The vast blue skies of New Mexico served as the backdrop for the premiere of the short film, Following Enchantment’s Line, a poignant cinematic glimpse into the life and legacy of Diné and Puerto Rican ballet dancer Jock Soto. While the film showcased Soto’s graceful presence under the expansive New Mexico heavens, it was within the historic walls of Santa Fe’s Lensic Performing Arts Center that his enduring connection to movement and music truly resonated. As lightning split the summer monsoon clouds and hard rain echoed the dramatic performance, Soto led a live rehearsal with dancers from Ballet Taos, accompanied by the evocative classical compositions of his friend Laura Ortman. This immersive experience at the Lensic perfectly encapsulated Soto’s lifelong ambition to share the profound rhythm and elegance he honed over 24 illustrious years with the New York City Ballet.

Soto’s artistic journey began not on a polished stage, but on the ancestral lands of his youth. "I started hoop dancing with my mother," Soto recalled, his voice carrying the weight of cherished memories. "And I continued hoop dancing until I discovered ballet." This discovery proved transformative; ballet became his singular passion, consuming his youthful aspirations. The dedication of his parents was instrumental in this pursuit. "My mother and father found the only local ballet school in Phoenix, Arizona, which was hours from my house," he explained. "So my dad would drive there every day, and I got a full scholarship because I was the only guy in the class." This early recognition of his talent, coupled with his father’s unwavering support, set him on a path far removed from the quietude of his upbringing.

The trajectory from a small town in Arizona to the vibrant, demanding world of New York City ballet represented an extraordinary leap, particularly for a young man of Diné and Puerto Rican heritage, the son of Josephine Towne and José Soto. His upbringing was rich with diverse musical influences that undoubtedly shaped his artistic sensibility. "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 yearning for expression, fueled by a blend of cultural sounds, propelled him forward. It is a narrative familiar to many aspiring artists from rural settings: the understanding that to realize grand dreams, particularly in fields as specialized as classical ballet, a departure from one’s origins is often necessary.

At the tender age of 13, Soto made the courageous decision to leave formal schooling behind and venture to New York City, embarking on a path that would redefine his life. Now 60 years old and retired from the demanding physical life of a performer, Soto is deeply committed to sharing his remarkable story and the lessons learned with communities across the nation, with a particular focus on tribal communities. The evening at the Lensic culminated as the rain subsided, leaving a serene atmosphere. Soto and his husband, Luis Fuentes, prepared to return to their home in the picturesque northern New Mexico mountains, but not before pausing for a moment of recognition beneath the Lensic’s illuminated marquee, which proudly proclaimed: INT MUSEUM OF DANCE & CD: AN EVENING WITH JOCK SOTO. "I’m liking the marquee saying my name," Soto expressed with a touch of playful pride, a sentiment echoed by Joel Aalberts, the executive director of the Lensic, who responded with warmth, "We can arrange that anytime."

The transition from a celebrated stage career to the creation of enduring digital archives marks a significant new chapter for Jock Soto. His commitment to preserving his artistic legacy and inspiring future generations is evident in his collaboration with the International Museum of Dance. This initiative aims to create a comprehensive digital repository of his career, titled "Jock Soto: The Dancer and His Life," an endeavor that meticulously collects and preserves a wealth of materials. This project highlights the increasing importance of digital platforms in safeguarding artistic heritage, making it accessible to a global audience. The International Museum of Dance envisions a future physical space, slated to open in 2026, which will serve as a hub for artist residencies, performances, and public events, further expanding its reach and impact.

The physical toll of a career in professional ballet is substantial, a reality Soto himself acknowledges with candor. "It’s not an easy career at all," he conveyed to the 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 candid admission underscores the profound dedication and sacrifice required to excel in the art form, and it directly informs the urgency behind his current mission. By partnering with the International Museum of Dance, Soto is ensuring that his decades of dedication are not only documented but also serve as a powerful educational resource. The museum’s work extends beyond Soto, with similar projects involving institutions like the Dance Theater of Harlem, which resulted in a historical book chronicling the company’s significant influence on Black ballet dancers, demonstrating a broader commitment to diverse narratives within dance history.

The digital archives, currently hosted by the nonprofit arts organization ChromaDiverse, are more than just a collection of data; they are a vibrant tapestry woven from unearthed photographs, videos, posters, press clippings, and other ephemeral artifacts that collectively narrate the story of Soto’s extraordinary life. This accessible platform allows anyone to immerse themselves in his journey as a dancer and artist. Furthermore, the archive houses the Moving Memories Fund, which has established the Jock Soto Scholarship, a crucial initiative providing financial support for aspiring dancers. The inaugural recipient of this scholarship is Heloha Tate, a talented Chickasaw dancer, signifying the program’s commitment to nurturing Indigenous talent.

