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5. Умумий урта таълимнинг давлат таълим стандартлари. Узбекистан Республикаси Халк таълими вазирлигининг ахборотномаси. 2-махсус сон. -Т.: Шарк. 1999. - Б. 47.
6. Умумий урта таълимнинг давлат таълим стандартлари... - Б. 85 - 86.
7. Амалга ошираётган ислохдтларимизни янада чукурлаштириш ва фукоролик жамиятини куриш - ёруг келажагимизнинг асосий омилидир. Президент Ислом Каримовнинг Узбекистон Республикаси Конституцияси кабул килинганининг 21 йиллигига багшланган тантанали маросимдаги маърузасини урганиш буйича укув-услубий кулланма. - Т: O'QITUVCHI, 2014. - Б. 10.
UDK 793.3
Mukhamedova U.
Assistant of professor Tashkent Higher School of National Dance and Choreography
Uzbekistan, Tashkent city WOMEN IN CHOREOGRAPHY
Annotation: In this article described the role of women in choreography.
Key words: women, choreography, dancing, Tamara Khanum.
In the 1920s, the years when woman's professional Uzbek dance was being established, its performers had to be truly courageous, for the dance was a call to a battle for emancipation and a dream of bright and happy future. Many a women had fallen victims in their fight for freedom. Nurhon, Tupahon and Khalima were among those who gave their lives for dancing on stage without veil, with open faces. We pay homage to the memory of Tamara Khanum, Mukarrama Turgunbaeva, Gavhar Rahimova, Mariya Kuznetsova, Mahsuma Korieva and Rosiya Karimova who carried on the cause and stood at the original of the Uzbek dance.
Tamara Khanum was of Armenian descent. She was coached by artist such Muhiddin Kori Yoqubov, doira performer Usta Olim Komilov, Yusupjon-kizik Shakarjonov, Tukhtasin Jalilov, Jura Sultonov and Hoji Siddiq Islomov. By performing dances of the world's nations, Tamara Khanum also became a skilled choreographer. In 1932, together with her teacher Usta Olim Komilov, she staged a big program of group and solo dances for a traditional art festival held in Uzbekistan. The most interesting number in the program was the "Silkworm" dance produced for the accompaniment of ancient rhythms, which was to become one of the most popular Uzbek dances known far beyond the country through its performance by Tamara Khanum and her talented students Mukarram Turgunbaeva, Galia Izmailova and Khalima Kamilova.
In 1932 Tamara Khanum was awarded the title of the People's artist of the Uzbek SSR fir her services in training choreographers and developing the art of music and dance, and in 1935 Tamara Khanum and Usta Olkim Komilov received the Gold Medal for taking part in the Ist London International Festival of Folk Dance and Music. The audience called Tamara Khanum "The Pearl Of the East".
Her extensive repertoire included dances and songs of many nations. In 1956, in honor of her 50th anniversary, Tamara Khanum was awarded the title of the People's Artist of The USSR for the great contribution to the development of dancing art. A remarkable event for the Republic was the release of the "Doira Dars" manual prepared by Tamara Khanum and her mentor Usta Olim Kamilov; the manual is a collection of a huge choreographic material, presenting basic movements of a dance performed to the beat of doira tambourine. The founder of the Fergana dance school was famous Mukarrama Turgunbaeva. She fell in love with dancing when she heard Muhiddin Kari-Yakubov singing and saw the "Dilhirij" dance performed by Tamara Khanum; then she made a decision to work in theater.
In the 1930s Mukarram Turgunbaeva's dances "Cotton picking" in the "Red Caravan" pantomime, "Removing the veil" in the "Shahida" Ballet, and "Gulsara" dance in the "Gulsara" musical drama were perceived as discovery and a call for woman's freedom. Female characters created by Turgunbaeva in her dances of that time served as role models and ideals for Uzbek women. The profoundly national "Tanovar" dance she performed was preserved in a film. Mukarrama said: "My "Tanovar" was born in my heart the night after I saw the Dying Swan number in a concert. The impression was so strong, so overwhelming, that I couldn't sleep all night and spent the next few days in a state of mental fever, until the "Tanovor"- the Uzbek Swan - rose in my heart.
In the "Tanovar" Turgunbaeva uses gestures and looks to show anxiety in the eyes of Uzbek women waiting for the news from their sons, father, and husbands fighting one the front line. Famous Russian artist I. M. Moskvin, after seeing her dance, said: "Tanovar is a song without words..., a talent to express oneself through gesture. In 1957 Mukarrama Turgunbaeva organized a dance company called "Bahor" Together with Isohor Okilov, lead ballet-master of Uzbekistan, she brought together a group of girls who graduated from the Tashkent Shcol of Theatre and the Navoi opera and Ballet theatre. The company became a prize winner of many national and international contest. Since 1960 the "Bahor" has been called the State Dance Company of Uzbekistan. Turgunbaeva constantly worked on improving Uzbek dance. Not only did she created new composition, she also introduced innovations into Uzbek choreography. State began to see a lot of group dances. Compositions created by Turgunbaeva tell about friendship, lifestyle, and the daily grin. These include "The Seven Beauties" poem, "Cotton" suite, and other pieces. The girls from the "Bahor" company performed the "Cotton" suit so masterfully by that the dance became a symbol of Uzbekistan's performing art. "Many hand-and-arm movements of the Fergana dance grew out of day-to-day chores and labour, but dances "Generalized" them and found an artistic symbol for the gesture Remember the original hand movement in any Fergana dance when a soft hand closes and opens: take a close look at this move, divide it into elements a, and you will realized that it was born precisely out of cotton harvesting work", Turgunbaeva wrote in her dairy. Folk songs and dances were given a new power and voice on stage. Turgunbaeva brought up hundreds of students, leaving behind a
heritage of daces, which became the golden asset of choreographic art. The audience of today still love her group dances such as "Silkworm", "Cotton", "Bayot", "Rohat", "Katta uyin", "The Apples of Namangan", and "Rubai of Fergana ", as well as solo dances "Havaskor", "The Doll","Rohat" , "Tanovor", "Munojot" and "Rubayat of Fergana".
