During the residency, I focused on two tracks of research: a new performance work for gallery contexts, and developing my drawing practice. I have always drawn as part of my choreographic work, as a way to document and record ideas and also as a way to process and think about choreography. For sometime I have wanted to take this dimension of my work further in the spirit of ‘expanded choreography’. This approach proposes choreography as a form and discipline that may be explored in mediums beyond dance and dancing, such as drawing, publications or even exhibition making. In turn, these exploration have fed back into my making of dance and now operate as distinct yet complimentary aspects of my choreographic work. Within this evolving practice, I am very interested in the politics of “personhood”: creating a performance is for me an opportunity to act as a destabilizer, to unfix states of being in order to show or implicate that which cannot be represented.
Joe Moran (born 1977) is a choreographer with a wide-ranging practice incorporating touring theatre and gallery works, lecture-performance and curatorial projects. His work tackles contemporary propositions in dance, performance and critical thought. Moran is Artistic Director of Dance Art Foundation where he curated the Foundation’s two-year research programme Why Everyone Wants What We’ve Got and its ongoing Dance Critical Theory Group. He is also a Dance4 Associate Artist, and Sadler’s Wells Summer University Artist (2015–18).
Moran lives and works in London. Recent commissions and performances include Sadler's Wells (2019), The Lowry (2019), London Contemporary Dance School (2019), Wysing Arts Centre (2018), Bluecoat (2018) coinciding with the Liverpool Biennial, Kettle's Yard (2018), Sadler's Wells (2017). Moran contributed to the publication 'Who Cares? Dance in the Gallery & Museum' and 'Nothing About Us Without Us', a commissioned essay on artist advocacy published by Siobhan Davies Dance, November 2019.