Abstract
This article examines the history of formation and development of the Sherabad School of Epic Performance, one of the most significant and enduring traditions of Uzbek oral poetic creativity. The author analyzes the stages of its scholarly study, covering the period from the first expeditions of the 1920s to contemporary field research. Particular attention is paid to the ideological pressure of the 1950s, when the epic Alpamysh and the art of bakhshi performance were officially condemned, leading to a temporary stagnation in folklore studies. The study highlights the uniqueness of the Sherabad performing tradition, characterized by accompaniment on the dombra and the archaic style of throat singing (bo‘g‘iq). The research is based on materials collected during a scientific field trip to Termez and the Baysun district in 2023. During this expedition, the author conducted interviews and surveys with representatives of the Sherabad school, including holders of the honorary title “People’s Bakhshi of the Republic of Uzbekistan.” Analysis of the collected data made it possible to trace the continuity of the tradition through both the “master–disciple” and “father–son” principles, from the legendary Shernazar Beknazaroghli to contemporary masters. The article also discusses issues related to repertoire, the geographical distribution of the school (Surkhandarya and Kashkadarya regions, southern Tajikistan, and northern Afghanistan), and the role of specialized bakhshi schools in preserving UNESCO-recognized intangible cultural heritage. The study concludes that the Sherabad school has maintained its vitality by successfully adapting to modern educational and socio-cultural conditions.