International Journal Of History And Political Sciences
11
https://theusajournals.com/index.php/ijhps
VOLUME
Vol.05 Issue07 2025
PAGE NO.
11-13
10.37547/ijhps/Volume05Issue07-03
Folklore and History: The Embodiment of Historical
Memory in Uzbek Folk Art
Sadullayeva Farangiz Saparovna
Head of the Department for Coordination of Academic Activities Jizzakh Regional Center for Pedagogical Excellence, Uzbekistan
Received:
19 May 2025;
Accepted:
15 June 2025;
Published:
17 July 2025
Abstract:
This article examines the dialectical relationship between folklore and history in Uzbek culture,
positioning oral traditions as vessels of historical memory. Through case studies of the UNESCO-recognized
festivals "Boysun Bahori," "Bakhshichilik," and "Lazgi," the study demonstrates how folklore embodies historical
consciousness and transmits national identity across generations.
Methodologically, it analyzes folklore as: A source for reconstructing historical worldviews, A tool for performative
historical reconstruction (e.g., Azim Azizov’s theatrical adaptations), A framework for cultural resilience in
digitized contexts. Finding
s reveal that folklore’s integration into digital media, educational curricula, and cultural
diplomacy strategies fortifies "cultural immunity" among youth amid globalization. The research asserts that
safeguarding living folklore is essential for decolonizing historical narratives and sustaining Uzbek cultural
ontology.
Keywords:
Historical memory, Folklore revitalization, Cultural heritage diplomacy, Dastan epic tradition,
Performative reconstruction, Intangible cultural heritage, Cultural immunity, Oral historiography, Digital folklore
preservation, Uzbek folk festivals.
Introduction:
The restoration of national memory and
historical consciousness is not only the sacred duty of
historians but of every intellectual. “A nation unaware
of its history loses its path” emphasized I.A.
Karimov,
the First President of the Republic of Uzbekistan [1].
In today’s era of globalization, aesthetic and spiritual
comprehension of history is essential to preserving
national identity. Folklore art-an oral creative heritage
preserving the deepest
layers of people’s memory and
mentality-is a unique resource in this process.
In our country, these ideas are consistently pursued.
The policy led by the President of the Republic of
Uzbekistan,
Sh.M.Mirziyoyev,
designates
the
preservation of oral folk heritage, its transmission to
younger generations, and its global promotion as a key
priority [2]. Concrete measures in this regard are
codified in the May 26, 2022 decree “On Measures to
Safeguard and Develop Intangible Cultural Heritage”
[3]. Against this political and cultural backdrop, folklore
art holds exceptional importance in studying the rich
historical-cultural heritage of the Uzbek people. It is
recognized not only as a form of oral creativity but as
an ancient cultural phenomenon emdiving aesthetic,
spiritual, mental, and even political dimensions of
historical science.
This article focuses on the methodological intersections
of folklore art and historical science, illustrating their
synergy through practical festival examples. It also
examines folklore as a vital factor in modern cultural
diplomacy and youth education.
Folklore is the oral creativity of the people. Formed
since ancient times based on lifestyles, worldviews,
traditions, and historical memory, it has been
transmitted orally across generations [4]. This includes
dastans (epic poems), fairy tales, legends, songs,
dances, and folk games. The roots of Uzbek folklore
trace back to Zoroastrianism and the civilizations of
Bactria, Sogdiana, and Khorezm.
Cities, heroes, and rituals depicted in legends align with
historical facts preserved in popular memory. The
notion that “No genre, no work can be outside the
principles of history” confirms the connection between
International Journal Of History And Political Sciences
12
https://theusajournals.com/index.php/ijhps
International Journal Of History And Political Sciences (ISSN
–
2771-2222)
dastans/oral creativity and historical truths [5].
Thus, folklore’s h
istoricity stems not from its status as
an artwork but from its role as a living form of thought
preserved in popular consciousness. In other words,
folklore is the oral “archive” of historical thought.
Boysun Oasis has been a center of bakhshichilik (epic
storytelling), dastan performance, craftsmanship, and
folk theater since antiquity. Its recognition by UNESCO
and the hosting of international festivals there are high
tributes to our historical culture [6].
The first “Boysun Bahori” festival (2019) h
osted guests
from 30+ countries and 200+ artists [7]. Janda fabrics,
dastan performers, and folk dances vividly embodied
history.
The biennial “Bakhshichilik” festival in Termiz
popularizes national epic thought and historical
consciousness. Dastans like
“Alpomish”, “Gorogli” and
“Rustamxon” are staged theatrically.
