The stained windows of blues, and reds, and ivory,
Enlighten this whole space with a peaceful ambience,
Of faith, of hopes, and love, and you feel the presence,
Of some holy spirit, there, holy memories…
We have built this big church to offer to Mary,
And to her divine Son, Jesus Christ, all our lives:
The future of our lives, as their past and glory…
Once a fire took its roof, but by miracle,
The place stood still, then the firemen could arrive,
To set flames off. Then we repaired it…
Mystical!
*****
Jesus is with us.
In Paris, there is a legend,
That Jesus lives, rue Cordelières,
In a hidden villa, where ends,
A lane… Since our past hundred years.
He reputedly reads a lot,
Of old scriptures and some novels,
Served by a guard of the angels,
He thinks, he prays there, for the most.
Some say, He sometimes walk the streets,
To museums, or bakeries,
Or cafes, anonymously…
To a beggar, apparently,
A man who gifted jewelry…
Could have been Him!
Who knows?
Him, Christ!
Timothee Bordenave is a French author of essays, fictions and poems. He has published about 25 books today, in France and internationally. He is also an international artist. He used to work directly libraries in Paris, where he was born in 1984 and still resides now.
Painting entered my life at a very young age as a way to express my emotions.
What is your inspiration?
My inspiration is the human being, feelings, and even something simple like a song.
2. What is the message you want to give through your art?
Through my works, I want to capture the viewer’s interest and create a feeling, either positive or negative.
Where is your inspiration coming from?
My inspiration comes from my daily life and my emotions.
3. Do you believe that new generation is creating art?
I believe that the new generation has talent and creativity
Do we have good painters or not?
There are many remarkable young artists who create with passion and authenticity.
4. How have you felt when you see your Art awarded in Art media event this February?
It was a moment of emotion and gratitude. I felt that the effort and love I put into my creations were recognized. At the same time, it was a motivation to continue with even greater strength.
5. Do you want to share with our readers a phrase that changed your life:
“Live in the present and do not be afraid of the future.”
6. What is your future project?
In the future, I would like to study at the School of Fine Arts and then continue to be actively involved in the art field.
…..
Biography
Vivian Daouti is 19 years old and comes from Platanos, Ancient Olympia, Greece. She is a high school graduate and currently in her second semester at the Educational Union (SAEK) of Athens. She holds a Proficiency diploma in English and is a self-taught painter.
At the age of 17, she participated in a painting exhibition for the first time, where she received an award and highly positive reviews, while several of her works entered private collections. Despite her young age, she has already taken part in twenty-four group exhibitions in Greece and abroad — Austria, Istanbul, Turkey, Athens, Pyrgos, Naousa, Paros, Syros, Ancient Olympia — earning distinctions and honorary awards.
In March 2025, she received the 1st Audience Award at the Pan-European Dreamteam Competition at the War Museum of Athens. The award was presented by the Mayor of Ancient Olympia, Mr. Aris Panagiotopoulos. On the occasion of this distinction, the Metropolitan of Ilia, Mr. Athanasios, as well as the Directorate of Secondary Education of Ilia, sent her congratulatory letters for her artistic course and for representing her school at the art exhibition in Istanbul.
In August 2025, she participated in a group exhibition in Ancient Olympia that lasted 24 days and attracted high attendance and warm reviews.
In September 2025, she held her first solo exhibition at the Latsio Municipal Hall of the Municipality of Pyrgos, which drew impressive attendance and very positive feedback from the public and art institutions.
In January 2026, she presented her second solo exhibition in Ilioupoli, Attica, with great success.
In February 2026, she was awarded for the second consecutive year with the 1st Audience Award at the Pan-European DREAMTEAM Art Competition at the War Museum of Athens.
Her works have been published in collectible books, international painting volumes, as well as in print and digital media. At the same time, she participates with her work in the commemorative French edition of the historical volume on the life of the Dredes.
She is a collaborator of the creative group “Grypiotis Collection.”
Her goal is to study at the School of Fine Arts and to explore different cultures through travel, exhibitions, and museums around the world.
The Voice That Still Inspires: The Enduring Legacy of Zulfiya
In the tapestry of Uzbek literature, certain voices weave themselves so deeply into the national soul that they become timeless. One such voice is that of Zulfiya Isroilova, a poet whose words continue to serve as a beacon of strength, dignity, and hope for generations. She was not merely a writer; she was the embodiment of the Uzbek woman’s spirit—resilient in the face of tragedy and unwavering in her devotion.
Zulfiya’s life and work were defined by a “quiet bravery.” After the early loss of her beloved husband, the great poet Hamid Olimjon, she did not succumb to despair. Instead, she transformed her grief into a universal language of loyalty. In her famous lines from the poem “O’g’lim, sira bo’lmaydi urush” (My son, there shall be no war) or her moving elegies, she captured the inner world of a woman who carries the weight of the world with grace. Her poetry reminds us that faithfulness—to one’s family, one’s values, and the motherland—is the highest form of courage.
What makes Zulfiya’s legacy truly extraordinary is her refusal to portray women as fragile. In her verses, women are depicted as strong-hearted architects of the future. They are mothers who nurture the nation, daughters who carry the flame of dreams, and intellectual companions who stand equal in the journey of life. As she once beautifully reflected, a woman’s heart is capable of containing the entire universe’s warmth, even during the coldest winters of hardship.
For today’s youth, Zulfiya is more than a historical figure; she is a modern role model. In a rapidly globalizing world, she teaches us that one can achieve international literary acclaim while remaining deeply rooted in cultural identity. The Zulfiya State Prize, established in her honor, is a testament to this ongoing inspiration, encouraging thousands of young girls across Uzbekistan to pursue education, creativity, and leadership. Her life proves that when a woman finds her voice, she doesn’t just change her own destiny—she elevates the entire society.
The voice of Zulfiya still echoes in our hearts today. Her legacy is a celebration of spiritual strength and national pride. As long as her poems are recited, her spirit will live on, whispering to every girl that she possesses an inner power capable of changing the world. Zulfiya did not just write poetry; she wrote the manifesto of the modern Uzbek woman.
Uzbekistan State World Language University English Philology Faculty, first year, 2513-group, Gayratova Dilnavo.
Türkan Ergör, Sociologist, Philosopher, Writer, Poet, Art Photography Model. Türkan Ergör was born 19 March 1975 in the city of Çanakkale, Türkiye. She was selected International “Best Poet 2020”. She was selected International “Best Poet, Author/Writer 2021”. She was selected International “Best Poet, Writer/Author 2022”. She was awarded the FIRST PRIZE FOR THE OUTSTANDING AUTHOR IN 2022. She was awarded the 2023 “Zheng Nian Cup” “National Literary First Prize” by Beijing Awareness Literature Museum. She was awarded the “Certificate of Honor and Appreciation” and “Crimean Badge” by İSMAİL GASPRİNSKİY SCIENCE AND ART ACADEMY. She was awarded the “14k Gold Pen Award” by ESCRITORES SIN FRONTERAS ORGANIZACIÓN INTERNACIONAL.
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.
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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.
