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Georgia was known to many as
the California of the former Soviet Union, because of its rich, fertile
land, sunny valleys, majestic forests and, not least of all, its excellent
wine! Not surprisingly then, this poetic land is expressed in many
ballads, poems, songs and dances.
Visitors are often surprised
when they arrive in Georgia to find a feeling of having entered a
completely different country. They have indeed entered a completely...
more different culture. From the mountains to the market place, Georgia is
a country that draws people back again and again.
The beauty and originality of
the Georgian folk dances is perhaps due to their ability to reflect so
many different aspects of Georgian life. They are divided according to
their origin and content into ritual and ceremonial, work, game and comic
dances. The advent of Christianity to Georgia in the first half of the 4th
century and, at the same time, the survival of paganism in certain remote
mountain districts, have similarly had an influence on Georgian folk
dances.
In form, Georgian dances are
divided into solo, pair and group. Each dancer has to subordinate to the
requirements of a common plan and its expression in the dance. At the same
time, the performers do not lose their individuality, since several dances
demand competition between partners in strength, agility, elevation and
bold movements.
The role of female dancers is
an interesting one. The woman never openly tries to attract her partner's
attention in the dance - as though she does not wish to be noticed by him.
She appears unaware of her partner's tender feelings, maintaining an
attitude of distance and awareness of her beauty. In the new folk dances
which have been created in the last twenty or thirty years, a change has
been noticed in the pattern of women's dances. They have acquired more
liveliness, boldness and energy of movement without infringing, however,
on the traditional strictness of the dancer's conduct.
The male dancers can also boast
a highly original technique for, unlike any other dancers in the world,
they dance on their toes without the aid of "block" shoes. In the women's
dances, in contrast to classical ballet, dancing on pointe is
unknown.
Nina Ramishvili, Chief
Choreographer and matriarch of the Company, talked of the history of the
Georgian State Dancers, and how it began. She states: "I began to dance
when I was fourteen years old. I trained as a classical dancer and joined
the Tbilisi Opera and Ballet Company in 1927. For twelve years, I
performed as soloist in Swan Lake, Don Quixote and many of the other
classics. |
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"During this time, I met my
husband Iliko. He was a leading soloist and choreographer with the Tbilisi
Theatre, full of ideas, the most important of which was the desire to set
up a Georgian folk dance company. He wanted to show the rest of the Soviet
Union, and the rest of the world the wealth and culture we have in
Georgia, how different it is from other parts of the Commonwealth of
Independent States, unique in its color and history. It became a reality
slowly, but we were young and determined. And in the end, we
succeeded.
"Iliko's background was similar
to mine. He was fortunate in his classical training, which included some
time with the Bolshoi. We knew that to form a company would not be easy,
we had to find the right dancers and in the beginning it was difficult to
put together a dozen!
"I suppose really, you could
say we began as a small group of enthusiasts, but in 1935 Iliko captured
first place in the World Folk Dance Festival. We knew we were going in the
right direction. Iliko was awarded the gold medal."
Both Nina Ramishvili and now
her son Tengiz rule their dancers with discipline and loving affection.
Tengiz was a leading dancer, now a choreographer, Inga his wife (they met
as dancers in the Company) is a soloist and their son Iliko has now come
to join them, but Nina has some harsh things to say about the profession
she loves.
"A DANCER'S CAREER IS A
BREATH...AND THEN IT IS OVER - I KNOW, BECAUSE IT'S BEEN MY LIFE. With my
grandson Iliko, I have insisted that he study for the future and all my
Company of dancers, who I also consider 'my children' contain many
engineers, designers, draughtsmen and teachers.
"When you see them on stage,
you will realize how demanding we are. We will never accept less than
their best. It is so important for dancers to enrich their knowledge, to
improve their education - because everything - the knowledge one gets, can
be felt, can be seen, during the dance. Even watching football players on
television, one can sense whether they are clever - whether there is
something behind the technique. Young dancers forget how short their
dancing life will be and there is only room for just so many
choreographers and dance directors. I never forget how lucky I am to still
be active and useful to such a great Company."
