THE SOUND OF THE DO’MBIRA AND THE POWER OF THE WORD: UZBEK EPIC TRADITION IN THE SCHOOLS OF BUKHARA, KHOREZM AND FERGANA

ODILJONOVA MOHLAROYIM IQBOLJON QIZI

Kokand State University, Faculty of Humanities and Languages

“Uzbek Language and Literature” Department, Group 102, First-Year Student

Abstract:

This article is devoted to the study of the differences and commonalities among the three great centers of epic art, which constitute a fundamental layer of Uzbekistan’s national culture — the schools of Bukhara, Khorezm, and Fergana (Qashqadaryo–Surkhandaryo). It analyzes the historical conditions of each school, their distinctive performance styles, including musical instruments and vocal techniques, as well as the thematic characteristics of the repertoire of their leading representatives (bakhshis). The main objective of the research is to highlight the powerful role of this unique heritage in shaping the “national spirit” of the Uzbek people through a comparative analysis of epic schools from the perspective of modern literary studies.

Keywords: Schools of epic art, Bukhara, Khorezm, Fergana, do’mbira, power of the word, bakhshi, jirov, epic, melody, oral tradition.

During the years of independence in Uzbekistan, large-scale efforts have been undertaken to preserve the masterpieces of intangible cultural heritage created on the basis of our people’s rich artistic creativity, to revive the ancient traditions of oral folklore, and to consistently develop national values. In cooperation with creative associations, the best examples of bakhshi and epic performers’ works are being widely promoted. At the same time, there remains a need to thoroughly study the history of bakhshi and epic art, to conduct fundamental research in this field, and to implement further measures for collecting and publishing monuments of oral folk creativity.

Epic art is a literary genre that figuratively expresses the dreams, struggles, love, and beliefs of the people and has been performed orally by bakhshis. In different regions, epic performance developed in distinctive ways, forming unique styles of performance, repertoire traditions, and bakhshi practices. On this basis, epic schools emerged. These schools not only preserved oral literary examples but also played an important role in developing them and passing them on to younger generations. Schools such as Kokand, Khorezm, Sherobod, and Namangan (Fergana Valley) are among these rich cultural centers. By the 20th century, the demand for bakhshis and epic performers in cities gradually declined. However, in rural areas, this ancient tradition has continued to thrive. In particular, epic recitations became customary during major national projects such as the construction of the Great Fergana Canal and large reservoirs, as well as during festivals. Many epics were not created by a single author; they were shaped among the people based on oral epic traditions. For this reason, epic schools developed in certain regions.

The meaning of the word “bakhshi” is explained in some sources as deriving from Mongolian and Buryat “bakhsha” or “baghsha,” meaning teacher or enlightener, and from the Sanskrit “bhikshu,” meaning dervish or ascetic. In Uzbekistan, it refers to an artist who memorizes and performs songs and epics, transmitting them from generation to generation. The term “bakhshi” is sometimes also used in the sense of a shaman. In general, epic performers are also referred to as yuzboshi, soqi, sannovchi, or jirov. Bakhshis are mainly divided into two categories: performing bakhshis and creative bakhshis. Performing bakhshis render the epics they learned from their masters with minor variations, while creative bakhshis compose new epics based on oral epic traditions. Such bakhshis are also called poet-bakhshis. Among them are Ergash Shoir, Fozil Shoir, Po’lkan Shoir, Abdulla Shoir, and Xidir Shoir. Bakhshis perform epics and songs accompanied by instruments such as the kobyz, do’mbira, and dutar.

The harmony of word and melody in bakhshi art has played a significant role in raising young people to become brave, courageous, and patriotic individuals. According to oral accounts, military leaders would take bakhshis with them on campaigns to inspire soldiers’ bravery, courage, and devotion to the homeland.

In our country, the tradition of epic performance historically developed in three directions.

The first direction was in the Bukhara epic schools, where epics were performed solo with do’mbira accompaniment, using a guttural voice.

The second direction was in Khorezm, where epics were performed sometimes solo and sometimes in pairs, accompanied by instruments such as the tor, dutar, gijjak, bulamon, qoshnay, and doira, using an open vocal style.

