Жамият ва инновациялар –
Общество и инновации –
Society and innovations
Journal home page:
https://inscience.uz/index.php/socinov/index
Uzbek dance as a subject in the system of higher choreographic
education
Мalakhat MAKHMUDOVA
1
State Academy of Choreography of Uzbekistan
ARTICLE INFO
ABSTRACT
Article history:
Received June 2021
Received in revised form
20 June 2021
Accepted 25 July 2021
Available online
25 August 2021
The article talks about the program of the subject, which has
an extensive character, which includes the study of three local
schools of Uzbek folk dance: Fergana, Bukhara, Khorezm. Each
school has its own style, its own distinctive figurative basis, its
own system and its own laws of language; the poeticization of
nature in Fergana, the glorification of beauty in Bukhara, the
Bacchic fire of the Khorezm dance – these are the figurative
facets of the Uzbek dance. In addition to the three main schools,
the Uyghur and Karakalpak schools were included in the subject
program. Also, it is said about the study of the cycle “Doira dars”,
which acquired the meaning of the canon of Uzbek dance. For the
successful development of Uzbek folk dance, at the present stage,
the relevant objective is to introduce innovative pedagogical
technologies in higher choreographic education.
2181-1415/© 2021 in Science LLC.
This is an open access article under the Attribution 4.0 International
(CC BY 4.0) license (https://creativecommons.org/licenses/by/4.0/deed.ru)
Keywords:
choreography,
dance,
subject,
rhythm,
school,
innovation,
character,
style,
manner,
aesthetics,
poetry,
culture.
Ўзбек рақси олий хореографик таълим тизимининг фани
сифатида
АННОТАЦИЯ
Калит сўзлар:
хореография,
рақс,
фан,
ритм,
мактаб,
инновация,
хусусият,
услуб,
Мақолада ўзбек халқ рақсининг учта маҳаллий
мактаблари: Фарғона, Бухоро, Хоразм рақс мактабларини
ўрганишни ўз ичига олган, кенг характерга эга бўлган мавзу
дастури ҳақида сўз боради. Ҳар бир мактабнинг ўзига хос
услуби, ўзига хос мажозий асоси, ўз тизими ва тил
қонунлари мавжуд; Фарғонада табиатнинг шериятлаш-
тириши, Бухорода гўзалликнинг улуғланиши, Хоразм
рақсининг жонкуярлик олови – булар ўзбек рақсининг
1
Associate Professor of the Department of “Choreography” State Academy of Choreography of Uzbekistan. Tashkent,
Uzbekistan.
Жамият ва инновациялар – Общество и инновации – Society and innovations
Issue – 2 № 3 (2021) / ISSN 2181-1415
137
ўзига хослик,
эстетика,
анъанавий шеърият,
маданият.
образли томонлари. Учта асосий мактабдан ташқари, уйғур
ва қорақалпоқ рақс мактаблари ҳам фан дастурига
киритилган. Шунингдек, ўзбек рақси канон маъносига эга
бўлган “Доира дарс” циклини ўрганиш ҳақида ҳам айтилган.
Ўзбек халқ рақсининг муваффақиятли ривожланиши учун
ҳозирги
босқичда
юқори
хореографик
таълимга
инновацион педагогик технологияларни жорий этиш
долзарб вазифа ҳисобланади.
Узбекский танец – как предмет в системе высшего
хореографического образования
АННОТАЦИЯ
Ключевые слова:
хореография,
танец,
предмет,
ритм,
школа,
инновация,
характер,
стиль,
манера,
эстетика,
поэтизация,
культура.
В статье говорится о программе предмета имеющий
обширный характер, вбирающий в себя изучение трех
локальных школ узбекского народного танца: ферганской,
бухарской, хорезмской. Каждая школа имеет свой стиль,
свою самобытную образную основу, свою систему и свои
законы языка; поэтизация природы в ферганском,
прославление красоты в бухарском, вакхический огонь
хорезмского пляса – вот образные грани узбекского танца.
Кроме трех основных школ в программу предмета вошли
уйгурская и каракалпакская школы. А также говорится об
изучении цикла «Доира дарс», который приобрел значение
канона узбекского танца. Для успешного развития
народного узбекского танца, на современном этапе
актуальной задачей является внедрение инновационных
педагогических технологий в высшем хореографическом
образовании.
