V. The Intangible Heritage List of UNESCO · 2018-11-26 · 68 | Intangible Cultural Heritage...

68 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan

V. The Intangible Heritage List of UNESCO

1. Inscribed item (as Masterpieces)

To date, into the Representative List of the Intangible cultural heritage of

humanity from Uzbekistan were included the following:

Cultural Space of Boysun – originally proclaimed in 2001; Inscribed in

2008 on the Representative List of the Intangible Cultural Heritage of

Humanity.

Shashmaqom – originally proclaimed in 2003; Inscribed in 2008 on the

Representative List of the Intangible Cultural Heritage of Humanity.

Katta Ashula – Inscribed in 2009 on the Representative List of the

Intangible Cultural Heritage of Humanity.

Navruz - Inscribed in 2009 on the Representative List of the Intangible

Cultural Heritage of Humanity.

Below you will find more detailed information on each of them.

The Intangible Heritage List of UNESCO | 69

A. Cultural space of Boysun

1) Heritage information

Boysun – Boysun district of Surkhandarya region Republic of

Uzbekistan. District center – the city of Boysun. Boysun district was

formed in 1926. As of 2007 the territory of the district was equal to 3,72

thousand sq. km. Population size – about 85 thousand people, of whom,

72,6% lived in the villages. In the district there are 6 Village Councils

(Avlod, Boysun, Rabot, Sayrob, Derbent, Machay and Kurgancha),

including 56 villages. Thirty thousand residents worked in the national

economy, and 74,2% of them worked in agriculture (production of

cotton, grain, vegetable, fruit, wool, etc). Thus, the main occupation of

the population in the district is agriculture, testifying to prevelance and

preservation of traditional forms of activities and lifestyles of the

population.

Boysun as a unique object of historic-cultural heritage of

Uzbekistan

Foothills of southwestern Gissar in the territory of Surkhandarya region,

already by the middle of the ХХ century was highlighted by the

scientists as a territory of key archaeological sites and monuments. The

most unique of them are: the site of the Neanderthal man in the cave of

Teshik-Tash, Kushan border Wall and the gorge Iron Gates at Derbent,

Greco-Macedonian fortress Kuurganzol, Kushan fortress Payonkurgan.

Modern culture of Boysun preserved settled and nomadic folklore,

ritualistic, artisanal traditions of Turkic and Eastern Iranian people.

They smoothly and organically combine with folk Islam and ancient

superstition. In the folklore, rituals, semantics of applied art of the

region it is possible to observe the elements of animism, Zoroastrianism

and Buddhism, cults for ancestors, fire, sun and minor divinities

worship. Such diversity and richness of synthetic culture of Boysun is

connected to its strategical location at the crossroads of trade routes of

the Great Silk Road. Thnks to its originality and primordial

attractiveness, folk music, dance, festive rituals, equestrian plays of

Boysun enjoy a great popularity in both Uzbekistan and abroad. After


studying and getting acquainted with materials, which represented

traditional culture of Boysun UNESCO recognized its cultural space as

‘the Masterpiece of the oral and intangible heritage of humanity’.

In 2002-2005 Academy of Sciences and Academy of Arts of Uzbekistan

with support of UNESCO and Japanese Trust Fund organized goal-

oriented scientific expedition to study Boysun phenomenon. Main

attention was given to historic-ehtnographical features of Boysun its

authentical ritual traditions, folk crafts and folklore. Materials of

expedition, presented in two collections and two monographs ‘Boysun’,

DVD-films, multimedia-CD, audio-CD and photomaterials, confirmed an

exceptional values of Boysun as the region, preserving traditions of folk

culture of Uzbekistan. Local folk craft centers (as Avlod, Sayrob, Derbent,

Tuda, Kuchak, Pasukhri), local styles of music art, diversity of

ethnofolklore forms and decorative art of Boysun were revealed and

described in detail. Exclusive historic-cultural value of entire objects of

traditional culture was justified, which were preserved in highland

villages (of Kurganch, Dekhibolo, Yakkatol, Gumatak, Duoba).

The History of Boysun

Boysun is an ancient historical and cultural region located in the south

of Uzbekistan. It was one of the strategically important provinces of the

former Bactrian state, then successively part of Tokharistan-Chaganiyan,

empire of Amir Temur and the Temurids and the Bukhara Emirate.

From the mid-20th century onwards, Boysun has been an important

district of Surkhandarya province of the Republic of Uzbekistan. Due to

its geographical location many rich traditions of folk culture have been

preserved there, such as a traditional way of life and original folk art

traditions as found in folk music, poetry, originality of the epic folk

crafts, traditional clothes and folk games as well as the continuity of

ancient rites. Boysun district is located in a mountainous area, 150 km

from the regional center, the town of Termez. Settlements are scattered:

the furthest kishlak (village) is some 50-70 km from the district centrer,

the town of Boysun. In the past the cultures of Turkic and Persian

people were interwoven in this region, which resulted in the

preservation of a wealth of tangible and intangible ethnic and folk

spiritual material. Today Uzbeks and Tajiks comprise over 60% and 39%

of residents of the Boysun district respectively (the total population of

the district exceeds 85,000 residents). The majority of the population is


bilingual; they are fluent in both in Uzbek and Tajik. The city of Boysun

is the district center; the district itself includes seven rural gatherings,

which unite more than fifty-six large and small villages.

Boysun is one of the world’s most ancient centers of human life and

activity. There, in the settlement of Machay an ancient Paleolithic site

dated 100,000-40,000 B.C. was found. In 1938 the remains of a

Neanderthal man and more than 2,000 household articles and work

tools were found by archaeologist A.P. Okladnikov in the cave of

Teshiktash (in the kishlak of Yukori Machay). In the 1980s, near the

kislak of Gumtalak and Kurgoncha, researchers found the tracks of

dinosaurs thought to have lived there over 65 millian years ago. About

two hundred rock drawings of a ‘magical hunt’ for bulls were found in

the mountains of Kugitanga in Zarautsai. In the foothills of Kugitanga

and Boysuntau a significant number of ancient settlement sites with the

traces of strong fortifications were found, most of which were

destroyed by Alexander the Great. A busy trading route once passed

through Boysun from the ferries of the Amudarya to Sogd, part of the

Great Silk Road. To protect the Kushan lands against the nomads, the

rulers ordered the narrow gorge at Derbent to be blocked with a wall

where an iron gate was built and the name ‘Iron Gate’ has been used for

two millennia. The ‘Iron Gate’ has witnessed the armies of Sasanids,

Ephthalits, ancient Turks, Arabs, Ismail Samani, Makhmoud Gaznevi,

Khorezm Shakh Muhammad, Genghiz Khan and Amir Temur.

During the pre-Islamic period numerous local and foreign cults co-

existed in Boysun, which depply influenced the culture of the people. (It

was there that many features and charachteristics of world religions

such as Buddhism, Zoroastrianism, shamanism and Islam came

together). It is known that in the 1930s a shepherd destroyed a 32 m

high sculpture of an idol made from an archa tree near the village of

Kurgoncha and thirty-seven donkeys were needed to carry the wood

away. Researchers will be interested to note that a significant number

of work and ritual songs can also be grouped under spell or charm

songs. They are obviously connected with ancient mythical, animistic or

pagan views and beliefs and are still viewed as magical by some people.

When the Moslem faith arrived in the region it had a great influence on

local arts and culture and many pieces of music began to follow the

rules of the religion.


Despite multiple economic and household innovations the villages of

Boysun still maintain a traditional lifestyle. (For example the cultivation

of the cattle pasture has not changed; the soil is difficult to access so is

still processed with a wooden plough; hand mills and distaffs,

watermills, churns and blacksmiths’ bellows are widely used; products

are kept in ceramic pots or caves and wooden utensils are used). The

region has a developed metal smeltery, which has been there since the

Kushan period (there are still furnances in the village of Tuda). Pottery

deserves special mention among the ancient handicrafts while leather

manufacturing can claim to be the oldest; today items of clothes,

footwear, horse harness and various household objects are made. The

beautiful light Boysun carpets were in great demand in bazaars from

Termez to Bukhara. For all the reasons mentioned, this region can be

considered as an original ethno-cultural reserve.

The cultural space of Boysun is the result of the human creative spirit,

which has developed, improved and been transformed over history.

The tangible and intangible culture of the region reflects elements of the

historical development of the arts and culture of the people of Central

Asia, Afghanistan, Iran, and to some extent of India. The cultural

traditions of Boysun are a continuation of those of local antiquity (as

confirmed by archaeological excavations) and subsequent medieval

periods of civilization (as observed in ornamental subject paintings,

works of folk and applied arts, and the song repertoire of folk

performers and epic bakhshi legends).

The historical development and modern aspect of Boysun is quite

typical for Uzbek districts of this ethnographic territory, but at the same

time the particular originality of its ethnography and music sets it apart

from other districts of southern Uzbekistan.

Etymology

There are several theories as to the etymology of the name ‘Boysun’:

One claims that the toponym derives from the Persian word ‘Boysan’

(At-Tabari), another that is means ‘ulug tog’ (‘great mountain’, Т.

Nafasov), or ‘sen boi’, ‘boi ulka’ (‘you are rich’ or ‘rich region’, T. Usmon),

or more often it is advocated that this name refers to the ethos, i.e.

‘Baysin’ - ‘tribe of straight people’ (J. Khoshiniyazov) or ‘the tribe of

Usuns ‘ (М. Juraev). The region is rich in historical and holy places:


Omonkhona, with its unique and curative spring, which cures many

diseases and the tomb of Holy Hoja Sultan Vali; the village Pulkhokim

with its ancient construction of an ‘earth bridge’; not far from the village

of Dekhibolo (Diybolo) there is a miracle of mountain engineering, a

step-road over the ‘Shoti’ precipice; stunningly beautiful gorge of

‘Surkhi’ with its spring of ‘Sulton’ in the village of Kurgoncha; the

Teshiktash grotto in the village of Yukori Machay; in Korabujin village

there is a holy mazar of the legendary Shirin (‘Bibishirin’); in Chinor

village there are four centuries old plane trees, which according to

legends were planted by the great poet Boborakhim Mashrab; in

Diymalik village the ‘Village of Kings’; the cave of Uchturtsanato and

holy springs of ‘Obi Shifo’ and ‘Hojaimaykhona’; parts of an ancient wall

and the ‘Iron Gate’ in Derbent village; dinosaur tracks in the village of

Gumatak; holy stones of ‘Palvantash’, ‘Oktosh ota’ and ‘Beshiktosh ota’

in the village of Kofrun, etc.

The villages of Boysun are the obvious places to observe particular

features of rural life. These features are seen in all areas of public

activity: in the uniformity of agricultural work carried out by

countrymen; the steady traditional group outlook of the peasant farmer

developed over many centuries - all these play a decisive role in life of

village. The specific way of life in the village is also revealed in the

character of the local singing culture, in traditional creativity; in

originality of the art of singing (both traditional and modern) and

instrumental music or modern creative art.

Intangible cultural heritage of Boysun

While forming throughout the centuries the traditional culture and

folklore of Boysun, on the basis of indigenous traditions, experienced

variety of impacts, due to peculiarities of historical development. An

effort to uncover the holistic character of existing genre and form

variety, to define the composition, hierarchy and

interrelation/interaction of different fields of Boysun’s folk culture (oral

poetical creativity, musical folklore, spectacular performances and

shows, folk games, artistic crafts) predetermined a close attention of

scientific community of Uzbekistan and foreign countries to this unique

region and set the task of its complex study. A tendency appeared to

consciousness of Boysun’s traditional culture not only as a historical

and cultural relict, but also as an essential spiritual value of the


modernity. Relative density of population of Boysun, its strategic

location on ancient caravan trade routes and equally, remoteness from

modern large urban centers, allowing to preserve unique traditions of

folk culture, set for the scientists a task of complex and comprehensive

study of the region, as a coherent and holistic historico-cultural

phenomenon. Each holiday, each event in the life of a human (birth,

marriage, death) there is accompanied by some particular forms of

ritual rites, loaded with a special meaning, and keep the echoes of

heathen beliefs. It was in Boysun, in the environment of uzbek dynasty

of ‘Qungrat’, on the basis of folk legends and songs, that a heroic epic

‘Alpamish’ formed, which represents the basis or core of the repertoire

of folk storytellers (bakhshi). Folklore traditions of Boysun people are

truly unique, and the bright example of this may serve a traditional

lifestyle of the population, carefull preservation and transfer of folk

craft tradition from generation to generation, the culture of house-

keeping, folk games and family customs. Original is the musical

language of folk songs and peculiar body movements in folk dances.

All aspects of folk culture of Boysun were studied in their natural

environment inseparably with the day-to-day life, ceremonies and

customs. One of the fundamental aims of the expedition was to study

the traditional artistic crafts and musical culture of the region and to

achieve this a questionnaire survey was conducted with folk masters ad

artists, a phonographic collection of various traditional crafts was

compiled; a video-recording was initiated to record folk ceremonies and

customs; an audio library of traditional music samples was created;

photograph library of musical instruments and the bearers of traditions

of musical folklore of Boysun was created. From the priorities listed in

the UNESCO Convention and its definition of intangible cultural

heritage it can be claimed that the traditional music of Boysun is a living

heritage, a phenomenon handed down from generation to generation,

undergoing changes during various historical periods. The Convention

defines ‘preservation’ as a method of maintaining the viability of

intangible cultural heritage. Measures aimed at the preservation and

protection of the traditional musical culture of Boysun include the

identification, documentation, research, protection, support,

strengthening, transfer and revival of various aspects of the said

heritage. In cataloguing the main local zones of traditional music all

techniques and methods were used to capture originality and unique

nature of the Boysun region.


Folk musical art

was also investigated in terms of its inseperable link with folk

ceremonies, work activities and the seasons. The extent to which a

particular folklore phenomenon was individual or widespread and

typical, was established and verified using the materials of previous

expeditions, undertaken across the entire southern region of

Uzbekistan. To allow for a wider comparison an analysis of materials

was done, which were dedicated to Uzbek and Tajik folk singing culture,

which are close to the Boysun folk singing and instrumental culture.

Folk music continues to develop in the musical culture of the Boysun

district alongside various genres of traditional culture. At the same time,

works from the past that vary greatly both in ideas and means of

expression are being preserved and continually improved. These works

of arts have stood the test of time; they have been selected by the

people of Boysun from the countless works of art emerging from work

and public life, often during times of great social and economic change.

This musical heritage is the most important aspect of the modern

musical culture of the region and the whole of southern Uzbekistan,

something that developed from a critical assimilation of the rich store of

traditional music.

Musical folklore of Boysun includes song art and folk epic legends as

well as a range of instruments and instrumental music. Each of them

has individual value and is the object of continuous study.

The records made during the Boysun research expedition and the

musical folklore expeditions undertaken by the Research Institute for

Arts in Surkhandarya region were used in the selection of song,

instrumental and epic samples.

The works collected differ in content. In general they are pieces of

music intended for a wide audience such as ritual songs (relating to

calendar, seasons, family, work, leisure, natural phenomena, beliefs),

songs of very important social or deeply lyrical content, shaman songs,

various kinds of instrumental music (solo and ensemble, programme

and non-programme), non-applied songs with varying content, intricate

in melodic design and rhythmic structure, epic folk songs and modern

folk songs - all recorded from experts and performers of folk musical art.

Music (singing, playing folk instruments) is also closely connected with


the everyday life of people in Boysun that it was possible to record

some songs (mostly ceremonial and everyday related ones) with a

simple melody and rhythmic structure, in almost every house and from

people of all ages, families and social standing.

Musical art of people of Boysun has been formed throughout the

centuries, depending on the diversity of its social, daily life, social and

psychological features. It embodied elements of musical culture of

Uzbek and Tajik people and reflected different functions, concerning

family life, economic activity, beliefs and natural phenomena.

Two types of music-making are typical for the musical life of modern

Boysun: singing and instrumental; each of them in their turn are

subdivided into traditional ones, modern ones, and concert-related ones.

Traditional music is a definitive form, important in that it embraces all

areas of day-to-day life: work, leisure time, ceremonies and customs,

various events and natural phenomena, all age groups (from children

and teenagers to old people), ancient songs of the seasonal, agricultural

and family ceremonial cycle to modern songs. The tradition of music of

Boysun is rooted in its remote past. The centuries-old singing traditions

have crystallized into a kind of artistic school encompassing folk singers

and storytellers (bakhshi), and an original school of instrumentalists, in

particular, dombra players. The singing tends to be melodic and choral,

solo and collective in nature. Characteristic features of Boysun folk

songs developed alongside the original local singing traditions.

Traditional songs are sung both for ‘public’ occasions (seasonal,

wedding, lyrical, etc), and for ‘private’ occasions (lullabies, work related

songs). Both aspects of song are determined by the unity of the

collective basis and individual basis in the folk singing creative process.

Each is an integral part of the ‘song community’, and in its turn, song

community consists of specific, unique individualities. Singing for the

‘public’ is motivated first of all by the power of traditions and embraces

ceremonial singing (both female and male), singing at leisure time, and

during the work (women’s group singing). In this case it can be both

solo and group singing. The originality of the Boysun district and its

ethnic composition (most of the population are Uzbeks of clans such as

Qungrat, Barlas, Juz, Kipchak and others) to a certain degree influenced

the distribution of song and instrumental genres of musical folklore.

Ceremonial and old labor songs play a big role in Boysun and adjacent

villages; instrumental music on the surnai and doira can be heard at


wedding celebrations. The character of folklore is significantly different

in Derbent and Machay; in Sairob, Shurob and Kurgoncha one can hear

typical lyrical (specific to particular districts), ceremonial, labor (mostly

cattle breeding farming) songs and lullabies, and in Boysun itself they

sing folk songs in the genres of koshuk, yalla ad ashula with various

subjects. The ashula genre uses poetic texts of classical oriental poetry.

Cult and ritual jakhr originates from shamanism and Sufic ceremonies

and has healing functions and is characteristic feature of Boysun and in

particular of the village of Avlod, Machay and Kurgancha. It is

performed with a certain emotional input without instrumental

accompaniment, using verses of the Koran, original word combinations

in the form of a rhythmic formula, as well as poetic texts by Ahmad

Yassavi.

Any distinctions in the folk musical creativity of Boysun, especially in

the art of performance, are related to dialect influence of people living

in the district, i.e. Uzbeks and Tajiks. In villages, where Tajiks make up

the majority of the population, it is Tajik folk songs that are mostly sung

during weddings, parties and folk festivities. The ethnic composition of

the population was also instrumental in forming a musical dialect of

Boysun. But up to now Uzbek folk songs with their varied content and

styles of performance have held a significant place in the musical

culture in Boysun.

Over a number of historical periods numerous ethnic groups came to

Boysun, settled there and intermingled with the local population. As a

result an original economic and cultural community has formed there.

A study of the ethnic structure reveals that for a long time Tajiks and

Uzbek ethnic groups such as Turks, Qungrats, Katagans, Chatagais,

Karluks, Durmens, Kharduris and others have been living together in

different villages and the district center of Boysun itself. Common

elements may be observed in their language, customs, ceremonies,

clothes, methods of housekeeping as well as in their oral poetic and

musical folk arts. Out of this interweaving of different ethnic groups,

dialects and languages particular group of people formed, the Boysun

Qungrats, with an original culture and musical intonational language.

That in turn influenced the formation of certain local zones of musical

folklore (on the basis of ethnic structure, dialects, geographical factors,

economic structure, musical instruments, genre system and

characteristics of performance). In general the Boysun district can be

divided into four local zones:


a) Boysun, which covers the central district, i.e. Boysun and

adjacent villages;

b) Kurgoncha, which includes the northeastern district of

Kurgoncha and the villages of this rural administrative unit;

c) Machay, which includes the northwestern district, i.e. Machay

itself and the villages of this rural administrative unit;

d) Sairob, which covers the southwestern district of Sairob and

the villages of this rural administrative unit.

These local zones were formed as a result of the common ethnic

character and social and economic conditions of certain districts of

Boysun, whose people in the recent past had a partly nomadic and

partly settled way of life, being engaged mostly in cattle breeding and

agriculture. Out of this prevalence in the musical folklore of different

folk songs, musical instruments (tunes and melodies), folk epics.

The musical creativity of Boysun forms two large groups of applied and

non-applied genres, which are especially widespread. They are

ceremonial (calendar – Yil boshi, Navruz ayyomi, Boychechak, Ramazon;

wedding – Yor-yor, Kelin salom, Arus baron, Mochai, Kelin va kuyov

kutlovi; funeral – Yigi, Guyanda, Sadr; cult and ritual - Jakhr), lullabies

(Alla), labor (Mayda, Oblo baraka, Shokhmoylar, Kush khaydash, Khush-

shush, Don septi, Urmak, Yorguchok) and lyrical songs, and historical and

everyday life ones, which are less common. Specific song genres

considered as non-applied, such as terma, koshuk, lapar, yalla and

ashula have also become popular. Folk epic legends, dastans (Alpamysh,

Gor ugli, Kuntugmush, Kelinoy, etc), which are read by storytellers

(bakhshi), can be found only in some villages. The storytellers (Bakhshi)

are subdivided into bakhshi-shoir (who recite dastans) and bakhshi-

termachi (who perform only the terma genre of dastan).

They use instruments such as the dombra, dutar (stringed plucked

instruments), chang-kobuz (string percussion instrument usually played

by women), nai–sibizgi (pipe from cane), chupon-nai (shepherd’s

wooden, longtidunial pipe), gajir-nai (from bone) and nai-shuvullok

(from clay, has various shapes: straight, pot-like, animal-shaped), surnai

(a reed wind instrument), dapp and doira (percussion instruments).