The third direction was characteristic of the Fergana Valley, where epics were performed in an open voice accompanied by the dutar.

1. The Bukhara School – A Bright Expression of Eternal Tradition

The Bukhara epic school represents a tradition where the custom is sovereign, and the bakhshi is its faithful representative. For a Bukhara bakhshi, the epic text is like a jewel polished over centuries; it is impossible to add or remove even a single word. They believe that even if the world changes, truth remains unchanged. In this region, heroic epics such as “Alpomish” and “Go’ro’g‘li” resound powerfully. Rather than melody, the emphasis is placed on high spirituality and the intense struggle of brave heroes. Even in romantic epics such as “Tohir and Zuhra,” human dignity stands above mere lamentation.

2. The Khorezm School – The Harmony of Heart and Melody

The Khorezm school transforms words into melody. While Bukhara relies on the firmness of the text, Khorezm immerses it in a river of lyrical emotions. The plaintive sounds of the dutar and tor turn the epic from a mere narrative into a living spiritual experience. The Khorezm bakhshi feels the hero’s pain as his own and conveys it deeply to the listener. Figures such as Ergash Jumanbulbul o‘g‘li and Po’lkan Shoir are widely known in this region. Moreover, bakhshis such as Yakka Ahmad, Quronxon, and Oysuluv performed “Alpomish” with unique refinement. They not only performed the epic but also recorded it in written form, making it part of literary heritage.

3. The Fergana School – The Brightest Example of Improvisation

The Fergana epic school is characterized by lively dialogue and free expression. This style is dynamic and flexible, drawing strength from life itself rather than strict textual rules. In Fergana, the bakhshi is a skilled conversationalist who engages directly with the audience. Rather than only recounting ancient heroes, he incorporates contemporary joys and concerns into his verses, creating new lines spontaneously according to the mood of the listeners.

The village of Ko‘libuqon is considered a cradle of this art. Masters such as Beqjon Bakhshi, Cho’tboy Bakhshi, and Mahmud Buva have passed down the rich traditions of this school from generation to generation.

Conclusion:

Uzbek epic art is a unique heritage formed over centuries, reflecting each region’s socio-cultural life, historical past, and popular beliefs. The Bukhara, Khorezm, and Fergana epic schools examined in this research demonstrate the multifaceted and diverse nature of this art. The Resolution of the President of the Republic of Uzbekistan dated May 14, 2019, “On Measures for the Further Development of Bakhshi Art,” laid the foundation for in-depth study of the scientific-theoretical and practical aspects of bakhshi art, restoration and development of master-apprentice traditions, and preservation of distinctive performance styles. As a result, the “Republican Center of Bakhshi Art” and the “Fund for the Development of Bakhshi Art” were established (although one of the main locations of the Center is the city of Termiz, its activities cover all epic schools).

The Bukhara school is distinguished by Islamic epic plots, religious-didactic spirit, and rich Sufi symbolism. Here, epics served as a means of conveying deep spiritual meaning.

The Khorezm school stands out for its maqom traditions, complex musical instruments such as the tanbur and gijjak, and its high level of professional performance. It harmonized epic and lyrical narratives with instrumental music, enhancing their artistic value.

The Fergana school, mainly accompanied by kobyz and dutar, vividly reflected daily life and heroic ideas through various genres such as tales and lyrical-dramatic epics, with a strong tradition of storytelling.

Each of these three central regions contributed its own style, themes, and performance traditions to epic art, creating a unified yet ideologically and artistically rich panorama of Uzbek epic heritage.

The sound of the do’mbira and the power of the word represent not merely the union of music and text, but the memory of the people, the national spirit, and a means of spiritual education passed from generation to generation. They have played an incomparable role in preserving the spiritual independence, devotion to values, and worldview of the Uzbek people to this day. Preserving this art form and supporting its schools means ensuring the continuity of our national culture.

In conclusion, every epic performed to the sound of the do’mbira is the poetic response of the Uzbek people to existence. The true power of this art lies in its ability to connect the past with the future, offering each new listener the opportunity to find answers to fundamental questions of time, space, and self.

