Khwarezmian Lezgic

Harezm Lezgisi is a traditional folk dance native to the Harezm region in western Türkiye, renowned for its dynamic movements, rhythmic structure, and rich cultural context. This dance holds a significant place in the cultural identity of the Uzbek Turks and was inscribed on 12 December 2019 at the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage meeting in Bogotá, Colombia, as part of the "Intangible Cultural Heritage of Humanity."

The Harezm region has historically served as a crossroads of civilizations due to its location along the Silk Road, the most important trade and cultural route connecting the East and the West. This area functioned as a cultural intersection where music, dance, belief systems, and social traditions circulated between China and Anatolia.

The main centers of Harezm—Khiva, Urgench, Shavat, and Hazarasp—emerged as key hubs of art, science, and craftsmanship within the Central Asian Turkic-Islamic civilization. The performing arts developed in these cities, particularly the rhythmic music and dance traditions, became integrated into both daily life and ritual ceremonies of the local population.

Harezm Lezgisi took shape within this historical context, blending the agile footwork techniques of the Caucasus, the elegant arm and hand movements of Iranian geography, and the spirited rhythms of the Central Asian steppe traditions. As a result, it developed a distinctive style that is both technically and aesthetically unique to the region.

Throughout history, the dance has been performed at large-scale events such as weddings, holiday celebrations, harvest festivals, and military victory ceremonies, serving both as entertainment and as a means of reinforcing social cohesion, identity, and belonging. Performances of Lezgi, accompanied by local sazende musicians and dancers, sometimes took the form of individual virtuoso displays and at other times functioned as communal ritual dances.

Its inscription by UNESCO in 2019 as part of the "Intangible Cultural Heritage of Humanity" underscores Harezm Lezgisi’s value as a cultural treasure worthy of global preservation.

Harezm Lezgisi is a folk dance characterized by high-energy step sequences and rapid tempo changes, highlighting the performer’s physical endurance and aesthetic control. The figures are typically executed with sharp, pronounced movements synchronized to the rhythmic accents of the music.

• The dance often begins with percussive steps involving firm foot strikes and light hops.
• Fast cross-steps in forward-backward and side-to-side directions impart a dynamic visual rhythm to the performance.
• In certain sections, figures are performed close to the ground using knee bends and squats, reflecting both the agility and strength of the dance.

• Male dancers move their arms in wide, rigid circles at shoulder height or above, symbolizing power and confidence.
• Female dancers emphasize the aesthetic dimension through delicate hand movements, articulated from the wrist, and shoulder tremors.
• Arm and hand coordination is enriched by sudden pauses or fluid transitions that align precisely with each musical accent.

• Harezm Lezgisi is structured around fast-paced rhythmic patterns of 6/8 or 2/4 time. This rhythmic framework allows dancers to maintain continuity while incorporating unexpected accelerations and decelerations.
• The strong accents of percussive instruments—particularly the daire (def) and nagara—directly guide the dancers’ steps.

• Sudden rises and falls in the melody are visually mirrored in the dancers’ turns, leaps, or pauses.

These technical features transform Harezm Lezgisi into a performing art that demonstrates a seamless visual and auditory harmony between rhythm and movement.

The musical structure of Harezm Lezgisi is one of its most fundamental elements, defining its lively and spirited character. The tempo, rhythmic accents, and instrumentation directly shape the execution of the dance figures.

The dance is typically performed in 6/8 or 2/4 time signatures, enabling both rapid and flowing step sequences. The rhythm is supported by strong percussive accents that create a continuous sense of forward motion. The tempo varies across sections: the music begins at a moderate pace, gradually accelerates through the performance, and reaches its peak intensity in the finale.

The melodies predominantly follow regional makams and melodic patterns unique to Harezm. These tunes reflect both the local identity and historical roots of the dance. Melodic lines feature short repetitions and ornamentations, facilitating the dancers’ ability to respond to sudden changes in figures.

