Mayakovsky in Kutaisi, Georgia

Mayakovsky - Kakabadze Art Gallery

Mayakovsky – Kakabadze Art Gallery

Mayakovsky in Kutaisi, Georgia

Vladimir Mayakovsky, was born in Baghdati, about 15 kms south of the city of Kutaisi, in western Georgia, on 19th July 1893. Described by Joseph Stalin, in 1935, as

‘the best and the most talented poet of our Soviet epoch’

he also criticised the Soviet intellectual establishment of ignoring Mayakovsky’s achievements after his death on 14th April 1930 adding

‘indifference to his cultural heritage amounts to a crime’.

Mayakovsky and Marxism

Mayakovsky got involved in the growing revolutionary movement in Russia soon after moving to Moscow in 1906 and during that time developed a passion for the works of Marxism.

‘Never cared for fiction. For me it was philosophy, Hegel, natural sciences, but first and foremost, Marxism. There’d be no higher art for me than ‘The Preface’ by Marx,’

he wrote in his autobiography ‘I, Myself’.

And when he is writing about ‘The Preface’ he means that to Marx’s 1859 book ‘A Contribution to the Critique of Political Economy’. But not all the preface, there’s one section that is almost hidden amongst some dry text which springs out at the reader as a work of poetry, beautifully constructed, with complex ideas but expressed in a clear and concise manner. It’s no wonder that, as an aspiring poet when he first read those words, they made such an impact upon the young Mayakovsky.

Mayakovsky and Russian Futurism

But for a number of years prior to the October Revolution he bounced around and, as he also wrote in his biography;

‘Revolution and poetry got entangled in my head and became one.’

In this period he was very much involved in the Russian Futurist movement, one of the avant-garde movements that developed in the early 20th century, which rejected the past and praised industry, technology, city living and speed.

Mayakovsky as a Socialist Propagandist

Immediately after the end of what became known as World War One 14 imperialist nations (who had been knocking hell out of each other for four years) invaded the young revolutionary Russia to assist the White reactionaries forces. Since the October Revolution they had been inflicting death and destruction in the Red (pro-Soviet) areas murdering anyone who had the temerity to stand up against exploitation and oppression. In this environment Mayakovsky threw his knowledge and skills into producing revolutionary propaganda to instil in Russian workers and peasants the determination to resist the re-establishment of the old order.

Ukrainians and Russians have a Common War Crime - Pan will not be the master of the worker

Ukrainians and Russians have a Common War Crime – Pan will not be the master of the worker

‘Art must be everywhere – on the streets, in trams, in factories, in workshops, in workers’ apartments’,

he stated and estimated he had created about 3,000 posters during the Civil War.

Mayakovsky and Lenin

Mayakovsky was a life long admirer of VI Lenin, the great Marxist and leader of the revolutionary Bolshevik Party. He showed his respect for the Lenin by producing a 3,000 line epic poem, called ‘Vladimir Ilyich Lenin’ which was published in October 1924, nine months after Lenin had died on 21st January of that year.

Vladimir Ilyich Lenin - a poem

 

The dual language version of the poem published by Progress Publishers, Moscow, in 1970.

 

Mayakovsky admired Lenin but such respect wasn’t always reciprocated.

On May 6th, 1921 Lenin wrote to AV Lunarcharsky (People’s Commissar for Education from 1917 to 1929);

‘Aren’t you ashamed to vote for printing 5,000 copies of Mayakovsky’s “150,000,000”? It is nonsense, stupidity, double-dyed stupidity and affectation. I believe such things should be published one in ten, and not more than 1,500 copies, for libraries and cranks. As for Lunacharsky, he should be flogged for his futurism.’

