This article provides a choreographic, aesthetic, and cultural analysis of folkloric dances formed in the Surxondaryo and Qashqadaryo oases

Аннотация

This article provides a choreographic, aesthetic, and cultural analysis of folkloric dances formed in the Surxondaryo and Qashqadaryo oases. It examines the history of these dances, their plastic and rhythmic characteristics, gender roles, stage composition, and the expressive potential of costumes. The article also analyzes contemporary practices of stage adaptation. Keywords: Surxondaryo, Qashqadaryo, folkloric dances, choreography, national dance, costume, plasticity, rhythm, staging, tradition. The Surxondaryo and Qashqadaryo oases, located in the southern part of Uzbekistan are distinguished by their unique folklore traditions, customs, and artistic expressions.The folkloric dances that have developed in these regions reflect the daily life, labor, religious-philosophical views, and aesthetic tastes of the local people. This article analyzes the choreographic features, musical accompaniment, costumes, staging possibilities, and symbolic meanings of the dances specific to these oases. Historically, Surxondaryo and Qashqadaryo have been cultural centers, closely linked with the civilizations of the Kushans, Greco- Bactrians, and Sogdians. The presence of the Great Silk Road through these regions fostered a synthesis of diverse cultures. Dance art also evolved here in distinctive forms. The dances are often dramatic in nature, characterized by expansive movements, strong rhythms, and expressive hand gestures. Male dances typically symbolize strength and agility, while female dances are interpreted as embodiments of grace, charm, and purity. Dances from the Surxondaryo and Qashqadaryo regions are marked by energetic expression,masculine symbolism, sharp movements, and combative plasticity. They are closely intertwined with the people's relationship to labor, their historical life experiences, and the natural environment of the region. Movements are powerful, executed with precision, fast-paced, and marked by sharp hand gestures. The hands often move in coordination with the shoulders in sudden jerks—rising from a lowered position to an elevated one. The posture 106 ACADEMIC RESEARCH IN MODERN SCIENCE International scientific-online conference of the body is generally upright, though sometimes it bends forward. The plasticity of movements is strong and characterized by clear, linear patterns. Male-style movements are predominant, reflecting a combative spirit symbolizing ancient martial traditions, heroism, agility, and courage. These dances are often connected to labor themes, such as animal husbandry, agriculture, and springtime farming rituals.They are typically performed during festive ceremonies in a communal manner for instance, the “Navruz Dance.” Themes of love and affection are also present, especially in flirtatious dances depicting interactions between village boys and girls. However, such dances have often developed primarily as male performances, particularly in the Qashqadaryo school.Female dances also exist and are expressed in a contrasting style to male dances softer and more delicate in movement, emphasizing elegance and grace.The dances are usually performed to the accompaniment of traditional instruments such as the doira (frame drum) and nay (flute). They are staged in solo, duet, or group formats. Male dancers typically wear belted chopon (traditional robe), black or brown trousers, and doppi (skullcap), and sometimes perform with a sword or other props as part of the dance. The Surxon dance is known for its combative, masculine movements and rhythms that strike upward from below, symbolizing strength and intensity. The Farmer's Dance (Dehqon raqsi) represents movements associated with sowing seeds and tilling the land. In Qashqadaryo, dances are often performed as male- female duets, featuring the Boy polka step style.The Ko‘ksaroy dance is ceremonial and majestic in nature, embodying a festive spirit. Today, dance ensembles such as Surxon, Shalola, Qashqadaryo Dance Ensemble, and Boysun actively preserve and stage these regional dance styles. In modern stage compositions, Surxon–Qashqadaryo dances are notable for their dramatic expression and strong national identity.The Surxon–Qashqadaryo style stands out among Uzbek national dance schools for its epic and energetic character. This style encapsulates the hardworking nature, bravery, and cultural richness of the people. Its study and stage interpretation play an important role in the development of national dance art.Well-known dance types from this tradition include the Surxon Dance, Boysun Mountain Dances, and regional styles from Kitob, Dehqonobod, as well as Qashqadaryo's Qo‘qoncha style dances.Choreographic characteristics of these dances emphasize rhythm, speed, and dynamic movement. Plasticity is expressed through the strong and active use of the shoulders, arms, and knees. Compositions are typically structured in circular formations or performed in pairs.Gender dynamics are clearly defined: 107 ACADEMIC RESEARCH IN MODERN SCI