American Journal Of Philological Sciences
287
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue04 2025
PAGE NO.
287-291
10.37547/ajps/Volume05Issue04-74
The Performance Mastery of Qahhor Bakhshi In the
Uzbek Epic Tradition
Gulbaxar Fazilova
Independent researcher Institute of Uzbek language, literature and folklore, Academy of sciences of the Republic of Uzbekistan
Received:
28 February 2025;
Accepted:
29 March 2025;
Published:
30 April 2025
Abstract:
The article reveals the unique style of the Uzbek folk bakhshi Kahhor bakhshi Rakhimov in performing
epics, the individual features of his modern repertoire, the manner of performance that distinguishes him from
other bakhshi, the poetic aspects of his work as a continuer of the Sherabad school of epic poetry.
Keywords:
Epic, folk, bakhshi, poetry, music, performance, dombra.
Introduction:
The epic (doston) and the art of its
performance constitute the principal and most highly
specialized branch of Uzbek oral literature. The
emergence and gradual development of this art are
insepara
bly linked to the bakhshis’ practice and
activity. The epic is a lyric-epic poem-an artistic work of
that genre-widely found in both Uzbek oral tradition
and classical literature. In the epic, a particular event is
narrated through lyric-epic imagery. It embraces life
and reality on a grand scale, typically revolves around
one or two central heroes, and features a large cast of
characters. [1]
About two or three thousand years ago, the performers
of the epic were given the title “bakhshi.” The word
“bakhshi” comes from the Mongolian and Buryat
bakhsha (baghsha
–
“learned one,” “teacher”), appears
among Turkmens as baghshi, among Karakalpaks as
baqsi, and in similar forms elsewhere. [2.2]
Bakhshichilik is a priceless art form that unites mastery
of poetry, music, and performance. A bakhshi is the folk
epic singer and storyteller who preserves terma (oral
song
–
verse), ballads and epics-singing them from
memory and transmitting them from generation to
generation. With their sweet, silvery voice and the
melodies flowing from their dombra, they involuntarily
stir the human heart and set it moving. The size of a
bakhshi’s repertoire varies: those blessed with keen
hearing, sharp intellect, natural talent, and an
exceptional memory can recall dozens of epics by
heart. According to experts, another group of bakhshis
lived as qalandar-dervishes, roaming from place to
place singing religious and didactic epics in honor of
Muslim saints.
Uzbek epic artistry stands among the most
extraordinary cultural phenomena: the activities of
bakhshis, the institutions of epic-singing schools, and
the master
–
apprentice lineage have together ensured
the survival and transmission of countless epic.
Scholars have shown that this art embodies the rich,
ancient traditions of our people’s a
rtistic thinking.
Drawing on these time-honored customs, the art of
bakhshichilik is delivered solo-through an intimate,
inner vocal style accompanied by the dombra-and
unfolds
live
in
spontaneous,
improvisational
performance.
Born into the hereditary lineage of bakhshis, Qahhor
bakhshi Rahimov-son of the celebrated Qodir bakhshi
Rahimov-belongs to the distinguished circle of
performers who have, from 1990 to 2025, ensured the
living transmission and development of the epic-
singing traditions of Surkhandarya and Kashkadarya.
Qahhor bakhshi was born on 2 February 1957 in the
village of Kho‘jamahmud, Dehqonobod district,
Kashkadarya region, into the beloved household of
Qodir bakhshi Rahimov.
After completing secondary school in his village, he
studied at the Faculty of Uzbek Philology at Karshi State
University, where he received theoretical instruction in
folklore-especially in the art of epic performance-from
the eminent folklorist Abdumo‘min Qahhorov. [3.5
-6]
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
Descended from seven generations of bakhshis,
Qahhor Bakhshi learned the secrets of this art from his
father, Qodir bakhshi. He describes how his passion for
bakhshichilik first awakened: “In our family, bakhshi
gatherings were held at least two or three times a
week. Because my father was a master bakhshi,
performers
would
travel
from
Surkhandarya,
Kashkadarya, and even Turkmenistan to our home.
They’d listen to my father’s singing until dawn, then
take up the epic themselves. Villagers would fill our
house as if it were an inn. My father’s magical voic
e and
the haunting melodies of his dombra absolutely
mesmerized me. Watching his students and visiting
bakhshis perform was spellbinding. Later, when I was
alone at home, I’d pick up the dombra and try to
recreate
their
performances-strumming
the
instrumen
t and mimicking their songs. That’s how my
own style began to form.”