• Percussive Instruments: Traditional percussion instruments such as the daire (def), nagara, and occasionally the doira form the rhythmic backbone of the dance.
• Melodic Instruments: The karnay (long brass wind instrument), surnay, garmon (accordion), and sometimes the dutar provide melodic accompaniment.

The number and type of instruments vary depending on the performance setting: at large weddings, the combination of karnay and nagara dominates, while in enclosed spaces, more controlled instruments such as the accordion and def are preferred.

A direct interaction exists between musicians (sazendes) and dancers; musical accents are immediately reflected in the dancers’ steps and turns. At times, the music is abruptly halted during the performance, requiring dancers to continue solely through rhythm—using clapping or foot stomping—adding a dramatic effect to the performance. This musical structure enables Harezm Lezgisi to establish a unique identity as a high-energy visual and auditory performing and ritual art.

Throughout history, Harezm Lezgisi has fulfilled both a performing art function and a social ritual role. The dance expresses social identity, belonging, and cultural memory. Consequently, it has been performed in various contexts:

• Wedding Ceremonies: Harezm Lezgisi is one of the principal dances at weddings, especially those honoring the bride and groom. Male and female dancers perform either in competitive exchanges of figures or through collective choreography.

• Holiday Celebrations: Public performances take place during Nowruz, harvest festivals, and other special days on the local calendar.

• Social Celebrations: The dance is also performed during New Year celebrations, military send-offs, and victory ceremonies to heighten communal enthusiasm.

The dance is viewed as a unifying element that brings community members together through shared rhythm and emotion. In the Harezm region, halfe and sazende communities play a central role in the performance. The halfe directs the flow of the ceremony, the sazendes provide the music, and the dancers execute the figures. In some instances, the dance carries symbolic meanings such as "bringing prosperity" or "expelling evil spirits."

Today, Harezm Lezgisi is staged by professional folk dance ensembles, presented at national and international festivals with stage lighting, elaborate costumes, and choreographic arrangements. Nevertheless, traditional performances in villages and neighborhoods continue to preserve the dance’s living cultural context.

The folk legend explaining the origin of Lezgi dance has been brought to digital platforms through the music video Lazgi Afsonasi by Uzbek vocal artist Hülkar Abdulleyeva. The legend is introduced at the beginning of the video as follows:

Qadim o'tkan zamonda Turon degan tomonda bir o'lka bor ekan. Bu o'lkani Xvay razm ya'ni Quyosh yeri atashar ekan. Odamlari shunday yaralagan ekan. Jonga "tanaga kir" deptilar Jon tanaga kiriptiyu yugurib chiqdi. Jondan so'raptilar. "Nega yugurip chiqding?" Jon aytipti: "U yer qapqarang'u zimiston ekan, qo'rqaman" depti. Shunda ilohiydan bir kuy taralipti, Bu kuyga maftun bo'lgan jon, tanaga kirganini o'zi ham sezmay qolipti. Oldin barmoqlarga, keyin panjalarga, bilaklarga, yelkalarda azoi badaniga jon kirib, inson tirilipdi. Bu ilohiydan kelgan Lazgi kuyi edi. Bu kuyni na Eroniylar, na Yunonlar, na Arablar, na boshqalar yo'q etaolganlar. Shundan bu yon Xorazmda bu kuyning to'qiz xili mavjud ekan. 

O'tmishdagi ustozlar, bu kuy ilohiy kuy bo'lgani uchun unga so'z bog'lashka jur'at etaolmagan ekanlar. Komiljon degan go'yanda unga jur'at etip so'z bog'lapti. Shundan keyin Xorazm Lazgisi manggulikka yuz tutib ketadi.^【1】 