VI Lenin Collected Works, Volume 45, p138

However, on March 6th, 1922 Lenin said in a speech to the Communist Group at the All-Russia Congress of Metalworkers:

‘Yesterday I happened to read in Izvestia a political poem by Mayakovsky. I am not an admirer of his poetical talent, although I admit that I am not a competent judge. But I have not for a long time read anything qn politics and administration with so much pleasure as I read this. In his poem [Incessant Meeting Sitters] he derides this meeting habit, and taunts the Communists with incessantly sitting at meetings. I am not sure about the poetry; but as for the politics, I vouch for their absolute correctness. We are indeed in the position, and it must be said that it is a very absurd position, of people sitting endlessly at meetings, setting up commissions and drawing up plans without end.’

VI Lenin Collected Works, Volume 33, p223

Mayakovsky’s Death

Mayakovsky in 1930

Mayakovsky in 1930

On 14th April 1930 Mayakovsky committed suicide. As with any death of a ‘celebrity’ there’s a shed full of conspiracy theories surrounding the circumstance of their demise. I won’t be even going there. There is a somewhat prurient photograph of the dead Mayakovsky showing a blood stain in the region of his heart – an unusual choice of target in a suicide. Perhaps a sign of his vanity and didn’t want to destroy his looks.

Why Mayakovsky in Kutaisi?

During the period of Socialist construction – which effectively ended in 1956 after Khrushchev made his infamous speech at the 20th Congress of the CPSU – Maykovsky was praised and respected for the work he had produced in times of crisis, i.e. the Civil War from 1917-22, as well as the efforts he made in the establishment of a new sort of writers organisation where ‘intellectuals’ would serve the people and not be the lackeys of rich patrons.

Mayakovsky - Kakabadze Art Gallery

Mayakovsky – Kakabadze Art Gallery

In the period that followed the denunciation of Comrade Stalin by Khrushchev at the 1956 Congress the revisionists in the Soviet Union then turned on anything that challenged the direction they wanted to take the Soviet Union – now a post-Socialist state. This meant that Mayakovsky’s involvement in the Russian Futurist movement was played up in an inverse ratio as his role in the construction of Socialism was played down.

Then came the collapse of the Soviet Union into an openly capitalist society – the inevitable consequence of the decisions made in the 1950s. Georgia split from the erstwhile Soviet Union and gradually relationships between the two countries got worse and this exploded in a short 5 day shooting war. Although the firing stopped the animosity didn’t and as a consequence many of the manifestations of the Soviet past were either destroyed or neglected (such as the monument to the Unknown Soldier and the statue of Victory in Vake Park in Tbilisi which has just been left to rot.)

And the same fate has befallen Mayakovsky. Even though he was born in Georgia, in a small village close to Kutaisi (where he went to school until leaving for Moscow in 1906) he was, and still is, obviously too tainted with the Soviet Union to have a statue of him treated with any respect. I can’t imagine that where it is now to be found (in the courtyard of the Kakabadze Fine Art gallery in Kutaisi) was it’s original location.

Mayakovsky - Kakabadze Art Gallery

Mayakovsky – Kakabadze Art Gallery

This courtyard is sometimes called (in the crass British guide books) as a ‘Sculpture Park’ but presently it’s more of a dumping ground for statues that aren’t politically acceptable (for whatever reason) to be on real public display. The courtyard is more correctly described as the designated smoking area for the art gallery staff.

Despite the above reservations it is a place to visit if you head to the art gallery. When I went it was the only place I could visit as although the gallery was nominally open it wasn’t to the public as ‘something was being set up in the gallery space’. (I think this was just an excuse that is given by museum staff when they don’t feel like making an effort. I encountered a similar situation in the Kutaisi Military Museum.) The only place I could visit was the courtyard.

But it was worth it. I’ll talk about the other sculptures in another post but here I want to concentrate on one statue – that of Vladimir Mayakovsky.

Mayakovsky - Kakabadze Art Gallery

Mayakovsky – Kakabadze Art Gallery

It’s not in a good condition – but not as bad a condition as some of the statues who share the space. It seems to be made of stone – but not a particularly hard stone as the environment it has been living in for I don’t know how many years has not been very conducive to its preservation. There’s a fair amount of algae growing on the surface and this seems to be taking its toll. The courtyard doesn’t really get any movement of air and it’s probably quite cold and damp in winter – and even in summer the warmth from the sun is only there fleetingly and it can be quite humid.

