Journal of Social Sciences and Humanities Research Fundamentals
93
9
https://eipublication.com/index.php/jsshrf
TYPE
Original Research
PAGE NO.
93-95
DOI
OPEN ACCESS
SUBMITED
18 March 2025
ACCEPTED
14 April 2025
PUBLISHED
16 May 2025
VOLUME
Vol.05 Issue05 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Interpretations of National
Family Values in Theatrical
Art
Botir Sangirov
Associate Professor at the National Institute named after Kamoliddin
Behzod of Painting and Design, Doctor of Philosophy in Art Studies,
Uzbekistan
Abstract:
This article examines the representation and
interpretation of national family values in theatrical art,
focusing on how these values are conveyed through
performance, character development, and dramaturgy.
By analyzing selected theatrical works from different
cultural contexts, the study explores how theater serves
as a mirror of society’s moral and ethical foundations,
particularly in the sphere of family. The research
highlights how national identity, intergenerational
relationships, gender roles, and moral expectations are
dramatized to reflect both traditional and evolving
views on family. The findings demonstrate that
theatrical art not only preserves and celebrates national
family ideals but also questions and reshapes them in
light of contemporary social dynamics.
Keywords:
National family values, theatrical art, cultural
identity, dramaturgy, social norms, intergenerational
relations, tradition and modernity.
Introduction:
Today, numerous staged productions
convincingly demonstrate the significant role theatre
plays as a synthetic art in reviving national traditions and
instilling values into the public consciousness. This can
be observed through the examples of past productions
such as E. Khushvaqtov’s Chimildiq, Qalliq O‘yin, Qirmizi
Olma, Andishali Kelinchak, Kh. Khursandov’s O‘lding,
Aziz Bo‘lding, and N. Abboskhan’s O‘zbekcha Raqs.
These plays, rooted in interpretations of national
customs, reflect the ancient worldview and unique
character of the Uzbek people, giving special attention
to family values and the role of the family as the
backbone of society, as well as its importance in
educating the younger generation.
Chimildiq (1996) is one of the plays from that period
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Journal of Social Sciences and Humanities Research Fundamentals
which achieved great success, becoming a sensation
and drawing full houses. Directors T. Azizov and M.
Abdullaeva, through this production, highlighted the
folkloric foundations of Uzbek theatre and the charm
of the “tomosha” (folk performance) genre. The use of
the “performance within a performance” technique
provided the directors and actors with wide creative
opportunities. This production, which stirred much
debate, was staged over 300 times. Its success was not
only due to its accessibility for audiences or its
heightened entertainment value through comedic
elements, but also because it touched the hearts of the
people, reflecting deeply ingrained family traditions
that represent the national identity and life of the
Uzbek nation.
After its premiere, the play was performed repeatedly
not only at the Uzbek National Academic Drama
Theatre but also at regional theatres across the
country. Structurally and thematically compact, the
play begins with the Yor-Yor song and concludes with
the Kelin Salom (Bride’s Greeting). The decoration
designed for the production, as well as the actors’
dialogues and the masterful portrayal of character
traits, contributed significantly to the play’s success.
The playwright does not focus on trivial domestic
problems of everyday life. Instead, through portraying
the chimildiq
—
the sacred canopy symbolizing the
foundation of the family fortress and associated
national customs
—
the play seeks to impress upon the
audience its magical power and societal importance.
The stage representation of the chimildiq and its
centuries-old values emphasizes the profound social
dimension carried by this symbol. Indeed, as long as
humanity has existed, people have aspired to build
happy families, have children, and create a household.
Therefore, this topic is not merely domestic but
fundamentally social. This makes it clear why labeling
the production as a simple “domestic comedy” would
be incorrect.
The director’s and playwright’s joint appro
ach to the
themes of love, family, and marriage from a social
perspective convinces us that ethnic traditions hold
great power in the life of our people and that they must
be approached with seriousness and responsibility.
The play opens with a lively wedding ceremony scene.
The entrance of the bride to the sounds of Yor-Yor
creates a wedding atmosphere. Singing Yor-Yor is one
of the oldest traditions of our people, elevated to the
level of a national value. This folk song is precious
because it is sung only once
—
when a virgin girl is
married off. Every bride hears her own Yor-Yor just
once in her lifetime.
There are various opinions about the origins of Yor-Yor.
Some sources suggest that the custom of singing Yor-Yor
dates back to the advent of Islam, specifically to the
wedding of the Prophet Muhammad’s daughter Fatima
and Hazrat Ali. This is supported by the lyrics:
By the streams,
Washing spoons, Yor-Yor.
For the Prophet’s daughter,
Fell in love, Yor-Yor.
The Prophet’s daughter,
Ali married, Yor-Yor.
Singing Yor-Yor to us,
Comes from then, Yor-Yor.
Following this, the play presents wedding rituals and
customs such as poyandoz to‘shash (laying the wedding
carpet), kelin o‘tirmadi (the bride does not sit), and kelin
osh yemadi (the bride does not eat pilaf). There are also
symbolic actions like feeding honey to wish the couple a
sweet life, offering sugar water, bringing in rice and
mung beans to wish them unity, and presenting a knife
and ring to the groom for fertility. Then comes the ritual
of brushing t
he bride’s hair with a scarf. Additionally, the
play features the southern regional custom of toshak
soldi (laying the bridal bed), including humorous
exchanges between O‘lanji and Momo and the antics of
“old women pretending to be young brides,” which
evoke both laughter and interest among the audience.
According to D. Ikromova’s interpretation, the character
Momo is eloquent, deeply knowledgeable about
national customs, faithfully adheres to them, and has
overcome many hardships in life with patience and
resilience. She enjoys humor and jokes but is also
conscientious and respected as a wise elder of the
village. She rebukes the groom, who is dismissive of
traditions and unwilling to follow rituals, emphasizing
that the rise in unhappy couples stems from neglecting
customs and that there is much wisdom in the teachings
of the ancestors.
The playwright’s goal in Chimildiq was not merely to
present wedding customs for spectacle, but rather to
depict the national character through the figures of
Momo, the Groom, and the Bride, and to show the role
of national traditions in shaping ethnic identity and their
importance in moral education. Thanks to Momo’s
resolve and the instillation of national values into the
younger generation through customs, the chimildiq
remained unbetrayed.
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