Abbos Kosimov has been a participant with dancer and apprentice Tara Catherine Pandeya in ACTA's 2009 Apprenticeship Program in an apprenticeship in Uzbek doira. Their apprenticeship focused on doira rhythms, reinforcing the connection between Uzbek percussion and dance, and allowed Pandeya to develop proficiency in interpreting doira rhythms and understanding Uzbek music composition and improvisation. Trained from age ten with Ustad Tuychi Inagomov, Kosimov is one of few honored artists who have been officially recognized by the Uzbek head of state. Bearing the same illustrious title as Inagomov, Abbos arrived to the United States in 2005 having performed alongside artists including Zakir Hussain, Giovanni Hidalgo, Simon Shaheen, and Hassan Hakmoun at the World Music Institute. The doira is a frame drum with brass rings made from cow or horse hide that is used to accompany both popular and classical music from Iran, the Balkans, and many Central Asian countries such as Tajikistan, East Turkestan (Uighur Autonomous Xinjiang, China), and Uzbekistan. Regarded as one of the most ancient percussive instruments from Central Asia, it was originally played only by women during shamanic rituals. Of the doira, Kosimov notes, "Uzbek culture and national identity is deeply rooted in its music and dance traditions. As such, doira paired with dance has grown with the country over time and evolved to play a deeper role in reflecting Uzbek history, religion, heritage, and cultural traditions... Doira is my life and I cannot live without it." In Uzbekistan, the doira is supported as a national art and it can be heard at most festivities, rites of passage, seasonal celebrations, and religious ceremonies. This instrument in particular has always been an essential staple and inseparable element of traditional Uzbek dance because its specific rhythm patterns serve as a foundation for Uzbek dance vocabulary and play an integral role in expressing storytelling within choreography. In this video, shot at the Knights of Columbus studio in San Anselmo where the ACTA apprenticeship at times took place, Kosimov plays the doira and the handheld two-piece percussive instrument called qayraq, each piece made of metal and stone respectively. Similar to Spanish castanets, they accompany doira and other melodic instruments, and are used by tradtional dances in the Uzbek region of Khorezm. Kosimov improvises in several rhythms including 6/8, 7/8 and 4/4 for his solo, all rhythms which the most popular foundations for traditional Uzbek doira. His playing of multiple drums simultaneously has its foundation in innovation of the form in the mid-20th century as a form of virtuosic showmanship and competition between doira artists, demonstrating their technique and athletic skill. This was played one on one with a dancer (in the same manner which Kosimov and Pandeya have been working together) or within a large ensemble or community gathering of drums, in older times led by women only. Special thanks to Tara Pandeya. www.actaonline.org

Abbos Kosimov has been a participant with dancer and apprentice Tara Catherine Pandeya in ACTA's 2009 Apprenticeship Program in an apprenticeship in Uzbek doira. Their apprenticeship focused on doira rhythms, reinforcing the connection between Uzbek percussion and dance, and allowed Pandeya to develop proficiency in interpreting doira rhythms and understanding Uzbek music composition and improvisation. Trained from age ten with Ustad Tuychi Inagomov, Kosimov is one of few honored artists who have been officially recognized by the Uzbek head of state. Bearing the same illustrious title as Inagomov, Abbos arrived to the United States in 2005 having performed alongside artists including Zakir Hussain, Giovanni Hidalgo, Simon Shaheen, and Hassan Hakmoun at the World Music Institute. The doira is a frame drum with brass rings made from cow or horse hide that is used to accompany both popular and classical music from Iran, the Balkans, and many Central Asian countries such as Tajikistan, East Turkestan (Uighur Autonomous Xinjiang, China), and Uzbekistan. Regarded as one of the most ancient percussive instruments from Central Asia, it was originally played only by women during shamanic rituals. Of the doira, Kosimov notes, "Uzbek culture and national identity is deeply rooted in its music and dance traditions. As such, doira paired with dance has grown with the country over time and evolved to play a deeper role in reflecting Uzbek history, religion, heritage, and cultural traditions... Doira is my life and I cannot live without it." In Uzbekistan, the doira is supported as a national art and it can be heard at most festivities, rites of passage, seasonal celebrations, and religious ceremonies. This instrument in particular has always been an essential staple and inseparable element of traditional Uzbek dance because its specific rhythm patterns serve as a foundation for Uzbek dance vocabulary and play an integral role in expressing storytelling within choreography. In this video, shot at the Knights of Columbus studio in San Anselmo where the ACTA apprenticeship at times took place, Kosimov plays the doira and the handheld two-piece percussive instrument called qayraq, each piece made of metal and stone respectively. Similar to Spanish castanets, they accompany doira and other melodic instruments, and are used by tradtional dances in the Uzbek region of Khorezm. Kosimov improvises in several rhythms including 6/8, 7/8 and 4/4 for his solo, all rhythms which the most popular foundations for traditional Uzbek doira. His playing of multiple drums simultaneously has its foundation in innovation of the form in the mid-20th century as a form of virtuosic showmanship and competition between doira artists, demonstrating their technique and athletic skill. This was played one on one with a dancer (in the same manner which Kosimov and Pandeya have been working together) or within a large ensemble or community gathering of drums, in older times led by women only. Special thanks to Tara Pandeya. www.actaonline.org