Formation, Development and Transformation of The Traditional Khalfachi Tradition
DOI: 10.33876/2311-0546/2025-4/241-252
Keywords:
khalfa (folk singers), solo and ensemble khalfas, merry melodies, joyful melodies, narration, songsand danceAbstract
Every nation in the world places great importance on ensuring that wedding ceremonies are meaningful and beautiful, and are held in an uplifting and joyful atmosphere. The songs, dastans, lapar performances, and national folk games performed at Uzbek weddings not only illuminate the life, history, ethnography, and religious beliefs of the Uzbek people, but also embody the people's worldview, life realities, dreams, and spiritual, cultural, and material worlds. At the core of these rituals lies a well-thought-out, carefully developed, and time-tested "script." Wedding rituals in the Khorezm oasis consist mainly of local folklore samples. The folklore traditions of wedding ceremonies in the Khorezm oasis evolved alongside the art of storytelling (dostonchilik) and the performing mastery of halfa (halfachilik). This article presents information about halfas, the female singers of Uzbek wedding ceremonies in Khorezm – and their artistry. Halfa artistry is widely spread as an independent genre and possesses rich traditions, history, and distinctive features. The article describes the types of halfa artistry and how they have developed. It also provides information about the special role of halfas in wedding rituals. In particular, based on an analysis of existing scientific literature and field recordings, it substantiates the repertoire of halfas, their ritual songs, and the presence of specific melodies and songs performed for each ritual.


















