«One – two – three – four. One – two – three – four!» instructed Malika Kalontarova to a bevy of teen girls, as she moved her right foot forward, left foot back, right foot forward, left foot back, then left foot forward, right foot back, left foot forward, right foot back.
After getting the basic steps down, she began incorporating elegant arm movements and twirling hand gestures—a signature of Central Asian dance.
Tajikistan-born Kalontarova, a legendary Bukharian dancer who was People’s Artist of the USSR in 1984, was leading her first master class at JIQ Girls School as part of the Week of Bukharian Culture in Queens, organized by Rafael Nektalov.
The opportunity to not only witness the class but participate was a rare privilege. As someone who has traveled Uzbekistan many times — even once with travel dance show «Bare Feet» host Mickela Mallozzi, bringing her to a ballet school in Tashkent and to Asrlar Sadosi («Echoes of Centuries» festival) in Navoi — and who attended many Uzbek parties while in New York (I was a volunteer with a group called Uzbek Initiative), I never actually KNEW what I was doing. I just tried to follow along.
Thus, I eagerly embraced this opportunity to learn from a master. A doyra played as we moved in circles, waving our arms in unison. Kalontarov then had all of the girls spin across the room, one by one. Their initial giggles gave way to a deepening connection with the dance, as if an innate rhythm coded within their DNA was suddenly switched on.
«This is really good for them,» observed one teacher, highlighting the dual benefit of the class—not only for physical health but also for preserving and celebrating their cultural heritage. The dance was more than just steps; it was a way for the girls to connect with their roots and gain confidence.
Kalontarov, wearing all black, was also joined by two other Bukharian legends, who wore kaleidiscopic traditional attire: Muhabbat Shamayeva and Tamara Kataeva.
Shamayeva, known for her soulful voice and traditional repertoire, and Kataeva, celebrated for her vibrant singing style, led the singing classes while Kalontarova focused on dance. Both women brought their own rich cultural backgrounds to the event.
Muhabbat Shamayeva’s career has been marked by her dedication to preserving Bukharian music traditions, earning her acclaim both in her home country of Uzbekistan – where she was one of the most popular female singers in the 1970s – and internationally. Tamara Kataeva, with her signature long raven hair and striking looks, is famous for her dynamic performances and has also contributed significantly to the promotion of Bukharian cultural arts through her work in various festivals and community events.
As the hour-long master class drew to a close, an impromptu dance party erupted near the elevator, as the high school girls, buoyed by the infectious energy of their teachers, refused to let the moment end. The room was alive with music and movement, the girls eagerly trying to engage with Kalontarova, Shamayeva, and Kataeva.
«That was so much fun!» they exclaimed, their excitement palpable as they danced and sang, reluctant to part with their newfound skills and the legendary figures who had shared their art with them.
Erin Levi