LIST OF USED LITERATURE:

Safarov O., Jamilova B., Safarova N. Children’s Literature and Folklore. – Tashkent: Turon Zamin Ziyo Publishing House, 2015. – 256 pages.

“20th Century Uzbek Folklore Studies.” Anthology. Compiled by O. Turaboyev and others. Tashkent: State Scientific Publishing House of the National Encyclopedia of Uzbekistan, 2017. – 592 pages.

Masharipova Z. Uzbek Oral Folk Creativity. – T., 2008, pp. 24–40.

Essays on Uzbek Folklore. Vol. 1. – T.: “Fan,” 1988, pp. 25–35.

Madayev O., Sobitova T. Oral Poetic Creativity of the People.

Jumaboyev M. Children’s Literature and Folklore. Textbook. – Tashkent: Publishing House of the Writers’ Union of Uzbekistan, 2006. – 216 pages.

Shodiyeva G., Sobirova O. “Uzbek National Instruments of the Late XIX and Early XX Centuries.” International Journal of Early Childhood Special Education 14.7 (2022).

Shodiyeva G., Sobirova O. “Uzbek National Instruments of the Late XIX and Early XX Centuries.” International Journal of Early Childhood Special Education 14.7 (2022).

Ahmedovich, Turdiyev Shavkat. “From the History of Preservation and Recording of Samples of National Uzbek Musical Folklore.” Asia Pacific Journal of Marketing & Management Review 11.12 (2022): 59–61.

Sabirovna, Rasulova Saida. “Analysis of the General State of Music Education in a Secondary School.” Eurasian Journal of Learning and Academic Teaching 1.1 (2021): 112–116.

Odiljonova Mohlaroyim Iqboljon qizi was born on September 7, 2007, in Bag’dod district of Fergana region. She is currently a first-year student at Kokand State University, Faculty of Humanities and Languages, majoring in Uzbek Language and Literature. She has been interested in knowledge since childhood and has read many books.

1st-year student, Faculty of Humanities and Languages, Kokand State University

Zahiriddin Muhammad Babur – The Legacy of a Great Commander and Thinker

Zarifa Odilova Nozimjon qizi

1st-year student, Kokand State University

Scientific Supervisor: D.O. Hasanova, Doctor of Philology (DSc)

Abstract

The article discusses the role of the great poet and statesman Zahiriddin Muhammad Babur in world civilization, his life principles, and his acts of public service. Babur’s humanistic ideas and his contributions to introducing Eastern culture are highlighted.

Keywords: Zahiriddin Muhammad Babur, statesman, great historical figure, India, prominent personality, poet, historian, Baburnama.

Introduction

February 14 holds special significance for the Uzbek people and the entire Turkic world. This day is widely celebrated as the birth anniversary of the great commander, eminent statesman, talented poet, and unique historian Zahiriddin Muhammad Babur. Over the centuries, Babur has left an indelible mark on human history through his courage, intellect, and rich spiritual legacy.

Babur was born on February 14, 1483, in the city of Andijan, into a family belonging to the Timurid dynasty. His father, Umarshaykh Mirza, was the ruler of the Fergana region. At the young age of twelve, Babur ascended the throne and faced the complex currents of political life. Battles for Samarkand, internal conflicts, and political instability strengthened his young heart. Despite these hardships, he acted with courage and determination—qualities that later elevated him to the status of a great historical figure.

During a period of political turmoil in Transoxiana, Babur set a new goal for himself. He captured Kabul, established a secure base, and began his campaign toward India. In 1526, he achieved victory at the Battle of Panipat, founding the powerful Mughal Empire in India. This empire later became a center of political stability and cultural advancement in South Asia for several centuries. Under Babur’s reign, science, art, and architecture flourished.

The most remarkable aspect of Babur’s personality was his mastery of both the sword and the pen. While he demonstrated courage on the battlefield as a commander, he also expressed his delicate sensibilities in the creative realm. His famous work, the Baburnama, is one of the rare treasures of world literature and historical scholarship. In this work, the author provides detailed and sincere accounts of his life, the political events of his era, cities, natural landscapes, and the customs of the people. The clarity of language, vivid descriptions, and authenticity make the work uniquely valuable.