Folk dance plays one of the important places in the national culture of Uzbekistan.
Folk dance reflects the poetic, philosophical views, artistic and aesthetic ideals of the
Uzbek people. An important role in the development of the Uzbek national dance art is
played by the Decree of the President of the Republic of Uzbekistan Sh.M. Mirziyoyev dated
February 15, 2017 No. UP–4956 “On measures to further improve the management system
in the field of culture and sports”, as well as the Resolution of the President of the Republic
of Uzbekistan dated 05/31/2017, No. PP-3022 “On measures for the further development
and improvement of the sphere of culture and art”.
At the present stage, the problems of preserving truly folk-dance traditions are
becoming acute. In such a situation, the study of folk stage choreography, which affirms
the ideological and artistic concept of national dance, acquires special relevance. The
inclusion of the study of various forms of Uzbek folk choreographic art in the educational
programs of higher educational institutions of culture and arts is an important aspect of
the preservation and development of national dance. The process of professional training
of teachers and performers of Uzbek dance requires theoretical equipment, mastering the
methods of teaching and teaching Uzbek dance in conditions that meet the modern
requirements of higher education. The State Academy of Choreography of Uzbekistan has
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been a center for training professional specialists in the field of choreographic art and
national dance for more than twenty years. Currently, the Academy of Choreography has
developed a set of disciplines aimed at studying Uzbek folk dance in the fullness of its
stylistic and genre diversity. The subjects “Methods of teaching Uzbek dance” and “Samples
of Uzbek choreography” are compulsory disciplines of the curriculum at the departments”
Teacher-choreographer” and “Leader of the choreographic group” at the State Academy of
Choreography of Uzbekistan. The pedagogical tasks of these subjects are the formation of
professional skills and abilities in the development of stylistic features, lexical material and
performing skills in Uzbek dance; development of creative thinking and the creative
potential of future teachers through the development of the best samples, methods and
techniques of various directions of Uzbek dance; mastering the methods of teaching it and
creating modern choreographic works in a folk dance manner. The goal of mastering the
disciplines “Methods of teaching Uzbek dance” and “Samples of Uzbek choreography” – is
to train specialists who are fluent in the theoretical and practical foundations of teaching
methods of choreographic disciplines, ballet masters-tutors, ready for practical
pedagogical work, for training and education of performers in educational institutions of
additional and secondary vocational education, in choreographic groups of amateur and
professional level.
The content of the subjects “Samples of Uzbek Choreography” and “Methods of
Teaching Uzbek Dance” is unique, as it is an exclusive curriculum of the Academy of
Choreography. The author of the course “Methods of teaching Uzbek dance” presented the
results of understanding the practical and theoretical foundations of the choreographic
profession, summarizing the personal experience of creative activity, gleaned in the
famous collective of the ensemble “Bakhor” under the leadership of M. Turgunbaeva. This
discipline contains both theoretical and practical foundations of teaching national dance.
The theoretical part forms the pedagogical views, the professional vision of the future
specialist. The theoretical system of scientific principles of the subject “Methods of
teaching Uzbek dance” classifies the stylistics of various types of national dance, plastic
movements into separate groups of the lexical dictionary, reveals the semantic meaning of
movements. The methodological approach is based on a clear classification of topics in the
poet of their study by stages. The practical part of the subject, in addition to the skills of
professional performance, contributes to the mastery of the methodological principles of
building a dance lesson, methods of teaching the performance of elements of Uzbek dance:
the position of the arms, legs, rotations. Rotations are a vivid means of expressiveness of
Uzbek dance and have several types of their own (charh, shokh, ailanish). When
performing rotations, the head and div work in conjunction with the legs. An important
recommendation when performing rotations is the fact that during rotation the head
should turn exactly with the emphasis of the legs on the floor, while the arms provide
balance.
The program “Methods of teaching Uzbek dance” is extensive, as it includes the
study of three local schools of folk dance: Fergana, Bukhara and Khorezm. Each local style
reveals its original figurative basis, its own system and its own laws of language.
