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3ANTIQUITY AND PECULIARITIES OF THE KHOREZM DANCE SCHOOL
Nozima Kamiljanovna Kadirova State Academy of Choreography of Uzbekistan
Abstract: Within the Uzbek dance art schools, the Khorezm dance school has a special place. The stubborn, unfavorable weather of Khorezm - Persian invaders in the 6th century BC-did not bow to any of the ahmonians, in the 3rd century BC the historical fate of the ancient erksevar state, which did not obey Alexander The Great (Alexander The Great), Chinese tribes in the first century AD, White Huns in the 4th century AD, Arabs in the It was the historical features of the khorezmians that helped to enrich the dance with transparent emotionality, Valor.
Keywords: qayroq, lazgi, cho'girma,, imitation, climax, divine dances
Whatever one type of Khorezm art differs in its alohidness, nationality, traditionalism, style of artistic performance. Rozia Karimova made her contribution to the analysis of Khorezm dance culture, describing their circumstances by naming the movements of modern Khorezm dances.
The first dances that appeared in Khorezm were associated with religious rituals. Much more information is given in the book Avesto about the ancient Khorezm games. Avesto, although much more widely studied from other aspects, issues related to art have been overlooked to this point. It is known that due to invasion wars and various other reasons, the fifth of Avesto has disappeared. The currently existing Avesto work consists of the sections Yasna, Yashta, Vispart, Vendidat, Hurda - Avest.
Teacher Rozia Karimova made her contribution to the analysis of Khorezm dance culture, describing their circumstances by naming the movements of modern Khorezm dances.
Within the Uzbek dance art schools, the Khorezm dance school has a special place. The stubborn, unfavorable weather of Khorezm - Persian invaders in the 6th century BC-did not bow to any of the ahmonians, in the 3rd century BC the historical fate of the ancient erksevar state, which did not obey Alexander The Great (Alexander The Great), Chinese tribes in the first century AD, White Huns in the 4th century AD, Arabs in the It was the historical features of the khorezmians that helped to enrich the dance with transparent emotionality, Valor.
For example, Klippertva Lerx interpreted the name "Khorezm" as "lowland Earth", Bjurnuf, Zahau, Geiger as "fertile land", and Justi and Spiegel, on the contrary, as "bad, unproductive land". Savelyev if the dispute with the interpretation as the" land of The Sun " joined the discussion. It is known that in forscha Xur, Khurshid is the sun, and the name of the solar god of the Slavs - Khors-is also derived from this. It is also
worth paying attention to the fact that this word is spoken in different sources in different pronunciation.
Ancient art was thus preserved in the form of an eye and passed down from generation to generation. As Khorezm's specific statuses, classical, playful melodies, ufori, nagmas became rich, his dances and including the "Uglon Boy" games improved. In Khiva Khanate, dancers such as Almighty boy, Rahim Boy, Free boy, Khudargan boy were skilled performers of women's dance. They not only became dancers, but also brought up many rakkosas as teachers in the same seam. Proof of our opinion is that the mentor of women who became skilled artists in our time was men.
Uzbek dance masters are Tamarakhanim, Galiya Izmailova, Rozia Karimova, teachers of Gavhar Rahimova Talibjon Sadigov, Isokhor Akilov. If the Masters of Khorezm dances were Anash Khalfa, Rovia Otajonova, Sarah Ollaberganova, Olya Otamurotova, Kanarak boy, Karimjon Rahimov, Reyim fathers were mentored.
The dance "the boy is a boy" has come a long way and has undergone a continuous process of progress, enrichment. In the 19th century, Khiva was V. Vyoreshchagin testifies that the male dancer danced in women's clothes, and teachers who returned in age taught children 8 or older the type of women's dance art.
The Khorezm people have focused on the art of music for a very long time. There is not a single household that has not even played, sang, danced until now. In proof of this, the great thinker of the Uzbek people, the hamsanavis poet Alisher Navoi, in his epic "Sabbaiy Sayyar", wrote about the musical art of Khorezm with pleasure. It is written that Bahrom's yori can play the Dilorom dust instrument. His mentor, who taught dilorom to play Dust instruments, was Khoja Khorezmi in the most famous musician of that time.
Khoja buys Khorezmi Dilorom from the slave market and brings Dilorom to Khorezm due to the fact that Dilorom is burned by his voice. Here he decides to teach Dilorom to play and sing. Dilorom learns the secrets of art from many musicians and singers in Khorezm. Based on this information, we can say that until the invasion of Khorezm Genghis Khan and during the ostentatious state, there were many people who took music as a profession and occupation for themselves.
