CC BY
6"Oriental Art and Culture" Scientific-Methodical Journal / ISSN 2181-063X Volume 4 Issue 1 / February 2023
BALETHMEISTER ACTIVITY OF THE PEOPLE'S ARTIST OF
UZBEKISTAN GADIR MUMINOV AND HIS PEDOGOGIC SKILLS
Islom Khaydarov State Academy of Choreography of Uzbekistan
Annotatsiya: This article contains information on the basis of an interview with the artistic director of the people's artist of Uzbekistan singing and dancing ensemble "Shodlik" Kadir Tashenivich Muminov. You can get acquainted with the creative activity of baltmeiter, learn about his contributions to the Uzbek national dance art.
Keywords: National Dance, Performance, Muhurat, dance, composition, pedogogic skills
Kadir Muminov is a famous choreographer, teacher-choreographer, legendary artist. He graduated from the classical department of the Tashkent Choreographic, and then GITIS in Moscow. A pupil of the song and dance ensemble "Shodlik", currently artistic director and chief choreographer of the State Song and Dance Ensemble "Uzbekistan".
He has trained a number of outstanding choreographers, Honored Artists of the Republic: Gulmir Shirinov, Erkin Kakhkharov, Sunnat Karimov, Gulnara Kakhkharova. Also among his students are talented dancers, of whom he can be truly proud - these are Honored Artists of the country: Saida Mansurkhodzhayeva, Firuza Azatova, Gulshoda Abdieva, Nigina Nigmatova.
- Kadyr Taskinovich, why did you decide to devote your life to the dance art?
They say that God sends destinies to each of us - someone to be a scientist,
someone to be a farmer, and someone to create art. Apparently one of these people turned out to be me! Although, in my youth, I was very active in sports, but at some point dancing fascinated me so much that it became both a profession, a hobby, and the love of my life. For me, the main thing is to be on stage, to dance, to convey through emotions, through movement, expression, through tempo and rhythm what I have inside. And as it turned out, I made the right choice.
- And when did you first taste success?
To be honest, I don't remember exactly now, but as a 12-13 year old child, I danced a Russian incendiary dance for the first time in an amateur circle. Although my appearance is oriental, but apparently the head of the circle saw a special expression in me. The audience applauded me for a long time then. I was very proud of myself then. This was probably my first success.
- And success at a more conscious age?
223
http://oac.dsmi-qf.uz
Success at a more conscious age came to me at the 4th All-Union Competition of pop Artists. Me and my partner, Dilafruz Jabbarova (now a People's Artist), got the 4th place. I thought it was a huge achievement in the Soviet Union, because among the 15 Republics of that huge country, to take 4th place was a colossal success.
-What do you consider your greatest achievement?
-Perhaps this is because I studied at the choreographic school with the great masters of the dance art of Uzbekistan. And then, the fact that I got on the selection in GITIS for the ballet department. The knowledge that I received in the walls of the college and in the walls of the institute, this is
- Kadyr Taskinovich, can you tell us the names of your teachers?
Sure. My first teacher was Raisa Solomonovna Galyamova, she taught at the Schoolboy's Palace, Honored Artist of Uzbekistan - Bella Arutyunova, who instilled a love for national dance. After that, I moved to the Russian ballet, where Mikhail Yakovlevich Levin taught us the dances of the peoples of the world. Further, already at the choreographic school for classical dance, these are Lev Alexandrovich Zass and Ivan Matveevich Protsenko, teachers of characteristic dance - Grigory Vladimirovich Izhitsky and Tamara Grigoryevna Litvinova, teachers of Uzbek dance - Bella Bashirovna, Zinaida Anatolyevna, People's Artist of Uzbekistan Rozia Karimova, Honored Worker of Culture of Uzbekistan Raisa Yusupovna Hadzhisaidova. At the Institute I studied with the Academician of Choreography - Rostislav Vladimirovich Zakharov, the man who created "Pushkiniana" on the ballet stage. I had teachers in folk dance: Tamara Stepanovna - People's Artist of Russia, Anatoly Vasilyevich Borzov -Honored Artist of Russia and Tamara Stepanovna Tkachenko. According to the composition of classical dance, I had a teacher - Honored Artist of Russia Yaroslav Danilovich and Honored Artist of Russia Olga Georgievna Tarasova. I remember them all, and I remember them with great gratitude. These are the people who shaped me as a choreographer.