This is where Vladimir now lives. For how long I, and I’m sure nobody, knows. As with the other damaged statues in the courtyard it might be the weather that really determines their fate. Once past a certain level of decay the expense of restoration would become prohibitive.

Mayakovsky - Kakabadze Art Gallery

Mayakovsky – Kakabadze Art Gallery

I would like to have know more about the statue; where the statue originally stood, when it was moved – but have only been unable to identify the sculptor who was Irakli Ochiauri, who was born in Tbilisi on 24th November 1924 and died on 4th December 2915 (place unknown).

Location

The courtyard of the Kakabadze Fine Art Gallery on Rustaveli Avenue 8, just across the road and slightly to the centre of town from the Information Centre in the older part of Kutaisi.

GPS

42.2709

42.7008

Opening times

Monday – Friday 10.00 – 18.00

Entrance

GEL 1

Spring No. 6 – Tskaltubo

Spring No 6 - Entrance

Spring No 6 – Entrance

Spring No. 6 – Tskaltubo

There’s no shadow of a doubt that Spring No. 6 is the most impressive of the Soviet era bath houses in the Central Park of Tskaltubo – the spa town less than 10km from the second largest (now) city of Kutaisi. This was the particular spa Joseph Stalin, leader of the Soviet Union, used to visit on regular occasions both before and after the Great Patriotic War. Up to the demise of the Soviet Union in the early 1990s there were more than 20 spa locations and/or hotels with spa facilities in and around the central park. Fortunately, to this day – after a recent restoration (by a private company called Balneoresort) – it still stands out as a special building.

Its neoclassical frontage and the entrance hall is what makes it so special. Corinthian columns support a classic Greek inspired portico but what makes it really special is the frieze high above the entrance on the interior of the portico. By the age of Uncle Joe and the other images included in this bas relief it would indicate it was created after the Great Patriotic War when the buildings in Tskaltubo reverted from being hospitals to their original use as health spas for Soviet workers and peasants.

The ‘Welcoming Uncle Joe’ frieze

This frieze is in three parts and depicts the arrival of Joseph Stalin in the town and the welcome he is being given by either local people or other visitors, like himself, from the rest of the Soviet Union.

Spring No 6 - Welcoming Comrade Stalin

Spring No 6 – Welcoming Comrade Stalin

The central panel

In the central panel an avuncular Joe (in the last ten years of his life) is shown in a left profile. He is dressed in what was becoming his normal garb of a dress suit of a Marshal of the Soviet Union following his role in the defeat of the Nazi invaders, murderers and aggressors. (I accept there’s a problem with the development of ranks and medals/honours within the Red Army and would like to address this issue at some time in the future – but time is limited here.)

Over his left arm is his (again) traditional overcoat and in his left hand he holds a bouquet of flowers which have just been presented to him. He is smiling and looking towards a woman with whom he is shaking hands. She is probably part of an official welcoming committee. Whilst she shakes Joe’s right hand with hers’ she cradles a young child (can’t determine the gender) in the crook of her left arm. The child is facing us and s/he extends his/her right arm around the neck of the woman – presumably the mother. The child’s left arm is extended towards the General Secretary, thereby acting as a conduit, establishing a unity between the woman and Joe. The child is relaxed and smiling, as are the two central characters.

Between Joe and the woman, and underneath their clasped hands, is a drinking fountain – suggesting the healing quality of the local waters of Tskaltubo. On each of the two sides visible of the pillar are a face and a cup of a fountain.

Behind Comrade Stalin are two young people, a girl and a boy. She is closest to Joe and holds another, larger bouquet of flowers in her right hand. The boy, slightly further back, is carefully cradling in both his hands something that looks like a ceramic tower (perhaps to be presented to the visitor) This is, perhaps, a symbol of the town (but it’s difficult to say as it’s indistinct from ground level). The girl has her left arm behind the boy and seems to be encouraging him to come forward and meet the great leader of the working class.

