...and in Khiva
traditional meets ...hmmm less traditional? Let's hear...
Contemporary Uzbek rhythms...
Interested in more? Just click here... The Uzbek music
Central Asian classical music is called shashmaqam, which arose in Bukhara in the late 16th century when that city was a regional capital. Shashmaqam is closely related to Azeri mugam and Uyghur muqam. The name, which translates as six maqams refers to the structure of the music, which contains six sections in different musical modes, similar to classical Persian music. Interludes of spoken Sufi poetry interrupt the music, typically beginning at a low register and gradually ascending to a climax before calming back down to the beginning tone.
Endurance of listening and continual audiences that attend events, such as bazms or weddings, is what makes the folk-pop style of music so popular. The classical music in Uzbekistan is very different than that of the pop music. Mostly men listen to solo or duo shows during a morning or evening meeting amongst men. Shash maqam, which is the main component of the classical genre of music. The large support of the musicians came from high class families, which meant the patronage was to be paid to the Shash maqam above all things. Poetry is where some of the music is drawn from. Those that perform the pieces are fluent in speaking both Uzbek and Tajik. In some instances of the music the two languages are even mixed as one in the same song. In the 1950s the folk music became less popular, and the genre was barred from the radio stations. They didn’t completely dispel the music all together, although the name changed to "feudal music". Although banned, the folk musical groups continued to play their music in their own ways and spread it individually as well. Many say that it was the most liberated musical experience in their lives.
Uzbek Dances
Dances connected with everyday life, religious rites, and holidays have existed since ancient times among the peoples inhabiting Central Asia, as indicated by drawings on rock walls depicting dancing figures.
Professional dancers from Samarkand, Bukhara and Tashkent were widely known in many states of the East between the fourth and eighth centuries B.C. Historical chronicles refer to the popularity and high level of development of dance between the 9th, 12th, 14th and 16th centuries.
Contemporary Uzbek dance has many genres, forms, and schools, including the classical Uzbek dances. In contrast to the classical dances of other peoples of the East, which mainly tell stories by means of gestures, facial mimicry, and pantomime, Uzbek classical dance is devoid of concrete imagery; the dance movements themselves express emotions. Classical Uzbek dances deal with generalized themes and emotions, for example, happiness and grief, joy and sorrow, life, death and delight and the beauty of nature and grandeur of the elements. Uzbek folk dances, which deal with themes of labor and war, also use the movements of the classical Uzbek school.
Uzbek classical dance eventually formed three schools, those of Fergana, Khorezm and Bukhara, each of which had its own dance expression, as well as a developed system of training. The Fergana school, because of historical conditions, was however the most highly developed. Despite the high level of professional dance, by the beginning of the 20th century Uzbek folk dance had nearly ceased to exist, since it was prohibited by Islamic edicts. Dance continued to develop only among professionals, who danced in solo performances, while the common people did not dare dance, even on national holidays.
In 1918, Uzbek national dance began its transformation into a practically new folk art. In 1923, Kari Jakubov formed a troupe including well known musicians and the young dancer Tamara Khanum.The first Traveling ethnographic troupe, organized in 1926, included well known musicians, singers, and dancer choreographers. In 1928 the troops made up the core of the first experimental musical drama. The new genre of stage dance, later gained wide recognition. The theatre also operated a studio. The Uzbek Song and Dance Ensemble, established in Tashkent in 1936, assimilated the best traditions of folk and classical Uzbek choreography; known as Shodlik. The Bakhor Ensemble, directed by M. Turgunbaev, was founded in 1957, and the Liazgi Khorezm Song and Dance Ensemble, directed by People's Artist of the Uzbekistan G.A. Rakhimova, was established in 1958.
