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https ://doi.org/10.29013/EJA-20-1-121-124
Yunusov G., Juraev I., Ahmedov R., Fergana regional branch of Uzbekistan state institute of art and culture E-mail: [email protected]
A LOOK AT THE REGIONAL SEASONAL FOLKLORE AND THEIR ORIGIN. THE ROLE AND IMPORTANCE OF FOLKLORE IN THE DEVELOPMENT OF DANCE ART
Abstract. This article discusses the development of folklore traditions and their causes, and the importance of art in the development of our art today. There are thousands of regional folk songs and dances in our country that tell us that they have been studied and are being studied to this day.
Keywords: Folklore, folk science, nationality, songs, dances, sayings, seasonal songs, ceremonies, holidays, weddings.
There is no nation that does not celebrate holidays time based on events that take place in nature and
with different relationships. Each nation has its own customs, celebrations and rituals. Ancient national holidays and ceremonies are like living history that goes from mouth to mouth and it is a tradition that as if one wishes health, abundance, prosperity and celebration of an important date in one's life. There are seasonal, social and family ceremonies. Every holiday, every ritual in the life of the people, seasons of a certain period have a meaning that represents a specific theme. Existing seasonal folklore samples still play a special role.Seasonal and ceremonial songs are among the most ancient examples of Uzbek folklore. The attitude ofour nation to the ancient cultural heritage and values is clearly reflected in the seasonal ceremonies and songs. Seasonal rituals consist of poetic compositions such as controversy, responsiveness in terms of artistic structure and this structure is particularly important as examples of word art [1].
Mahmoud Kashghari's "Devonu Lugatit turk" book shows that the history of folk songs about seasons and ceremonies dates back to ancient times. As
natural disasters. That is why special attention was paid to natural events. Because of these natural phenomena, seasonal references, songs and dances were created because of the references to the worship of rain, water, wind, sun, fire, and these beliefs. Seasonal songs and dances, religious beliefs, historical events, national ceremonies are the essence of national holidays [2]. Consequently, depending on the seasonal rituals and word-by-passage, it is possible to give an idea of the national peculiarities of the area where the rituals and ceremonies are held. For example, if there are twelve provinces and one autonomous republic in the country, we also divide the ceremonies and rituals in the regions. We summarize the Andijan, Namangan, and Ferghana regions and call them the Valley, and we call the area "Oasis", except for the great capital Tashkent [3]. We have a special emphasis on folklore in the field of folklore, with seasonal ceremonies belonging to the "Valley" and "Oasis" and songs, dances and poems [4].
For example, as we all know, at national holiday
we know, people have made accurate calculations of parties, in fairy tales or on television, there is no one
who does not know about the "Sust Hotin" (Lazy woman) ceremony. It is one of the oldest and most popular examples of the seasonal folklore. The "Lazy woman" is a rain-calling ceremony, that is usually held in spring. Folklore researchers found that the rituals were widespread in certain regions of Sur-khandarya and Kashkadarya regions. According to some sources, even the habit of rain-calling is praised in the ancient Avesto, in this ceremony people worship the god of the celestial waters whose name is Tishtriya. In areas where agriculture was developed, timely rainfall was of the utmost importance. The drought was a great disaster for the people who were farming. That is why people invented the seasonal "The lazy woman" ceremony [5]. Interestingly, many people in the areas celebrating this ceremony say that dozens of examples of rain poured down the week after "The lazy woman" ceremony. That is why the people have been carefully prepared for such ceremonies and have become accustomed to observing every action. The song "The lazy woman" begins: Sust xotin, suzma xotin, (Woman, lazy woman,) Kulankasi maydon xotin! (Fat woman!) Yongir yogdir xul bulsin (Let it rain, let all get wet) Yeru jahon kul bulsin. (Let the whole world be a lake.) "Choy momo" is one of the seasonal specific ceremonies [5]. The song samples for the "Choy Momo" ceremony are also remarkable for their antiquity. The "Choy momo" ceremony will be held to stop the evergrowing storm that damages the farmer's crop. This ceremony is not as widespread in the regions of Uzbekistan as "The lazy woman". Scholars of folklore say that the ceremony of "Choymomo" is held more often in Sayram district of Shymkent. In the "Choymomo" ceremony, it mainly creates the situation where the wind is applied to stop. The following song will be played at the "Choymomo" ceremony: Choy, choy, choymomo Choy momosi ulibdi, (Choymomo is dead,) Ugliyetim qolibdi, (Her son remained as an orphan,) Bosa-bosa beringlar. (Continue slowly.) Bosilib qolsin bu shamol, (Let this wind be suppressed,)
Uga-uga beringlar, (Give it to her,)
Ugilib qolsin quv shamol, (Hail the breeze,)
Obloo, oblo-hu,
The wind calling ceremony is also one of the traditions of our ancestors. About this ceremony the folklorist B. Kh. Sarimsokov insists that only one song was saved till today.
