First the joke. You might not see the humor in it. But I do.
I came to Georgia to work on a doll and puppet museum. But recently I have realized that it would be an impossibility. I don’t wish to elaborate. But let me compare it to an event that occurred several years back in Alaska.
I moved from New York City to Haines Alaska. In Manhattan I lived somewhat close to Chinatown. And so I availed myself of the many flavors of Chinese groceries and cuisine. On the other hand, Haines is probably one of the few towns in North America without a Chinese restaurant. One summer day I heard a rumor that a Chinese takeaway place had opened up in an RV park near the edge of town. So I expectantly drove over to sample the wares. Pitiful. That’s all I will say. And I wondered why? The chef was Chinese. He seemed to have woks and knew what to do. But soon I was told the reason. The RV Park owner had brought the chef to town, like an indentured servant. Then he prohibited him from using Chinese ingredients. The owner actually bought the ingredients himself for the Chinese chef. And you can see him lingering over a food supply catalogue on the phone withe the dealer. “Okay so fifteen number 10 cans of that sweet and sour stuff with red food dye. Oh and what’s the cheapest rice you have?” Ad nauseum… The place closed in another two weeks. The RV park is now a field used for storing pipes by the state road crew. And that’s that.
Read between the lines and you’ll figure out what happened to me here.
And the joke? It’s not on me. It’s with me. So yeah Gravity From Above is stalled. My work in museum Georgia has dried up. Far too much cash has flown the coop. But you know what? I’m in Georgia. And had I known half of what I know now I would certainly have stayed in Alaska. But I can’t help feeling that this ruse, played upon me by God no doubt, got me here.
Recently my dear friend Silva Morasten and her boyfriend Honza stayed with me. Several things happened then to really renew my sense of purpose here in Georgia. Summer quite frankly had been tough. I expected it. But the heat drained me. (Next year time in the mountains. The museum work evaporated. Finances got wobbly. (I finally solved that by applying early for my retirement money. Which I still won’t get till the end of November.) Computers broke down. Etc. etc. But more than anything else a vague sense of failure hovered directly over my head.
On the good side I did get a temporary residence permit. Which isn’t going to last too long, but will look good next time I apply. And even if I don’t get another right away I can stay here if I cross the border once a year. So I’m not worried about getting chased out.
But with my friends here we drove up into the mountains and I finally had a chance to really get out of the city. I discovered this singular little village called Sno made out dark moody and very sharp rock walls. I walked into the Caucasus briefly, enough to give me a sense of mystery and enticement. I drove through the lush vineyards of the Alazani valley. Silva had a chance to sing her gorgeously dark songs at a museum. (To hear her music follow this link.) I also took Silva to meet my friends at Budrugana Gagra. And seeing them again reminded me of what I love most about Georgia. Likewise a trip to watch Erisioni practice had the same effect. I also stopped in a couple of times to see Giorgi Apkhazava’s work on his little theatre. (I have a whole interview that I need to edit and upload here!) And Giorgi was quite kind to me. And these people were all a part of what energizes me about being in Georgia. And so having resigned the museum project today I feel lighter already.
And so I am laughing at my great fortune, a fortune not connected to the local currency.
This is one of my first videos on Georgian Crossroads (Watch it & Subscribe.)
And another thing, back in February, when I was informed about the actual ‘salary’ I would be receiving I immediately realized I needed to get something together to staunch the pecuniary wound. I also felt it should be something that would grow, not some stopgap measure. And so I started a couple more YouTube channels. One for my ideas – The Anadromist. The other for my observations about Georgia – Georgian Crossroads. It was a wise decision. For even though the income from them is a slowly increasing trickle, that trickle has allowed me to breathe easier. More importantly I have found a few people receptive to my curious investigations. And the truth is I have been sitting on far too many explorations that need to finally see the light of day.
Hey if you are here for the puppets you should watch this.
And so with all of this in mind, I recently found myself watching Todd Phillips’ new film Joker, with Joaquin Phoenix giving an astounding performance. And as I watched it I realized I was present for a moment in film history likened to Psycho or Star Wars. That is a complete game changer for the direction of cinema. Psycho opened American filmmaking up for what would eventually be the New Hollywood of the Seventies. Star Wars opened the door to the unfortunate blockbuster era that has enveloped us ever since. But Joker is something different. Joker, an extremely dark realistic vision based on the Batman villain. It has become a roaring success at a time when the hollowness of the mainstream world has become almost impossible to ignore. Also it wasn’t lost on me that the Joker is a clown, at a time when scary clowns have surfaced as a source of fear instead of fun. Which is quite ironic considering how devoted this age is to the teleological concept of Fun. I also saw the connections to Punch, the smiling psychotic hand puppet. And so I felt compelled to make a video on the subject. Not a review, but a search for the origins of this mythic imagery historically and presently. So I present that here for your consideration.
But there are other subjects I have dealt with on my new sites that might intrigue you as well. Particularly one series on Time and the other on How We Got Here.
And you should just watch this no matter what your motivations!
Anyway this has been a report on my activities here in Georgia. Deep gratitude to those who have helped out. And I hope to add more substance to these pages soon.
October 11th 2019
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What’s happened to the documentary Gravity From Above? What happened to Byrne? We haven’t heard much about puppets or Georgia since the beginning of the year.
I’m wondering the same questions. The truth is that I guess I’m recovering from the double shock of losing whatever funding I had hoped to get for the documentary and then finding the work that I was supposed to do in Georgia not only endlessly bogged down in bureaucracy but also paying me far less than a living wage for the work that I am doing causing me to lose money every month.
Or to put it another way reality has set in.
Now to put a little more meat on the bone let me explain a bit. First of all I am quite hesitant to say much at all publicly. At this moment the details would be less than helpful. (Privately I can explain anything if interested.) And the situation has never been dire. But essentially I am only receiving about a third of what I need to live every month. Which is a drain on my personal economy, which can’t go on forever. Then there are expenses that I have to make to actually live here as opposed to being a transient. Things you need to buy simply to be a resident from frying pans to curtains. More catastrophically my computer has died twice on me. I now live in a strange twilight world of used MacBooks and external hard drives. (I’m waiting for a new hard drive to arrive through a tortuous path of mailing services.) And I have spent a fair sum just to keep myself running. And then there is the much larger question of how I will get my belongings shipped here. (Which had seemed quite possible when I left, but now more doubtful.)
The practical minded person would say something like this to themselves: “Well you’d better get back to Alaska where you can make money and forget about all of this. Admit you’ve been beat. It was an interesting dream, but it’s time to face the truth. Better get back while you still have the money to get there.” (I can hear the worried voice of my late mother here.)
