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Terpsichore in the Caucasus Montreal
Collège Ahuntsic
05/11/2025 -
Folkloric Dances from Georgia
Ensemble Iverioni 
(© Ossama el Naggar)
Georgia is located in the Caucasus north of Turkey and South of Russia. Known to the Ancient Greeks as Colchis (Κολχίς), the kingdom of Medea and the Golden Fleece, it’s an ancient land with a rich culture. In the fourth century, it was one of the earliest nations to adopt Christianity. Its Golden Age was in the High Middle Ages under King David IV and Queen Tamar. After almost three centuries of Persian and Ottoman rule, it briefly became independent in 1747 before becoming a Russian protectorate in 1783 and eventual annexation in 1801. Only after the dissolution of the Soviet Union did Georgia once again become independent. Despite five centuries of foreign domination, Georgia has managed to maintain its distinct culture and rich traditions.
Composed of dancers from Georgia as well as Canadian-born Georgians, Toronto’s Ensemble Iverioni was founded in 2017 with the mission of preserving the rich musical and dance heritage of Georgia and sharing it with audiences across North America. Some cities, such as New York City, have a sizable Georgian diaspora. Others, such as Montréal and Vancouver, have tiny ones. Judging from this sold out performance, the vast majority of the public were not Georgian, but rather lovers of folkloric dance and those curious to explore other cultures. A lot of Russian, Farsi and Arabic was heard among the audience, showing the interest of neighbouring cultures in Georgia.
Ensemble Iverioni offered a varied program, representing the different regions of Georgia, each with their own distinct dances. Georgian traditional dance originates from sports, military maneuvers and various celebratory festivities, all dating from as far back as the Middle Ages.
The show opened with a dance called the Guruli Ferxuli, from the Southwestern province of Guria. It’s a spirited, rhythmic dance with rapid footwork typical of Caucasian dance style. It was followed by a Qartuli, a romantic dance performed by a couple at their wedding, during which the man is not allowed to touch his bride. His upper body is motionless at all times, an expression of the groom’s self‑control, despite his passion. As a sign of modesty, the bride keeps her eyes downcast while the groom focuses his eyes on her. This was the first of many dances where the female dancer appears to glide on the floor as a swan glides on a water surface, a move that is characteristic of Georgian and Caucasian dance.
Several colourful dances from the Southwestern region of Adjaria were given. The Acharuli is a joyous dance characterized by playful flirtation between the male and female dancers. Another Adjarian dance is the Gandagana, another joyous and lighthearted dance, characterised by high jumps and fast spirited moves.
(© Ossama el Naggar)
A more formal and stylized dance, Sadarbazo, is a courtly one that symbolises the interaction between a man and a woman. It’s characterised by a graceful interaction between the two. Samaia was another stylized dance, a homage to Georgia’s greatest monarch, Queen Tamar, who reigned over Georgia from 1184 to 1213. It was danced by three women who represent the three facets of Tamar: a woman, a mother and a monarch. It was remarkable how the three dancers danced in three distinct styles yet managed to maintain the harmonious integrity of the dance. The soft, graceful movements of the three created an atmosphere of beauty and power, an allusion to Queen Tamar’s reign.
Another all-female dance was Qalta, which emphasized their elegance and grace. Moxeuri is a dance that pays homage to the valour and resilience of the women of the high mountains of Georgia. Both were performed gracefully, and the latter with appropriate vigour and panache.
The final dance, Mtskemsuri, was appropriately the most impressive. It’s a shepherd dance, emphasising resilience. Strikingly virile dance moves and exotic costumes made for a thrilling, high energy performance. The show was a feast for the eyes, with the elaborate and colourful costumes representing Georgia’s diverse regions.
Another fascinating and admirable feature was the ensemble’s inclusivity. It was unusual to see dancers of variable sizes in a dance ensemble. While most were athletic, several dancers were less so, and some were even corpulent. Obviously, the latter did not engage in the most demanding jumps, but it made sense to have a diverse group of people who are representative of society, especially in a folkloric dance ensemble.
Most endearing was the inclusion of a large number of children in the group, and all exuded charm, pride and enthusiasm, adding a genuinely heartwarming element to the proceedings, as they represent the future. It was impressive to see how adroit and disciplined these dancers were, despite their young age.
Two interludes between the dances featured a vocal ensemble that performed the famous Georgian Polyphony. Unfortunately, it did not do justice to this cherished tradition, as the sole male voice was not endowed with a strong enough voice. Despite the beauty of the female voices, especially the contralto, these interludes demanded less attention than the dancing.
The public were unrelentingly attentive during the generous 90‑minute performance, and positively ecstatic by the end of the show. Even without an intermission, time sailed by quickly and joyously. Though mostly unprofessional amateurs, the enthusiasm and dedication of the performers was not only striking, but also life‑affirming.
Ossama el Naggar
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