Each folk song or terma from epic legends of Boysun, the musical

instruments and traditions of instrumental music – this is both the


history and daily life of the people, their thoughts and expectations,

world vision and psychology. The traditions continue to live in the

modern world thanks to the activity of folklore-ethnograpic ensembles,

such as the folk ensemble ‘Boysun’, the children’s ensemble ‘Kuralai’,

female ensembles from villages of Dashtigoz, Kuchak, Avlod, etc., and

folk storytellers (bakhshi), musicians, and singers, who do much for the

preservation, development and propagation of folk traditions of Boysun

and the musical heritage of the Uzbek people as a whole. More

comprehensive analysis of traditional musical culture, with in-depth

descriptions of musical genres, characteristical features of musical

instruments and information about the bearers of traditions,

performers, including some illustrations (maps, photomaterials,

notations) - all are given in the book of Rustambek Abdullaev: Boysun.

Traditional musical culture. Tashkent: UNESCO, 2006.

Folk rites, customs, rituals

For millennia people accompanied their life by exercising various magic

actions ‘to protect’ themselves from hostile natural and infernal forces,

‘to keep and improve’ the people’s welfare. Many of these archaic rites,

only a little modified, have been exercised recently, and some of them,

in a transformed form, having lost their essence, and are used at folk

holidays, games and entertainments.

Numerous calendar, family-domestic, cult-ritual ceremonies and public

holidays have not only been preserved, but recently have been used in

the daily labor and spiritual life of the Uzbek people. An integral part of

many such holidays are the original musical-poetic and instrumental-

dance pieces which make up the ritual genres of Uzbek musical heritage,

in particular, the musical folklore of Boysun.

The majority of vocal and instrumental genres were connected with folk

rituals rich in various customs, ceremonies, rites and traditions. The

rituals combine everything accumulated in the culture, and reflect the

historical life of a definite socioeconomic formation, to a certain extent,

forming the internal world of the ethnos. A ritual is not simply a

celebration with procession, music and dances, or only the occasion to

have fun playing games, but the history and culture of the folk with its

rich traditions, where a key role belongs to a social-psychological

factors, religious rites and holidays, norms of human relations, folklore


(magic formulae, lamenations, sayings, songs, folk tunes). Reflecting the

important social links of generations, their ideas about the world, the

ritual is preserved as an ethno-cultural tradition. Therefore, the ritual-

celebratory complex makes up a significant part of the modern ethnic

culture of Boysun people.

Characteristic features of ritual ceremonies of Boysun people from

archetypal ritual complexes: the first belongs to the Uzbeks-Qungrats,

Qatagan and others, whose major occupation in the past was

animal/cattle breeding; the second to the Uzbeks and Tajiks, whose

economic activity was connected with agriculture. The existence of

common ritual complexes in cultures of sedentary farmers and

nomadic animal/cattle breeders testifies to their affinity as social

phenomena.

Rituals of Boysun ethno-cultural area differ from ritual complexes of

the other regions of Uzbekistan. These distinctions can be found in the

order of ceremonies, in the contingent of their participants as well as in

the character of performance of ritual music. The ritual complex of

Boysun includes calendar ceremonies connected with seasons, natural

phenomena, the national calendar of a farmer and cattle breeder and a

labor process; the family-domestic ceremonies including wedding and

funeral-memorial ceremonies; cultic-ritual actions basing on the

magical power of the word, connected with the most archaic beliefs and

religious rituals.

In the course of centuries rituals, as a part of the spiritual heritage of

the Uzbek, people were absorbing and accumulating national ideals of

good, beauty, high ideals, positive knowledge of nature and humans.

They expressed ethical and aesthetic norms of national life. The people

acted as actors and creators of spiritual values – that’s why the majority

of rituals were arranged and enriched by elements of a show, theatre

and musical-choreographic action. Such rituals initiate a person in folk

art creativity: songs, dances, games, music, actions, etc. A person

received a chance to express the best sides of his/her talent.

The folk rituals registered in villages and makhallas of Boysun, include

traditional calendar (Navruz, Boychechak, Yil Boshi, First furrow, Lola,

Mekhrgan, Oblo Baraka or khosil bairami, Sus khotin), family-domestic

(Beshik tuy, Ugil or Sunnat tuy, Muchal tuy, Nikokh tuy; funeral rites -

Guyanda, Sadr) events, connected with the life of a person from birth to


death, which reflected vitally and socially significant transitions from

childhood to marriage. Each sphere of action of family rituals formed its

own circle of folk songs and traditional instrumental melodies from

simple to well-developed vocal-instrumental cicles. With their

originality differ cultic-ritual rites, the majority of which are connected

with shamanism and Islamic cults (healing rites as jakhr, kushnos, alas,

chakmak, Mushkulkushod, etc.).

It is well known that the folklore of any nation is closely connected with

its rites. They occupy an important place in the traditional culture

Boysun people. Firstly, they were related with the calendar and ancient

religious notions, secondly with economical activities and thirdly, with

the most important events in a human life, from birth and upbringing to

coming of age, getting married and dying. In addition to the rites,

already mentioned there are rites and holidays related with the Muslim

religion. The entire ritual and holiday process, thus, consisted of

interlacing rites: calendar related (Navruz and seasons), family-

domestic one (birth, marriage, death) and cultic-ritual one (religious,

healing, etc.).

Time has influenced them in different ways. Without their social

foundation, some calendar and healing rites have been preserved in folk

memory, some have almost disappeared and others are practiced in

some villages in an adapted form; family and everyday rites having

adapted to various circumstances, have stood the test of time and have

preserved their essential genre framework though single genres may

have changed or been lost; cult and ritual as well as muslim rites are

mostly kept on by the older generation of Boysun.

Unfortunately all rites, excluding family and everyday ones, remain

poorly researched in Uzbek musical folklore due to the changes in

people’s lifestyles and the disappearance of some rites. This process

was accelerated due to official banning of some rites (such as Navruz,

healing and Muslim rites), which also affected the research. It should be

mentioned about shaman ritual Jakhr (a rite of purification, expelling

evil, also known as kuch or kuchirik in some districts of Uzbekistan,

accompanied by music and certain accessories), one of the rites related

with ancient religious concepts of Boysun people. Notably, it was

possible to film the rite and interviews enabled to acquire a collective

understanding of the process of shaman activities.


A ‘rainmaking’ (Sus khotin) rite carried out during summer droughts is

closely related with ancient beliefs and to some extent with shamanism.

The process of rite performance has been preserved in Boysun and is

also included in the repertoire of the ‘Boysun’ folk ensemble.

Muslim rites play an important part in the life of old people living in the

Boysun district, for instance, rites such as those related with the thirty

day fast of Uraza and the holidays of Uraza khaeet and Kurbon khaeet.

Some of the rites are not accompanied by music (not taking into account

the ‘azan’ genre, the calling to namaz prayer and ‘Koran recitation’,

which is a melodramatic and declamatory expressive reading of verses

and ayats of the Holy Book), but one of them, Muslim Uraza fasting is

accompanied by the carols Ramazon and Yo rabbim.

All rites, originating from various historical periods of Boysun and

connected with various spheres of life make up a single unit. This is

revealed in the fact that all rites whether calendar, shamanistic, family

or everyday life, have been Islamized to various extents, i.e. they obey

the canons of Islam even though their origins are older.

The rites of Boysun can be divided into three groups:

а) calendar (or calendar and agricultural) rites;

b) family-domestic and everyday life rites;

c) cult and ritual rites.

The calendar cycle of rites was connected with Navruz, the folk calendar

of a farmer and cattle breeder, the celebration of ‘Darvishona’, the

seasons and natural phenomena (the rites as Navruz, Darvishona, Sus

khotin (Rainmaking), Mirkhaydar (Windmaking); agricultural rites as

the Furst Furrow, threshing, and harvesting; sada - (fire worship)).

Family-domestic and everyday life rites include a group of ceremonial

cycles: family (on the occasion of a birth, raising child, coming of age

and getting meried), funeral and commemorational (on the death of a

loved one), and every day life (Gap-gashtak, healing) ones. Cult and

ritual rites are shamanistic magical processes and Muslim rites and

holidays.

Gap-gashtak is a rite-party, wich was undertaken in village and

makhalla by men in a tea-house or in the house of participant; it was


usually held in winter time when peasants and herdmen were not busy

in the fields. During the long winter evenings such parties were the only

opportunity for engaging in conversation, entertainment and leisure.

They were held by young or old people, and sometimes within the

family, they would elect the elder of the gap-gashtak and his/her

assitant, who would schedule the order of parties, the material

constribution of participants, the type of games to be played and the

observance of order at the party.

Such gap-gashtaks were also held by middle-aged and old women, with

young girls invited as well. But usually such sit-round gatherings were

combined with work such as processing wools, making yarm, or cloth

and carpet weaving, and meals and conversation would alternate with

cheerful lyrical folk songs to the accompaniment of a doira and dances.

This tradition has bee observed in Boysun till the present day (some

people also have a similar rite such as the Tajik khonai-gashtak and gast

abak of the Avarians).

Spring is a time of many rites and holidays for the people of Boysun; the

main ones are Navruz, the holiday of the beginning of spring; the rite of

First Furrow celebrated by farmers, and the preparation of cattle for

spring-and-summer pastures (of cattlemen). Navruz is one of the

brightest and most colorful folk holidays dating back to ancient times

and inextricably linked with almost all aspects of folk life. Traditional

rites and rituals begin with the first buds of spring flowers appear.

Groups of people, usually children, visit the village houses with

bouquets of snowdrops, irises or tulips and sing songs devoted to spring.

Usually these processions are called boychechak or lola (procession

with snowdrops or tulips). Residents invite participants to enter their

houses and accept flowers while bestowing various wishes and giving

presents to children. These house-to-house rounds let everyone know

that spring has arrived. Fifteen days prior to Navruz the preparations

for the holiday start: sprouts of wheat or lentils are grown, ritual

holiday food is cooked (women cook sumalak, green sambus, pies, and

bake flat cakes, and men cook khalim, a ritual porridge made from meat

and flour), the idea being to encourage a rich crop during the

forthcoming year. The rite of ‘making holiday fires’ is undertaken in the

evening before Navruz. Participants walk around fires, sing holiday

songs and have fun. During the holiday they make open air celebrations

with collective meals, folk games and shows, play solemn music and


various ceremonial and non-ceremonial songs. People of Boysun call

this holiday Yil boshi (beginning of the year).

Cult and ritual rites in Boysun, performed by those selected people who

are favoured by superior spirits such as–shaman-bakhshi, folbin, tabib,

include jakhr shamanistic magical processes and the healing rites of

kushnos, alas, chakmok, etc. Shamanistic magical processes were

performed while in a trance and at sunset on particular days: a

reflection of ancestors’ views on imitative magic (in this case the sunset

and expelling a decease). The function of magic actions is that of healing,

curative. The content of the musical and verbal text aims to drive away

evil spirits from the body of a patient. In the town of Boysun and

villages as Avlod and Saryosiyo some records were made of some

versions of the shamanistic magical processes dating back to ancient

times with elements of Sufic zikra - the rite of jakhr (the order is as

follows: a shaman is invited to a patient and the date for a sacrifice and

the performance of rthe rite itself is fixed). In a special dark room they

spread a supra, light candles and read their wishes. The patient is led

into the room and seated in the middle of the room. Then the shaman

(in Avlod village they are called sufi) comes with his equipment in: a

whip, beads and a dagger (in the city of Boysun they also use a doira to

play usuli during a session). First, the shaman reads a prayer and

addresses seven generations of ancestors: peri Simion, Mullakush,

Zangi-ota and so on, with the request to cure the patient; doing that he

throws seven kinds of beads (thirty-three times each). Each time he

whips the back of the patient, who does not feel the force of the whip

(sometimes people present are also wiped). With each action the

appearance of the shaman becomes more and more solemn. The

legends of Ahmad Yassavi (‘Khikmat sozlari’) are performed in a

melodramatic and declamatory style followed by the sayings of Sufi

Ollayor. The atmosphere grows tenser. During the jakhr rite the

shaman uses a dagger, which he steps on with his feet and hands, he

takes a heated scoop and touches the body of a sick person with it. He

licks the scoop, which has turned red from fire, then he brings it close to

the patient’s tongue, moves it along the patient’s hands and legs and

touches the patient. After the touch the patient begins to shake and feels

pain. Spraying water from his mouth on the face and body of the patient,

the shaman drives away malicious spirits. Then the phase jazava (lit.

‘fight’) begins: in his trance the shaman jumps up, rushes over to the

patient, whips him, and so on. The timbre of his voice changes (although

in the rite of kuch the timbre, tempo and force of the voice do not


change). The rite stops when the shaman-bakhshi is sure that malicious

spirits have completely left the body of the patient (the process of the

rite was recorded in the performance of Ismat Sufi Khalikov (1949)

from Saryosiyo village, who keeps the traditions of his ancestors Ochil

Sufi, Khalik Sufi, Karim Sufi and Radjab Sufi). It is necessart to note that

musical and verbal texts are spoken in both Uzbek and Tajik, during the

rite.

The rite alas also belongs to healing rites. It originates in fire worship

and during its performance diseases are expelled from the body of a

sick child by means of fire and the power of the word. The rite of

kushnos also a healing one and is used to treat a child suffering from a

sore throat, nasal diseases, breath arrest or suchlike. It is accompanied

by magic words, massage and other actions (the rites have been

recorded in the village of Duoba, Krgancha, Yakkatol, Avlod, Saryosiyo

and the city of Boysun).

The rituals and ritual music of Boysun is represented by family

celebrations called toy (Beshik toy (a birth of a child), Sunnat and

Khatna tui (circumcision rite), Muchal tui and Nikokh tui (wedding

ceremony or rite)), which are accompanied by music, songs, dances,

hows (for instance, rite of kavzo, connected with preparation of

firewood for wedding pilau) and folk games (kopkara, kurash, piyoda

ulok, dogish, etc.). More detailed information about traditional rites and

rituals is given in the book by Rustambek Abdullaev. Boysun.

Traditional musical culture. Tashkent, 2006.

Artistic and folk crafts

Boysun already in the past was known with many types and forms of

handicraft industry. In the ХIV-ХIХ centuries there widely developed

production of silk cloth, earthenware/clayware, smithcraft, gold-work

and iron and leather items. It is visually observed in the preservation of

names of crafts in titles of guzars, as for instance zarguzar (guzar of

jewellers), kassobguzar (guzar of butchers), charmgarlar (tanners),

kuzachilar (ceramists), degrezlar (moulders/melters), dukchilar

(masters of production of spindles), sangudas (iron founders),

nonvoylar (bakers), which testify to wide development in the region of

different folk crafts. Ancestors of the oldest master- weaver from

Saryasiya village Musurman Kahharov (1932-2005) were weavers, who


produced on a loom traditional silk cloth – alacha (stripped half-silk

fabric) and byaz (a rough cotton cloth). Ceramics of Boysun is also

distinguished with its originality and includes lyagans, togoras, kuzas,

tufdons, khums, toy-whistles, etc., which were produced by masters as

brothers Izzatulla (1930) and Ramazan Eshonkulov (1933), who come

from the family of hereditary ceramists (there were family members,

who were craftsmen-ceramists from Bukhara). Traditions of carpet

manufacture, embroidery, wood carving have been preserved till

present days in Boysun. In the village of Tuda original furnaces have

been preserved (local people call them ‘Tandyrs’), which have the traces

of slag, though for melting iron ore coal (which till nowadays is mined

there) was used in place of wood. In the old days foundry was also

developed in Avlod village.

The most widely spread types of artistic crafts of the district are

considered embroidery, then carpet manufacture and only after that

felting, in other words the traditional artistic textile (fabrics). Along

with the above-mentioned in Boysun other forms of artistic crafts

became widespread and developed, though they are not so popular, as

textile. These crafts are: ceramics (vessels and toys-whistles),

woodworks – chests, cradles (beshiks), carved woodworks, which

mainly represent the elements of the house – doors, gates, columns,

variety of musical instruments, leather making and yurt making.

Along with the most popular occupations of the population almost in all

villages of the Boysun district there are masters and mistresses,

engaged in various artistic crafts. Though, there are crafts articles and

products, which are used strictly in household or domestic activity,

which includes articles with decorative features, bearing on themselves

artistic and aesthetical values. The article/product, used for the same

purpose, (a chest, carpet, etc) depending on its functional solution, can

be just a simple artistic handmade article or a truly valuable article in

terms of aesthetics. Exactly the second group of articles, as a

manifestation of one of the forms of artistic heritage, was in the focus of

attention and fixation of the scientific expedition. Collection, fixation

and processing of data and materials was conducted by means of:

writing down the information about the methods and techniques of

production or manufacture, decorations used, semantics of patterns,

personal details of masters; taking photos of the masters and their

articles, instruments, technological procedures; recording information

about the history of the development of any particular craft form in the


given village or community. The study shows, that in Boysun district

(consisting of 57 population centers) there are 41 centers (villages,

rural and urban settlements), in which masters and mistresses work to

create artistically designed household articles, distinguished by the

originality of their technological and decorative techniques. During the

selection of articles main attention was given to the level of technical

and performance skill, extent to which the old traditions of a center

were reflected and artistic attitude of folk masters or mistresses to beig

performed work. Thus, during collection of data and their inclusion into

the Atlas of artistic crafts the principle of authenticity of folk culture has

been followed (according to the UNESCO Convention under term

authencity ‘traditional, but living/existing ‘ is meant).

Parallel to data collection and writing down the information about

artistic crafts a fixation of information was made about the history of

population centers, ethnogenesis, rites and customs of local people,

shows, festivities, games, musical folklore and oral poetry. Though,

quite often the same women demonstrated the skill of embroideress or

carpet-maker, and at the same time participated in rite performances,

sung folklore songs, played on different musical instruments and

exhibited the samples of folk dance. This is the evidence of organicity of

folk culture, interrelation of its various forms and genres, which indeed

once again proved validity of complex research undertaken on the

Intangible cultural heritage of Boysun.

All information about artistic crafts of Boysun, i.e. information about

articles, techniques of production, materials and technologies,

compositions and elements of decorations, musical instruments,

masters and mistresses, types of crafts with accompanying illustrations

were included in the book under authorship of А. Khakimov, E.Gyul.

Boysun. Atlas of artistic crafts. Tashkent, 2006.

2) Relevant events

Widespread recognition of cultural values of Boysun reflected in the

establishment of annual folklore festival ‘Boysun Bakhori’, supported by

the government of Uzbekistan. Since 2002 on the annual basis (May

2002-2006) in the Open folklore festival ‘Boysun bakhori’ have taken

part folklore ensembles of Uzbekistan and Tajikistan, folk epic

storytellers (bakhshi, shoirs, manaschi, baksi, jyrau) of Uzbekistan and


Kyrghizstan, as well as musicians of all regions of Uzbekistan. Later, the

programme of the festival has been widened at the expense of

demonstration of folklore performances of Uzbek national theatre of

drama and Surkhandarya region music and drama theatre, traditional

folk games– kopkara (goat hunting) and kurash (wrestling), national

cuisine and demonstration of sample of modern and traditional

costumes. Holding the festival ‘Boysun Bakhori’ made an impact on

popularization of folklore music. All performances, presentations and

games were held outdoors in front of a large auditorium.

Within the framework of folklore festival ‘Boysun Bakhori’ a number of

International scientific conferences were held with participation of

scientists representing Russia, France, Japan, Korea, Uzbekistan,

Tajikistan, Kyrgizstan, Kazakhstan; regional seminar/workshop of the

Central Asian states entitled ‘UNESCO Convention of 2003 on

safeguarding of the intangible cultural heritage’ was organized.

Materials of these scientific forums were published.

With the assistance of UNESCO and TACIS the center for Folk arts was

built with a museum of articles of artistic crafts of Boysun. Creation of

the Center in Boysun is an effective programme on revival of crafts

(embroidery and carpet weaving), aimed at export potential of the

being created articles, and correspondingly at provision with work

many women-mistressess and artists of Boysun. Organization of school-

academy of folklore under the auspices of folk folklore ensemble of

‘Boysun’ promoted the preservation and succession of age-old

traditions (singing and as well as instrumental music traditions) of the

region. Also The support was given to the folklore ensemble of ‘Boysun’

(equipment, modern technical facilities, vehicles and costumes).

Notably, cultural ‘discovery’ of Boysun coincided with the new stage of

economic development: at the time the strategical gas pipe line was laid

through the district; oil and gas exploration was activated; at a rapid

rate the railroad connecting Kumkurgan, Boysun and Guzar was

constructed, with the railway station; in collaboration with Japanese

specialists 10 unique bridges were built for the railway; and finally,

infrastructure development of the large water storage reservoir has

been initiated near Kofrun. an official opening ceremony of the railroad

was held with participation of the President of the Republic of

Uzbekistan in August 2007.


3) Safeguarding projects

In order to preserve the ‘Masterpieces’ the government of Uzbekistan,

public organizations, with assistance of UNESCO developed a legal base,

organized several projects, prepared several documents and

programmes, aimed at creation of favorable conditions for

implementation of initiatives, development of long-term strategy in the

field of intangible cultural heritage preservation. The projects included

variety of measures, directed at solving main problems: preservation,

revival, study, advocacy and transfer of traditions by means of

preparation and collection of data for database (inventory making,

archiving, documenting), publication of some scientific materiasl, note

collections and essays about the bearers of traditions; preparation and

production of audio and video disks, introduction of relevant

knoweldges and skills into the modern education process, organization

of master classes, workshops, conferences and fairs of traditional art;

involvement of the youth in the implementation of relevant

programmes. Main methods of implementation of programmes were:

organization of expeditions for collecting data in sites with participation

of specialists-scientists and the bearers of traditions; studying archieves

of Research Institutes, TV and Broadcading Company of Uzbekistan,

private collections, museums, etc.; scientific activity (preparation of

scientific expedition materials and those, about the genres of traditional

culture and their bearers); practical activity (production of disks, films,

organization of festivals, competitions, exhibition-fairs, series of tele-

and radio programmes); introduction of relevant traditions and skills

into the educational process in colleges, the State Conservatoire,

Instututes of Arts and Culture, conducting master classes with

involvement of the bearers of traditions amd modern artists and

masters; revival and organization of traditional skill schools on-site.

