In Georgian culture, the echoes of democracy have always reverberated, from the ancient mountainside councils to the bold graffiti on modern city walls. Renowned for its unique blend of Eastern and Western influences, Georgian society has seen a continuous push for justice, equality, and freedom of expression. This article explores the historical and cultural threads of democracy woven through Georgian art and society, illustrating how democratic values have evolved over the ages, influencing the nation’s resilience and identity.
Ancient Roots: The Khevisberi and the Council of Elders
The origins of democratic governance in Georgia can be traced back to the practices of rural and mountainous communities, where early forms of participatory governance emerged. One prominent example of this is the role of the Khevisberi—an elder who guided the community’s moral and social decisions—and the Council of Elders, a group that made important collective decisions.
These structures formed the bedrock of local self-governance, promoting principles of justice, equality, and communal responsibility. Their influence continues to inform aspects of Georgian cultural identity and governance today.
The Khevisberi, meaning “elder” in Georgian, was more than a community leader; they were seen as a wise and impartial figure, entrusted with safeguarding moral order and local traditions. They did not govern through imposed authority, but rather mediated conflicts, offered guidance, and upheld communal values. The structure of the Council of Elders, often composed of heads of families, meant that each household had a voice. This assembly would come together on important matters like land disputes, security issues, and local trade regulations, using consensus-based methods to reach decisions. Such councils were primarily concerned with maintaining social harmony and upholding the collective welfare of the village. In practice, they exemplified an early form of democratic governance, where every voice held weight, and decisions were crafted through dialogue and compromise.
The significance of this governance system is underscored by historians and anthropologists who have studied the highland regions of the Caucasus. As documented by Georgian historian Simon Janashia, these traditional assemblies were instrumental in shaping Georgian identity and culture, providing a model for communal governance that resisted external feudal or imperial control. In modern times, the legacy of the Khevisberi and Council of Elders has been romanticized as part of Georgia’s long-standing commitment to values of fairness, respect, and communal responsibility. While these early practices might not align with contemporary democratic structures, the councils and their decision-making frameworks reflect key democratic ideals: inclusiveness, representation, and accountability. These institutions offered a unique model of governance, blending tradition with a form of democracy that prioritized collective well-being over hierarchical authority.
Golden Age Democracy: Shota Rustaveli and His Enduring Influence
The Georgian Golden Age, spanning the 11th to 13th centuries, was a period marked by cultural flourishing, intellectual advancement, and national unity. Central to this era is the literary masterpiece The Knight in the Panther’s Skin by Shota Rustaveli, a revered Georgian poet whose work reflects democratic ideals of equality, loyalty, and justice. Rustaveli’s poetic exploration of virtue and social harmony embodies principles of justice and fairness that resonate with democratic values.
The Knight in the Panther’s Skin, completed around 1200, tells the story of noble warriors who embark on quests filled with challenges and self-discovery. Rustaveli’s protagonists pursue virtue, loyalty, and justice, transcending societal status and embodying values of equality. For example, Rustaveli often positions characters from different cultural and social backgrounds as equals, united in their quest for the common good. This humanistic approach was groundbreaking for the time and subtly advocated for equality and respect beyond social hierarchies. In addition to themes of equality, Rustaveli’s work highlights the concept of mutual respect among characters—a value central to democratic thought. His portrayal of friendship and loyalty emphasizes a shared sense of responsibility and fairness, reflecting ideals that would later become foundational to modern democratic systems. Through these relationships, Rustaveli presents a worldview that promotes collective well-being, a hallmark of democratic societies.
Queen Tamar, one of Georgia’s most revered rulers, reigned during this golden era, and is celebrated not only for her leadership, but also for her progressive approach to governance. Under her rule, Georgia achieved significant cultural and territorial expansion, and she emphasized justice and welfare for all citizens. Queen Tamar convened a Darbazi (royal council) composed of nobles, military leaders, and religious figures. Although her authority as monarch was supreme, Tamar’s engagement with the council reflected a commitment to consultative governance and the voice of the people.
Georgian literature of this period also emphasized the ideals of the just leader and the welfare of the people. Epic tales like Abdulmesiani (The Man in Chains) delve into themes of sacrifice and justice, portraying leaders as moral figures who protect the people and uphold righteousness. This narrative tradition emphasized the idea that leaders should be accountable to their subjects—a concept that parallels democratic ideals of responsible governance. Through Abdulmesiani, as well as other tales and folklore, Georgian literature reinforced the notion that power must be wielded in the interest of the people, and leaders who abused their authority were depicted as morally corrupt. This literary focus on the just ruler resonated with Georgians’ expectations for fairness and integrity, creating a cultural framework that supported accountability and equity.
