Janice Martin – The Aerial Violinist: Circus of Sound

In this episode of the Circuspreneur Podcast, host Shenea Stiletto sits down with Janice Martin, the aerial violinist redefining the performing arts. From America’s Got Talent to the White House and Carnegie Hall, Janice fuses classical music mastery with breathtaking aerial performance.

They discuss her journey, the innovation behind her artistry, the evolution of circus and symphonic crossover, and the life lessons she’s learned while inspiring the next generation of performers.

How did your journey lead you to become an aerial violinist—a discipline almost no one else occupies?

Janice Martin:My path was never linear. I began as a classical musician—piano at four, violin at five—and trained seriously, eventually attending Juilliard. Music was always my foundation, but my life kept nudging me toward physical expression as well. After dealing with tendonitis and realizing I needed a healthier relationship with my body, I explored movement disciplines like dance, Alexander Technique, and martial arts.

The true turning point came unexpectedly when I saw Cirque du Soleil’s O in Las Vegas. I had such a strong emotional reaction that I knew I had to explore aerial arts, even though I felt I was starting “too late.” I didn’t imagine anyone would hire me purely as an aerialist, but I realized that combining violin with aerial work could create something unique and expressive. From that moment on, my goal became integrating music and movement so that each inspired the other. It’s a lifelong process, but it feels deeply authentic to who I am.

What inspired you to write your children’s book How I Learned to Fly, and what message did you want to pass on?

JM:The book came from a very organic place. While performing in Branson, Missouri, an author approached me and encouraged me to write my story. At first, I didn’t think an adult memoir was the right format, but a children’s book felt accessible and honest.

The core of the book is about overcoming fear—specifically my fear of heights during military training—and how conquering that fear opened the door to so many other possibilities in my life. I wanted kids to understand that fear doesn’t mean stop; it means grow.

The illustrations came from my own sketches, which were later developed by an illustrator in Romania whom I never met in person. The whole process mirrored the book’s message: trust, collaboration, and courage. Ultimately, it’s a modern “run away with the circus” story, showing children that creativity, discipline, and bravery can coexist.

What was it like transitioning from Juilliard into the U.S. Army, and how did that experience shape you?

JM:It was complete culture shock. I joined the Army through the Student Loan Repayment Program after seeing a recruitment sign near Juilliard. I asked the recruiter if the Army even had violinists—and not only did they, but they had an opening.

Physically, I had a lot of catching up to do. I couldn’t do push-ups at first and had been told my whole life that strength training was “bad” for violinists. From October to June, I trained intensely, both physically and mentally. By the time I arrived at basic training, I became one of the strongest runners in my unit.

The Army gave me confidence I didn’t know I was capable of. Facing extreme challenges—like a confidence course that forced me to confront my fear of heights—changed my life. Once you do something you truly believe is impossible, your sense of limitation disappears. That mindset became the foundation for everything I did afterward.

What challenges did you face being a multi-disciplinary artist in industries that prefer labels?

JM:The biggest challenge has been fitting into systems that like clear categories. Audiences are usually excited by what I do, but agents and industry gatekeepers often struggle with it. If you don’t fit neatly into a box, they don’t know how to market you.

I’ve experienced skepticism, laughter, and even moments of humiliation—like being treated as a novelty early on in my America’s Got Talent journey. But once people actually see the work, their perspective changes. My career has taught me that originality often requires endurance.

I’ve always been inspired by figures like Leonardo da Vinci—people whose knowledge in one field informed another. Music, movement, voice, and storytelling all feed each other for me. Limiting myself to one identity would have meant losing essential parts of who I am as an artist.

What advice would you leave with performers trying to find their place and voice in the industry?

JM:Focus on your relationship with your craft, not on external validation. Put your energy into the effort, discipline, and love you bring to your work. Some people will connect with it immediately; others won’t—and that’s okay.

You can’t constantly reshape yourself to meet what you think others want. That approach eventually disconnects you from your truth. If you stop believing in what you’re doing, then it’s time to change—but not because of fear or rejection.

Trust that due diligence compounds. Stay patient, stay curious, and don’t be intimidated if your path looks unconventional. Your uniqueness isn’t a liability; it’s your greatest strength.

Key Takeaways