V. The Intangible Heritage List of UNESCO...Boysun as a unique object of historic-cultural heritage...
Transcript of V. The Intangible Heritage List of UNESCO...Boysun as a unique object of historic-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.
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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
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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
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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.
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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:
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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
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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.
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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
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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
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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:
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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
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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
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(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
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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.
82 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
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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
84 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
The Intangible Heritage List of UNESCO | 85
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
86 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
The Intangible Heritage List of UNESCO | 87
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
88 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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.
The Intangible Heritage List of UNESCO | 89
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
90 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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,
The Intangible Heritage List of UNESCO | 91
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.
92 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
B. Shashmaqom
1) Heritage information
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
The Intangible Heritage List of UNESCO | 93
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
94 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
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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
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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
The Intangible Heritage List of UNESCO | 97
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
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‘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
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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’.
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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.
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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
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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
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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
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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
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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.
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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.
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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
108 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
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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
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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.
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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,
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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
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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
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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
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‘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
116 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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.
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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.
118 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
The Intangible Heritage List of UNESCO | 119
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
120 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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.
The Intangible Heritage List of UNESCO | 121
C. Katta Ashula (high-pitched song, great song)
- A unique heritage of song performance of Uzbekistan
1) Heritage information
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.
122 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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),
The Intangible Heritage List of UNESCO | 123
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.
124 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
The Intangible Heritage List of UNESCO | 125
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
126 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
The Intangible Heritage List of UNESCO | 127
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
128 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
The Intangible Heritage List of UNESCO | 129
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
130 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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,
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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
132 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
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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
134 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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.
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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).
4) Safeguarding measures
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
136 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
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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
138 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
The Intangible Heritage List of UNESCO | 139
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.
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D. Navruz – Nationwide holiday of oriental people
1) Heritage information
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
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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.
142 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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
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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
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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,
The Intangible Heritage List of UNESCO | 145
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,
146 | Intangible Cultural Heritage Safeguarding Efforts in Uzbekistan
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.
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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.
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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.
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3) Safeguarding measures
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.
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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.
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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.