CENTRAL ASIAN JOURNAL OF ARTS AND DESIGN

The Role of the Education and Upbringing System in Enhancing the Spirituality of the Younger Generation

Khudoyarova Dilnoza — Wed, 05 Nov 2025 00:00:00 +0000

This study examines the primary role of the system of education and raising of the young generation in the context of the globalization process in the conditions of the digital information society on the ground of spirituality to play an important factor. The introduction states national development and social stability would be supported by pillars of spiritual maturity and moral culture. Nevertheless, there is a knowledge gap in the area of how institutions providing education combine the aspects of spiritual education with modern pedagogical and technological developments. This research employs a qualitative, critical approach rooted in pedagogical and sociocultural theory. The article explores the dynamics between schools, families, and community-based organizations in cultivating healthy responses to risk through spiritual resilience (“spiritual immunity”) and moral consciousness in our youth. They divide its functions into three interrelated components: developing scientific understanding of values, regulating emotions and encouraging moral social activity. The findings reveal that spiritual education coupled with the innovative pedagogical tools like case studies and creative thinking techniques enhances the students critical thinking and emotional intelligence. These curriculum improvements will help youth develop the skills to ward off harmful ideological seepage and prevent misinformation through the integration of media literacy and national ideological content. It suggests a sustainable education when knowledge, ethics and cultural identity are integrated in a harmonious manner. Together they create a model of moral development which includes strengthening family-school partnerships, teacher efficacy in spiritual instruction, and youth participation in arts and culture. The study therefore, implies that rather than just an academic instructional facility, the education system should transform into an energetic organization of spiritual and moral development.

Journalism as a Vibrant Form of Creative Activity

Akhmetzhanova Mukaddas Vakhabovna — Fri, 07 Nov 2025 00:00:00 +0000

Journalism, as an integral part of spiritual and cultural production, represents a unique form of creative and intellectual activity that reflects the complexity of human thought and communication. Historically, the study of journalistic creativity emerged in the late nineteenth century alongside the rise of the psychology of creativity, which aimed to explore the mechanisms of imagination, intuition, and mental processes in professional activity. Over time, journalism came to be viewed not merely as a medium for information dissemination but as a creative discipline involving artistic, cognitive, and communicative dimensions. Despite the recognition of journalism as a form of creative work, limited research has systematically analyzed its psychological and artistic aspects as interdependent elements of professional competence. This study seeks to identify the creative essence of journalism by examining its psychological foundations, methodological evolution, and aesthetic dimensions that define journalistic mastery. The analysis reveals that journalism synthesizes logical reasoning, emotional perception, and aesthetic expression, enabling journalists to transform facts into meaningful narratives that shape public consciousness and cultural identity. It highlights the interplay between imagination, intuition, and ethical responsibility in journalistic creativity. The study provides an interdisciplinary framework connecting the psychology of creativity with journalism studies, offering new insights into journalism as a form of intellectual art. These findings reaffirm the need to view journalism as both a social and creative force that nurtures moral consciousness, fosters critical thinking, and contributes to the cultural and spiritual development of society.

Traditions of Uzbek Musical Theatre

Muzaffar Pirmatov — Fri, 07 Nov 2025 00:00:00 +0000

This research investigates the development of Uzbek musical theatre traditions and their dissemination in the contemporary media sphere with a focus on their historical background, artistic variations and modern problems. Over the last millennium, forms of classical national musical drama have all but disappeared in recent decades in favor of a more superficial presentation of the genre in which playwrights and composers do not collaborate as creatively interdependently, as they used to. This study reveals a major gap in knowledge in current practice — a weakening of the old creative synthesis that once linked together direction, music and acting. This study uses a qualitative analytical technique, both archival research and analysis of major theatrical works and contributions of major directors, such as Rustam Bobokhonov, Rustam Madiyev, and Bahodir Nazarov, to review important stages in development. Results show that although the core of musical theatre is still solid, revival efforts depend on the tuning of classical and modern melody. The results show the importance of maintaining historical accuracy while connecting the past to modernity so that the audience retains interest and its culture remains persistent. DP abstract: The study concludes that a prospective Uzbek musical theatre form harmoniously combined with national traditions and modern European musical genres would allow for finding a way to the renewal of a national musical theatre form, which raises the voice of Uzbek music not only on national but also on international musical stages. Such a synthesis would maintain the genre's cultural identity yet inspire forward-thinking, experimental creation among future generations of creators.

The Artistic Interpretation of the Hero of Our Time on Stage

Pirmatov Sherzod Tursunovich — Mon, 10 Nov 2025 00:00:00 +0000

This paper examines the modern-day production of the “hero of our time” on the stages of modern-day Uzbek theatre, highlighting the deeper moral, social, and ideological contexts which reflect the contemporary artistic interpretation of this concept. While there has been considerable improvement since the country gained independence, the paper finds a lack of well-rounded, relatable and relevant characters based on the values and issues of today. The qualitative descriptive-analytic method, using data from theatre archives, performances (2020–2025) and critical reviews were used. Through interviews with directors, actors, and scholars the research engaged with issues of dramaturgical structure, directorial interpretation, and acting technique. Results show that although Uzbex theatres and productions engage decisively with social issues involving patriotism, independence and moral awareness, dramaturgical depth, as well as contemporary characters, remain largely absent. Mix in the fact that there is a lack of collaboration between playwrights, directors and actors that translates to a lack of preparation by the time new actors reach the professional level and you have a recipe for disaster. These findings call for an integrated approach to artistic education, the infusion of new dramaturgical voices, and the establishment of institutions that will help bridge the gap between social reality and stage representation. The study ultimately argues that making a more well-rounded vision of the contemporary hero will take cultivation of the next gen, and a deeper relationship between creative interests. These insights have valuable implications for reaching a higher level of cultural, artistic and educational status of the theatre art of Uzbekistan.

Aristotle’s “Poetics” and the Requirements of Dramaturgy

M. B. Umarov — Thu, 13 Nov 2025 00:00:00 +0000

One of the most readable and perhaps most respected of all works in the entire world of literary theory is Aristotle's Poetics, which presented the very first systematic foundation to explain the laws of artistic production and the construction of drama. Poetics, composed in the 4th century BCE, outlined the theoretical foundations for tragedy, comedy, and drama as intricacies of the moral, philosophical, and aesthetic realms of human experience. Its concepts made great influence to a whole line of development in world literature-arising from the ancient Greek theatre from Uzbeks modern dramaturgy. At the same time, the practical application of Aristotle's dramaturgical theories especially in terms of genre definition and directing practice remains relatively unexamined in the context of contemporary theater scholarship. A Modern Relevance of Aristotelian Dramaturgical Theory: An historical, comparative, and analytical approach to proving Aristotelian dramaturgical theory throughout history is still relevant in explaining structure, genre and artistic wholeness in dramatic works. The findings of this study confirm that Aristotle's divisions between tragedy, comedy and drama are still an essential framework for understanding a playwright's worldview and artistic intention. His theories allowed for emotional depth, philosophical inquiry, and moral reflection to co-exist in harmony in the dramatic activity of such giants of the stage as Aeschylus, Shakespeare, Fitrat and Hamza. This research still considers Aristotle's Poetics not only as a historical piece, but mainly as a living methodological manual that serves as a bridge between the classical dramaturgy and the theory and practice of modern stage art. Results show how Poetics still represents a necessary tool for playwrights, directors, and scholars in constructing artistic integrity and philosophical coherence out of the theatre.