Octavio Campos is a Miami born Cuban-American dance theater artist. He studied dance and composition at the State University of New York at Purchase, Martha Graham School, Folkwang Schule of Pina Bausch, Lincoln Center Director's Lab, and an alumni of the Creative Capital Professional Development Program. His has created and performed in theaters and opera houses throughout Europe, Australia, North and South America. He has collaborated within the works of Robert Wilson, Birgitta Trommler, Philip Glass, Los Carpinteros, Honeygunlabs, Vivienne Newport, Stephanie Ansin and Rosie Herrera. Campos has received countless awards, residencies and grants namely at the Berliner Theater Treffen, In-Habit International Residency Australia, Miami Dade Choreographers Fellowship, Florida Arts Council Interdisciplinary Fellowship, MANCC Residency, 100 Creatives - MasterMind Genius Award, named Best Choreographer | Performance Artist and venue by Miami New Times, SunPost, Miami Herald and most recently a 2013 Resident Artist at Baryshnikov Arts Center in New York City.

He has given master classes, workshops and classes worldwide inspiring 1,000 of performing and visual artists as well as business leaders, at risk - GLBTQ youth, adults and incarcerated women and girls. Notably at the National Institute of Dramatic Art (Sydney, Australia) Florida Dance Festival, Catholic University Belgium, Centro Cultural Lima, Frankfurt Schule de Darstellender Kunst, The Theater Offensive, St. Petersburg Music Hall in Russia, Pridelines, Homestead Correctional Institute for Women and New World School of the Arts. He is the founding artistic directior of the interdisciplinary non for profit arts organization Camposition, whose productions and programs have been supported and presented by the Miami Performing Arts Center, Miami Light Project, Knight Foundation, Miami Foundation, Florida Dance Festival, Tigertail Productions, Miami-Dade Cultural Affairs Council, City of Miami Beach, Florida Arts Council, Miami International Performance Festival, Edge Zones, PS 122, Theater Offensive, Here NYC, Dixon Place, Diverse Works, Highways Performance, MACLA, Revolt, Kennedy Center, and the National Performance Network.

Currently he is a resident artist at Miami Theater Center serves the National Endowment for the Arts as a grant panelist and is the producer of the award winning Knight Art Challenge grant program: SandBox Seires, a platform for devised theater artists making new work in South Florida and beyond.

The EXPERIENCES I accept now must question my own presumptions and help me rethink peoples assumptions.

The PERFORMANCES I create will be about issues that matter in really profound ways in a world in which nothing of consequence seems to matter anymore.

The QUESTIONS I raise in my work will create a rich conversation about how we live with one another generating interesting ideas we can bring into our daily lives, inspiring the ACTIONIST that lives within each of us to create a catalyst for social change.

I create dance to inspire the world we live in now. I pride myself as a pioneer of risk especially within my community. Often I'm referred to as a non-dancer because just dancing is simply not enough to convey the stories that I need to tell. Dance is Movement. Movement is connected to motion. Motion is part of the word Emotion. So when I make a dance it changes quickly into something that moves emotions around. My post tropical expressionist compositions of the unexpected, evoke a real sense of wonder, confusion and roiling thoughts with the audiences I share my points of view with. Most importantly is my desire to maintain a process. I have no problems embracing failure. Failing Big is my specialty. I organize chaos, which then cultivates order and helps me to structure the energy and forces behind each choreographic statement. In the studio, I keep asking “Why?”, always trying to generate of lot of bad ideas in order to find the good ones. I have been curious and creative my entire life and I continue to do so in anyway and anyplace I can. I was the little blond boy running home after school watching "I dream of Jeannie” and "Bewitched" learning how to dance in the mirror by myself , watching the crazy arm movements of Endora the Witch, Samatha's mother and imitating the slow gossamer motion of the pink smoke that came out of Jeannie's bottle. That curious, never able to sit still child, is still a very big part of my work today. My pieces are mischievous, interactive, naughty and a righteous rebel all rolled into one. My movement ideas live inside of abstract riddles, black humor, queerness, socially charged issues that confront identity politics, mortality and memory. My performances rarely apologize for their bombastic behavior. I am starting to feel more like a Creative Surgeon than a choreographer these days. I realize now more than ever that to heal you first need to make a cut.


Inspire the world you want to inhabit
Give Permission to those surrounding you by saying Yes
Embrace Chaos then Cultivate Order
Generate a lot of bad ideas to find the good ones
Keep asking “Why?” until you get to the answer
Keep Flowing, Stay Fresh
Process first, then Outcome
Be Ready to Abandon the Plan
Cultivate Generosity
Be Vulnerable
Assume a Strong Position
Encourage Risk
Make Mistakes, they will surprise you if you let them
Don’t Do It If It Hurts
Be Easy

Octavio Campos
April 23, 2014