ASKIYA AS THE ART OF LOGICAL HUMOR

1. Abdurashid Mirzakhmedov Mamasidikovich , 2. Khurshid Mirzakhmedov Abdurashidovich  , 3. Oygul Mirzakhmedova Abdurashidovna , 4. Zukhra Kimsanbaeva Saminjonovna

doi:10.18848/ftee4c19

Authors

1. Abdurashid Mirzakhmedov Mamasidikovich , 2. Khurshid Mirzakhmedov Abdurashidovich , 3. Oygul Mirzakhmedova Abdurashidovna , 4. Zukhra Kimsanbaeva Saminjonovna Author

DOI:

https://doi.org/10.18848/ftee4c19

Keywords:

Oral folklore, askiya and humor, wordplay, national culture, logical aesthetics

Abstract

This article is devoted to the analysis of the problem of reviving interest in the rich heritage of oral folk art askiya (wit) and humor, which are being displaced by modern modern culture. Askiya as an oral folk theatrical art has an original genre, absent from other peoples of the world, distinguishing it from the play on words with its unique competition of masters of artistic words, which entered the world list of cultural values of UNESCO. This genre has a geographical character, that the Fergana Valley is famous for the Kokand, Margilan and Rishtan schools of askiya, partly Andijan. This genre, as a theatrical art is a unique direction of the laughter culture of the people, which demonstrates the mastery of wit, based on logical competition, to make people laugh, to raise the mood of the audience through wordplay. It should be noted that the art of askiya is a male kind, whose participants enter the public with eloquence, demonstrating high spiritual and moral festival culture with subtlety and delicacy of exchanging wordplay with spontaneous skillful answers. The article aims at an ethical and aesthetic analysis of the disappearing type of creative heritage of askiya masters in order to preserve it for the identification of the ethno-confessional identity of the Uzbek people. The authors reveal the significance of this type of art as a source of socio-cultural and spiritual-aesthetic development of the objective world, the most democratic folk form of theatrical art.