Art as a Path to Oneself: Malika Kazakova on the Boundaries of Creativity, Responsibility, and Inspiration

In the entertainment industry, things often look flawless only from the outside. Loud shows, glittering stages, and the energy of the audience conceal a huge layer of work that requires not only talent, but also system, leadership, and inner balance.

Malika Kazakova is a person behind many of the brightest projects in Phuket and Bangkok. A singer, dancer, director, choreographer, decorator, costume designer, and organizer of large-scale productions, she combines artistic intuition with an entrepreneurial instinct.

In 2025, Malika was honored with the GLONARY AWARDS FOR BUSINESS in the category Entertainment Business & Event Innovation Leader, and also joined the international jury of Myronyx Global, which brings together experts of the creative industries from all over the world.

Malika, your productions are known for their scale and attention to detail. Where does the creation of a show that amazes the audience begin?

— For me, everything begins with a feeling. I always look for the emotional impulse — what the viewer’s heart should feel. Then I translate it into structure: light, music, choreography, costumes. It’s a complex synthesis — art and management in equal measure. A successful show is not only about talent but also about discipline. I work with a team where everyone understands the responsibility for the atmosphere, for the emotion that we create.

Your role goes far beyond directing. You manage all the processes — from concept to working with the venue. What is the hardest part of that?

— The most difficult thing is to keep the balance between creativity and pragmatism. It’s important to me that the show is not just spectacular, but alive — that the performers don’t act but live on stage. But behind that there’s a huge amount of organizational work: negotiations, logistics, finances, safety. It requires a different kind of energy — not artistic, but businesslike. And when the project ends, I feel not only pride but also gratitude that everything managed to stay in balance.

You received the prestigious GLONARY AWARDS FOR BUSINESS 2025. What does this recognition mean to you?

— It’s a sign that my path was not in vain. For a long time, I worked behind the scenes, creating projects for other brands without putting myself in the spotlight. This award became a moment when I realized: my approach to show organization — where aesthetics, psychology, and structure come together — is truly seen and appreciated. It’s not about status; it’s about confirmation that you can be a leader while staying true to your inner principles.

Now you appear not only as a creator but also as a mentor and a judge of international projects, including Myronyx Global. What is it like to be on the other side of the stage, in the role of evaluating someone else’s creativity?

— It’s a very interesting experience. When you judge, you don’t just evaluate — you see in each participant a reflection of your own path. I try to look deeper: not only at technique or form, but at how honest a person is in what they do. Sometimes the simplest performance can be more powerful than a perfectly constructed show if there is sincerity in it. Judging at Myronyx Global gave me the opportunity to feel the scale of the industry — how it develops, how different cultures and styles connect. And that is inspiring.

You mentioned the psychological aspect in art. Tell us how dance and stage expression can work with a person’s inner state.

— Dance is the language of the body, but also the language of the soul. In my workshops, I often use elements of body therapy: through movement, one can release emotions, get rid of blocks, even rethink one’s fears. This is especially noticeable among women — when they start moving freely, not only their posture changes, but also their view of themselves. I see the mission of art in this — to return a person’s connection with their body, with feelings, with what is alive.

It seems that you perceive a show not as a form of entertainment, but as a tool for transformation. Is this a conscious position?

— Yes, absolutely. I realized long ago that spectacle is not just an external picture. It is a way to awaken emotion in a person, to make them remember something forgotten, something deeply personal. When I create a production, I don’t think about how to surprise — I think about how to touch. I believe that true art should work not only on the visual level but also on the mental one.

Behind the external brilliance of your work, one feels inner strictness. How do you keep your inspiration without burning out?

— I spent many years learning to listen to myself. My source of inspiration is not external applause, but the feeling that I am in the flow. I often retreat into silence, watch the sea, just move to music without thinking about form. When I return to work, I already have that state from which energy is born. And I try to pass that on to the team — inspiration as a form of presence, not as a flash.

What advice would you give to those who dream of a career in the entertainment industry but are afraid to take the first step?

— Don’t try to be perfect right away. Start with sincerity. People can feel when you are genuine. In this world, it’s important not just to work, but to live your work. And if you truly love what you do, the audience will always feel it. Everything else is a matter of time and effort.

In conclusion: what is most important for you now — as a person, not just as a professional?

— Harmony. I’ve gone through the stages when I needed to prove, to create, to hold on. Now I want every movement of mine — on stage or behind the scenes — to be filled with meaning. I want to share, to inspire, and at the same time to stay true to myself. This is probably what real maturity is — when you can be strong and gentle at the same time.