Humoyunxon Sultanova is a professional ballerina and classical dance pedagogue from Uzbekistan. This was reported by Upl.uz.
Her repertoire includes more than 40 classical performances such as "Giselle," "Swan Lake," "Romeo and Juliet," and "The Nutcracker." Humoyunxon has performed leading ensemble roles and participated in state gala concerts.
Like many, her career could have ended with a final bow on stage, but she chose a different path. She spoke about this path in an interview with our correspondent.
– How did you come to ballet art? When did you realize it was your calling?
– My arrival to ballet was accidental. Since childhood, I was engaged in synchronized swimming.
Movement, music, and the body's work in space were close to me. My mother took me to the entrance exams of the choreography school, and I was accepted.
From the very first lessons, I liked ballet. Teachers praised me, placed me in the center, and I felt my abilities.
This gave me confidence, and I decided to continue studying. In the first year, I was invited to a performance where we performed a children's dance number.
Standing backstage, listening to the live orchestra, I watched with excitement as the principal ballerinas took the stage. This environment was truly magical.
I remember that moment to this day. Wonder, trembling, complete immersion in music and dance.
At that moment, I realized that ballet was not just a profession. It was my natural environment, my life.
It cannot be lost. – Which role or performance was a turning point in your career?
– The most important turning point was participating in the state exam. It was the culmination of eight years of hard work and dedication.
Living in a dormitory, I did not go home for months, training every day from morning till night under the supervision of coaches. Every year the requirements increased, and only the most resilient could graduate.
The final test was a performance on the big stage before the state commission, where each graduate's recognition as a ballerina was decided. We performed excerpts from "Swan Lake."
At that time, I was not just dancing, but deeply feeling the pain, strength, and dreams accumulated over those years from my heart. This was a test – professional maturity and inner readiness.
After that night, I realized I had truly become a ballerina. It was not a diploma, but a spiritual state.
– Which performance was the most challenging technically and emotionally? – The most difficult were "Giselle" and "Le Corsaire," each in its own way.
"Giselle" requires deep emotional involvement. Even if you are not the main role, you are inside the tragedy, feeling the music and atmosphere.
The second act is almost a spiritual experience where you live the fate of the characters. It demands complete dedication, physical and emotional strength.
"Le Corsaire" is a marathon in terms of technique and endurance. Very dynamic and complex choreography, scenes change frequently, there is a lot of synchronized work, jumps, and ensemble scenes.
Even if you are not in the foreground, constant attention, precision, and strength are required. These performances taught me how to conquer myself and maintain inner order under high load conditions.
I learned to feel music and the stage not with my head, but with my heart and body. – How has your attitude toward dance changed over the years?
– At first, I saw ballet as a harmony of beauty and labor. It was a wonderful art, a harmony of movements, music, and emotions on stage.
I thought it was important to demonstrate technique and aesthetics. But over time, I realized that dance is more than beauty and complex movements.
It is a personal journey...