Poeticization of nature in Fergana, glorification of beauty in Bukhara, Bacchic fire of
Khorezm dance – these are the figurative facets of Uzbek dance. In addition to the three
main schools, the Uyghur and Karakalpak dance schools were also included in the subject
program. Poor knowledge of the local features of Uzbek dance seems to be a problematic
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issue. Compliance with all the stylistic subtleties of local schools preserves the originality
of Uzbek dance. Despite the enough development of the topic in the specialized literature
of R. Karimova (as well as E. Petrosova, O. Mukhamedova and others), choreographers in
their practice often demonstrate ignorance of the regional characteristics of Uzbek dance
of local schools. Therefore, it often happens that during the festival (competition)
programs one can see dances that use music from one region, costumes from another, and
lexical material from a third.
In this regard, the study of the Doira-dars cycle, which is the canon of Uzbek dance,
acquires special importance within the framework of the subject “Methods of teaching
Uzbek dance”: this cycle concentrates all the main movements of the Fergana dance school.
“Doira dars” is studied in all departments during the 1st to VIth semesters. The cycle is a
large building of a suite character and consists of five parts. Each of them contains specific
dance movements inherent only in this part. The task of the teacher is to reveal the
figurative content of movements, to observe the canonical purity of performance. In
“Doira-dars” there are complex dance movements that require multiple visual
demonstrations and subsequent study of the technique of precise execution of movements.
The teacher, having studied each movement with the students, works out and consolidates
this material. The musical and dance development of the Doira-dars cycle becomes the
artistic foundation for the future professional activity of a young specialist. The author of
the cycle “Doira dars” Usto Olim Kamilov said that “every doyrist, every dancer should
know the sleep-rhythms, with the help of which dances are built. Without this it is
impossible. Usuli is the ABC of dancing”. Purposefully, systematically listening to them fell
asleep during classes, young professionals need to learn how to reproduce them aloud. The
voluminous plastic dictionary “Doira Dars” gives the student-choreographer the
opportunity to build dance sketches and, moreover, create choreographic performances of
various genre trends.
An important role in the development of the pedagogical qualities of a student-
choreographer is given to the subject “Samples of Uzbek Choreography”, based on a
systematic study of classical works of Uzbek folk stage choreographic art, on the principle
of professional understanding of the legacy of choreographers M. Turgunbaeva,
K. Mirkarimova, I. Akilov, K. Muminov. The creativity of each of them is distinguished by
the richness of images, forms and genres to which they turned. In the third semester,
the legacy of I. Akilov is studied using the example of the dances “Davra”, Fargonach yeslar
raksi” The fourth semester is devoted to the study of the choreographer’s method of
M. Turgunbaeva on the example of her dance performances “Rohat”, “Yetti guzal”, “Katta
uyin”, “Rohat”, “Bayet”. The study of the artistic method of the leading Uzbek
choreographers, the analysis of the works born by their intentions, the principles of
creating a performing school can become an effective means for creating new ideas that
continue the creations of the classics.
Pedagogical practice has shown that for the successful development of Uzbek folk
dance at the present stage, the urgent task is to introduce innovative pedagogical
technologies in higher choreographic education. A practical lesson can take the form of a
concert lesson, analysis lesson, professional opinion lesson, etc. So, in the process of
studying the cycle “Doira dars”, the use of interactive teaching methods becomes effective,
when students actively participate during classes, analyze errors in the execution of
movements.
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The preservation and development of traditional folk culture is of great importance
not only in socio-cultural, artistic, creative, organizational and pedagogical activities, but
also from the point of view of the possibilities for a person to manifest civic, patriotic
initiatives, and the growth of his aesthetic, moral, and political culture. Ethno-cultural
values and ideals carefully preserved and developed, of course, contribute to the spiritual,
moral, patriotic education of youth, strengthening the unity of our country.
REFERENCES:
1.
Mirziyoyev Sh.M. On measures for the further development of the higher
education system. T.: Uzbekistan. 2017. Collection of legislation of the Republic of
Uzbekistan, 2017, No. 18, art. 313, no. 19, art. 335, no. 24, art. 490, no. 37, art. 982. link
taken from lex.uz website.
2.
Abidov T. Usto Olim Kamilov. T., 1958.
3.
Karimova R. Fergana dance. T., 1973.
