Mukarrama Turg‘unbоyeva

One of the legendary figures who left a bright mark on the history of art with her high skill and vibrant life is Mukarrama Turg‘unbоyeva. As the organizer of the "Bahor" ensemble, a skillful dancer, a kind mentor, and a person with a heart as vast as the sea, Mukarrama Turg‘unbоyeva not only founded the "Bahor" ensemble but also led it for more than 20 years, dedicating all her love, her inner vision, and her life to it.

There are many famous figures in world art. However, artists who create their own school are rare. Mukarrama Turg‘unbоyeva is one of the elite artists who managed to create her own school in Uzbek dance art.

When she first appeared on stage, 16-year-old Mukarrama realized with all her heart that the art of dance had become her destiny. She began to diligently study the secrets of dance. In this, she was closely assisted by the masters of our traditional art: Usta Olim Komilov, Yusufjon Qiziq Shakarjonov, and the dancer Otaxo‘ja. Enjoying the art of her mentors, the dancer did not follow the path of imitation but strove to create her own style.

In dances she created such as "Tanovar", "Jonon", "Pilla", and "Munojot", there was a striving to create a generalized poetic image. It should be noted that in Mukarrama Turg‘unbоyeva's dances, it was not dry technique that stood out, but the meaning and content of every movement, and the spirit of that era. It was as if she was "speaking" to the audience, expressing some thought. More precisely, every movement had its own "word". In the dancer's hand and foot movements, her gentle smile, and her pleasant and modest gestures, there lay a harmony of ideas.

They were performed with very simple, calm emotions. It is enough to recall "Tanovar", which has found a place in the hearts of our people; "Tanovar" is a dance epic. Although this dance seems to be composed of very simple and light movements, the spiritual world, subtle emotions, rich heart, and delicate vibrations of its lyrical protagonist have captivated everyone. It stands out from other dances in terms of content, form, and performance. "Every creator has an invention that is considered the hallmark of their art," wrote our renowned poet Zulfiya. "Mukarramaxonim has wonderful works, but in my opinion, the hallmark of this artist's creativity is 'Tanovar'. No one, ever, anywhere has performed 'Tanovar' with such grace and elegance, skill and poignant warmth as Mukarramaxonim did."

"The feature of the school she created and founded," writes Muhsin Qodirov, Doctor of Art Studies, "was that she worked in three areas of dance art simultaneously. The first was dance performance, the second was creating new dances, and the third was training young dancers. Dances performed for many years in the programs of Mukarrama Turg‘unbоyeva's 'Bahor' dance ensemble can be divided into three groups. One group consists of dances created on the basis of simple games widely spread among the people ("Andijon polkasi", "Namanganning olmasi", "Besh qarsak", "Toshkent piyolasi", "Samarqand bahori"), while the second focused on reviving classical Uzbek dances on a mass and modern basis. For instance, she breathed new life into dances such as "Katta o‘yin", "Zang", "Rog", and "Soqiynoma" together with her girls. The "Yetti go‘zal" (*Seven Beauties*) dance, created under the inspiration of Alisher Navoiy's epic "Sab'ai sayyor", also belongs to the Uzbek classical dance art. She managed to bring not only Uzbek national dances but also examples of world dance art to the stage."

Mukarrama opa traveled the world with her "Bahor". She left behind a very large cultural and spiritual heritage. These are beautiful and charming dances that have permeated the consciousness and soul of the people. Each of them can be compared to a rushing river or a melancholy song. In each of them, the heart, pain, dreams, joys, happiness, elegance, grace, and power of the Uzbek woman are visibly displayed. At the same time, Mukarrama Turg‘unbоyeva's voice, breath, and the warmth of her heart are felt in this rich legacy left by "Bahor".

It feels as if, with the sounding of the "Tanovar" melody, the sensitive artist Mukarrama Turg‘unbоyeva is stepping onto the stage with small steps, hiding her face with a scarf, avoiding eye contact out of shyness, and swaying in harmony with the elegant and refined tune. This in itself is evidence of the immortality of her name and the dances she left behind.