In Georgia, the election season is in full swing, and so are the parties—but not just political ones. As the country gears up for elections, cultural events and concerts have become the stage for more than music and entertainment.
“Georgian Dream,” the ruling party, is orchestrating these events, leveraging them to gain favor with voters. These seemingly festive gatherings reveal a deeper strategy: connecting with citizens through music and spectacle, all while using state resources to fuel their campaign.
Music, Celebrations, and Politics
Imagine attending a concert in your small town, expecting a night of cultural celebration, only to find yourself at a political rally. In almost every corner of Georgia, towns are seeing an uptick in public events—celebrations of city days, music festivals, and local fairs—all funded by municipal budgets.
These events are scheduled for September and October, right before elections, and conveniently coincide with “Georgian Dream” campaign efforts.
Through an analysis of municipal procurements, an eye-opening 219 tenders were identified, all geared toward hiring singers, setting up stages, providing food for attendees, and accommodating event guests in hotels.
A staggering 7.8 million GEL has been allocated for these events from the budgets of towns, many of which lack basic infrastructure like roads, water supply, and public transportation. And as elections draw nearer, the number of announced tenders—and the sum total of funds—continues to grow.
Inventing Anniversaries
Of the 67 events held or planned between August 1st and October 1st, nearly half celebrate the “Day of the City or Town.” These holidays have evocative names like “Marneuloba,” “Gardabnoba,” and “Adigenoba,” some of which are new additions to the Georgian calendar. While events like “Borjomoba” and “Kareloba” have historical precedence, celebrations like “Marneuloba” were invented by the “Georgian Dream” government, first appearing in 2023.
These “new” holidays come with significant expenses. For instance, “Marneuloba” had a budget of around 129,000 GEL last year, which ballooned to over 135,000 GEL in 2024. Organizers hosted dinners costing nearly 10,000 GEL, featuring an extravagant spread of Meskhetian wine, snails, and traditional dumplings. Similarly, “Adigenoba” saw its budget nearly double from 45,000 GEL in 2023 to 79,100 GEL this year. These events aren’t simply celebrations of culture—they’re strategically crafted occasions to boost the ruling party’s profile and influence the electorate.
One particularly revealing event was “Senakoba,” a holiday celebrated for the first time this year. While the establishment of a “Senakoba” holiday had been suggested by Senaki residents as far back as 2016, the government only heeded the call in an election year. For this debut, 27,000 GEL was allocated, with hosts and performers closely tied to the “Georgian Dream.” This blending of political messaging with cultural celebration was evident again in “Lanchkhutoba 2024,” a new event for which 56,000 GEL was budgeted—yet another first-time holiday held in conjunction with the election period.
The Covert Campaign
Georgian election law prohibits using state resources for campaign events. However, these festivals and celebrations cleverly skirt the rules. By transforming cultural gatherings into party-aligned spectacles, the “Georgian Dream” operates in a legal gray area. The party uses these platforms to spread its core message of peace and stability, a theme frequently echoed by speakers and performers at these events.
Rustavi’s Mayor Nino Latsabidze used a public holiday to share the message, saying, “I wish for the health of every one of us…and peace in our families, our city, and our country.” The Mayor of Marneuli, Kenan Omarov, echoed similar sentiments during “Marneuloba 2024,” emphasizing unity and peace—key messages of the ruling party’s electoral strategy. At these events, performances by musicians supportive of the “Georgian Dream,” such as Temur Tatarashvili and Salome Bakuradze, further amplify the party’s presence and messaging.
Election watchdogs, like ISFED, have noted that while holding cultural events before elections is not illegal, the participation of political figures and the use of these platforms to broadcast political messages are problematic. The presence of “Georgian Dream” affiliates at these events blurs the line between culture and campaigning, raising concerns about the misuse of administrative resources.
The Price of Celebration Amidst Rising Costs
The cost of these public celebrations is also a point of contention. In addition to the close timing with elections, expenses for festivals have risen dramatically compared to previous years. “Oneloba,” a holiday traditionally held in August, saw its budget nearly double this year, with expenses reaching 115,000 GEL, up from 53,000 GEL in 2022. Similarly, “Borjomoba” costs climbed from 72,000 GEL to 122,000 GEL in just one year. Across the board, towns are spending thousands more than in previous years, often without significant improvements in event quality.
Critics argue that the inflation of event costs is less about the true expense of the celebrations and more about using these budgets to fund political campaigning. Additionally, a majority of the event procurements are awarded through direct, simplified tenders, allowing municipalities to hire preferred individuals without competition.
The Implications for Elections
While festivals and concerts bring joy to communities, they also serve as powerful political tools. In a country where access to resources is unequal, and many municipalities struggle to provide basic services, spending millions of GEL on celebrations that coincide with election campaigns raises questions about priorities and fairness. These events become more than cultural milestones—they’re instruments of influence, subtly shaping public perception and allegiance in favor of the ruling party.
As the election approaches, the trend is likely to continue, with more funds being allocated to festivals and more messages of peace and unity echoing through the towns of Georgia. But behind the music, dances, and fireworks is a sophisticated strategy—one that turns culture into a campaign, leaving the lines between celebration and politics ever more blurred.
