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Healing processes in uzbek national traditions
Gavkhar BARAKAYEVA
1
Samarkand State University
ARTICLE INFO
ABSTRACT
Article history:
Received August 2022
Received in revised form
20 August 2022
Accepted 25 September 2022
Available online
25 October 2022
Uzbekistan is a country with an ancient and distinctive
culture. It absorbed all peculiarities of cultures of different
regions along the Great Silk Road here. These echoes can be
seen in painting, dance, literature and music of this land. The
peoples inhabiting Uzbekistan have always cherished the great
heritage of their ancestors, trying to pass it on to their
descendants, in its turn enriching it. The music of Uzbek people
is original and diverse.
“
Tanavor
”
is the unique aspect of the
Uzbek culture. In the national perception,
“
Tanavor
”
has more
or less philosophical effect to regional history, unique
traditions, social, emotional and folklore. This phenomenon is
an example of oral and professional creativity of Uzbek people,
which can be attributed to high samples and features of national
music folklore, shaped at the end of the nineteenth century, and
which continues to evolve to this day in music and dance.
2181-
1415/©
2022 in Science LLC.
https://doi.org/10.47689/2181-1415-vol3-iss9/S-pp1
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:
Tanavor,
East,
folklore,
performer,
tradition,
song,
dance.
O
‘zbek milliy an’analarida sog‘
lomlashtirish jarayonlari
ANNOTATSIYA
Kalit so‘zlar
:
Tanavor,
Sharq,
xalq og‘zaki ijodi,
ijrochi,
an’ana,
qo‘shiq,
raqs.
O‘zbekiston qadimiy va o‘ziga xos madaniyatga ega
mamlakatdir.
Bu yerda u Buyuk Ipak yo‘lining turli mintaqalari
madaniyatining barcha xususiyatlarini o‘ziga singdirdi. Bu aks
-
sadolarni shu zaminning rasmi, raqsi, adabiyoti va musiqasida
ko‘rish mumkin. O‘zbekistonda istiqomat qiluvchi xalqlar o‘z
ajdodlarining buyuk merosini doimo qadrlab kelgan, uni o‘zbek
xalqiga o‘z avlodlariga yetkazishga intilishlarini milliy musiqa
folklorining yuksak talablari va xususiyatlari bilan izohlash
mumkin, XIX asr oxirida shakllangan musiqa va raqs bugungi
kungacha rivojlanishda davom etmoqda. Bu o
‘
z navbatida uni
boyitadi. O‘zbek xalqining musiqasi o‘ziga xos va rang
-
1
Department of Philosophy and National Idea, Samarkand State University.
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barangdir. “Tanavor” o‘zbek madaniyatining o‘ziga xos jihati.
Milliy idrokda “Tanavor” o‘lka tarixi, o‘ziga xos an’analarini aks
ettiradi. Bu o‘zbek xalqining og‘zaki va yozma ijodiyotining
namunasidir.
Оздоровительный процессы в узбекских национальных
традициях
АННОТАЦИЯ
Ключевые слова:
Танавор,
Восток,
народное устное
творчество,
исполнитель,
традиция,
песня,
танец.
Узбекистан –
страна с древней и самобытной культурой.
Здесь он впитал в себя все особенности культур разных
регионов Великого шелкового пути. Эти отголоски можно
увидеть в живописи, танце, литературе и музыке этой земли.
Народы, населяющие Узбекистан, всегда дорожили великим
наследием своих предков, стремясь передать его своим
потомкам узбекскому народу, что можно объяснить
высокими образцами и особенностями национального
музыкального фольклора, сформировавшегося в конце
ХIХ века, и который продолжает развиваться по сей день
в музыке и танце, в свою очередь обогащая его.Музыка
узбекского народа самобытна и разнообразна. «Танавор» –
уникальный аспект узбекской культуры. В национальном
восприятии «Танавор» имеет более или менее философское
воздействие на региональную историю, уникальные
традиции, социальные, эмоциональные и фольклорные. Это
явление является примером устного и профессионального
творчества узбекского народа, что можно объяснить
высокими образцами и особенностями национального
музыкального фольклора, сформировавшегося в конце
ХIХ века и продолжающего развиваться по сей день в музыке
и в танце.