Behind these two younger children is an older girl holding a large basket of fruit, at shoulder height, which she is bringing to present to the honoured visitor. The three children are in contemporary dress. i.e., late 1940s early 1950s and are in left profile.

Behind the woman and child greeting the General Secretary is a man and a woman. He seems to be dressed in more traditional clothing from Georgia and holds high another gift to the visitor from Moscow. This looks like a cornucopia of grapes, representing the grape and wine culture of the region/state. I can’ make out what the woman at the rear is bringing. She seems to be clutching a couple of items to her chest. They are in right profile and they seem to be wearing traditional peasant dress of the region.

On the wall behind Joe, and appearing in a couple of other places behind the other characters, are white/cream markings. These perhaps represent a fluttering flag but the overall impression is somewhat confusing. The more I look at it the more I get the impression it’s a disintegrating halo – which is a little disturbing if that was the intention.

Spring 6 - Welcoming Comrade Stalin - right hand panel

Spring 6 – Welcoming Comrade Stalin – right hand panel

The right hand panel

On the right hand panel we have a continuation of the procession wanting to meet the leader. At the front is an older couple. She seems to be holding another bunch of flowers and he, much more frail and needing support, has his left on her left shoulder and in his right hand (which we can’t see) he is holding a walking stick – part of which we can see. This would seem to reference the healing claims of the spa resort.

Next is a young sailor – and I don’t really understand this reference. We are talking about only a few years after the most devastating war the country had ever had to encounter. Yet he looks young and healthy. Therefore, why is he depicted? Beside him is a very young girl, five or six, who has another bouquet of flowers but seems to be pleading with the sailor, presumably her father, for something. She is really close to him, pressing against his leg, and he has his left arm protectively resting on the top of her back.

The final individuals in this panel are a couple of newly weds. They are hand in hand and rushing to meet Stalin. He is dressed in a formal suit and she seems to be dressed in the traditional attire of a Georgian bride of the time. (Now you can’t move in present day Georgia for ‘desirable’ western style wedding dress shops – almost certainly with a price tag which inversely matches the lack of sophistication of the design.) He holds high, in his right hand the certificate of their marriage and he seems to be asking for some sort of blessing from the leader of the Communist Party. It takes a long time to eliminate these practices of getting some sort of secondary justification from a ‘superior’ entity. I don’t like the depiction of this in a Socialist Realist piece of art work but it probably represented the feeling of the time and its depiction confirms a reality without providing a way forward. In her left hand the bride is carrying what looks like a book, what and why I have no idea

Above the couple are vine stems/leaves as a sign of fertility. Yet again, another throw back to feudal superstition. As I’ve suggested in other posts on Socialist Realist Art we are still a long way from throwing off the old traditions and thinking and that comes across in the art produced – even during those few years of Socialist construction.

Spring No 6 - Welcoming Comrade Stalin - left hand panel

Spring No 6 – Welcoming Comrade Stalin – left hand panel

The left hand panel

The left hand panel contains five characters. Closest to the centre is a young, wounded Red Army man, in uniform. He has no obvious disability but he does have a walking stick in his left had to provide him with some sort of support. An interesting little bit of detail is that he has a camera on a strap over his left shoulder, his right hand under the strap at his chest with the camera resting on his right hip. This is possibly a Zenit or a Zorki, 35mm SLR, a huge number of which were produced after the Great Patriotic War.

Behind him is a young woman with her left hand on his right shoulder. She seems to be looking beyond him as if she were in a crowd of people wanting to get a glimpse of the visiting hero. Perhaps she is using his shoulder to allow her to get a slightly higher view of the proceedings. She is dressed in late 1940s clothing and her hair style is also from that period. She is also carrying a book in her right hand so a pattern seems to be developing here. Both of them are in right profile.

