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"FOLKLORIC DANCES OF THE SURXONDARYO AND
QASHQADARYO OASES: A CHOREOGRAPHIC AND CULTURAL
ANALYSIS"
Rustembaeva Sofiya
Student of the Nukus Branch of the Uzbekistan
State Institute of Arts and Culture
Zuxra Yuldasheva
Lecturer at the Nukus Branch of the Uzbekistan
State Institute of Arts and Culture
https://doi.org/10.5281/zenodo.15407377
Annotation:
This article provides a choreographic, aesthetic, and cultural
analysis of folkloric dances formed in the Surxondaryo and Qashqadaryo oases.
It examines the history of these dances, their plastic and rhythmic
characteristics, gender roles, stage composition, and the expressive potential of
costumes. The article also analyzes contemporary practices of stage adaptation.
Keywords:
Surxondaryo, Qashqadaryo, folkloric dances, choreography,
national dance, costume, plasticity, rhythm, staging, tradition.
The Surxondaryo and Qashqadaryo oases, located in the southern part of
Uzbekistan are distinguished by their unique folklore traditions, customs, and
artistic expressions.The folkloric dances that have developed in these regions
reflect the daily life, labor, religious-philosophical views, and aesthetic tastes of
the local people. This article analyzes the choreographic features, musical
accompaniment, costumes, staging possibilities, and symbolic meanings of the
dances specific to these oases. Historically, Surxondaryo and Qashqadaryo have
been cultural centers, closely linked with the civilizations of the Kushans, Greco-
Bactrians, and Sogdians. The presence of the Great Silk Road through these
regions fostered a synthesis of diverse cultures. Dance art also evolved here in
distinctive forms. The dances are often dramatic in nature, characterized by
expansive movements, strong rhythms, and expressive hand gestures. Male
dances typically symbolize strength and agility, while female dances are
interpreted as embodiments of grace, charm, and purity. Dances from the
Surxondaryo and Qashqadaryo regions are marked by energetic
expression,masculine symbolism, sharp movements, and combative plasticity.
They are closely intertwined with the people's relationship to labor, their
historical life experiences, and the natural environment of the region.
Movements are powerful, executed with precision, fast-paced, and marked by
sharp hand gestures. The hands often move in coordination with the shoulders
in sudden jerks—rising from a lowered position to an elevated one. The posture
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of the div is generally upright, though sometimes it bends forward. The
plasticity of movements is strong and characterized by clear, linear patterns.
Male-style movements are predominant, reflecting a combative spirit
symbolizing ancient martial traditions, heroism, agility, and courage. These
dances are often connected to labor themes, such as animal husbandry,
agriculture, and springtime farming rituals.They are typically performed during
festive ceremonies in a communal manner for instance, the “Navruz Dance.”
Themes of love and affection are also present, especially in flirtatious dances
depicting interactions between village boys and girls. However, such dances
have often developed primarily as male performances, particularly in the
Qashqadaryo school.Female dances also exist and are expressed in a contrasting
style to male dances softer and more delicate in movement, emphasizing
elegance and grace.The dances are usually performed to the accompaniment of
traditional instruments such as the doira (frame drum) and nay (flute). They are
staged in solo, duet, or group formats. Male dancers typically wear belted
chopon (traditional robe), black or brown trousers, and doppi (skullcap), and
sometimes perform with a sword or other props as part of the dance. The
Surxon dance is known for its combative, masculine movements and rhythms
that strike upward from below, symbolizing strength and intensity. The
Farmer's Dance (Dehqon raqsi) represents movements associated with sowing
seeds and tilling the land. In Qashqadaryo, dances are often performed as male-
female duets, featuring the Boy polka step style.The Ko‘ksaroy dance is
ceremonial and majestic in nature, emdiving a festive spirit. Today, dance
ensembles such as Surxon, Shalola, Qashqadaryo Dance Ensemble, and Boysun
actively preserve and stage these regional dance styles. In modern stage
compositions, Surxon–Qashqadaryo dances are notable for their dramatic
expression and strong national identity.The Surxon–Qashqadaryo style stands
out among Uzbek national dance schools for its epic and energetic character.
This style encapsulates the hardworking nature, bravery, and cultural richness
of the people. Its study and stage interpretation play an important role in the
development of national dance art.Well-known dance types from this tradition
include the Surxon Dance, Boysun Mountain Dances, and regional styles from
Kitob, Dehqonobod, as well as Qashqadaryo's Qo‘qoncha style
dances.Choreographic characteristics of these dances emphasize rhythm, speed,
and dynamic movement. Plasticity is expressed through the strong and active
use of the shoulders, arms, and knees. Compositions are typically structured in
circular formations or performed in pairs.Gender dynamics are clearly defined:
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male dances are martial in nature expressing power, bravery, and agility—while
female dances are more expressive and ceremonial, characterized by graceful
movements. Women's costumes are often made of richly colored atlas or
beqasam fabrics. Traditional headwear, such as doppi (skullcap) and pearl-
embroidered scarves, adds melodic elegance to their performance.In some cases,
men perform both dance and musical accompaniment simultaneously,
highlighting a synthesis of performance elements. In contemporary stagings,
ensembles such as Surxon, Shalola, Qashqadaryo Dance Ensemble, and
Dehqonobod Jarchilari reinterpret these traditional dances with modern
choreographic approaches. While preserving ancient stylistic elements, these
performances are enriched with new dramaturgical frameworks.The folkloric
dances of the Surxondaryo and Qashqadaryo oases are symbolic of the people's
collective spirit.They are not only artistic expressions but also cherished as
historical and spiritual heritage. Studying and preserving these dances plays a
crucial role in strengthening cultural identity and educating younger
generations in the values of national heritage and respect for tradition.
References:
1.
Akhmedov, A. A. Uzbek Dance Art. – Tashkent: G‘afur G‘ulom National
Publishing House, 2018.
2.
Jo‘rayev, O. M. Fundamentals of Choreography. – Tashkent: San’at, 2017.
3.
Mamatqulov, B. "The Dance Heritage of Surxondaryo" // Art of Uzbekistan,
2020, No. 4.
4.
Tursunova, M. Folklore Art of Qashqadaryo. – Karshi: Nasaf, 2019.