- Are there any moments when inspiration leaves you? (are you losing faith in yourself?)
I don't lose faith in myself. But it happens that inspiration leaves, which is good, because every creative person sometimes has to give rest and vacation to his "brains", so that after a certain time to start a new stage.
- Which image in the dance is closest to you?
I have always loved to perform plot dances in which the image is conveyed. Whether it is a "human image", or an "isolated image", or an "animal image", it does not matter, but there must be an Image. Plotless dancing didn't bother me much. Probably, as an actor, I loved to play, to create a certain plot, a story in dance, so that it would touch and excite the viewer. Not a naked technique, not just movements, but semantic movements, so I always try to put dances with meaning and put my soul into
I icclT^^^^H 224 http://oac.dsmi-qf.uz
every movement. And then, the basis of dance is music, you need to listen to it and it will reveal to you the eternal life stories that will touch the viewer - this is the key to success.
- What do you think about modern dance and modern youth? Is it necessary to open a department of modern dance at the Institute?
Now young people, it seems to me, are falling from one extreme to the other. And I would like these young people to have a definite goal. When there is a specific goal in life, then in the head, in the heart, and in creativity there is an opportunity to achieve what you want. But, I understand the maximalism of our youth. They want everything at once. They want to try themselves in street dancing, breakdancing, etc. - it's like fashion. And the department of modern dance can be opened, why not. We have to keep up with the times. It seems to me that from any kind of art you can take both useful and necessary. But, I am still a true representative of classical dance, classical dance art and I consider it a real art - it will always be at the head! Classical ballet and folk dance - lived, live and will live! And everything else will change. As my teacher Rostislav Vladimirovich Zakharov said: "All these physiques, body language, body multiplication, body division are all a temporary phenomenon, and a real dance, a real ballet will live forever!" Igor Moiseev's dances, Nadezhda Nadezhdina's dances, Kurbet's dances, our Mukarram-opa's dances, Isakhar Akilov's dances - they are alive and will be to live through the centuries, because this is the real art.
- In your opinion, what qualities should a choreographer have?
The qualities of a choreographer are immense, but first of all, a choreographer must be a person with a big soul and, of course, with a big heart! He should love his work, treat his students with respect. Of course, a choreographer should be an organizer, a person with a fine taste, a talented person, because only a talented choreographer and teacher will create a unique dance and bring up capable worthy students.
- And finally. You have already achieved a lot in your profession, what advice can you give to aspiring choreographers?
For beginners, young choreographers, I would like to wish to study the heritage more, because our predecessors staged correct, competent dances. It is necessary to study more history, geography, necessarily literature. They must be comprehensively developed, because when staging national dances, for example, Ferghana, Khorezm, Bukhara, and at the same time not knowing the history, traditions and customs of the people, it is impossible to stage a full-fledged, competent dance. And yet, choreographers should study and understand the fine arts. Unfortunately, they don't know all this now. That's probably why the art of the choreographer is lame in our country. Sometimes, looking at the works of young choreographers, I just wonder where this plaque could have come from, which is not inherent in Uzbek dance. I am
I icclT^^^^H 225 http://oac.dsmi-qf.uz
against our Uzbek girls lying on the stage if it is not provided by the number. Yes, there was a Buttermilk dance in "Bahora" - a suite number, but the girls portrayed cotton boxes, they danced sitting down - this was provided for by the plot of the number. And when they just come out and start "lying on the floor", especially dancing "poppy" -then again, this is not knowledge of history, not knowledge of national customs, and we should not depart from traditions.
Every Uzbek woman should be worthy, should be nobly restrained, it is the task of the choreographer to show this. "Because our Uzbeks - they have always been a symbol of devotion, loyalty and purity. I would like young choreographers to pay attention to this. And I would like to wish them to expand their range of knowledge in all subjects - to be educated and highly intelligent people. This will be the choreographer and teacher with a capital letter.
Kadir Tashinovich Muminov is just a teacher, a person, a choreographer with a capital letter. An example to follow. He was awarded many state awards, made a huge and invaluable contribution to the promotion and development of Uzbek national dance and dance art in general. A choreographer who is completely devoted to classical ballet and folk dances, a person who considers this art eternal.
References
The article was prepared on the basis of an interview with Kadir Tashkenivich Muminov. 20.08.2022 year.
226
http://oac.dsmi-qf.uz