The Influence of Christianity: The Orthodox Church as a Force for Social Justice
The establishment of Christianity as the state religion of Georgia in 326 CE brought with it the Christian ideals of compassion, humility, and universal equality under God. St. Nino, the woman credited with converting Georgia, is revered not only as a saint but as a symbol of social equality and compassion. Her role emphasized the idea that each individual—regardless of status or background—held inherent worth, a concept that paralleled early forms of social justice. In a society where hierarchical structures were dominant, the Church’s emphasis on equality was transformative, promoting a sense of collective responsibility and respect for all members of society.
In the Middle Ages, Georgian monasteries became vital centers for education and charity, further embedding social justice in Georgian culture. Monastic communities like those at Gelati and Iqalto offered education to people from all social classes, making knowledge accessible beyond the elite. These monasteries also provided shelter, food, and medical care to the impoverished and sick, embodying Christian teachings of charity and mercy.
During times of political strife and foreign invasions, the Georgian Orthodox Church played a critical role in protecting vulnerable communities like the poor, orphans, and widows, framing social responsibility as a central tenet of Georgian Christianity. Clergy members often acted as mediators between rulers and the populace, advocating for fairness and justice. In the 16th and 17th centuries, when Georgia faced frequent invasions, the Church provided sanctuary and rallied communities to preserve Georgian culture and language under foreign domination.
Christian influence also permeated Georgian art and literature, reinforcing social justice themes. Georgian hagiographies—biographies of saints—often emphasized moral values of humility, sacrifice, and compassion. The Martyrdom of Queen Ketevan, a 17th-century hagiographical text, recounts the queen’s dedication to her faith and people in the face of foreign oppression, exemplifying the virtue of self-sacrifice for the greater good. These stories became cultural tools for inspiring social responsibility and solidarity. Additionally, Georgian iconography and church frescoes from this period depicted scenes of communal care, such as the acts of saints assisting the poor and sick. These visual representations served as public reminders of the values upheld by the Church, encouraging people to practice charity and justice in their daily lives.
Rise of Nationalism: 19th and Early 20th Century Movements
In the 19th and early 20th centuries, Georgia experienced a cultural and national revival that intertwined the fight for democracy with a burgeoning sense of Georgian identity. During this period, as Georgia found itself under Russian imperial rule, artists, writers, and intellectuals channeled nationalist sentiment through literature, art, and public discourse, laying the groundwork for democratic aspirations. This cultural movement not only preserved Georgian identity, but also fostered democratic ideals, promoting freedom, autonomy, and national unity.
One of the earliest waves of cultural resistance to Russian domination appeared in the Georgian Romantic movement, led by writers like Alexander Chavchavadze and Nikoloz Baratashvili. These figures sought to revive Georgian history, language, and customs, embedding democratic ideals of freedom and self-determination in their works. Chavchavadze, known as the “father of Georgian Romanticism,” used poetry to highlight themes of national pride and the importance of individual liberty. His works are emblematic of the era’s push toward a culturally rooted democracy that respected Georgian identity and sovereignty. Baratashvili’s famous poem, Merani, exemplifies this spirit of freedom and resistance. The poem’s call for action against oppression resonated with Georgians’ desire for independence, making it a powerful cultural symbol of self-determination.
In the late 19th century, Georgian intellectuals used journalism as a platform to critique autocratic rule and advocate for democracy. Prominent newspapers, like Iveria, founded by the esteemed writer and public figure Ilia Chavchavadze, provided a voice for the Georgian people. Chavchavadze advocated for social reform, the protection of Georgian language and culture, and a future where Georgians could govern themselves. His vision of a democratic society emphasized education, civic engagement, and social responsibility, and he famously promoted the slogan “Language, Fatherland, Faith,” symbolizing the pillars of Georgian identity.
Theater and visual arts also played crucial roles in advancing democratic aspirations. The establishment of the Georgian National Theater in 1850, led by Giorgi Eristavi, provided a space where themes of social justice and national pride could be publicly explored. Productions often depicted the struggles of common Georgians, celebrating their resilience and promoting a vision of social equality. Artists like Gigo Gabashvili created works that celebrated Georgian culture and highlighted the lives of ordinary citizens. By focusing on the Georgian people’s shared struggles and resilience, artists subtly advocated for a society where all individuals were valued, contributing to the demand for democratic reform.
The culmination of these cultural expressions and democratic ideals was seen in the establishment of the First Georgian Republic in 1918, following the Russian Revolution. This brief period of independence showcased the impact of decades of cultural work and advocacy for self-governance. The newly established democratic republic adopted a constitution that guaranteed freedom of speech, equal rights, and social protections, embodying the aspirations of Georgian artists, writers, and intellectuals from the previous century.
