BASED ON THE RESULTS OF AN ETHNOGRAPHIC EXPEDITION: FIELD OBSERVATIONS ON THE KHIVA HALFAS

Abstract

This article is based on field observations conducted during an independently organized ethnographic expedition by the author in the Khiva region of the Republic of Uzbekistan in 2023–2024. The study draws upon field materials directly recorded from informants and provides insight into the traditional cultural practices of the Khiva halfas.

The aim of the study is to scientifically analyze the cultural and social roles of female performers known as the Khiva halfas, along with their heritage and traditional practices. Relying on field data, the article delineates the Khiva halfas’ place in communal life through their song and dance performances, with particular emphasis on their ritual functions during family ceremonies (weddings, circumcision rites). The art of halfa is examined not only as an element of oral heritage but also as a phenomenon that affirms the active cultural role of women in society. As examples, the article references prominent halfas from the early 20th century to the 2000s—such as Onabibi Otakozieva (Ojiza), her disciples Oyibibi Matyokubova and her daughter Nodira Bogbekova—as well as musical ensembles like the harmonica players' group. This phenomenon demonstrates the distinct role of women as transmitters of cultural heritage in society and includes an analysis of the master-apprentice tradition, performance-based training, and mechanisms for preserving the folk repertoire. The study concludes with findings on the transformation of the halfa tradition, its continued vitality among contemporary generations, and the significance of this heritage. The article employs methods from folklore studies and ethnographic field observation, as well as content analysis to interpret the structure, thematic content, and poetic elements of the collected song texts.