Kadim geçmiş zamanda Turan denen tarafta bir ülke var imiş. Bu ülkeyi Hvay rezm, yani Güneş yeri diye adlandırırlarmış. Adamları şöyle yaratılmış. Cana "tene gir" demişler. Can tene girmiş ama geri çıkmış. Candan sormuşlar. "Niye geri çıktın?" Can söylemiş: "O yer kapkaranlık ve zemheri kış , korkuyorum." demiş. O zaman ilahiden bir ezgi yayılmış. Bu ezgiye meftun olan can, tene girdiğini kendi dahi sezmeden kalmış. Önce parmaklara, sonra ellere, bileklere, omuzlarına, bedeninin azalarına can girip insan dirilmiş. Bu ilahiden gelen Lezgi ezgisi imiş. Bu ezgiyi ne İraniler, ne Yunanlar, ne Araplar, ne de başkaları yok edememişler. Şundan bu yana Harezm'de bu ezginin dokuz türü mevcut olmuş. Geçmişteki üstatlar, bu ezgi ilahi ezgi olduğu için ona söz bağlamaya cüret edememişler. Kamilcan diye bir ozan buna cüret edip söz bağlamış. Bundan böyle Harezm Lezgisi bengiliğe yüz tutup gitmiş.^【2】 

In the video’s continuation, the verses of the poet Kamilcan are presented as follows:

Yetti falak burjining mehri pur anvoriman,

Pinhon sadaf durjining gavhari shaxvoriman,

Go'zal Xo'tan og‘usi novayida toriman,

Eram chamanzorining lolayi gulnoriman,

So'ylay siza ey og'am, yorning sevar yoriman.

Qora go'z bo'y bo'y bo'y, ola go'z bo'y bo'y

Zulfim aro bandadur, bog'lara sarvi ravon

La‘li labim rashkidir necha oshiq bag'ri qon

Chunki chaman sahnida bo'lsa yuzim gulfishon

Nolasin aylar fuzun shaydolarim har zamon

Jaloliddin elindan mardni sevar yoriman

Qora go'z bo'y bo'y bo'y, ola go'z bo'y bo'y

Siza amas aslinda lablarimning handasi

Yora vafodan so'ylab qalbimni taronasi

Ochildi yurak aro sevgimning gul shonasi

Bizlar Layli Majnundek bu zamon afsonasi

So'ylay siza ey og'am, mardning sevar yoriman

Qora go'z bo'y bo'y bo'y, ola go'z bo'y bo'y

Manguberdi yurtinda taralar azal navo

Mashriqning latofati asli erur bunda jo

Norin-norin lazgilar ko‘ngil dardiga davo

Shul sabab imkon olib vaqtin aylagan insho

Jaloliddin elindan mardni sevar yoriman

Qora go'z bo'y bo'y bo'y, ola go'z bo'y bo'y

Qora go‘z gal bari hey, ola go‘z gal bari^【3】 

Yedi felek burcunun mihri pür envarıyım

Pinhan sedef dürcünün gevher-i şahvarıyım

Güzel Hoten ağusu naveyide tarıyım

İrem çemenzarının lalesi gülnarıyım

Kara göz vay vay, vay, ala göz vay vay

Zülfüm ara bendedir, bağlara serv-i revan

La‘l-i lebim reşkidir nice aşık bağrı kan

Çünkü çemen sahninde olsa yüzüm gülefşan

Nalesin eyler füzûn şeydalarım her zaman

Celalettin elinden merdin sevdiği yariyim

Kara göz vay vay, vay, ala göz vay vay

Size değil aslında leblerimin handesi

Yare vefadan söyleyip kalbimin teranesi

Açıldı yürek ara sevgimin gül şanesi

Bizler Leyla Mecnun gibi bu zaman efsanesi

Söyliyeyim size ey ağam, merdin sevdiği yariyim

Kara göz vay vay, vay, ala göz vay vay 

Mengüberdi yurdunda dağılır ezel neva

Maşrık'ın letafeti aslıdır burada ca

Narin narin lezgiler gönül derdine deva

Şu sebep imkân alıp vaktin eyleyen inşa

Celalettin elinden merdin sevdiği yariyim^【4】 

Many vocal artists continue to perform the verses of the poet Kamilcan in their renditions of Harezm Lezgisi.