This article offers an ethnological interpretation of the Qashqadaryo dance tradition as an autonomous regional system within the Uzbek choreographic arts. Drawing on field observations and semi-structured interviews, the study examines how the natural and economic environment, local social organization, and intergenerational transmission shape enduring principles of movement. Key features identified include the continuity of the movement impulse, the initiating role of the torso, expansive and circular spatial trajectories, an open gestural structure, and performance variability. The analysis covers the distinct characteristics of male and female styles, as well as the incorporation of the «khafaband»—a decorative element—into the dance’s compositional fabric, illustrating the interplay between bodily and material culture. By comparing this tradition with the schools of Bukhara, Fergana, Khorezm, and Surkhandarya, the study defines the specific nature of the Qashqadaryo movement language, moving beyond a mere cataloging of isolated local techniques. Dance is framed here as a mechanism for collective communication, the reproduction of identity, and the preservation of cultural memory. The author argues for the necessity of documenting not only the movements themselves but also the contexts in which they exist, the voices of the practitioners, and the conditions under which the tradition is transmitted. In doing so, the research clarifies the position of this local tradition within the broader regional diversity of Uzbek choreography. These findings remain preliminary, given the incomplete information regarding expedition dates, the composition of the group of informants, the field documentation, and the ethical procedures followed.