Georgian dance

Kartuli (ქართული)

Kartuli dance is a romantic, or wedding dance, performed by a couple. During the dance, the man is not allowed to touch the woman and must keep a certain distance. The man's upper body is motionless at all times. It shows that even in love, men must control their feelings. The man focuses his eyes on his partner as if she were the only woman in the whole world. The woman keeps her eyes downcast at all times and glides on the rough floor as a swan on the smooth surface of a lake. There have been only a few great performers of Kartuli including Nino Ramishvili, Iliko Sukhishvili, Iamze Dolaberidze, and Pridon Sulaberidze.

Khorumi (ხორუმი)

This war dance originated in Guria, southwestern Georgia, and is based on the numerous invasions of the country. The dance was originally performed by only a few men. However, over time it has grown. In today's version of Khorumi, 30-40 dancers can participate, as long as the number is odd. The dance has four parts: searching for a campsite, the reconnoiter of the enemy camp, the fight, and the victory and its celebration. It is strong and simple but distinctive movements and precise lines create a sense of awe. The dance portrays the themes of search war, the celebration of victory, and the courage and glory of Georgian soldiers. Khorumi is traditionally accompanied by instruments and is not accompanied by clapping. Drum (doli) and the bagpipe (chiboni) are two key instruments to accompany Khorumi. Another unique element of Khorumi is that it has a specific rhythm, based on five beat meter (3+2).

Acharuli (აჭარული)

Acharuli is a dance from the place of the same name.^{[citation needed]} Its colorful costumes and playful mood distinguish it from other fances. The dance is characterized with graceful, soft, and playful flirtation between the male and female dancers. Unlike Kartuli, the relationship between men and women in this dance is more informal and lighthearted.

Partsa (ფარცა)

Partsa originated in Guria and is characterized by its fast pace, rhythm, festive mood, and colorfulness. Partsa mesmerizes the audience with not only speed and gracefulness, but also with "live towers."^{[clarification needed]}

Kazbeguri (ყაზბეგური)

Kazbeguri originated in the Kazbegi Municipality in Caucasus Mountains of Georgia. The dance was created to portray the cold and rough climate of the mountains, shown through the vigor and the strictness of the movements and foot stomping. This dance is performed mainly by men. Costumes are long black coloured shirts, black trousers, pairs of black boots, and black headgear. Musical instruments include bagpipes, panduri, a changi, and drums.^[3]

Khanjluri (ხანჯლური)

Khanjluri is based on the idea of competition and war. In this dance, shepherds, dressed in red chokhas (traditional men's wear) compete with each other in dagger skills and in performing complicated movements. One performer replaces another, and courage and skill are showcased. Since Khanjluri involves daggers and knives, it requires tremendous practice on the part of the performers.

Khevsuruli (ხევსურული)

This mountain dance involves themes of love, courage, respect for women, toughness, competition, skill, beauty, and colorfulness. The dance starts with a flirting couple. Unexpectedly, another young man appears, also seeking the hand of the woman. Vigorous fighting between the two men and their supporters ensues. The quarrel is stopped temporarily by the woman's veil. Traditionally, when a woman throws her head veil between two men, all disagreements and fighting halts. However, as soon as the woman leaves the scene, the fighting continues. The young men from both sides attack each other with swords and shields. On some occasions, one man has to fight off 3 attackers. At the end, a woman comes in and stops the fighting with her veil once again. However, the finale of the dance is open—–meaning that the audience does not know the outcome of the fighting. Khevsuruli is very technical and requires intense practice and utmost skill in order to perform the dance without hurting anyone.

Mtiuluri (მთიულური)

Mtiuluri is also a mountain dance. Similar to Khevsuruli, Mtiuluri is based on competition. However, in this dance, the competition is mainly between two groups of young men and is a celebration of skill and art. At first, groups compete in performing complicated movements. Then, next piece, the woman's dance, is followed by an individual dancer's performance of amazing "tricks" on their knees and toes. At the end, everyone dances a beautiful finale. This dance is reminiscent of a festival in the mountains.

Simdi (სიმდი) and Khonga (ხონგა)

Simdi and Khonga are Ossetian folk dances. The costumes in both dances have distinctive long sleeves. The headwear of both the women and the men are exceptionally high. However, in Khonga or Invitation Dance (Ossetian Wedding Dance), men dance on demi-pointe, entirely on the balls of their feet. Khonga is performed by a few dancers and is characterized by the grace and softness of the movements. Simdi is danced by many couples. The beauty of Simdi is in the strict graphic outline of the dance, the contrast between black and white costumes, the softness of movements, and the strictness of line formations.

Kintouri (კინტოური) and Shalakho (შალახო)

Kintouri portrays the city life of old Tbilisi. The dance is named after "Kintos" who were small merchants in Tbilisi. They wore black outfits with baggy pants and usually carried their goods on their heads around the city. When a customer chose goods, a kinto would take the silk shawl hanging from his silver belt and wrap the fruits and vegetables in them to weigh. Kintos were known to be cunning, swift, and informal. Such characteristics of Kinto are well shown in Kintouri. The dance is light natured.^[4]

Samaia (სამაია)

Samaia is performed by three women and was originally considered to be a Pagan dance. However, today's Samaia is a representation of Tamar of Georgia who was the first empress of Georgia, and reigned in 12th-13th centuries. There are only 4 frescos that retain the image of Empress Tamar. Simon Virsaladze based the costumes of Samaia on the Empress's clothing on those frescos. In addition, the trinity idea in the dance represents Tamar of Georgia as a young princess, a wise mother and the powerful empress. All these three images are united in one harmonious picture. The simple but soft and graceful movements create an atmosphere of beauty, glory and power that surrounded the Empress's reign.^[5]

Jeirani (ჯეირანი)

The word "jeirani" means gazelle. This dance tells the story of the hunt, incorporating classical ballet movements and a hunting scene. It was choreographed by Nino Ramishvili for the Georgian National Ballet.^[6]

Karachokheli (ყარაჩოხელი)

Karachokheli were the ordinary craftsman of Georgia. They typically wore black chokha (traditional men's wear). They were known for hard work yet a carefree life, as well as a love of Georgian wine and beautiful women, all of which are well represented in the dance.

Davluri (დავლური)

Davluri is also a city dance, but unlike Kintouri and Karachokheli, it portrays the city aristocracy. The dance is similar to Kartuli. However, the movements in Davluri are less complicated and the male/female relationship is less formal. The dance is performed by many couples and, with the music and colorful costumes, simulates an aristocratic feast on stage.^[7]

Mkhedruli (მხედრული)

The name of this dance was based off the word "Mkhedari", which means cavalryman. The dance begins in a raging tempo, becoming more and more violent. The legs of the cavalryman imitate the fast movements of the horse, while their body and arm movements impersonate the battle with an enemy.

Parikaoba (ფარიკაობა)

A warrior dance from Khevsureti in northeast Georgia, where a girl enters, looking for her beloved. He appears only to encounter others, precipitating an energetic battle with his sword and shield. When the girl throws down her headdress, the men stop, only to renew their battle soon after.^[8]

Types of Georgian dance