In the midst of political strikes and protests sweeping Tbilisi, a unique phenomenon has emerged in the cultural sphere: the “phantom ticket.” Inspired by the principle of solidarity, this initiative allows audiences to support artists and institutions by purchasing tickets for events that will never take place. What might seem a symbolic gesture at first glance reveals deeper cultural, economic, and sociological dimensions. By examining the example of Tbilisi’s artistic community and the global history of art and resistance, we uncover how such initiatives blend creativity and activism, shaping collective memory and reinforcing social cohesion.
Tbilisi’s Cultural Crisis: Strikes, Protests, and Precarity
The weeks leading up to Christmas and New Year are typically a golden period for artists and cultural institutions in Tbilisi, as festive performances, concerts, and exhibitions attract full houses. However, ongoing protests have brought cultural life to a standstill. Artists have chosen to halt performances, not wishing to distract the public from their shared cause.
Yet this choice comes with devastating financial consequences. Recognizing the precarious position of many cultural workers, the Union of Musicians launched a donation campaign to provide financial relief. Similarly, ticketing platform Biletebi created a new section where patrons could purchase tickets for canceled events, with all proceeds going to the institutions involved. The “phantom ticket” initiative has become a symbol of resilience, showing how collective action can mitigate economic hardship and preserve cultural life during a crisis.
Phantom Tickets in Context: Historical and Global Parallels
The concept of phantom tickets resonates with historical and global examples of creative resistance, where art has served as both a tool for survival and a form of protest. From wartime solidarity campaigns to digital crowdfunding efforts, the use of symbolic transactions to support cultural causes is well established.
During World War II, underground theater flourished in occupied Europe as a means of resistance. Performances often relied on secret ticket sales and donations, with audiences paying not only for entertainment, but also to support artists who risked their lives to defy oppressive regimes. In Nazi-occupied Poland, for instance, clandestine performances of national plays became a powerful act of cultural preservation and defiance. Tbilisi’s phantom tickets echo this tradition, transforming the act of buying a ticket into a statement of solidarity. Just as wartime theater audiences sought to uphold cultural identity, today’s Georgian audiences demonstrate their commitment to cultural survival amid political upheaval.
As Tbilisi’s streets fill with protests and its theaters remain dark, the city’s cultural workers remind us that art is not merely a commodity but a vital part of public life
The rise of digital platforms has also enabled new forms of cultural solidarity. During the COVID-19 pandemic, for example, many theaters, orchestras, and art galleries turned to online crowdfunding to sustain operations. In New York, the Public Theater launched a “Digital Pass” program, allowing patrons to donate in exchange for access to virtual performances. Similarly, Berlin’s Club Commission encouraged supporters to buy “tickets” for livestreamed DJ sets, raising funds to prevent the closure of iconic clubs like Berghain. The phantom tickets in Tbilisi align with this global trend, but with a crucial difference: rather than offering a digital substitute for canceled events, they emphasize the symbolic act of purchasing a ticket as a gesture of solidarity, even in the absence of a performance.
The Sociology of Phantom Tickets: Ritual, Symbolism, and Solidarity
The phenomenon of phantom tickets can be understood through the lens of sociological theories on ritual, symbolism, and solidarity. Émile Durkheim’s concept of “collective effervescence” highlights how shared rituals foster social cohesion. In this case, the act of buying a phantom ticket becomes a communal ritual, uniting audiences and artists in a shared commitment to cultural and political causes.
Pierre Bourdieu’s theory of cultural capital also offers insight. By purchasing phantom tickets, patrons signal their investment in cultural life as a collective good, rather than a commodity. This act redefines the economic relationship between artists and audiences, emphasizing mutual responsibility over transactional exchange.
Economic Implications: Art as Labor and Public Good
The phantom ticket initiative also raises important questions about the economic role of art. Cultural labor is often undervalued, viewed as secondary to “productive” industries. Yet crises like the Tbilisi protests reveal how deeply societies depend on cultural workers—not only for entertainment, but also for identity, resilience, and solidarity.
Globally, governments have adopted various measures to support cultural workers during crises. In Canada, the Emergency Support Fund for Cultural, Heritage, and Sport Organizations provided financial relief to artists during the pandemic. In Georgia, however, support for cultural institutions remains limited, making grassroots initiatives like phantom tickets all the more vital.
Phantom Tickets as Resistance: Transforming Economic Loss into Collective Action
Phantom tickets are not merely a response to economic loss; they are a form of resistance. By refusing to perform during protests, Tbilisi’s artists assert the primacy of public interests over personal gain. The phantom ticket initiative transforms this sacrifice into a shared burden, allowing audiences to actively participate in the preservation of cultural life.
Moreover, the initiative challenges conventional notions of economic value. A canceled performance typically represents a financial loss, but phantom tickets reframe this loss as an opportunity for collective action. This approach echoes broader trends in social economies, where value is measured not only in monetary terms, but also in social impact.
The Enduring Power of Cultural Solidarity
The phantom ticket phenomenon in Tbilisi is a testament to the resilience and ingenuity of the city’s cultural community. By turning canceled performances into opportunities for solidarity, Georgian artists and audiences demonstrate the enduring power of art to unite, inspire, and resist.
As Tbilisi’s streets fill with protests and its theaters remain dark, the city’s cultural workers remind us that art is not merely a commodity but a vital part of public life. Whether through canceled performances, donation campaigns, or symbolic transactions, the phantom ticket initiative offers a powerful example of how creativity and solidarity can sustain cultural life in times of crisis.
By Ivan Nechaev
