Abstract:

Through examining Uzbekistan-based artist Elena Korovai’s 1932 papier-mache panel “March 8”, this essay investigates how the form, content and material serve as evidence of a socialist and feminine message of progression, modernization, and liberation. This essay situates Korovai’s practice with contemporary artists like Aleksandr Deineka, Oksana Pavlenko, and Mikhail Kurzin on the one hand, and on the other hand with historical and cultural tradition of papier-mache craft and pulp industry in Samarkand and Central Asia broadly. Papier-mache’s versatility, malleability and availability makes the medium capable of imitating or reproducing materiality of sculpture, flat surface, and ornament. In making lacquer panels with papier-mache, Korovai’s choice of material, then, may be situated in the context of Central Asian (or Samarkand) paper craft tradition. what Korovai got out of the mesmerizing shimmer of the paper paste ornament was not a frozen-in-time romanticization of the Oriental tradition, but rather an inspiration from the material level to incorporate paper craft in socialist art making. The process of making March 8 reflected the artist’s experiment to use pulp as a national material to make socialist content and generate a spatial effect.

Abstract:

Uzbekistan is currently undergoing a process of rethinking and re-reading the work of the Jadids; a new concept has emerged denoting the creation of cultural capital of the Post-Jadid period. The concept proposed by Doctor of Historical Sciences Elyor Karimov is called “Post-Jadidism,” because the repression carried out in Central Asia in 1937 did not end with this period. The remaining waves of this repression occurred in 1950-55, 1983-87. Moreover, the treasury of the founder of Jadidism, Makhmudhoja Behbudiy, occurs in 1919; the repressive nature of the death of Ibragim Muminov, an academician of the Academy of Sciences of the UzSSR, which rehabilitated the image of Amir Timur and returned his name to the Uzbek people during the colonial period, occurs in 1974. These facts show the continuous nature of the repressive policies of the Red Empire. In particular, the Kazakh intelligentsia went through these same processes, following the example of Academician Mukhtor Auezov and other scientists. There were many Central Asian families who survived this policy for generations. Using the example of the fate of the first cameraman, film director Sulaimon Khojaev and his son, academician, scholar Khamid Sulaimanov, one can see the tragedy of the era in which an entire generation of learned intellectuals was destroyed and persecuted by entire families. No less interesting is the fact that the main part of the intelligentsia followed the path of their destiny, consciously guessing about the future that awaited their fate. The cultural capital brought by the intelligentsia into the life of our peoples, who lived during the colonial period, played a kind of role as the foundation in which the culture of the period of independence still stands. And this pattern of history, when one generation is the creator of cultural values, despite the most difficult conditions of its period, and the next generation is the consumer of this fruit, has long been paid attention to by Western sociologists. Moreover, the concept of cultural capital is the main theme of the work of Pierre Bourdieu.

In societies such as the traditional society of Uzbekistan, especially as it happened in our history in the 20th century, the exchange of cultural values and their accumulation was carried out through a complex process, through social struggle.

Abstract:

The purpose of the research to identify common and different trends through a comparative analysis of the transformation of the lives of Uzbek youth from the beginning of the 20th century to 1991 and the post-independence period.

Tasks of the research:

- Determining moral, social, economic and political norms of Uzbek youth during Soviet colonialism;

- Determining the moral, social, economic and political norms of Uzbek youth in the post-independence period;

- Comparative analysis of the transformation of the lives of Uzbek youth from the beginning of the 20th century to 1991 and the period after that

When talking about the history of Uzbekistan and the Uzbeks, the name «Uzbekistan» as the name of the general territory began to be recorded after the division of the Central Asian territories by the Soviets in 1924. In general, regardless of how this area is called, the peoples who lived in this area had a long history and had their own cultural and value system. However, after the 2nd half of the 19th century, as a result of the conquest campaigns of the Russian Empire, most of the Central Asian countries were colonized. Chronologically, until 1917, the territory of Uzbekistan was controlled by the Russian Empire, and after the revolution of 1917, the control was transferred to the Soviet Socialist Republic. The main issue that interests me is how the worldview of young people was formed in the period before independence in 1991, and what social, economic, political, and cultural factors were of high importance in this?

In the early days of colonialism, the intellectuals of the nation saw the superstition of the people as the main source of the country's liberation, and the Jadidist movement was of significant importance in this. They established new schools, newspapers, magazines, reformed literature, introduced theater, and most importantly fought against conservatives (bigots and religious scholars). The struggle of Jadids for freedom and freedom was brutally suppressed by the Soviet Union and local fanatics.

In general, the Soviet Union had a significant impact on the cultural and social landscape of Uzbekistan. One of the main goals was to promote a common Soviet identity, often involving the elimination or modification of local customs, traditions, and languages.