4) Survey study project carried out by scholars

In 2002-2005 Academy of Sciences and Academy of Arts of Uzbekistan

with support of UNESCO and Japanese Trust Fund organized goal-

oriented scientific expedition to study Boysun phenomenon.

It involved prominent scientists and specialists of the Academy of

Sciences (the Instutute of Languge and Literature, the Institute of


History) and Academy of Arts (Research Institute for Art Studies).

Expeditions were lead/headed by: professor A. Khakimov, R. Abdullaev

and A. Arapov.

Main attention was given to historic-ehtnographical features of Boysun

its authentical ritual traditions, folk crafts and folklore. Materials of

expedition, presented in two collections and two monographs ‘Boysun’,

DVD-films, multimedia-CD, audio-CD and photomaterials, confirmed an

exceptional values of Boysun as a region, preserving traditions of folk

culture of Uzbekistan. Local folk craft centers (as Avlod, Sayrob, Derbent,

Tuda, Kuchak, Pasukhri), local styles of musical art, diversity of

ethnofolklore forms and decorative art of Boysun were revealed and

described in detail. Exclusive historic-cultural value of entire objects of

traditional culture was justified, which were preserved in highland

villages (of Kurganch, Dekhibolo, Yakkatol, Gumatak, Duoba).

5) Safeguarding measures

Boysun expedition (2003-2006), having characterized the unique

features of Boysun culture, also revealed the alarming tendencies of

irretrievable loss, distortion/deformation of crafts, ritual and rite,

folkclore traditions in modern conditions. It was identified, that one of

the factors of preserving authentic forms of unique cultural heritage in

Boysun was its relative isolation and remoteness of the district from

urbanized industrial centers. New impulses of economic development of

Boysun in the beginning of the ХХI century dramatically change these

conditions. Out of here the necessity for special measures on

preservation and safeguarding the cultural space of Boysun, creation of

specially preserved by the state historic-cultural territories, defining the

perspectives of the district as a zone of republican and international

tourism.

Taking into account broad international recognition of the civilizational

value of Boysun actual becomes inclusion of it into the state cadastre of

objects of cultural heritage, as a unique and valuable object of intangible

cultural heritage of Uzbekistan of international importance. This issue

was discusses in the press, scientific conference and roundtable

meeting within the festival of ‘Boysun Bakhori’ in 2004 and 2005, in

working conference in UNESCO Office in Tashkent in 2006, with

participation of the management of the Minsitry of Culture and Sports,


National commission of Uzbekistan for UNESCO, khokimiyats of

Surkhandrya region and Boysun dsitrict, ‘Boysun’ fund for support of

culture and arts.

In order to deal with the problems it was recognized necessary

submitting following proposals to the Cabinet of Ministers of

Uzbekistan:

adoption of the National Programme on preserving uniqueness of

historic-cultural space of Boysun (for 2009-2020);

giving the status of specially conserved/preserved historic-

cultural territory of republican and international significance to

Boysun through creation of National historic-ethnographical park.


B. Shashmaqom


Shashmaqom is a wonderful page of world musical culture, depicted a

specific approach to reflection of life, which was developed in a special

cultural and historical conditions. Its formation is connected to

centuries old historical processes, subjects of which were the nations,

populating a wast territory of Central Asia. Being a specific national

genre of Uzbeks and tajiks, Shashmaqom can be understood fully only in

the context of spiritual culture of these two intimate nations, which are

united not only genetically, but also in terms of common history and

culture. The basics of music of high style, which consequently were

called as maqoms, were at the center of attention of many Oriental

scholars and scientists. Maqoms won admiration of philosophers, poets,

and musicians of western world, who considered them as the great

heritage of the same order as antique sculptures, miniatures of

Kamoliddin Bekhzod, paintings of the Renaissance period, architecture

of the ensemble of Registan in Samarkand and etc. In musical and

artistic sphere, when speaking about Shashmaqom, one understood the

highest order in the music; therefore, people tried to promote its

spreading in every (possible) way, transfer its traditions orally. And

only in the ХХ century note fixation and publication of collections of

Shashmaqom were initiated (records of V.Uspensky, B. Fayzullaev, Sh.

Sakhibov, F. Shakhobov, Yunus Rajabi). Today Shashmaqom is the

significant artistic phenomenon and is an object of creative cognition. It

embodies not only the richness of the nations music, but also

philosophy and worldviews.

Shashmaqom is the heritage not only of the past but also is a source of

inspiration and living spring water of artistic values of the nation.

In the musical culture of the society traditions of performance and

listening of Shashmaqom, which had formed in the past century, are

given more broader access to musical auditorium of the West and are

given the recognition, which in its turn stimulates the society from a

new angle to look at own musical heritage and recognize itself as a

bearer or owner of the highest artistic value. It is not a relict of the


culture, but rather a living thing, which found its place in the modern

world. This is promoted not only by concerts, festivals, competitions,

guest performances of maqom performers of ensembles, but also by an

intense interest in this phenomenon of spiritual culture.

This significant artistic phenomenon formed due to a contribution made

by many nations of Central Asia. Its roots go back to the times, when

people did not sperarate themselves with borders, codes, religious and

language barriers. Exactly in this lies a huge uniting significance of

maqom art in the region. And therefore Shashmaqom is a phenomenon

which invokes an interest today not only in terms of history but also as

a supertradition, having a potential positive charge.

Shashmaqom : the past and present

Uzbek musical culture has rich traditions and diversity of genres. A

special place in it is given to maqoms. For the culture of Uzbekistan

maqoms represent an extramusical phenomenon: they go far beyond

the music itself. In terms of philosophy, maqoms represent a musical

understanding of the daily life in symbols, ideas, live concepts of high

aesthetic order, in expression of infinite beauty and harmony.

Embodiment of philosophy in maqom stimulates spiritual

contemplation and enjoyment with supernal loveliness (or divine

beauty), expressed in musical sounds. Therefore, maqom is a complex,

multidimentional, self-organizing system, in which the world of sounds

and sound correlation is expressed in melodical, rhythmical and

constructive modules with its own semantics or meaning.

Maqom– from Arabic ‘maqam’, which means ‘location’ or ‘leisure place’.

For the first time the term started to be used in Islamic literature and

was associated with the leading direction in islamic philosophy, sufism,

particularly with tariqah – in the ways of spiritual self-improvement.

In the musical practice the term maqom appears in the written sources

of the IХ century– in ‘treatises on music’ of the scientists of the medieval

ages. Later it was used within the meanings of parda (location of a

finger on a musical instrument), mode, melody and form. In the ХI –

ХIII centuries the term maqom was associated with some specific

musical pieces and cycles. In the musical art of the Middle Eastern


people maqom is used within the meanings of mode, a piece/work

(instrumental or vocal) and cyclic genre.

Maqoms as a unique spiritual heritage and leading genre in the system

of maqomat and traditional music, which were typical from the earliest

times for musical culture of the East (modern different national variants

of the term are– maqam, maqom, mugam, mukam, nu’ba, dstgakh),

appeared as a result of centuries-long development of fundamental

characteristical features of rich musical creativity.

Maqoms are the products of the creativity of the whole generation of

bastakors (creators of oral music), musicians and singers. The made

contributions to the formation and development of maqoms, which

were transferred orally from generation to generation, from master to

apprentice and in this way came down to us. The process of

development of maqoms also resulted in the change of their forms and

contents. With the change of the epoch, musicians and singers

continuously were in searches and smoothed and polish maqoms, as a

result of which their forms and structures of cycles and performance

styles improved, which obtained new qualities and features.

In Uzbekistan became widespread maqom instrumental (Chuli Irok) and

vocal (Ushshoq) pieces/works; local maqom instrumental (in Khoresm –

dutar maqoms– ‘dutor maqom yullari’, in Ferghana Valley – maqoms for

surnai – ‘surnai maqom yullari’) and vocal (in Khoresm - ‘Feruz’) cycles,

as well as major types of maqom cycles – Bukhara ‘Shashmaqom’, cycle

‘Khoresm maqoms’ and Ferghana-Tashkent maqoms, the performance

of which is only available for professionally trained musicians, singers

and maqom ensembles.

The sources of formation of maqoms should be looked for in the ancient

musical culture of peoples of Central Asia, where musical art was

developed pretty well and differed from the rest with originality of

musical and poetical forms. Already by the I – III centuries A.D. in the

territory folk-professional music becomes widespread, particularly solo

and ensemble instrumental music. Later in the VII - IХ centuries vocal-

instrumental and cyclic pieces/works form, which were consequently

named as maqoms. A good evidence for that is the life and work of

Borbada Marvizi – a poet, musician, singer and bastakor of the VII

century (cycle ‘Khusravoni’). Maqoms defined the content of melody


itself. They were matched noy only with/to specific psychological

conditions, but also with the seasons, movements of celestial bodies, etc.

In the musical practice of the medieval times (ХI-ХVII centuries) evolves

the system of 12 maqoms – ‘Duvozdakh maqom’, which existed in a

musical culture of the people of Central Asia and Asia Minor, Khorasan

and Azerbaijan (the bright illustratios are written sources of the time).

In Central Asia the system of 12 maqoms completely gained a foothold

and obtained its classical form in the time of Amir Temur and the

Temurids. The system of 12 maqoms for the first time was introduced

in ‘Ttreatises on music’ of Sayfuddin Urmavi (ХIII century) and

Kutbiddin Sherazi (ХIII – ХIV centuries), and later in theoretical works

of Abdulkadyr Maragi (ХIV century), Abdurakhman Jami and

Zaynalobiddin Khusayni (ХV century), Najmiddin Kavkabi (ХVI century),

Dervish Ali Changi (ХVII century) and others, who made a significant

contribution to its development. According to well-known maqom art

scientist of Uzbekistan Iskhak Radjabov, under the term ‘12 maqoms’ it

should be understood 12 different modes, as well as different musical

pieces of large format, performed based on these modes and tones. The

system of 12 maqoms in its classical version consists of different forms

of mode groups – 12 maqoms: Ushhoq (lovers), Navo (melody), Busalik

(traveller), Rost (basis, truth), Khusayni (feast, proper name), Khidjaz

(title of the region, city), Rokhavi (way), Zangula (handbell), Irok (Name

of the country), Isfaghani (name of the city), Zirafkand (a down) and

Buzurg (large, great). Besides this system included 6 avazs (voice,

sound), and 24 shub’a (pieces). The system of maqoms during the

mediaeval ages become ingrained in everyday musical practice: it was

performed by folk-professional musicians and singers in the castles and

in front of city’s nobility. It played significant role – it summed up and

summarized centuries-long musical traditions of people of the East. On

the basis of the system of 12 maqoms in the musical culture of Middle

East and Central Asia in the ХVIII – ХIХ centuries formed local types of

maqoms: uzbek-tajik maqoms, Azerbaijan mugams, uigur mukams,

arab maqams, iran dstgyakhs, Maghreb nu’bas and etc, particularly on

the basis of 12 maqoms formed in Bukhara the cycle of ‘Shashmaqom’.

Shashmaqom - is a classical sample of oral-professional music of uzbek

and tajik people, formed in the ХVIII century in Bukhara. The source

which gives such an evidence is ‘treatise on music’ by unknown author

of the ХVIII century, where the names of maqoms are given with the use

of the term Shashmaqom and poetical collections – bayazs of the ХVIII


century, where in several poetical texts the names of melodies of

‘Shashmaqom’ were indicated.

Shashmaqom includes up to 250 instrumental and vocal-instrumental

pieces, and all of them are creations of musicians-bastakors of tho

nations (the names of some of them were preserved to our days in the

names of the pieces – Nasrullo, Sulton, Mirzakhaim, Ashkullo and

oethers), which bear in themselves centuries-long musical traditions.

Shashmaqom as a unique artistic monument/object, testifies to high

level of culture of the ancient center of Central Asia– Bukhara, which in

the past became the place of meeting of musician, singers and bastakors

from all regions. And under the rule of different dynasties Bukhara

always remained as a large center, poetry, music, artistic craft,

architecture prospered there. Maqoms there enjoyed special popularity.

Shashmaqom - a cycle uniting six (shash) maqoms, which includes

Buzruk (big, great), Rost (correct, true), Navo (melodical), Dugokh (two

places, two pardas), Segokh (three places, three pardas), Iroq (name of

the country). Each maqom is distinguished by modal and intonation-

melodical basis and herewith is characterized by the commonality of

the structure and of many other features. Maqoms consist of

instrumental – Mushkilot and vocal – Nasr sections. Each of the

sections includes the cycle of main and derivative instrumental and

vocal-instrumental pieces.

Instrumental section of each maqom consists of parts called Tasnif,

Tardje, Gardun, Mukhammas and Sakil (wherein Tardje misses in

maqom ‘Rost’, and Gardun – in ‘Iroq’). Each part of Mushkilot are

different in terms of intonation and melody, but their modal bases can

be the same, or similar to the modal system of those maqoms, in which

they form a part. They differ from each other also in terms of rhythmical

basis or usuls (rythm formulae, used in the process of performance with

the use of percussion instruments). Instrumental section of each

maqom can contain from 6 to 10 parts.

Vocal section of each maqom usually consists of two groups of shub’e (a

piece or subsection). The first one, the main one, includes Sarakhbor

(main part, where intonational –modal subject/theme of the whole

maqom piece is laid out), Talkin and Nasr with their Tarona (original,

different character-holding song forms) and Ufar. The first group also


includes typical for each maqom own pieces: Nasrulloi (Buzruk),

Navruzi Sabo (Rost), Oraz and Khusayni (Navo and Dugokh), Mukhayyari

and Chambari (Iroq). The subject/topic of vocal pieces is limited to

lyrics only: the texts are taken from the poems of classics of oriental

poetry (Khafiz, Bedil, Navoi, Jomi, Lutfi, Yusuf Saryomi, Mukimi and

others) or the samples of folk poetry are used.

The second group of shu’be includes five-part cycles Mogulcha and Savt,

derived from the pieces of the first group. In ‘Shashmaqom’ there are 4

Mogulchas – Mogulcha Buzruk, Mogulcha Navo, Mogulcha Dugokh and

Mogulcha Segokh; 6 Savts – Savti Sarvinoz (Buzruk) , Savti Ushshoq, Savti

Sabo and Savti Kalon (Rost), Savti Navo (Navo), Savti Chorgokh

(Dugokh). The structure of Shashmaqom is a complex one. The same can

be told about its performance. It requires from the singers and

musicians a professionalism ams skillfulness, possession of deep

knowledge and information about specifics of traditional performance.

Each of these six maqoms represents a big cycle of complete/finished

musical pieces, whereas local sections have divverent poetical

topics/subjects. Each maqom piece differ from others with its

intonational and melodic basis, techniques of melos development,

means of expressiveness, complexity of forms and manners of

performance. Performing maqom required that a singer-khafiz and

musician had a high level of performance technique and skill, rich

experience, good memory and observance of traditions established.

Traditionally, ‘Shashmaqom’ was performed by well-known folk-

professional singers-khafizs, with accompaniment by an instrumental

ensemble. Moreover some sections of shashmaqom– Ufar, Kashkarcha

and Sokiynoma were accompanied by dances. Main musical

instruments used were tanbur and dutar (stringed instruments) or

doira (percussion instrument). Leading singers simultaneously

accompanied their singining process by playing on tanbur and this

tradition was preserved to our days.

Professional training was required from singers-khafizs –presence of a

voice of a wide range, deep breathing, ability to sing starting from the

first sound upwards to culmination, where in headnotes audjas were

performed (in Sarakhbor the range of the melody sometimes reached 2

or 2,5 octaves), skillful play on instrument, ability to sing chants (khangi)

in one breath and knowledge of laws of oriental prosody. In


‘Shashmaqom’ leading singers performed main shu’be (Sarakhbor,

Talkin, Nasr, Savt, Mogulcha, etc), whereas Tarona was sung by vocal

ensemble, which gave the possibility of giving little rest, tuning vocal

apparatus of khafiz for further singing. Performance of main parts by

one singer served as a kind of testing of its skillfulness, endurance and

singing abilities. In Bukhara some time ago there was a tradition of

singing audjas, according to which the skillfulness and professionalism

of the singer was measured (some audjas bear the names of their

performers, i.e. Zebo pari, Nasrullo, etc.).

Instrumental parts were performed solo (tanbur and doira), and with

instrumental ensemble. In the ХХ century in maqom new techniques

were developed, which were connected to the practice of creation of

professional maqom ensemble – a group of singers and musicians. An

instrumental ensemble included all traditional instruments (tanbur

dutar, kashgar rubab, ud, sato, gijak, chang or konun, nai, koshnai, doira

and nogora). Vocal composition consisted not only of men’s voices but

also of women’s voices, who possessed high tessitura voices. This made

possible the diversity in singing. Solo and ensemble, alternation of

man’s and woman’s singing strengthened the dynamics and timbre of

the sound, emotionality of perception of maqoms.

Shashmaqom is a masterpiece, uniqueness of which is beyond the

question. And its integrity and propaganda in many regards is

connected to the acitivity of prominent performers, who were called

among the people as ‘ustod’ (master) or ‘maqomdon’ (expert of maqom).

The bearers of traditions of ‘Shashmaqom’ in the past and present were

prominent musicians and singers, bastakors – creators of this particular

musical art. Their deep knowledge in the field of traditional music,

poetry and performance art promoted the development and

improvement of maqom art of the region. They were familiar with

rhythmical rules and their symbols. The performers very often selected

poems, manner of singing, audjas which were acceptable to them;

parallelly they did not forget about the mood and feelings of the

listeners and tried to follow them. Exactly in this lies the secret of the

art of maqom performance.

Maqoms played significant role and held high position in the repertoire

of musicians and singers of Bukhara, Samarkand, Khoresm, Ferghana

Valley. They served as a satisfaction source for different kinds of artistic


and aesthetic tastes and requirements of the nation. The feature of

performance of ‘Shashmaqom’ is its bilingualism, i.e. interaction and co-

existence of two languages in one phenomenon (Persian-tajik and

turkic-uzbek). And in the context of artistic integrity of ‘Shashmaqom’

they existed interchangeably and on equal level, where the literary

language, used in performance practice of that time in Bukhara was not

recognized as a factor of national identity. In performance of

‘Shashmaqom’, in a court tradition, bilingualism was perceived in terms

of aesthetical value. Language preferences depended on the artistic

tastes, training and aesthetic predilection. And thank to the activity of

many well-known musicians and singers ‘Shasmaqom’ was not only

preserved, but also developed and became widespread in the

performance practice of succeeding generation. In the end of the ХIХ

century in Bukhara there was even a special school of ‘Shashmaqom’. In

1920 in Bukhara opened Oriental music school, where young talented

musicians were trained in traditions of ‘Shashmaqom’. Basics of

‘Shashmaqom’ were taught by prominent musicians of Bukhara. It is

owing to their activity that was written a cycle of ‘Shashmaqom’ in the

ХХ century.

Bearers of Shashmaqom traditions

History preserved the names of many musicians and singers, who were

the bearers of ‘Shashmaqom’ traditions. They were Kori Kamol, Kori

Najim, Dovudcha, Yusuf, Ota Djalol, Ota Giyoz, Levicha, Tokhirjon Davlat

zade, Tojiddin dutorchi, Otajon Zargari tillo nokhun, Khoja Abdulaziz,

Domla Khalim and others.

Ota Djalol Nasirov (1845-1928) – is a prominent connoisseur and

performer of ‘Shasmaqom’. He perfectly played on tanbur, and was a

skilful performer of either instrumental or vocal parts. He possessed

pretty and strong voice. For many years he served as a court musician

and led the ensemble of maqom singers and performers at the court of

the Emir of Bukhara. He possessed a good knowledge of ‘Shashmaqom’,

performed the whole cycles and separate parts of maqoms. Already in

his lifetime he became famous as a connoisseur of maqom. He trained a

pleiad of musicians and singers (Domla Khalim Ibodov, Usta Shodi

Azizov, Levi Bobokhonov, Bobokul Fayzullaev and others). In 1923

Viktor Uspensky recorded from Ota Djalol the whole cylcle of

‘Shasmaqom’.


Ota Giyoz Abdugani (1859-1927) is a prominent musician (tanbur

player) and singer, connoisseur of ‘Shashmaqom’. He possessed strong

and high-pitched voice, excellently played on tanbur and along with Ota

Djalol was a virtuosic performer of audjas. He served as a court

musician at the court of the Emir of Bukhara, taught in Bukhara Oriental

Music School. In 1923 took part in the recording of ‘Shashmaqom’.

