Mukarram Turgunbaeva was a prominent Uzbekistani choreographer and dancer during the Soviet era. Born in Shakhrikhan, Andijan Region in 1913, Turgunbaeva was orphaned early in life and raised by her uncle's family
Mukarram vividly remembered her aunt's tearful story. Another actress, who had dared to remove her veil and perform on stage, had been brutally murdered. This time, the victim was Mukarramkhon, a close friend and talented musician and singer. Mukarram’s mother named her daughter after this dear friend. After the tragedy, her mother worried about her daughter's future, but she never lived to see her little dancer's happiness.
Life was difficult for Mukarram without her mother. She spent some time living with her uncle, but only her understanding grandmother truly appreciated her talent for dancing.
Her grandmother often took out a doira and played various rhythms, imitating bird songs, wind gusts, and raindrops.
Mukarram danced tirelessly, improvising on the legends her grandmother shared. Due to her grandmother's persistence, Mukarram was sent to a folk school, where she immersed herself in her studies and participated in various clubs, especially cherishing the song and dance club.
Turgunbaeva uniquely blended traditional Uzbek dance with Western classical dance, presenting each style alongside the other. Her choreography for many traditional dances, such as the tanovar dances, set the standard for future performances.
In 1939, Turgunbaeva played a key role in establishing Muqimi, Uzbekistan's first musical theater, having previously choreographed the ballet Pakhta (Cotton) there in 1933. She also worked on Shakhida in 1938, which depicted the battle against the Basmachi.
In 1957, she founded the Bahor Ensemble, which remains a highly regarded performing group in contemporary Uzbekistan and credits her as the choreographer of many of its repertory pieces. The "Bahor" concert hall was her cherished second home, a creation that made her arduous life, filled with joy, sorrow, successes, and disappointments, worthwhile.
She had to endure a lot of stress to prove that Uzbekistan deserved and had the right to its own national ensemble. Mukarramkhon quickly entered her large, cozy office, where fragments of dance photographs, both of her own performances and those of the "Bahor" ensemble, adorned the walls. Faint music, occasionally interrupted by the voice of the rehearsal director, could be heard from the rehearsal hall.
Mukarramkhon lovingly referred to her protégées as the "Forty Beauties," seeing them as her daughters.
She proudly mentioned that she also had fifteen sons – the musicians. To the large ensemble, Mukarram-opa was like a true mother: sometimes strict and demanding, but often kind and joyful. She played a vital role in the lives of each girl in the ensemble. Knowing how important it was for young artists to have their own space, she made efforts to secure apartments for them, attended every wedding, and gave gifts like a real mother.
Wherever they toured, Mukarramkhon ensured that the girls could celebrate New Year with their families, as the family well-being of her protégées was very important to her.
The "Bakhora" dance ensemble has always been composed of women from various nationalities: Uzbeks, Russians, Tatars, Poles, Koreans, and Kazakhs. However, the graceful dancers were accompanied exclusively by men playing traditional Uzbek instruments.
Mukarram Turgunbaeva, an expert in Uzbek dance folklore, choreographed over 200 national dances, which remain cherished treasures of Uzbek culture. These dances reflect not only the spirit of the Uzbek people but also the ancient land's rich history, conveyed through music and movement.
The "Bahor" ensemble has toured nearly the entire world, visiting around 60 countries, and leaving a piece of Uzbek culture in each one. In the 1990s, when funding for various groups, including "Bahor", was cut, the ensemble began to lose its standing. In 1997, by decree of the President of Uzbekistan, the "Uzbekraqs" association named after Mukarram Turgunbaeva was established, which included "Bahor".
It's hard to pinpoint exactly who is to blame for the unique ensemble ceasing to exist by 2007. However, it is clear that this was a significant blow to both the followers of Mukarram Turgunbaeva and fans of "Bahor" worldwide.
After the legendary founder, the "Bahor"ensemble was led at different times by Kunduz Mirkarimova, Ravshana Sharipova, and Mamura Ergashova. Each of them strived to preserve the traditions laid down by Mukarram Turgunbaeva.
In February 2020,a decree by President of Uzbekistan Shavkat Mirziyoyev revived the activities of the State Dance Ensemble "Bahor", marking an important cultural event in the life of the country. For her significant contributions, Turgunbaeva was honored as a People's Artist of Uzbekistan.
A museum dedicated to her legacy exists in Tashkent, focusing on dance in the 1920s and 1930s. The museum's exhibits include costumes, posters, memorabilia, and a collection of recordings of Uzbek folk music.
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