In the wake the "Bahor" company's success, other follower companies appeared, such as "Uzbekistan", "Tanovor", "Lazgi", and "Zarafshon". Mukarrama Turgunbaeva is known not only as a great expert in oriental dance and dancing rhythms, but also as a genius performer, choreographer and pedagoguc who dedicated her life to the development of Uzbek dance.
Major contribution to the development of Uzbek choreography was made by Rosia Karimova, a student and successor of Tamara Khanum and Mukarrama Turgunbaeva. Karimova's role in the art of Uzbek dance was that of a performer, choreographer, teacher and scholar. She was born in the city of Kazan. Having lost her parents very early in life, she was raised in an orphanage in Margilan. The love of dance introduced her to Mukarrama Turgunbaeva with whom she moved to Tashkent. In the 1930s she was doing her training at the studio of the Samarqand Music and Drama theatre led by Muhiddin Kori-Yakubova, where she stayed to work after finishing her studies. Karimova performed lyrical dances and dramatic roles, including Anarhon in the "Urtoqlar" play, Asal in the "Gulsara" drama, and Assia in "Arshin mal-alan" During her time at the Tashkent musical Theatre and the Alisher Navoi Opera and Ballet theatre a Kraimova created a lot of dance numbers. Solo dances, which became part of "Farhad and Shirin" drama, "Leila and Mejnun", "Buran", and "Gulsara", she performed herself. In 1932 Karimova went to teach at the Uzbek State Choreographic School. Later on she continued her academic research work on the art of Uzbek dance as a research fellow at the Hamza Institute of art History- present the Institute of Art History of the Academy Of sciences Of Uzbekistan.
In 1960 Karimova worked on the systematization and generalization of basic position, movements and rhythms of the Uzbek national dance.
There are three schools in Uzbek folk dance: Fergana, Khorezm, and Bukhara. Building on the rich experience of dancing style masters, Karimova produced training manuals such as "Fergana Dance" (1973), "Khorezm Dance" (1975), "Bukhara Dance" (1977), as well as a number of books, including "The dances of the "Bahor" Compant", "Doira zarblariga mashgulot" ("Tambourine Beat Training Sessions"), and "The Dances of Uzbekistan". Bernara Karaimova, Rano Nizamova, Ibrahim Yusupov, Dilafruz Jabbarova, Shokir Ahmedov, Dilbar Abdullaeva, Karima Uzaqova, Silviya Tangurieva, and Kadir Mominov consider Rosiya Karimova their mentor. In the years of independence she was awarded an honorary doctorate degree in art history. Today, many followers of Tamara Khanum, Mukarrama Turgunbaeva and Rosiya Karimova contribute to the development of the art of dance, performing in companies such as "Ofarin" dance theatre, "Sabo", "Uzbegim Yulduzlari", and "Uzbegim Yoshlari" dance companies.
Reference:
1. Авдеева Л. Танец Мукаррам Тургунбаевой. Ташкент 1989
2. Каримова Р. Ферганский танец. Ташкент 1973
3. Тамара Ханум. Ташкент 1956.
УДК 378.14
Muminova Sh.N.
Candidate of Economic Sciences Senior Lecturer of the Department of Economic Theory and Management Polytechnic Institute of Tajik technical University by name Academician M.S.Osimi Republic of Tajikistan, Khujand town
Zohidova M.
Master of 1 course 25.01.07 - economics and enterprise menegement Polytechnic Institute of Tajik technical University by name Academician M.S.Osimi EDUCATIONAL CLUSTERS AS A MECHANISM OF INTERACTION OF HIGH SCHOOLS BY BUSINESS-STRUCTURES
Abstracts. The development of the sphere of educational services in the country has been growing rapidly in recent years, causing a special attitude to the student as the main consumer. The sphere of education is regarded as the most important factor in economic and social development. The sphere of educational services is able to become a kind of lever that can push the economy to a qualitatively new stage of development.
The presented article points out the need for the development of integration forms that unite the potential of educational and production structures, the formation of effective economic relations between enterprises and universities, and the increasing role of the state in staffing innovation activities.
Аннотация. Развитие сферы образовательных услуг в стране за последние годы стремительно растет, обуславливая особое отношение к студенту как основному потребителю. Сфера образования рассматривается как наиболее важный фактор в экономическом и социальном развитии. Сфера образовательных услуг способна стать своего рода рычагом, способным подтолкнуть экономику к качественно новому витку развития.
В представленной статье отмечается необходимость развития интеграционных форм, объединяющих потенциал образовательных и производственных структур, формирования эффективных экономических отношений между предприятиями и вузами, повышение роли государства в кадровом обеспечении инновационной деятельности.
