Bahor Ensemble. Ensemble "Bakhor"
BAHOR BAHOR
"BAHOR" them. M. Turgunbayeva, folk dance ensemble of Uzbekistan. Organizer and artistic director(1957-78) M. Turgunbaeva, since 1979 artistic director of K. Mirkarimova.
encyclopedic Dictionary. 2009 .
See what "BAKHOR" is in other dictionaries:
Folk Dance Ensemble named after M. Turgunbayeva (Uzbekistan). Organizer and artistic director (1957 78) Turgunbaeva, since 1979 artistic director K. Mirkarimov ... encyclopedic Dictionary
fringe- choir, h. Ave. Naughty child, fast, fastidious child ... Glossary of Lemkiv speaking
- (Firuz Bahor Akhmedov), Tajik composer. 1974 A tiger is required (see REQUIRED A TIGER) 1975 Brief meetings in a long war (see BRIEF MEETINGS IN A LONG WAR) 1977 Who will go to Truskavets (see WHO WILL GO TO TRUSKAVETS) 1982 Today and always (see ... ... Cinema Encyclopedia
Ensemble of folk dance of Uzbekistan. Organizer and artistic director (1957 78) M. Turgunbaeva, since 1979 artistic director K. Mirkarimova ... Big Encyclopedic Dictionary
Hotel Bakhor- (Samarkand, Uzbekistan) Hotel category: 2 star hotel Address: N. Yakubova street, 2, 140100 Sam … Hotel catalog
- (Republic of the Soviet Socialist Republic of Tojikiston) Tajikistan. I. General information The Tajik ASSR was formed on October 14, 1924, as part of the Uzbek SSR; October 16, 1929 transformed into the Tajik SSR, December 5, 1929 ... ...
Do not shoot at the pass! ... Wikipedia
- (Uzbekistan Council of the Socialist Republic) Uzbekistan. I. General information The Uzbek SSR was formed on October 27, 1924. It is located in the central and northern parts of Central Asia. It borders in the north and northwest with the Kazakh SSR, in the south ... ... Great Soviet Encyclopedia
The origins of the Tajik music cultures go back centuries. This is evidenced by archaeological or T. monuments, lawsuit in the east. miniatures, as well as treatises on music that have come down to us. Preserved glorifying mythic. heroes of hymns from lit. monument... ... Music Encyclopedia
- "DO NOT SHOOTING ON THE PASS", USSR, Tajikfilm, 1983, color, 71 min. Heroic adventure film. The action of the picture takes place in the 1920s. One of the mountain passes of Tajikistan, which is an important strategic object, controls the Basmachi ... ... Cinema Encyclopedia
Books
- Composer - a wonderful profession, Geyser E., Bakhor F.. Is it easy to become a composer? Is it easy to be them in a small mountain country on the outskirts former USSR? How to write modern music without losing touch with the folk tradition? Is it easy to succeed when…
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Features of the dance compositions of the ensemble
"Bahor"
In 2013, Uzbekistan celebrates the 100th anniversary of the birth of Mukarram Turgunbayeva. A great, truly folk dancer, choreographer-reformer, teacher - Mukarram Turgunbayeva was an artist of great creative scope! The activities of M. Turgunbayeva focused several phenomena into a whole cultural development of its time and was of decisive importance in the evolution of the national choreographic art.
The teachers of M. Turgunbayeva were true masters - Usto Alim Kamilov, Tamara Khanum, Yusup Kyzyk Shakardzhanov. Under their leadership, in the late 20s, the young Mukkaram began her performing career. In 1935, she began working as a choreographer, staging dance scenes in opera performances and musical dramas. In an intensive multi-year artistic work gradually formed a holistic choreographic concept of folk stage dance. The dance group for women, organized in 1957, allowed the talented choreographer to translate into reality a long-ripened creative project creation of an ensemble of folk-stage mass dance. Long before the creation of the Bakhor collective, Turgunbayeva "began to seriously comprehend the laws of creating stage dances, began to fix various dance elements, describe and sketch costumes."
