Katta ashula

Katta ashula or Patnis ashula (literally "great song", "lofty
song" or "tray song") is a vocal direction, a song genre typical
for the Ferghana Valley, in which peculiar style and manner of singing is
observed. It is performed by two or more (up to five) singers in turns and
without accompaniment of musical instruments.
Typical for katta ashula are the following: verbal transfer of relevant
knowledge and skills; existence of local peculiarities as well as improvisation
techniques; professional manner of singing; rhythmically independent singing
with a deep (wide) breath; existence of khamnafaslik (companionship). In katta
ashula, which has in a variety of forms and manifestations, it is possible to
observe somewhat distinct musical and poetical language and manner of singing.
The songs in this genre are usually sung by professionally trained folk singers
(called "hofiz", "kata ashulachi" or "qori"), who
possess strong and high-pitched voice of a wide range and excellent
improvisatory skills. Singing of katta ashula also requires excellent skills
and virtuosity, undergoing a special training based on
"ustoz-shogird" ("master-apprentice") methodology.
Katta ashula is a traditional singing art, which largely existed in the
past and became widespread among population. To date, oral transfer of singing
skills and techniques from master to apprentice remains the main method of
preserving katta ashula and its spiritual values. In addition, katta ashula is
characterized by laconism (in means of expression), expressiveness (in music language),
dynamism (in melodic development) and bright emotionality. Its figurative
structure (or style) is closely connected to the traditional (classical) poetry
of lyrical and philosophical nature. And ghazals of Navoi, Lutfi, Mashrab,
Khazini, Muqimi, Furqat, Zavqi, Miskin serve as main poetic texts in this
genre. Though, since the XX century the poems of contemporary Uzbek poets (such
as Sobir Abdulla, Charkhi, Chusti, Akmal Polat, Khabibi, and others) as well as
examples of folk poetry have been widely used.
In terms of subject matter katta ashula songs can be divided into
love-lyrical, didactic, religious and contemporary ones. The origins of katta
ashula genre should be looked for in ancient folk-ritual chants, songs of
"praise" (such as marsiya, navkha, ayolgu), agriculture- and
labor-related songs with their original combination of recitative-declamatory
beginning and chanting; and in distiches of ghazals (ghazalkhonlik), written in
aruz prosody. And it is exactly loftiness, observed in the content of the poems
used, the manner of singing in high registers, and performance in front of
large auditorium during big events (such as festivities, folk promenades and
wedding ceremonies) which predetermined the name of this type of song as
"katta ashula". Performance with high-pitched voice, existence of
culmination parts, clarity of words for and their impact to the listeners – all
these are features of this type of song.
Among the people other names of katta ashula became widespread as well.
These were "ashulai kalon", "katta yalla", "haqqoniy
ashula", "patnis ashula" or "patnisaki ashula",
"likobcha ashula". It bears mentioning that katta ashula was named as
"patnisaki ashula" or "likobcha ashula" because during
performance the singers usually hold in their hands a small metal tray or
plate, with a help of which they regulate the direction of the sound (towards
listeners, or towards themselves; it allows listening own voice and the voice
of companion) and create a certain sound timbre.
Conditions, under which katta ashula existed in the XX century, and
development of performance culture, in general, promoted emergence of different
versions of this genre. These were: "Ananaviy" - singing by two
singers independently and without accompaniment (examples include: "Bir
kelsun", "Oh kim", "Ey dilbari jonon"); "Yovvoi
maqom" - performance of some specific shubas of maqoms (such as
"Yovvoi Ushshoq", "Yovvoi Chorgoh" and "Patnusaki
Segoh") in rhythmically independent manner; "Yovvoi ashula" –
singing popular vocal pieces in ashula genre in rhythmically independent manner
(examples include: "Yovvoyi tanovar", "Yovvoyi munojot");
"Yakkakhonlik" – a vocal-instrumental type of katta ashula in the
form of solo performance, which is accompanied by instrumental music; instrumental
ensemble performs the role of the second singer (examples include: "Oh
kim", "Gulizorim qani", "Yolghiz",
"Topmadim"); "Cholghu yoli" – an instrumental version of
popular katta ashula songs suitable for solo performance on nay, surnay,
ghidjak (for example, Yovvoyi Chorgoh).
It bears mentioning that in the XX century, along with men-singers, katta
ashula songs were performed by women (for example, they were performed by
Khalima Nosirova, Fotima Borukhova, Zaynab Polvonova, and others).
Bearers of katta ashula traditions are both folk and professional singers,
who mastered relevant knowledge and skills, peculiar singing techniques based
on "ustoz-shogird" ("master-apprentice") traditional
learning methodology in Kokand, Andijan, Ferghana and Tashkent; in
conservatoires, colleges of art and academic lyceums named after R. Glier and
V. Uspenskiy.
Notably, the emergence and development of katta ashula genre is closely
linked with existence of corresponding performance schools, which stand out
with their style of interpretation, manner of singing and bearers. From among
katta ashula performance schools it is possible to mention Kokand performance
school (Erka qori Karimov, Sherqozi Boyqoziev, Hamroqul qori, Meliqozi Yusupov,
Turdiali Ergashev, Rasulqori Mamadaliev), Margilan performance school
(Mamadbuva Sattorov, Boltaboy Rajabov, Jorakhon Sultonov, Mamurjon Uzoqov,
"Chorgoh" group under leadership of Turdiali Sharipov), Andijan
performance school (Fatohhon Mamadaliev, Odiljon Yusupov, Saidnabi Saidnazarov,
Jurakhon Yusupov, Ergashvoy Yusupov, Hurshid Khasanov), Namangan performance
school (Mallaboy Hamidov, Abdulla Ghoziev, Ibragim Isoqov) and Tashkent
performance school (Akbar qori Khaydarov, Eshmat Khaydarov, Ochilkhon
Otakhonov, Orif Alimakhsumov, Mahmud Tojiboev, Munojot Yolchieva, Beknazar
Dostmurodov, Abdunabi Ibragimov, Soibjon Niyozov, Dilnura Qodirqulova, Nodira
Pirmatova).
Nowadays katta ashula traditions are preserved and popularized thanks to
scientific (research) and practical measures undertaken by numerous
governmental and public organizations. These organizations organize
expeditions, carry out scientific researches, publish books and collections,
produce audio and video disks, create films and TV programmes, conduct
competitions (review competitions among young singers in order to attract
attention to katta ashula genre), etc.
Singers of katta ashula (or katta ashulachi) have
so far participated in the VII International Music Congress (Moscow, 1971), IV
Asia Musical Platform (the Philippines, 1976), European Folklore Festival
(1985), US Festival of Music Folklore (USA, 1987), "Sharq taronalari"
International Music Festival (Samarkand, 1997-2015), "Asrlar sadosi"
Festival of Traditional Culture (Uzbekistan, 2008-2013), etc. Also, they became
regular participants in nationwide holidays, such as Navruz and Mustaqillik
(Independence Day). Since 1984 a republican-level competition among performers
of katta ashula has been conducted (in 2013 it was organized in Tashkent
region). Furthermore, the programme of the Republic of Uzbekistan,
"Protection, preservation and popularization of Katta Ashula of the
Ferghana Valley", was awarded with a prize (gold medal and diploma) of the
Asia/Pacific Cultural Center for UNESCO (ACCU, Japan) as the best practice in
protection of ICH. And in 2009, katta ashula was inscribed on the UNESCO
Representative List of Intangible Cultural Heritage of Humanity.