European International Journal of Pedagogics
31
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TYPE
Original Research
PAGE NO.
31-33
DOI
OPEN ACCESS
SUBMITED
07 December 2024
ACCEPTED
09 January 2025
PUBLISHED
11 February 2025
VOLUME
Vol.05 Issue02 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Thoughts on The Art of
Famous Doyra Players
Turekhanov Farhod
Teacher of the Musical Pedagogy, Uzbekistan State Conservatory,
Uzbekistan
Abstract:
This article provides an in-depth overview of
Usta Olim Komilov's contributions to Uzbek performing
arts, particularly in the fields of doyra playing and
traditional dance. It highlights his early career with the
ethnographic ensemble led by Mukhiddin Qori Yoqubov
and his collaborations with renowned artists such as
Tamaraxonim, Tokhtasin Jalilov, and Abduqodir
Ismoilov. The article emphasizes his role in preserving
and systematizing centuries-old doyra techniques,
culminating in the publication of the Doyra Darsi (Doyra
Lesson) method book in 1982.
Keywords:
Doyra, Uzbek national dances, Performance
traditions, Folk musical instruments, National heritage,
Music pedagogy, Dance and music.
Introduction:
Komilov's impact extended beyond
Uzbekistan, earning him national and international
recognition, including participation in the 1935
International Dance Festival in London and the 1937
Uzbek Art and Literature Decade in Moscow. His
pioneering work in developing Uzbek ballet and
choreographic compositions contributed to the
evolution of the nation's cultural heritage.
The article also highlights his legacy as a teacher,
mentoring a generation of doyra players who continued
his traditions and innovations. His influence remains
foundational in modern doyra performance, as his
techniques are taught in educational institutions and
performed on global stages. Usta Olim Komilov is
remembered not only as a master musician but as a
guiding figure in Uzbek performing arts.
In the practice of performance, Usta Olim Komilov’s
reputation for mastery in playing the doyra and his deep
knowledge of Uzbek dance significantly contributed to
the growth of his students. Throughout his many years
as a mentor, he trained numerous doyra players,
including Ghofir Azimov, Abduqosim To‘ychiev, To‘ychi
Inog‘omov, Ghofir Inog‘omov, Rahim Isakhojaev
, and
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European International Journal of Pedagogics
other skilled doyra players. Each of these students
became masters of their time and played a vital role in
nurturing a new generation of performers.
Furthermore, they succeeded in fundamentally
transforming
doyra
performance.
Unlike
the
traditional "Zili Bom" style, the new style they
introduced became widely recognized. The current
doyra performance style is precisely the one
developed by these masters.
One of Usta Olim Komilov’s first students, To‘ychi
Inog‘omov, established a young doyra players’
studio
at the Republican Palace of Pupils in 1949. Usta Olim
Komilov taught his students using the doyra manual he
created and the playing techniques he mastered.
Among the doyra players who joined this circle were
Uzbekistan’s People's Artist Qahramon Dad
aev and
Honored Artists of Uzbekistan, such as Ravshan
Akbarov, Hasan Azimov, Talat Isomidinov, and the
Islamov
brothers
—
Dilmurod,
Kholmurod,
and
Elmurod. These doyra players, together with the
dancers of the “Bahor” Folk Dance Ensemble and other
performer
s, introduced Uzbekistan’s doyra art to the
world.
It is well known that the performance of the doyra and
other percussion instruments has developed unique
regional styles across Central Asia. Each region has
preserved its distinct characteristics and internal
traditions. For example, the Khorezm, Bukhara,
Samarkand, and Fergana-Tashkent styles of doyra
performance illustrate these differences. Among them,
the Khorezm school stands out for its uniquely
developed playing techniques. The Bukhara school is
particularly significant because its doyra style is widely
used in maqom performances and local folk music. The
Bukhara dialect of folk music performance holds a
special place due to its specific rhythm and techniques.
The Samarkand doyra school is also closely linked to
maqom traditions and is commonly used as an
accompanying instrument in folk music. In contrast,
the Fergana-Tashkent style has incorporated the doyra
as a primary instrument in many ensembles and
women’s performances. However, it has not
traditionally been recognized as a solo instrument.
The doyra as a solo instrument began to take shape in
the early 20th century. The full expressive potential of
the doyra is revealed in solo performance and as an
accompaniment to dance. In particular, in the 1920s
and 1930s, dance became widely popular, and the
doyra played an essential role in accompanying it.
The development of solo doyra performance was
greatly influenced by the art of dance. This connection
is evident in the movements, grace, charm, and
expressive gestures characteristic of Uzbek dance,
which are fully reflected in doyra techniques.
Additionally, a doyra performer must not only master
various rhythmic patterns but also understand and feel
the nuances of traditional dance. In complex
compositions that include a variety of dance rhythms,
the transition from one pattern to another must be
natural and logically structured, which requires great
skill from the doyra player.
Moreover, doyra players play a crucial role in creating,
adapting, and staging new dances accompanied by the
doyra.
When discussing great doyra players, Usta Olim Komilov
is always remembered. Born in the Fergana Valley, he
gained widespread recognition and became known as
the mentor of all Uzbek doyra players. His influence
extended beyond Fergana and Tashkent, reaching
Samarkand and Bukhara, where he was also respected
as a master. Usta Olim Komilov dedicated more than
half of his life to folk art. He played folk musical
instruments such as the chang and doyra with
exceptional skill.