All of the epics performed by Qahhor bakhshi are
artistically mature and linguistically impeccable. The
imagery he employs is always perfectly placed, and his
use of hyperbole and similes is rendered with
astonishing vividness-testimony to his verbal agility,
enchanting improvisational gift, deep epic knowledge,
and powerful memory. For these reasons, the epics and
termas he sings captivate audiences with their popular
appeal,
emotional
resonance,
and
engaging
storytelling. Qahhor bakhshi’s repertoire draws on a
vast poetic well, rich in narrative motifs, epic traditions,
set verses, and recurring refrains.
A bakhshi never performs the same epic identically, no
matter how many times or in which venues he sings it.
During the rendition, the dombra’s melodies shift, the
modes and ornamentation adjust to the audience and
the context, the narrative may be sometimes
condensed or sometimes extended, and the text is
continuously reshaped by spontaneous improvisation.
These variations are determined by the bakhshi’s mood
and the composition of his listeners. Yet, whether
performing a terma or an epic, a bakhshi must
rigorously uphold tradition, emphasizes Qahhor
bakhshi Rahimov.
Qahhor bakhshi is by birth a noble soul and a true host-
brave as Alpamish, broad-hearted as Gorugli, as
cherished as Ravshanbek, and as devoted an artist as
Avazbek. The extraordinary breadth of his memory
reveals his status as a rare talent in every circle he
enters.
Qahhor bakhshi is an exceptional artist-both a
classically
trained
teacher-pedagogue
and
a
spontaneous (“badihago‘y”) epic singer, as well as a
poet. Several of his poetry collections have been
published, and he is also a member of the Writers’
Union. Having achieved the rank of master artist, he
possesses a unique gift and flair for performing both
traditional and personal termas, and for composing
new ones.
What sets Qahhor bakhshi apart from other bakhshis is
that, before beginning any doston or terma, he always
invokes the name of Allah and earnestly seeks His help.
For example:
-
“O friends, let me tell you but one tale,
May Allah in His mercy grant us grace.”
Secondly, the bakhshi sends blessings upon our
Prophet Muhammad (s.a.v, peace be upon him).
Thirdly, he invokes the name of his mentor-his father
Qodir bakhshi-understanding that before any
performance he must, in spirit, seek his father’s
blessing and carry his guidance in his heart.
These three acts-invoking Allah, honoring the Prophet,
and paying homage to his ancestral teacher-reflect
Qahhor bakhshi’s deep respect for the sacred lineage
and his gratitude to those who have guided his art.
When beginning a traditional doston, he first plays a
melody on the musical instrument “soz”, then in his
opening remarks transitions to extolling his dombra. A
true bakhshi cherishes his instrument-he nurtures and
venerates it, regards it as sacred, and trusts that its
divine tones lift the listeners’ spirits, banish their
weariness, and inspire hope for the day to come.
When a bakhshi sets out to perform an epic or terma,
he concentrates his emotions, lends power to his voice,
and reveals the full scope of his memory. Qahhor
bakhshi’s artistry is shown by his deep knowledge of
the Sherobod
epic-
singing school’s
founders’ legacy, his personal
interpretation of their material, his broad vision, and
his profound scholarship. Moreover, both in the past
and today, a bakhshi is judged by the unity of three
elements-an engaging text, a pleasing melody, and a
vibrant, expressive voice. Any performer who cannot
sustain all three in harmony cannot be considered a
fully accomplished, professional bakhshi.
Because of these three features, Qahhor bakhshi
enjoys many admirers and packed audiences at every
gathering. Yet, like all true artists, he remains never
fully satisfied with his art. Thus he prays:
“Oh Allah, You gave me the mystic soz,
And a voice that captivates every heart.
At times I’ve moved people to tears, at times to
laughter-
But why did You grant me so little intensity?”
Ever in pursuit of perfection, he continually strives to
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American Journal Of Philological Sciences (ISSN
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2771-2273)
deepen the very qualities he feels are still lacking.
[4.323]
The influence of tradition was so strong that many
singer-songwriters preferred not to flaunt their
creativity. This attitude towards the epic prevailed in
much earlier periods. [5.15] This approach to
traditional epic methods had also taken firm root
among the bakhshi of the southern oases. In
considering oasis
epic-
singing, it’s important to emphasize that here the
epic tradition has evolved while fully preserving its
strong, ancient character and sustaining its artistic
vitality in live performance. The bakhshi’ relationship to
the epic canon-in their master
–
apprentice bonds, the
bakhshi’s persona and his storytelling, tradition and art,
collective and individual creativity, and the special
attention they give to the aesthetic power of their
instrument (the so‘z) and the spoken word
-forms the
distinctive stylistic hallmark of the southern-oasis
bakhshi schools.