Yet I know I haven’t made a mistake. Every time I have made a radical change in my life, from California to New York City, or from New York to Alaska, I have gone through exactly these moments of wall-smashing reality. In New York it took me multiple beds and floors for 4 long months to find an apartment. And that was beyond my means. I ended up leaving it after a year. Not to mention having one of the worst fevers I’ve ever had in my life during that first Christmas time. Narrowly escaping being beaten to a pulp by a street gang. And essentially finding that most of the folks I met during that period receded as friends. And then again in Alaska. I arrived without the job that supposedly was waiting for me, a container load of my library and other junk which then immediately sucked up all of my money on overweight freight charges, and I was renting a house for more than I could afford, especially without a job or money. The radio station work did eventually kick in. So did comments from certain members of the community about the music I was introducing to the airwaves. And I discovered the rather petty and vicious nature of otherwise friendly Alaskans during public board meetings, which I had to take part in as a part of my radio duties. Within six months I had to move everything again because the house I was renting was being sold out from under me. In both New York City and Alaska I knew I should be there. And eventually they became two of the most important places in my life.
So my thoughts now? What’s new? I expected the brick wall of reality. I look at these confrontations as the real test of my faith. If it’s worth it then it won’t be easy.
So I am very slowly learning kartuli, a language that has been very difficult to read and to pronounce. And I do not mean difficult to pronounce the way French and German are difficult to read or pronounce. We are talking a different order of experience here. And the besides the language there are the many cultural misunderstandings between the Georgian mentality and the Western European or American. The sense of time here is something I am still struggling to understand. It isn’t that it is loose as in many cultures, it’s erratic, inconsistent. Now slow, now fast. It has the irregular rhythms of its language.
But overall I haven’t felt let down, as much as puzzled. And hopeful. And cautious. Sometimes at home. Other times like an alien. Yet never in danger. I don’t feel that I’ll fall through the floor. It feels like there is a net somewhere below me. So apart from the drain on my economy and the moments of bewilderment, how are things really going?
Well I do feel at increasingly at home more than foreign. And I think what it comes down to is this… the conversations. Whenever I am feeling a little too distant from my own culture I end up having conversations that allow me to breathe in a way I normally can’t back in the USA. I find an openness to art and culture that is far more serious than I have found back in the states in a very long time. And that is why I am here.
Or I meet someone doing something creative that just takes my breath away. For instance seeing the animation that Mariam Kapanadze is working on for two years. Just to produce ten minutes of footage that hardly moves at all. Then she explains what she is trying to achieve and I am left speechless by the depth of it. (I’ve already interviewed her and will be sharing it very soon.) Or meeting Giorgi Apkhazava and the other members of the Tbilisi Chamber Theatre and realizing that they have the best perspective possible on why they are puppeteers. (Also coming soon!) Or the again being surprised at an intimate piano recital by the depth of music played by Eter Tskipurishvili. Words would fail me entirely here. And it is in moments like these and dozens more that I find myself more than feeling at home; it is something far more spiritual.
And it’s not that life here is in anyway convenient… for anyone. There is a sense of total chaos at times. I have been without electricity or water many times. I have lost the food in my freezer and then gotten sick on the food that wasn’t cold enough. I have found myself hunting endlessly for something as simple as thread or tape. The summer heat is not something I am looking forward to. Yet as I walk beneath endless grapevines on tree shaded lanes passing children who still play in the streets I find something human and humble here. And when I look around I see an intriguing future, both for the Georgians, and for myself.
And so that is where I am right now. I don’t need assurances that everything will work out. I just need to keep walking and see where this road goes and why I am here.
Well I’ve got three or four essays due to be written very soon. So no (!) I haven’t forgotten anything. I’m just looking around, catching my breath, taking stock, and uttering quiet words of gratitude.
And I haven’t forgotten about Gravity From Above, the documentary!
Thanks for your patience my friends.
June 3rd 2019
And thanks April Harding!
I haven’t written for a while now. It isn’t that there is nothing to say. It’s that I’m not sure exactly where I am. I am certainly not where I thought I might find myself three months ago. I’ve been waiting for more resolution to give you all some account of my time in Tbilisi Georgia. But the resolutions are slower in coming than I imagined they would be. So I might as well report on what I can say. Which isn’t much.
Not long ago I thought I might get most of the money to finish up Gravity From Above. I then realized that I would have to downgrade what support I thought I had. Now I am wondering if I’ll get any help at all from the sources that seemed promising. If it sounds like I’m being vague I am. Let’s just say this the funding isn’t there… yet. And because I stumbled into some murky cultural waters that I didn’t understand let’s just say I don’t know if anything will come my way from that direction. But I am still hoping to hear something.
Then there is my life in Tbilisi. It’s not bad at all. But it is much slower commencing than I thought it would be. Again odd cultural issues play a role. Strangely many of the friends I have made are slow in getting back to me. If it was just one person I wouldn’t think too much about it. But it’s almost everyone. It probably didn’t help that I arrived in the holiday season again. And so had to mostly sit out a month waiting for it to end.
I was looking forward to editing Gravity From Above. I had the time. Oodles of it! But I wait for returned emails, Facebook messages, etc. This is a cultural thing. In America we are trained to get back to others as soon as possible on the Internet. But in Georgia I get the feeling that emails aren’t seen as being quite real. Which is fine. I’ve been saying this for years. And if I were settled in more it wouldn’t bother me. I would have other ways of contacting people. But I don’t feel I know people well enough yet to just call them up or stop by. So I wait.
And that goes for my work as well. The museum project is there, down the road. Eventually. Though the architectural design part has been siphoned off. But that doesn’t bother me. If anything was going to be taken away that would be what I was expecting. And truthfully there is a lot more politics in all of this than I imagined. And by politics I don’t mean office politics. I mean the real beast. Government officials, state and city budgets etc. And that’s about all I can say about that.
But I’m not without work. The plan is to have me teaching puppetry in English for students in the schools. And while I am planning that, I haven’t got the paperwork done yet, because I have to see what the legal prospects are for me as a resident. So again I wait. And hopefully this will be resolved relatively soon. But then again this is Georgia where I’m discovering that everything takes time. But when you finally get the signal then the question will be why isn’t it finished yet? (See the architectural issues above.)
And then there is the question of money. So far I am coasting. But this can’t last. And I’m not really sure how I will fare in the future. Everything is up in the air. And how will the documentary, which is so close to being done, be finished?
And you know I’m not worried about all this. I figured that there is a reason I followed the breadcrumbs here. So meanwhile I explore the city. I’ve taken bus trips to nearby villages. I’ve hiked up the mountains near Tbilisi. I’ve explored more art and culture. I’ve discovered a couple of worthy bookstores previously unknown to me. I’ve gone looking for practical necessities.