Behind the heads of this couple are what look like palm branches coming from above. They are similar to what we find in the central panel but there the leaves are totally chaotic, here more recognisable.

Next is an older man, dressed in contemporary 1940s semi-casual dress – he wears a tie but not a jacket. Unlike all the other characters in this story he is not looking in the direction of Uncle Joe. He is in left profile as he is looking back to others of his family who have come to greet the visitor from Moscow. His left arm is high above his head as if pointing in the direction of all the activity. He seems to be encouraging those behind him to hurry up and is pointing to where everything is happening.

His right hand is supporting the left elbow of a young girl who holds yet another large bouquet of flowers. She has her long hair tied back over the nape of her neck, her right hand on her hip and around her neck is a scarf which indicates that she is a Young Pioneer and is dressed in the uniform of the organisation. Her stance is as if she were running. In fact there is a feeling of movement in the depiction of this small family group which is completed by the presence of an older woman who is holding a banner, which is billowing out behind her, in both her hands. This presumably is the banner of the Georgian People’s Republic but any such detail is impossible to make out.

Above the heads of this last group a couple of branches of a vine come down from above, indicating the production of wine in the area.

I’m sure that many of those who enter the building are not really aware of the decoration that sits above their heads. With perhaps a few exceptions (those part of the building that have not yet had a major make-over) the only other part of the building that is interesting for its Soviet past is the main entrance hall.

The entrance hall of Spring No 6

In the renovation of the building it was fortunately decided to try to maintain the impression those thousands that had entered the building over the years would have experienced.

The impression of space;

Spring No. 6 - Entrance Hall

Spring No. 6 – Entrance Hall

the high ceiling;

Spring No. 6 - Entrance Hall ceiling

Spring No. 6 – Entrance Hall ceiling

the magnificent commemorative urn (more details of which will be published shortly) in the middle of the floor – with an interesting clock on the wall behind;

Spring No 6 - Commemorative Urn and clock

Spring No 6 – Commemorative Urn and clock

The tall ceramic lamp standards;

Spring No 6 - Ceramic light

Spring No 6 – Ceramic light

and the two, small stained glass windows;

Spring No. 6 - stained glass 01

Spring No. 6 – stained glass 01

Spring No. 6 - stained glass 02

Spring No. 6 – stained glass 02

The rest of the building

Spring No 6 is a huge building and won’t be getting anything like the number of visitors that it used to receive in the heydays of the 1980s and before. On my visits there were only a handful of people and that would indicate that the renovation that has taken place would not have covered the whole of the building – there would have been no chance to make any significant return on the investment – unless it was all part of a money laundering exercise.

The ‘renovation’ I saw was basically a total destruction of the original interior and the replacement by what would be found in a new build for the same purpose. That’s a shame as I’m sure the baths and rooms used for all the other services would have been tiled and decorated in an even more ornate manner that what can be seen in the abandoned and derelict spas that lie in ruins in the Central Park and surrounds.

So far I have been able to visit one very small part of the building that has undergone minimal ‘restoration/renovation’. That was the room I was told was ‘Stalin’s private bath house’.

But it is a working spa and there are a number of treatments that can be tried. One of the reasons there are few visitors now is that, for Georgians, any visit to the spas are very much a luxury and the foreign tourists who visit the country (and could afford it) might not be prepared to spend a couple of hours getting cleansed, pummelled and covered in mud.

An introduction to some of the treatments available will appear soon.

The driveway into Spring No 6

The main entrance to Spring No 6 is part of the public Central Park in Tskaltubo and there’s no strict dividing line between where the private and public meet. However, as part of the original project of Spring no 6 a large fountain – with a statue from Georgian mythology – was included. This is also worthy of a look.

Spring No. 6 - Fountain

Spring No. 6 – Fountain

Location

Spring No. 6 is in the northern part of Tskaltubo’s Central Park, about a ten minute walk from the present day market in the centre of town.

