https://ijmri.de/index.php/jmsi
volume 4, issue 3, 2025
569
YOR-YOR, KELIN SALOM AND ALLA ART IN KHOREZM REGION
Ozodova Zilola Ravshanbek kizi
1st year student of the Uzbek language and literature
department of the Turkic languages faculty of the Nukus
State Pedagogical Institute named after Ajinyoz
scientific supervisor:
Allambergenov Hamza
Abstract:
This article covers the yor-yor songs that make up the composition of Khorezm songs
and are performed at wedding ceremonies, the specific aspects of the simple, folk and live
performance of kelin salom, the linguistic features of Khorezm lullaby, the simplicity of the
word and its functions.
Keywords:
folk oral art, wedding ceremonies, live performance, yor-yor, kelin salom, marriage,
dialect, linguistic features of lullaby.
From the very beginning of its creation, folk oral literature became the unwritten history of the
people. The first examples of literary works, called "oral literature", "folk oral literature", "oral
literature", "folk literature", performed an important task of educating the younger generation as
a textbook on life. Later, when the culture of writing appeared, people from among the people
who felt the talent to create works of verbal art, directly relying on folk oral literature, created
their first works of individual - individual creativity.
Khorezm folk songs, which are considered
one of the examples of oral creativity, are distinguished from other genres by their unique
characteristics, liveliness and genre features. Through folk songs, the culture of our people, their
traditions, dialects, performing skills and the ancient roots of this people and region are clearly
manifested. In particular, yor-yor performed at wedding ceremonies has its own unique aspect
due to this feature. Yor-yor is considered to have its own performance methods and performance
place. At the same time, different regions of our republic also have their own performance
traditions. The yor-yor songs of each region reflect the spirit of the people, the expressiveness of
their words and the differences in dialects from each other. Khorezm yor-yor also has its own
long history. These customs, which became a tradition by 1975, have now reached the public in a
wide variety of ways through various performances by our elderly grandmothers.
Ko‘shagana teyinda uchgina qiz yor-yor,
Indi getib boroson baxtli bo‘lg‘in yor-yor.
This "Yor-yor" widely uses dialects that differ in various aspects from the literary language. This
song is in the Oghuz dialect, which is considered the main language of the Khorezm people. The
Oghuz dialect is mainly used in the Urgench, Khiva, Shovot, Bogat, Qoshkopir, and Yangiarik
districts of Khorezm. In addition, the Kipchak dialect is also active in the territory of Khorezm.
In particular, this dialect has become established among the residents of the Yangibazar and
1
Omonulla Madayev. Uzbek folk oral art. -Tashkent "Mumtoz so'z", 2010. -23p.
2
This poem was recorded from the mouth of Shukurjon, a 63-year-old woman born in 1962, living in the Shovot
district
https://ijmri.de/index.php/jmsi
volume 4, issue 3, 2025
570
Gurlan districts and is widely used in communication. By the present time, these types of Yor-
yor have also taken on a special character. For example:
Avval boshlob Xudoni yod atali yor-yor,
Payg‘ambarlar ruhini shod atali yor-yor.
Payg‘ambarning qizini Ali olg‘on yor-yor,
Qiz olib qiz barmakdin ondin qolg‘on yor-yor.
This “Yor-yor” is still widely used in the Khorezm region, especially in the Shovot district. In
Yor-yor, a person’s inner feelings, good wishes and desires for the girl, and emotions are
expressed in a unique way. Basically, the main goal of Yor-yor songs is to reflect spiritual
impressions about life events.
Also, bride greetings have their own performing tradition and place in wedding ceremonies.
Bride greetings are found in various forms in Turkic and other peoples. The morning after the
bride’s arrival, it is held out of respect for the groom’s parents, relatives, and loved ones. The
bride greeting is held by the neighborhood’s host or bride greeter, who takes the bride out into
the courtyard with a veil drawn and addresses those who come to the bride with wise words,
good intentions, and wishes. The bride turns to the person to whom the speech is addressed and
bows to him. Each region and people have their own customs and traditions. Accordingly, the
style of performance is also unique. For example, in the Khorezm region, it is as follows:
Ahli mo‘minlarga o‘gitlar bergan, Qur’oni Karimdan saboqlar bergan, u Rasululloh, ikki olam
sarvari payg‘ambarimiz Muhammad Mustafo sollollhu alayhi vasallam ruhi poklariga ta’zim
qilasiz jupdan-jupdan kelinchak.