And I’ve discovered the many things that hardly exist here. Where is a lumber yard? Can I find black string for puppets? Food ingredients that are like gold: Bottles of vanilla??? Molasses. Malt vinegar. Decent peanut butter. Maple syrup. Cream of tarter, which is really weird since it’s a wine derivative and wine is everywhere here. Recognizable cuts of meat. Most Chinese ingredients. Any Mexican ingredients or spices. Let alone real salmon. Oh Alaska you spoiled me!
Stop and watch this for a little taste of joy!
But oddly I found some real pluses too. For instance I noticed that Georgia has about 20,000 people from India, mostly students at the state university. Thus I reasoned they must have Indian spice stores. I’ve found two! And one guy Vijay was a real help. But there are much fewer Chinese. Thus real Chinese food is much harder to find. And there is something that Georgians eat at the few ‘Chinese’ restaurants which has very little to do with China. But great news! Just down the street from me on Vazha-Pshavela Avenue they just opened a real Chinese restaurant since I’ve been here. And I’ve gotten in good with the owner, Shelia, from China by way of Vancouver. And she has two, count ’em, two Chinese cooks. Okay I survived 22 years in Haines Alaska without Chinese food. I think I’m going to be all right. (In New York City I used to go to Chinatown all the time.)
I did spend a little time with friend and photographer (and my landlord) Mariam Sitchinava and her pixie daughter Sophie. I did visit my good friends at the hand shadow theatre Budrugana Gagra. And I was welcomed with open arms and kisses on my cheek from everyone, men and women. And I got to watch a complete show of their shadow version of Bach’s Saint Matthew’s Passion. And for the premier even the new president of the country, Salome Zurabishvili, was in attendance. I was quite proud to call these folks my friends. I will eventually write a more detailed review of this piece. As well as a report on the work on Mariam Kapanadze’s unusual animation project.
And then I found myself back at Erisioni where I was greeted as a returning friend. Otar Bluashvili commented that I indeed returned in December just like I said I would. When I first stepped into the dance studio several of the young male dancers broke into applause. And later when I finally saw the women dancers again I was greeted tenderly with kisses and very warm smiles. And today I stopped in and was invited to their big show this Sunday at the Philharmonic Hall where I was offered a better lens for my camera. I took a few photos today and greeted several more friends.
When I first arrived I felt even more disconnected than I did last year at the same time. With the financial questions hanging over my head, with Gravity From Above back in some sort of limbo, with friends yet to find me again, I was seriously wondering what I was doing here. The ground did not feel solid. I still have no idea how the practicalities of anything will work out. From getting a residence permit, to finding a permanent house to live in, to getting my container full of possessions, including my massive library, here, to getting Gravity From Above finished. These question fed my sense of dislocation.
Slowly I have been finding myself at home. I remember the day I walked up through Vake Park past the Soviet World War 2 Statue into the mountain, and then down the other side I felt at ease as I stopped at Parnassus Books, which also had books in English. More importantly there were two university students working there, Mariam and Ana. A wonderful conversation led to their offering to find someone to help me with Kartuli (the Georgian language). Within a week I had another university student Sandro helping me, for free! But it was on that walk, even before I got to the bookstore, that I thought to myself, how much I was feeling better about being there.
And there have been many other discoveries. But we’ll end our narrative here. What will tomorrow bring? I have no clue. None. Will I ever get enough money to finish up Gravity From Above? Will I find the wherewithal to get my stuff here? Will the Georgians let me stay? There are answers to these questions, but not yet. And so I am left with the big question mark. But you know a life without question marks really isn’t a very interesting life. So I accept that.
Oh and if anyone wants to help me get this bloody documentary finished….
There’ll be more to say, and soon, but for now I’ll just leave you all where I am. Wherever that is.
So if you wish to help out financially you can help me through PayPal. You can pass on a one time donation, or commit yourself to a small amount on a regular basis. Anything you choose to give will be helpful. And if you are one of those people who can help out in a more substantial way do consider it. I really am close to finishing Gravity From Above. But the amount needed is beyond me in this moment. So get in touch if you feel so moved. Click to donate. And thanks all of you for tagging along on this strange journey. CLICK ME!
Well I’ve been quiet for a little while, catching up with my writing and catching my breath between journeys to Europa. Mostly preparing to leave Alaska permanently. Being back here has been tinged with a kind of nostalgia already. I am doing things that I know I will probably never do again: Picking spruce tips for tea, harvesting devil’s club, drying morels, puffballs and boletes to rediscover in over a year when my container is finally sent to Georgia; Taking people on tours to float down the Chilkat River or to see bears on the Chilkoot; Meeting friends to discuss my plans; Stopping others to let them know that my farewell event will be coming up on September 8th at the ANB/ANS Hall. Plus remembering the things I won’t miss here. Everyplace has its curses. In New York City it was crime, rats , roaches, ultra hipness. Here in Haines it’s small minded pettiness, bovine tourists and other forms of myopia. But there is much goodness and many friends that I will indeed miss.
Meanwhile on October 4th I leave for good. And there has been much to consider. Fortunately last summer’s insane moving crunch has left me in perfect position to move. Everything I own is in unit number 3 at S & W Storage. And I have gone through it all to remove things I won’t need in Tbilisi: lamps, waffle irons, heaters, microwave ovens, anything that simply plugs in and gets hot. Also I’ve put the finishing touches on my boxes and reorganized everything into the most efficient shape. And finally I’ve gone through the last of my mother’s things and mailed off the items connected more to my stepfather Mike’s family. And so my life here seems nearly completely closed down. Only a few final details left. They could be finished in a day. My storage unit is paid through October 2019.
Then there are the more complicated problems associated with my departure. New passport? It arrived last week after being rejected once for too much shadow in my photo I assume, but they didn’t specify. Airline tickets to Paris? Yes. But I still need to buy my December tickets from Paris to Tbilisi. I’m waiting for my funds to resolve a bit first. Train tickets for the Western European portion of my journey? Yes. Though I have to wait until I get to Europe to buy my specific reservations. A rental in Prague for a week? Yes. Though I am reminded how much hotel prices have risen since my first visit to Prague in 2000. Letters to friends in Paris, Switzerland and Germany? Yes and they are waiting for me. My apartment for the first three months in Tbilisi? Yes. Same place. (Thanks Mariam.) Continuity is a good thing.
But there is much I am struggling to get done. I have been working a lot to try to get the money I need to survive until my European money kicks in, which won’t be until early 2019. So after all of this summer’s traveling expenses, which also includes new clothing, a daypack, medical check up, car repairs so that I can sell it in good shape before I leave, and many other sundry things I am hoping my funds will hold to get me through the valley. (You can help out below through PayPal.) And I am trying to get my little book of puppet plays ready to sell before I leave. There are so many other things that I had hoped to finish before I leave. Because once I get to Georgia everything will change. (Mail is terrible there, which is a major problem.)
And so what am I doing once I leave?
