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8THE ROLE OF STATUS DANCE IN NATIONAL DANCE ART
Urunova Lobar Uzbekistan State Institute of Art and Culture
Abstract: This article describes the incomparable role of "status" in the art of dance, as well as the role and importance of the "status" genre in the choreography education system.
Keywords: dance, status, schools, performance
Uzbek dance art is completely different from the dances of other nations with its uniqueness and diversity. Especially, the uniqueness of Uzbek dances, the fact that they have a unique character that cannot be observed in any other folk dance, is worthy of praise. The dance art of each nation is definitely distinguished by its features that reflect the unique features of that nation. In the study of a certain national culture, it is important to analytically observe the uniqueness, stylistic character, artistic qualities, and traditions of the great direction called dance art. Uzbek dances, which have a long history, have special artistic features that cannot be found in the art of other nations, which reflect the national image, image, and characteristic features of the nation.
Today, the art of choreography is developing in its own way. For the first time, the maqam genre was introduced in choreography education. Candidate of Arts Sciences Lyubov Avdeyeva described the history of maqam dances and the first performers in her book "From the History of Uzbek National Dance". For the first time, Mukarrama Turgunboyeva took the dance of maqom to the professional stage, "Blue maqom", staged by the "Bahor" dance ensemble. Later, many status dances were staged by master ballet masters such as Isokhor Okilov, Kunduz Mirkarimova, Yulduz Ismatova, Kadir Mominov.
The research works of the following scientists on the topic of the role and importance of the status genre in the art of Uzbek choreography were taken as a basis: "On the issue of statuses" by Ishak Rajabov, doctor and professor of art studies, "Basics of status", O.Ibrahimov's " Basics of Maqom", "Maqamot" by Otanazar Matyokubov, "From the history of Uzbek dance" by L.Avdeyeva, "Source studies of Central Asian music of the 10th-15th centuries" by Z.Oripov, in addition to this, the dance series of "Shashmaqom" by M.M.Jorayeva are the problems of today. and solutions" is one of them.
We should emphasize that all these are a source of support for us.
The art of "status" in dance is considered a part of the "classical dance" genre and has been passed down from generation to generation through the tradition of master-disciple. Maqam belongs to the category of classical music as a major category and
genre of work. It differs from other types of musical creativity in its artistic excellence, melodic and form structures, modes and method systems, as well as scientific and practical foundations. There are works and categories with the phrase "maqam" in the culture of different peoples: variants of expressions such as maqam (Uzbek and Tajik), mug'om (Azerbaijani), muqam (Uyghur), dashka (Iran), noba (Maghreb) widespread. [10.33].
In ancient Uzbek history, the creators of the "maqom" dance were researched for a long time to collect, sort and polish dance forms, the names of the scientists who systematized them have not been preserved - says L. Avdeyeva.
Is'haq Rajabov's book "On the issue of status" says: In addition to the archaeological findings of ancient Parthia, Khorezm, Bactria-Tokharistan, Sughd, Choch (Shosh), Eastern Turkestan, related to the music culture of BC, Kushan (the genre of status in music is long 4th century), the Hephthalite states (mid-5th-6th centuries) and the finds related to the period of the Turkish khanate (VI-7th centuries), in particular, Afrosiyab, Marv, Zartepa, Dalvarzintepa, the fortress of Koy Slaughter in ancient Khorezm Ceramic figurines, stone figures, ivory vessels found in Ayritom in the Surkhan Valley, Khochayan, Nisa near Ashgabat and other places - relief images on the top of rhytons are significant in this respect. Through archeological finds related to music, it is possible to observe the process of improvement of music and musical words. For example, in the image of the 5th century musician found in Kanka near Tashkent, the woman has two strings of the oud in her hand, and these strings are not attached to the kharrak on her stomach, but to the hook on the lower part of the abdomen, while in the images of the oud in the Panjikent wall paintings of the 7th century, she has four strings. the hook is one piece with the harrak and it is on the belly, the belly is large, there are echoing holes in the lid, the handle is short, the end of the auricle at the end of the handle is turned back, the mizrab is in the hand of a woman playing the oud. In Ayritom, in the embossed images on the entrance porch of the synagogue, one can see fourteen musicians, i.e., an ensemble of musical instruments, playing musical instruments such as koshnay, drum, oud, and harp. The Panjikent murals also depict an ensemble, only here it is a joint ensemble of singing, dancing and music. The woman playing the oud in the ensemble has a mizrab and four strings of the oud in her right hand, and the dancer's gestures are clearly visible. In the works of Farabi and Ibn Zayla, it is written that the four-stringed oud is used in practice and that it is played with a mizrab, and also mentions the gestural dance - zfn. There is no significant difference between the oud and gestural dance in Panjikent wall paintings of the VI-VII centuries and the oud and dance described by Farabi, Ibn Sina, Ibn Zayla and Khorezmi in the X-XI centuries. [1.13]. So, based on the sources, we can say that the concept of status appeared first of all in Sufism, then in music, and then in dance.
Statuses have become a great phenomenon achieved not only by Eastern music culture, but also by mankind.
Maqam dances were created in a time when people's understanding of music, musical-aesthetic views were perfect, and people's consciousness and level rose. The formation of the status system is closely related to the development of world science.
Maqom dance genre differs from other dance genres with its flexibility, subtlety, and unique aspects of performance skills. For centuries, this unique art, which has been polished by the hard work and dedication of great poets and scientists, skilled composers, hafiz and musicians, and creative thinking, has gained great fame and attention not only in our country and eastern countries, but also on a global scale. The fact that "Shashmaqom" is recognized as an intangible cultural heritage of humanity by UNESCO and included in its representative list is a clear confirmation of this.
In short, it is necessary to implement the Maqam in education, to deliver it correctly to the students, to improve performance skills, to teach the categories of the Maqam, to conduct philosophical analyzes of ghazals. Cooperation with the Uzbek National Music Institute, Maqom ensemble named after Yunus Rajabi, Maqom centers. It is desirable to exchange experience with them, to get professors to conduct master classes at the academy, and to acquire the necessary knowledge and skills from them.
References
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