Traditional Dances of Azerbaijan

Azerbaijani dances draw on several centuries of history in the Caucasus region, where many ethnic groups once coexisted before the Republic of Azerbaijan was formed. Located on the ancient Silk Road, at the crossroads linking its great neighbors — Turkey to the west, Iran to the south, Central Asia to the east, and Russia to the north — the Caucasus is distinguished by its remarkable ethnic, linguistic, and cultural diversity, a reflection of its often tumultuous past.

These dances originate from ancient folk rituals held during events such as hunting, wedding ceremonies, spring celebrations, and more. Later, in the medieval period, various types of dances were developed at the courts of Eastern kings. They fall into several distinct categories:

• Work dances, such as Chobani — the shepherd’s dance — and Məhsul, the emblematic harvest dance.
• Ritual dances, such as Vagzali, performed by women during wedding ceremonies, and Yalli, a very ancient circle dance handed down from time immemorial. This latter includes variants such as Kochari and Tenzere, inscribed by UNESCO on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding. These collective dances symbolize energy, solidarity, and the rhythm of life. Some versions are performed by both men and women, others exclusively by men, incorporating elements of pantomime, pastoral play, or physical exercises.
• Military dances — Djenge, Gaytagi, Igidler — performed by men, expressing bravery, strength, and heroism.
• Traditional women’s dances, such as Terekeme (named after a tribe), Nelbeki (dance with small saucers), Qaval rəqsi (dance with qaval, traditional tambourine), Turadji (inspired by the movement of the black francolin, a symbolic bird), and Sarı Gəlin, whose title may be translated as “a bride in yellow” or “a young / blonde / beautiful bride” — a dance imbued with softness and nostalgia.

There are also mixed dances (men and women), such as Uzundere, whose name literally means “long mountain gorge” and refers to a gorge in Karabakh, as well as the emblematic male-female duet Naz Eleme, named after an Azerbaijani expression meaning “don’t be capricious.”

These dances differ greatly depending on whether they are performed by men or by women. The usual rhythmic timing for women is often in 3/4 or 6/8, while for men it is generally in 2/4, sometimes in asymmetrical meters such as 5/8 or 7/8. Their development has been influenced by traditional costume: the long women’s skirt guides the movement toward precision in the steps, while emphasis is placed on the upper body — the head, arms, hands, and even facial expression. Some very fast dances are performed exclusively by women.

By contrast, men’s dances — as in most of the Caucasus — are characterized by fast, virtuosic footwork. Movements are often acrobatic, technically demanding, and reflect the energy, strength, and precision of male interpretation.

Traditionally, Azerbaijani dances are accompanied by national instruments such as the zurna (double-reed flute), the kamantcha and tar (string instruments), and the nagara (drum).

Traditional Dances of Georgia

Situated in the Caucasus, Georgia (endonym Saqartvelo) takes pride in its history and its rich, ancient culture, in which traditional dances play a vital role as part of the country’s cultural heritage. Reflecting ancestral traditions, religious rituals, diverse customs, traditional music, historical events, as well as the geographical and linguistic diversity and the natural character of the Caucasus, Georgian dances are both highly complex and remarkably varied, with a style unique in the world.

Each dance has its own story — wedding dances, war dances, mountain dances, romantic and festive dances, dances of the aristocracy or of merchants. A few examples:

• Kartuli, a courtly and romantic dance, among the oldest Georgian dances, widespread across the country. Here, the man dances with dignity and majesty, like an eagle, his gaze fixed on the woman, who is graceful and delicate, gliding across the floor like a swan, always looking downward, arms extended, symbolizing the affection she bears him.
• Acharuli, a joyful and festive dance from Adjara. Men and women dance together in a more informal, playful manner; the men’s quick movements contrast with the women’s softer, more fluid ones.
• Mtiuluri, a mountain dance, vividly embodying the warrior spirit of the Caucasus highlanders. Men’s movements are strong and forceful, evoking the clashes of battle, while women’s movements are rapid yet graceful and elegant. The famous technique of dancing on the toes is used here, but with curled toes.
• Kintoouri, a city dance that depicts the kinto, a seasonal merchant of old Tbilisi. Light and comical, the dance features movements that reflect the extravagant and daring character of these merchants.
• Samaia, a gentle women’s dance dedicated to Queen Tamara, symbolizing the three stages of her glory: the young princess, the wise mother, and the powerful queen.

Step by step, students learn to engage their whole body in harmony with the styles and techniques of Georgia’s diverse dances. One goal is to master different choreographies for stage performance, but also to feel at ease dancing to traditional Georgian music at gatherings, or simply to enjoy the experience — allowing the body to breathe, offering it a “new breath,” a source of well-being.