On October 4th I leave on Alaska Marine Lines’ ferry for Juneau. I’ll spend a night at the Best Western Hotel then ricochet from Juneau to Seattle to Portland to Reyjavik to Paris. Then I’ll spend a couple of weeks in Paris with the Carons decompressing from all of my summer finalities. I’ll then spend two weeks at L’Abri in Switzerland where I hope to give two lectures: one on rediscovering beauty; one on the meaning of texture. Then I have been granted a four week residency at the International Institute of Puppetry in Charleville-Mézières France.
At that point several things will happen: I will give a presentation on the state of this Gravity From Above documentary project. And then there is an important moment for both the life of the project and my own future. I don’t know how they will decide. (There have also been changes in the leadership since I was last there.) I will also interview more students for the project as well as do more research on the project especially for older imagery and cinematic images. All in all it looks to be a time to keep an eye on.
Then at the beginning of December I will travel up to northern Germany to visit good friends and then slingshot over to Prague for my final Gravity From Above interviews and images. Then I will return to Paris to wrap things up to go to Tbilisi, Georgia on December 14th.
When I arrive in Georgia I will immediately go to work getting ready to edit Gravity From Above on professional equipment. I will also check in with Nini Sanadiradze at the The Union of Tbilisi Museums at start to prepare for a tojina conference in late January. And thus my new life begins.
Watch this to be mesmerized by the dancers at Erisioni that I saw last March.
And so is this the finish line for Gravity From Above? Maybe. Or close to it. The end is in sight though. I still have to get my translations done. I still need to get music composed and recorded. I’ll probably need a few shots that I forgot about. I will need to get the films and their rights. But that’s what I’ll be working on from October to January. And how much of what gets done depends on what the International Institute of Puppetry provides.
Oh! And then there is trying to get the thing seen!!!
And so maybe there is more left than I thought. But we are certainly closing in on something!
And dear readers, friends and puppeteers I still need your support. The challenge isn’t over.
But thank you so much for helping me get this far.
August 26th 2018
And so it was finally a time for farewells in Tbilisi after three months in Georgia. I had made many new friends and reacquainted myself with several of the old. Yet there were a few missed folk. I did not spend time with Mariam Elieshvili, Nina Ananiashvili or the Sukhishvili Dance troupe of again for various reasons. But I did make several friends this time that I hope to take with me into the future. And it was time to say au revoir to some of them.
On the day of my emotional farewells to Erisioni I had one more important meeting. My apartment had been rented to me by photographer Mariam Sitchinava and her husband Kote Khutsishvili. They had been excellent hosts all along. And early in my stay on Vazha-Pshavela Avenue Mariam had invited me to meet her at the Book Corner Cafe down by the Mtkvari River. Meeting us there was a friend of hers, Nino Vadachkoria. Mariam pointed out that Nino was a surgeon, then I discovered that she had been earning a further degree in neuroscience. At some point she turned to me when she realized that I knew something about music and asked if I knew about the music of Moondog, an outré question if ever there was one. Of course I knew his music, few other Americans would have. By the end of our conversation I discovered that Tarkovsky’s Stalker was her favorite film, as it was mine. And she pointedly asked me questions about what I thought life meant. Well that was enough to cement a friendship almost on the spot.
We had had several other meaningful discussions over the course of my time in Tbilisi and this evening we would be meeting at a cafe that another friend, Tinatin, had introduced me to, Keto and Kote. And so we met for another of our impossibly full discussions. But this time our conversation was tinged with the knowledge that I would be leaving, as well as coming back one day in the near future. Instead of challenging me about my ideas, she asked more about my rather convoluted personal history. By the time we were finished she had given me a white woolen cap, white was for the village leader she said, obviously paying me a very high compliment. In the end after a walk down to the Rustaveli Metro, where I would be disappearing into the ground, she very clearly demonstrated deep emotion too. Yet another powerful farewell moment on this most memorable of days. Alaskans have many admirable qualities. But final gestures are not really in their arsenal. These parting moments were something I treasured in my heart, something I had been missing, nay needing. (We’ll see what the Alaskans do in September.)
But I wasn’t done. I had already said goodbye to John Graham, an American musicologist whose area of expertise was Georgian liturgical music. He sang in the choir at the Kashueti Church, his Georgian wife Eka was a musicologist as well with whom I got along quite well. After long discussions about Georgia, music, tourism, the Orthodox Church and life in general I found I had made a good friend. He was no longer romantic about Georgia, yet very clearly was quite committed to the country. I met him at a cafe shortly before I left where we had a good final talk. He was glad that I would be moving back and had much practical advice for me to ponder. We would see each other again.
One person that I had tried to connect with throughout my stay and finally did was filmmaker and now good friend Tinatin Gurchiani. I met her at Keto and Kote, which it turned out had once been in her family. It had to be sold off during the turbulent Nineties. But she still retained a fondness for this beautiful older Georgian building, like one of Elene Akhvlediani’s paintings. We sat in a latticed indoor terrace. Tinatin had been my benefactor last time back in 2016, making arrangements for me, introducing me to people, generally treating me with good will and hospitality. This time I had made my way largely without any help from her. We met as old friends, discussing our various film projects. I explained that I had been attracted to Georgia more and more as a possible place to live. (I hadn’t yet been offered the puppet and doll museum job yet.) And she was encouraging of the idea in a wise sort of way. Knowing that it would happen if it should. We parted as very good friends. I felt her to be a sort of guiding soul. It’s hard to explain.
I had already said my farewells to Nini Sanadiradze, the Director of the Union of Tbilisi Museums, while I had been performing a few tasks designed to help me return as permanent resident in late 2018 early 2019. I had also said farewells to Ana Sanaia, who had also been so helpful and almost directly led to my being offered the tojinebi museum job. (See this essay.)
On my final day I had several more people to see. Mariam and Kote picked me up at the apartment and drove me over to the Marjanishvili area. We spoke on the way about my stay there. They had been glad to have me and from my perspective had been most excellent hosts. We met up during my stay a few times. They personally helped when the door to my apartment got jammed. And I was also invited over to their place for my first supra. I believe I acquitted myself fairly well. Kote’s father even paid me what I took to be a very high compliment, that I had toasted like a Georgian. I said fond farewells and then took my belongings over to Tsinamdzghvrishvili Street to stay one last night at Tamuna’s house.
I then made my way over to the basements of the Rustaveli Theatre to say my farewells to Budrugana Gagra. I had already told them that I would indeed be not only returning but coming back to live. And so when it came time to bid adieu to my creative home away from home, which Gela Kandelaki had been sharp to point out was really my home since I no longer had a place in Alaska, I watched several practice sessions with the troupe, marveling that these strangely balletic shadow puppeteers had been not only my friends for my entire three months this time, but most of them had been here in 2016. Gela had asked me to call him bidza, uncle, Gela. And he called me “my boy” chemi bichi” since he was older than I my some measure. And this was quite an honor. I waited for Gela to come in, and when he did I said my farewells, this time receiving much warmth and wishes for a quick return as he took me by the arm. The rest all gave me kisses on the cheek or sometimes hugs. And again I was touched by the genuineness of the emotions and gladness that I was indeed returning to stay.