Levi (Levicha) Babakhanov (1873-1926) – a prominent performer of

maqom art, became known as a musician (playing on tanbur), and as a

khafiz he possessed a strongm high-pitched voice of wide range, which

was almost equal to 2,5 octaves). Levicha was a professional and skilful

performer of vocal parts of maqom, as Talkin, Nasr and cycle of

Mogulcha. His repertoire also included Ferghana-Tashkent maqoms. He

served as a court musician at the court of Bukhara Emir. In 1909 by Riga

firm ‘Grammofon’ more than 25 pieces of maqom music were written

down and recorded from L. Babakhonov. He taught in Bukhara Oriental

Music School. Among his students were well-known musician and

singers of Bukhara and Samarkand (Michail and Isroil Tolmasovs,

Moshe Babakhanov, Borukh Zirkiev and others). Levicha achieved the

perfection of performing very high level audjas, as Audja turk, Zebo pari,

Mukhayyari Chorgokh, etc.

Domla Khalim Ibodov (1878-1940) – a prominent singer of maqom,

particularly became well-known for his performances of the cycle of

‘Savt’ (thanks to which he was given the nickname of ‘Savtkhon’). He

was an expert in and the bearer of traditions of ‘Shashmaqom’. He

possessed a strong and mild voice of wide range and perfect timbre. At

the art of singing and performance skill indicates his extensive

repertoire, which included the performance of maqoms in Tajik and

Uzbek languages. He also possessed the skill of singing audjas in one

breath. He often performed together with Ota Djalol and Ota Giyoz,

while accompanying his singing with playing on doira. His art of singing

amazes listeners for its flexibility and expressiveness. He taught in

Bukhara Oriental Music School, in Samarkand Institute of Music and

Choreography, worked as a musician and singer at Uzbek Radio. Many

of his pieces from the repertoire were included into the Golden

Portfolio/Fund of the Radio, and were recorded on gramophone record.

Among his students were well-known musicians of Uzbekistan and

Tajikistan (Sh.Sakhibov, F.Shakhobov, B. Zirkiev, N.Nasriddinov, M.


Tashpulatov and others). In 1923 he participated in the process of

recording ‘Shashmaqom’ by V. Uspensky.

Khodja Abdulaziz Abdurasulov (1852-1935) – a prominent singer,

brilliant performer of ‘Shashmaqom’, whose creativity is distinguished

by bright individuality and originality of style. He was one of the

striking representatives of Samarkand School of Singing. He perfectly

played on dutar and accompanied his singing with dutar playing.

Typical for him was to have soft/mild and plummy voice, as well as

bright musicality, good memory, in-depth knowledge of maqoms and

poetry, observance of the traditions and ability to improvise. Being a

connoisseur of ‘Shashmaqom’, he performed the whole cycles, and

separate instrumental and vocal parts. On the basis of the traditions he

created more than 50 pieces, which have so far enjoyed great popularity

(Guluzorim, Bebokcha, Bozirgoni, Kurbon ulam, Samarkand Ushshogi,

etc). His repertoire was were extensive – ‘Shashmaqom’, parts of

Khoresm maqoms, Ferghana-Tashkent maqoms. In 1909 by Riga firm

‘Grammofon’ more than 10 maqom pieces were recorded from him.

Starting from 1928 he taught the basics of traditional performance in

Samarkand Institute of Music. More than 20 samples of traditional

music, performed by Khoja Abdurasulov were included into the Gold

Protfolio/fund of Radio and were produced in the form of gramophone

records. Many singers and musician are his students, among them was

Yunus Rajabi.

Usta Shodi Azizov (1878-1943) – well-known singer, musician (tanbur)

and dancer, the prominent figure of Bukhara School of Performance of

‘Shashmaqom’, the student of Ota Djalol. He possessed a strong and

high-pitched voice, perfectly played on tanbur. Being a connoisseur of

‘Shashmaqom’, he was one of the vrilliant performers of Sarakhbor of all

six maqoms, as well as of cycles of Savt and Mogulcha. Many times gave

concerts, participated in organization of a music theatre as a singer,

musician and director of dances. Trained several talented musician and

singers of Uzbekistan and Tajikistan.

Yunus Rajabi and uzbek school of Shashmaqom

For studying maqoms and their preservation in the form of records the

necessary measure is modern note system. In the 20s of the ХХ century

‘Shashmaqom’ for the first time was recorded by V.Uspensky, who laid


the foundation for further improvement and recording of maqom art

samples. In Uzbekistan a complete record of maqoms was made in the

50s by Yunus Rajabi (1897-1976) – a prominent expert of maqom art,

who was known also as a musician (nai, dutar), singer, bastakor,

musical ethnographer, and organizer and the first leader of professional

maqom ensemble established under the auspicies of Uzbek Radio.

The basics of uzbek traditional music Yunus Rajabi learned from well-

known musicians as Mirza Kasim and Shorakhim Shoumarov. Along

with the activity of music director of music and Drama Theatre in

Samarkand, Tashkent and Yangi Yul, ethnographic ensemble of Uzbek

Radio, Yunus Rajabi underwent a training by well-known maqom

experts of Bukhara and Samarkand, from whom he learned the skill of

maqom performance. Starting from the 30s he actively writes down and

makes records of samples of traditional music, in particular,

‘Shashmaqom’ and Ferghana-Tashkent maqoms, which were prepared

for publication and published during 1955-1959 in the form of a five-

volume anthology of ‘Uzbek folk music’. The fifth volume of the edition

was completely dedicated to Bukhara maqoms – ‘Shashmaqom’. During

1966-1975 ‘Shashmaqom’ was significantly complemented and

extended and was published separately in a six-volume edition in the

record of Yunus Rajabi. For the purpose of preserving and further

development of maqom art and for extensive advocacy of these

invaluable samples in 1959 under the auspicies of Uzbek Radio Yunus

Rajabi established the first maqom ensemble, which united prominent

folk musicians and singers, representing all regions of Uzbekistan. As

the art director for newly established ensemble was assigned Yunus

Rajabi, and as a musical director – Fakhriddin Sadikov (chang).

The composition of ensemble included the singers – Djurakhon

Sultanov, Artykhodja Imomkhodjaev, Berta Davydova, Kommuna

Ismailova, Orif Alimakhsumov, Karim Muminov, Siroj Aminov, Shokirjon

Ergashev, Umarjon Ataev, Alijon Khasanov, Tolibjon Badinov; musicians

– Zokirjon Sadykov (gidjak), Orif Kasymov (dutar), Makhmudjan

Mukhammedov (nai), Iskhak Kadyrov (nai), Yakubjon Davydov (tanbur),

Ilkhom Turaev (gidjak), Turgun Alimatov (tanbur, sato), Gaybulla

Sagdullaev (koshnai), Dadakhodja Sattykhodjaev (doira). The ensemble

was given a task – in a short period of time to study and master the

parts of ‘Shashmaqom’, using modern performance means and

techniques, while strictly following the centuries-old traditions (it was

also assigned to study separate parts of maqoms ending with


performance of the whole maqom cycles). The innovation in

performance of maqom became a combination of solo and ensemble

music making and singing, the use of high-pitched men’s and women’s

woices when singing audjas, alternation of voices. The activity of the

ensemble was some kind of creative laboratory, where in live musical

performance the correctness of note fixations of samples of

Shashmaqom were tested. During 1960-1962 the maqom ensemble

under the leadership of Yunus Rajabi recorded almost all vocal parts

and instrumental pieces of Shashmaqom, which were then published in

the form of gramophone recording (the complete set consisted of 21

gramophone recordings). Later were recorded also the samples of

Ferghana-Tashkent maqoms and some specific maqom pieces.

Note fixation of Shashmaqom was carried of parallel to musical practice

– live sounding of these samples. Yunus Rajabi breathed a new life into

it: revived the traditions of ‘Shashmaqom’ in a new style and character

of performance. He rendered great service to preparation and training

of dozens of maqom performers, who possessed beautiful voices.

Records of Yunus Rajabi and the activity of maqom ensemble stimulated

the scientific study of Shashmaqom and of other cycles of maqom, the

organization of amateur maqom ensembles in all regions of Uzbekistan,

and to a large-scale advocacy of maqom art among the population

(concerts of the ensemble, organization of maqom evenings, production

of radio and tele programs, participation of the ensemble in a variety of

international festivals and conferences.

Thanks to him an original uzbek school of maqom art was established,

which invoked an interest in Tajikistan and Kyrgyzstan. The ensemble

of maqom performers also became some kind of original school for

bringing up young and talented musicians, singers, who later became a

part of the ensemble. (These are singers as Khadiya Yusupova, Rakhima

Yuldasheva, Iskhak Kataev, Ochilkhon Otakhonov, Makhmudali Boybaev,

Tolib Turaev, Shukur Alimkulov, Urinboy Atadjanov, Ismoil and Isroil

Vakhabovs, Kholiskhon Kadyrova; musicians – Saidazim Kudratullaev

(tanbur), Erkin Yuldashev (kashgar rubab), Abdukhoshim Ismoilov

(gidjak), Temur Makhmudov (chang), Saidkarim Kamalov (doira). Later

to the ensemble the graduates of Tashkent conservatoire started to be

attracted.

The ensemble of maqom performers became not only the advocate of

‘SHashmaqom’ or other maqom cycles, it also promoted the


organization on sites of professional and amateur maqom ensembles

(Examples are: Uigur maqom ensemble under the auspicies of Uzbek

radio; Maqom ensemble under Osh Music and Drama Theatre

(Kyrgyzstan); maqom ensemble in Isfara (Tajikistan); Maqom ensemble

under Khoresm Regional Television, etc). The ensemble participated in

several International symposia and festivals (VII Congress in Moscow

in 1971, IIIrd Platform of Asian Countries in Almaty in 1973, I – III

Simposia in Samarkand in 1978, 1983 and 1987, etc.).

At present the maqom ensemble bears the name of its founder, Yunus

Rajabi. Starting from 1983, once in every four years a competition of

young performers of maqom and of maqom ensembles named after

Yunus Rajabi has been held. House museum, opened in Tashkent, is an

original center for advocacy of maqom art.

One of the features of ‘Shashmaqom’ art is its stable integrity level of

laws and traditions despite the fact, that it developed on the basis of

oral transfer. It is indeed very difficult to master the art of maqom.

Therefore already in the past the masters/artists of maqom, bastakors

and scientists invented special ways of writing down poetic texts (tazkir,

bayazs) and melodies (tabular musical notation), so that the students

could easily master, learn and memorize separate parts of maqoms.

Starting from the ХХ century Shashmaqom acquired a new life: it was

recorded in modern notation system and published in the form of a

multi-volume collection; it was introduced into the musical education

process, in which the education was going on based on the traditions of

‘ustoz-shogird’ (Master-apprentice) orally and based on the notation

system. The new generation of musicians infused a new life into it. It

became an essential part of concert programme, repertoires of

musicians, singers and maqom ensembles.

Maqom ensembles of the ХХ century in many regards differed – they

were large groups, which were composed of instrumental (up to 12

musicians or even more) and vocal (consisting of men’s and women’s

voices) ensembles. Participation in the activity of an ensemble of well-

known masters of maqom art ensured widespread occurrence of

traditions of maqom in new guise. Thus, in Khoresm in 1943 a maqom

ensemble was created under the leadership of Matpano

Khudoyberganov, in the repertoire of which central place was given to

Khoresm maqoms. In 1964 under the Cultural Center of Urgench a


maqom ensemble was created under the leadership of popular singer,

Khojikhon Boltaev, which according to performance styles and the

repertoire did not yield to a professional group or collective. In 1984

under Khoresm regional television a professional maqom ensemble

started its work (director – Ruzmat Djumaniyazov), which became an

advocate of the cycle of ‘Khoresm maqoms’. Similar maqom ensemble

was created also under Bukhara regional Philharmonic Society under

the leadership of Ulmas Rasulov and Ariel Babakhanov (grandson of

Levi Babakhanov).

Activities of ensembles as ‘Shashmaqom’ of Samarkand region, maqom

ensemble of Bukhara Teacher's Club (director - U.Rasulov), Andijan

Cultural Center (director - F.Mamadaliev), Kokand Cultural Center

(director - M.Murtazaev) and of many others allowed not only

preserving but also developing maqom art. These ensembles brought up

dozens of talented young people, many of whom received

vocational/professional education and training in educational

institutions specialized in music.

Until the end of his life Yunus Rajabi was permanent creative director of

the ensemble (1976). Later his deeds and works were continued by his

students, Orif Alimakhsumov, Ganijon Tashmatov, Shavkat Mirzaev,

Abdukhoshim Ismailov. The ensemble and manty musicians and singers

have been participating in guest performances abroad.

Khoresm maqoms

Khoresm is one of the most ancient herths of culture. About its

existence it was mentioned already in the VII century A.D. Depending on

historical conditions, Khoresm either became an independend state, or

formed part of one or another state. Birght example is the empire of

Khoresmshahs, the power and prosperity of which falls on the ХI – ХII

centuries A.D. During that period in Khoresm occur exceptional

development of science (creation of unique Academy of sciences,

activity of Beruni, Muhammad al-Khoresmi, Ibn Sino and others) and

culture, which is equal to the level of development of Samanid culture in

the IХ-Х centuries. And maybe therefore in Khoresm a musical culture

and performance style had formed, which was so bright, original and

differing with special local features.


Excellent example of khoresm music is the cycle of ‘Khoresm Maqoms’,

which had formed at the turn of the ХVII–ХIX centuries, as an

independent artistic phenomenon, developed on the basis of original

local culture and impact of ‘Shashmaqom’. The Khoresm cycle of

maqoms unites the following ones: Rost, Buzruk, Navo, Dugokh, Segokh,

Iroq and Panjgokh. Each maqom includes two sections - cycles:

instrumental one – Chertim yuli or Mansur (literally a prose) and vocal

one – Aytim yuli or Manzur (literally a poetry).

The composition of instrumental cycle – Tani maqom (Tasnif), Tardje,

Gardun, Peshrav, Mukhammas, Sakil and Ufar. It also inclues typical for

‘Shashmaqom’ instrumental parts (as Oraz, Samoi, Khafif) and typical

for khoresm tradition pieces (Sayri gulshan, Potikha zarb, Zarbul futkh,

Gulufar, etc). Vocal part consists of one group of shu’be – Tani maqom,

Talkin, Nasr and Ufar, as well as of typical for Khoresm vocal pieces –

Suvora, Naqsh, Faryod (as poetical texts serve the poems of the poets–

Ogakhi, Avaz Utar, Atoi, Komil Khorazmi, Munis and others).

It is typical for Khorezm maqoms to perform them using a strong

voice/singing with instrumental accompaniment. Leading/maing

musical instruments were tanbur, dutar and doira; in the beginning of

the ХХ century performance of maqoms is also accompanied by tara

(stringed- plectron instrument). Singing maqoms is more democratic

one and is close to folk performance traditions.

In order to preserve and master maqoms young musician, Kamil Devon

Khorezmi, created ‘Khorezm tanbur notation’ in the end of the ХIХ

century and wrote the whole cycle of ‘Khorezm maqoms’, and dutar

maqom cycles. For the first time they were interpreted in modern

musical notation by V. Uspensky, V. Belayev and I. Akbarov.

Instrumental parts of Khoresm maqoms were written down/recorded

by Yelena Romanovskaya and were published under title ‘Khorezm

classical music’ (Tashkent, 1939). Khorezm maqoms in the 50s were

written down by a musician and composer Matniyaz Yusupov and were

included into the six-volume anthology of ‘Uzbek folk music’ (Tashkent,

1958). Additional and extended version of Khoresm maqoms in record

of M. Yusupov was published in three volumes in 1978-1991. Scientific

study of Khorezm Maqoms was undertaken by Iskhak Radjabov and

Otanazar Matyakubov.


At present new interperetation/ decryptionwas made and scientific

study is performed on Khoresm maqoms by teachers of Urgench

University based on the recently found version of ‘Khoresm tanbur

music notation’ (R. Boltaev, B. Rakhimov, S.Khudoyberganov; director of

the project - О.Matyakubov). Data obtained are tested by maqom

ensemble, established under the auspicies of the University. Within the

framework of UNESCO programme on preservation of ‘Shashmaqom’

they were published under the title of ‘Uzbek music notation ‘

In preservation and development of Khoresm maqoms there is a

significant role of well-known musicians and singers as Matpano

Khudayverganov, Matyakub Kharratov, Sherozi, Matyusuf Kharratov,

Komiljon Otaniyazov, Khojikhon Boltaev, Ruzmat Djumaniyazov, Ozod

Ibragimov, Ortik Otajonov, Rakhmatjon Kurbanov, Farkhod Davletov,

Yuldash Tadjiev, Matrasul Matyakubov, Samandar Khudayberganov and

others.

Ferghana-Yashkent maqoms

In the past in different regions of Cenral Asia became widespread

musical pieces or separate cycles, created based on Bukhara

‘Shashmaqom’. Such musical pieces are Ferghana-Tashkent maqom

cycles or simply maqoms. Already in the beginning of the ХХ century

there was a wrong idea/opinion about the existence of cycle of

‘Chormaqom’ (cycle of four maqoms); in practice there were much more.

Ferghana-Tashkent maqoms were formed on the basis of shu’be

‘Shashmaqom’ and represent independent instrumental and vocal-

instrumental cycles with identical/similar names (Navo, Dugokh,

Segokh, Chorgokh and etc.). These are 3, 5 and 7-part cycles. To them

belong instrumental cycles – 3-part ones: ‘Nasrullo’, ‘Mushkiloti

Dugokh’, ‘Ajam taronalari’, ‘Khojiniyoz’; 5-part ones: ‘Chorgokh’; 7-part

ones: ‘Miskin’; among vocal cycles – 3-part onese: ‘Nasrullo’, 5-part ones:

‘Bayot’, ‘Chorgokh’, ‘Gulyor-Shakhnoz’, ‘Sherozi Bayot’, 7-part ones:

‘Dugokh-Khusayni’. Parts of Ferghana-Tashkent maqoms are

highlighted usually with the numbers, for instance, Chorgokh 1,

Chorgokh 2, Chorgokh 3, etc (except from maqom ‘Gulyor-Shakhnoz’, in

which each part has its name).

Typical feature of these maqom cycles is in the fact, that in them

principles of structure/composition, intonational-melodic, modal and


rhythmical bases of shu’be of Shashmaqom are used: Sarakhbor, Tarona,

Savt, Kashkarcha, Sokiynoma, Chapandoz, Ufar in different

combinations.

For Ferghana-Tashkent maqoms typical are solo and ensemble music

making for instrumental cycles, whereas for vocal ones– a solo singing

with instrumental accompaniment of the ensemble (the following

musical instruments are used: tanbur, dutar, gidjak, nai and doira).

Whereby they could be performed either in the form of a cycle of each

part separately and independently. Performance of maqom cycles is

characterized by the perfection skill , based on musical traditions of the

Ferghana Valley.

A creative process of creation of new versions and their interpretation

led to the appearance of separate/independent/individual cycles:

maqom cycles for surnai (‘Surnai maqom yullari’) - Navo, Dugokh, Bayot,

Chorgokh, etc; of genres as ‘Yovvoyi maqom’ (performing shu’ber of

maqoms in the manner of Katta Ashula without instrumental

accompaniment by 2-5 singers) – ‘Yovvoyi Chorgokh’, ‘Yovvoyi Ushshoq

‘, ‘Patnusaki Bayot’, etc; and diversity of versions on the basis of

‘Ushshoq’ (Samarqand ushshogi, Toshkent ushshogi, Sodirkhon khofiz

ushshogi, Kadimiy ushshoq, etc) or ‘Iroq’ (Toshkent Irogi, Kukon Irogi,

etc). Creative process of creation new versions has been continuing also

at present. A good example is establishment of a vocal maqom cycle

‘Miskin’ in 7 parts as a result of remaking an instrumental cycle of

‘Miskin’, vocal cycles of ‘Ushshoq’, ‘Nasrulloi’ by a well-known singer

and bastakor Fattokhon Mamadaliev.

First musical notations of Ferghana-Tashkent maqoms are associated

with the names of V.Uspensky, V. Belayev, Y. Rajabi, who published

them in the 40-50s of the past century. This in turn stimulated a

scientific study of Ferghana-Tashkent maqoms by I.Radjabov,

O.Matyakubov, О.Ibragimov.

Preservation, transfer of traditions and advocacy of Ferghana-Tashkent

maqoms is associated also with the names of folk musicians and singers

of Ferghana Valley: Madumar khafiz, Khudayberdi ustoz, Ashurali

Makhram, Berkinbai Fayziev, Sodirkhon Bobosharifov, Usta

Ruzmatkhon Isaboev, Djuratkhon Sultanov, Mamurjon Uzakov,

Akhmadjon Umurzakov, Andukadyr Ismailov, Shorakhim Shoumarov,

Shokasym, Shoakbar and Shoolim Shojalilovs, Bobokhon and


Akmalkhon Sufikhanovs, Fattokhon Mamadaliev, Rasul kori Mamadaliev,

Gulomjon Khodjikulov, Kamoljon Djabbarov, Fakhriddin Sadykov,

Orifkhon Khotamov, Ortikkhodja Imomkhodjaev, Orif Alimakhsumov,

Ochilkhon Otakhonov, Turgun Alimatov, Abdukhoshim Ismoilov and

many others.

Traditions of maqom art live in the daily life of the people and make a

siginificant impact on formation and development of many musical

genres. But as it is known, the maqom art in the ХХ century was subject

to persecution and could not avoid the losses, while suffering an

ideological dictat. Nevertheless in the 70-80s of the ХХ century and as a

result of gaining independence and the process started on national

revival the spectrum of traditional art in Central Asia, in particular, the

art of maqom in Uzbekistan and Tajikistan, intensively was revived in

its whole richness and diversity of forms and genres, performance

styles and composition of performers. These were also promoted by

opening departments of traditional performance in educational

institutions specialized in music, where young musicians started to

master centirues-long traditions.