The Baburnama is not only a historical document but also a literary masterpiece. It includes valuable observations on the nature, climate, flora, and fauna of Fergana, Samarkand, Kabul, and India, reflecting Babur’s broad worldview and keen powers of observation.

Babur’s poetry also deserves special attention. His divan contains ghazals and rubais celebrating love, loyalty, longing, patriotism, and human virtues. Poems written during his years away from his homeland express deep feelings of nostalgia and yearning. Babur was also a builder; he established gardens in Kabul and India, paying attention to landscaping and beautification. The gardens he created later became famous as “Babur Gardens,” standing as vivid examples of Eastern architecture and landscape art.

Today, Babur’s legacy serves as a model for younger generations. His life demonstrates that hardships and trials should not deter a person. On the contrary, those who face challenges with courage achieve great heights. The name Babur symbolizes glorious history, strong will, and profound intellect. His birth anniversary reminds us to revisit our history and rich cultural heritage. Studying Babur’s legacy, promoting his works, and instilling them in the consciousness of youth is our sacred duty, as a nation aware of its history has a bright future.

References

Baburnama. Tashkent: “Yulduzcha,” 1989.

Zahiriddin Muhammad Babur. Divan. Tashkent: Literature and Art Publishing House named after Gafur Ghulam, 1965.

V. Zohidov. Babur and His Literary Heritage. Tashkent, 1960.

R. Nabiyev. Babur’s State and Diplomacy. Tashkent, 1994.

History of Uzbek Literature. Vol. 5. Tashkent, 1978.

National Encyclopedia of Uzbekistan. Vol. 2. Tashkent, 2002. Article: “Babur.”

“Humanistic Ideas in the Personality of Zahiriddin Muhammad Babur,” 2022.

Artificial Intelligence in Medicine: Transforming Diagnostics and Treatment Planning

The use of intelligence and machine learning in medicine is a big change in the healthcare sector.

Intelligence and machine learning are helping doctors to make diagnoses and plan treatments.

Doctors used to have to do everything by themselves. Now they have machines that can help them.

These machines can look at a lot of information very quickly and accurately.

This is changing the way patients are cared for because intelligence and machine learning are making diagnoses more accurate and treatment more personal.

Intelligence and machine learning are also making things run more smoothly in hospitals and clinics.

The use of intelligence and machine learning is really changing the way medicine is practiced and it is helping patients get better care.

Artificial intelligence and machine learning are very important, in medicine now.

The use of Artificial Intelligence in medicine is really interesting especially when it comes to diagnosing illnesses. Doctors use things like X-rays, MRIs and CT scans to look at what’s going on inside the body. These tests give a lot of information. It can take a long time for doctors to look at everything.

Artificial Intelligence is also changing the way doctors plan treatments. Normally doctors use the treatment for everyone but this does not work for each person because we are all different. Our genes, the air we breathe and the way we live are all unique, so we need treatments that’re unique too. Artificial Intelligence is helping doctors make treatment plans that are just right, for each person. Artificial intelligence models can put together information from health records and other tests like genomic sequencing and clinical trials. This helps doctors create treatment plans for each patient. Studies have found that artificial intelligence systems are as good as doctors at finding diseases like cancer, heart problems and brain disorders when they are just starting.

For example, in cancer treatment artificial intelligence systems assist doctors in selecting the medicines by figuring out how a patient’s tumor will respond to those medicines. This way of treating patients is better because it improves the results and reduces side effects. As a result, the patient’s life becomes better overall. Artificial intelligence models are really helpful in this process because they use data, from health records and other sources to make decisions. Artificial intelligence is another thing that comes from using it in healthcare. Healthcare systems over the world are having a tough time because people are getting older there are not enough staff and costs are going up. Artificial intelligence tools do work make sure patients get the right care at the right time and help doctors make good decisions so doctors can spend more time with patients. In emergency rooms artificial intelligence can figure out which patients are in the danger and need help right away which can save lives.

Artificial intelligence, in medicine has some problems that need to be thought about even though it can do a lot of good things. Data bias is a problem. If Artificial Intelligence systems are trained on data that does not have a lot of kinds of people in it, they may not work as well for some groups of people. This can make it even harder for people who already have a time getting good healthcare.