In the past, folk dances existed in solo versions. There are no mass folk dances in any local school in Uzbekistan. But dance games, folk dance performances, processions with the simplest dance designs took place during calendar and labor holidays, such as "Lola zor", "Sayil god", "Khirmon toi" and others. and Makailika Muhammadjon, folk and folk-professional dances begin to be demonstrated on the stage. Folk stage dance got its development in the activity of the Ethnographic Ensemble (1926-1929), headed by Mukhiddin Kary-Yakubov. Usto Olim Kamilov, Tamara-Khanum, Gavkhar Rakhimova, Isahar Akilov made their great contribution to the development of the new genre. Stage mass dance and plot scenes immediately organically merged into the style of traditional classical Uzbek dance.
The idea of creating a big dance group in the cultural format of a huge multinational country was not new. Since the 1930s, in many republics and regions Soviet Union organized folklore ensembles. The task of creating a mass dance in the regions where the traditions of the collective movement served as the foundation of the national choreographic culture had an adaptive character. The rethinking of Uzbek dance into a mass stage genre was much more problematic, since the traditional existence of folk dances was of a solo improvisational form. “In the traditional dance there were no round dances, no chains, no lines, especially paired compositions. M. Turgunbayeva, like her predecessors, pioneers of Uzbek stage choreography, turned to the traditions of mass dances of the peoples of the Soviet Union, using many widely famous constructions". In addition to the universal form of round dance, the Slavic folk dance includes a figured square dance, gambling dances and story dances-games. In the culture of Azerbaijan, which is close to us in terms of traditions and customs, one can also see many examples of ensemble choreography. Among them are the women's round dance "Gytgylyda", the men's dance "Jangi", the songs-games "Caravelli", "Kes-kesa", "Gyulashme". The transposition of everyday forms onto the stage, of course, determined a number of significant transformations that manifested themselves primarily in the theatricalization of the genre. The stage angle dictated such parameters as the frontality of the composition, the figurative relief of the thematic, the lapidary plastic touch.
In comparison of solo performance with ensemble forms, already from the initial positions, profound difference means of expression. The freedom of action, the uniqueness of the individual statement make it possible to achieve in solo forms a vivid characteristic of the artistic image. The improvisation inherent in solo performance and the elemental and playful beginning make it possible to capture the finest nuances, as well as the formation and addition of new performing strokes directly in the process of performance, arising from the context of a momentary situation. Deprived of the triumph of the individual, mass dance contains a huge potential for its artistic possibilities. Spectacular pictorial and visual means, the spatiality of shaping, the tectonics of multifaceted plastic structures, the deployment of dance movements in a mobile dynamic process fill the semantic pulse with new content and expand the genre range of dance forms.
The adaptation of the Uzbek folk dance to a mass stage dance required not just adaptation, but a qualitative rethinking. “In order to stage Uzbek stage dance in mass compositions, a different approach to the interpretation of traditional material was needed, not similar to the method of stage interpretation of folk dances in Europe.”
In history classical choreography the mass dance has passed its own, clearly defined evolutionary path. In the early ballets de cour, "couriers in identical masks were arranged around the king and queen, like pieces on a chessboard." Starting from the 16th century, one of the favorite forms of court ballet was the figure dance, which involved a significant number of performers. In a remarkable study by V. Krasovskaya, a description of a festive spectacle staged in 1573 at the court of Catherine de Medici is given: “The ladies got off the chariot and lined up in bizarre battalions. To the sounds of the orchestra, they approached the king, observing the cadence and never breaking it. Then they danced an artfully conceived ballet with many twists and turns, lines folded and unfolded, weaves and minglings, advances and stops. Almost two centuries later, the great reformer of choreography, J. J. Noverre, expels symmetry from mass compositions. Instead, he offers a free ensemble, subordinating the dance action to the laws visual arts. Already in his first productions, such as " Chinese holiday"(1753), "The Fountain of Youth" (1754), "Flemish Amusements" (1755), he departs from the stylistic norms of ballet de cour, breaking the strict squareness, frontality and symmetry of the geometric pattern of figured dance. At the end of the 19th century, the outstanding Russian choreographer L. Ivanov approved a new choreographic form mass compositions classical ballet. In the ingenious second act of Swan Lake, L. Ivanov's corps de ballet expressed in his laconic, but infinitely ambiguous plastic phrases general idea works, symbolizing the generalized poetic metaphor of Tchaikovsky's ballet by the extreme conventionality of the dance pattern.