The series of mythological representations of the Uzbek people related to the wind cult relating to the religious views of the matriarchal period is called "yalli momo" or "yalala momo", and the patriarchal period forms a belief system about the naked father. Folks' opinions about them have been part of the Uzbeks of the Lower Zarafshan oasis in the ritual of wind stopping. "Yalli momo" is one of the characters in Turkic people mythology and is more ancient than "Choymomo". Because it contains a peculiar form of sacrifice to the owners of the wind -the puppet making and burial.
In other words, seasonal songs such as "Raincall", "Windcall", "Stop the wind" prove the proves that the profession of agriculture still exists among our people, and that our people have a great respect for the values of ancestors. [6] Respect for the inheritance of ancestors is an approvement that we have a sure hope for the future of our people. Such seasonal rituals are still being studied today, and new and old, unpopular species are being discovered by our folk scholars. This will further expand the range of folklore samples. They will enrich our cultural treasures.
Uzbek dance art is based on national charm, dignity, humility and originality. Dancing is expressed in rhythmic body movements similar to music. Dancing is present in different cultures and is played as a form of expression of emotions, social connections or for entertainment.
There are different types of folk dances in different parts of the country. They can be categorized as follows:
1. Khorezm folk dances.
2. Surkhan folk dances.
3. Folk dances of Tashkent and Ferghana.
4. Bukhara folk dances.
Khorezm folk dances - mostly in harmony with the songs being sung in the direction of khalfa. Khorezm folk songs are performed by performing dances that are unique to it. The soft and bell-like sound of the khalfas combined with the delicate and playful melody of the bowl revealed a unique melody. They are princesses of festivals, girls' gatherings and women's parties, adding joy to the weddings and celebrations, and creating good feelings in the hearts through playful songs, delicate dances, charming songs. There are also Khorezmian dances based on such games as "The strong sand" and "Get the coin". The Khorezmian dance art, which has been developed mainly on the basis of folklore, nowadays is gaining popularity not only in our country, but also around the world. Although women singers in Khorezm are called "khalfa", they are not limited by singing. They are well versed in many types ofkhalfa art. In particular, they have been involved in dance. At the beginning of the 20th century well-known khalfa artists, known in Khorezm, sang only among women and won the respect of the people [7].
Surkhan folklore songs and dances - Surkhan-darya is an ethnofolchloric territory, preserving elements of ancient culture of the Kushans' Bacteria. The history and culture of the Turkic and Iranian peoples are intertwined in this oasis. This is also reflected in folk art. In Surkhandarya art, customs and material culture there is an intersection between the ancient Sogdian, Turkic and Eastern Iranian people. It is reflected in traditions and customs, folk genres and their performance, music and dance.
Many folk songs, dances, harps, mourns, and musical instruments are connected with folk customs. Specific song genres such as songs, songs, lapars, yalla and songs are also common. The unique ethnic composition of the oasis influenced some types and genres of musical folklore [8]. In many districts and in some villages, ceremonial and labor songs play a major role. In their wedding ceremonies, the music is played by the accompaniment of the trumpet and
the doira, and the solo dancing of the same music. Some districts have their own songs and genres [9].
Jahr songs are those which were created with intense emotional agony. These songs glorify the power of nature, the mythical creatures. The songs performed at various gatherings, such as "Jahr" and "Sadr", are sung with great excitement. It is possible to see the worship in the dances. Stretching his arms out toward the sky and regularly tapping his feet to the ground, this is exactly what Surkhon dances show. People who attend the ceremonies never know what fatigue is. But the force that goes in the Surkhan dances proves the opposite.
Celebrations in some districts of Surkhandarya are held with the help of a chankovuz or a doira. And among the Surkhon folk dance, "Changovuz" is very popular. Bakhshi's poems play an important role in wedding ceremonies. Men and women dances, which are composed of Surkhan dance movements, are also of particular interest. Boysun dances are especially common [10]. Especially attractive are female dances such as "Koshik dance" and "Kayrok dance" (dances performed with special stones and instruments). Men dances like "Sarbozcha", "Sword dance" are distinguished by their fighting character. The theme of the colorful genre of Surkhandarya epic folklore is unique with its wide range of visual possibilities and ways of performing. The oasis is distinguished by the fact that epic folk art has its own local style. Ancient songs and dances are not only memorable. They are also included in the repertoire of the folk ensembles "Shalola", "Baysun" and "Kungrad", and children folklore ensemble "Kuralai". Songs and dances are the reflection of the worldview and spirituality of their dreams and hopes, the life and everyday social living style ofpeople. Currently, the region's ensembles are doing a great job of preserving the national singing and dance traditions of the Republic, especially Surkhandarya folklore.
Folk dances of Tashkent and Ferghana - Folk songs and dances of Tashkent and Ferghana are mainly the combination ofyalla and lapar. Methods
for performing the songs "Jamalagi tillo kizgina" and "Yalla jonim, yalla" in Tashkent and Ferghana are developed. Folklore of Tashkent and Ferghana will improve their knowledge by performing dances unique
to it. In Fergana, women of folklore ensembles, such as "Omon Yor", "Kokand Yor-Yor", founded by Ra-himahonim Mazohidova, still preserve songs and dances in Fergana [7].
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