O‘ZBEK MILLIY RAQSLARINING TURLARI VA JANR XUSUSIYATLARI

KIRISH: mazkur maqolada o‘zbek milliy raqs san’atining shakllanishi, rivojlanishi hamda uning turlari va janr xususiyatlari ilmiy-nazariy jihatdan tahlil qilinadi. Xalq raqslari xalqning tarixiy taraqqiyoti, turmush tarzi, urf-odatlari va estetik qarashlari bilan uzviy bog‘liq holda ko‘rib chiqiladi. Maqolada o‘zbek milliy raqslarining hududiy maktablari, harakatlar tizimi, plastika, ritmik tuzilma va badiiy ifoda vositalari tahlil qilinadi. Shuningdek, raqs janrlarining tasnifi, ularning sahnaviy talqini va zamonaviy xoreografiya bilan aloqadorligi yoritib beriladi. Tadqiqot natijalari o‘zbek milliy raqs san’atini o‘rganish, saqlash va rivojlantirishda ilmiy-amaliy ahamiyatga ega. MAQSAD: xoreografiya – raqs san’ati va uning ijodiy ifodasi bilan shug‘ullanuvchi soha bo‘lib, dastlab raqsni maxsus belgilar yordamida qayd etish ma’nosida qo‘llangan. Vaqt o‘tishi bilan, xususan XIX asr oxiri – XX asr boshlaridan, “xoreografiya” atamasi keng ma’noda butun raqs san’ati va balet teatrini ifodalash uchun qo‘llanila boshlandi. Maqolada ushbu masalani ochish maqsad qilingan. MATERIALLAR VA METODLAR: tarixiy-tahliliy metodi – milliy raqslarining kelib chiqish tarixi, shakllanish bosqichlari va taraqqiyot jarayonini o‘rganishda qo‘llaniladi. Tavsifiy metod – milliy raqs turlari (Farg‘ona, Buxoro, Xorazm maktablari) va ularning janr xususiyatlarini batafsil bayon etishda ishlatiladi. Taqqoslash metodi – raqs maktablari va janrlar o‘rtasidagi umumiylik va farqli jihatlarni aniqlash, ularning uslubiy xususiyatlarini solishtirish uchun qo‘llanadi. Kuzatuv metodi – sahna va folklor ijrolarini bevosita kuzatish orqali raqs harakatlari, plastikasi, mimikasi va ifoda vositalarini tahlil qilishda foydalaniladi. MUHOKAMA VA NATIJALAR: an’anaviy xoreografiya esa xalqning azaliy raqs madaniyati, marosim va urf-odatlar bilan bog‘liq raqs harakatlari tizimini qamrab oladi. O‘zbekistonda raqs asrlar davomida og‘zaki an’ana tariqasida yashab kelgan, lekin yozib qo‘yish amaliyoti bo‘lmagani uchun ko‘plab mumtoz va xalq raqslari unutilib ketgan. Shu bois an’anaviy raqs san’ati mazmunan folklor va og‘zaki ijrochilikka tayanadi – har bir harakat va usul avloddan-avlodga ustoz–shogird an’analari orqali o‘tgan. XX asr boshlarida bu boy merosni ilmiy o‘rganish va sahnaviy qayta tiklash jarayonlari boshlandi. An’anaviy xoreografiyada har bir raqs estetik tuyg‘ular va ma’naviy mazmunni ifoda etuvchi obrazlar yaratadi. Raqs estetikasi asosan nafis qo‘l-oyoq harakatlari, gavdani egish-qayirish, yelkalarni qoqish, barmoq va kaft ifodalari hamda yuz mimikalariga tayanadi. Masalan, Farg‘ona raqslariga mayin va lirika ohang, Xorazm raqslariga esa o‘tkir ritmik