Creatively refracting the achievements of world choreography, using stabilized forms of choreographic tectonics, Turgunbaeva forms her own artistic content. In the semantic fan of mass dances "Bakhora" the harmony of astral figure dances, the picturesque depiction of the "early" Noverre and the metaphoricalness of L. Ivanov continue.
The Uzbek mass stage dance began its formation in the bowels of the musical drama theater, where he became one of the important expressive components of the performance. Theatrical dance was connected both in content and form with the entire artistic fabric of musical drama. The performances of Mukarram Turgunbayeva acquire their own artistic significance, embodied in the integrity of a complete dance composition. Meaningful dramaturgy, poetic metaphorism, enriched associative and figurative vocabulary of folk dance determine the choreographer's concept of M. Turgunbayeva.
Each of the numerous productions of "Bahor" contains its own compositional features. The Fergana cycle "Katta uyin" becomes the genre and stylistic prototype of many dances. Strict proportionality of plastic phrases, symmetry of constructions, pithiness of plastic thematics in M. Turgunbayeva’s choreographic compositions “Katta uyin”, “Makom ufori”, “Zang” place them in the same semantic field with the greatest achievements of Uzbek centuries-old culture: the metric of poetic versification “aruz”, architectural harmony of Registan, deep intonation of maqom.
One of the brightest artistic discoveries M. Turgunbayeva was staged plot dances. Choreographic plot composition"Pilla" approaches in many ways theatrical action. Dramaturgy of dance has a well-thought-out line of development, drawing a logical sequence labor process silkworm cultivation. The dance vocabulary of Pilla, like many other story dances, can be divided into three main groups. Many dance moves imitate labor very specifically. Among them, for example: “repair of the thread”, “needle prick”. The second group of movements, which is also the main one, is the stylization of working technology. The dance also contains a number of generalized metaphorical movements that carry a conventional meaning and in the aggregate symbolize the awakening, fertilization and growth of the forces of nature.
Saturated eventfulness, temporal length of plot plot development, holistic depiction of the life cycle in the dramaturgy of the “Pilla” dance are the qualitative characteristics of the drama theater, which gives grounds to position the dance as a theatrical stage performance.
In the choreographic composition of M. Turgunbayeva "Chobon Rax" is given a prime example rethinking the folk-everyday dance "Bilama" into a stage theatrical form. In the interpretation of M. Turgunbayeva, the dance of the illustrative folk genre"Taklid ufori" was transformed into theater miniature with a formalized plot, motivated by the development of the plot. The clear compositional structure of the dance is determined by the contrast of semantics and choreographic vocabulary. The first and third parts - narrative and illustrative - are built on pantomime with the inclusion of active facial expressions. The style of the second part is purely choreographic. Joy, youthful enthusiasm are expressed by a combination of highly technical, virtuoso techniques. It is based on charhi - rotations of various types and jumps. The climax of the dance is expressed by a whirling movement in a circle, as well as rotation on the knees along the entire line of the ramp (“charh-du zone”). These dance elements are one of the main ones in dancing. large forms: "Katta uyin", "Makom ufori". Virtuoso spinning in a circle and on the spot occupy a central place in professional dances Bukhara and Fergana groups. The inclusion of elements from the dances of classical traditions into the dance of everyday style is one of the innovative phenomena of Turgunbayeva's creative style. At certain points in the dramatic development, several times the character comes into direct contact with the audience. Such an acting technique makes those present involved in what is happening on the stage and contributes to the emotional living of the stage situation. The reception of point exits from the artistic conditional space into real existence is not typical for professional choreographic productions. It is borrowed from the stylistic arsenal of the concert stage, where the performer often addresses the viewer directly.
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Karimova R. “Dances of the Bakhor Ensemble” - T., 1979.
Khamrayeva G. "National image of dance" - T., 2012.
Krasovskaya V. "Western European ballet theater» Volume 2 - "Art", Leningrad, 1983.
This year marks the 60th anniversary of the creation of the State Honored Folk Dance Ensemble "Bahor" named after Mukarram Turgunbayeva.