Studies on Shashmaqom

Musical culture of the people of Central Asia as in the past and as in the

present is characterized by not only high level of the musical practice

itself, but also by richness of scientific achievements. Origination of the

new genres and forms of traditional music leads to the development of

more developed level of musical thinking, to more significant musical

science achievements.

The founder of musical science of the Middle East and Central Asia is

Abu Nasr al Farabi (870-950), the author of more than 30 treatises on

music, poetry, and who was also the prominent scientist- philosopher,

person of encyclopaedic learning. Theories of music of Farabi are laid

down in his major work ‘Kitab al-musikiy al-Kabir’ (‘A Big Book of

Music’). Exactly ‘The treatises on music’ of the scientists of the middle

ages became the main sources of development of science of music. In

them musical-theoretical ideas on melody, sounds, intervals, modes,

genres, classification of musical instruments, the issues of rhythm.

Musical aesthetics, education, performance, rights and obligations of

musicians were reviewed thoroughly. Exactly in them for the first time


the questions of maqom theory are studied, which are connected to

musical theory.

Prominent musician and theoretician of music of the ХIII century was

Safiuddin Urmavi (1217-1294), who was the author of several treatises,

in which he for the first time systematized and sorted out theoretically

the system of 12 main modes (maqoms), which had developed in that

epoch. The system was accepted and recognized by theoreticians as the

main source for further development of maqom art. It was there that for

the first time examples of musical samples were given, which were fixed

in special ‘tabulator musical notation’, developed by Urmavi.

Section on music in the encyclopaedia of Kutbiddin Shirazi (1236-1311)

contains rich/wealthy information about the system of 12 maqoms,

musical instruments, performance and education/training.

The largest theoretician and practitioner of music (a musician, singer,

bastakor) of the ХIV-ХV centuries is Abdulkadyr Maragi, the author of

writings/essays on the science of music, created in Samarkand and

Gerat, where in-detail musical forms and genres, a great variety of

musical instruments and the system of maqoms is reviewed. ‘Treatises

on music’ by Abdurakhman Jomi and Zaylobiddin al Khusayni, written

at request of Alisher Navoi, are dedicated mainly to the system of 12

maqoms and the issues of rhythm. They also provide with information

about the level of development of musical art in the time of the

Temurids rule.

Main sources for learning musical culture of Central Asia ХVI-ХVIII

centuries were ‘Treatises on Music’ by Najmiddin Kavkabi (ХVI century)

and Dervish Ali Changi (ХVII century), as well as the treatises of

unknown authors, in which along with the explanation of the system of

12 maqoms, forms and genres of music, associated with maqom are

described in detail. The uniqueness of the treatise of Dervish Ali is in the

fact, that it contains rich and diverse information on musicians,

bastakors, musical life in Bukhara and other cities. Later, in the

anonymous treatises the issues of ‘Shashmaqom’ were examined.


A brief history of recording maqoms

In 1923 on the initiative of well-known playwright Abdurauf Fitrat,

Viktor Uspensky recorded the whole cycle of ‘Shashmaqom’ (in

instrumental version) from prominent Bukhara musicians, Ota Djalol

Nasyrov and Ota Giyos Abdugani, which was subsequently

produced/published in 1924 in Moscow under title ‘Six musical poems

(Shashmaqom)’.

In the beginning of 1925 V.Uspensky recorded from well-known khafiz,

Shorakhim Shoumarov, Ferghana-Tashkent maqom cycles as ‘Dugokh-

Khusayni’ and ‘Chorgokh’. In the subsequent years V.Uspensky and V.

Belayev recorded the cycles ‘Gulyor-Shakhnoz’ and some

separate/individual parts of Ferghana-Tashkent maqoms, which were

published in the form of seperate edition.

Opening in 1928 of Samarkand research institute for music and

choreography promoted the collection and study of the samples of

uzbek traditional music. Simultaneously the institute acted as the

educational establishment, where future well-known composers of

Uzbekistan underwent training and received education. In order to

master the skills of performance and recording traditional music

connoisseurs of traditional music were invited, from whom Nikolai

Mironov together with his students recorded the samples of uzbek

music, which were included into the collection ‘Songs of Ferghana,

Bukhara and Khiva’ (Tashkent, 1931) and into two books of N. Mironov

‘Music of uzbeks’ (Samarkand, 1929), ‘Review of musical cultures of

Uzbeks and other nations of the East’ (Samarkand, 1931). In 1932 the

Institute moves to Tashkent and starting from 1939 it is called as the

Institute of Art Studies (currently it is the Research Institute for Art

Studies of the academy of Sciences of Uzbekistan), which became the

center for studying uzbek traditional music. With the institute is

associated the names of well-known figures of Uzbekistan, who dealed

with collection, recording and researching uzbek traditional music, in

particular, maqom art (V.Uspensky, V.Belayev, I.Akbarov,

E.Romanovskaya, F.Karomatli, I.Radjabov, T.Vyzgo and others). Folklore

research, conducted by the institute (starting from 1934 to present),

promoted fixation of samples of traditional music – from well-known

musicians and singers were recorded Bukhara ‘Shashmaqom’, cycles of

‘Khoresm maqoms’, Ferghana-Tashkent maqoms and individual and

vocal maqom pieces, based on which were made note decryptions,


conducted research activity, prepared several collections and books.

The Institute became the initiator of many scientific conferences

dedicated to the problems of traditional music, in particular, ‘Maqoms,

mugams and contemporary composer’s creativity’ (Tashkent, 1975),

Samarkand musicological symposium (1978, 1983 и 1987), scientific

conferences within the framework of the festival of ‘Sharq Taronalari’

(1997-2007).

Apart from note fixation of maqoms, starting from the middle of the

1920s, the scientific study of maqoms takes place; first articles,

brochures and books appear (M.Kharratov, A.Fitrat, V.Uspensky,

V.Belayev, E.Romanovskaya, I.Akbarov and others).

In Uzbekistan a complete cycle of ‘Shashmaqom’ was made ready for

publishing in the end of the 50s of the past century in records of Yunus

Rajabi (in performance by B.Zirkiev, Kh.Ibodov, M.Mullokandov,

М.Tolmasov, Y. Davydov, Y.Rajabi and others) and was published under

the editorship of I.Akbarov in the 5th volume of anthology of ‘Uzbek folk

music’(Tashkent, 1959). Later, Bukhara ‘Shashmaqom’ in the record of

Yunus Rajabi was significantly complemented and extended and was

published as an independent collection in six volumes (each volume

was dedicated to each of the six maqoms) under the editorship of

F.Karomatov in 1966-1975 with introductory articles by F.Karomatov

and I Radjabov (in Russian and Uzbek languages).

The cycle of Khoresm Maqoms for the first time was written down by

musician and composer, Matniyaz Yusupov at the end of the 50s and

published under the editorship of I.Akbarov in the 6th volume of the

anthology of ‘Uzbek folk music’ (Tashkent, 1958). Singificantly

complemented and extended version of the cycle of ‘Khoresm maqoms’

in the record of M.Yusupov was published in three volumes and 5 books

during 1978-1991 under the title of ‘Khoresm maqoms’ (in Uzbek and

Russian languages).

Music notations and their publishing in the form of collections

promoted scientific study of Shashmaqom and other maqom cycles by

the musicologists of Uzbekistan, Tajikistan and foreign countries.

For the first time sounding/samples of maqoms performed by well-

known musicians and singers were recorded by Riga firms as ‘Pishushiy


amur’ and ‘Grammifin’ and produced on gramophone records in 1905-

1909.

Audio disks, prepared within the framework of the programme of

‘Shashmaqom’ of UNESCO, were produced in 2006-2007 (more than 35

CD, DVD, audio, video and multimedia disks under common title of

‘Shashmaqom’).

First scientific information about maqoms appeared in the middle of the

20s of the ХХ century. These were ‘A Brief history of Khoresm music’ by

Bekjon Rakhmon Ugli and Muhammad Yusuf Devonzoda, published in

Moscow in 1925 (in arabic type/script) and ‘Uzbek classical music and

its history’ by Abdurauf Fitrat, published in 1927 (in Arabic type/script).

In the 30-40s to the study of maqoms were dedicated the articles of

V.Uspensky, V. Belayev and books of N.Mironov and of others.

Publication of the compete edition of ‘Shashmaqom’ intensified

scientific research on maqoms. First major edition dedicated to

maqoms is the monography by the well-known scholar of maqom art

Iskhak Radjabov entitled ‘On the issue of maqoms’ (‘Maqomlar

masalasiga doir’) in Uzbek language (Tashkent, 1963), as well as his

PhD thesis ‘Maqoms’ (dissertation abstract was published in Russian

Language in 1970) which laid the foundations of the new direction in

uzbek musical science – maqom studies. In the works of I. Radjabov for

the first time the issues of formation of maqom art, its theoretical

foundations, the system of 12 maqoms, cycles of ‘Shashmaqom’,

Khoresm maqoms and Ferghana-Tashkent maqom cycles, their laws

and patterns (melos, mode, rhythm, structure) and performance were

touched. It was I.Radjabov who for the first time started teaching

students-musicologists and the staff of the department on Oriental

music, organized inder the Tashkent conservatoire in 1972, the subject

‘Basics of maqoms’ in Tashkent Conservatoire. Based on his lecture a

brochure was published entitled ‘Maqom asoslari’ (Basics of Maqom) in

Uzbek language, which was prepared for edition by R. Yunusov

(Tashkent, 1992).

Bukhara Shashmaqom became the focus of attention in several scientific

publications (articles and books) by F.Karomatov, T.Gafurbekov,

T.Vyzgo, S.Galitskiy, O.Matyakubov, Y.Plakhov, L.Koval, R.Yunusov,

A.Djumaev and others. The cycle of Khoresm Maqoms were also studied

in the works of Otanazar Matyakubov, whereas Ferghana-Tashkent


maqoms – in the publications of Okilkhon Ibragimov. Apart from Uzbek

maqoms, in Uzbekistan the issues of maqom art were researched in

connection to other local types of maqom – these are publications of

A.Khashimov dedicated to Uigur maqoms and of R.Yunusov dedicated to

comparative analysis of uzbek maqoms and Azerbaijan mugams.

From among the works published in the late ХХ century and the

beginning of of the ХХI century notable are the following: F.Karomatov,

Y.Elsner. Maqam and maqom. In the book ‘Music of the people of Asia

and Africa’, issue IV. Moscow, 1984; R.Yunusov. On maqoms. Tashkent,

1982 (in Uzbek language); O.Matyakubov. Basics of professional music

and oral tradition. Tashkent, 1983 (in Uzbek language); O.Matyakubov.

Farabi on the basics of Oriental Music. Tashkent, 1986; Ю.Плахов.

Atistic canon in the system of professional Oriental Melody. Tashkent,

1988; R.Yunusov. Maqoms and mugams. Tashkent, 1992; O.Ibragimov.

Maqom and place. Tashkent, 1996; R.Sultanova. Rhythmics of vocal

parts of Shashmaqom. Tashkent, 1998; O. Matyakubov. Maqomat.

Tashkent, 2004, etc.

Within the framework of UNESCO programme on Shashmaqom the

following were prepared and published: O.Ibragimov. Ferghana-

Tashkent maqoms. Tashkent, 2006; R.Yunusov. Fakhriddin Sadykov.

Tashkent, 2006; I.Radjabov. Maqoms. Tashkent, 2007; Proceedings of

scientific conferences within the framework of International Festival of

‘Sharq Taronalari’ (2005 and 2007): Shashmaqom: traditions and the

modernity and the VI Music Festival ‘Sharq Taronalari’, etc.

2) Relevant events

At present based on the traditions of Shashmaqom a new generation of

musicians and singers of traditional performance is being trained.

Opening under Tashkent Conservatoire of the department for ‘Oriental

Music’ in 1972 promoted the bringing up and educating of professional

musicians and singers of traditional performance. Among the graduates

of the Department were popular performers of Uzbekistan, Tajikistan

and Kyrgyzstan – Abdukhoshim Ismailov, Munojot Yulchieva,

Rakhmatjon Kurbanov, Makhmud Tadjibaev, Ulmas Rasulov, Rifatilla

Kasymov, Abduvali Abdurashidov, Shavkat Mirzaev, Yuldash Tojiev and

many others. Since 1992 a special department has been functioning on

traditional performance. Fron 1990 onwards departments of


‘Traditional performance’ have been opened in music

schools/academies of Tashkent, Bukhara, Samarkand, Ferghana and

Urgench. At present such departments function or are established

almost in all music colleges and colleges of arts in Uzbekistan; beginning

from 2002 - in academic lyceums and music schools. Involvement of

singers and musicians, who possess unique performance skills and

abilities as well as extensive practical experience, into the

instructional/teaching activity of the conservatoire and colleges,

allowed strengthening the prestige of traditional education/training

system.

During the last few years an interest in scientific investigation and

practical mastery of Shashmaqom has been raising. A good indication to

the above-mentioned is organization of International Musical

Symposium on the problems of maqom art and in more general sense of

traditional music of the Middle East and Central Asia and the festival of

traditional music in Samarkand (1978, 1983, 1987); or international

conferences within music festival of ‘Sharq Taronalari’ (in Samarkand)

dedicated to maqom art искусству (2001,2003 and 2005); or activity of

the group ‘Maqom’ under the auscpicies of the International Council for

traditional Music (since 1987; the sixth conference was organized in

Urumchi, China); organization of concerts and festivals of maqom in

Uzbekistan and Tajikistan, Germany, the USA, Poland, the UK, etc.

Significant event in the life of Uzbekistan became organization of the

International Music Festival ‘Sharq Taronalari’ in Samarkand in 1997,

on the initiative of the President of Uzbekista, I.A. Karimov, which

became annual since then and is held every two years. Within the

festival a competition of national traditional performance is organized.

More than 40 countries take part in in the festival, within the

framework of which also International conferences are organized with

participation of leading scholars-musicologists, composers and

performers (conferences of 2001, 2003, 2005 were dedicated the

problems of traditional art, in particular to maqom art). It is pleasant,

that among the prize-winners of the competition there are performers

of maqom art from Uzbekistan, Azerbaijan, Iran and Tajikistan. This

indeed is the evidence that maqom art receives a world-wide

recognition. Representatives of Uzbekistan, mainly, the performers of

maqoms were among the prize-winners of the festival of ‘Sharq

taronalari’. These are Munojot Yulchieva (1997), Nasiba Sattarova

(1999), Soibjon Niyazov and Abdunabi Ibragimov (2001), Dilnura


Mirzakulova (2003), Nodira Pirmatova (2005). For performing

Azerbaijan mugam were awarded Simara Imanova (1997) and Zabit

Nabizade (2003); for performing tajik maqoms was awarded Ozoda

Ashurova (2003); for performing iran dastgyakhs – Fozil Jamshidi (2003)

and others.

Organization of student maqom ensembles under the auspicies of the

Conservatoire and music colleges was aimed not only at educational

objective – mastery of ensemble related performance skills – but also at

professional development of young singers and musicians. (As an

example may serve the following: activity of student maqom ensemble

of the Conservatoire under the leadership of prominent musician,

Fakhriddin Sadykov, which was highly evaluated by the experts and

participants of the IIIrd Platform of Countries of Asia in Almaty (1973)).

Exaclty by the maqom ensemble of the Conservatorie (director – A.

Khamidov) in 1987-1989 were recorded on gramophone records

almost all instrumental sections – Mushkilot of ‘Shashmaqom’ in new

interpretation and version. Competitions of maqom ensembles among

the HEIs and colleges started to be regularly organized.

In recent years became widespread also organization of children’s

maqom ensembles. A good example is the activity of maqom ensembles

as ‘Kora Kozim’ of the music school of Kokand, ensemble under

Samarkand College of Arts, ‘Munojot’ of Shurchi district of

Surkhandarya region. These all promote an interest in maqom art.

These are also one form/method of preservation of centuries-old

traditions of ‘Shashmaqom’ and educating younger generation.

That there is a huge interest in maqom in the whole musical world is the

unquestionable fact. For some it is associated with something national,

for the others – with world culture. The activity of international group

‘Maqom’ under International Council on traditional music is directed at

scientific and practical mastery of maqom art. The group Maqom every

four years organizes scientific conferences and festivals of maqom in

different countries of the world, deals with publishing (V th conference

was organized in 2003 in Samarkand within the festival of ‘Sharq

taronalri’). Scientific studies on Shashmaqom are carried out by the

scientists of the USA, Germany, Poland, Germany, the UK, France, etc.

Ensembles of maqom performers are established, which deal with

advocacy of maqom art among the connoisseurs of Oriental Music and

art.


One of the methods of preserving, succession and development of

traditions became the organization of competitions and festivals of

maqom art in Uzbekistan. From 1975 on in Tashkent and in other cities

of Uzbekistan the competitions started to be organized of amateur

maqom ensembles. Though, regularly such competitions started to be

held from the middle of the 80s. Such competitions stimulated

organization of maqom ensembles on sites, wide propaganda of maqom

art among the population, attraction of the youth to learning this art

form. During these years more than 100 amateur maqom ensembles

started their activities also in such regions as Surkhandarya,

Kashkadarya, Jizzakh, Karakalpakstan Republic. Uniqueness of these

competitions are: among the participants there are connoisseurs of

traditional music, people of various ages and professions, who for many

years havc been working under the leadership of professional

performers of maqom art. Also traditional became competitions among

young performers, which are named after the well-known maqom art

performers: after М.Uzakov and D. Sultanov (Marghilan, 1997, 1999,

2001, 2003), Khodja Abdulaziz Abdurasulov (Samarkand 1997, 1999),

Khojikhon Boltaev (Khanka, 1997, 1999), Komiljon Otaniyozov

(Urgench, 2001), Otajon Khudoyshukurov (Nukus, 2004, 2006)

3) Safeguarding projects

In November 2003 Shashmaqom, as a classical music of Central Asia

(Uzbekistan and Tajikistan) was recognized by UNESCO as a

‘Masterpiece of intangible cultural heritage of humanity’. The criteria of

the masterpiece were outstanding value, ancient roots in traditional

culture, modern cultural and social role, interaction and cultural

exchange, integrity of traditions, high level of performance and the risk

of disappearence. Based on the above-mentioned a project was designed

to preserve, safeguard and further develop the masterpiece

Shashmaqom, which included organization of scientific expedition,

inventory making, documenting and archiving, publishing scientific

research outcomes and of note collections, organization of exhibitions of

musical instruments related to Shashmaqom and carrying out series of

master classes in order to get acquainted and transfer the knowledges

and skills related to Shashmaqom and other cycles of maqom art to

younger generation.


4) Survey study project carried out by scholars

UNESCO ‘Shashmaqom’ scientific expedition (2005-2006)

Scientific expedition of ‘Shashmaqom’ was conducted within the

framework of UNESCO programme entitled ‘Shashmaqom’ - the heritage

of Central Asian people’ in 2005-2006 (head of the expedition – Doctor

of Art History, professor, R.S.Abdullaev). In the field work were involved

specialists of Art Studies Research Institute, State Conservatoire of

Uzbekistan, Language and Literature Research Institute. On-site

assistance was provided by teachers of colleges and

institutes/universities, directors of maqom ensembles, performers of

maqoms of Samarkand, Andijan, Namangan and Khorezm. In

accordance to previously agreed decision of the leadership of

expedition and UNESCO representative mission in Uzbekistan the

scientific expedition of ‘Shashmaqom’ was carried out from July 2005 to

March 2006 in order to study present condition of Shashmaqom and

other types of maqom art in the territory of Uzbekistan, to gather

information on integrity and succession, protection and transfer of

traditions of performance, development and advocacy of maqom art on-

site, data collection on the bearers of maqom traditions, masters-

sozgars, producers of folk musical instruments.

For the organization of the scientific expedition grant funds were used,

which were allocated by Trust Fund of Japanese Government through

UNESCO channels. Main goals and objectives of the expedition were to

study present condition, integrity level and existence of maqom art in

Uzbekistan. In the course of the expedition the following were done:

Collecting and recording samples of maqom art from present

bearers of traditions, i.e. musicians and singers, across the whole

Uzbekistan.

Audio and video(tape) recording of examples of Shashmaqom, its

types and other genres of traditional music; making photographies

of performers of maqom art, maqom ensembles; recording voices

of well-known bearers of traditions.

Collecting data on popular maqom performers, i.e. representatives

of performance schools of Bukhara, Samarkand, Khoresm and

Ferghana Valley; interview with the musicians on-site.

Collecting information on musical instruments and masters-

producers (sozgars) by regions; making video and photographies


on-site; providing assistance to their activity; collecting

information for organization of festival-exibitions of folk masters in

Tashkent.

Collecting information on medieval treatises dedicated to music

theory and aesthetics, genres of traditional music.

Decoding and fixing musical notation of already collected musical

material and poetic texts; preparation of computer, audio-visual

and technical material.

The expedition covered the following areas: Bukhara, Samarkand,

Kokand, Marghilan, Ferghana, Andijan, Namangan, Ferghana Valley and

Khoresm region.

During expedition a huge factual information was gathered, which

included in particular illustrative one; audio library was created based

on the examples of traditional music (particularly, examples of

instrumental and vocal parts of Shashmaqom, cycles of ‘Khoresm

Maqoms, Ferghana-Tashkent maqoms, genres of ashula and katta

ashula) as well as photograph library of musical instruments and of the

bearers of maqom traditions and of maqom ensembles. The traditions

of Bukhara masters of maqom as Ota Jalol and Levicha are currently

continued by their students as Rakhmatullo Inoyatov, Orif Atoev, Shodi

Sharipov, Tolibjon Temirov, and others. For the first time during the

expedition it was possible to record the cycle of ‘Savti Jaloli’ in

performance of maqom ensemble of Bukhara Regional Philharmonic

Society, which was created on the basis of ‘Sehokh’ maqom by a

prominent musician and singer Ota Jalol Nasyrov. Traditions of

Samarkand performance school are continued by Khirojiddin Juraev,

Farkhod Khalilov, Uktam Tukhtaev, maqom ensembles of art colleges of

Samarkand city and Samarkand district. Under the art college a

children’s maqom ensemble was established, where talented children

learn the traditions of maqom performance.

