Under the expansive, azure skies of New Mexico, renowned Diné and Puerto Rican ballet dancer Jock Soto graced the premiere of the short film, Following Enchantment’s Line, in a solitary, breathtaking dance sequence. As the credits rolled and the lights illuminated Santa Fe’s historic Lensic Performing Arts Center, a summer monsoon unleashed a dramatic chorus of thunder and rain, mirroring the palpable energy within the theater. It was then that Soto, with his characteristic grace, led a live rehearsal with dancers from Ballet Taos, their movements accompanied by the evocative classical compositions of his friend, Laura Ortman. This evening served as a powerful testament to Soto’s enduring passion for sharing the profound rhythm and artistry he honed over a distinguished 24-year career with the prestigious New York City Ballet.

Soto’s artistic lineage traces back to his childhood, where he first discovered his passion for movement through hoop dancing alongside his mother. “I started hoop dancing with my mother,” Soto recalled, “And I continued hoop dancing until I discovered ballet. And ballet was just my life. That’s all I wanted to do.” The pursuit of this dream demanded significant dedication from his parents, Josephine Towne and José Soto, who located the sole ballet school in Phoenix, Arizona, a considerable distance from their home. “My dad would drive there every day, and I got a full scholarship because I was the only guy in the class,” he explained, highlighting the early recognition of his exceptional talent.

The journey from a rural Arizona upbringing to the demanding world of New York City ballet was a monumental one, particularly for a young man of Diné and Puerto Rican heritage. His formative years were filled with a rich tapestry of musical influences. “My dad loved salsa. He loved the Beach Boys, all that kind of stuff. That’s what I remember listening to,” Soto shared. “And I always got a warm feeling when I heard salsa or drums from the reservation. My heart jumps when I hear thump, thump, thump. And I always felt like, oh, God, I want to do this. I want to do this.” This deep-seated artistic yearning resonated with a universal truth: that dreams, especially those as ambitious as classical ballet, often necessitate leaving the familiar embrace of small-town life.

At the tender age of 13, Soto made the courageous decision to leave school and embark on his New York City odyssey. Now 60 and retired from the demanding professional stage, his focus has shifted towards a vital mission: sharing his extraordinary story and inspiring Native American communities across the nation. As the evening in Santa Fe drew to a close, the rain subsided, and Soto, accompanied by his husband Luis Fuentes, prepared to return to their home nestled in the northern New Mexico mountains. Before departing, they posed for photographs beneath the glowing marquee of the Lensic, which proudly proclaimed: INT MUSEUM OF DANCE & CD: AN EVENING WITH JOCK SOTO. “I’m liking the marquee saying my name,” Soto remarked with a smile, met with an enthusiastic, “We can arrange that anytime,” from Joel Aalberts, the executive director of the Lensic.

The transformation from a celebrated stage performer to a digital archivist and mentor is a significant chapter in Soto’s life. In the theater lobby, prior to the film’s premiere, Soto exuded a quiet confidence. His physical presence, though marked by the inevitable wear and tear of a demanding career, commanded attention, reminiscent of athletic legends who carried the weight of their accomplishments with dignity. “It’s not an easy career at all,” Soto candidly told the assembled audience from his seat on the stage. “You know, it’s often painful. Like, I can’t even get out of this chair if I want to right now.”

This acknowledgment of the physical toll underscores the urgency behind Soto’s partnership with the International Museum of Dance. Their collaborative effort aims to create comprehensive digital archives of his career, preserving his legacy for posterity and actively encouraging the next generation of aspiring dancers. These digital archives serve a dual purpose: to safeguard the rich history of dance and to serve as a platform for educational programs. Similar initiatives, like the one undertaken with the Dance Theater of Harlem, have already yielded significant historical documentation, including a compelling book detailing the company’s profound influence on Black ballet dancers.

The International Museum of Dance harbors an even grander ambition: the establishment of a physical space, slated for opening in 2026, which will serve as a hub for artist residencies, performances, and public events. While a definitive location is still being determined, the digital archives are currently accessible online, hosted by the nonprofit arts organization ChromaDiverse. This organization diligently scours the digital landscape, unearthing invaluable archival material—forgotten photographs, videos, posters, press clippings, and other ephemeral artifacts—that chronicle the careers of dancers like Soto. The archive offers an immersive gateway into Soto’s life as a dancer and also houses the Moving Memories Fund, which established the Jock Soto Scholarship, with its inaugural recipient being Heloha Tate, a talented Chickasaw dancer.

Soto’s exceptional talent was recognized early; at just 12 years old, he secured a coveted full scholarship to the School of American Ballet in New York City. This move placed him among a cohort of exceptionally talented male dancers, all vying for the limited roles available to men in the male-dominated ballet world. “I felt amazing, because (in Phoenix) I was in the class with all girls. And when I got to New York, I was in a class with all men—40 men,” Soto recalled. “That was my competition, or the way that I evolved.” His prodigious talent quickly propelled him forward. At 16, he received an invitation from the legendary choreographer George Balanchine to join the New York City Ballet. Within four years, Soto ascended to the esteemed position of principal dancer, a career milestone that represents the pinnacle of achievement for any ballet dancer globally.

