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DEVELOPMENT OF KHOREZM KHALFACHILIK ART
Hаmidova Dilfuzа Ulugbek qizi
Independent researcher of National Institute of Fine Art
and Design named after Kamoliddin Bekzod
https://doi.org/10.5281/zenodo.14282700
Annotation:
This article describes the processes of inclusion of Khorezm in
the representative list of the intangible cultural heritage of humanity by
UNESCO. The activities of the Khorezm intangible art of khalfa and its
performers were also highlighted.
Keywords:
Khalfism, UNESCO, intangible cultural heritage, history, national
value, tradition, museum, Zaroastrianism.
Each nation or ethnic group is spiritually distinguished from others by its
centuries-old traditions, rituals, and cultural values. Some of these are
inseparable from others. Based on these relationships, we can also distinguish
several types of intangible heritage objects. Numerous concepts related to
spirituality can be listed. However, there are spiritual and religious rituals and
events that are unique to a particular people and are difficult to find in others.
Intangible cultural heritage exists in every nation and has served as a foundation
for intercultural diversity with great tolerance compared to other nations.
The concept of "intangible cultural heritage" itself encompasses rituals,
traditions, unique forms of expression, dialects, knowledge and skills, as well as
associated objects, tools, artifacts, and cultural centers [1].
The most complete form of preserving the historical environment is
currently recognized as open-air museums with an architectural and
ethnographic profile. The exhibitions of such museums combine both material
and spiritual cultural heritage objects, including the creation processes of these
material exhibits[2].
In foreign practice, alongside the term "non-material," the term "intangible"
is also frequently used [3].
Intangible cultural heritage manifests in the following areas:
-
Oral traditions and forms of expression, including language as a carrier of
intangible cultural heritage;
-
Performing arts;
-
Customs, rituals, and festivals;
-
Knowledge and traditions related to nature and the cosmos;
-
Knowledge and skills related to traditional craftsmanship.
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On September 30, 2009, UNESCO added 76 forms of cultural heritage to the
Representative List of the Intangible Cultural Heritage of Humanity. Among
these, the art of "Xalfachilik" (Khorezm wood carving) is recognized as one of the
invaluable and ancient arts of the Uzbek people.
In Khorezm, those who sing folk songs, epic works, excerpts, and some
other verses are called "xalfas." Xalfachilik is an art practiced by women in the
Khorezm region, which involves the performance of local oral creative
traditions. Xalfas are divided into specific categories based on their activity:
"xalfa soziy" (those who play musical instruments and sing), "xalfa yodog'iy"
(those who sing songs at weddings and celebrations), "xalfa dostonchi"
(performers of epic poems and their parts), "xalfa raqqosa" (dancing women),
and "xalfa kitobiy" (those who recite books at mourning ceremonies). These
women were also authors of poetry and songs. One of the famous Khorezmian
xalfas, Ojiza xalfa (Onabibi Otajonova), composed more than 30 songs that are
sung by many xalfas. In the past, xalfas provided services in the "inner"
(domestic) sphere.
Xalfachilik art is divided into two types: ensemble xalfas (xalfa yodog'iy,
sozi, and raqqosa) and solo xalfas (xalfa kitobiy). Ensemble xalfas consist of
three people: the master xalfa (who plays the harmonium and sings), the
doirachi (who accompanies the singing with a drum, sometimes dances), and the
players (who dance, play with a cymbal, join the leading xalfas in singing, and
sometimes play the drum). "Xalfa yodog'iy" performs wedding songs, lapars, and
yallas; "xalfa dostonchi" performs folk epics, excerpts, and epic songs,
interpreting works they have created or those of other artists. Solo xalfas
perform epics, poems, and songs without musical instruments, reading books in
a pleasant tone on various topics in an oral or written tradition.
Xalfas participate in all local weddings, various ceremonies, women's
gatherings, and festivals. They lead weddings and other ceremonies, opening
with "Toy Muborak" (Happy Wedding) or "Toy Boshlovi" (Wedding Opening)
songs and closing with "Toy Javobi" (Wedding Response) songs. Their artistry is
characterized by the skillful execution of songs, the ability to charm listeners,
and improvisation.
Xalfachilik continues to thrive as a charming and youthful art form for
women in the Khorezm region (currently Khorezm province and the Ellikqala
district of the Republic of Karakalpakstan). Today, notable xalfas include Bibi
Shoira, Ojiza xalfa, Khonimjon xalfa, Onajon Safarova, Nazira Sobirova, Roziya
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Matniyoz qizi, Saodat Xudoyberganova, Poshsho Saidmamat qizi, Ambarjon
Ro‘zimetova, and Anorjon Razzoqova.