Medical records have personal information, so we need to make sure they are safe and private. We need to have cybersecurity to protect this information, and we need to be open, about how we handle data. This is important because we need people to trust us with their information. Data bias and data security are both issues when it comes to Artificial Intelligence and medical records.

Hasanov Umidjon Ilhomovich was born on May 27, 2010, in Qorako‘l District, Bukhara Region. He began his education at Secondary School No. 9 in Qorako‘l District and has been studying since the 9th grade as a student of the Presidential School for Gifted Children.

Umidjon Hasanov has achieved numerous academic and social accomplishments. He is the holder of more than 50 international certificates and has actively participated in national competitions, earning over 20 certificates, diplomas, and letters of appreciation at the republican level. He is also the founder of several innovative projects.

At the national level, he won 2nd place in the “Youth Innovators” competition. In February 2025, he successfully obtained the CEFR B2 certificate. In 2025, he was recognized as the winner of both “Volunteer of the Year” and “Initiator of the Year” awards.

Additionally, he achieved honorable placements in the Republican Real Hackathon and Ideathon competitions for the EEAO book-related website project. Currently, Umidjon is actively organizing debate tournaments in his district and working on transforming the EEAO website prototype into a fully functional platform, collaborating with PIF members.

Journey across the sea

Take me to the other side of the sea,  

There where the pain settles along the shore 

And the boat bids a goodbye. 

There the generous winds come,

Gently takes me to the another world 

Of pleasure among plaintives.

There where the exhaustible afternoon fades away

And my weary mind rejuvenates. 

Steadily, the haze passed by with notes of chripping birds.

I wake up from the slumber of my own unconscious

Into the world of glow. 

There falls every shadow

And I dissolve into the hues of oneness,  

Commanding in the glory of God. 

For the light I have been longing for so long 

Sailed deep within my faith. 

There i saw myself lying under her feet, 

And she smiled over the sea. 

I wasn’t so lonely before 

To hold her grace in my empty hands. 

It happened for she wanted me. 

Yes, Radharani truly filled me!

UDC. 371.38

THE USE OF INTERACTIVE METHODS IN TEACHING STUDENTS WITH AND WITHOUT SPECIAL NEEDS IN INCLUSIVE PRIMARY EDUCATION

Dilnoza Khabibullo qizi
Akhmedova Kokand University, Andijan
Branch

Oygul Shuhratbek qizi
Abdullayeva

Student, “Primary Education”

Department, 2nd stage
Kokand University, Andijan
Branch

Annotation. This article provides an in-depth analysis of the role of interactive methods in ensuring high-quality and effective education for both students in need of inclusive education and healthy students in primary grades. The theoretical foundations of inclusive education, the pedagogical competencies of teachers in its practical implementation, as well as psychological-pedagogical approaches and methodological aspects, are scientifically substantiated. The article also reveals the mechanisms for applying interactive methods in primary grades and their role in supporting the individual development of students with diverse needs.

Keywords: inclusive education, primary grade, interactive
method, pedagogical cooperation, differentiated approach, students with special educational needs, competence, educational technologies, adaptive environment, pedagogical innovation.

INTRODUCTION.

One of the most important tasks facing the education system in today’s globalization process is to create equal opportunities for all
children, including providing quality education in the same classroom for students with special needs and healthy students. The inclusive education model is a practical expression of democratic values in world pedagogy and has been developing rapidly in the educational system of Uzbekistan in recent years. The Law of the Republic of Uzbekistan “On Education” also guarantees equal educational opportunities for all children [1].

According to UNESCO’s definition, inclusive education is “a system
that enables full participation in the educational process by creating equal opportunities for all children, including those with special needs” [2].

Primary education is the foundation of this process, where students’ personality formation, social communication skills, and motivation for learning develop. Therefore, the quality of education in an inclusive classroom, the correct choice of pedagogical approach, and the
use of interactive methods are of particular importance.

