Georgian dance: a guide to the Sukhishvili tradition
Last reviewed: 2026-04-17Dance as Georgian identity
Georgian traditional dance is one of the purest expressions of the country’s self-image. The dances are martial in their heritage, elaborate in their choreography, and performed with a precision and athleticism that approaches the acrobatic. The men dance on the points of their boots (literally — the soft-leaved chitebi boots have hardened tips designed for this); the women glide across the floor as if their feet are not touching it. The combination of discipline and romance, of restraint and explosion, tells you something fundamental about how Georgians imagine themselves.
The international ambassador of this tradition is the Sukhishvili Georgian National Ballet, founded in 1945 by Iliko Sukhishvili and Nino Ramishvili. The company has performed on every major stage in the world and remains the standard by which other Georgian folk ensembles are measured. But Georgian dance is not a museum piece preserved by one professional company. It is taught in schools, danced at weddings, performed at festivals, and visible in every concert hall, theatre stage, and tourist restaurant in the country.
This guide covers the major dances you will see, the history of the tradition, and where to encounter it as a visitor.
The signature dances
Kartuli
The ceremonial couple’s dance and the most characteristically “Georgian” of all dances. The Kartuli is romantic but restrained — the man circles the woman with controlled movements, never touching her, while she floats across the floor in an almost glide. The choreography is understood as a courtship: the man’s confidence tempered by respect, the woman’s composure never surrendering to flirtation.
The Kartuli opens most Georgian dance programmes. It establishes the tonal range of the tradition — dignity, romance, and extraordinary control.
Khorumi
The great war dance of western Georgia (Adjara). The Khorumi traces the preparation of warriors for battle, beginning with scouts who creep onto the stage, followed by the main body of warriors, building to a climactic battle sequence with sword play. Performed with maximum intensity by ensembles of 30–40 male dancers, it is among the most physically spectacular folk dances anywhere.
Acharuli
From Adjara (the Black Sea coast region), the Acharuli is a lighter, more playful dance than the martial Khorumi — a celebration with flirtation and humour between men and women. The music is lively, the movements quicker, the atmosphere distinctly coastal. See the Adjara destination guide.
Khanjluri
The dagger dance. Men perform with daggers — either their own or thrown into the ground around them as they dance — demonstrating remarkable agility and precision. At its peak, dancers throw and catch daggers while spinning, fall to their knees dramatically, and dance on daggers stuck point-up in the floor. The Khanjluri is the moment of a Georgian dance programme when audiences traditionally gasp.
Mtiuluri
From the mountain region of Mtiuleti in the Greater Caucasus — fast, rhythmic, with characteristic jumps and turns that reflect the mountain landscape. Male dancers in this style jump with arms outstretched and land in sharp, controlled poses.
Kintauri
An urban Tbilisi dance associated with the kinto — the traditional street merchants and comic figures of 19th-century Tbilisi. Kintauri is looser, more humorous, and closer to street culture than the aristocratic ceremonial dances. The figure of the kinto, with his tilted cap and self-mocking humour, is deeply embedded in Tbilisi identity.
Samaia
A women’s dance from the earliest Georgian court traditions, usually performed by three dancers representing the three ages of Queen Tamar (12th century) — maiden, queen, wise woman. Slow, stately, with complex hand movements and veil work.
Khevsuruli
From the high mountain region of Khevsureti, a stylised representation of a village dispute turning into a fight between rival men over a woman. The choreography includes shield and sword work; the dance ends with reconciliation or ritual truce.
The Sukhishvili Georgian National Ballet
Founded in 1945 by Iliko Sukhishvili and Nino Ramishvili, the Sukhishvili ensemble took Georgian folk dance from regional tradition to international stage. The company’s founding premise was that traditional Georgian dance, with minor adjustments for staging and presentation, could stand alongside ballet as a fully developed art form for concert performance.
The company’s international tours in the 1950s and 1960s — a rare opening for a Soviet Georgian cultural institution — established Georgian dance globally. Sukhishvili has since performed in over 90 countries on every continent, including multiple tours of the United States, extensive European programmes, and regular appearances at the world’s major theatres.
The current company maintains a full repertoire of regional dances, with over 70 dancers trained at the company’s own school. Productions feature elaborate costumes, live musicians, and the full spectrum of regional styles. A Sukhishvili performance is the single best introduction to Georgian dance a visitor can have.
Seeing Sukhishvili: The ensemble performs occasionally in Tbilisi when not on tour. Check the company’s schedule before travelling. Performances are held at major venues including the Tbilisi Opera and Ballet Theatre and the Philharmonic.
Other major ensembles
Erisioni: Founded in 1885, making it the older of Georgia’s two premier ensembles. Strong emphasis on polyphonic singing alongside dance. Regular concert programming.
The Georgian National Ballet Theatre: State institution with classical ballet as well as folk programming.