I had yet one more appointment on my last day in Tbilisi. I waited until the early evening to drop in on Vladimir Lozinski, an Australian with a French diplomat wife, who had done news media freelance work for ABC, NBC, CBS, and the BBC among others. He was a great font of information about the area and I don’t mean tourist information, I mean the kind of scuttlebutt often swept under the rugs. And so he had given me a sense of reality about the world I was considering to make my home. He’s the kind of guy with endless stories, wide and usually fair perspectives, lots of strange encounters. As I stepped into his flat to share a cup of tea I nearly stepped on a skinned brown bearskin, complete with head and teeth. He apologized. “What can you do when you are given such a gift by Chechens?” Not offend them. That’s for sure. We discussed the practicalities of my return to Georgia. As usual he was filled with wry comments and even a few warnings. When I asked if he thought I should move here he heartily concurred. He thought it was probably an excellent thing for me all round. We said warm farewells. I had made yet another good friend that had an eye on things that could be very useful in many a moment.
I finally returned to Tamar’s Guesthouse, my original point of entrance back in 2016. I said a kind farewell to Tamuna early in the morning and her son Shako drove me to the airport for my 4:50am flight. Shako was also quite glad that I was returning and he gave me a warm parting hug as well.
And so my three months sojourn in Tbilisi was over. And my life would never be the same. But I wasn’t done in Europe yet. I still had to get to Paris, depart for Seattle and arrive to what in Alaska. So come back for the final chapter of this adventure soon!
I had been watching Erisioni practice their singing and dancing for nearly two months, taking photos, shooting video, when Otari Bluashvili, the company manager, invited me to travel with them on a short tour into the nearby rolling mountains to watch them perform a partial show at a retreat center called Bioli. This would be a chance to see them in full costume, which thus far I had not had a chance to witness. The date, March 24th, the last weekend of my three month sojourn in Georgia, it would be a good final event to end my stay in Tbilisi.
I arrived in the early afternoon at the Erisioni studios on Rustaveli Avenue. Dancers, singers and musicians were milling around. There was good natured vibe to the milling crowd. But not everyone was there. Several dancers were not needed because the performance area was not that large and the show only half as long. A car had arrived and the performers were taking the traditional Georgian garments and carefully placing them in it, especially the women’s dresses. As I looked around I noted Irakli the dancer and Irakli the garmoni (Georgian accordion) player, Toko and Lasha, a couple of the very high voiced tenors, the dancers Nina, Gvantsa, Neolina and Mari were there. Also present was Levan the male choreographer, Eka the women’s choreographer, Shermandi the choirmaster, Otar the manager and Jemal the Chief Conductor, who was really the head of the organization, whom I remembered from the original Georgian Legend DVD, where I first learned of Erisioni.
Eventually a massive white modern bus pulled up and we entered, all forty or so folks. Several dancers and musicians had to stay back since it was a small show, otherwise the number would be over fifty. I sat near the front and looked back on the troupe, took a few photos and we drove up into the rolling mountains south of Tbilisi to Bioli a ‘Medical Wellness Resort’. The mood on the bus was like a high school field trip. They hadn’t done a show for a while so it was a chance to get out into the world again. The journey covered about 15 kilometers and took about a half an hour, all up hill, as we ascended from Tbilisi’s 450 to 760 meters (1,500-,2,500 ft) to Bioli’s 1,200 meters (3,930 ft). At last the sign for Bioli emerged along the road and we drove down their dirt road to a rather futurist looking set of structures.
The Erisioni folk seemed to know where they were going so I tagged along. The women were give a large golf cart vehicle to travel in. I entered the domed main building. Evidently tonight’s performance was to be punctuation for a business awards ceremony of some sort that I never did fully comprehend. But I wasn’t there for the proceedings, except as it pertained to the Erisioni troupe. Before changing into their costumes they practiced briefly in order to ascertain their ability to move. The performance space was actually small considering the expansiveness of the dances. Sophiko Khachidze and Tornike Gelashvili danced gracefully in their street clothes. Others moved around them. It was tight but it would work.
I then followed the performers into the back dressing rooms, which of course were far too small for so many people. But no one was complaining. Every dancer, singer and musician had traditional clothes. This was the first time I had actually seen them wearing them. The clothes were expensive and needed to be protected from excessive wear. So rehearsals were always done in their black dance garments. But now for the first time I was seeing the Georgian finery I had seen in videos and photos. Most of the men wore variations on the chokha, the distinctive coat with cartridge sleeves lined across the front. These now mostly carried ornamental cylinders. Male dancers however usually had several various regional costumes to change into during the course of the evening. The women’s dresses were even more elaborate, often featuring regal caps and flowing veils. They too changed during the evening to represent the regions of Georgia. All in all quite the sartorial spectacle.
Another interesting aspect was the makeup applied by the women to emphasize their eyes, heavy eyelashes and strong cosmetics. This of course was to communicate across the distance from stage to audience under hot lights. And when they did this they became almost unrecognizable transforming into ikons of Georgian culture, as did the men in their way, shaggy wool hats, swords, special boots for jumping on their toes, etc. Fascinating to observe. Before the performance we ate some lobiani, a flat bread filled with beans, a light snack for energy but certainly not a full meal. But soon it was time.
They went through a couple of songs then paused for presentations and awards. This continued through out the evening. Their were several professional photographers and videographers there. I left them to capture video of the show. They were much more aggressive than I. And besides I was interested in something else. I care more about the personalities and their process to become these incredible dancers and singers. And so I turned my camera mostly on the backstage between numbers, the quick changes the tired bodies and the characters of many people who were, even without language becoming friends. All the time I couldn’t help but feel honored to be with them as one of the crew, not merely as this guy from the outside, from another country.
When the entertainment was over I looked down the undulating hills to lights of Tbilisi glowing from a distance. We drove back in the dark, Somewhere in the back a few singers were singing a song together. And everything was good.
In two days on Monday I went into the Erisioni studios on Rustaveli Avenue to say farewell. I wasn’t sure if I would film or not. But I did. There were Turks there who wanted to see them for a tour. So I had a chance to watch the full performance one more time. This may have been the best show I had seen yet. And I was much more able to follow their movements with my camera. Although I am still kicking myself, because although I was able to follow the sword dance perfectly, and thought the footage would be my best. I then looked at the camera, I had forgotten to press record. I shook it off and captured the finale. (Which can be seen here.)
