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8HISTORICAL EVOLUTION OF UZBEK NATIONAL DANCE
Saodat Bakhtiyarovna Halilova Uzbek State Academy of Choreography
Abstract: Uzbek dance originated many centuries ago, when people with their movements described the phenomena of nature, the harvest process or invoked spirits, performing various rituals. During the Great Silk Road, Uzbek dancers were in demand at the courts of Chinese emperors - dressed in shimmering fabrics, they were like fairytale characters. Since then, dances have been passed down from generation to generation, preserving traditions, as well as real or outgoing life.
Keywords: choreography, millir dance, tradition, movement, posture, composition, rhythmics, circle riddles.
To date, Uzbek dances have not changed much. As before, they tell about a story or an event and do not serve for self-expression, and their wide repertoire shows the importance of dance for the culture of the country.
The dancers pay great attention to facial expressions and hand movements in order to show the emotions inherent in the production. You can see how dancers often first bring their hands to their hearts, and then stretch them to the sky. In this way they show that their movements come from the whole heart.
Now it is customary to distinguish two types of Uzbek dance: classical and folk. The classic is designed for staging on stage. He is specially trained and performed not only in the republic, but also around the world. Folk can be found in the family circle, at weddings and large folk festivals.
Classical Uzbek dance is divided into three schools: Ferghana, Bukhara, Khorezm.
The Ferghana school is distinguished by its smoothness and softness, and its ideas are based on lyrical stories. Most often it is a dance about the separation of a girl from her beloved or, conversely, about the long-awaited meeting of lovers. Improvisation during the dance is popular in Fergana, but there is also an important rule: the performers' hands should always be directed upwards. By such an uncomplicated feature, you can immediately distinguish this school from the other two.
The peculiarity of the Khorezm school consists in sharp and complex movements, but simple gestures of the hands and feet, which reflect the vivacity and spiritual impulses of the performer. Dancers often recreate everyday and working scenes or imitate animals - they depict pigeons, rams, bulls, gulls and other fauna of their homeland. It was with the Khorezm dance that Anastasia Molokova, Durdona Irgasheva and Monica Dodarbekova, pupils of the orphanage from the Tashkent region,
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conquered the jury members of the international NTV competition and Sputnik agency "You are super! Dancing" in September 2017. According to Yegor Druzhinin, the dance was very difficult, but the young performers coped perfectly.
Bukhara dances, on the contrary, are distinguished by more primitive movements and simple choreography. At the same time, all movements are extremely diverse -sometimes soft and smooth, then sharp and brittle. The dancers' legs are always slightly bent, and the head is raised up. Sometimes Bukhara dancers use two additional musical instruments - "kayraki" (an analogue of Spanish castanets) and "zangi" (bracelets with bells that are worn on the wrists and ankles).
Folk dances are just a huge amount, and they vary quite a lot depending on the region. Performers sometimes do not have special training and proven techniques, but their movements are always emotional and expressive. Folk dances are a small performance during which dancers not only depict everyday worries, but also do things unusual for other dance schools, for example, use dishes, spinning machines and other household items.
The images created by the dances allow us to understand the people more deeply, to feel their temperament, desires, aspirations. Uzbek dance is distinguished by smoothness, sliding step, graceful movements, beautiful costumes.
The dancers spin like tops, lashing in all directions with long braids, soar into the air in jumps and freeze in deep bends. Then, shyly tilting their heads, they fall to their knees and gently wave their hands. Their dance is literally mesmerizing. It is not surprising that the dancers of Bukhara and other regions of Uzbekistan earned such a reputation that during the Great Silk Road they were in demand at the courts of Chinese emperors. Dressed in shimmering fabrics, the dancers looked as if they had come out of a fairy taleИскусство танца в Узбекистане развивалось еще с древнейших времен. Так, археологи находили на наскальных рисунках, на древней посуде изображения фигур танцоров. А в 4-8 веках танцоры из Бухары, Самарканда и Хорезма были известны на всем Востоке.
The national dances of Uzbekistan, which have survived to the present day, are known in two forms: traditional classical dances and folklore folk dances. There are three schools in classical dances: Ferghana "Kaga win", Bukhara "Makoma Dance" and Khorezm "Ufori Makoma".
Folk dances are just a huge number, and they vary quite a lot depending on the region, but they are necessarily characterized by cheerfulness. Traditional dances of Uzbekistan, as a rule, tell about a story or an event, and do not serve for self-expression of dancers. Their wide repertoire shows the importance of dance for the culture of the country. For example, Katta Uyin (Big Game), is a school based around an ancient legend about a deity named Siyavush.
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Other dances are used to celebrate important events such as Navruz (the day of the vernal equinox), weddings, or depict everyday tasks such as silk weaving or agriculture.
It is also worth noting that the performers of Uzbek dances should be mobile and very precise in their movements, since every movement of every part of the body, down to the fingers and eyebrows, contributes to the accuracy of the narrative. In Uzbek dance, expression is as important as the technical execution of steps.
References
1. Кадыров М.Х. Труды по истории зрелищных искусств Узбекистана. В 3-х томах. - Ташкент: Фан, 2013.
2. Толстов С.П. По следам древнехорезмийской цивилизации. - Москва: Наука, 1948. - 460 с
3. Перспективы культурного сотрудничества народов Центральной Азии. Сборник статей. - Ташкент: ГАХУз, 2020.
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