Pedagogical research shows that interactive methods — technologies such as “Brainstorming, ” “Blitz Questions, ” “Know-Want to Know-Learned (KWL) Chart, ” “Pair Work, ” “Role-Playing, ” “Circle Time” — are effective tools that unite students with different
needs and encourage their activity [3].

This article covers the scientific and methodological foundations
of improving the quality of inclusive education in primary grades using interactive methods, the results of experiments, and practical
recommendations.

LITERATURE REVIEW.

Scientific approaches to inclusive education are based on several
paradigms:

According to the “Social Model” put forward by M. Oliver,
disability is interpreted not as an individual defect or biological
limitation of a person, but as a result of an unadapted, barrier-
filled environment of society. This model views disability not as
a problem, but as a consequence of insufficiently inclusive environments and social structures. Therefore, it is considered wrong to segregate children with disabilities from society or evaluate them solely from the perspective of personal shortcomings. The main focus should be on adapting society itself — educational institutions,
infrastructure, methodology, and communication culture [3].

In the context of inclusive education, this approach is even
more significant. Oliver’s social model demonstrates the need to
create equal opportunities for students with special needs by removing psychological, pedagogical, physical, or communicative barriers in the educational process. That is, interpreting disability not as a “defect in the person” but as “the educational environment not
being sufficiently comfortable and adapted” encourages educators to create a supportive, adaptive, and discrimination-free environment for students. As a result, the educational process becomes open, fair, and inclusive for all children.

M. Ainscow’s “Pedagogical Integration Model” envisions creating a supportive educational environment and serves to enhance the individual capabilities of all students. This model ensures students’ full integration into the general education process by applying adaptive methods according to their needs and developmental
characteristics. Especially in inclusive education settings, the pedagogical integration model creates favorable conditions for
children with different needs to effectively integrate into the class community, participate in the learning process based on equal opportunities, and demonstrate their potential [2].

The main content of the model consists of adapting the educational process, individualizing the learning load, encouraging social cooperation among students, and ensuring psychological comfort. Through this, children with special pedagogical needs have the
opportunity to learn at their own pace, gradually master complex
tasks, and harmonize with the general educational environment. As a result, the educational process becomes not only effective but also fair and inclusive for all students.

Based on L. Vygotsky’s socio-cultural theory of learning, engaging students in cooperative learning significantly increases the effectiveness of the educational process. This approach is even more relevant in inclusive education settings. According to Vygotsky’s concept of the “zone of proximal development,” a student achieves higher results when engaging in cooperative activities with peers and adults in situations where it is difficult to acquire complex knowledge and skills independently. In this regard, cooperative learning methods in inclusive classrooms strengthen the social integration of students with special needs, develop their communication skills, and help them feel like full members of the class [6].

Furthermore, the cooperative learning process develops students’ social competencies such as mutual assistance, knowledge sharing, and supporting each other. As a result, favorable pedagogical conditions are created for children with different needs and abilities to participate in the general educational environment based on equal opportunities and fully realize their potential.

METHODOLOGY.

Our research was conducted in the following stages:

1. Diagnostic stage: The goal was to determine the students’
   developmental levels, the psychological profile of children
   with special needs, and the readiness indicators of teachers
   for inclusive education.
2. Experimental stage: Two parallel classes were selected: one taught with traditional methods, the other with interactive methods.

· Unique interactive methods (role-playing, small groups, visual
games) were applied.

3. Observation stage: Students’ activity, the strength of mutual
   communication, and the dynamics of task completion
   were studied.
4. Determination stage: Tests, interviews, and questionnaire
   methods were used. Interviews were conducted with students,
   teachers, and parents.

RESULTS.

The experimental process showed the following
results: In the class where interactive methods were used,
students’ active participation in the lesson increased from 28% to
70%. The level of communication between students with special
needs and their peers increased 2 times. In the interactive class,
the level of students giving independent answers to questions rose from 38% to 75%.

Indicators for written and oral literacy showed meaningful
growth: literacy: +20%, reading technique: +19%, mathematical
literacy: +25% (Figure 1).

[DISCUSSION. The obtained results show that using interactive
methods in primary inclusive classrooms significantly strengthens the differentiated approach in the learning process.