“Boysun Bahori” is a festival of cultural landscapes and
traditions, while “Bakhshichilik” is a celebration of oral
epic history and poetic memory. Both events represent
the aesthetic revival of popular memory on stage,
reflecting diverse historical-folkloric facets.
“Lazgi”
-a symbolic-philosophical dance of ancient
Khorezm-is a cultural expression deeply rooted in the
people’s spiritual world. Inscribed by UNESCO (2019) as
intangible cultural heritage, the biennial International
Lazgi Festival in Urgench hosts representatives from
30+ nations [8].
Every movement in Lazgi-finger tremors, palm
openings,
div
rotations-embodies
ancient
philosophical worldviews. The dance expresses
esoteric c
oncepts like “the soul enters the div, energy
circulates” using symbols of earth, water, sun,
freedom, and love to convey human-nature harmony.
In my view, Lazgi is not merely an expression of beauty
but a living embodiment of historical worldview and
aesthetic thought. This qualifies it as a form of visual-
aesthetic expression in historical science.
European researchers acknowledge: “Uzbek folk music
[...] teaches young people about their own nationality
and
culture
and
strengthens
their
cultural
ide
ntification.” [9]
Artist Azim Azizov’s contributions to synthesizing
folklore with stage art are unparalleled. Through
ensembles like “Bayot”, “Chaman” and “Umid” he
brought oral creativity to the stage via dastans, dances,
and maqom. His work has been showcased in China,
Turkey, Russia, and Germany, earning international
acclaim.
In Azizov’s work, folklore is not mere performance but
a theatrical revitalization of historical images and
events. This represents a practical application of the
cultural reconstruction method in historical science.
This performative approach, I argue, organically aligns
with the concept of “performative historical
reconstruction” in historiography. Through it, folklore
becomes a tool to viscerally, imaginatively, and
spirit
ually revive the past in the audience’s
consciousness.
Through folklore, youth connect with their history and
values, finding identity through bakhshis, dastan
performers, dancers, and singers. Today, 100+ folk
dastans and nearly 1000 songs have been documented
as living sources of national memory [10].
In the digital era, folklore elements-dastans, dances,
legends, traditions-are disseminated via audio, video,
stage, and virtual formats. This enables youth to
interactively comprehend their history, aesthetic
thought, and national identity.
International research concludes: “Folklore, when
integrated into digital content, becomes a tool for
educating and shaping cultural resilience among
digital-
native youth.” [11]
I believe this process transforms folklore into not only
a cultural but also a spiritual and educational
instrument. Particularly amid strengthening foreign
cultural influences in global information flows, it is
crucial for building cultural immunity and anchoring
youth to their national roots.
“Folklore is the most ancient and long
-standing branch
of artistic speech developed in the process of labor and
human consciousness.” [9]
CONCLUSION
Folklore art is not merely an echo of historical memory
but its living form in modern consciousness. It enables
deep understanding of a people’s psychology, ancient
worldview,
social
engagement,
and
cultural
development. Hence, studying, analyzing, and
reinterpreting folklore sources within new scholarly
contexts is an urgent task for modern historical
methodology [5].
Evidence confirms that international festivals like
“Boysun Bahori”, “Bakhshichilik” and “Lazgi” revitalize
not only folklore aesthetics but also processes of
historical thought, national identity, and cultural
integration. Through them, national traditions, oral
dastans, stage art, and dance elements serve as
aesthetic-pedagogical tools for shaping historical
consciousness [6][8].
Preserving and developing folklore art today is a tribute
not only to culture but to popular memory and national
identity. Folklore offers avenues for self-discovery,
International Journal Of History And Political Sciences
13
https://theusajournals.com/index.php/ijhps
International Journal Of History And Political Sciences (ISSN
–
2771-2222)
sustaining spiritual heritage, and strengthening
historical thinking among youth. This art form is a
multifaceted resource directly linked to historiography,
ethnology, psychology, cultural studies, and sociology
[4].
These festivals also play a critical role in elevating youth
spirituality and stabilizing national identity in our
digitized world. Through the internet, social media, and
multimedia technologies, “Lazgi” and “Bakhshichilik”
reach millions, increasing interest in ancient culture
and forming cultural immunity in the digital generation
[10][11].
Amid powerful foreign cultural currents, these folklore
festivals educate youth based on the principle of “living
in an open world without losing oneself.” Popularizing
folklore and exporting it as digital content is becoming
Uzbek art’s modern diplomatic
and educational
strategy.
Therefore, deeply studying folklore as a tool for shaping
historical consciousness, integrating it into curricula,
researching it scientifically, and presenting it through
festivals is a relevant and promising direction for
contemporary historical science.
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