Rustavi Choir Ensemble: Combines polyphonic singing with traditional dance in concert programmes.
Regional ensembles: Most regions have their own folk ensembles maintaining local repertoires. Adjaran, Megrelian, Svan, and Kakhetian ensembles perform at regional festivals and occasional Tbilisi engagements.
Where to see Georgian dance as a visitor
Concert performances
The most reliable way to see Georgian dance at its best is a concert performance by one of the major ensembles. These are ticketed events with proper staging and live music. Check programmes for Sukhishvili, Erisioni, and the Georgian National Ballet when planning your trip.
The Tbilisi Opera and Ballet Theatre, the Rustaveli Theatre, and the Griboyedov Russian Drama Theatre host major programmes. The Philharmonic is another key venue.
Traditional restaurants
Many Tbilisi, Batumi, and Kutaisi restaurants feature nightly folk programmes with dance and polyphonic singing. These range in quality from genuinely excellent to perfunctory. Recommended venues:
Chardin 12 (Tbilisi Old Town): Traditional programme with dance and singing.
Maspindzelo (Tbilisi): Strong polyphonic and dance programme.
Shemoikhede Genatsvale (Tbilisi): Popular with groups, reliable folk entertainment.
Porto Franco (Batumi): Traditional Adjaran and general Georgian programmes.
Sanapiro (Batumi): Seafront venue with evening folk programmes.
Expect a per-person minimum drink or food purchase rather than a cover charge. Meals at these venues are typically 60–120 GEL per person with the entertainment included.
Festivals
Artgene Festival: Held in Tbilisi in July, focusing on traditional Georgian arts including regional dance and music. Outdoor performances, workshops, and exhibitions.
Tbilisoba: The Tbilisi city festival each autumn features extensive folk programming across multiple open-air stages.
Regional festivals: Most regions hold annual cultural festivals with traditional dance programming. Check timings when planning regional visits.
Weddings
If you are fortunate enough to attend a Georgian wedding, you will see dance performed not as entertainment but as organic social expression. Young relatives of the couple typically perform Kartuli and other ceremonial dances during the reception; by the late evening, everyone is dancing. This is dance in its original social context.
The music
Georgian dance is inseparable from its music. Live musicians play traditional Georgian instruments — the duduki (reed oboe), the chonguri (four-stringed lute), the panduri (three-stringed lute), the doli (drum), and in some regions the salamuri (pipe). The melodies are complex, rhythmically distinctive, and unmistakably Georgian.
At the best concert performances, the musicians are as important as the dancers, and the relationship between music and movement is worked out in detail. Polyphonic vocal music sometimes accompanies specific dances — see the polyphonic singing guide.
Costumes
Georgian dance costumes are among the most elaborate and beautiful in any folk tradition. The men wear the chokha — the long dark coat with cartridge pockets across the chest, silver belt, and dagger — that is the traditional Georgian masculine dress. Boots are the soft chitebi, used for the characteristic toe-dancing technique. Hats vary by region.
Women wear long gowns with elaborate embroidery, head pieces with flowing scarves, and distinctive belt ornaments. Regional variation is significant — Svan women’s costumes differ from Kakhetian, which differ from Adjaran.
The best ensembles maintain costume collections of extraordinary quality, with many pieces hand-embroidered and decades old.
Learning Georgian dance
Several schools in Tbilisi offer visitor classes for short-term learners. A typical introductory class teaches basic Kartuli foot technique and simple sequences over 90 minutes. You will not become a Georgian dancer in an afternoon, but the experience of trying the toe technique and the carriage gives you a physical sense of what the dance requires that watching alone cannot provide.
Ask at your accommodation or tour operator for current school recommendations.
A reflection on what Georgian dance is
Understanding Georgian dance requires taking seriously what the dances are about. The martial dances are not staged combat — they are formalised cultural memory of a society that spent centuries defending itself against larger powers. The Kartuli is not just romantic choreography — it encodes a specific idea of gender relations, dignity, and the tension between desire and restraint. The regional variants carry regional histories. The kinto dances remember specific urban types who actually existed in 19th-century Tbilisi.
When you watch a Georgian dance programme in a concert hall or a village square, you are watching a living cultural document.
FAQ
Where is the best place to see Georgian dance? Concert performances by Sukhishvili or Erisioni at a major Tbilisi theatre give the most complete experience. Restaurant performances are more accessible but less artistically serious.
Do I need to book in advance for dance performances? For major concerts yes. For restaurant folk programmes, booking a table is usually enough.
Can I take photographs during performances? Flash photography is prohibited in concert halls and generally discouraged in restaurants. Non-flash phone photography is typically acceptable.
What should I wear to a Georgian dance concert? Smart casual for restaurant performances; smart or formal for concert hall events (particularly at the Opera and Ballet Theatre).
Are there dance festivals I should plan around? Artgene in July and Tbilisoba in October are the most significant programmed around traditional dance.
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