Like many dance companies in
the Commonwealth of Independent States, the Georgian State Dancers have
their own school. Some of the past dancers become teachers who teach the
young boys and girls who enter the school at seven years old, and have an
extensive training in both classical and folk
dance. |
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"Because of the energetic style
we have, our training also includes working with weights, and sometimes
borders on gymnastics in its format, and really is as tough as the Bolshoi
programs.
"We always think of our dancers
as individuals when creating a new dance and try to choreograph around
their talents. Of course, it is wonderful that my son, daughter-in-law and
now my grandson are with the Company, but my granddaughter Nina had no
desire to dance at all. In fact, she studied at the Academy of Art, and in
particular enjoyed ceramics. For many years, she showed no interest in
involvement in the theatre at all, except as an enthusiastic member of our
audience, and however much we wanted her to join the Company, it would
have been absolutely wrong of us to have pushed her...you see, we believe
that if a child wishes to become a shoemaker, let him be. The important
thing is that he becomes an exceptional shoemaker.
"It was almost a surprise to us
that when Nina was invited last year to see if she had any acting ability
to take part in a film being made in Georgia, not only did she discover
she could act, but that she also enjoyed it. So who knows what the future
will now hold for her.
"Our Company has traveled all
over the world - Australia, Canada, USA, Finland, Germany, France,
Romania, Belgium, Denmark, Austria, England and Italy - thrilling
audiences wherever they go. We have appeared at the Albert Hall, the
Coliseum, The Metropolitan Opera, Madison Square Garden and dozens of
famous venues. In 1967, La Scala welcomed us - I believe it is the first
and only time a folklore group was given a chance to perform there. It
will remain in our memory forever."
The Georgian State Dance
Company toured North America in the Winter and Spring of 1998 to great
success and accolades from the press. Tour cities included New York, Los
Angeles, Chicago, Washington, D.C., Toronto, Dallas, Minneapolis, Atlanta,
Cleveland, Miami, Cincinnati, Indianapolis, Newark, Las Vegas, Milwaukee,
San Antonio, Wilmington, Albuquerque and others.
Tengiz Sukhishvili, Artistic
Director and Choreographer
"Together, they have done
and outstanding job of getting at the essence of folk material while using
it with artistic purpose."
- The
New York Times
"...They poured onto the
stage like an invading army in the first whirlwind dance and hardly ever
let up. It was quite astonishing."
- The Dallas Morning
News |
Program
Part
I
1. Partsa |
2. Kartuli |
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A
traditional festival dance is its choreographic basis. The most striking
element is a so-called “live tower”-male dancers standing on each other’s
shoulders and moving in a circle. |
The
Kartuli is danced according to definite rules and is an expression of
chivalry by the Georgian men towards the women. The women must be regarded
with the greatest respect.
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3. Khorumi |
4. Kazbeguri |
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One of
the most popular dances from Georgia. It dates back to the period of the
heroic war against the conquering armies of the Turks, Mongolians, and
other nations. It is composed of four parts; the search for the suitable
spot for the fighter of the underground army, the approach of the enemy,
the battle and the defeat.
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A
traditional dance of the shepherds living near Kazbegi
mountains.
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5. Adjaruli |
6. Jeirani |
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The
basis of this choreographer suite is an Adjarian folk dance “Ganadagana”.
This duet of a loving couple looks quite impressive in the background of a
crowded festival. This dance is typical for the people living on the shore
of the Black Sea. The movements are more frivolous and flirtatious. The
interesting costume design is attached with a motley belt and a very
original Kabulaki-like turban to a mono-color dress of traditional
proportions. “Adjaruli” is the dance that is closest to modernistic
aesthetics.
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Georgian fairy epic. The
word “Jeirani” means Gazelle. The dance was built on the exciting picture
of the hunt of the magic Gazelle. This dance is from the “Old Tbilisi
Series”.