This creates an opportunity to give each student tasks tailored
to their individual abilities, capabilities, and needs. Students
with special needs feel the positive impact of the inclusive
environment by participating in the same activities and games as
their peers, without feeling excluded. At the same time, group-based games and activities unite all children, fostering solidarity, cooperation, and social connections among them.

The use of interactive methods builds students’ self-confidence, increases motivation, and encourages an active learning process. Students test their abilities by completing tasks at different levels and develop self- assessment skills through a sense of achievement. At the same time, the interactive approach expands opportunities
for teachers to implement inclusive pedagogy and adaptive technologies in practice. They can improve the quality of education
by creating an individual education plan for each child, determining their developmental pace, and adapting the necessary
pedagogical tools.

As a result, interactive methods serve as an important tool for
effectively organizing the pedagogical process in an inclusive classroom, positively influencing students’ mutual cooperation, personal development, and teachers’ professional competencies. This is a crucial factor in improving the overall quality of inclusive
education and creating equal opportunities for every student.

CONCLUSION.

The research results show that teaching students with special needs and healthy students in the same classroom using interactive methods is not only effective but also the most important condition for ensuring equal quality of education. Pedagogical approaches adapted to inclusive education develop students’ social integration, psychological adaptation, critical and creative thinking skills.

To ensure quality education in inclusive classrooms, it is
important to develop differentiated educational programs, improve the set of interactive methods, enhance teacher qualifications, establish systematic cooperation with parents, and strengthen the activities of psychological- pedagogical services.

Indeed, every child has the right to quality education. Educating
students with disabilities requires more effort and research from teachers. If lessons are approached more seriously and students are engaged using various interactive methods, change and growth in every child are inevitable. We believe that the methods analyzed above will certainly help in this process.

REFERENCES

1. Law of the Republic of Uzbekistan No. O’RQ-637 dated September 23, 2020 “On Education” / National Database of Legislation Information, 24.09.2020, No. 03/20/637/13-13.
2. Ainscow M. Understanding the Development of Inclusive Education. — London: Routledge 264 p.
3. Oliver M. The Social Model of Disability: An outdated ideology? — London: University College London Press, 1996. — 72 p.
4. UNESCO. Inclusive Education Guidelines. — Paris: UNESCO Publishing, 2009. — 52 p.
5. Vygotsky L.S. Pedagogical Psychology [Pedagogicheskaya psikhologiya]. — Moscow:
   Pedagogika, 1991. — 480 p.
6. Zaripova Sh., Abdullaev B. Theoretical Foundations of Inclusive Education [Inklyuziv
   ta’limning nazariy asoslari]. — Tashkent: Fan,