Xalfachilik is being preserved and taught not only through traditional
"master-apprentice" schools but also through modern music schools in Khiva,
Urganch, and Ellikqala art colleges, including the "Xalfa" girls' school established
in Khiva. A competition for xalfa performers has been held since 2013 as part of
the "Nafosat Bo‘stonim Manim" festival in Khorezm and the Ellikqala district of
Karakalpakstan. Khorezmian xalfas also showcase their art and performance
skills at the "Boysun Bahori" Open Folklore Festival, the "Asrlar Sadosi"
Traditional Culture Festival, and the "Sharq Taronalari" International Music
Festival [4].
The inclusion of the art of "Xalfachilik" (Khorezmian folk music) in the
UNESCO Representative List of the Intangible Cultural Heritage of Humanity is
certainly not without reason. It is an invaluable art that has gone through certain
historical processes and left its mark in the social, political, and spiritual needs
of the people. Most importantly, the genre of "katta ashula" (a type of traditional
Khorezmian song) holds a special place among the examples of our musical
heritage.
According to the information provided by the elders, the “Qizil Gul” (Red
Flower) festival has been celebrated in Khorezm since ancient times, and during
this festival, there were no girls who could not play the rubab, sing songs, or
participate in dances. The “Qizil Gul” festival was celebrated as a spring festival
until the 1920s.
For a long time, during weddings, fairs, and mourning ceremonies in
Khorezm, the art of "xalfas" (female performers) has been known. In Khorezm,
women who were literate, eloquent, and had the ability to sing were called
"xalfas." This term is of Arabic origin and refers to a person who is
knowledgeable in religious principles and learned.
Xalfas have certain characteristics that reflect their meaning. Knowledge of
religious topics and the ability to sing are interconnected in the creativity of
xalfas. In the sacred Zoroastrian text "Avesta," women who promoted religious
teachings were also called "qalpa." However, these learned women did not limit
themselves to promoting religious texts but also sang works by great poets and
folk epics, delighting the hearts of women.
Archaeological and ethnographic expeditions in Khorezm have revealed
that traditions were already established in this region in the 6th-5th centuries
BCE. Evidence has been found of fire temples in ancient Khorezm, including at
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the Jonbosqala settlement and the To‘proqqala fortresses from the 1st to 4th
centuries, where ceremonies were held. In the To‘proqqala settlement, which
was the headquarters of the Khorezmshahs before the Afrigid dynasty, there
were halls called “Hall of Kings,” “Hall of Victories,” and “Hall of Dance Masks.”
Images found in the “Hall of Dance Masks” depict musicians with
instruments like the harp, a double drum resembling an hourglass, and a two-
stringed dutar. These findings indicate that music, song, and dance were
developed to some extent even before the advent of Islam.
In the 5th and 6th centuries CE, Khorezm underwent significant changes in
both social and political life. These developments are reflected in coins bearing
the image of the Khorezmian ruler, which depict the legendary hero Siyavush
riding a horse. On these coins, a musician woman is depicted as a beautiful
princess wearing the attire of a performing artist. These images suggest that,
even before Islam, women in Khorezm had mastered the arts of playing music,
singing, and dancing, and showcased them in public.
After the advent of Islam, Khorezm’s music and poetic traditions, such as
xalfachilik and dastanchilik (epic storytelling), adapted to Muslim customs.
Various epic tales and songs, like “Bobo Ravshan,” “Prophet Stories,” “Sultan
Bobo Stories,” “Merodnoma,” “Yusuf and Zuleikha,” and “Juhud O‘glon,” were
created and became widely popular, offering spiritual and musical enrichment.
In conclusion, the inclusion of the art of "Xalfachilik" in UNESCO’s
Representative List of the Intangible Cultural Heritage of Humanity places great
responsibility on the shoulders of our country. According to the convention,
safeguarding the listed heritage is primarily through formal and informal
education, documentation, research, preservation, protection, promotion,
enhancing its role, ensuring its sustainability, and implementing measures to
secure the vitality of intangible cultural heritage. Therefore, it is of great
importance to undertake necessary measures to protect the art of Xalfachilik,
raise its role in society, and encourage research and scientific methodologies for
its effective preservation
References:
1.
Международная конвенция об охране нематериалъного кулътурного
наследия. Статъя 2
2.
Анализ опыта организации этнографических музеев под открытым
небом в СССР и Европе. – М., 1986.
3.
Основные
тексты
Международной
конвенции
об
охране
нематериального культурного наследия 2003 г. Издание 2018 г.
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4.
https://n.ziyouz.com/books/statistika/O'zbekiston%20nomoddiy%20ma
daniy%20merosi%20ro'yxati%20(2011).pdf Б.8.
5.
http://xorazmiy.uz/uz/pages/view/286
