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4THE ROLE OF THE ART OF DANCE IN THE EVELOPMENT OF THE
NEW UZBEKISTAN
Tursunoy Maxamatali qizi Xadjaaxmedova Uzbekistan State Academy of Choreography
Abstract: This article talks about the idea of the Third Renaissance entering every aspect of our society and its role in the art of dance. Also, the development trends of Uzbek dance due to independence are analyzed.
Keywords: uzbek dance, nationality, dance traditions, dress, image, independence
The art of dance was created in connection with the labor process and emotional impressions of existence. This art was initially associated with songs and words, and later became an independent art form. The dance has evolved over the centuries and acquired stable forms. The dress of the performer gave clarity to the dance images.
Each nation has its own dance traditions, performance style, visual arts, which have been developed under the influence of historical, social and geographical conditions. In expressing the content of Uzbek dances, the performers also used clapping, clapping, and rustling. Some dances were performed with objects such as handkerchiefs, bowls, glasses, sometimes the performer was accompanied by folk instruments (drums, drums, etc.).
Archeological finds of rock images found in Central Asia, including Uzbekistan, testify to the very ancientness of the dance here. There is historical information that the art of dance was formed in the period of the Zoroastrian holy book "Avesta" and began to develop in two directions - folk and professional dance. Also, as a result of the influence of dance and games in our country at different stages of development, ancient games such as "Beshkarsak", "Katta oyn", "Lazgi", "Kema oyn", "Ashshadaroz" were created.
By the 20th century, the art of dance was formed in the direction of Bukhara dance, Khorezm dance, and Fergana dance, and developed as a stage folk dance reworked based on the requirements of the modern stage.Each of these directions has passed through several historical stages over the centuries and acquired its own form, shape, and meaning. A number of national and folk dance teams are known to the world. Dance masters such as Hamdamkhan, Yusufzhan Keen Shakarjonov, Usta Olim Komilov, Tamarakhonim, Mukarrama Turgunboyeva, Gavhar Rahimova, Roziya Karimova, Kunduz Mirkarimova, Karim Rahimov, Kadir Mominov, Ma'mura Ergasheva, Yulduz Ismatova, Shakir Ahmedov, Gavhar Matyoqubova,
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Rushana Sultonova, Dilafroz Jabborova, Kizlarkhan Dostmuhamedova, Malika Ahmedova have contributed greatly to this was.
O'zbekiston tarixida eng muhim hodisa hisoblangan davlat mustaqilligiga erishish nafaqat siyosiy soha balki ijtimoiy, madaniy sohalarda ham tub islohotlar zaruratini yuzaga keltirdi. Jamiyatdagi bu islohotlar o'laroq mamlakatning yuksalishi, xalqning turmush tarzi, ayniqsa yoshlarning salohiyati, bilimi, ma'naviy yetukligining rivoj topishiga davlat siyosati darajasida e'tibor qaratildi.
O'zbekiston raqs san'atining rivojlanib, taraqqiy etishi hamda uning nodir namunalarini dunyo sahniga olib chiqilishi bugungi davr madaniyat va san'at sohasida muhim masala sifatida yuzaga chiqmoqda. Binobarin, eng ko'hna va eng nafis san'at hisoblangan raqs san'atiga har qachon ma'naviy ehtiyoj seziladi.
During the period of independence, studies covering various aspects of the subject of modern choreography were conducted. Uzbek dance art is analyzed within the framework of general issues in teaching manuals such as "Methodology of working with a dance team" by N.Abraykulova, "History of Uzbek dance art and secrets of dance staging" by D.Saifullayeva and Z.Kazakbayeva, "Uyghur folk dance" by O.Mukhamedova, "Surkhan dance school" by Sh.Qurbanova and H.Khursandov. Among the existing studies, the monographs "From the history of Uzbek dance art" by L.Avdeyeva and Y.Ismatova, and "Tanovar" by Y.Ismatova are particularly important. In it, for the first time in Uzbek art history, a deep analysis of the historical roots of the art of dance and the dance-performance genre, separately from other components, were researched in a wide scope. of R. Iskandarov "Классический танец" V.Kostrovitskaya's "100 Lessons of Classical Dance", N.P.Bazarova and V.P.May's "Classical Dance Alphabet" and O.Muhamedova's "Practice of Performing Uzbek Dance" teaching manuals are among them. These educational literature are also important because they are prepared for Republican children's music and art schools and schools specialized in culture and art.