——————————————————–

ankles to neck

one of those nights

where arthritis tells

you, you should’ve

died young

a constant pain

ankles to neck

gin used to dull

this fucker

but those days

are long gone

as always something

stronger is needed

there has to be

a bent spoon

around here

somewhere

a little glass mirror

that hasn’t been

broken in some

psychotic rage

the next door

neighbor is

a gypsy

i’m sure she’ll

have something

of course, she’s

younger

only takes digital

currency

————————————————————–

the new normal

tornado warning

in february

there’s still snow

on the fucking

ground

they say this is

supposed to be

the new normal

i guess for the

first time in

my life

i can officially

say

i’m too old

for this shit

——————————————————-

overtime

bloody teeth on the ice

a nation lets go of forty

six years of frustration

i believe whitman would

call it a barbaric yawp

i would say i screamed

in ecstasy

something i have been

waiting for since i was

four years old

but for at least one

sunday in february

the boys will be

known as golden

—————————————————–

a secret to be kept

remember the first woman

you took to get an abortion

she was a friend that never

asked for any money

only for a secret to be kept

and it has

we, the lost souls of the

nineties

kids in the streets

or the kids that thought

they knew the streets

dealing drugs in the

apartments

running cocaine across

three towns at four in

the morning

most of us made it out

alive

some of us had no choice

but to die young

i look at the old photos

still remember the names

and the good times

but don’t know where

any of them are anymore

just how they like it

———————————————————-

keeps you up at night

the voice of an angel

enough baggage to take

a few years off your life

of course you’re in love

the ache in your soul

that keeps you up

at night

the endless questions

that have no answers

she sends her love every

morning so many miles

away

promises to come find

you before you die

you’re old enough

to know

a promise really means

nothing until it does

all the scars have a story

every heartbreak has

a song

life keeps turning the

page until the story

runs out

hopefully, we have

a few more chapters

to write

———————————————————–

jcampb4593@aol.com

https://evildelights.blogspot.com

https://goodreads.com/jjthepoet

Uzbekistan World Languages University 

English philology faculty, 2^st year student 

Ne’matullayeva Mukhlisa Sherali kizi

nematullayevam8@gmail.com

A lamp that never went out

The sky over Tashkent was heavy that day.

Gray clouds hung low, as if carrying a sorrow too great for words. The streets were quiet. Even the trees seemed to stand in silence. The wind moved carefully, as though afraid to disturb something fragile.

Zulfiya stood by the window.

She was still young, yet her eyes already held the weight of years. Inside them lived unwritten poems — pain waiting to find rhythm, love waiting to turn into lines.

Then came the knock.With that single sound, her life split into two halves.

“An accident…”

Just one word. But inside that word, an entire future collapsed.Hamid Olimjon was gone.

Suddenly. Without farewell. Without preparation.

At first, she did not believe it. The mind resists what the heart already knows. But the heart — the heart understands faster than reason.

She did not scream.She did not fall.Something inside her burned instead.And that fire would never go out.

They had met through poetry.Two souls bound by words, by homeland, by dreams. Their love was not simply between a man and a woman — it was a union of two creative spirits. He was not only her husband; he was her companion in thought, her support, her inspiration.Now she stood alone, with two young children and a silence too loud to bear.

Loneliness is heavy for any woman. For a poet, it is even heavier.

At night, when the city fell asleep, she would sit at her desk. A blank page in front of her. A storm inside her.For a long time, she would not write.Then slowly, her pen would move.Her poems became her tears — but tears shaped into strength.She refused to let grief make her small.

The streets of Tashkent saw her often.Her steps were sometimes slow, but her head remained high. People did not always know what it cost her to walk like that. They did not see the nights when memory pressed against her chest like a stone.She carried her sorrow quietly.And transformed it.Instead of drowning in it, she gave it voice.Instead of surrendering to it, she gave it meaning.That is the greatness of a woman — she can turn pain into light.

Then came the war years.The country was filled with waiting women. Wives, mothers, sisters standing by doors, staring at roads that brought letters — or silence.Zulfiya understood them deeply.She, too, had waited.She, too, had lost.Her poetry began to carry not only her personal grief, but the sorrow of a nation. In her lines, Uzbek women found themselves — their endurance, their quiet heroism, their unwavering loyalty.

She wrote about love not as weakness, but as power.

She wrote about fidelity not as sadness, but as dignity.And people listened.

Years passed.

Recognition came — awards, respect, admiration. She became one of the most honored voices of her country.But none of that replaced what she had lost.Love does not die with the beloved.It changes form.It becomes memory.It becomes strength.It becomes a silent companion walking beside you for the rest of your life.

Until her last days, she spoke of Hamid Olimjon with reverence. Not as a wound, but as a sacred part of her story.That was her loyalty.That was her quiet courage.

One spring afternoon, many years later, she stood again by a window.Outside, trees were blooming.Her hair had turned silver. Time had left its marks. But her eyes still carried light — not the light of innocence, but the light of someone who has survived.

Softly, she whispered:“Life did not break me. It shaped me.”In that sentence lived her entire biography.

Zulfiya teaches us something profound. That love can survive loss. That grief can coexist with dignity. That a woman’s strength is not loud — it is steady. She was like a lamp in the wind. It trembled. But it never went out. And the light she lit still burns — in poetry, in memory, in the hearts of those who believe that pain can become beauty.

Muxlisa Ne’matullayeva was born on November 4, 2006. She is a second-year student at the Faculty of World Languages, where she is developing strong skills in foreign languages and intercultural communication. Muxlisa is known for her dedication to learning and her interest in global cultures. She strives to broaden her knowledge and build a successful future through education and continuous self-improvement.