At the end, before everyone left, I asked Otari to allow me to say farewell to the troupe. He spoke and more than fifty pairs of eyes looked at me. And I realized how meaningful this experience had been and how in so many ways I had become close to these musicians, singers and dancers who put so much into their art. I tried to speak but choked up. And they loved that! They burst into applause. I tried to speak again and it proved quite difficult. And again they cheered and clapped loudly. Otar at one moment leaned over to me and said “They think you are one of us.” It was because I had shown deeper emotion. Finally I told them how much it meant to spend time with them and that I was actually going to be moving to Tbilisi within a year. And they applauded rhythmically for some time. I was overcome with joy.
Before leaving I managed to get a few photos of all of us together. And then as they left I received many kisses on the cheeks and not only from the girls. I had gone past being a stranger and was warmly embraced in a farewell gesture that I have never experienced before. I felt privileged to spend time with this incredible collection of musical artists. When they put on their costumes they became mythic representations of their culture. But you know I think I prefer watching them in rehearsals because then I see Tornike Akhalaia spinning like a top and landing on his knees and springing back, Lika Tsipuria practicing her delicate turns over and over and Lika Chikhelidze dancing like a swan, Shota Gongadze effortlessly cool as he struts out to dance and play the drum, the male singers shaking the walls with the force of their sound, choreographer Levan Kublashvili suddenly breaking into a dance just because the music strikes him. I am impressed to see them practice because I see the humans behind the mythic symbols of Georgia and I am amazed to be counted as a friend.
But I was hardly finished with my farewells to my friends in Georgia. I will finish this story next time.
I had found the location of Erisioni, the traditional Georgian music and dance troupe as I was walking down Rustaveli Avenue (see this story). I stopped and read the word on the side of a wall where I had a vague idea that they were located. I knew just enough of the Georgian alphabet to slowly read the script. It looked like this: ერისიონი. The official office was closed but I knew that this was the place. And I knew to return someday closer to noon. So at the beginning of February I came back. I readied myself to be misunderstood and to misunderstand as I tried to get passed the language barrier. I entered the darkly lit building and carefully stepped up the paint cracked stairs where I could hear music joyful filling the building. Accordions (called garmoni in Georgian and tuned in a natural state) were releasing the expressive melodies to the pounding of the doli, a handheld Georgian tom-tom drum. Instructors were calling out to dancers from behind an old door in the ornate cavernous building. (For a look inside another section of this incredible structure read this.)
I had been told that the offices were on the 3rd floor by a girl speaking broken English in my first trip. And so I continued on up the aging stairs. One problem, if this was a European reckoning of the floors then the ground floor was the not the first floor. But suddenly I was at the third floor in America and the second floor in Europe. And the stairs ascended no further. And so I stopped at the top. Incredible male voices rang out from behind one massive door. Then there was another old door opposite. I cautiously entered. I said Gamarjoba (Hello, but literally Victory!), then tried to let the woman at the desk know that I spoke English. She then allowed me to enter the heavy dark wood door behind her. And I was greeted in halting English to Jemal Chkuaseli, the venerable Chief Conductor and head of Erisioni, a man I remember seeing on the Erisioni ‘Georgian Legend’ DVD, which had been recorded in 2002. He was pleased to meet me and shake my hand. Soon I was joined by another man Otari Bluashvili, the General Manager of Erisioni, and the man who really handled the day to day affairs of the troupe. Otar spoke English well. And so I explained that while I was currently working on a documentary about puppetry in Europe I had an idea about eventually doing a documentary about Georgian music and dance. They were pleased to hear it. And they graciously gave me open access to the practices and rehearsals.
They immediately walked me across the hall to where 15 or more men were just beginning a second practice session for the day. The men greeted me and then Jemal conducted them in an ancient hymn, a song so profound that I could feel the hairs on my arm raise. Eventually they sang more songs affiliated with the actual show. Jemal let his son the actual choir leader Shermandi Chkuaseli resume his duties. The strength of their voices overwhelmed the emptiness of the large room. It was a sound that physically effected my body as well as my essential being. No performance on a stage could be as powerful. There were no microphones here. Just an oceanic swell of vocal vibrations. It was an excellent introduction to a few of the people who would inhabit my world for the following two months. The next day I would beyond that door hiding the musicians and dancers.
I arrived to meet Otar. I told him that I would not be trying to photograph or film the practice yet. I just wanted to take it in without putting something between myself and the experience. I am appalled when I find people at a concert or some other unique event and they are present yet hidden behind devices to capture poor video of something that they will look at only briefly and then never again. One is only present in reality once. And this is a principle I try to follow as often as possible, even when visiting puppet theatres. Even when I am recording it I try to watch the real show more than the my little screen. Or else what is the point?
Thus I was invited through the door where I would spend many hours in the subsequent two months. The dancers were stretching and and leaping, twirling and jumping in preparation for the rehearsal. Musicians were playing short bursts of well known tunes. They were about to run through a complete hour long version of the show. And I was sitting directly in front of the center of the hall. The nearest dancer would land a less than a meter away. A few other people were also watching this with me. Otar was sitting next me to explain a few things. Soon it was showtime.
The performance was like an explosion of dynamic rhythm and melodious charging sounds. It was a ritual I would watch many times. And eventually I was able to understand the order and rhythm of most of the dances. Though occasionally they would switch one dance for another that I hadn’t seen yet. An official live concert would run to more than an hour and a half. All of the performers would be in traditional dress. The men in chokhas, the women in the many complicated styles of regal dresses with headdress and scarves. But here they were dancing in their black practice clothing.
Lines of men and women swarmed the stage. Shota the dancing drummer came out. Male voices filled every cornice of the grand hall. Three garmoni played a bold tune as drums and a bass guitar hit a driving beat. Suddenly there were sharp turns of melodic structure, fragments of harmonic dissonance. The male voices sang songs like yodels, songs that seemed to emerge directly from the earth, Songs like locomotives building steam as they careened down the tracks. Eventually there were numbers that featured the women, who seemed to float across the studio, men who stamped and jumped and spun. One man seemed to be able to turn like a spinning top all the while jumping on his toes. Another young wiry dancer named Tornike seemed to spin off into the air and land on his knees then coil up again from his knees and back down again like a slinky toy. The men danced with a ferocity and daring that had obviously been developed in years of warfare as Georgia has been the endless target of invaders for millennia. Meanwhile the women seemed to be on another plane altogether, which fairly sums up my observations of Georgian culture. The women were grace and beauty incarnate. And one interesting point in all of this. Though the men and women dance together in this show, they rarely, if ever touch. And that again says something rather instructive about Georgian culture.