Soviet Suppression and Artistic Resistance
During the Soviet era, Georgia was under strict political and cultural control by Moscow. Despite Soviet-imposed censorship and repression, Georgian artists, writers, and intellectuals mounted a subtle yet powerful form of resistance, using art, literature, film, and music to express their desire for freedom and to preserve Georgian identity.
Georgian literature during the Soviet period served as a crucial space for dissent and the preservation of Georgian identity. Writers like Galaktion Tabidze, often referred to as the “King of Georgian Poetry,” used symbolic and metaphoric language to express complex emotions and critique Soviet restrictions. Although Tabidze’s works were frequently scrutinized by Soviet authorities, his poetry subtly conveyed a longing for personal and national freedom, becoming deeply influential among Georgians who shared his sentiments. His poems, filled with imagery of Georgian landscapes and historical references, became coded messages of defiance and pride in Georgian culture.
Georgian theater and cinema also became vital forms of artistic resistance. In particular, director Tengiz Abuladze’s Repentance (1984) stands out as a landmark of Soviet-era dissent. Although filmed during a period of censorship, Repentance critiques totalitarianism through a fictional portrayal of a tyrannical ruler. The film uses allegory to address the horrors of dictatorship, resonating with audiences who understood its commentary on the Stalinist legacy. Initially banned, it was later released during the perestroika period, when it sparked significant conversation about freedom, justice, and the national trauma experienced under Soviet rule.
Music also played a subtle yet influential role in Georgia’s cultural resistance. Georgian folk music, for instance, became a form of cultural preservation and resilience. Traditional polyphonic singing, which is unique to Georgia, continued to be performed and celebrated, defying Soviet attempts to homogenize cultural expression across the republics. Groups like the Rustavi Ensemble maintained and popularized Georgian folk songs, subtly reminding audiences of their unique heritage and fostering a sense of unity and national pride. This music served not just as entertainment, but as an enduring symbol of identity and resilience, allowing Georgians to stay connected to their cultural roots amidst Soviet pressure to conform.
The visual arts were another sphere where Georgian artists subtly defied Soviet narratives. Many painters and sculptors incorporated elements of Georgian folklore, landscapes, and history into their works, reinforcing cultural pride. Artists like Elene Akhvlediani, known for her distinctive portrayals of Georgian villages and urban life, conveyed the beauty of Georgian life without directly confronting Soviet ideology. Her art celebrated Georgian culture and became a cherished reminder of what was at stake under Soviet control.
The Post-Soviet Era: A Surge of Democratic Expression
The collapse of the Soviet Union in 1991 marked a turning point for Georgia, as the country faced the dual challenge of establishing a new democratic system and rediscovering its cultural identity. During this period, Georgian artists and intellectuals played a key role in shaping the discourse around democracy and freedom, using their work to express the hopes, frustrations, and aspirations of a society in transition.
Following independence, Georgian writers and poets addressed the complexities of the transition from authoritarianism to democracy. Poets like Besik Kharanauli used metaphor and symbolism to express both the pain and hope associated with newfound freedom. His works, filled with introspective and existential themes, spoke to the Georgian experience of loss, survival, and resilience amid political uncertainty.
Kharanauli’s poetry, often introspective and reflective of Georgia’s complex history, captures the tumultuous emotions associated with national change and the deeply personal costs of the transition. His work is emblematic of a post-Soviet generation that both celebrates independence and grapples with its challenges.
In the post-Soviet period, Georgian visual artists explored themes of identity, nationhood, and social change. Painter and installation artist Irakli Gamrekeli, for instance, used mixed media and modern techniques to explore post-Soviet society’s realities, creating works that question both the effects of Soviet rule and the rapid transformations in Georgian society. By addressing issues like alienation, consumerism, and cultural displacement, his art became a platform for examining the costs of sudden transition. Another example is artist and photographer Maka Batiashvili, who captured the Georgian spirit of resilience through her depictions of everyday life. Her focus on ordinary people and Georgian landscapes allowed her to document the country’s evolving social fabric, using art as a medium for expressing solidarity and national pride amidst economic hardship.
Theater and film also became powerful forms of social commentary in post-Soviet Georgia. Filmmakers like Otar Iosseliani and Nana Ekvtimishvili created films that reflect on the cultural and social complexities of post-Soviet Georgian life. Ekvtimishvili’s acclaimed film In Bloom (2013) is a particularly notable example, focusing on the lives of two teenage girls in the 1990s who navigate the challenges of coming of age in a newly independent but chaotic Georgia. Through nuanced storytelling, Ekvtimishvili’s film delves into themes of resilience, friendship, and the struggle for personal freedom in a society recovering from conflict. In theater, playwrights like Lasha Bugadze explored the intersections of politics, identity, and freedom. His plays, often laced with satire, question authority and highlight the contradictions within Georgian society. His work contributed to the larger discourse around democratic ideals and the role of the individual in post-Soviet life, using theater as a platform to challenge societal norms and advocate for progressive change.