He even composed several original pieces for the doyra,
which are still performed with pride by young doyra
players in all music and art colleges, as well as the
conservatory
of
Uzbekistan.
His
solo
doyra
compositions, featuring carefully selected rhythmic
patterns, receive special attention at national
competitions.
Usta Olim Komilov’s pedagogical contributions were
also highly significant. He played a major role in
collecting and systematizing the diverse rhythmic
patterns of Uzbek music and dance.
He was deeply passionate about the percussive nature
of the doyra and continuously practiced its techniques
in his free time. Later, he learned new secrets of doyra
playing from the famous Margilan-based doyra player
Mamasaid Ota. Among fellow musicians, he was known
by the nickname "Soz" (meaning "Master of
Instruments") because he played not only the doyra but
also the chang and other instruments with remarkable
proficiency.
In 1926, Usta Olim Komilov was among the first to be
accepted into the ethnographic ensemble led by the
renowned artist of his time, Mukhiddin Qori Yoqubov.
In this ensemble, he collaborated with Yusuf Qiziq,
Tamaraxonim, Abduqodir Ismoilov (a flutist), Ahmadjon
Umrzokov, and Tokhtasin Jalilov. He dedicated all his
knowledge, experience, and mastery to his work,
successfully preserving and passing down the art of
Uzbek dance. This extraordinary individual managed to
memorize hundreds of beautiful and unique dance
movements and taught them to his students, including
Tamaraxonim, Mukarrama Turgunboeva, Halima
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European International Journal of Pedagogics
Komilova, Roziya Karimova, and Gavhar Rahimova.
Together, they created dances such as Paxta, Duchava,
Pilla, Usmoniya, Shokhida, Gul Oyin, Sadr, Zang, Qari
Navo, and Ufori Sokhta. He also played a significant
role in the production of the first Uzbek national
ballets, such as Gulandon, Oq bilan, and Ballerina, as
well as musical dramas like Farhod va Shirin and
Gulsara, and operas like Bo‘ron and Buyuk Kanal.
One of Usta Olim Komilov’s invaluable contributions
was preserving the ancient heritage of doyra
performance, which had been developed over
thousands of years by master musicians. By collecting
and systematizing various techniques, he ensured that
they were not forgotten. This rich collection was later
compiled into an educational resource
—
the Doyra
Darsi (Doyra Lesson) method book, co-authored with
Tamaraxonim and published in 1982.
Recognizing his immense contributions to the
development of music and performing arts, the Uzbek
government awarded him the title of "Labor Hero" in
1932. In 1935, Usta Olim Komilov, along with Tokhtasin
Jalilov and Tamaraxonim, participated in the
International Dance Festival held in London. His
mastery of the doyra mesmerized all festival
participants, earning him the festival’s Gold Medal.
In 1937, he took part in the Uzbek Art and Literature
Decade in Moscow, which was a major event in the
development of Uzbekistan’s music and theater
culture. During this event, he performed alongside
Tamaraxonim in stage productions such as Sayl and
Kolxoz
Yo‘li
and
showcased
choreographic
compositions like Pilla. As one of the best performers
of the festival, Usta Olim Komilov was awarded the
Order of the Red Banner of Labor. In Uzbekistan, his
contributions were further honored with the title of
"People’s Artist of
Uzbekistan."
Usta Olim Komilov left an unparalleled legacy in the art
of Uzbek doyra performance. His influence can be seen
across all regions of Uzbekistan, where each local style
reflects elements of his musical heritage. Every new
technique and composition is built upon his legacy,
inspiring young musicians to continue innovating. His
teachings remain a core part of the curriculum in
academic lyceums and colleges, ensuring that his
traditions are preserved for future generations.
Usta Olim Komilov was not just a hero of his time
—
he
was the guiding figure and mentor for all doyra players.
His profound knowledge of both doyra performance
and Uzbek dance significantly contributed to the
growth of his students. Throughout his career, he
trained many talented doyra players, including Ghofir
Azimov, Abduqosim To‘ychiev, To‘ychi Inog‘omov,
Ghofir Inog‘omov, Rahim Isakhojaev, and others. Each
of these students became a master in their own right
and played a key role in shaping the next generation of
performers.
Moreover, they successfully transformed doyra
performance, moving beyond the traditional Zili Bom
style and introducing a new technique that became
widely recognized. The current standard style of doyra
playing was developed precisely by these masters.
One
of Usta Olim Komilov’s first students, To‘ychi
Inog‘omov, established a youth doyra studio at the
Republican Palace of Pupils in 1949. Usta Olim Komilov
passed down his knowledge using the Doyra Lesson
textbook and his own playing techniques. Among the
students who emerged from this studio were
Uzbekistan’s People’s Artist Qahramon Dadaev, as well
as Honored Artists of Uzbekistan such as Ravshan
Akbarov, Hasan Azimov, Talat Isomidinov, and the
Islamov brothers
—
Dilmurod, Kholmurod, and Elmurod.
These doyra players, together with the dancers of the
Bahor Folk Dance Ensemble and other performers,
introduced Uzbekistan’s doyra art to the world.
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