During expeditions to Ferghana Valley several meetings took place with

old musicians, records of maqom ensembles of Ferghana, Kokand,

Marghilan, Andijan, Buvayda and Uchkuprik districts, as well as of

performers of children’s maqom ensemble ‘Kora kuzim’ (Kokand); were

made; in Khoresm region – maqom ensembles of Urganch, Khanka and

Khiva, not only records of Khoresm maqoms but also of the examples of

Shashmaqom and Ferghana-Tashkent maqoms were made, which even

nowadays enjoy great popularity. Participants of the expedition had a


chance to get acquainted with the works done by teachers and

musicians of Urgench University on decoding ‘Khoresm Tanbur

Notation’.

Based on the primary and priority tasks of UNESCO Convention 2003,

when identifying/defining Intangible cultural heritage, maqom art is a

living heritage, phenomenon, which as in the past times, nowadays is

transferred orally from master to apprentice. In the Conventionthe term

‘preservation’ is defined as a method to ensure sustainability/viability

of cultural heritage, as it is the case of Shashmaqom. Measures directed

at preservation and safeguarding Shashmaqom traditions and of other

maqom cycles, include the following: identification, documenting,

inventory-making, research, preservation, support, strengthening,

transferring and reviving different aspects of this particular heritage

object. When making a catalog of main local zones of maqom art of

Uzbekistan, taking into account the peculiarity and originality all

methods and techniques of fixation were applied. Inventory making,

archiving, and documenting materials of the expedition on

Shashmaqom gave interesting materials on contemporary/present

condition of maqom art, which made possible to create an inventory of

Shashmaqom. This musical heritage makes one of the important parts of

contemporary musical culture of Uzbekistan, which has been

developing on the basis of critical mastery of the wealth of traditional

music. Nevertheless it should be noted, that there are lesser and lesser

genuine connoisseurs of maqom art on-sites. Therefore, it is necessary

that their creative and practical experience mastered by young people.

It is important that these bearers of traditions are attracted to music

education process, created favourable conditions which would make

possible transfer of traditions. Also, a support should be given to folk

masters-sozgars, i.e. producers of folk music instruments of on-sites.

The Shashmaqom expedition is not only on-site work, but rather it is

further work on processing collected data and materials: establishment

of an archive, inventory making and documenting. Based on the

materials of these expeditions were prepared textbooks for students of

music colleges and students of the Conservatoire: R.Abdullaev. Uzbek

classical music. Tashkent, 2008; S.Begmatov. The art of khafizs (folk

singers). Tashkent, 2007; R.Nasyrov. Conversation with an instrument,

with series of DVD disks. Tashkent, 2007, etc.


C. Katta Ashula (high-pitched song, great song)

- A unique heritage of song performance of Uzbekistan


Katta Ashula (literally great song or high-pitched, lofty song) is an

original genre of the art of singing in uzbek traditional music, which

became widespread in Ferghana Valley of Uzbekistan only, which has its

own distinctive musical and poetic language, performance styles and

forms.

Katta Ashula is a distinctive singing style, performed by two or more

singers (up to five) in turns without sound accompaniment, who

holding on their hands small-sized tray or plate, regulate the direction

and tone of the sound. Exactly the latter fact formed another commonly

used title of this genre among the population ‘Patnis Ashula or Likobi

Ashula’ (a song with the use of plate or tray). Singing Katta Ashula is

available for professionally trained singers, who possess high pitched or

strong voice of wide range, as well as skills of improvisation. Singing

Katta Ashula requires special training, skills and virtuosity of singers.

Katta Ashula is traditional singing art, which largely existed in the past

and became widespread among the population. Traditionally, the

bearers of Katta Ashula traditions were singers-Khofiz (Katta Ashulachi),

who underwent traditional school, based on methodology of ‘Ustoz-

Shogird’ (Master-Apprentice). To date, oral transfer of singing skills and

techniques from master to apprentice remains the main method for

preserving the music itself and its spiritual values.

Katta Ashula is a unique song heritage of uzbek oral music, which has

its own distinctive features and rules, patterns and laws of performance.

Its typical features are laconism, expressiveness/ity of musical means,

dynamism of musical/melodic development, bright emotionality.

Figurative style of Katta Ashula is connected with traditional poetry of

lyrical and philosophical composition.

Katta Ashula is not only the intangible cultural heritage of Uzbeks, but

also of other nations of Central Asia (among the performers in the past

were tajiks, uigurs, turks). The area of spreading is the Ferghana Valley.


Undoubtedly, Katta Ashula is an independent, inherently democratic

genre, which was born and developed within the medieval uzbek

musical culture hand in hand/ in close interaction with other genres of

folk and oral music, as well as classical poetry of the Orient, particulalrt,

‘gazalkhonlik’ - the art of recitating couplet (beyts) in ghazals. The

criteria for revival of this unique genre of traditional musical art of

uzbek people are: exceptional value, ancient roots of historical and

cultural traditions, distinct manners of singing, art and skills of

performance techniques, cultural identity, source of intercultural

exchange, uniqueness of live cultural traditions and the risk of

disappearance.

Katta Ashula was widely spread and continuously existed among the

population in the past. Performance of the songs of this genre is often

connected with great occasions and events, which happens in the live of

rural and urban population of Uzbekistan: celebrations organized in

honor of the Harvest Festival, sayil (outing or folk parades), wedding

ceremonies. The songs of Katta Ashula are mainly spread in the districts

of Ferghana Oasis, which are occupied/populated by Uzbeks, and partly

by tajiks. It was there, that such ‘big’ (katta) pieces of musical and

dancing art of oral tradition, as Katta Ashula or Katta Yalla (large song),

katta oyin (great dances or games), katta naksh (great song), katta zikr

(great religious rituals and chants), katta samo (large intstrumental

melodies) became widespread, which had formed on the basis of

ancient dancing and playing and singing, associated with some specific

rituals. Katta Ashula is a permanent musical attribute of large-scale

nation-wide holidays as Navruz (Spring Holiday/Festival) and

Mustakillik (Independence Day). The bearers of the traditions of katta

ashula are either folk singers or professional performers. Along with

performing maqoms, for performing Katta Ashula genre Munojot

Yulchieva, Nasiba Sattarova, Abdunabi Ibragimov, Soibjon Niyozov and

Dilnura Kadirjanova became prize-winners/Laureates of the

International Music Festival ‘Sharq Taronalari’ in Samarkand (1997-

2009). Folk singers-katta ashulachi from Andijan, Marghilan and

Tashkent participated in several International Folklore Festivals of

Europe and the United States of America.

Among the population also the other titles/names of katta ashula

became common: patnis ashula (the song, performed using a tray),


likobi ashula (the song, performed using a plate), ashulai kalon, katta

yalla, yovvoi ashula or yovvoi maqom, khakkoniy ashula (a truthful song).

Katta Ashula is an original and local singing genre, typical for Ferghana

Valley of Uzbekistan. Singing Katta Ashula is available for professionally

trained singers, who possess high pitched or strong voice of wide range.

Katta ashula is performed by two or more singers in turns and without

instrumental accompaniment, holding in hand a small metallic tray or

plate. The Bearers of traditions of katta ashula are folk singers from

Tashkent, Ferghana, Marghilan, Kokand, Namangan, Andijan and etc. In

the last years singing this particular genre became widespread in other

regions of Uzbekistan too (Kashkadarya, Khorezm, Samarkand,

Karakalpakstan).

Katta ashula was formed and gained ground in the Ferghana Valley of

Uzbekistan (nowadays, this territory includes Tashkent, Ferghana,

Andijan, Namangan regions). Among the singers it is possible to see

Uzbeks, tajiks, Uigurs, turks, who from the earliest times occupied the

territory of Ferghana Valley. In the past singing Katta Ashula was

spread among uzbek population of Osh region (Kyrghizstan), Leninabad

region (Tajikistan), Shimkent and Djambul regions (Kazakhstan). Katta

Ashula made an impact on formation of such genres of song as naqsh,

yovvoylo, falak (which are also performed without instrumental

accompaniment and with high pitched and strong voice), which were

spread among uzbek and tajik population of Tajik Republic. Singing

katta ashula is available for either folk singers or groups of singers, for

instance katta ashulachi group (Beknazar Dustmurodov, Abdunabi

Ibragimov and Soibjon Niyozov) of ‘Maqom’ ensemble of the Ministry of

Culture and Sports of Uzbekistan or ‘Chorgokh’ group of Tashkak

district of Ferghana region (leader – senior/veteran singer Turdiali

Sharipov; the group consists of four performers). In the ХХ century

traditions of singing Kattas Ashula were mastered by women as well: in

the 40-50s the performances by Khalima Nasirova, Zaynab Palvanova

and Fatima Borukhova enjoyed wide popularity, who jointly performed

the songs of Katta Ashula genre (along with traditional singing skills,

they were skillful in opera). In the 80s traditions of katta ashula became

a prt of repertoirs of young performers, as Munojot Yulchieva, Khurriyat

Israilova and others.


Katta ashula is preserved and transferred orally from generation to

generation. All forms of intangible cultural heritage are associated or

connected with it (music, folk poetry or traditional singing).

The distinctive features of Katta Ashula are the following:

Locality – existence and wide dissemination in Ferghana Valley.

Originality of its performance – singing with two or more (up to

five) singers (khafizs) in turns, without instrumental

accompaniment, often outdoors and as a rule in front of a large

audience.

Improvisation – rhythmically independent singing, originating

from or connected to the manner of singing.

Recitative-songful type of melos, possession of the art of

expressive musical declamation.

Close relationship between the words ans music, ability to

uncover the meaning of every single word of the song for the

auditorium.

Singing in a headnote, existence of ‘big culmination’, which

requires a high-pitched and sturdy voice.

Emotionality, originating from expressive singing and brightness

of culmination.

Diversity of techniques of singing and functionality.

Katta Ashula is a song genre of Ferghana Valley, which is performed by

two or more folk singers in turns without instrumental accompaniment.

Describing this genre in general, the researchers as well as singers

themselves, note different sides of it. Some emphasize at the scale of

forms of katta ashula songs, which, by the way, corresponds to literal

meaning of this term – ‘great song’ (V. Belaev, I. Akbarov). Others

indicate at specific kind of selection and character of poetic texts of the

songs, philosophical depth and significance of their figurative content (V.

Uspenskiy). Origination of the term ‘katta ashula’ and its meaning by

many singers of Kokand and Ferghana is associated with some

distinctive techniques of performance of this genre – performance by

thwp singers without instrumental accompaniment, often outdoors and

in fron of a large auditorium. Singers from Namangan, Andijan and

Tashkent think that the performers of katta ashula should possess

strong voice of wide range, know the art of expressive musical

declamation – be able to uncover the meaning of every single word in

the song for the listeners. A groups of singers from Khodjent see in


Katta Ashula mainly the songs of religious and philosophical content, in

the melodic development of which there is always ‘a great culmination’

(‘katta audj’ - singing in a headnote), which requires very strong and

high-pitched voice.

In several written sources of the ХIХ-ХХ centuries the song genres are

mentioned, the distinguished features of which either correspond to

katta ashula or considered as its prototypes/ancestors. For instance

Avgust Eichgorn (a musician from Vienna; second half of the ХIХ

century) indicates at the existence of so called ‘duets-dialogues’ in

Kokand and Andjian, which are performed in guttural long-drawn-out

manner. А. Semenov, a well-known scientist- orientalist, notes about the

existence of genre as sima, samo (samoi – a song) or khonakoi (literally

– domical songs) in the IХ-ХIII centuries, performed by singers in a

declamatory manner with a tray on hands. V. Belaev in his seminal work

‘Music of Uzbekistan’ mentions about the songs, performed by singers

‘solo and without accompaniment’ using a tray or plate. The closest to

Katta Ashula are song forms as ‘ayolgu’ (‘a song, addressed to a woman’),

which for the first time appears in the works of Alisher Navoi (ХV

century) and ‘naksh’ (‘a decoration’) – the song, which had formed as a

result of the activity and performances of singers-improvisator.

Another, most common title of this genre, which is used at present

among the population is ‘patnis ashula’ or ‘patnusaki (likobi) ashula’. It

means ‘a song wit a tray or plate’, which is connected to the fact that

during the singing a small metal tray or plate was used during the

performance of the song, that helped to direct, strengthen, vibrate the

sound as well as to listen his/her own voice. Therefore, in several

districts of Ferghana Valley the performers of this song genre are often

called as ‘patnusaki ashulachi’. Nevertheless, some other titles became

also common, for instance ‘ashulai kalon’, ‘katta yalla’, ‘likobi ashula’,

‘khakkoniy ashula’.

Taking into consideration all the signs mentioned, the genre of katta

ashula should be interpreted as exactly ‘great or lofty song’, which is

distinguished in the first place with its scales, extent/length of sound

and melodic development; philosophically lofty/elevated order of

poetic texts.

The origins of the genre of katta ashula should be looked for in the

ancient folk-ritual chants, great songs of ‘praise’, agricultural and labor


songs, without accompaniment and with their original combination of

recitative-declamatory beginning and chanting, and singing outdoors

with strong and high-pitched voice. Determining features of katta

ashula, which indicate at the the ancient roots, are the following:

Singing without an instrumental accompaniment;

Recitative feature;

Improvisational feature;

Appealing exclamations on a high-pitched tone.

All these are signs functionally and historically are interrelated.

In terms of the subject matter, message, artistic form the songs of katta

ashula are quite different, though in terms of emotions they are limited

mainlty to the lyrics. Generally, these types of songs can be divided into

the following categories: love-lyrical/love lyrics, didactic, religious and

songs of present-day reality/life/situation. As poetic texts for katta

ashula serve the poems of the classics of uzbek poetry (Alisher Navoi,

Mashrab, Amiri, Nasimi, Khazini, Mukimi, Mukimi, Furkat and Zavki), as

well as poems of contemporary poets (Chusti, Khabibi, Charkhi, Miskina,

Sabir Abdulla, Akmal Pulat, Utkir Rashid, Erkin Vakhidov and others),

which were written in accordance to Aruz prosody (which are based on

alternation of short syllables and long syllables) and of folk texts. As an

example may serve ‘Kanal’, created on the occasion of construction of

Big Ferghana Canal; ‘Koyilman’, ‘Mekhnat akhli ‘, ‘Aziz dekhkonlar’,

dedicated to field workers and etc. Conditions available for Katta Ashula

in our times, as well as development of performance culture promoted

the rise of variety of this genre, i.e.:

‘Ananaviy’ - traditional type of singing by two singers without

accompaniment (Bir kelsun, Adashkanman, Surmaysan, Judo kilma

and etc);

‘Yovvoi maqom’ (literally ‘Spontaneous or feral Maqom’), i.e.

siging some specific shube (works) of maqoms, as Chorgokh,

Usshok, Bayot in katta ashula style with two or more (up to five)

singers without instrumental accompaniment (Yovvoi Usshok,

Yovvoi Chorgokh, Patnusaki Bayot, Likobi Segokh and etc);

‘yovvoi ashula’ - произведения в жанре ашула, исполняемых в

традициях катта ашула двумя певцами без сопровождения

(Ёввои тановар, Ёввои муножот и др.).

‘Yakkakhonlik’ - voal-instrumental forms of katta ashula in solo

performance, in which a distinctive form of instrumental


accompaniment is applied: in bourdon sound free-rythmical

singing of the soloist; in this case an instrumental ensemble

functions as a second singer (Okhkim, Gulizorim kani, Topmadim,

Yolgiz, Khanuz, etc.).

‘Cholgu yollari’ - instrumental versions of katta ashula, performed

using uzbek musical instruments (nai, surnai, gidjak, tanbur, dutar)

by soloist (Yovvoi Chorgokh, Yovvoi tanovar, etc.).

Until the second half of the ХХ century the genre of Katta Ashula was

performed by singers (who were called among the folk as katta

ashulachi, ustoz, kori or khofiz) on family related festive or occasions

(for instance during weddings), nationawide holidays and syils (open

air celebrations, parades), and in rare cases in concert halls. The bearers

and popularizers of Katta Ashula at the time were folk singers from

Ferghana Valley – Mamatbuva Sattarov, Boltaboy Radjabov, Erka kori

Karimov, Khamrokul kori Turakulov, Shrkuzi Boykuziev, Akbar kori

Khaydarov, Djurakhon Sultanov, Mamurjan Uzakov and their

followers/pupils, who further developed/improved the traditions of

schools of performance of Kokand, Marghilan, Andijan. Tashkent,

Namangan (Uzbekistan), Khodjent (Tajikistan), Osh (Kyrgyzstan),

Shymkent (Kazakhstan), etc. These kind of schools were support either

by singers themselves or to some extent by the local authorities. They

tried to support young and talented singers, who were got involved in

leading performance schools of Kokand, Marhilan, Tashkent, etc, where

they underwent a traditional oral methodology of learning and training

‘ustoz-shogird’ (‘Master-pupil’). It was a long process of learning –

approximately 10-15 years (the pupil lived in the home of his master,

learned a craft and simultaneously the art of singing katta ashula). Main

requirement for the young people was the presence of strong and high-

pitched voice of a wide range, the ability to improvise, ear and good

memory.

In the conditions of modern times the songs of the genre of Katta Ashula

became one of the important means to xpress deeply patriotic feelings

of the nation; sometimes the authors of such songs were the singers

themselves, who combined in themselves talents of not only singer-

improviser but also of poet, musician-bastakor (a composer).

Oral tradition remained the main method of transfer of skills and

knowledges of katta ashula performance. The standard system of

European music notation takes into account only the melody and is not


able to reflect the richness of singing of this kind of unique genre. For

the first time singing of Katta Ashula was fixed/recorded by a musician

from Vienna. Avgust Eichgorn in the 70s of the ХIХ century; in 1905-

1907 only two samples of Katta Ashula performed by a well-known

singer from Kokand, Khamrokul kori and his pupil were recorded on a

gramophone record by Riga firms ‘Pishushiy amur’ and ‘Grammofon’.

And in 1940-41 the samples of katta ashula were recorded by a russian

composer V.A. Uspensky (the manuscripts of notation are kept in the

Research Institute for Art Studies in Tashkent); in 1957 samples of

Katta Ashula were for the first time published in a two-volume

anthology of ‘Uzbek folk music’ in the record by musician and composer

of Yunus Rajabi.

Katta Ashula as a form/object of intangible cultural heritage is one of

the distinctive and significant genres of the art of music making of

Uzbekistan. And its significance and uniqueness lies behinds its amazing

level of integrity, popularity among the nation, in the integrity of skills

and traditions of among the bearers of its traditions. And now, any

nationa-wide holiday (as Navruz and Mustakillik) or festivals

(International Musical Festival ‘Sharq Taronalari’ in Samarkand) cannot

go without the performances of singers of Katta Ashula. Along with

traditional manner of singing by two singers without instrumental

accompaniment became widespread some other genres of Katta Ashula:

‘Yovvoyi Maqom ‘ (singing maqom related pieces in Katta Ashula style

by two or more singers without accompaniment) and ‘Yakkakhonlik’ (‘a

solo performance’ - song performed by one performer and instrumental

ensemble, where ensemble functions as a second singer/performer).

Many well-known musicians and singers were trained exactly in

traditions/based on traditions of Katta Ashula.

Materials related to Katta Ashula, a unique historic-cultural

phenomenon, play a significant role as a means of spiritual and

intercultural exchange, since its integrity and study allows uncovering

the new pages of interconnection and interpenetration of socio-cultural

phenomena of the people of Uzbekistan, but also of Central Asia in

general. Becuase in the content of this traditional culture it is possible to

observe different strata of history and music-poetical creativity of

nations/people, starting from the ancient solo-agricultural and labor

songs, ritual songs, through diversity of song genresm performed solo

or in the form of a dialogue of the late middle ages ending with today’s

forms. Preservation and viability of local traditions, as Ferghana’s Kata


Ashula is a unique evidence of living cultural traditions of uzbek music,

which becomes evident in an individual performance styles of the

masters – the performers of folk epics (the creativity of bakhshi),

maqom art (the creativity of ‘Shashmaqom’), song creativity (the art of

Katta Ashula, suvora, etc.). Masters of oral and professional creativity,

the bearers of local traditions of musical art stay at the roots of deep

understanding, comprehension and artistic interpretations of traditions

of Ferghana Katta Ashulas – as one of the most important sources of

multifaced, complex, inimitable and original system of ehtnofolkloric

and aesthetic self-expression.

Characteristic features of Katta Ashula are reflected in an individual

manner of singing and performance, which are typical for the

prominent masters/artists having high-pitched and strong voices of

wide range (i.e. perfect vocal technique, special methods of singing with

a strong voice, general performance culture) which is mastered or

acquired only after the lengthy study and taining based on the

methodology of ‘Ustoz-Shogir’ (Master-Apprentice) and which requires

outstanding musical and poetic talents. Such are the characteristic

features of professional khafizs, the bearers of traditions of katta ashula

and their leading schools: Kokand (Erka kori Karimov, Sherkuzi

Boykuziev, Khaydarali Khikmatov, Melikuzi Yusupov and others),

Marghilan (Mamatbuva Sattarov, Boltaboy Rajabov, Djurakhon Sultonov,

Mamurjan Uzakov and others), Tashkent (Khamrokul kori Turakulov,

Akbar and Eshmat Khaydarov, Orifkhon Khatamov, Ochilkhon

Otakhonov and others), Andijan (Jurakhon Yusupov, Fattokhon

Mamadaliev, Odiljon Yusupov and others) and Namangan (Mallaboy

Khamidov, Ibragim Israilov, Abdulla Goziev and others), each of which

is distinguished with its specific character and bright performers.

