Journal of Social Sciences and Humanities Research Fundamentals
63
https://eipublication.com/index.php/jsshrf
TYPE
Original Research
PAGE NO.
63-65
DOI
OPEN ACCESS
SUBMITED
14 April 2025
ACCEPTED
10 May 2025
PUBLISHED
17 June 2025
VOLUME
Vol.05 Issue06 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Khoresm Pop Art: History,
Development And Modern
Approaches
Sevinchoy Ro‘Zmetova
Teacher At The National Institute Of Variety Art Named After Botir Zakirov
Under The State Conservatory Of Uzbekistan
Abstract:
While traditional Khorezmian musical art is
closely related to folk oral art and maqoms, pop art
began to take shape as a separate direction at the end
of the 20th and beginning of the 21st centuries. This
article analyzes the formation, development factors and
modern state of Khorezmian pop art.
Keywords:
Pop history, pop development, Uzbek pop,
national pop traditions, pop performance, integration of
pop and traditional music.
Introduction:
In recent years, certain work has been
carried out in our country to develop modern pop
singing. Our state pays great attention to this area, and
interest in pop art is growing among the general public,
especially young people, and new creative groups and
singers are appearing on the scene. At the same time, a
number of initiative projects are being implemented to
improve the culture of pop art, the professional skills of
pop artists, and create conditions for young artists to
fully demonstrate their talents. The music scene of
Uzbekistan today is a unique phenomenon that
combines the traditions of modern trends in European
and Eastern culture. The national stage of Uzbekistan,
confidently stepping into the 21st century, has managed
to preserve its uniqueness, diversity, and diversity of
creative directions. Traditional forms and genres of folk
oral art played an important role in shaping the national
image of the modern music scene of Uzbekistan, their
distinctive features laid the foundation for a new
phenomenon in the musical life of the second half of the
20th century. Since all opportunities and conditions are
being created for the development of national pop
music in our country, we expect all creators in this field
to actively create new artistically harmonious songs and
melodies that will please our people. Uzbek national
pop art has a rich history. Even before the concept of
"pop music" was introduced, its various genres and
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Journal of Social Sciences and Humanities Research Fundamentals
manifestations existed, and at a professional level it
was formed in the 20th century[1;2].
The term "estrada" is used by different names in
different regions of the world. While this direction
began to mean individual, small-scale creativity in
European countries by the end of the 19th century, in
our Republic it began to be paid attention to literally
after gaining independence. In Uzbekistan (as in other
Eastern countries), the development of pop art took
the following forms.
On the one hand, traditional art forms were adapted
to the requirements of the stage (for example, stage
interpretations of folk lapars performed by
Tamarakhonim and M. Qoriyokubov, Yusufjon Zhuk
Shakarjonov's conference performances based on
Askiya traditions, etc.)
New types of stage performances were created on the
basis of national genres (such as mass stage dances as
"Pakhta" and "Pilla" created by M. Turgunboyeva
together with Usta Olim).
Uzbek pop art was enriched by the assimilation of
foreign art forms and styles (for example, jazz, pop
orchestra, music hall). Since 1956, the Uzbek Pop
Theater, and later the Uzbek State Pop Union (until
1996), began to operate[4.1].
Gradually, the development of Uzbek pop began to be
reflected in the work of hafiz and singers living and
performing in the regions. While traditional Khorezmian
musical art is closely related to folk oral art and
maqoms, pop art began to take shape as a separate
direction in the late 20th and early 21st centuries. The
pop direction in Khorezm began to develop in the
second half of the 20th century. Local singers tried to
create pop songs based on folk songs and traditional
maqoms. In this process, the influence of the general
development of pop art in Uzbekistan was also
noticeable.
The distinctive features of Khorezm pop art are as
follows:
Initial stage (late 20th century-early 21st century)
During this period, pop art reached a new level. Local
singers began to create pop songs based on the folk
music heritage. At the same time, performers who
infused the pop style into Khorezm songs emerged.
These included artists such as Ortiq Otajonov,
Olmakhon Hayitova, Bobomurod Hamdamov, Otajon
Khudoyshukurov,
Gulsara
Yoqubova,
Rahmon
Ollaberganov, Matyokub Rakhimov, who effectively
used national music and created the beginning of
Khorezm pop art.
The primacy of local melodies - Khorezm pop music is based on
traditional folklore and maqom elements. In particular,
instruments such as the doira, gijjak, and rubab have been
preserved in pop music.
Harmony of poetry and melody - Khorezm pop songs are
usually written in a folk style, using simple and
understandable words.
Dance and stage movement - Khorezm pop music is
distinguished by its live performances and performance
combined with dance.
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Journal of Social Sciences and Humanities Research Fundamentals
Development of pop art in the 21st century.
Today, Khorezm pop art has become even more
popular. Famous Khorezm pop singers are widely using
modern technologies and recording techniques.
National motifs are combined with electronic and pop
music, and new directions are emerging. A number of
artists such as Rahmatjon Kurbonov, Ogabek Sobirov,
Azamatov Otajonov, Hamdambek Toraev, Bunyodbek
Saidov, Iroda Iskandarova, Khurshida Eshniyozova,
Shahlo
Salayeva,
Boburbek
Arapbayev
are
demonstrating their creativity at this stage.
Problems
Balance between tradition and modernity - Khorezm
pop art must find a balance between preserving
national traditions and adapting to modernity.
Lack of professional musicians - the lack of professional
musicians and composers in pop art sometimes leads
to the emergence of low-quality products.
Marketing and promotion problems - many Khorezm
pop singers face difficulties in bringing their creations
to the general public.
Prospects
Introduction of digital technologies - Khorezm pop art
can be widely promoted through the Internet and
social networks.
Innovative approaches - combining folk melodies and
modern pop styles while preserving traditional
melodies will serve the further development of pop
art.
Entering the international arena - it is important to
participate in international music festivals and
establish cooperation projects in order to promote
Khorezm pop art worldwide.
Khorezm pop art is a unique combination of national
and modern music, and its development continues. As a
result of the combination of traditional musical heritage
and modern technologies, new genres and directions
are expected to emerge. Therefore, scientific, practical
and creative approaches are needed to support and
develop pop art.
REFERENCES
Oytorayev A. Uzbek pop art. Scientific electronic journal
"Innovations in Science and Technologies". February 1st
issue. 2024
Egamberdiyev F.T. Methodology and technology of pop
art. T., 2021
Klitin S, Estrada, L., 1987.
https://uz.wikipedia.org/wiki/Estrada