In Khorezm's Old Town of Urgench, thousands of people waved the family by preparing and selling the dutor word. Of course, this number may seem a lot to Khorezm's prestige, but, given that the population of the city of Kokhna Urgench in that period was one and a half million, this number cannot be called so unreliable. It is inevitable that the instruments of that time were known to us at an open pace, and although there is no written information about other words, the instruments of that time, used among the Turkic seeds in general, were musical instruments.
Masters say that Yusufjon interesting Sugarcanov-" if we take Central Asian art as a tree, its roots are in Khorezm, its trunk is in Samarkand - Bukhara, its branches are
in the Valley, it comes to Tashkent and bears fruit." For example: a person who saw an apricot tree bloom, recognized its fruit, finds pleasure in this, but many do not pay attention and are not interested in the root, trunk, branches of this apricot. In fact, both the splendor of the tree, the beauty of its branches, and the sweetness of its fruits depend on how energetic its roots are. Just as Khorezm dance art is the energetic root of Uzbek national dance art. This Root has developed and grown since ancient times, and has become the pride of the pride and fahri of the Uzbek nation to this day.
Khorezm art has its own direction. You will never compare these works to other works. Each of the artists of this oasis has its own world, its own creativity and its own style of performance, and, it is permissible to say, its own school of performance. Both his singers and musicians create, feeling that Khorezm musical art is very ancient, and with their creativity and performance they add their attention to its further development and delivery to the next generation.
Khorezm is a vast land with a rich cultural heritage. As much as we talk about the contribution of scholars, wise and noble people to World Science and culture grown in his bosom, little. And when it comes to Khorezm dances, one should not forget that it is based on an inexhaustible source that comes from the history, natural conditions, traditions of this land. After all, it is life and reality that are reflected in the dances.
The intensity, speed inherent in Khorezm dances, trembling movements of the chest and shoulders, sitting tappa with a bent knee have its own certain meaning-meaning. Trembling movements in dances mean forigging the soul of the body from various alien objects, purifying the body. The intensity and speed over the rhythm of the dances have a symbolic meaning that comes from the fact that the Amu Darya overflows and overflows over its core and becomes asov.
The ancient Khorezm people left a great mark in Central Asia with their characteristic high culture. The exquisite art of Khorezm artists, which goes back to ancient times, for many centuries turns into a magical power that attracts the masses and is associated with folk history.
It is known that on folk holidays, songs and dances were performed at weddings and performances associated with family ceremonies, in traditions and musical accompaniment. The sacred book "Avesto"with almost 3,000 years of history (in particular in its sections "Yashta" and "Vispart") contains valuable information about the art, weddings and ceremonies of ancient Khorezm.
Khorezm folk dances have been preserved for several centuries. As a result of the expeditions of archeology and Ethnography carried out in Khorezm, there is information that traditions were composed in this area as early as the 6th-5th century BC. 4th century BC Johnboskala I-4th century it was established that there was a firehouse inside the topkrokqala fortifications and celebrations were held there. The ancient Khorezmshukhs ' residence until the time of the Afrigids was determined to
have a "Hall of horns", a "Hall of Victory" "Hall of dancing masks" in Toprokhala.
At the pace found in the"dancing mask Hall", the musicians reflected an harp in their hands, a drum similar to an hourglass on two sides, a two-string dutor. This evidence suggests that culture, art, melody, song, Epic also developed to some extent in the pre-Islamic period.
In the V-VI centuries AD, life and political life in Khorezm changed at a sharp pace. This progress was also reflected in the coins at the pace of the Khorezm government of that time. Coins with the image of siyovush riding a horse belong to the pre-Islamic period. On the front side of the image of Siyovush, the musician is depicted as a beautiful princess, dressed in clothes typical of a female mutriba artist. The image in the coins becomes the basis for us to imagine that in the pre-Islamic period, women perfectly studied the arts of playing music, singing, dancing, demonstrating it before many.
One of the fundamental reasons for the origin of the names of melodies, dances and songs that have survived to the present time in Khorezm, such as soz (garmon) narrow, santur, bulamon, rust, daf, more and more, in Khorezm, "Lazgi", "Sadri gusfand", "Orazi bom", "Ganji Karabakh", "Norim-norim" in Khorezm, is the expression that the peoples of the Iranian and Sasanian dynasties had historically long cultural close ties.
The next period was the period of the highest development of Khorezm culture and art, Al Khorezmiy, Al Beruni, qomusiy scholars Al Farabi, Al Rozi, Ibn Sina, Az Zamakhshari, who founded the science of mathematics Abu Abdulloh Muhammad who lived and created Khorezm IX-XIII centuries and left valuable information about Khorezm art, weddings and ceremonies about various musical genres, statuses, types of instruments, their names, singers.
References
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