Starting from the ХVIII-ХIХ centuries the traditions of Katta Ashula

striked roots in the social life of people of Uzbekistan and Central Asia.

If in the first half of the XX century traditional musical art, including

maqom and katta ashula were preserving their artistic impact and high

position in the society, wide auditorium, cultural tradition and

performance, then with the lapse of time it started losing its former

publ status. In the mind of public traditional culture strated to be

opposed to professional composer’s art. Traidtional musicians and

singers were not any more considered as the representatives of elite in

musical world. The situation with the performers of Katta Ashula

becomes tense, even among populat musicians and researchers no


interest is shown to thos genre and this is connected to the fact that in

the society the members started to think negatively about several

genres, which were performed without instrumental accompaniment,

as well as the cultural policy of soviet regime generally negatively

perceived the development of traditional music genres. No moral or

material support was provided to singers of this unique and original

genre. Only due to enthusiasm of the performers themselves the genre

of katta ashula continued to exist: for instance in the 60s of the ХХ

century by the singers in Kokand and Marghilan public associations of

singers-katta ashulachi were organized, which united the bearers of

traditions of that time, who served during family events and folk

holidays.

Nevertheless, in the 70s the situation changes significantly. It is

connected to the beginning of study of this original genre (expedition,

recording, note fization, popularization through Mass Media,

competitions, etc). Opening of the department for oriental music under

Tashkent Conservatoire in 1972 promoted the beginning of

professional mastery of katta ashula performance traditions (among the

first students were Munojot Yulchieva, Makhmud Tadjibaev,

Rakhmatjon Kyrbanov, Khurriyat Israilova, who are now well-known

singers of Uzbekistan); to the education process of students popular

masters-bearers of katta ashula traditions were involved/attracted as

Arif Alimakhsumov, Fattokhon Mamadaliev and others. It should be

noted that this practical mastery of katta ashula skills positively affect

the learning of maqom art traditions. Since the 80s competitions started

to be organized of singers of katta ashula. In the 90s traditions of katta

ashula performance started to be introduced into learning process of

musical colleges od Tashkent and Ferghana. This in turn stimulated the

revival of the genre on sites: katta ashula schools started to function, the

initiators of which were famous singers: Adyljan Yusupov and

Fattokhon Mamadaliev (Andijan), Turdiali Ergashev (Kokand), Samijon

Kasymov (Buvayda), Musajon Orifjanov (Marghilan). The performers of

katta ashula strated to take part in the festivals of traditional culture

(Tashkent, Samrakand, Moscow, USA, several European countries). In

the composer’s work and art an interest appeared as well in the genre

of Katta Ashula (first sample of the use of Katta Ashula is a ‘Lyrical

poem in memory of Alisher Navoiy’ by V.A.Uspensky for symphony

orchestra, soloist and three katta ashulachi, written in 1944). Among

the modern works of composers of Uzbekistan are symphony works of

M. Tdjiev, M. Bafoev, M. Makhmudov, choral works of B. Umidjanov,


vocal-orchestral works of D.Zakirov, M.Nasymov, S.Babaev and others. A

large-scale propaganda of katta ashula promoted its spreading also in

other regions of Uzbekistan.

But by the end of the80s and beginning of the 90s interest in this genre

again significantly decreases, especially among the young people. And

this is connected to popularity of pop music, which spreaded across all

strata of the society.

Cultural tradition and identity of katta ashula is disappearing on sites.

And one of the priority directions becomes the revival of spiritual

values, among which there is also katta ashula genre– a unique and

original phenomenon in the musical art of Uzbekistan.

At the turn of two millennia in Uzbekistan actively takes place re-

evaluation of material and spiritual values, re consideration of historical

events, search for the ways, allowing more comprehensively uncover

the human capabilities. And in this sense katta ashula genre as an

intangible cultural heritage represents a great value, which

concentrates main forms of musical and poetical art and singing culture

(experience, representation, language of expression, skills, abilities and

knowledges). Exactly in it perfect samples of song art of the people were

polished for ages, but also effective approaches were tested to solving

many artistic problems, which promoted more broader formation of the

concept of ethnocultural identity on the basis of raise of (self-

)consciousness of people, cultural identity, ideas of revival of national

cultural heritage.

Katta Ashula, being an intangible cultural heritage, is an essential part of

artistic performance culture of modern Uzbekistan, its specific/peculiar

attribute. The problem of disappearance of this original genre

predetermined its preservation in order to revive, protect and

development in the conditions of modernity. Main problem is to

preserve and safeguard the genre of Katta Ashula, its skills and

techniques of performance, provision of material support to those, who

still bear the traditions of this genre on sites; their attraction to teaching

young people in art colleges; scientific and practical mastery of

traditions and laws of the genre; introduction of this genre into the

system of music education; scientific and research work, production of

audio disks and CDs with samples of Katta Ashula; publication of books

and collections of articles and essays abouth the genre itself and its


bearers; organization of scientific expeditions for the purpose of

collecting and recording smaples of katta ashula followed by

consequent publishing of materials and note collections, preparation

and production of DVDs.

Katta ashula is an oral-professional genre of uzbek music, which is

closely associated with the historical roots of the people, which became

a part of musical daily life of the broad masses of population. Katta

Ashula continues its development in our days as well, while making a

great stimulating impact on modern performance practice and

composer’s creativity.

2) Relevant events

Since the 70s of the ХХ century a goal-oriented work has been initiated

to study, preserve and learn this original song genre by the researchers

and parctitioneers, scientific expeditions to the districts of Ferghana

Valley initiated in order to record the samples of Katta Ashula, to collect

information about the singers of the past and present; on the radio of

Uzbekistan the samples of Katta Ashula from popular singers of Kokand,

Margilan, Tashkent and Andijan were recorded. In 1984 in Marghilan,

on the initiative of R.S. Abdullaev and support of Ministry of Culture and

Sports the first competition of Katta shula performers was organized, in

which took part more than 50 folk singers from Ferghana Valley (since

then, it became a traditional one). In 2006 in Khoresm another

competition of Katta Ashula singers was organized, the laureate of

which/prize winner of which became the group ‘Chorgokh’ of Tashlak

district of Ferghana Valley.

After gaining independence some activities were carried out in the

issues of preservation, safeguarding and revival of katta ashula.

Unfortunately there were/are not so many singers, who preserved local

stylistic features and who underwent the school based on ‘ustoz-

shogird’ methodology, as well as the bearers of katta ashula traditions.

Naturally the schools of skill became rare, and almost disappeared,

though interest in katta ashula does not weaken. The bright example for

that is organization in 2001 in Andijan a Republican competition of

professional performers of katta ashula. In the competitions dedicated

to traditional performance within the framework of International Music

Festival ‘Sharq Taronalari’ in Samarkand (1997-2009 гг.) singers from


Uzbekistan were awarded with prizes for performing this particular

genre, the genre of Katta Ashula (Munojot Yulchieva, Nasiba Sattarova,

Soibjon Niyazov and Abdunabi Ibragimov, Dilnura Kadyrjanova, Nodira

Pirmatova). Starting from 2000 the tradition of singing of katta ashula

was introduced into the educational process of music schools, colleges

and academic lyceums, and examples are Republican academic lyceum

named after R.M. Glier (a well-known musician Temur Makhmudov

opened a class for learning katta ashula traditions), Republican music

college (traditions of katta ashula are taught by well-known singers as

Beknazar Dustmuradov and Abdunabi Ibragimov). Traditional method

of mastery and teaching of katta ashula traditions ‘ustoz-shogird’

(naster-apprentice) is being preserved in the group ‘Chorgokh’,

established in Tashlak district of Ferghana Valley in 1996 on the

initiative of popular master Komildjan Nirzaev with the purpose of

preserving musical traditions of Marghilan performance schools of katta

ashula (i.e. traditions of masters/artists of katta ashula as Mamadali

khafiz, Mamatbuva Sattarov, Djurakhan Sultanov, Mamurdjan Uzakov).

Leaders of the group are the oldest musicians and singers of Marghilan

Mamasidik Mamadaliev and Turdiali Sharipov. Their repertoire

includes classical katta ashula and those of modern interpretation. One

of the distinctive features of the group is involvement of the youth in the

art of singing of this genre, teaching the methodology of mastery of

skills and traditions of katta ashula. On their initiative schools of skill

are functioning in makhallas, i.e. domiciliary and under the auspicies of

music school of a district.

The idea of reviving Ferghana katta ashulas was initiated by the

government of Uzbekistan, its communities and public organizations.

With this purpose the Ministry of Culture and Sports with support of

regional and district khokimiyats, public funds as ‘Makhalla’, ‘Oltin

Meros’, ‘Fund Forum of Cultre and Arts of Uzbekistan’, ‘Kamolot’ Youth

Social Movement and children’s ‘Kamalak’ annually conductes various

international projects and programmes, which include the organization

of competitions, festivals, exhibitions dedicated to the the genres and

forms of traditional culture (for instance, the competitions of ‘Kelejak

Ovozi’ - Voices of the Future and of ‘Yangi Avlod’ - New Generation);

deal with organization of folklore and family ensembles and groups;

provide methodological support and attract the bearers of traditions of

katta ashula, etc. The Research Institute of Art Studies under the

Academy of Sciences of Uzbekistan continues its work on collection,

note fixation and scientific research of samples of intangible cultural


heritage. During the scientific expedition on ‘Shashmaqom – a classical

music of Central Asia’, organized with support of UNESCO, along with

the samples of maqom art the samples of Ferghana Katta Ashula were

recorded from the bearers of traditions and young singers of this Valley.

Adoption of the Law ‘On Education’, National Programme for Personnel

Training, Law ‘On improvement of the activity of children’s music

schools’, preparation of the National Programme on preservation of

Intangible Cultural Heritage – these all stimulated the introduction of

genres and forms of traditional culture, including of Katta Ashula, into

the system of life-long education and training; to teach younger

generation on sites the bearers of traditions of ICH are invited.

In the process of revival of Ferghana Katta Ashula and its preservation

in Uzbekistan actively take part all communities, and some specific

individuals. They actively participate in preservation of traditions of

Katta Ashula, in organization of competitions of singers or in the

process of education. At present the area where Katta Ashula traditions

are actively developing has extended – now it is possible to see in all

regions some singers, who master the traditions of katta ashula; in

Ferghana Valley and Tashkent region itself the preservation of the

genre is supported and ensured by local self-government (khokimiyats

and administrations on cultural issues) and public organizations and

funds (‘Makhalla’, ‘Fund Forum of Culture and Arts of Uzbekistan’). State

and commercial broadcasting company, local press, as well as public

press also take part in the propaganda and popularization of Katta

Ashula genre, which is a part of traditional music culture of Uzbekistan.

Principles and mechanisms of functioning of traditional culture are at

the center of attention of the government of Uzbekistan,

nongovernmental organizations and public funds. Study of the modern

state of the art of the ICH, particularly of Katta Ashula, naturally is

included into the circle of problems of national artistic culture, its

development features. And this problem includes two aspects: state of

the art and fate of intangible cultural heritage in our epoch; its

preservation and development; interrelation of traditions and

innovations in it; the role of intangible cultural heritage in professional

and folk culture.


3) Awards received

In February 2009 the project of ‘Katta Ashula’ (as an experience of

revival of intangible cultural heritage, prepared by professor R.S.

Abdullaev and the National Commission of Uzbekistan for UNESCO) was

awarded with a prize of ACCU (Japan).


In Uzbekistan efforts are made to preserve and safeguard intangible

cultural heritage, conditions are created for their implementation. Some

forms of traditional culture are on the point of disappearance. Terefore

it is important to stop this process or at least to record the process,

which is for now in existence. In this respect efforts made by one

country are not enough. Only through active collaboration of scientists,

masters-bearers of traditions of other, neighbouring countries it will be

possible:

to record or when needed to reconstruct the full picture of

functioning all forms of intangible cultural heritage,

particularly of Katta Ashula of Fegrhana Valley;

to research the character of its existence in modern life. This

includes an analysis of the forms of negative transformation

(loss of old traditions of Katta Ashula, ‘Neofolklore’

‘folklorism’);

to develop a programme on preservation of

peculiarity/originality of katta ashula and in general of

aesthetics of traditional culture not only of any aprticulat

region but also of any nation or ethnos of countries of the

region;

to establish a database on the basis of expansion/widening of

initial materials, presented by organizations and experts.

The future of Katta Ashula in many respects will depend on how will be

interpreted cultural traditions being revived and new scientific

explorations being made on Katta Ashula. Its preservation will depend

mostly on the cultural strategy of the state, in other words on the

development of goal-oriented educational programmes; attraction of

economic possibilities and innovations; all possible international

projects and grants; support for (moral and material) initiatives of the


bearers of katta ashula traditions. (as a good example of such policy

may serve the activity of ‘Chorgokh’ group under the leadership of

singer Turdiali Sharipov, which is given support by mahallas in places of

residence of singers and in the form of musical school of Tashlak district

of Ferghana Valley of Uzbekistan; or activity of folk khofiz of Uzbekistan

Makhmud Tadjibaev on teaching the skills related to Katta Ashula in

State Conservatoire of Uzbekistan; or attraction of well-known katta

ashula performers to colleges of Tashkent and Ferghana). Indeed, the

protection of cultural objects and monuments plays central role in the

state policy of Uzbekistan and the bright evidence to this is ratification

by Uzbekistan the Convention of UNESCO on ‘Safeguarding of the

intangible cultural heritage’ (2003) on November 2007, which allowed

to improve and adopt the Law of Uzbekistan on ‘Preservation of cultural

heritage’, including articles dedicated especially to intangible cultural

heritage.

Main means to preserve Katta Ashula genre as a form of intangible

cultural heritage:

On the basis of the Law ‘On preservation of cultural heritage’

to promote revival of uniqe monuments and objects of artistic

heritage;

to initiate several projects directed at development of

intangible cultural heritage;

making inventory of Katta Ashula through collection,

recording, researching, popularization and practical mastery

of the skills related to the genre;

necessity to revive traditional schools of skills and mastery

accompanied by attraction of the bearers of traditions on

sites and supported by public organizations and funds;

necessity to revive, reconstruct Katta Ashula genre (including

those, who represent classical forms and modern forms of

this genre) in authentic form and further preserve it;

preparation of a data base on Katta Ashula; cataloging and

documenting followed by publishing materials and scientific

researches on Katta Ashula; making the State Inventory on

Katta Ashula;

Introduction of Katta Ashula related knowledges and skills

into the system of music education; establishing the faculties

and departments of traditional performance; Katta Ahula as

an academic subject should become an essential part of music


education system of Uzbekistan in all stages of music

education (from music schools to the Conservatoire);

preparation of corresponding educational and

methodological guides, textbooks and collections of Katta

Ashula.

activity of state bodies and non-gvoernmental organizations

on preservation of traditions of katta ashula (holding

competitions, festivals; material support; popularization;

attraction of talented young people for studying in

educational institutions and establishments specialized in

music).

In this regard, the Government of Uzbekistan initiated several state-,

international- and public level projects. One example can be the revival

of Navruz holiday and its celebration across the country with attraction

of all communities, groups, individuals and with establishment of

concert programmes in which the performances of katta ashula became

an integral part of the whole concert; Internaitonal Music Festival in

Samarkand ‘Sharq Taronalari’; traditional competitions of performers of

katta ashula and moqoms, etc, all of which stimulate not only the

preservation but also development of all forms of traditional music.

Katta Ashula being a part of ICH of Uzbekistan, until nowadays enjoys

the great popularity among the population as an original and uniqe local

phenomenon of uzbek traditional music. Its preservation is a part of the

state programme. This programme includes several necessary

measures directed at preservation, study, propaganda and transfer of

traditions of katta ashula by means of:

organization of expeditions to all regions of Uzbekistan to

collect data for data base from/on sites (recording samples of

Katta Ashula, information about the bearers), which will be

connected to preparation of data base in all directions of

preservation activity (archiving, inventory making,

documenting);

publication of some scientific works about Katta Ashula genre

and its bearers; of note collections with samples of Katta

Ashula; essays about prominent performers of Katta Ashula;

publishing materials of scientific expeditions;

preparation and production of audio (CD) and video (DVD)

records of prominent performers of katta ashula of the past


and present taking into account local traditions and schools of

skills;

organization of master classes on sites with attraction of well-

known masters/artists – singers of katta ashula

(conservatoire, colleges and academic lyceums); organization

on sites of local performance schools of katta ashula based on

the traditional methodology (Kokand, Marghilan, Andijan,

Tashkent);

attraction of the youth to leanring and studying the traditions

of katta ashula, wide-scale propaganda of katta ashula by

means of Mass Media;

together with the Ministry of Culture and Sports of

Uzbekistan and with participation of public organizations and

funds to conduct traditional competitions of singers of katta

ashula (among the professionals and folk singers; separately

among the young performers– students of music educational

institutions);

organization of workshops, seminars, conferences and music

festivals dedicated to all forms and types of traditional

culture, included into the nominated the ICH;

organization of participation of katta ashula singers in

International Music Festivals, organized under the lead of

UNESCO.

The government of Uzbekistan in the last several years pays great

attention to preservation and succession og traditions of all forms of

ICH, particularly to preservation of Ferghana Katta Ashula. For this

purpose special attention is givent to attraction of the youth to the art of

Katta Ashula – young performers to mastery of skills and knowledges

related to Katta Ashula; to work among the children and youth so that

they understand and perceive traditions of katta ashula. Accordingly on

sites will be conducted meetings, talks and presentations of popular

singers of katta ashula, as well as master classes in all regions of

Uzbekistan. Organization of tele and radio programmes about katta

ashula (a good example can be the production of the telefilm on

телефильма ‘Katta Ashula’, prepared by the National Commission of

Uzbekistan for UNESCO and its broadcast on TV).

When advocating and popularizing Katta Ashula genre among the

population of the republic, especially among the youth, also the

methods and means of show business will be applied – live public


performances of the bearers of traditions of katta ashula (concerts by

masters), duplication of ehtnoclips of traditional art, wide usage of

audiovisual carreers (audio and video disks, multimedia, etc.) – as a

means of fixation and translation/transfer of cultural information. By

doing so it is expected to keep ‘oral’ method of communication between

the performer and listeners. In modern Mass Media the central place is

given to visual forms of communication. Gradually the main source of

satisfaction in information and aesthetic values becomes TV and PCs.

The programme of revival of Katta Ashula is a part of State programme

of Uzbekistan on preservation of ICH. And it is conducted in close

collaboration with national, state, nongovernmental and public

organizations, funds on local, state and international levels.

Development of a long-term strategy on revival, further preservation,

safeguarding and development of unique genre of Katta Ashula of

Ferghana Valley will promote the development and improvement of

transfer of cultural traditions and in general of revival and preservation

of some specific strata of ICH of Uzbekistan. And inclusion of this

element into the representative list of UNESCO will allow to ensure a

long-term cooperation between stakeholders in the issues of revival and

conservation of ICH, to raise interncultural exchange and awareness in

all level of society. This will also promote the definition and formation

of cultural policy with regard to traditional music of uzbeks, particularly

of Ferghana Katta Ashula and ICH in Central Asian region in general.


D. Navruz – Nationwide holiday of oriental people


Navruz, being an embodiment of intangible cultural heritage, is one of

the most ancient essential components of human culture. Anually, the

people, living in the present-day territory of Uzbekistan, celebrate

Navruz on 21-22 of March, whereby the holiday itself lasts for several

days. The latter is connected to the organization of traditional rituals

and customs before and after Navruz (ritual/rite in honor of the flower,

rite of the first furrow, feast of tulip, customs with regard to preparation

of ritualfood – sumalak (dainty), khalim, kuk samsa, kuk chuchvara

(green patties) etc.), entertainment and open air celebrations/popular

parades; bazaars are organized (where sweets, national food are sold),

fairs of folk crafts. During Navruz in the villages and mahallas a common

repast/meal on the occasion of holiday is organized. Folk singers and

musicians show their skills (folk songs and instrumental music,

associated with Navruz are heard everywhere), masters of spectacular

performances (rope walkers, kizikchi, puppeteers, maskharaboz,

askiyachi), dancers (solo and group dances), folk games are held –

children’s and adult’s games (kopkara-goat hunting, kurash – folk

wrestling, running/race, cockfight sheepfight and etc.). Navruz is

celebrated in all regions of Uzbekistan.

Navruz is the most significant attribute of traditional culture of people

of Uzbekistan, but also of the whole Central Asia. Navruz –

approachment of the New Year according to solar calendar. Everywhere,

where it is celebrated, it symbolized everlasting renewal of life. In the

past, during celebration of Navruz wars were ended, family quarrels

stopped and etc.

Navruz is the most brightest and colorful folk holiday of Uzbekistan.

Navruz, as the holiday of spring equinox and beginning of agricultural

(farm) work falls on the first day of farvardin month. Among the people

of Uzbekistan two types of Navruz became wide-spread: the first one is

stock-breeding or Chorva Navruzi, which is celebrated approximately

on 22 February and connected to the preparation of the live stock for

the spring-summer season; the second one is agricultural one or

Dekhon Navruzi, celebrated from 17 to 22 March and accompanied by


spring fieldwork. Ritual tradition of Navruz stems from antiquity and is

inseparably linked with almost all sides of traditional culture (rituals

and holidays, folk poetry, music, dance, folk games, spectacular

performances, folk crafts). It is connected to the renowation of the

nature, history and creativity of the people, environment, daily life,

labor and leisure of the society.

