Katta Ashula (literally 'big song') is a type of traditional song which is a part of the identity of several ethnic groups in the Ferghana Valley in Uzbekistan, which also has Tajiks, Uyghurs, and Turks, as well as some regions of Kyrgyzstan, Tajikistan, and Kazakhstan. Origins of the Katta Ashula genre can be found in ancient folk-ritual chants, songs of praise and agriculture- and labor-related songs, which are distinguished by their combination of recitatives and declamation beginnings chanting; and distiches of ghazals written in the aruz prosody. Significantly, the development of the Katta Ashula genre is closely linked with the development of local performance schools. They are distinguished by their characteristics of interpretation, singing, and bearers. Among Katta Ashula performance schools, Qoqand, Margilan, Andijan, Namangan, and Tashkent are notable examples.
The Katta Ashula genre combines the performer's skills in singing, instrumental music, Eastern poetry, and sacred rites. The music covers a range of topics, from love to philosophical and theological concepts of the universe and nature, while leaving some room for improvisation. This style is characterized by laconism in means of expression, expressiveness in the musical language, dynamic melodic development, and bright emotionality. Traditionally (or historically) figurative poetry has been a lyrical and philosophical art form, and various ghazals can be identified as constituting the major poetic texts in this genre, including those of Navoi, Lutfi, Mashrab, Khazini, Muqimi, Furqat, Zavqi, and Miskin.
A Katta Ashula tradition bearer is folk as well as a professional singer who has mastered pertinent knowledge and skills, unique singing techniques used in the “ustoz-shogird” (“master-apprentice”) method, known as the traditional learning method in Margilan, Qoqand, Andijan, Ferghana, and Tashkent in the conservatories, colleges of art and academic lyceums, as well as at the Yunus Rajabi Institute for National Music. It is transmitted orally from one generation to another through a demanding apprenticeship under the guidance of at least two and a maximum of five singers.
Katta Ashula has been recognized as an important expression of Uzbek cultural identity as well as a way to promote dialogue among cultures. To keep the tradition going, festivals, contests, and various other activities already organized by Uzbekistan's government and local authorities need to be reinforced. In addition, research is necessary to create a database, hold conferences, and promote publications. Research and practical measures are being taken by numerous governmental and public organizations to preserve and popularize Katha Ashula's traditions. These include expeditions, scientific research, publishing books, and collections, producing audio and video disks, producing films and television programs, and conducting competitions (review competitions among young singers to bring more attention to the Katta Ashula genre), etc.
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