Sustainability of education socio-economic science theory

Keywords: tradition, studio, concert, ensemble, ethnography, continuity, genre, teacher, 
choreographer. 
In 2023, the 90th anniversary of the founding of the Ballet School in Tashkent - the 
first choreographic educational institution in Uzbekistan, which laid the foundation for the 
formation of national ballet art and Uzbek stage dance. 
The origins of choreographic education in Uzbekistan date back to the mid-1920s. It is 
known that in 1926 one of the founders of the concert business in our republic, Mukhiddin 
Kari-Yakubov (1896-1957) created the Mobile State Concert and Ethnographic Ensemble, 
which played a significant role in the development of national dance art. The idea of
creating an ensemble arose from M. Kari-Yakubov during his studies at the Technical 
School of Theater Arts in Moscow in 1922-1924, where he had the opportunity to see 
performances by outstanding masters of Russian stage art - drama actors, opera soloists, 
ballet dancers, pop artists. After the creation of the concert and ethnographic ensemble, 
which included leading Uzbek performers, the first dance studio was organized with it, 
where "choreography classes were held using lightweight elements of the European 
classical dance trend." [1, p. 31] 
It is known from the history of Uzbek theater art that as a result of the reorganization 
of the activities of state theater and entertainment enterprises, two new theaters were 
formed in 1929. On the basis of the Russian State Opera, founded back in 1918, the Opera 
and Ballet Theater is being created, and on the basis of the Mobile State Concert and 
Ethnographic Ensemble, created by the famous figure of Uzbek stage art Mukhiddin Kari-
Yakubov in 1926, the Uzbek State Musical Theater is being formed. The creation of new 
theaters put on the agenda the question of the need to train professional artistic personnel 
in all areas of stage creativity, including choreographic art. The fruitful artistic, production 
and creative and production activities of theaters could be ensured with the timely training 
of young performers, "thanks to which the theater's repertoire would be updated with new 
stage works." [4, v.1, p.91] 
In 1929, Tamara Khanum, already a well-known performer of the lapar musical and 
dance folk genre at that time, together with Usto Olim Kamilov, a performer on the doira 

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