After the legendary founder of the ensemble in different time led by Kunduz Mirkarimova, Ravshana Sharipova, Mamura Ergasheva ... In 1964, the team was awarded the title of "Honored Ensemble of Uzbekistan", and in 1979 it was named after Mukarram Turgunbayeva. The ensemble's repertoire includes more than 200 solo and group performances that combine the age-old culture of Uzbek dance and the achievements of modern choreographic art. How much has happened during the years of work of "Bahor"! There are countless happy moments, bright memories... And all of them are connected with the name of its legendary founder.
"Bahor" - visiting card of Uzbekistan"
Honored Artist of the Republic of Uzbekistan, People's Artist Republic of Karakalpakstan ZiyodaMADRAKHIMOVA:
In 1957, Mukarram Turgunbayeva founded the Bakhor ensemble, consisting of 12 girls - students of the Tashkent Choreographic School, to participate in World Festival youth and students in Moscow. Very soon, the team included forty girls, and Bakhor itself became one of business cards Uzbekistan in the field of culture.
We were called "Mukarram and the Forty Beauties". With unique dance programs together we have traveled to more than 60 countries. And every time they brought national dance the country where you have been. This is how the ensemble's repertoire expanded, because Mukarram-opa really wanted our work to be diverse and original.
Me and my sister, Honored Artist of the Republic of Uzbekistan Nasiba Madrakhimova, have worked at Bakhor for 20 years. And we are very happy that we were able to work with Turgunbayeva, the queen of Uzbek dance. She was a second mother to us, she treated girls with special trepidation. Perhaps because she had an only son, but she also wanted to have daughters. Mukarram-opa was a very erudite person: she knew history, Uzbek folk traditions, was for us a role model, a standard in all respects on stage and in life.
"Mukarram-opa took care of each of us"
Honored Artist of the Republic of Uzbekistan, Associate Professor of the Department of Choreography UgiloyMUHAMEDOVA:
- Bahor was founded in 1957. I longed to be part of this team! And she fulfilled her dream - in 1967 she joined the ranks of the legendary ensemble, graduating from the choreographic school. I remember the first meeting with Mukarram Turgunbayeva - amazing beautiful woman. From that day on, for me, as for all girls, she became a model of culture of behavior on stage and in life. Unobtrusively she taught everything: how to communicate with the viewer, convey to him what you want, convey a range of feelings, tell a whole story through gestures, facial expressions, dance movements ...
Before each trip, especially abroad, she taught manners: how to sit, in which hand to hold cutlery. She explained how to dress abroad and how - in the most remote villages. IN cold Russia advised to wear trousers, and in our hot region - satin dresses that give coolness. In general, she taught life, was a second mother.
Mukarram-opa paid attention to each member of the ensemble, regardless of whether she was a soloist or not. We often heard that if one of us is not in place, the viewer will definitely notice it. I remember when a misfortune happened - my husband died, Mukarram-opa immediately secured a separate apartment for me, although by that time I had worked in Bahor for only five years.
Various memories are connected with “Bahor”, which has become my life. For example, when I first joined the team, we went on tour in Russia. At the concert, after one of the dances, I had to quickly change clothes for my first performance (“Andijan Polka”). I was afraid not to be in time and twice spoke about this to Mukarram-ope. She knew that she severely punished for being late: she removed her from the trip, deprived her of the bonus. In a hurry, she put on a satin dress and headed for the exit, while the previous dance did not have time to complete. I was supposed to go on stage first, followed by five more girls. And so, with the last musical loss, I go forward, I start dancing. I look around, but there are no partners. I understand that the music is not mine - it jumped out early. Running around the stage in horror, she darted backstage. And again she came out first, only from the other side and this time on time.
To be honest, I thought that Mukarram-opa would kill me. She, on the contrary, hugged, kissed and at the same time laughed to tears. He says: “You are a smart girl, you changed clothes so quickly. And why did you keep repeating that you would not have time? That's what it means when you really want something, everything works out. And the viewer did not understand anything. At the time, I didn't feel like laughing at all.
And Mukarram-opa knew how to forgive. I understood that we are young, each of the forty girls has her own character, preferences, tastes.