Shovqin suronga to‘lgan, hamma xizmatda bo‘lgan, ham ho‘kiz, ham qo‘chqor so‘ydirgan
tabarruk ostonayizga, qutlug‘qadam koshonayizga ta’zimlarni qilasiz jupdan-jupdan kelinchak.
The bride's greeting begins like this, and the deceased are remembered:
El baxtin ko‘zlagan ko‘zlari qayda,
Aql-u dono so‘zlar so‘zlari qayda,
Topgani to‘y bo‘ldi afsus, o‘zlari qayda,
Marhum(a)……momolaringizga(bobolaringizga) egilib-egilib qiling ta’zimingizni jupdan-
jupdan kelinchak.
After the names of the deceased are mentioned, the bride's greeting continues with the mention
of the father-in-law, then the mother-in-law. The bride's greeting begins with the groom's parents
and extends to the youngest children in the family, as well as relatives, neighbors, and friends.
The bride greets her father-in-law and mother-in-law, who in turn place their gifts on the bride's
head. Then the groom's brothers, sisters, relatives, and close friends take turns presenting their
gifts to the bride's family, who in turn present them with gifts and greetings from the bride. The
greeting of the Khorezm bride is conducted in this way, highlighting their performance skills and
the use of dialect words in a unique way.
Another prominent genre of Khorezm songs is lullaby. Researchers from different nations and
regions have expressed their views and thoughts on the creation of lullaby, that is, songs for
3
This poem was recorded from the mouth of Shukurjon, a 63-year-old woman born in 1962, living in the Shovot
district
https://ijmri.de/index.php/jmsi
volume 4, issue 3, 2025
571
cradle weddings. According to legends, lullaby songs appeared in ancient times, during the time
of Adam and Eve. Over time, lullaby songs were combined with their own unique aspects in
each era and formed as a single genre. When we think of lullaby, we mainly think of cradle
wedding ceremonies. Our elderly grandmothers and mothers sing lullaby songs during the
process of putting a baby in the cradle. These lullaby songs express the beautiful and spiritual
power of kind words, caresses, and simple words spoken to the child.
Lullaby is a genre of children's folklore. A number of studies and research have been conducted
in this regard. The purpose of singing lullaby is, firstly, to put the child to sleep through lullaby,
and secondly, to convey the upbringing and good intentions and wishes of the mother towards
the child. It should be said that the word lullaby is not important for the child. For him, the
pleasantness of the melody, its melodiousness are important. Because he cannot understand the
essence of the word. The words in lullaby is the good wishes of the mother for her child, they are
the cries of the mother in her heart. Lullaby of the Khorezm region are distinguished by their
dialects, structure, and performance. For example:
Alla oytoy o‘zinga uyqular galgay go‘zinga,
Alla oytoy o‘zinga uyqular galgay go‘zinga.
Sansan manim garakim non ichindagi cho‘rakim,
Alla bolom oy bolom o‘zimning xo‘shiroy bolom.
Alla qo‘zim oy qo‘zim erka qo‘zim boy qo‘zim,
Kichkinasan loloson indi qachon ulloyoson.
Ulli bo‘lg‘oyson o‘sgaysan,
Yomon gunlarni go‘rmagaysan.
This is a word that has a caressing character. The mother conveys her feelings and caresses to her
child through these words. The baby's cry creates a need in the mother to calm her child.
According to this need, the mother turns to words that are quiet, melodious, and have a high
melody. In this way, she creates conditions for her child to calm down.
In conclusion, it should be said that the customs, traditions, and values of each people and nation
create a basis for understanding the national spirituality of this people. The bride's greeting at
weddings has not lost its importance from ancient times to the present day. The uniqueness of
regional dialects also involuntarily attracts the reader and creates an opportunity to learn dialects
related to this region. Children folklore is the narration of the human spiritual life, development
of the lullaby and the effect of babies for this sound.
Literature used:
1. Madayev O. Uzbek folk folklore.-Tashkent.: "Mumtoz so'z", 2010
2. Safarov O. Uzbek folk folklore.-Tashkent.: "Music", 2010
3. National Encyclopedia of Uzbekistan. Volume One. Tashkent, 2000
4
This song was recorded by Nodira Annoqova, born in 1987 in the Bogat district of the Khorezm region.