GPS

42.3223

42.5989

How to get to Tskaltubo

Marshrutka number 30 leaves from its terminus on the western side of the Red Bridge, which crosses the Rioni River beside the main Kutaisi market. Closer to the market is the stop for a number of buses but you walk through that area (passing a cheap out door bar on the right) to cross the red painted iron bridge. The marshrutka will be on the left once on the other side. They leave roughly every 20 minutes. Cost GEL 1.20 (not the GEL 2 as in some guide books – although some of the drivers will take the GEL 2 and say nothing although others are honest). The price will be on a piece of paper somewhere, normally at the front of the vehicle.

Journey takes about 30 minutes to get to the centre of Tskaltubo. Once you cross the railway track (after 20 or so minutes) you are at the bottom end of Central Park. The marshrutka then follows Rustaveli Street on the eastern edge of the park passing the railway station and information office, the Municipality, Court and Police buildings, and then the entrance to the huge (now luxury 5 star) Tskaltubo Spa Resort all on the right. (The marshrutka takes the same route when going back to Kutaisi and can just be flagged down anywhere along this road.)

When you get to the northern edge of the park the road widens out and after passing the Sports Palace on the left and the now being renovated (although seemed stalled to me) huge Shakhtar Sanatorium on the right the marshrutka heads up to the main market. Get off when the bus turns right at the corner by the ugly, modern Sataplia Hotel. This is where you would look for another marshrutka if you wanted to go to the Prometheus Cave.

To get to Central Park go back along Tseretseli Street (not the road you came up), pass the mural of the telecommunication workers on your left and head down to a very wide road junction. Cross this wide expanse of tarmac towards an arch and at the open space at the top end of the park head south and pass by the right hand side of Spring No. 3. Continue south until you reach the white, side wall of Spring No. 6. The entrance is on the west side of the building.

Alternatively (if arriving by marshrutka) you could get off at the main entrance to the Tskaltubo Spa Resort and walk towards the back of Spring No. 6 through the park.

Tskaltubo – Prometheus Cave

Prometheus Cave

Prometheus Cave

Tskaltubo – Prometheus Cave

What’s there?

A wonderful and not too exploited and damaged natural wonder. There may be many of them in the world – after all so much of the world’s land mass was once under the sea – but that doesn’t lessen the amazement of what you see and pass that took millions of years to create.

And I think the Prometheus Cave is a good example of the different manner in which these limestone caves evolved into the natural wonders they are.

There are the classic stalagmites (rising up from the ground) and the stalactites hanging from the ceiling – the way we were taught to remember the difference when I was young was the idea that tights come down.

But as in all limestone caves there is everything in between – and more.

Cascades that look like frozen waterfalls. Huge globes of accumulated limestone which have percolated through the rock above. And shapes which are difficult to imagine how they were formed with the accumulation of a grain of sand at a time. Every time I’ve had the opportunity to visit such caves I’ve seen something I had never seen before.

Once you have an idea of the process of the construction of these weird and wonderful formations you realise how insignificant our short time is on the planet. When it takes a thousand years for a small stalactite to grow one centimetre and then you see huge pillars that have taken millions of years to reach such proportions we should reflect of the minor part we play in the Earth’s development although play the major part in its destruction.

We are told that Georgians have really embraced religion since the fall of the Soviet Union. How deep that religious feeling is I don’t know. When certainties collapse people have often, historically grasped for something to take its place. The fact that such beliefs can provide some comfort goes no way in solving the economic, social and political problems that gave rise to the uncertainty in the first place.

That being the case I always wonder how Georgians, clutching at these religious straws, rationalise locations such as the Prometheus cave. Why would a all-powerful God make something of sea creatures, then push that land high into the air and then ‘destroy’ the creation by forcing water through it? It must be great when you accept a religion (of whatever brand) as it allows you to avoid the awkward questions of life and you can just switch the brain off.

Why go?