Qahhor Bakhshi Rahimov’s epic repertoire includes
over eighty memorized dastans, among which are:
Alpomish,
Kuntug'mish,
Bo'takoz,
Zevarkhan,
Sahibkiran, Jarhunmaston, Mallasavdogar, The Birth of
Go'ro'gly, Zaydinoy, Yunuspari, Gulnorpari, Misqolpari,
Zulfizar, Avazkhan's Bringing, Father's Prayer,
Hasankhan, Khushkeldi, Nurali, Juzum's Bringing of the
Eye, Avazkhan's Becoming a Slave, Kaytmaspolvan,
Nurali and Five Hundred Mulabachcha, Gulshanpari,
The Sale of Girot, Avazningarazi, Khandalli, Go'ro'gly's
Journey, Yusuf and Ahmad, Shahidnama, Allonazar
Olchinbek, Oyparcha, Sheryurak Madikhan, Kaysardev,
Beva Barchin, Yodgor, Malikai ayor, Zarnigor, Zayidkul,
Erali and Sherali, Alomon and Karamon, Orzigul, Intizor,
Chambilkamali,
Sanam
Gavhar,
Mozandara,
Altinkobok, Oynobodpari, Suluvkhan, Hasankulbar's
marriage, Shokhdorkhan, Yusufbek, Muradkhan,
Rustamkhan, Bolkhuvon, Kirq Kasamyod, Aisuluv,
Oytumsa, Balogardon, Hasan-Husan, Boloyim, Nurali
and Semurg, Nurali and old Ahmed, Shirin and Sugar,
Kunduz and Yulduz, Tarki Badakhshan, Saqibulbul,
Oychinor, Kelinoy, Vamiq and Uzro, Bahrom and
Gulandom, Goroglu and Bozirgan, Temur and Bayazid,
Makhtumkuli, Navoi in Samarkand, Ahmed Yasavi,
Kaldirgoch, Kadir Bakhshi, Tillosaman, Sadoqat,
Kungirot, Istiqlol, Ravshankhan, Gupponoy, Yazi and
Zebo, Guloh.
He also performs the great religious epics “Yusuf va
Zulayho”, “Tohir va Zuhro”, and “Ibrohim Adham”. In
addition to his memorized canon of over 80 dastans,
Qahhor Bakhshi has composed nearly 1,000 termas-
traditional and contemporary songs-demonstrating
both his prodigious memory and his creative mastery
of Uzbek epic and folk art.
If we assume that each of the sixty epics in Qahhor
bakhshi’s
repertoire averages 7,000
–
8,000 lines, that
alone amounts to some 420,000
–
480,000 verses. Even
without counting his termas, it’s astounding that a
single performer can carry nearly half a million lines in
his memory. No team of four specialists across different
arts could match that feat-and yet one man does. His
very mastery amazes listeners, and it is this wonder
that makes them cherish, honor, and draw inspiration
from their singer. [4.324]
Qahhor bakhshi's skill is that he was able to artistically
summarize the feelings, views, and thoughts of a
historical figure (momosi) to the level of the pain and
experiences of all mothers and women who have lost
their children untimely. [4.335]
Qahhor bakhshi, as an unparalleled creative artist and
true innovator among bakhshis, has composed original
epics such as “Guloh,” “Ahmad Yassaviy,” “Navoiy in
Samarkand,” “Maxtumquli,” “Temur and Bayezid,”
“Qaldirg‘och,” “Beva Barchin,” “The Epic of Qodir
bakhshi,” “Tillo Saman,” “Sadoqat,” “Qo‘ng‘irot,” and
“Istiqlol.” The
se works represent his contribution to
enriching the universal epic repertoire through a
singular, individual vision.
Individuality (from Latin individuum, “indivisible”)
denotes the unique, non-repeatable qualities that
belong to a specific thing, event, person, or living
creature. Defined by its particular traits, individuality
stands in contrast to generality (the universal).
Emphasizing the specific over the common, this
principle is also a hallmark of the Romantic worldview.
Over the years, Qahhor bakh
shi’s epic performances
have been committed to print in book form, with titles
such as “Yodgor” (1999), “Ahmad Yassaviy” (2004),
“Qo‘ng‘irot” (2004), “the Epic of Qodir Bakhshi” (2019),
“Ollanazar Olchinbek” (2020), “Yozi and Zebo” (2023),
Maxtumquli (2021
), “Go‘ro‘g‘lining safari” (2022),
“Mallasavdogar” (2022) and “Qirq Qasamyod” (2024).
Between 2014 and 2023, Qahhor bakhshi brought out
a remarkable sequence of works: his poetry collections-
from Mangulik Javohirlari in 2014 and Samodan
tomgan tomchilar a year later to Quralay in 2018, and
then Tong Yulduzi, Ko‘hna karvon sadolari and Bulbul
navolari in 2022-demonstrate his lyrical mastery, while
his 2017 essay Yashinga Aylangan Chaqmoq and the
memoir‐style volume Ellar va Yo‘llar, published in 2023
to commemorate forty-five years of memories and
counsel, reveal his reflective depth. Meanwhile, In
Turkiye his Sherobod-school interpretation of Alpomish
in 2017 and followed it with his rendition of Temur va
Boyazid in 2019 were published.
