The Fifth International Symposium on Traditional Polyphony ...

<strong>The</strong> Transnational Ancestry of Georgian Polyphony: Other Practitioners
of Traditional Georgian Songs and Narratives of the Past
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Of course, not all Georgian polyphony sounds so aggressive and there are many other songs subjects
and song types – like those of love, travel, work, and of celebrating and toasting – that need to be considered
when ‘reading’ for ancestry. So looking for song subjects or content about war or peace is not the only way to
understand how Georgian ancestry is heard in Georgian polyphony and we need to turn to the obscure readings
and in particular how conflict affected the musical practice and its aesthetic development.
As I have argued elsewhere, the musical tradition itself is built from a preservationist sentiment deeply
rooted in the Georgian psyche, a result of the conflict and fragmentation Georgians as a people have had to
endure over the centuries (Kuzmich, 2007: 2010). This manifests in two ways. First, the musical practice can
be seen as being part of a larger tradition of revivals within the land since the nature of reoccurring invasions
and conflict results in the need to rebuild and/or revive local culture. Furthermore, the ensemble tradition
(which is essentially the polyphonic singing tradition) was part of this local culture (which included literature,
the sacred singing tradition, and copper enamel among others) and most likely went through or was affected by
many revival-like incidents. Second, a preservationist instinct ensued and fuelled revival like activity, and thus
explains how the musical tradition in the capital today (which is organized by independent groups of dedicated
individuals who carry out archival/field research) resembles the tradition of 100 years ago in the rural regions,
which interestingly also involved archival/field research led by independent groups of enthusiasts committed
to the preservation of the folk culture.
<strong>The</strong> aesthetic development of the songs thus needs to be understood as part of this legacy and Christianity
plays a fundamental role in this. Very early on, Georgians had developed their own Georgian version of
Christianity, with their own sacred texts translated to vernacular form by the mid fifth century. This essentially
established a Georgian ideology that united the country, despite the numerous times the country would be
invaded and fragmented thereafter. It must also be understood that Georgian polyphonic songs are not chants;
they are not sacred music. <strong>The</strong>re are different words for song, simghera, and chant, galoba, and these are two
separate traditions – one vernacular and the other a highly revered profession; 3 however, the two traditions
could not help but influence each other, especially since there was never a differentiation between secular
and sacred language that existed for example in Western Europe. “<strong>The</strong> popular saying today, that the best
chanters were the best folk singers, reflects not only the relationship between the two forms of singing, but
identifies how the secular musical practice was influenced by a sacred, professional singing practice. This in
turn suggests an interesting path in the development of folk songs, one where highly skilled singers who were
also deeply spiritual individuals would foster the growth of the folk heritage” (Kuzmich, 2010: 152). And of
course, none of this influence would have occurred had Georgian Christianity not been a unifying ideology.
Philosophically, the Georgian Church as an early branch of Orthodox Christianity, is a more contem–
plative religion than Roman Catholicism or Protestantism. And arguably, given the Eastern Orthodox Church’s
non-hierarchical structure within its service and its church structure, a more democratic, even tolerant religion
(Ware, 1993: 1-17). When Georgian singers speak of God or Christianity, and they often do, it is done in a most
sincere, palpable way, without judgement or moral high ground. <strong>The</strong>se attitudes are reflected in their toasts to
God, which is always about the ability or the chance to love. <strong>The</strong> words of one very articulate ensemble leader,
Dato Udznadze, best describe it: “Tradition and religion are the same in Georgia. <strong>The</strong>se are what have saved
us. It’s a kind of lifestyle. This type of tradition passes on love, kindness. <strong>The</strong>se are the fundamental elements
of religion” (Dato Udznadze, interview with author, Tbilisi, 2005). Perhaps this is the ancestry Georgian
polyphony is performing.
Udznadze recognizes Christianity’s role in Georgia’s war torn past was to unite the country and maintain