Because if you are near by it would be a shame to miss it. You could take the approach that once you’ve seen one limestone cave system you’ve seen them all. But that’s not true. Every time you go around a corner you see something unique and unrepeatable. A result of the structured chaos that is nature.

And the way the whole cave is illuminated makes a difference. I thought, in the main, the lighting in Prometheus was used in a reasonably subtle manner. And digital cameras are great at creating a colour scheme that wouldn’t have been possible with film – unless you spent hours in a darkroom.

What’s presented in the slide show below is an idea of what you would see in an hour or so walk in the semi-darkness.

It might be worth mentioning that there are a lot of steps, both going up and down, on this expedition. It’s also wet, after all the water dripping through was what created the cave and its architectural wonders in the first place. If that’s a problem DON’T GO!

How to get there

From the nearest town of Kutaisi (unless you are staying in the spa town of Tskaltubo) take the No 30 Marshrutka from the other side of the Red Bridge to the town centre – to the west of the market area. They leave every 20 minutes, more or less, on the hour, 20 and then 40 past. The guide books say GEL 2 but the cost is GEL 1.20 (shown normally on a piece of paper above the driver’s head at the front of the mini-bus). Journey takes about 20 minutes and get off at the market area, just after you pass the large Hotel Prometheus on the left. The road into Tskaltubo goes around the outside of a park and it’s when you leave the park behind and head into the commercial part of the town that you want to get off.

When you get off the No 30 look for the No 42 – or if you look like a tourist they will look for you. This has no set timetable but will leave when there are at least 3 people. In the low season that might mean a bit of a wait – I was there for over an hour before two other people arrived looking for transport. The journey takes less than 20 minutes and you will be dropped off at the car park at the entrance to the Visitor Centre. Cost of one way journey GEL 2. The driver will wait to take you back – about an hour or so later.

Cost of visiting the cave

I thought it was against World Trade Organisation rules for there to be a different price for locals as opposed to foreigners. That is increasingly not the case as I have now experienced this situation in a number of countries.

Assuming anyone reading this is not Georgian then the prices are:

Adult entrance: GEL 23

For the boat trip at the end of the walk: GEL 17.25

Prices for children are roughly half the adult fare.

Sitting in a boat in a cave doesn’t really rock my boat but it might some. More for the children, I think.

Once out of the cave system turn left, uphill a bit, and about 10-15 minutes later arrive at the car park where the No 42 Marshrutka that brought you will be waiting.

Opening times

10.00 – 16.00

but last ticket will be sold a little more than an hour before closing time.

Closed on Mondays.

Sataplia

There’s another cave system close to Kutaisi, this time at Sataplia. This is not that easy to get to by public transport as some guidebooks would suggest. The direct marshrutka wasn’t running the day I visited and I had to take the one that dropped me off at the bottom of a 2.5km climb up quite a steep road. The road is a dead end as it only goes to the cave.

Sataplia is now open everyday, 10.00 – 18.00. Cost is GEL 17.25 for foreign adults (less than half that for locals).

There is a guided tour with set departure times. They alternate between being Georgian/Russian and Georgian/English. Apart from the cave there’s also a small ‘museum’ with information about the park (in Georgian and English) as well as a moving (and roaring) model of a meat eating dinosaur.

A cafe and viewing platform – with a glass floor – has also been constructed which provides a view down on the valley of the River Rioni as well as the town of Kutaisi.

Personally I was disappointed with Sataplia. Perhaps I had been led to expect more. I thought Prometheus by far the better of the two. And unless you have your own transport it isn’t always convenient to get to and away from.

Dinosaur footprints

Sataplia is also unique in the fact that it is the site of an small area where dinosaur footprints, dated more than 100 million years ago, can be found. What also makes it quite unique is the fact there are prints of vegetable feeders as well as meat eaters – although separated by a few thousand years.

This, I must admit, I found slightly underwhelming. The fact they are there is more interesting than the reality. Preserved footprints, however old, don’t look much more interesting than a dog’s footprint in modern cement. But then I might just be being churlish.