The transition to professional life was swift and demanding. “I became an adult very quickly,” Soto reflected. “I became very good friends with a couple of the guys. We lived in an apartment together. We had no money, but we would go buy hot dogs on the street or eat pizza and stuff like that. We lived three blocks from the school, so we spent all day till 7 every night, dancing. That’s all we did.” This intense dedication forged a deep camaraderie and an unwavering commitment to their craft.

Soto’s artistry truly shone in his partnerships with ballerinas, where he embodied the masculine role with strength and grace, often lifting or supporting his female counterparts while ensuring their presence remained the focal point of the performance. He became known in the ballet world as a “natural partner,” a skill he attributed to the foundational lessons from his mother, who taught him to dance as a way to move with inherent beauty and grace. His mother was his first partner in the vibrant Southwest powwow circles, guiding him as he learned to follow, and eventually to lead, understanding the significance of each dancer’s role. In ballet, he mastered the masculine role with precision and reverence. Now, as an educator, he steadfastly upholds the traditional gender roles essential for successful stage performances.

Despite being an openly gay man, Soto imparts a clear directive to his students regarding stage presence: “I try to teach the dancers that a man is a man onstage. And if I see anything other than that, I correct it right away. And I’m like, ‘No, no, you’re behind a ballerina, you’re a man. Don’t act like the ballerina.’ So that’s what I try to teach. Masculine is masculine. It’s not that hard to teach, but it can be a lot.” This commitment to preserving the integrity of traditional roles reflects his deep understanding of classical ballet’s inherent structure and his own journey.

Soto’s Diné heritage stems from his mother’s lineage; he was born for the Tódích’íi’nii clan, meaning “water flowing together,” a name that also lends its title to a 2007 documentary about his life. He was born in Gallup, New Mexico, at the closest Indian Health Services Hospital, a mere 90 minutes from his home in Chinle, Arizona. His mother, he emphasized, was his guiding force. “My mother was my strength. She was my strength, and my dad was such a macho Puerto Rican, you know,” Soto shared. “They said it was OK to be gay. And I didn’t tell them until I was 30. My mom laughed so hard on the phone. She said, ‘We’ve known that ever since you were 18.’” This loving acceptance allowed him to embrace his identity fully.

Among the more than 700 dancers who have passed through the New York City Ballet’s esteemed alumni roster, only a select few men have attained the prestigious status of principal dancer, a level of achievement that Jock Soto has reached. His exceptional ballet training and performance mastery are exceedingly rare. While Soto possesses deep connections to the Navajo Nation, his ascent into the exclusive world of classical ballet initially created a sense of distance from his Indigenous community. Today, however, Indigenous communities are actively engaging with Soto’s story and his contributions, a development that should inspire state lawmakers and education reformers to collaborate with local ballet theater groups to expand arts programming within Native communities and schools.

ChromaDiverse aims to make Soto’s digital archive accessible in New Mexico public schools within the next year. Since 2018, New Mexico has undertaken significant investments in education reform, a mandate stemming from a state court order designed to benefit students from Indigenous backgrounds, English language learners, and those with disabilities. The prospect of making Soto’s career archive readily available has generated considerable excitement among lawmakers, including Shannon Pinto, who attended Soto’s premiere and met him for the first time. “We need to make sure that the arts are something we bring forward with some funding, at least, because we know it’s been on the back burner,” Pinto stated, underscoring the critical need for arts education.

The long-term impact of this initiative on classrooms in New Mexico and beyond remains to be seen, but Soto’s presence has already initiated a profound ripple effect. Jicarilla Apache President Adrian Notsinneh encountered Soto and his work for the first time at the Lensic. During the ceremony on stage, where he presented Soto with a blanket as a gesture of respect for his work supporting Jicarilla Apache ballet dancers, Notsinneh eloquently described how Soto’s story evoked childhood memories of skipping flat stones across water. “As it jumps across, it causes ripples. Each time it hits the surface, it radiates. So what I’m seeing from this type of person that’s standing here with me is a type of person that causes that ripple effect,” Notsinneh observed, standing beside Soto. “Within his lifetime, he’s caused so much of this effect. And I want to thank you for being that type of person.”

This ripple effect was vividly reflected in the audience’s heartfelt response to the evening. Santa Fe calligraphy artist Blythe Mariano (Diné) shared her profound emotions: “To know that somebody from where I’m from made it all the way to New York is like, oh my God, I’m getting overwhelmed.” Mariano, who hails from Church Rock, New Mexico, was born in Gallup at the very same hospital as Soto, forging a tangible connection. As the night concluded, Soto beamed with excitement when asked if he had noticed the significant presence of young Indigenous people in the audience. “I loved it, I loved it. It’s inspiring!” Soto exclaimed, radiating the profound enthusiasm he felt. “Like I said onstage: You have to be inspired.” His words resonated deeply, a powerful call to action for a new generation to embrace their dreams, no matter how ambitious.