Soto’s early talent was recognized early, leading him to a full scholarship at the prestigious School of American Ballet in New York City at the age of 12. This transition marked a pivotal moment, as he moved from a class predominantly composed of female students in Phoenix to an environment with a significant cohort of male dancers. "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." This intense peer group fostered a spirit of healthy competition and accelerated his development as a dancer. By 16, his exceptional abilities caught the eye of the legendary choreographer George Balanchine, who invited him to join the New York City Ballet. Within four years, Soto achieved the esteemed rank of principal dancer, a position representing the zenith of a ballet dancer’s career.

His time in New York was characterized by intense dedication and camaraderie. "I became an adult very quickly," Soto reflected on his early years. "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 immersive environment, where ballet was not just a profession but a way of life, forged strong bonds and an unwavering commitment to the art form.

Soto’s prowess as a partner was particularly celebrated within the ballet world. His ability to gracefully support and elevate his female counterparts, ensuring their presence remained dominant on stage, solidified his reputation as a "natural partner." This skill was deeply rooted in the lessons he learned from his mother. In the Southwest powwow circles, his mother led, and he followed, learning the intricacies of partnership and the significance of each dancer’s role. He mastered the masculine role in ballet, and now, as an educator, he emphasizes the importance of upholding traditional gender roles for a successful performance. Even as an openly gay man, Soto maintains that onstage, the masculine role must be embodied with conviction. "I try to teach the dancers that a man is a man onstage," he stated. "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."

Soto’s Diné heritage traces back to his mother’s clan, Tódích’íinii, meaning "water flowing together," a phrase that also lends its title to a 2007 documentary about his life. Born in Gallup, New Mexico, at the nearest Indian Health Services Hospital, just 90 minutes from his home in Chinle, Arizona, Soto’s connection to his Indigenous roots remained strong. He credits his mother as a profound source of inspiration and strength, while his father provided a different kind of support. "My mother was my strength. She was my strength, and my dad was such a macho Puerto Rican, you know," Soto shared. His parents’ unconditional love and acceptance were paramount. "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 testament to his parents’ understanding and support highlights a loving family dynamic that allowed him to embrace his identity fully.

The rarefied world of professional ballet is notoriously competitive, with only a select few male dancers achieving the status of principal dancer at esteemed companies like the New York City Ballet, a company with over 700 alumni. Soto’s ascent to such a pinnacle, while deeply connected to his Navajo Nation roots, also created a sense of distance from his Indigenous community. Today, there is a concerted effort to bridge this gap, fostering greater recognition and connection between Soto and Indigenous communities. This endeavor is gaining momentum, prompting state lawmakers and education reformers to explore collaborations with local ballet theater groups to expand arts programming within Native communities and schools. The prospect of making Soto’s digital archive accessible in New Mexico public schools within the next year is particularly exciting for lawmakers like 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 remarked, emphasizing the critical need for increased investment in arts education.

The long-term impact of bringing Soto’s digitized career into classrooms across New Mexico and beyond remains to be seen, but his presence is already creating a tangible ripple effect. Jicarilla Apache President Adrian Notsinneh encountered Soto and his work for the first time at the Lensic. During a presentation of a blanket gift to Soto for his support of Jicarilla Apache ballet dancers, Notsinneh eloquently described Soto’s influence by drawing a parallel to skipping stones across water. "As it jumps across, it causes ripples. Each time it hits the surface, it radiates," Notsinneh explained, standing beside Soto. "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. Within his lifetime, he’s caused so much of this effect. And I want to thank you for being that type of person." This powerful metaphor underscores the profound and far-reaching impact of Soto’s life and career.

The positive reception of the evening at the Lensic was palpable, reflecting the profound inspiration drawn from Soto’s story. Blythe Mariano, a Diné calligraphy artist from Church Rock, New Mexico, who was born in the same Gallup hospital as Soto, expressed her overwhelming emotion: "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." This sentiment resonated deeply with the many young Indigenous individuals in attendance. When asked if he noticed their presence, Soto beamed with palpable excitement. "I loved it, I loved it. It’s inspiring!" he exclaimed, echoing the sentiment he shared onstage: "You have to be inspired." His journey, from the vast skies of New Mexico to the grand stages of the world and now back to inspire a new generation, is a testament to the power of dedication, heritage, and the enduring beauty of dance.