Also, a "Scientific-methodical laboratory" was established for the first time at the State Academy of Choreography of Uzbekistan, and the main goal of the laboratory was to develop the national dance art and improve its teaching and learning method.
In addition, one of the main tasks of this laboratory is to create a base of necessary and rich materials for independent research and independent learning for professors, teachers, young scientists, graduate students and students, as well as those interested in studying the science of dance art.
The State Academy of Choreography of Uzbekistan has been very effective in scientific processes in recent years. The publication of a new generation of educational literature created by professors and teachers of the Academy is a clear proof of this.
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The sphere of culture and art, which received great attention in the first years of our country's independence, has begun new stages of development. Especially, the consistent reforms carried out in the last 4 years have made a fundamental turn in the development of the state and our society. In particular, these innovations have clearly manifested themselves in the art of Uzbek dance. A number of decisions and decrees regarding the sphere of culture and art are proof of our above statement.
The establishment of the State Academy of Choreography of Uzbekistan and the sharp rise in the scientific-creative, scientific-practical processes, the scientific potential that is increasing year by year, the achieved achievements directly serve the development of the dance art of Uzbekistan.
In the years of independence, in addition to studying the heritage of dance art, the problem of restoring it and presenting it to the young generation, the future owners of this field, became a cross-cutting issue. Naturally, the demand for time is clear, and at the same time, it is a process that requires high knowledge and great skill from the creator. During this period, the prolific creative activity of a number of ballet masters is significant.
The factors describing the heritage of the national dance art, its historical and contemporary aspects are focused on the example of the work of a ballet master and his pedagogical activity. It is difficult to imagine the development process of dance art today without the reforms carried out by our state.
In the early years of independence, the large-scale celebration of public holidays in open squares was an important factor in the creation of square dances.The creative activity of people's artists of Uzbekistan, Akbar Mominov, Kadir Mominov, is of special importance in the staging of public square dance compositions.
National dance art in the first years of independence is studied practically and methodically.
It is no secret to any of us that with the honor of independence, every art form, including the art of dance, regained its development path. In particular, there was a rise in the art of dance during this period. We can cite as an example the expansion and revival of the activities of many dance ensembles. Another gratifying aspect is that, thanks to the Third Renaissance, new pages have been opened in the art of dance in our country, among many other fields. In particular, it is impossible not to recognize the revival of the "Bahor" ensemble, the Khorezm Lazgisi festival and the international conference held on its basis. But there is still a lot of work to be done in the field. We think that in the future, due to the expansion of the ranks of dance experts, the Uzbek national dance will be studied not only in our country, but also around the world.
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References
1. Abraykulova N. Raqs jamoasi bilan ishlash uslubiyoti. -Toshkent, 2003. 2. Sayfullayeva D, Kazakbayeva Z. O'zbek raqs san'ati tarixi va raqs sahnalashtirish sirlari . -Toshkent, 2006. - 87-b.
3. Muhamedova O'.N. Uyg'ur xalq raqsi (o'quv qo'llanma) -Toshkent, 2009. 130-b.
4. Qurbonova Sh, Xursandov X. Surxon raqs maktabi. -Toshkent,
5. Avdeyva L. Yu.Ismatova O'zbek Milliy raqsi tarixidan. -Toshkenti, 2001. 204b.
6. Ismatovaning Yu. Tanovar. -Toshkent,
7. R.Iskandarova — "Классический танец" — o'quv qo'llanma. "Navro'z" nashriyoti.T.: 2019, 220-b.
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