harakatlar, yelka va kaftlarning titrashi xosdir. An’anaviy raqs xalq raqslari asosiga ega bo‘lib, har bir viloyat va mintaqada o‘ziga xos uslubiy maktablar shakllangan (masalan, Buxoro, Xorazm, Farg‘ona raqs maktablari). Ushbu hududiy uslublar bir-biridan harakatlar xarakteri, ijro uslubi, temp va kostyumlar orqali ajralib turadi. Sahnalashtirish xususiyatlari esa milliy raqslarni zamonaviy sahnaga olib chiqishda namoyon bo‘lgan: har bir an’anaviy raqs sahnada teatrlashtirilib, kompozitsion tuzilishga keltirildi. XX asr boshlarida ilk sahna raqslari paydo bo‘lib, mumtoz raqslar baletmeysterlar tomonidan qayta ishlanib, professional chiqishlar shaklini oldi. XULOSA: an’anaviy raqs san’ati bir necha asosiy turlarga bo‘linadi. Xalq raqslari – xalq ijodiyoti mahsuli bo‘lgan, avlodlar davomida sayqallanib kelgan ommaviy raqslardir. Raqs san’ati yaralgan ilk davrlardan xalq raqsi uning asosiy janrlaridan biri bo‘lib qolgan; qadimdan shakllanib, xalq hayoti, turmushi va mehnatining ajralmas qismiga aylangan. Xalq raqslari odatda biror urf-odat yoki bayram doirasida jamoaviy ijro etiladi. Masalan, “Lapar” va “Yalla” singari qo‘shiq-raqslar to‘y va sayillarda ayollar tomonidan ijro etilib, mehnat jarayonlari yoki maishiy mavzularni kuylaydi. Xalq raqslari erkin improvizatsiyaga boy bo‘lib, raqqoslar ko‘pincha o‘z ijodiy harakatlarini joyida to‘qib ijro etadilar. Shu bois har bir voha va elatning xalq raqsi harakatlari va usullari o‘sha yurtning tabiatiga, xalq fe’l-atvoriga mos ohang va ritmga ega. Misol uchun, Xorazmning “Lazgi” raqsi misolida ko‘rish mumkinki, u tabiat hodisalari va inson kechinmalarini harakat bilan aks ettiruvchi, tabiiy improvizatsiyaga boy raqsdir. Xalq orasida sevimli Andijon polkasi esa xalq cholg‘u kuyi asosida yuzaga kelib, rus va mahalliy usullar uyg‘unlashgan sho‘x raqs turidir. Xalq raqslari hayotiyligi, soddaligi va jo‘shqinligi bilan ajralib turadi hamda milliy raqs estetikasi asosi bo‘lib xizmat qiladi. Professional raqslar – maxsus tayyorgarlikka ega ijrochilar tomonidan sahna yoki saroylarda ijro etiladigan raqs turlari. Tarixan Markaziy Osiyoda ba’zi raqslar saroy ahliga va xalq tomoshalariga xizmat qiluvchi usta raqqoslar tomonidan ijro etilgan. Masalan, Buxoro amirligi davrida raqqosalar va “bacha” raqqoslar (yosh o‘g‘lonlarni ayol libosida raqs ijro etish an’anasi) saroy bazmlarini o‘zgacha professionallik bilan bezaganligi ma’lum. Bunday raqqoslar raqs harakatlari puxta o‘rgatilgan bo‘lib, an’anaviy xalq usullarini mukammal egallagan “usulchi” ustozi qo‘l ostida tayyorlangan. Usta Olim Komilov kabi o‘zbek mumtoz xoreografiya bilimdonlari aynan shu usulchilarning mashaqqatli mehnati bilan xalq raqslarining nazariy asoslarini tizimlashtirganlar.