Georgian music in the post-Soviet era reflected a mix of traditional and modern influences, signaling a reassertion of national pride and identity. Folk ensembles like the Rustavi Choir continued to perform traditional Georgian polyphony, preserving and celebrating Georgia’s unique musical heritage as a source of national pride. At the same time, modern musicians blended traditional elements with contemporary styles, creating a sound that resonated with younger generations seeking to define what it meant to be Georgian in a post-Soviet world. Modern musicians like Niaz Diasamidze, the lead singer of the popular band 33a, incorporated folk motifs, Georgian themes, and social messages into their music. Their works often reflect themes of freedom, resilience, and identity, speaking directly to the post-Soviet experience and the complex journey toward democracy.
Contemporary Reflections: Art and Democracy in Today’s Georgia
In recent years, Georgia’s evolving democracy and dynamic art scene have become intertwined, with young artists, musicians, and activists using creative expression to explore and critique political and social issues. From street art to music festivals, contemporary Georgian art increasingly reflects the nation’s democratic aspirations, challenging societal norms and sparking important conversations. Emerging artists, inspired by Georgia’s past and present struggles, are redefining cultural identity and using art as a vehicle for social change.
Street art has gained popularity in Tbilisi, transforming public spaces into sites of expression and protest. Artists like Tamoonz and Gagosh have pioneered politically charged graffiti that critiques issues such as corruption, inequality, and environmental neglect. Their works are bold, colorful, and often located in prominent urban areas, making them highly visible and accessible to the public. Tamoonz, for instance, has created murals that comment on women’s rights and social inequality, encouraging dialogue on these important topics.
Young Georgian photographers and filmmakers have begun using their lenses to capture the realities of Georgian society, focusing on themes of poverty, displacement, and the LGBTQ+ community.
Photographer Dina Oganova, for example, explores identity, gender, and marginalization in her projects, offering an intimate look into the lives of those often overlooked. Her photo series ‘I Am Georgia’ features portraits of people from diverse backgrounds, highlighting the country’s complex social landscape and challenging stereotypes. In film, young directors like Rati Tsiteladze are gaining international attention for their explorations of Georgian life. His award-winning documentary Prisoner of Society (2018) follows the story of a transgender woman in Georgia, delving into themes of acceptance, isolation, and family conflict in the face of social prejudice. By addressing topics that are often taboo, Tsiteladze’s work underscores art’s role in promoting empathy and understanding within a democratizing society.
Georgia’s electronic music scene, centered around iconic venues like Bassiani, has become both a cultural and political movement. Since its founding, Bassiani has stood as a symbol of resistance, particularly against police crackdowns and government restrictions. The club gained international attention in 2018 when a government raid sparked massive protests known as the “Rave Revolution.” These protests were a significant moment for Georgia’s youth, who rallied for greater freedoms and an end to state repression. The club continues to serve as a space for free expression, fostering a sense of community among Georgia’s progressive youth. Music festivals like Tbilisi Open Air also play a vital role in fostering democratic ideals. Bringing together international and local artists, the festival promotes messages of tolerance and peace, allowing young people to explore their identities freely and connect with global movements. These events create temporary spaces where freedom of expression is celebrated and encourage young Georgians to think critically about societal issues.
With a rising focus on feminism and LGBTQ+ rights, young Georgian artists are boldly addressing issues of gender and sexuality. Platforms like Open Space and Haraki create installations, performances, and multimedia art that confront issues like patriarchy, gender norms, and discrimination. Their work often sparks debate, revealing the deep social divides within Georgian society.
Art as a Catalyst for Social Transformation
From ancient tribal councils to contemporary protest art, Georgia’s cultural journey reflects an enduring pursuit of democracy. Through literature, religious teachings, nationalist movements, and modern art, Georgians have consistently advocated for freedom, justice, and equality. These democratic ideals are woven into the fabric of Georgian identity, continuing to inspire each generation in its quest for a more equitable society. In this way, Georgia’s art and culture not only preserve history but also shape the future of democracy in the region.
In contemporary Georgia, art has become an essential medium for expressing democratic values and driving social change. Young Georgian artists are using diverse forms of expression to explore and critique societal issues, breaking down barriers and encouraging dialogue. Through street art, photography, music, and activism, they are actively shaping Georgia’s cultural landscape, demonstrating that art can be a powerful force in the pursuit of a democratic and inclusive society. These creative movements highlight the importance of freedom of expression in a rapidly changing Georgia, where art serves as both a mirror and a catalyst for transformation.
By Ivan Nechaev
