CC BY
0MODERN TRADITIONS OF PERFORMING ARTS AND POP MUSIC OF THE INDEPENDENCE ERA
Khalikov J.A.
University of Science and Technology https://doi.org/10.5281/zenodo.13893760
Abstract. This article discusses modern traditions ofperforming arts and pop music of the independence era. Uzbek national stage has managed to maintain its uniqueness, diversity, and vibrancy, while also addressing creative directions. The role of traditional forms and genres of folk applied art is significant in shaping the national identity of Uzbekistan's modern music scene, highlighting their distinctive characteristics.
Keywords. performing arts, pop music, performance, Uzbek pop singers, songs, lapar, yalla, contemporary.
The aim of the "Strategy of Actions" is to fundamentally enhance the effectiveness of ongoing reforms, create conditions for the comprehensive and rapid development of the state and society, modernize the country, and liberalize all spheres of life.
The concept of "pop music" originates from the Latin term meaning "to perform" or "stage." By the late 19th century, this term began to refer to creative activities in a solo or small format. The playwright creates the script, the director stages the performance, and the actor embodies the character. These three processes converge in a single individual who creates a small-format performance, known as a "number."
The art of creating a performance referred to as a number began to be called pop music from the 20th century onward. An individual who created and showcased a number at an artistic level started to be revered as a pop actor. At the beginning of the 20th century, Uzbek pop singing began to develop against the backdrop of social and political changes, which can be conditionally divided into two periods.
Figure 1: Eras of Uzbek Pop Singing
In his article titled "The Educational Significance of Music," renowned Polish composer K. Szymanowski discusses the natural power of music, noting that it can be used in two opposing directions: for creation and for destruction. He states, "Just as one would use the swift waters of a river for useful and productive work, such as turning a mill, music must also be utilized effectively". To merge heritage with modern performing traditions, it is essential to understand not only the content but also the creative characteristics of pop music. One must grasp how commonality and performance principles evolve between traditional music and contemporary national music, and what elements contribute to their integrity as a musical genre.
Such commonalities manifest in artistic systems, cohesive artistic language, and national creative characteristics, which are significant not only for arrangers but also for sound engineers, audio operators, directors, clip makers, and producers. Due to the lack of these qualities, sometimes the fate of talented singers and group participants can be misdirected by arrangers who have not developed a sense of national identity, leading to a disconnect in the creative process that diverges from national roots. The natural potential and artistic thought of a singer renew themselves within a creative system based on the criteria of "novelty" and "modernity."
In pop music, each song or piece is not solely the work of one individual; as noted, it involves several professionals contributing to its creation. By the time it reaches the producer, the opinions of all participants are consolidated. Therefore, professionals involved in the creation of songs must infuse national traditions into their works or educate singers based on examples from oral-professional and folk performance traditions. Conversely, in Uzbek pop music, artificial imitations can lead to fakeness in works that utilize folklore samples. This is due to a growing number of arrangers who fail to grasp the aesthetic functions when incorporating folklore into the pop music system.
Styles that diverge from national sentiment, often borrowed from foreign artists' repertoires (such as Indian, Iranian, Turkish, and those from European and American pop singers), also emerge as the product of arrangers' creativity, yet these artistic phenomena do not relate to one another creatively or artistically. As a result, listeners often cannot discern the elements that belong to the nation or the people within the songs presented to them.
When discussing national identity, it is imperative to consider art forms that encapsulate the mentality, inner world, cognitive realm, and lifestyle of the nation. The solution to the problem does not lie in forcibly merging foreign traditions into a musical system formed within the shell of national customs and musical systems. Just as patchwork compositions appear in various singers' repertoires, attempts to imitate figures like Tarkan or Houston have increased. This situation has set a standard for imitation that often disregards the artistic quality and spiritual level of foreign singers, leading to a blind pursuit of popularity by imitators.
In this context, if the components that ensure the unity of tradition and modernity crucial factors for pop music are not maintained, any national performance will continue to negate itself. The concept of modernity not only leads to the emergence of a certain group of dilettantes that do not reflect the characteristics of national identity, but it also negatively impacts the spiritual and emotional world of young listeners who have not yet grasped examples of national musical heritage.
Indeed, the freedom to adopt behaviors and dress styles from foreign songs presents an opportunity for amateurs. Their "personal style" may not reflect national art but rather signifies a tendency to perceive national art within its "own system." The artistic quality and superficial technical processes of amateurism have brought forth specific demands and negative conditions. The roughness of an amateur singer's voice and lack of breath support have started to be corrected using technology. Traditional live performances have been replaced with phonograms. This "innovation" has led to an increase in "showmanship" among those aspiring for prominence in Uzbek pop music. Major concert venues are increasingly handed over to amateurs alongside professional performers.
Natural performance, which is a source of artistic ethical and aesthetic means in Uzbek music, has been sidelined. In pop music, those who envision modernity outside the framework of
national performance traditions and far from real-life situations have become sufficiently prevalent. Nowadays, modernity is understood as the noisy, extravagant performances created by those reliant on technology and quick to "achieve" popularity, often devoid of meaningful content.
True modernity should be interpreted as a connection between history, the present, and the future, underpinned by national identity and ideology. Since gaining independence, themes of homeland, independence, freedom, and national identity have become prevalent in the songs created in Uzbekistan. Among other art forms, music and pop music have undergone development under new conditions and systems.
On April 5, 1996, the President of Uzbekistan issued a decree (PF-1419) establishing the "Uzbeknavo" concert touring company. In 2001, the Cabinet of Ministers announced a decision aimed at further developing the art of pop singing. This decision included proposals from representatives of the broad musical community, prominent figures in pop art, and various organizations to form the National Council for the Development and Coordination of Pop Art, chaired by the People's Poet of Uzbekistan, Erkin Vohidov.
The main objectives included:
Coordinating the activities of pop groups, solo performers, and other artists, protecting their creative, economic, and legal interests;
Defining the role of modern pop art in the development of Uzbek musical culture, establishing ideological and artistic directions, and promoting its harmonious development with national and universal values;
Preparing recommendations for national festivals, competitions, shows, and other cultural and educational events;
Organizing monitoring of national pop art and regularly holding conferences and symposia dedicated to issues of sector development, as well as establishing periodical publications;
Recommending artists contributing significantly to the sector for state awards, establishing various prestigious awards, and encouraging young performers both materially and spiritually.
To enhance the effectiveness of efforts to develop pop art, the "Uzbeknavo" concert touring company was dissolved, leading to the establishment of a business entity that fulfills the main objectives and tasks of the National Council for the Development and Coordination of Pop Art. This entity aims to ensure the artistic and ideological integrity of pop art while overseeing the activities of regional branches in the Republic of Karakalpakstan and provinces.
Collaboration with composers and choreographers like Anor Nazarov, Alisher Ikromov, and others has played a significant role in enriching the thematic variety of works created during this period. Songs addressing independence, Navruz, and other themes have been performed in various international and national competitions, festivals, and events, showcasing a high level of national and artistic quality.
The pride in national identity, loyalty to the homeland, and the evolving mindset of singers illustrate that there is serious exploration and a process of finding new directions in Uzbek pop music.
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