INTRODUCTION: this article provides a scientific and theoretical analysis of the formation, development, types, and genre characteristics of Uzbek national dance art. Folk dances are examined in close connection with the historical development of the people, their way of life, customs, traditions, and aesthetic views. The article analyzes regional schools of Uzbek national dance, the system of movements, plasticity, rhythmic structure, and means of artistic expression. It also highlights the classification of dance genres, their stage interpretation, and their relationship with contemporary choreography. The results of the study have scientific and practical significance for the study, preservation, and development of Uzbek national dance art. AIM: choreography is a field engaged in dance art and its creative expression; initially, the term was used to denote the recording of dance movements using special symbols. Over time, particularly from the late 19th to the early 20th century, the term “choreography” began to be used in a broader sense to represent the entire art of dance and ballet theatre. The purpose of this article is to explore this issue. MATERIALS AND METHODS: the historical-analytical method is applied to study the origin of national dances, their stages of formation, and the process of development. The descriptive method is used to provide a detailed account of national dance types (Fergana, Bukhara, and Khorezm schools) and their genre characteristics. The comparative method is employed to identify similarities and differences between dance schools and genres, as well as to compare their stylistic features. The observational method is used to analyze dance movements, plasticity, facial expressions, and expressive means through direct observation of stage and folklore performances. DISCUSSION AND RESULTS: traditional choreography encompasses a system of dance movements associated with the people’s ancient dance culture, rituals, and customs. In Uzbekistan, dance existed for centuries as an oral tradition; however, due to the absence of written documentation practices, many classical and folk dances were forgotten. Therefore, traditional dance art is content-wise based on folklore and oral performance — each movement and technique was transmitted from generation to generation through the master–apprentice tradition. At the beginning of the 20th century, processes of scientific study and stage reconstruction of this rich heritage began. In traditional choreography, each dance creates images that express aesthetic feelings and spiritual content. Dance aesthetics are mainly based on graceful movements of the hands and feet, bends and curves of the body, shoulder movements, expressive use of fingers and palms, as well as facial expressions. For example, Fergana dances are characterized by softness and lyrical qualities, whereas Khorezm dances feature sharp rhythmic movements and vibrating shoulders and palms. Traditional dance is rooted in folk dance, and distinctive stylistic schools have formed in each region and area (such as the Bukhara, Khorezm, and Fergana dance schools). These regional styles differ in the character of movements, performance manner, tempo, and costumes. Staging features emerged as national dances were brought onto the modern stage: each traditional dance was theatricalized and structured compositionally. In the early 20th century, the first stage dances appeared, and classical dances were reworked by choreographers, taking the form of professional performances. CONCLUSION: traditional dance art is divided into several main types. Folk dances are mass dances created by the people and refined over generations. Since the earliest periods of dance art, folk dance has remained one of its principal genres; it was formed in ancient times and became an integral part of people’s life, daily activities, and labor. Folk dances are usually performed collectively within the framework of specific customs or celebrations. For instance, song-dance forms such as “Lapar” and “Yalla” are performed by women at weddings and festivities, depicting labor processes and everyday themes. Folk dances are rich in free improvisation, and dancers often create their movements spontaneously during performance. Therefore, the movements and techniques of folk dances in each region and ethnic group possess rhythms and intonations that correspond to the local nature and national character. For example, the Khorezm dance “Lazgi” is a dance rich in natural improvisation that reflects natural phenomena and human emotions through movement. The popular Andijan polka, which emerged based on folk instrumental music, is a lively dance that harmoniously combines Russian and local elements. Folk dances are distinguished by their vitality, simplicity, and dynamism and serve as the foundation of national dance aesthetics. Professional dances are types of dances performed on stage or in palaces by specially trained performers. Historically, in Central Asia, certain dances were performed by master dancers who served the royal court and public spectacles. For example, during the Bukhara Emirate, female dancers and “bacha” dancers (a tradition in which young boys performed dances in female costumes) adorned palace festivities with exceptional professionalism. Such dancers received thorough training under the guidance of master “usulchi” teachers who had mastered traditional folk techniques. Prominent figures of Uzbek classical choreography, such as Usta Olim Komilov, systematized the theoretical foundations of folk dance precisely through the diligent work of these masters.