kinto was not just a businessman as we might assume. He was a creative, quick and humorous archetype, as you might find in a Shakespearean play. As his customers browsed his goods, the kinto took a silk shawl from his silver belt and used it to dance around his wares. In this dance there is an oriental sense of rhythm, extravagant dance steps, and humorous and playful gestures. There is find a delightful blend of slapstick and virtuosity in this colorful dance.

Samaya - Samaya, a dance for three women, is believed to be originally from the pre-Christian era. The dance celebrates a wedding feast and honors King Tamar, the woman king of Georgia's golden age in the 12th-13th Centuries. The three female dancers are thought to represent the three muses of Art, Poetry and Music as shown in an ancient fresco in a famous cathedral in Mtskheta. The choreography is both epic and subdued. The dancers' hands silently express the ultimate fluidity found in the three faces.

Mtiuluri - Dances from the Mtiuleti Mountains wherein the men and use very strong, sharp, and agile movements. With haunting melodies and pulsing rhythms, Mtiuluri dances will not be soon forgotten by any who see them.

Khevsuruli - This mountain dance is one of the best representations of the Georgian spirit. It unites love, courage, and respect for women with toughness, competition, skill, beauty, and colorfulness in one amazing performance. The dance starts out with a flirting couple. Unexpectedly, another young man appears, also seeking the hand of the woman. A conflict breaks out and soon turns into an energetic fight between the two men and their posses. The quarrel is stopped temporarily when the woman throws her headscarf between them, a traditional gesture to stop violence. Historically, when a woman throws her headscarf between two men, all disagreements and fighting halt. However, as soon as the woman leaves the scene, the fighting resumes with renewed vigor. Young men from both sides attack each other with swords and shields. Occasionally, one man has to fight off three attackers. At the end, a woman (or women) comes in and stops the fighting with her veil once again. The finale of the dance is left open-ended, with the audience in ignorance of the battle’s result. As a characteristically Georgian dance, Khevsuruli is very technical and requires intense practice and great skill in order to perform the dance without hurting anyone.