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American Journal Of Philological Sciences (ISSN
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As a successor to the Sherobod epic-singing school and
endowed with a vibrant, enchanting voice, Qahhor
bakhshi keeps the master
–
apprentice tradition alive
and rigorously honors the ancient performance
customs-ensuring that the art of doston recitation is
preserved and carried forward. Whenever a poetic
school takes root in a region, it naturally produces a
leading master and scores of disciples or specialists,
sustaining the unbroken lineage of teacher and
student. [6.27]
It’s important to note that the Sherobod epic
-singing
school’s bakhshi carry forward a deep aesthetic
reverence for their masters and forebears, and this
respect is woven into every aspect of their epic
performance. Folklorist A.Ergashev, in his study of this
tradition, has analyzed how a bakhshi’s artistry a
nd the
audience’s spiritual journey become intertwined,
striving to give a scholarly foundation to what is
essentially a living, communal experience.
Qahhor bakhshi himself has taken his craft around the
world-appearing at festivals, competitions, and
scholarly gatherings across many countries. In 1992, he
toured the United States, where he gave twelve
concert performances, sharing the magic of the
Sherobod school on an international stage.
He has given concerts in England, Ireland, Moscow,
Tbilisi and Istanbul, and toured all the Central Asian
republics on his creative journeys. At the 7th
International Festival in Azerbaijan, some 170 bakhshis
from Turkic nations took part; fifteen were chosen as
laureates, among them Qahhor Bakhshi. In 2001, he
was hono
red with the title “People’s Bakhshi of
Uzbekistan.”
Journalist Arslon Eshmurod reflects, “I’ve read Qahhor
bakhshi’s three epics
-Yodgor, Ahmad Yassaviy, and
Qo‘ng‘irot
-
and it wasn’t like reading a poem at all, but
as if I were watching a film, utterly absorbed in the
story.” Professor Zaif Walter, a Turkologist at the
University of Philadelphia, offered the same appraisal
in New York. “I thank Allah that I chose Qahhor bakhshi
among all Uzbek performers,” he said, “for he was able
to reveal the divine art of the Uzbek people in one of
the world’s great nations.”
Qahhor bakhshi, singing epics and termas, gives life to
the deep depths of history, encourages listeners to
identify with their own distant thoughts, to remember
their ancestors, and their soul roots. While Qahhor
bakhshi is embodied before our eyes as an innovative
creator and skilled performer, his greatest achievement
is the creation of the epic "Makhtumkuli" about
historical figures, in particular, the creator of a great
religious movement, a saint, and a saint, and his ability
to show this figure in the epic and sing it with
enthusiasm.
In composing his epic “Maxtumquli,” Qahhor bakhshi
drew on the rich tapestry of Turkmen and Uzbek lore-
legends, memoirs, and scholarly historical works about
the poet-while also recalling the vivid accounts his
father, Qodir bakhshi, had shared. Combining these
sources with his own epic sensibility, he crafted them
into a powerful, unified narrative. [7.5]
What distinguishes a master bakhshi from the rest is his
remarkable command of emotion and spontaneity: he
can transition seamlessly from exhilarating intensity to
tranquil stillness, shift from sorrow to playful humor,
and even address the audience directly and
unexpectedly. In short, he places special emphasis on
improvisation, weaving it into every element of the
performance. A true bakhshi can modify even the most
time-honored lines and epic clichés within a doston-
though such extemporaneous variations are rare and
typically involve only subtle alterations of words or
affixes. [8.92]
In conclusion, Qahhor bakhshi is a truly singular artist.
He serves as a bridge between past and present-an
alumnus of a great school who has gone on to found his
own-sustaining the lineage of bakhshis and making a
major contribution to the cultural heritage of the Turkic
world. He has trained over thirty disciples, five of whom
have been honored with the title “People’s bakhshi of
Uzbekistan.”
Today, our republic’s state and legal strategy
-aimed at
broadly promoting the art of bakhshichilik across the
Turkic world, fostering creative exchange among
bakhshis in Turkic-speaking countries, honoring master
bakhshis with due respect, documenting exemplary
performances, and preserving them for future
generations-deserves special recognition. This policy is
carried out directly by committed artists such as
Qahhor bakhshi.
The art of bakhshi, which embodies the national
identity of our people, their ancient history and
language, their way of life, traditions and customs, and
is recognized as an integral part of universal culture, is
being preserved through the work of our outstanding
folklorists and artists like Qahhor bakhshi, who sing
epics, folk tales, lapars, and aytsuvs with their selfless
work and creative thinking.
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