I would come back over and over again. I would watch individual dances repeated and repeated. I would hear the songs the shook the room. One singer Ilia had a voice that could shatter glass. Eventually Shota the drummer came up to me and asked for a photo. So did Tornike. And in fact most of the singers became curious about what I was doing. Nina spoke more English and was able to talk with me a little eventually more and more dancers and musicians approached me. And when I made an online album of about 200 photos I became everyone’s friend. Eventually Otar would ask me to come along on the bus with them for a small version of the full dress performance. But I’ll save that story for another time.
Meanwhile I’ll say this, if this had been my whole experience with Erisioni I would have considered myself extremely fortunate. Yet there was indeed more to come!
დიდი მადლობა ერისიონის ყველა ჩემს მეგობარს.
1 / 4 /2018
Meanwhile deep thanks to those who have contributed to this journey along the way. It would sound like a cliché to say I couldn’t have done it without you, but it’s the absolute truth! Anyone wishing to help out too can easily using the PayPal link below. Thanks, Byrne
One of the things I’m attempting to do while in Georgia is to explore the culture to understand where the music, the dance and the puppetry comes from. In order to do this I find myself haunting some fairly out of the way locales. And that means finding museums that are not only ‘off the beaten path’ but almost abandoned. It’s weird to find yourself being the only person in a museum for over an hour. And these are ‘national museums’ and certainly listed as such. And yet when I arrive it seems that the main job of the friendly museum staff is to care for the treasures that they are sitting on. I’m also imagining that in the summer they get a bit more traffic than I’ve seen so far. And I hope they are getting school field trips and other purposeful visits as well. And yet as I open these cabinets of curiosities I am frankly entranced by what I find. And when I pay a few lari more I can get a personal guide to walk me through the collection and explain everything to me in the most knowledgeable ways.
The Quay Brothers once told me that it wasn’t simply that they were attracted to puppets, rather it was the discarded things found at the fringes of art and society, the cultural marginalia, that inspired them. And I seriously understand this. To say you’ve been to Europe and that you’ve seen the Mona Lisa means almost nothing. Especially when you’ve entered the Louvre along with thousands of other visitors only to stare for a few moments at the small painting ensconced behind bulletproof glass and surrounded by endless quantities of tourists taking videos and selfies of the experience rather than actually seeing the thing itself. I get the same feeling when someone tells me they love films, then go on to list popular fantasy and science fiction films that quite literally 90% of earth’s population has seen. It all becomes part of what Walker Percy describes as a preformed symbol complex, making it nearly impossible for the average person to actually see the Grand Canyon or the Colosseum, even while standing before them. Thus those who really are able to grasp meaning from art or culture are not those who will wait for hours at the most recent super show at the Met, rather it is those who can stop and gaze at the patterns of embroidery on a regional costume. Those able to see through the musty scratches of an old silent film. Or those willing to find arcane treasures in forgotten museums.
In some sense every museum in Tbilisi, Georgia, is already obscure by the standards of present day art and relic consumption. How many Americans could tell you who Niko Pirosmani is? And he is the most important artist from Georgia. Not to mention Lado Gudiashvili or Davit Kakabadze? Few indeed. But then again how many of my fellow citizens could even name a living artist? So even the most prestigious galleries and museums in Georgia are, by definition, marginal outside of Georgia. But I will save a discussion of the art for another essay and will only incidentally mention it here. (For more on Georgian art and culture follow this link.) (And since I have already written about my encounter with the Stalin museum elsewhere I leave aside that visit here.)
So let’s dive off the edge!
One of the most consistent features of these strange little Georgian museums is the fact that they are rarely advertised or even well advertised, even on the buildings they inhabit. Consider the most recent museum I discovered: The State Museum of Georgian Folk Songs and Musical Instruments. Sounds pretty interesting no? Especially if music interests you. So I walk up a street out of the way off the main tourist route. I’m looking for a sign. I see a little sign. So I turn towards the sign. Nothing. I walk a little into a passageway. What would you expect if you were looking for a museum? Not what I found. I basically entered a backyard, descended steps, and did not feel at all that I was about to enter anything resembling a museum. (See photo below.)
I enter the building to find what I always find in these odd museums. Police guards. Who seem to be on the most boring duty imaginable. No one else. Nothing that immediately suggests museum. Just police. It was the same at the silk museum, and at the various small art museums. They must be there for a reason! But they usually look at you as if to insinuate ‘What are doing here?’ When I say something like ‘Museum?’ they point further back into…. what? I never know. I don’t know which way to turn. I am obviously the only person there who isn’t being paid something by the state. But then this is where the interesting stuff starts to happen. I find a closed door with people behind it. I motion at them. I hate to disturb them. Then they look at me as if to say ‘Did you want something?’ I say ‘Gamarjoba’ (‘Hello’ but literally Victory!). And ask if they speak English. Then offer to pay the entry fee. Which sometimes leaves them scrambling for something resembling change. Am I the first person today? And it’s an hour and a half until closing time! The fee is usually about 3 to 5 lari; less than two dollars. This time they asked if I wanted a guide. And this time I said Yes! And so they asked for 5 lari more. And so at the State Museum of Georgian Folk Songs and Musical Instruments my guide was a friendly and knowledgeable woman named Eka.
She started to walk me through the exhibits explaining to me the various instruments, how old they are, where they are from, and what they do. And then she is pleasantly surprised to discover that I am not your average tourist. But then again what on earth would the ‘average’ visitor to this museum be like? Nevertheless it is clear that I already know more about Georgian music than 99.9999% of all non-Georgians. So she gives me even better information than I was expecting. And then she stops and plays an old 78 rpm record of the song Tsintskaro on an ancient wind-up Victrola. Later she starts the mechanism of a street barrel organ, opening it to show the barrel and pin as it plays. Eka even sits to play an ancient Georgian church melody on an antique wheezy German foot pump church organ. Now that is five lari well spent!
I also managed to locate the Georgian State Museum of Folk and Applied Art in the old town. Again I enter it takes fifteen minutes to make change for 20 lari. They did let me start looking at the museum as they were sent into a spiral of questions amongst themselves. (Am I the day’s only visitor again?) But soon I find myself drifting through Georgian carpets, traditional costumes, intricate parasols, and beautiful porcelain tea cups. And they were featuring a special exhibit of primitive paintings by random Georgians of Shota Rustaveli and Queen Tamar from the Golden Age of Georgia’s Medieval Period. Fascinating stuff. (Click on the photos to open up the images.)
