Malika Kazakova: “My mission is to connect emotion, aesthetics, and meaning”
The world of show business rarely forgives mediocrity. To make a name for yourself, it is not enough to be talented — you need to know how to create emotions, shape moods, and build an aesthetic universe that the audience wants to return to again and again.
Malika Kazakova is a person for whom the stage has become not just a place of action, but a space of meanings. A singer, dancer, producer, director, and organizer of shows in Phuket and Bangkok, she has built a business where art and management exist in perfect balance.
In 2025, Malika received the GLONARY AWARDS FOR BUSINESS in the category Entertainment Business & Event Innovation Leader, and also joined the jury of the international Myronyx Global Awards, which evaluates the best achievements in business, creativity, and innovation.
Malika, today your name is associated with the highest level of productions in Asia. But it all started quite differently. How did you come into the entertainment industry?
— My path began with pure love for art. I studied oriental dances in Kyrgyzstan, taught, participated in competitions, but I always felt that I needed more — the stage, energy, people, atmosphere. When I came to Phuket, I started at the Palazzotheater, where I sang and danced. It was a real university of life — discipline, stage, audience. But over time I realized that I wanted not only to perform, but to create — to design emotions, to direct movement and light.
At what moment did you realize that you were ready to move from being an artist to a producer and show director?
— Probably when I began to see that I could make a project better than it was. When clients began to ask me, “Organize everything yourself.” It was a natural process — I always had the feeling that the artist and the producer inside me had to meet. And when they met, my business was born. I created my own structure, where I am responsible for everything — from the idea to the last detail of the décor.
You often say that a show is not just a spectacle, but a form of communication. What do you mean by that?
— For me, a show is a language through which you can speak about feelings, culture, identity. Every project is a story. Sometimes about love, sometimes about the beauty of a moment, sometimes about inner liberation. I always strive for the audience not just to watch, but to live through what is happening. Then the magic works.
How do you find the balance between creativity and business? After all, a show is also huge organizational work.
— Yes, that is one of the most difficult aspects. Creativity cannot live without structure. I have built a system in which inspiration is combined with clear logic. Behind every dance there is a schedule, behind every emotion — a budget, behind every effect — a technical solution. Management and creativity must be in dialogue, not in conflict. That is the art of balance.
Your projects range from intimate weddings to international yacht shows. What is most valuable to you when working on such a level?
— Responsibility and trust. When major brand owners or international clients come to me, I understand that I cannot let them down. We’ve done shows for Jack Ma, for large hotels, for yacht festivals that attract clients from all over the world. The scale is inspiring, but at the same time it forces you to maintain your standards. Even on the most luxurious stage, I always try to preserve human warmth — that spark for which everything is done.
You received the GLONARY AWARDS FOR BUSINESS. What does this recognition mean to you?
— It is probably one of the most touching moments of my career. This award is recognition not only of my own work but of the entire team with whom we’ve gone the path from small stages to international events. The nomination Entertainment Business & Event Innovation Leader is especially meaningful to me because it’s not just about shows — it’s about innovation, approach, philosophy. I always wanted to prove that a show can be an intellectual product.
In addition to your own work, you became a judge for the Myronyx Global Awards. What is it like to be on the other side of the industry?
— It’s a completely different level of responsibility. As part of the Myronyx Global Awards jury, I evaluate projects that shape the future of the industry — from startups to business brands. I’m inspired by how people around the world bring art, technology, and social purpose into their ideas. Judging teaches you to look deeper, to see not only the effect but also the meaning.
You’ve said that dance for you is a tool for working with the inner state. How did the idea of combining dance and psychology come about?
— It came naturally. I noticed how the body stores emotions. When a person moves, they release themselves. I held workshops where, through movement, I helped participants experience emotions and let go of fears. It’s not about technique — it’s about awareness. Sometimes dance can say more about a person than words.
The entertainment industry in Asia is now developing rapidly. How do you feel these changes from the inside?
— The competition has definitely become stronger. But with it, the level of culture has also grown. Clients have become more selective, audiences more educated. Social networks have set a new standard: everything must be not only beautiful, but relevant, emotional, and with a story. And I like that — the market is growing, and with it, professionalism.
Your projects are often described as “signature” — recognizable by their style. What forms your visual DNA?
— For me, the balance of light and space, attention to detail, and living energy are important. I love when a show has breath, plasticity, the movement of fabric, color accents. But the most important thing is rhythm — not musical, but internal. When the audience feels not a production, but a flow — that’s when a show becomes alive.
What are you looking for in the future — as a professional and as a person who creates an entire world around yourself?
— I want to grow in the direction of meaning. I’m interested in projects that combine art, technology, and human emotion. Right now, I’m exploring formats that merge shows with immersive experiences, elements of meditation, and mindful movement. I want audiences not just to watch, but to live through what’s happening. That’s the next level — when a show becomes an experience.