And she found an approach to anyone, asked how to help, and could read in her eyes: she had a fight with her husband, the child was sick or something else. She felt everything and often said: “Did you quarrel with your husband? Rest for three days. Solve household problems, and then come back. Sometimes she herself called the girls' husbands - she talked, she was conscientious. For all, her early death was a great loss. I am happy that I learned a lot from her. But she could have ended up in another team and would never have met this great woman!
"Let's pass on knowledge to future generations"
People's Artist of Uzbekistan, artistic director of the ensemble MamuraERGASHEV:
My mother, Honored Artist of the Republic of Uzbekistan Tokhtakhon Rismetova, was also a dancer - one of the first students of Mukarram-opa. They often communicated with the mentor, they had a very close personal and creative contact. So, it can be said that from birth I absorbed this amazing atmosphere of the art of choreography ... Even as a child, watching the performances of the members of the Bakhor ensemble with delight, I decided - I will dance! When I grew up, Mukarram-opa took me to the choreographic school to the classical department. And in 1969 she took me to her legendary team ...
…Remember the famous parable? Once a man asked a wise man: “How can beauty be distinguished from ugliness? And truth from lies? How to find joy in life? The sage thought and... taught the man to dance. Our sage and Master was Mukarram-opa. Everything we do is due to her.
"Bahor" has seen many different faces and destinies. When we begin to remember the history of the team, a serial film seems to flash before our eyes. I remember the words of Turgunbaeva, which I perceive as a life credo: “I taught my girls what I can do myself, gave them my strength. And now my students will pass this knowledge on to their descendants.” And until now, I live in the hope that our legendary ensemble will be restored and will once again shine on the international stage, bring to the world our rich national culture. Only by reviving "Bahor" can we be proud dance art Uzbekistan.
"Bahor" opened a window to Europe"
Ballet dancer, theater expert NurkhonZULINOV:
I came to Bahor in 1969. Thanks to frequent trips abroad as part of the ensemble, I often had to communicate with a lot of interesting and outstanding personalities.
I remember in 1975 we were on tour in Sweden. Then King Gustav XVI gave us his theater to perform. Just imagine - the royal stage is at our disposal! For us it was a great event and a high appreciation. Newspapers wrote every day that Bakhor had opened a window to Europe for Uzbekistan.
In general, wherever we were, the press always spoke very well of us. And we raised the flag of Uzbekistan on the stage, demonstrated Uzbek traditions, the national art of dance. Only the Andijan Polka received such a storm of applause that it seemed that the vaults of the halls would collapse. And no wonder: Mukarram-opa is a master with a capital letter, the strongest choreographer.
The ensemble "Bakhor" was female and multinational: Russians, Tatars, Poles, Koreans, Kazakhs danced in the team. There were no male dancers, the male part of the ensemble only accompanied on various musical instruments. And everyone understood each other perfectly, everyone had one goal, one favorite thing.
During its existence, our team has traveled all over the world, leaving a piece of Uzbek culture in every country.
And now we are sharing our experience with young people and are planning to recreate the legendary Bakhor ensemble, for which we are conducting a competitive selection among female dancers.
"Strong team"
My mother, People's Artist of Uzbekistan Rano Nizamova, worked in the Bakhor ensemble. From an early age, I was constantly present at the rehearsals and performances of the group, so I could not imagine any other profession for myself.
Our extraordinary team traveled all over the world, and in any country we were received with a bang. There were also adventures. Once we arrived in Russia in winter. Naturally, it's cold. For performances on the collective farm, they allocated a room - a former cinema, where they did not heat at all. We change clothes, but our teeth don’t fall on our teeth. And then one of the elders said: “Girls, I'm hot!” and began to make fun of us, to laugh ... They immediately thawed out of anger (laughs). Such is the strength of the spirit of the team!
Sometimes we had so-called wagon trips, when we lived in a train car, which we hooked up to one train, then to another, depending on the intended route. Somehow we arrived in Kazakhstan, where the freezing temperature suddenly struck at night. Titanium burst from frost, water spilled down the passage and froze. They went to bed in the spring, and woke up in the winter: the floor turned into a skating rink.
I remember trips abroad. Once they were supposed to perform after Lyudmila Zykina.