By far one of the most unusual experiences I had was at The State Silk Museum. First of all read that title again: The State Silk Museum. What could that be? Are they showing silk fabric? Well yes. But you see Georgia was a major stop on the Silk Road. And like Lyon, Tbilisi was a silk manufacturing town. And so not only was this a demonstration of fabric… It was also a display of silkworms! And all things sericulture. This is the kind of place Guillermo del Toro could only dream of. The lights were off in the cold museum and they turned one on and told me how to turn the rest of them on. Half of this museum was dedicated to silk cocoons, silk caterpillars in glass, and strange devices for silk harvesting, all in dark wood and aging glass cases from the museums opening over 125 years ago. And there was a whole room dedicated to mulberry shrubs, the silkworm diet. And did you know that silk quality depends on the mulberry quality? I didn’t. But my faithful guide Mariam did. She knew more obscure facts about silk than I could possibly ask. But somehow we ended up talking about music. It is Georgia after all. And not only is she conversant sericulture but she is a musicologist as well. And as our conversation veered from Jimi Hendrix, to Bach, to John Cage, to Bernard Herrmann she kept up eagerly with all of the twists and turns. I can’t even begin to tell you how many discussions about music I’ve had here. Worth all five lari I spent on the day!
Oh and speaking of obscurities, while visiting the musical troupe Erisioni (Be patient for that one!) I met a former BBC, NBC, etc cameraman, documentarian, an Australian of Ukrainian heritage named Vladimir Lozinski, who would later fill me on the turbulent politics of Georgia’s post-Soviet history. He had heard that there was a locked door in the building Erisioni rehearsed in. So he managed to get the room opened up while I was there. And we entered. This was genuinely a surprise. The vast chamber had been a movie theatre prior to the fall of the Soviet Union. Ornate designs were encrusted on the walls. But in the 90’s the Georgian Civil War, raging on the streets of Rustaveli Avenue below us, had destroyed it. The floor was dirt and debris. But the walls remained magnificent. We were allowed to take all the photos we wanted. And I could only hope that someday this along with many other structures would be restored… And not removed by the powers that be to build some hideous postmodern monstrosity.
And of course the most mysterious museums of all were the ones I most want to see. The puppet museums! A few days ago I sought for the illusive Tbilisi Puppet Museum, which supposedly was not too far from the Gabriadze Marionette Theatre. I didn’t find it. Today my friend Elene Murjikneli from Budrugana Gagra explained why. One day it was simply emptied out. Then the building was torn down. And now in its place stands sterile contemporary architecture housing a hotel. And what happened to the puppets? No one knows. The puppeteers didn’t know. Were they stolen? Hidden? Buried? Sold?
And finally there is the most mysterious museum of all which I discussed in my first visit to Tbilisi in 2016. The Animation Puppet Museum. Does anyone know that Georgia used to make puppet films in the Soviet Era? All I ever found was a corroding sign on the door. But!!! Now I have good news. The daughter of one of the animators has contacted me. And will open the doors of the museum soon… Just for me.
Speaking of the marginal and magical: Really I don’t need anyone else to come find me here. I’m fine. I’m happy with empty museums in this mysterious place.
But do come back soon to read my next adventure.
16 / 2/ 2018
PS. The way things are going I’m pretty sure I’ll be counting my tetri (Georgian cents) in March. The financial losses I took at the beginning of my journey are starting to become apparent. If you are appreciating this reportage from the other side of the world then you can be a part of it by using my PayPal account to contribute. It’s safe and easy to do and anything would be helpful. Thanks! Byrne
I stopped in to visit my friends at the hand shadow puppet troupe Budrugana Gagra, of whom I have written about in the past and will do so again before I leave Tbilisi. It was a day when various things had conspired to make life somewhat quiet for them. But I had been told by Elene Murjikneli that I could have a tour of the building that they were in and that was the prestigious Rustaveli National Theatre. So she took me over to the elevator from the basement in a newer connecting building and we began our tour. I had already had a glimpse of the theatre when I went to watch Budrugana Gagra perform in what was called the ‘small room’. The ‘small room’ was an ornate space holding over 280 people and was larger than the Chilkat Center for the Arts back in my hometown of Haines, Alaska. But compared to the main auditorium of the Rustaveli Theatre which held 800, it was, I suppose, small.
The Rustaveli Theatre was original built in 1887. With a couple of additions since then. Besides the main hall and the small stage there was also a black box stage as well as an experimental theatre. And the place is labyrinthine and elaborately decorated. Elene first took us up five flights and then we took another elevator to a floor below the roof. We walked through a window and suddenly were standing in a gutter outside overlooking the city. Not the place for folks with vertigo. It was lightly sprinkling and the metal at out feet was wet, yet it was an unforgettable view. Tbilisi spread out beyond us, including modern buildings, older rustic structures, Soviet era apartment blocks, and the current president’s house about a block away. She almost took me all the way to the highest part of the roof but the slipperiness of the sheet metal made that a dodgy proposition. We did climb into another strange rooftop room with a curious round hole in it before descending into more chambers.
We stepped onto the stage of the theatre which was set up for performances, and then I had a chance to see the main hall. Wandering around any theatre is always a treat, because the mind begins to wander dreaming up possibilities for events to be staged. We walked through another oversized hall that was grace with theatrical props and memorabilia. Before long we came to the front of the building, where the Rustaveli Avenue traffic could be seen through thick doors of wood and glass. We then descended…
Underneath the front entrance there had once been a cafe sponsored by the Artists’ Society that had founded the theatre. It had been a serious artistic and literary hangout in the early 20th Century up until the period of Georgian Independence ended in 1921 (See Georgian Lessons #7). Artist like Lado Gudiashvili and Davit Kakabadze had painted the walls. The Soviets in their passion to cleanse any trace of the bourgeoisie had painted over their frescoes. Yet traces of that older heritage could be discovered. Elene took be through a dark passage. She told me to look at the walls. Suddenly I saw the walls were covered by a painting from door to door from ceiling to floor. I took a few flash photos to capture the experience.
We then walked into a darkened area that was filled with passages and and heavy stone pillars. And Elene said that there were even more chambers below that were locked away from us. She said there was one theatre worker who knew all of the hidden secrets of the Rustaveli. And I was thoroughly captivated by the subterranean dark. But eventually it was time to thank Elene and to move on back out to Rustaveli Avenue.
As I was walking down the street I stopped at a sign in Georgian script. My comprehension of the Georgian alphabet now is now nearly complete. I read the word slowly to myself… ე რ ი ს ი ო ნ ი. Erisioni! I had found the home of the musical singing and dance troupe Erisioni. I had originally seen their DVD, Georgian Legend, which contained beautiful songs and astounding dances. I had been looking for them. And I knew they were somewhere in the area. I had walked by this old building dozens of times. There was no Latin script. But I had indeed found them. I walked inside of the dimly lit austere building. If the guys at the door were guards of some sort they didn’t seem to notice me. But then again I learned a while ago here always walk passed the various guards like you know what you are doing. Evidently school classes were on for singing and dancing. Students were coming in. I walked up the old cracking stairs in the darkened chamber and feeling a bit lost I eventually stopped a girl who looked friendly too ask her she spoke English. Not well, but well enough to tell me where the office was and that they weren’t there now. And so I would come back. (And I did but that’s an entirely different story but here’s a little preview.)