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7. Khevsuruli |
8. Samaia |
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This
is a dance of the Georgian mountain village performed with swords. When
the battle reaches its peak, the girl takes off her headdress and throws
it between the warriors. According to tradition the duelers have to stop
immediately, as if a magic wand has been waved. The headdress falls slowly
down among the swords, frozen in the air. This is the epitome of Georgian
chivalric tradition, analogous to that of Europe. This choreographic scene
brilliantly displays the profound respect of stern men for the fair lady.
The dancers need enormous technical preparation for performing this
dance.
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This
dance expresses the resuscitated fresco. The dance was based on the grace
and characteristics of attire, typical to the national portraits, mainly
to the portrait of Queen Tamar. Preserved in the Georgian monumental
medieval painting.
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9. Karachokheli |
10. Davluri-Sadarbazo |
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Urban
dance. In Georgia the craftsmen are known as karachokheli or “Black
Coats”. This dance represents the craftsmen of Old Tbilisi, solid
citizens, upright, honest, restrained, pleasant-spoken. In this dance we
can also see the admiration of the lady of their dreams. Her red dress is
symbolic of the red flames of fire. |
Dances
of the Georgian noblemen. This slow group dance is performed by several
pairs of men and women. Its name is derived from the Georgian word for a
slow ceremonial walk. Originating in the feudal period in Georgia, it was
primarily a dance of feudal aristocracy and can be compared with the
minuet of the 17th and 18th
century.
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11. Kintauri |
12. Simdi |
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Urban
dance of the old city artisans.
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The
most beautiful melody accompanies two rows of dancers – the men in black
long-sleeved “chokhas” and the ladies in white airy dresses. This wedding
dance, is based on the rhythmic alternation of black and white, and the
strict graphic outline and exact mirror symmetry. The duet of a man on
point and a lady gliding lightly is also keeping with the absolute
symmetry of this dance. Making all of this look like a beautiful dream. It
is not an exaggeration if we say that Simdi is a feast of refined classic
simplicity and harmony.
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13. Shejibri |
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Competition in bravery and
courage. Each man takes parts in these dances. They dance and jump on the
tips of their toes in boots, which are not hardened as in the case with
ballet shoes. This is a spectacular performance which bedsides many years
of training, also needs a lot of courage. |
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Part II
1. Khandjluri |
2. Alvanuri |
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A dance depicting the
warriors’ descent from the mountains, with swords and
knives.
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A
dance by young maidens from the hills at the spring.
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3. Mkhedruli |
4. Samani |
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The
word “Mkhedari” means cavalry man. The dance begins in a rage like tempo,
becoming move and more violent. The legs of the cavalryman imitate the
fast movements of the horse, while their body and arms impersonate the
horsemen competition.
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Dance
of the amazons. New choreography based on the old traditional Georgian
movements.
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5. Shkhelda (Svanuri) |
6. Uchkhresti |
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Dance
from the mountainous region Svaneti. This is the highest occupied site in
Europe.
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Dance
of the maidens with small wooden percussion instruments. The rhythm of
this dance is typical for the North Caucasian
population.
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7. Jigituri |
8. Georgian Rhythms |
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The Georgian Cowboy’s
dance. |
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9. Zekari |
10. Houri |
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Modern
dance on the folk base. Zekari is the famous pass in Georgia. “Zekari”
means the door to the top. To create the new dance you have to cross the
path from the past to the future. So, using the Georgian traditional
movements new Georgian choreography is born.
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Dance of two couples. The
ladies are dresses in men’s costumes. (Dance dedicated to founders of the
Georgian State Dance Company – Nino Ramishvili and Iliko
Sukhishvili)
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11. Juta |
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It is
the name of a small village on the border. It is trans-shipment point. In
the old time this place was well-known for horse-thieves. This is a new
choreography based on traditional folk movements. |
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For photos and more information
please contact:
Payal
Patel
(713)
533-3276
patelp@milleroutdoortheatre.com |