Navruz being ancient nationwide holiday for all people of Uzbekistan,

has been preserved and transferred orally from generation to

generation. Prominent scientist Al-Beruni in his treatise ‘Monuments of

the past generations’ (ХI century) wrote, that Navruz had been

celebrated for more than 3000 years ago.

Within this particular traditional culture it is possible to observe variety

of strata of history and creativity of people, starting from the ancientry

– ancient times (Avesto), the early and late Middle Ages (written

sources – treatises, oriental miniature) up to present days. Preservation

and viability of local traditions, customs, rituals, folklore, music,

choreography, traditional forms of crafts, folk games – these all are a

unique evidence about living cultural traditions of Navruz, which is

reflected in celebration of Navruz within the group (family circle), local

community (mahalla), central square of Tashkent (nation-wide) and in

all cities, regions, districts and villages of Uzbekistan; in distinctiveness

of masters-craftsmen, folk narrators, dancers, singers, rope walkers and

others, as well as in repertoires of family, folklore and instrumental

ensembles.

And significancy and uniqueness of Navruz is based on its surprising

integrity/preservation level, commitment and love of its bearers for

their own spiritual and cultural heritage and on display of cultural

diversity and creativity in all areas of human activity. Navruz reflects

different elements of historical development of culture and arts of not

only people of Uzbekistan, but also of the people Central Asia and the

whole Muslim Orient in general.

Materials on Navruz, a unique historical and cultural phenomenon, hold

much significance as the means for spiritual and inter-cultural exchange,

because its integrity/preservation and study allows uncovering the new

pages in correlation and interpenetration of social and cultural

phenomena of Central Asian people.


From the earliest times Navruz, along with its traditional feast

rituals/rites, deeply penetrated and took roots in everyday social life of

people of Uzbekistan and Central Asia.

Traditional rituals and rites, in the Ney Year’s eve start from the

appearance of buds in first spring flowers. And as soon as the first

flowers appear, groups of people, usually consisting of children and

youth, start to go around with the bunches of snowdrops,

blueflags/irises or tulips the houses of a village singing songs, dedicated

to the incoming of spring. Usually such walkings are called ‘gulgardoni’

(‘carrying of flowers’) or ‘boychechak’ (‘parade with snowdrops’). Hosts

of the houses invite the participants to their houses, take the flowers

and express their good wishes and make some gits for children. After

such parade people usually start their preparation for Navruz. Fifteen

days before the Holiday of Spirng, people couch the seeds of wheat or of

rosefinch, prepare festive and ritual meals, which mean the hope for a

rich harvest in the coming year. In order to start the holiday from the

good, people should have drunk fresh milk, breas and cheese. Besides,

indispensable attributes of such festive rituals were the fire (as a

symbol of great power, which has some special features, which is said to

help in achieving desired goals), water and items of white color (white

color symbolized the joy and purity, well-being and happiness, which

means wishing a good life; water played significant role in the lives of

people, therefore during the ritual perfusing with water each other

became traditional). There was also the following tradtition – on the

festive table in a mandatory manner there should have been seven

items or food types, the titles of which start from the letters as ‘sin’

(‘khaft sin’) – sabzi (a greenery, germinating seed), sabze (raisin), seb

(apple), sirko (wine vinegar), sandjit (dzhida), sumakh (barberry), sir

(garlic); or ‘shin’, for example, sharob, shirini, sham and etc; or ‘mim’,

for example, meva, may, magiz and etc. Number 7 pleyed very

important role in laying a festive table. It was already in ancient times,

that astronomers paid a special attention to the phases of the Moon,

which, every seven days, changes its position. Organization of field

works according to the phases of the Moon originates from this fact.

Prior to the incoming of Navruz, for the purpose of identification of the

future harvest cereals (crops) were planted sowed in a special vessel

(this habit exists as a symbol of good harvest in the coing year), cleaned

their houses thoroughly, whitewashed the walls of their houses, cleaned

the furniture; always dressed on the new and clean clothes. The ritual

included lighting a festive campfire in the evening, on the New Year’s


Eve, nearby of which they organized folk parades, sung festive songs

and had a good time/got entertained. Specially for Navruz people

prepared ritual dishes collectively and with participation of all

members of the community: women prepared a – ‘suamalk’ from the

sap of germinating seeds of the wheat and flour; ‘kuk samsa’ - green

(using different greenery) sambuses, patties; baked flat cakes and

different national wads/flour confectionery goods; whereas men

prepared ‘khalim’ - festive, ritual mush/ hot or cooked cereal from flour,

sprouted wheat and meat. Everywhere the main meaning of rituals and

customs in preparation of New Year related food and meals remained

the same: the main aim was the hope for a rich harvest, good health and

well-being of people. Furthermore, essential attributes of festive rituals

were fire/flame, water, and items of white color.

Another ritual associated with Navruz is the festival of first furrow,

which was celebrated depending on the climatic and seasonal

conditions in the middle or end of March. Prior to the making of ritual of

plough appearance nobody had the right to start the spring ploughing,

because it was considered that the rich harvest, abundance of moisture

for the fields depends on the luck of a ploughman, who underwent the

first furrow (until present this ritual was preserved in Surkhandarya

and Kashkadarya regions of Uzbekistan). In Boysun district of

Surkhandarya region there is a ritual called ‘Shokhmoylar’ (daubing

horns of a bullock), which is to some extent accompanied by the songs

and dances. In the ritual of making of first furrow magical and

symbolical (throwing pebbles or the piece of earth to the side of a

ploughman, daubing with oil the horns of a bullock, which helps to

protect against ‘evil eye’, fumigation with peganum (special type of

herb/grass) for calming all spirits) and game parts are interwoven. An

entertaining part prevailed in the second half of the holiday, which was

dedicated to amusement of the gathered and which includes some

games, songs and dances. The ritual is connected to the popular belief

about dying and reviving nature, the magic of the first day and faith in

good and joyful beginning, which gives a good energy for the whole year.

During Navruz in several places of Uzbekistan collectively (with

participation of all members of local community) were celebrated

birthdays and adulthood of boys of a village: it was the first ceremonial

appearance of a boy, his official acknowledgment as an equal member of

male’s group of the village. It should be noted, that the New Year

traditionally was the reference point for the age among the people of


Eastern and Central Asia: irrespective of the age of baby, with arrival of

of Navruz to his/her age one year was added.

The holiday of the first flowers such as snowdrop ‘Boychechak’, violets

and irises ‘Binafsha’, tulips ‘Lola’ is also connected to the wake of the

nature and beginning of fieldworks. These are the symbols of spring

renovation. They are also held with active participation of children and

youth, usually accompanied by games, songs and dances, visits to

houses with good wishes and giving presents.

The solemnity of Navrus was promoted by organization of different folk

games and entertainment (horse races – uloq, ot chopar; coptetitions -

козлодрание – kopkara, buzkashi, wrestling – kurash, gushtingir,

sheep-, cock fights and etc), enraptured with their performances rope

walkers, acrobats, comic actors, wisecrackers, puppeters.

With Navruz also rituals and customs associated with honouring the

departed are connected. According to a legend, with coming of Navruz

not only Nature revived, but also, as it is told among the folk: ‘the spirits

of the departed returned to the earth’. In some districts not the people

mourned for the departed and put food and drinks for them. In Bukhara

during Navruz holiday cocks were sacrificed, as it has been said, ‘a

sunny cock ‘, in memory of Siyavush, who was esteemed by the people

and symbolzed the forces of annually dying and reviving Nature. In

Shakhrisabz, in ancient times, the celebrations in honor of Navruz were

organized near blossomed trees, where two semicircles – one consisting

of women and another of men – united into one single festive circle,

inside of which folk dances and songs were performed (as a symbol of

peace and well-being). In Ferghana Valley on the eve of the holiday

upon sunrise tenagers went to the fields and mountains to collect/pluck

flowers. When they brought them, the adult usually took all flowers,

except for white ones, which were trampled down in earth. In the

morning akasakals, having seen the flowers – kisgaldok (poppies),

boychechak (snowdrops) and lola (tulips) announced about the coming

of Navruz. Men cut poplars, whereas women decorated the tree with

flowers. From the cut down tree stems large flame/bale-fires/a

campfire was lighted, which burned for several days. Around the

campfire folk games were conducted, instrumental music sounded,

songs and dances were performed. Women from young

germinating/sprounting clover grass, dandelion and mint and etc

prepared vitaminous ‘kuk samsa’, ‘kuk chuchvara’ and other things,


which were put on festive table. In the Kurganch village of Boysun

district the coming of Navruz was celebrated when the dawning

light/the first light appeared on the top or firtree/archa, which grew on

the peak of the highest mountain. Navruz, apart from everything else, is

a family holiday: during the holiday the juveniles visited their parents –

custom of respecting the older. At present representatives of local

community (mahalla) show respect to the older according to their age,

visit their houses, give presents for low-income and need families.

Special attention is given to orphanages mercy/megribonlik houses,

where by local communities, charitable public funds holidays are

organized, presents are given to the children, concerts are given with

participation of famous singers and musicians.

Main feature of Navruz and accompanied traditional rituals was music –

vocal (ritual related or non-ritual solo, collective/group, song-

instrumental) and instrumental (solo and ensemble, ceremonial, ritual

related and non-ritual). To present ceremonial/ritual folk songs as

‘Navruz’, ‘Navruz keldi’, ‘Muborakbod’, ‘Khokhmoylar’, ‘Sumalak’,

‘Boychechak’, ‘Binafsha’, etc, are preserved and performed, many of

which were included into the repertoire of family and folklore

ensembles, established in all regions of Uzbekistan. Each of songs is

distinguished with its own features, manner of singing, local traditions

which underly their historical development. Songs of Navruz were

included also into the repertoire of folk narrators/storytellers – baxshi,

shoirs and dostonchi. Until present were preserved some epic

legends/stories, dedicated to Navruz (Khorezm, Surkhandarya,

Kashkadarya, Samarkand). Historical development of traditional music

promoted the fact that on the basis of ritual songs/tunes/melodies of

Navruz, by masters were created samples of vocal and instrumental

music, which were included into larger vocal and instrumental maqom

cycles, as Bukhara ‘Shashmaqom’, cycle ‘Khorezm maqoms’ and

Ferghana-Tashkent maqoms. Among them there are ‘NAvruzi sabo’,

‘Navruzi khoro’, ‘Navruzi ajam’ and etc, which are distinguished by high-

level of professionalism and skill of performance,

development/sophistication of melos, complexity of form, oral nature of

existence and transfer/dissemination by the method of ‘Ustoz-shogird’

(‘Master-apprentice’).

During Navruz in all regions of Uzbkistan festive fairs are organized

dedicated to folk and artistic crafts – carpet manufacture, weaving,


embroidery, felting, ironwork, woodcarving, embroidery of traditional

national clothes and demonstration of musical instruments.

After gaining Independence, since 1992 nation-wide holiday Navruz is

conducted with participation of all regions and nations and nationalities,

residing/living in Uzbekistan. Different kinds of music are played,

dances and games are demonstrated. Exactly in Navruz it is possible to

observe a cultural diversity and creativity of all people of the republic,

and it promotes mutual respect of all people, their live in harmony and

care of own cultural heritage. Exactly during Navruz holiday

preservation and succession/continuity of traditions is observed, their

local and national manifestations, which in many ways develop modern

cultural process. In them ideas, aspirations, life experiences of our

ancestor, consciousness and world outlooks of the people, their

spiritual and moral world are embodied. Though, many folk dances and

songs are used by the members of folklore ensembles in a slightly

transformed form. Here rises the question about thedisappearence of a

number of traditions. And the problem of their preservation to a large

extent is related to the revival of ancient traditions of rituals and

customs, folklore genres, several forms of artistic crafts. In this regard

revival of Navruz holiday, its thorugh study, preservation and further

use will defenitiely promote the wakening of new life, its well-being,

peace and good, fertility and generosity, friendship and cultural

dialogue among the nations.

At the turn of two centuries in Uzbekistan takes place an active re-

evaluation of own material and spiritual values, reconsideration of the

events of the past, search for the ways, enabling fully uncover the

possibilities of the human personality. In this sence, Navruz, as a form of

intangible cultural heritage, represents incalculable value, in which all

types of musical and poetical, spectacular and dancing arts/creativity,

traditional crafts, folk rites and rituals and holidays of the people of

Uzbekistan are concentrated. Withi it perfect samples of artistic

creativity of people were polished for ages, the most effective

approaches to solving many creative problems were tested, all of which

ensured broader formation of the concept of ethnocultural identity

based on the rise of selfconciousness of peoples, ideas of revival of

national cultural heritage.


2) Relevant events

In the middle of the ХХ century in Uzbekistan Navruz was celebrated

only in within some groups or communities. In the 80s there even were

efforts to change the name of ‘Navruz’ to ‘Navbakhor’. Only by 1989 a

decision was made on celebration of Navruz and in 1991, the decree of

the President of Uzbekistan on revival of Navruz as a nationwide and

state holiday was made. Since then, starting from 1992 it has been

annually celebrated in all regions of the country with participation of

representatives of all nations and nationalities, living in Uzbekistan.

The government of Uzbekistan intitate in connection to this several

state, international and public projects, particularly oriented to the

revival of Navruz holiday in all regions of Uzbekistan, which included

the attraction of all communities, groups, persons, traditional folklore

ensembles, professional groups, accompanied by demonstrations of

products of applied folk art, scenic performances of folk-spectacular

creativity, wich helped to stimulate preservation of folk rituals and

customs, traditional music, dance, folk games.

The risk of disappearance of Navruz predetermined the future actions –

they were directed at reviva, protection and development of it. Its

future in many ways will depend on how being revived cultural

traditions as well as new scientific researchers on Navruz will be

interpreted or perceived The idea of reviving Navruz was initiated by

the government of Uzbekistan, its communities and groups. For this

purpose by the Ministry of Culture and Sports, with permanent support

by regional and district khokimiyats as well as public funds as

‘Makhalla’, ‘Oltin Meros’, ‘Forum of Culture and Art of Uzbekistan’ youth

social movement ‘Kamoloy’ annually different republican-level and

international projects, competitions, festivals, fairs, wxhibitions are held,

dedicated to all forms and types of traditional culture (poetry, music,

theatre, choreography, folk games, traditiona rituals, artistic crafts). It is

necessary to note the activity of Republican scientific and

methodological Center for folk art, which practically deals with

organization of folklore, family and maqom ensembles on sites. It

provides with methodological support, attracts the oldest bearers of

traditions, works on organization of Republican and International level

competitions and festivals, competitions, seminars/workshops and

conferences dedicated to all types and genres of musical, spectacular,

dancing and applied art/creativity.


The work is continued on collection, musical notation/note recording

and scientific research of the samples/examples of intangible cultural

heritage by research institutes of the Academy of Sciences and Academy

of Arts of Uzbekistan, particularly by the Institute of Art Studies and

Instutte of Language and Literature (of Academy of Sciences), which

deal with collection, storage, research and publication of scientific

works, collections, anthologies of folk art, atlases of artistic crafts and

musical instruments, works of folk epics and maqom art. In recent years

appeared scientific works dedicated to the history of Navruz, different

forms of organization of the holiday, traditional types of culture; films,

audio and video disks (U. Koraboev. Holidays of Uzbekistan; R.

Abdullaev. Ritual and music; M. Juraev. Navruz bayrami (Navruz

Holiday); Ozbek mavsumiy marosim folklori (Seasonal ritual folklore of

uzbeks); Film ‘Navruz’, produced by Uzbektelefilm on initiative of the

National Commission of Uzbekistan for UNESCO and etc).

Forms and genres of intangible cultural heritage were introduced into

the system of education by the government of Uzbekistan. This is

reflected in the Law ‘On Education’, ational Programme for Personnel

Training. Into educational process were introduced traditional

performance, knowledges and skills related to applied folk arts

(ceramic/pottery, ironwork, woodcarving, ganch carving, production of

musical instruments, designing and modelling traditional costumes).

Competitions are held among young performers, exhibitions are

organized, demonstrating the products of masters of applied folk arts.

For the purpose of teaching the youth the bearers of traditions of

intangible cultural heritage are invited on sites.

In the process of revival of Navruz, its annual celebration all

communities, groups and persons take part in Uzbekistan. It is they,

who actively participate in organizations of all Navruz related activities.

In this process all state agencies, bodies and non governmental

organizations are involved. In Uzbekistan charitable public fund ‘Navruz’

was created, which organizes different events, provides support, helps

in preservation of Navruz traditions in the regions. On sites, the

celebration of Navruz is mainly provided by local authorities and public

organizations and funds. State television, commercial television and

broadcasting frequently inform about the preparation and celebration

of Navruz holiday. State and local press as well as public bodies actively

participate in advocation and popularization of Navruz.



Intangible cultural heritage, as Navruz, is an essential part of artistic

performance culture of the present, and its distinctive attribute. Its

preservation broadly depends on the strategy of cultural policy of the

state – i.e. on development of goal-oriented educational programmes,

attraction of necessary funds and innovations, implementation of all

possible international projects and grants. Preservation of cultural

objects stands at the level of state policy in Uzbekistan. Indication of the

above-mentioned is ratification of UNESCO Convention of 2003 on

‘Safeguarding of the intangible cultural heritage’ by Uzbekistan in

November 2007 and adoption of the Law ‘On preservation of Cultural

Heritage’.

Main measures, which help to preserve Navruz, one of the forms of

intangible cultural heritage:

Decree on revival of Navruz (1989) as the nation-wide and state

holiday, and on its annual celebration in all regions of Uzbekistan;

Incentives for all kinds and genres of traditional culture, which are

included into Navruz;

Launching several projects, addressing the development of

intangible cultural heritage;

Making an inventory of Navruz by means of collecting, recording,

researching and practical mastering;

Interpretation of all types of arts, promoting Navruz; necessity for

their revival, recreation/reconstruction in their pure form and

consequent preservation;

Active revival of traditional technologies and artistic forms of folk

art, tax excemptions for artistic crafts;

Introduction of forms and genres of intangible cultural heritage

into the education system; establishment of departments

specializing in traditional performance in the field of music,

choreography, knowledge and skills development in applied and

spectacular arts in colleges and HEIs;

Preparation of the database on Navruz; cataloging and

documenting; publication of corresponding materials and research

outputs dedicated to Navruz;

Activities/actions of government bodies together with public funds

on preservation and succession/continuity of Navruz traditions.


Indeed in Uzbekistan efforts are made to preserve and safeguard

intangible cultural heritage, conditions are created for their

implementation.

Nowadays traditional culture is some kind of legendary Atlantis, which

is in our eyes goes down under water and it is necessary to stop or at

least to record its existence. In this respect efforts made by one country

are not enough. Only through active collaboration of scientists, masters-

bearers of traditions of other, neighbouring countries it will be possible:

to record or when needed to reconstruct the full picture of

efunctiioning all forms of intangible cultural heritage;

to research the character of its existence in modern life. This

includes an analysis the forms of negative transformations (loss of

old traditions of intangible cultural heritage, eclecticism);

to develop a programme on preservation of peculiarity/originality

of aesthetics of traditional culture of any nation or ethnos of

countries of the region;

to establish a database on the basis of expansion/widening of

initial materials, presented by organizations and experts.

Navruz is a part of intangible cultural heritage of Uzbekistan, which

enjoys a large-scale popularity among the population of the country.

And preservation of this heritage is a part of the state programme. This

programme includes the study, advocacy, revival and transfer of

traditions by means of:

organization of expeditions to collect data on sites, which will be

closely connected to future creation of database on all issues of

preservation (archiving, inventory making, doccumenting);

publication of some scientific works on the history of Navruz,

publication of scientific expedition outcomes;

preparation and production of audio and video tapes and disks on

celebration of Navruz on sites taking into account local traditions

and features of organization of traditional rituals and customs;

attraction of the youth to learning and preservation of Navruz, its

traditional forms, a large-scale advocacy of the holiday by means of

mass media;

organization of traditional competitions and contests on all types

and forms of folk arts, included into the nomination list of

intangible cultural heritage.


Navruz was included into the list specified by the law ‘On preservation

of objects of cultural heritage’ and this is one more evidence of an

important agreement among the communities of Uzbekistan that

Navruz is a masterpiece of intangible cultural heritage.

By the government of Uzbekistan an idea of creation of public fund

‘Navruz’ was supported, the main aim of which is the revival and

preservation of Navruz related traditions, material support, active

participation in its popularization among the population. The

programme ‘Navruz’ is a part of state programme of Uzbekistan

directed at revival and safeguarding of intangible cultural heritage. It is

executed in close cooperation with national, governmental, specialized,

non-governmental and local public organizations and funds on local,

republican and international levels. The development of a long-term

strategy on revival, further preservation, protection and development of

this unique holiday will promote the development and improvement of

transfer of cultural traditions, and in general to revival and preservation

of appropriate strata intangible cultural heritage of Uzbekisеan.

Therefore, inclusion of this particular element into the representative

list will allow ensuring long-term cooperation among all parties

involved in the issues of preservation and conservation of intangible

cultural heritage, increasing interncultural exchange and awareness in

all levels of the society. This also will promote defining and forming of

cultural policy with regard to intangible cultural heritage in Central

Asian region.

V. The Intangible Heritage List of UNESCO · 2018-11-26 · 68 | Intangible Cultural Heritage...

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