And then a problem arose - there is no luggage of ours! Dancers cannot go on stage without concert costumes! Zykina was not at a loss and sang song after song, probably for two hours. As a result, the luggage was never found, so I had to perform in satin dresses.
“Thanks to Mukarram-ope, I became the host”
- “Bakhor”, unfortunately, is a closed page of my biography. However, it has become decisive in many ways. After the choreographic school, I worked in this team for four years, and then went to the Tashkent State Institute theatrical art them. A. Ostrovsky (now State Institute arts and culture of Uzbekistan - approx. ed.). Then a completely different life began, which marked the beginning of a different creative biography. But the ensemble remained to live in my heart...
Here I discovered such a creative direction as colloquial genre. It was Mukarram-opa who appointed me to conduct concerts in Russian, and for three years I was the host and danced.
I often remember how the tour around the republic and foreign countries… It was hard, but at the same time so interesting. In all this, the great merit of Mukarram-opa. She evoked universal respect for her attitude to work and the team. She met each new participant with a kind word, determined his place in the team. With one clear instinct, this amazing woman saw who was capable of what. For example, for some reason, Mukarram saw in me the host of the concerts. And so it happened…
It is also worth noting that it was an international team. Honored Artist of the Republic of Uzbekistan Dilyara Kerimova - Crimean Tatar, People's Artist of Uzbekistan Valentina Romanova - Russian ... I can't list them all. I am glad that our ensemble is still remembered and loved not only in Uzbekistan, but also abroad.
"Her Traditions Remain"
I came to "Bahor" when, unfortunately, Mukarram-opa was no longer there. But the traditions that she put into the basis of the team remained, such as respect for elders and responsibility. I think this helped many girls from "Bahor" to form a special image and lifestyle. All forty members of the ensemble were very similar, so on tour we often heard: “Are you sisters?”. And I always answered: "Yes, all forty" (laughs).
The ensemble gave us many happy years of life, travels around native land And different countries. I liked the admiration and respect with which people met us. We could not deceive their expectations and dance badly.
In "Bahor" we felt like a single whole. I have been a member for 24 years - almost a quarter of a century. It was not easy, but very interesting to work in a team in which Mukarram-opa gathered forty girls and taught them to dance in such a synchronous way that it seemed like magic to the viewer.
Such a unique ensemble must live. And today I sincerely want the team to revive, and the beauty of the choreography to return to the people again.
"A dream come true - to become an accordion player"
MuhamadzhonSHAKIROV:
More than 50 years ago, I saw the performance of the Bakhor ensemble on television and since then I have not missed a single concert of the ensemble. I was captivated by the talent and charisma of its participants, especially the musician who played the button accordion. Therefore, I had a desire to become an accordion player. I entered music school to the corresponding department, then in 1966 - to Andijan School of Music for advanced training.
... In 1967, a group of artists came to our village, including the legendary Mukarram Turgunbayeva. How I wanted to impress her! I resorted to a trick: not far from the dining table, I put an accordion in a prominent place in the hope that Mukarram-opa would notice the instrument and ask to play it. And so it happened (smiles). First, I performed all three parts of “Munozhat”, which won the heart of Mukarram-opa, then I played “Gopak” and “Rohat”. And my dream came true! As an accordionist, I was invited to "Bahor"! I have worked in the team for 40 years and I can say that the dances staged by Mukarram Turgunbayeva have become real classics!
“Dances to the rhythm of the doira broke the applause”
Honored Artist of the Republic of Uzbekistan Mamurjon WORLDDADAEV:
I was 7-8 years old when I was noticed at one of the celebrations National artist Khairulla Lutfullaev of Uzbekistan. I asked if I wanted to become a singer. I was passionate about music, not vocals, and answered that I dreamed of being a doirist. Then Khairulla-aka brought me to Mukarram-opera, who treated me as if own son. Later, from 1988 to last day existence of "Bahor" I was its constant participant.
My crown number - "Solo on three doiras" - always broke a flurry of applause. The audience was fascinated by both the sound of the instrument and the virtuosic, high-speed playing technique. And in general, the most popular and massive dance numbers were performed precisely to the rhythm of the doira, which
miraculously can lift your spirits!
Olga FAZYLOVA
