Strength is in Unity: The Tradition of Feast
Oral tradition has always relied on a skilled storyteller and a receptive listener; without sharing, it could neither endure the centuries nor thrive with diversity. The culture of Akhmeta has always been extroverted, rooted in the ideas of collective creation and shared experience. This essence finds its purest expression in public celebrations of the region.Traditions of abundant festivals, holidays, and sacred feasts through centuries have formed an unbroken chain that continues to this day.
Alaverdoba
One of the most impressive celebrations of Akhmeta is Alaverdoba, a festival tied to fertility and the harvest season. Since its establishment, it has grown as monumental as the legendary walls of the 11th-century Alaverdi Cathedral itself. The feast was held in honor of St. Joseph of Alaverdi, the monastery’s founder, and over time, it became one of the longest Christian celebrations, beginning on September 29 and lasting three full weeks. From the 16th century onwards, Alaverdoba became associated with the Exaltation of the Holy Cross, after King Levan of Kakheti brought a relic of the True Cross from Jerusalem to Alaverdi. This historic event elevated the festival’s significance even further. The festival, rich with syncretic beliefs, wove together Christian and pre-Christian elements, and had a cyclical nature encompassing the beginning, middle, and end of Alaverdoba. The celebration would draw 15,000–20,000 peopleto the expansive courtyard of the Alaverdi Cathedral, or beyond its walls at the foot of the snow-capped peaks of the Caucasus on the Alazani Plain. Pilgrims came from far and wide, traveling overnight to pay homage: Kakhetians, Kartlians, Ingilo Lezgins, Armenian Gregorian Christians, Didoians, Ossetians, Tushs, Khevsurians, Pshavians, Kists, and Tatar settlers of Kakheti. Both Christian and Muslim worshippers stood side by side, bringing offerings to the holy site. The culmination of Alaverdoba was marked by vibrant, theatrical-ritual performance. In a striking display, 200–300 Tush horsemen would gather in the monastery courtyard, circle the temple three times to honor the souls of those who had perished in battle. Singing the mournful ‘Dalai’, they paid tribute to Tush warriors, particularly those who had fought heroically in the famous 1659 Bakhtrioni Uprising. Beyond the spiritual and communal rituals, Alaverdoba featured a bustling bazaar. Outside the cathedral’s courtyard, the square was divided into streets, with stalls and booths filled with industrial, livestock, and agricultural products. The Tush’s stands displayed colorful textiles and woven rugs, while the scent of mountain-brought Guda cheese filled the air. The sounds of weapons clinking could be heard from the Pshavi stalls, the cattle brought by the Khevsurs rang with the clatter of their bells. Armenian merchants carried sweets, leather boots, warm clothing, and various European goods to sell. The Alazani Plain seemed to pulse with life, like the beating heart of Georgia, a Tapestry of colors, faiths, and prosperity uniting people from all walks of life.
Akhmeta Municipality also hosts festivals such as “Zezvaoba” – an exhibition of carpets, and “Leksoba-Kafioba on the Banks of the Iltos” – a poetry festival aimed at preserving and promoting the traditional folk poetry recitation and musical performances. “Pankisoba,” held in the village of Duisi during the summer, features unique works by local artisans, as well as Pankisi cheese, honey, and, most interestingly, traditional sports competitions and performances by local music ensembles. In the village of Matani, an old celebration called “Qeonoba” has been preserved – a theatrical performance that takes place on the first day of Lent, involving nearly the entire population of the village. Another festival associated with Matani is ‘Kakutsoba’, which commemorates the name of Kakutsa Cholokashvili, a hero of Georgia. Kakutsa Cholokashvili was an officer who led the main partisan movement in Georgia after the country’s occupation in 1921. His partisan group, known as the ‘Oath-Bound Brigade’, swore an oath to spend their lives fighting against occupation. Kakutsa Cholokashvili passed away in exile in France in 1930. His name, which had been erased from Georgian history for decades under Soviet rule, began to be revived in the 1980s, with the resurgence of Georgia’s independence movement. In 2005, his remains were brought back to Georgia, and he now rests in Tbilisi at the Mtatsminda Pantheon. On his birthday, July 14th, both Akhmeta and Matani, along with all of Georgia, celebrate their national hero’s day.
Atnigenoba
As autumn work approaches, Tusheti bids farewell to summer with a cycle of sacred fests known as Atnigenoba. This ritualistic celebration begins on the 100th day after Easter and spans two weeks, with each Tushetian village hosting a sacred feast (khatoba) at its main shrine in a specific calendar sequence. During Atnigenoba, the slate clad towers and homes perched on the mountains fill with people—locals returning from lowlands, cities and abroad, rejuvenating their ancestral homesteads. One year in advance, a host – Shulta, is chosen by lot to oversee the feast. This honor is deeply esteemed in Tushetian culture. In the days leading up to Atnigenoba, the Shulta begins the sacred preparations. They ‘hang the cauldrons’ and brew Aludi, the ritual beer, in a sacred building specifically designated for this purpose. The brewing process follows ancient customs, as the building itself holds spiritual significance. The festival begins with solemn ceremonies led by the ‘Khelosani’, a servant of the shrine. Only the Khelosani is authorized to unveil the shrine’s banner and announce the start of Atnigenoba by ringing the shrine’s bells, their chimes echoing through the valleys and gorges. The Khelosani then blesses the congregation and all visitors. Men gathered at the ceremony respond with a thunderous ‘Tskhalobdes!’ (May it bless us!), shouted three times, reverberating across the landscape. Following the blessing, a grand feast begins, organized with strict order and tradition. The Khelosani leads the toasts, each imbued with meaning and respect for the community’s heritage. Music and dancing are integral to the celebration, energizing the atmosphere. However, Atnigenoba would not be complete without the horse races, where strong and swift horses compete, embodying the Tushetians’ spirit of vitality and pride. The festival reaches its crescendo with the Korbeghela ritual. Five men stand shoulder-to-shoulder in a circle, with another five climbing atop their shoulders. This human tower rotates three times, symbolically carrying the Korbeghela from the gathering place (Sajare) to the shrine (Khatiskari). The tower is then ceremoniously disassembled after circling the shrine three times. As the feast winds down, Tushetian men, women, and children delve into the ancient ritual games collectively called ‘Tamashobani’. These activities, steeped in legends and mysteries, include enigmatic names like ‘Kudikeriaoba’, ‘Gokhis Rekeba’, ‘Niskha-Niskha Barbaluka’, and the climactic ‘Chataraoba’—a dramatic interplay of capture, negotiation, and redemption between men and women. In general, till these days Athnigenoba stands as an absolutely exceptional and enigmatic celebration of Georgian artistry, community and tradition.
While abovementioned celebrations embody community, socialization, and shared heritage, Tusheti also nurtures a contrasting tradition. Among its snowy peaks, another ancient custom emerged—a solitary journey of introspection, a path to be taken alone to seek understanding of the world and oneself.