Tamara Petrosyan Biography

The People's Artist of the USSR Laureate of the Stalin Prize of the second degree Tamaru Hanum was called "Eastern Isadora Duncan." The British queen personally handed an outstanding artist a high award for contribution to art. Even before the era of television and musical clips in Central Asia, its own ethnic mega-star already had. It could be listened to and look in musical performances.

The fate of this outstanding woman is something like a fairy tale about Cinderella. She had to survive poverty and hunger before becoming famous throughout the world. Her name rattled not only in the vastness of the former Soviet Union, but also far beyond its borders. This Armenian girl from the god of the forgotten Uzbek village owed her fabulous popularity to the purposeful nature, exceptional hard work and a rare artistic gift.

Tamara Hanum was born on March 29 in the year in the modest family of Anna and Artem Petrosyan, exiled to the Turkestan region, in a small village at Gorchakovo station now the city of Margilan. Growing up in the Uzbek mahalla, the girl was not much different from the village children - black -eyed, frisky. When a troupe of stray artists appeared in the village, they all fled to the performance.

Tamaru was fascinated by performances of magicians, ropper, dancers. At home, she involuntarily repeated the movements of the artists. Each time, the awkward Pa became more and more confident, and already at the age of six the girl deserved the first applause, dancing before the relatives. But time passed, and the triumphal performance in Paris laid the foundation for a brilliant career of a young dancer.

Woman on stage? In those times, this was inconceivable in the Muslim East. According to the customs of Turkestan, after early marriage, the woman’s life was limited to Ichkari - the female half of the house, and the face and body were reliably hidden under a burial and chaste dresses. Tamara grew up, and people increasingly told the Petrosyans that their daughter behaves inappropriately - after all, she did not think of throwing her passion for dancing.

Father was even threatened by reprisal if he does not put his impudent child. However, the case intervened: the Vostok campaign train arrived at the Gorchakovo station with the team of artists under the leadership of Hamza Hakim-Zade Niyazi, the future classic of Uzbek literature. Such art missions "for enlightening the people" were very widespread in the first years of Soviet power.

Someone told Hamze about a talented girl, and this decided her fate: at the end of the year, Tamara first reached the real stage. She was only 12 years old, but she had already appeared before the audience along with the rest. The dance lived in it organically, charged with passion, demanded embodiment. Speech at amateur concerts sharply allocated a young dancer, she was still the only representative of the fair sex, who dared to dance publicly, and even with an open face.

The threats to Tamara continued, and the parents, away from sin, sent their daughter to Tashkent. In the year, the girl entered the student in the Tashkent ballet troupe and began to dance in semi -professional concert groups, led by the first Uzbek artists: Abror Hidoyatov, Yamny Babajanov, Ali Arodobus Ibrahimov. Alas, rumors about her “obscene” behavior reached her native village, and local fanatics brutally dealt with her father.

The mother was left alone with the children, and those crumbs that Tamara received for performances went to a piece of bread for relatives. The ballet troupe toured in Central Asia, giving folk dancing concerts. In small towns and villages, threats and stones often flew to the dancer girl. One performance almost cost Tamara of life: the raging spectators were ready to tear her into shreds.

One of the artists saved, a famous musician and wit Yusufjan-Kyzyk. In the turmoil, he threw a burden on her and helped to quietly get out of the crowd. A considerable fortitude was required and convinced of his rightness, so as not to surrender. In the year, she went to Moscow, to continue education at the theater technical school. Moscow spectators compensated for all unpleasant moments of the first performances, meeting the art of young talent with hype.

It was in Moscow that she received her second metaphorical name - "Swallow of the East." It happened that especially persistent fans made their way after the concert for the curtains in order to personally express their delight. So, when one of such a well done found himself in the dressing room and showered it with compliments, Tamara was not surprised.

It turned out to be the famous singer Mukhitdin Kari-Yakubov. Presenting it, the leader told her: "Now you will perform together." Then she did not assume that “together” would be forever: Mukhitdin became her husband, the father of her daughter. The young spouses went on the first foreign trip, to France. In Paris, a World Exhibition of Decorative Art was held in Paris.

Mukhitdin Kari-Yakubov and Tamara had the honor to represent her land on it. Their number was stunning success, Parisians recalled about Uzbek artists for a long time.Returning home, the couple drove through Germany, where the illustrious dancer Isadora Duncan wanted to meet Tamara. She asked Tamara to allow her to touch and count the vertebrae, proving that with a normal body structure, a person is not capable of such incredibly complex and excellent movements.

Tamara tasted wide recognition and glory at 19. After success in Paris, the whole world opened in front of her. She traveled half the globe, and not count the countries where her small legs were dancing. After one funny story, the pseudonym Hanum firmly entrenched in her. It so happened that before a major concert in Moscow, one of its organizers heard the countrymen call Tamara "Hanum" a woman.

The next day, posters with the name "Tamara Hanum" hung throughout the city. Foreigners could not understand what nationality this amazing dancer was. The Armenian by blood, which grew up in the Uzbek mahalla, Hanum brought a new dance from each trip, reincarnating in it with great force. In her creative piggy bank, dances of 86 peoples of the world gathered. Tamara remembered not only dance PA, but also the features of gait, facial expressions, body movements inherent in the inhabitants of different countries.

The costume, makeup and the dance itself transformed it so much that every nation took this magnificent woman for their countrywoman. In the year, she made a coup in stage art, combining two genres - a song and a dance. Now the artist also sang in many languages, moreover, without an accent, completely gaining in the created image.

The more these threads, the better the voice sounds, as if thousands of demons are instilled in me, who create my dance, ”she admitted. This expression, obsession with her favorite business, extraordinary hard work and God, this talent kept her at the top of universal respect and admiration. In the year at the international dance festival in London, the British queen personally handed the artist a high award for the artist The contribution to the whole Patriotic War Tamara Khanum went to the whole front, from the Pacific Ocean to Europe, for which the military command appropriated, the only one of the artists, the rank of weapons, and the artists, and public figures were honored to see Tamara Khanum Isaac Dunaevsky wrote: "You invite me to Sunny Uzbekistan.

But any country will be solar, any place where you and your wonderful art are! In the year, in collaboration with the director of Z. Kabulov and composer P. Rakhimov, she organized a theater in Urgench, where she performed simultaneously a choreographer, a dancer and a reciter teacher. On her initiative, a classic ballet school in Tashkent was also opened. Tamara Khanum died in the year, in Tashkent, bequeathing to make a museum in her house, where thousands of stage costumes in which she performed were stored.

Each of them, embroidered with gold and silver threads, precious stones, is an example of art in itself. The Tamara Hanum Museum opened in the year. He retained the interiors of living rooms, costumes, song records, a magnificent collection of paintings, gifts, photographs and manuscripts of an outstanding artist. Among them are unpublished memories, as well as poems created already in the period of wisdom, in the declining years.

In one of them, Tamara Hanum beats the lines of Omar Khayyam: “The fact that fate came to give you cannot but not be taken away and not take it away