INTRODUCTION
Almost all regions of the country are represented in Uzbek folk dance, an unusual
variety reign here. These dances come to life at all family, village, and local holidays. They
are passed down 34 from generation to generation; they preserve ancient dance
traditions as significant element of cultural life of the country. Not a single celebration or
concert can be complete without performan
ce of “Tanavor”. The popularity of genre is
evidenced by the fact that venerable singers and students of conservatory with pleasure
perform it, and not only dutar, as it was in old times, is used for accompaniment, but also
rubab, nai and piano. Even jazz
version of “Tanavor” appeared. The incredible popularity
of “Tanavor” was its ability to touch the strings of human soul. Uzbek national dance is
unusually expressive and personifies all beauty of Uzbek people. Today, the study of
Uzbek folk music has gained a special significance. Like other Central Asian nations,
Uzbeks also have their own national values and cultural, musical legacy based on them.
Of course, that legacy is linked with Uzbek people spirituality, religion and traditions.
As it is known, over centuries national legacy has been handed over from generation
to generation, developed and adapted to the times. Since ancient times our national
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musical legacy has consisted of two directions: one originates from another one and both
complement one another by adding specific features. One of them is musical folklore and
another is professional music connected with creative activities of performers. Both
directions have its own rules, forms, styles of performance, links to place and time, etc.
“Tanovor” as a Music Folklore is an uninterrupted process, where diverse variations
naturally develop during it. Unfortunately, Uzbek music experts have so far ignored how
such variations emerge and are preserved throughout the centuries. It is necessary to
note music that has emerged along with such prominent samples of traditional folk
creation as Shash-maqom (Uzbek classical folk music and song), Khorezm maqoms and
Fergana-Tashkent patterns of maqoms. Samples of classical music, formed in the
beginning of 20th century, are unique among the people, and their levels in music
creation and practice were noted. In folk music as a result of rise of musical performing
and comparative approaches to maqoms, free-wild methods of valley were formed. They
are folk music ser
ies as “Qalandarlar”, “Miskinlar”, “Ushshoqlar”, and “Tanavor”.
A number of melodies and songs named “Tanavor” have emerged along with pieces of
music peculiar to the Fergana-
Tashkent style of performance including “Navro’zi Alam”,
“Hojiniyoz”, “Mirzadavlat”, “AlamTaronalari”, “Mushkuloti Dugoh”, “Munojot” and
“Miskin”. Any piece of music, starting from its name and ending by its presentation to the
listener, that is, its performance, usually has its own criteria, peculiarities and traditions.
Similarly, “Tanavor” has been created under certain conditions and in a specific way.
Uzbek people know a number of legends and myths about “Tanavor”. This shows that
“Tanavor” is one of the best pieces of music closely connected with the folk creation.
