Dancer Spotlight: Josué Justiz
Hometown: Santiago de Cuba, Cuba
Company Member Since: 2018
Instagram: @the_pudding_boy
What’s your “origin story”? How did you fall in love with ballet?
My origin story is pretty much the standard Cuban ballet dancer origin story. In 4th grade, a ballet teacher went to my elementary school and asked who liked to dance, and I naively raised my hand. She tested me and eventually I was accepted into the school. The falling in love part came a couple of years later after watching VHS tapes of Rolando Sarabia, José Manuel Carreño and Carlos Acosta. I’ll never forget that afternoon.
You trained at the National Ballet School of Cuba in Havana. How did that foundation shape the dancer and artist you became?
Training in the National Ballet School is one of the things I’m most proud of. The level of the professors is incredible and it shows in the graduates. The day to day discipline is something that I really learned there, not that I wasn’t disciplined before, but there you really understand why it’s necessary for success. I owe them a huge deal.
What brought you to Grand Rapids Ballet in 2018, and what was your first impression of the company?
I came to Grand Rapids Ballet after James Sofranko (Artistic Director) came with an interesting project and lots of good ideas of what the future could look like, the rest is history as they say. My first impression of GRB was the feeling of family that the dancers had created. They were so welcoming from day one and I really appreciated that.
Over seven seasons, you’ve taken on some of GRB’s most demanding principal roles: Romeo, Prince Siegfried, Oberon, Prince Florimund, the Nutcracker Prince. Is there one role that feels like it defined your time here?
From the roles I’ve had the opportunity to interpret here, it’s hard not to highlight the roller coaster that was Romeo. Being so close to it since the beginning was definitely helpful. James was very generous with Yuka and me and gave us plenty of time to get to know our characters inside and out, not just technically and physically but also emotionally. It’s really a “once in a career” type of experience.
You and Yuka Oba-Muschiana have shared the stage in so many iconic pairings. What does it take to build that kind of chemistry with a partner?
Of all the many gifts that I got by joining GRB, getting to consistently dance with Yuka was without a shadow of a doubt the most precious one. She’s so kind and so easy to work with on top of being a world class dancer. I suppose that some luck is involved in forming any good long relationship, but beyond that I think we see ballet through a similar lens. We feel a lot of the little unspoken moments in a certain way and I guess we agree on those most of the time.
Ballet is one of the most collaborative art forms out there, so any time I get to be part of a new piece or project there’s always that feeling of camaraderie and complicity that as a human just lights you up. Of course there’s always a tiny bit of nerves when the curtains are about to open, however the audience response is so reassuring that it makes it worth it.
How has the company, and you personally, changed or grown over the course of your seven seasons here?
Grand Rapids Ballet is made by its dancers and naturally over 7 seasons you’re bound to see people come and go. I feel we’re still at the core the same company with slightly different flavors, maybe we’ve expanded to spaces and taken risks that in previous administrations maybe we wouldn’t. Personally, besides age catching up a tad, artistically and naturally maturing has been a much welcomed surprise. Like anything else in life, your priorities change with time, you learn what’s effective and how to maximize your time.
Do you have any pre-show rituals or good-luck habits?
I believe I’m pretty “standard” about my pre-show routine. Besides getting warm and making sure everything is where it’s supposed to be, I don’t do much. I do like to listen to music before going out, usually something that will put me in the right headspace depending on the piece I’m about to perform. So it can be anything from El B to Snarky Puppy to Tchaikovsky.
Ballet is so demanding. How do you take care of your body and recharge offstage?
Ballet is very demanding on the dancer as a person, not only physically but also psychologically, the latter usually getting less attention. Personally, I try to pay close attention to my sleep, making sure I’m getting enough. It sounds simple but it was a game changer for me. It could be different for other people but for me it’s crucial. I don’t always succeed but I definitely try.
Dancer memories are super-charged. How do you keep track of choreography?
The secret for remembering the steps, at least for me, is the music. Once I can make the connections of what step goes when in the score, I have a pretty good outline. And of course, lots of repetition.
What’s the best piece of advice you’ve ever received about dancing or life in general?
I really don’t know what the single greatest piece of advice I’ve been given is, but I’d say be kind to yourself. Inner self-destructive talk does so much damage that remains unseen for the most part until it’s too late. So yeah, be kind to yourself and even kinder to others.
If you could dance any role, regardless of gender or repertoire, what would it be?
I’m a huge admirer of Sir Kenneth MacMillan’s work, so of course I’m going to say Des Grieux in Manon.
What’s your go-to comfort food after a long rehearsal day?
A strawberry banana protein shake. Or pizza, pizza’s always good.
Aside from shoes and warmups, what is a staple in your dance bag?
A good roller.
