We had the pleasure of speaking with B.Anand, a rising star and gifted principal dancer of the State Academic Theatre of Opera and Ballet of Mongolia, whose artistry and dedication to his craft recently brought international recognition to Mongolia. Showcasing both technical brilliance and expressive depth, B.Anand captured the bronze medal at the esteemed Xiamen International Ballet Competition in China—an achievement that marks a proud milestone not only in his personal journey but also in the growing presence of Mongolian ballet on the world stage.

Congratulations on your success in Xiamen! Could you please tell us more about the competition—how it was organized and which countries participated?

Thank you very much. It was a truly unforgettable experience to represent Mongolia on such an international stage and achieve this result. The competition brought together top dancers from Asia, particularly from countries well-known for their ballet excellence, such as China, South Korea, Japan, and of course, Mongolia. I was honored to win the bronze medal, and my colleague, B.Maral, who is also a principal dancer at the State Academic Theatre of Opera and Ballet, earned the silver medal. It was a proud moment for both of us and for Mongolian ballet as a whole.

What inspired you to pursue a career in ballet? Could you share that story with us?

When I was very young, my grandfather took me to a ballet performance at the theatre, where I now work, for the first time. I still remember being completely captivated by the grace and power of the performance. From that moment on, I was drawn to ballet—there was no turning back. When I told my grandfather and mother that I wanted to become a ballet dancer, they were genuinely thrilled and incredibly supportive.

I first joined the UB Ballet club under the guidance of teacher Kh.Gerelchimeg, and later, I was accepted into the Ballet Department of the Mongolian State Conservatory. I graduated in 2022, under the mentorship of Honored Artist Kh.Mungunkhulug, and immediately joined the theatre as a full-time dancer that same year.

Interestingly, when I initially wanted to apply to the ballet department, I was actually too young to meet the official age requirement. At the time, only students in sixth grade were allowed to register—but I was still in the fifth grade. My grandfather insisted, telling my mother, “My grandson will become a ballet dancer—he has what it takes.” My mother did everything she could to get me enrolled despite the odds, and thanks to her persistence, I was accepted. That was a pivotal moment in my life.

What was the very first role you ever performed on stage?

I was eight years old and still a student at UB Ballet when I first stepped onto the stage. I played the role of a little mouse in the ballet “Cinderella”. I vividly remember my costume—brown clothing and mismatched, colorful socks. Even now, I can still picture myself dancing in that role. It’s a memory I’ll always cherish.

Ballet is often described not only as a physical art form but also one that demands emotional depth, intellectual precision, and a finely tuned sense of artistry. How do you prepare yourself for competitions?

Any competition requires immense dedication, focus, and emotional investment from the artist. But above all, I believe maintaining inner calm is the most important. People often assume that dancers simply go on stage, perform, and exit—but it’s much deeper than that. Once we step onto the stage, we must fully immerse ourselves in the atmosphere of the performance and become one with the character—its emotions, behavior, and essence.

When I’m performing, I don’t just play a role—I live as that character, even if only for a brief moment. It’s as if I become someone else entirely. If my emotions are unsettled, my body simply won’t respond. That’s why I make a conscious effort to balance both my physical and mental well-being. I pour my heart and soul into every role, trying to give each character everything I have.

During the most intense and demanding rehearsal periods, have you ever felt like giving up? And if so, how do you motivate yourself to keep going?

Ballet, as an art form, is incredibly demanding and, at times, unforgiving. From a very young age, we’re trained to carry ourselves with discipline and structure, and that foundation isn’t easy to build or maintain. Naturally, there are moments of doubt—and quite a lot of them, to be honest. I think all dancers, especially ballet dancers, experience these low points more often than people might imagine. But we try our best to push through.

Personally, I’m not the type of person who immediately turns to others for comfort. I prefer to sit in silence, reflect, and find calm in solitude. When I was still a student, I’d open up to my teachers during tough times—they offered invaluable guidance and support. Now that I’ve entered the professional world, I occasionally confide in close friends or older colleagues when I need to share what I’m going through.

Of all the roles you’ve performed, which one demanded the most from you—physically, emotionally, or mentally?

Without a doubt, the role of the Prince in the “Swan Lake” has been the most challenging so far. It required everything I had and pushed me to my limits. At the time, I honestly felt like I wasn’t good enough. But looking back now, I think I’ve grown a lot since then—and I’ve even developed a deep affection for the role.

I’ve only been working as a principal dancer for about a year, so every leading role I take on feels new, fresh, and incredibly meaningful. Each character presents a unique challenge and becomes a part of me.

Is there a dream role you still hope to perform someday?

The Prince in the “Swan Lake” was my dream role for a long time, and I’ve already had the chance to bring it to life. Now, my goal is to refine and deepen my interpretation of it. Lately, I’ve also become intrigued by the idea of playing a villain or antagonist—a more complex role that requires even greater emotional and artistic range from the performer. I think such roles would challenge me in a whole new way, and I’m eager to explore that.

Intense and long hours of rehearsal must come with the risk of injury. Have you experienced that?

Yes, injuries are an inevitable part of a dancer’s life. Ballet is often described as an art of youth—a profession with a short-lived career span. So when you get injured during that already limited window, it feels especially difficult. Whether the injury is serious or minor, it still eats away at that precious time you have to grow and perform.

There’s also the added risk during seasonal transitions. Even when we warm up properly, the sudden exposure to cold air—especially after coming off a warm stage—can cause muscles to tighten or your back to spasm. That’s why we must be incredibly careful and vigilant at all times. Avoiding injury is just as important as perfecting the performance itself.

Do you have a personal method for calming your nerves before stepping on stage?

During rehearsals, I’m so focused on how to improve the role that I don’t really think about nerves. But right before a performance begins—when the music starts and the curtain is about to rise—I get extremely nervous. I sweat, I shake. It’s intense.

Once I step onto the stage, though, I tell myself: You’re not here to show the world Anand—you’re here to bring this character fully to life. That mindset helps center me. To be honest, there are even moments when I blank out or forget certain movements mid-performance. It happens. Artists often fall into two categories: those who get nervous before stepping on stage, and those who get nervous once they’re already on it. I’m definitely in the first group—I get nervous beforehand.

To manage that, I practice a breathing technique called 4-7-8. I inhale for four seconds, hold my breath for seven, and exhale for eight seconds. It really helps calm my body and makes me feel lighter and more in control.

How do you usually spend your free time?

I love trying new things—I’m naturally curious. I enjoy swimming, and I’ve even worked with a modeling agency. I like exploring different experiences outside of ballet—it gives me balance.

If you hadn’t become a ballet dancer, what career path do you think you would have taken?

Lately, I’ve found office jobs quite intriguing—especially the legal profession. I think being a lawyer would have been exciting. In fact, when I was younger, I often imagined myself becoming one. But that all changed the day my grandfather took me to see a ballet performance. After that, everything shifted. Ballet became my path.