Jorge De Hoyos is an American dancer/performer and choreographer living and working in Berlin, Germany since 2012.
Jorge was born in Los Angeles, California and studied Cultural Anthropology at the University of California in Santa Cruz. He was a Mexican folk dancer before pursuing “contemporary” dance and performance.
Between 2007 and 2012 he was active within the dance and queer performance community and DIY (Do It Yourself) culture in San Francisco, California where he was able to integrate other interests into his artistic practice like Permaculture Design, spiritual and sexual healing, anthropology and community organizing. Much of his work sources from ideas of the energetic body and principles developed by healer/writer Caroline Myss, and choreographers/collaborators Sara Shelton Mann (San Francisco) and Meg Stuart (Berlin). Keith Hennessy (San Francisco) is also another major influence in the tension he grapples with between art and activism. Working with all three has also formed his practice and commitment to improvisation in process and performance.
As a performer, Jorge has worked with artists like Keith Hennessy (Delinquent in 2008 and Turbulence: a dance about the economy since 2010), Christine Bonansea, Naked Empire Bouffon Company, Laura Arrington’s SQUART, Jesse Hewit, and many others. He was honored to perform in different productions with his mentor Sara Shelton Mann, including the solo “The Love of Emptiness” in 2012. He was invited to perform in Meg Stuart’s “Auf den Tisch!” in San Francisco in 2011 and then later on in “Sketches/Notebook” 2013 which relocated him to Berlin. Since then he has worked with European choreographers like Anne-Mareike Hess, Anna Konjetzky and Lea Moro.
As a choreographer, notable works include his debut performance in San Francisco called “STICK” in 2009 at the radical queer art catalyst Mama Calizo’s Voice Factory where he explored power and desire within contemporary gay male relationships. His “Leakage Studies” begun in 2010 are works of endurance body art manifesting ideas of the body as a container/containment and it’s malfunction/failure. Also in 2010 he co-authored “Bonjour le Matin” with Macklin Kowal, an epic, francophilic and mobile work asking the questions: Quelle est la nature de l’action ? À quoi sert l’absurdité ? Peut-on arriver finalement à comprendre la dynamique de nos pensées telles qu’elles résonnent dans le milieu des autres ?. He also began ongoing research called “Departing Things” presented as a show at The Garage in 2012 and then later presented as a new performance draft at the Tanztage Festival 2014 in Berlin. In 2013 he created choreography to the second half of Igor Stravinsky’s “The Rite of Spring (The Sacrifice)” at the Sacre 100 Festival at HAU 2 in Berlin and then a draft of full choreography at the 100 Grad Festival at Ballhaus Ost in 2015. Most recently he presented a sketch of new ideas called “An Apology for Losers” at adaStudio and Dock 11 in the Autumn of 2015.
He is currently working towards a new performance to premiere at DOCK 11 in mid-August 2016.