James Morgan is a queer artist from Bridlington, East Yorkshire. His solo practice draws from his diverse interests in contemporary dance, drag, live art and writing. These performances manifest in many different contexts - for theatres, cabaret stages, galleries and clubs.
His current work is concerned with posthumanism, queer futurity, and transformation. He is currently working on a new solo": 'Mum, I'm in the fourth dimension, see!', which will have residencies at The Place and Yorkshire Dance in spring 2018.
His most recent full length theatre work, ‘DRAG ON’, merges his fascinations with fantasy and drag culture to explore ideas around queer identity, hybridity and monstrosity. It premiered in February 17 as part of NOW 17 festival, The Yard Theatre, London. It was created with support from Arts Council England, The Yard, The Marlborough Theatre, Chisenhale Dance Space, and The Place. More dates are currently being planned for 2018.
During the research process of DRAG ON, he worked with Charlie Ashwell (dramaturg and creative producer), to curate and organise workshops, lectures, cabaret performances and research events involving artists such as Eleanor Sikorski, Oozing Gloop, Foxy and Husk, and Antonio de la Fe.
He also works freelance as a dancer, and has worked with choreographers such as Lola Maury, Eva Recacha, New Art Club, Janine Harrington and Seke Chimutengwende. He is currently collaborating on a new work by dance artist, Eleanor Sikorski - ‘Peek-a-boo with the Apocalypse’, which was performed in December at First Drafts, The Yard Theatre. Ellie and James share a joint teaching practice, running a series of workshops called ‘Making Mythical Creatures’, in which they facilitate a group of artists to improvise, play, and transform themselves into imaginary creatures, challenging the notion of a neutral, natural or singular human body.
"Morgan handled speech, poetry, mime, movement and both subtle and anarchic humour
without a flicker of inhibition... I was reminded of the late Nigel Charnock’s work
(most recently evoked by Wendy Houstoun), which is high praise."