Samples with t
he name of “Tanavor” of Uzbek traditional music heritage show that music
plays an important role in spiritual maturity of humanity and has philosophical
implications. Therefore, every sample that embodies this power will live forever in the
folklore. In th
is regard, to reveal all samples of “Tanavor” and their impact on other art
trends, we referred to literature, dancing and art of painting. “Tanavor” is lyrical music,
dance, song and work of art in Uzbek folk music heritage” [1, 5]. From an etymological
p
oint of view, “Tanavor” means “thick, glorious, fat” [2, 399]. This word was differently
realized in folk practices and creativity. For example, musicologist, scientist
E.E.Romanovskaya said that “Tanavor” is romantic love song or in oral practice was used
as a “beautiful div” [3, 54]. “Tanavor” is made up of two words: “tan” meaning “thing”
and “ovar” meaning “to bring”. The introduction of term is connected to folk traditions
and it was widely used in some other meaning as follows: in shoemaking, first thing to do
was to make a raw material, namely skin suitable for making shoes. Traditionally leather
was made from skins of such animals as cows, sheep, goats and horses that then was used
to make various items, clothes and footwear. In fact, skin was processed as a whole and
offered to artisans. “Shoemakers called that leather “Tanavor”. There were different
criteria of setting the value of that leather and, as we can also see, such criteria were
directly related to creation of music as well. For example, in trade they used very special
measures as follow: “… this leather can be used to make two makhsi (traditional boots
furnished with mild soles) for men, two makhsi for women and three or four makhsi for
children”. Thus, a skin of one animal was used to mak
e 2-2-4 various kinds of boots. This
means that a number of “items” was produced from “Tanavor”. In terms of music, one
certain piece served a basis for different variations. From this point of view, various
patterns of “Tanavor” have originated from one 3
5 and same piece. This is why all
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patterns of “Tanavor” have something to prove that it is “Tanavor” [4, 6]. During creation
of “Tanavor” the earliest sample was the appearance of beautiful musical composition,
but the work was not primarily named “Tanavor”. Because this expression does not
appear in literature, history, official articles and documents as a musical work until the
early 20th century. Thereby, we confess the first sample of “Tanavor” is “Qorasoch”. The
main reason of it, is the perfection of
the sample. The musical sample “Qorasoch” was
intensified “indoor” in the 19th20th centuries, meaning that women’s performing
practice was developed. “Tanovor” as a Song The famous musicologist, scientist
E.E.Romanovskaya, who organized a folk ethnographic expedition to Fargona and took
notes of a lot of folk songs, “yalla’s, “terma’s, published his collection with the name of
«Tanavor» in 1939. It was the appearance of «Tanavor» in musicology for the first time.
The period of the formation of “Tanavor” dat
es back to the end of 19th and beginning of
20th centuries. Although, it has been in use since the first quarter of the 20th century, as
a generic expression, several samples were already in practice. Samples as “Endisandek”,
“Adolcha” and others were popu
lar in Fargona, especially Margilon (Fargona, Margilon
are the regions of Uzbekistan). “Tanavor” was performed by symphonic orchestra, folk
instrument orchestra, as well as by different musical instruments. New samples of
“Tanavor” as “Namangan”, “Andijon”, “Margilon” (regions of Uzbekistan), and “Yangi
Tanavor” were created in folk and composer art. “Tanavor” created in the shape of
melodies and songs is performed in various styles. Experts note that Uzbek national
music has about 20 patterns of “Tanavor” and pieces of music characteristic of “Tanavor”.
“Many of them performed in the shape various melodies and songs. The most popular of
them are called as follow: “Qorasoch”, “Tanavor”, “Yovvoyi Tanavor”, “Gulbahor va
Tanavor”, and “Adolatcha Tanavor”, “Fargonacha Tanavor”, “Qo‘qon Tanavori”, “Yangi
Tanavor”, “Marghilon Tanavori”, “Namangan Tanavori and Tanbur Tanavor” [5, 25]. P.S.:
At the end, we may say that different “Tanavor” variations and types were created by
tradition of imitation because the majority of them were based on the same melody and
each of them had its own individual features. That is why all of them were called just
“Tanavor”. Among collectors of “Tanavor” famous artists Madali Hofiz, Mamasiddiq
Madaliyev, Orifkhon Khotamov, Ochilkhon Otakhonov, Xalima Nosirova, Berta Davidova,
Mekhri Abdullayeva, Saodat Kabulova, Zamira Suyunova, Matlyuba Dadaboyeva,
Ghulomjon Khojiqulov and Mahmudjon Tojiboyev have made great contribution to it by
giving historical and practical information and advice. “Tanavor” is the most popular
piece of music and people know it well. More books about “Tanavor” and legends related
to it will be written in the future.
REFERENCES:
1. Avdeeva L. Dance of Mukarram Turgunbaeva. Tashkent, 1989.
2. Persian-Russian dictionary. Moscow, 1985.
3. Romanovskaya E.E. Uzbek Folk Songs. Tashkent, 1939.
4. Ganieva I. Tanavorlar. Tashkent, 2003.
5. Mavlono Mukimiy. Selected works. Toshkent, 1958.
