Director | Writer | Producer
Emer Morris (They/ She) is an artist and director whose critically acclaimed theatre and participatory projects centre social justice, collective authorship, and community-led storytelling. Their work is widely publicly funded and recognised for its artistic innovation and political urgency.
Emer is the Artistic Director and Co-Executive Producer of A Play for Torry—a major community-led performance project supported by Creative Scotland. Co-created with local residents and developed with Friends of the Earth Scotland, Aberdeen Arts Centre, and NESCAN, the work explores environmental justice and the realities of Aberdeen’s North Sea energy transition.
As Co-Artistic Director of You Should See The Other Guy, Emer co-created the acclaimed Land of the Three Towers Vol. I & II, verbatim musicals made with East London residents resisting estate demolition. Both volumes were supported by Arts Council England (ACE) and continue to be taught and cited as influential models of participatory political theatre.
Additional theatre credits include the award-winning Womb With A View (Independent Association of Festivals, 2017); Guts (ACE-supported), exploring gendered labour and environmental memory; and Following the Fishworkers, as well as the celebrated Young Fishers Podcast, amplifying youth voices in coastal communities. Emer’s work has been presented by Aberdeen Arts Centre, Camden People’s Theatre, Battersea Arts Centre, Shetland Arts, the Scottish Fisheries Museum, and the MAC (Belfast), among others.
As a cultural worker* and producer, Emer collaborates with communities facing structural inequality, housing injustice, and environmental degradation. Their methodology draws on Theatre of the Oppressed, verbatim practice, visionary fiction, and neurodivergent and disability justice frameworks.
Emer’s practice is taught across UK higher education—including Queen Mary University of London, UCL, Goldsmiths, Roehampton, and Rose Bruford College—reflecting their academic and sector-wide influence. They also serve as a Trustee for Creative Opps, supporting youth-led creative and social impact work.
*Cultural Worker :
Emer use the term Cultural Worker to define thier practice. Devyn Springer explains the use of this really well:
"Cultural worker has a moral positioning embedded into it, as well as an inherent accountability. To call oneself a cultural worker, as opposed to a creative, is to essentially say that your labor, or at least a particular fraction of it, occurs with the intention to uphold a certain culture. It proposes that your labor as an artist, your work in art and literature, is accountable to the idea of culture. And, if we as organizers and anti-racists and socialists and communists and revolutionaries are committed to upholding a revolutionary culture, then our labor as cultural workers is accountable to the notion of working to uphold that revolutionary culture. "
https://medium.com/@DevynSpringer/cultural-worker-not-a-creative-4695ae8bfd2d
Emer Morris (They/ She) is an artist and director whose critically acclaimed theatre and participatory projects centre social justice, collective authorship, and community-led storytelling. Their work is widely publicly funded and recognised for its artistic innovation and political urgency.
Emer is the Artistic Director and Co-Executive Producer of A Play for Torry—a major community-led performance project supported by Creative Scotland. Co-created with local residents and developed with Friends of the Earth Scotland, Aberdeen Arts Centre, and NESCAN, the work explores environmental justice and the realities of Aberdeen’s North Sea energy transition.
As Co-Artistic Director of You Should See The Other Guy, Emer co-created the acclaimed Land of the Three Towers Vol. I & II, verbatim musicals made with East London residents resisting estate demolition. Both volumes were supported by Arts Council England (ACE) and continue to be taught and cited as influential models of participatory political theatre.
Additional theatre credits include the award-winning Womb With A View (Independent Association of Festivals, 2017); Guts (ACE-supported), exploring gendered labour and environmental memory; and Following the Fishworkers, as well as the celebrated Young Fishers Podcast, amplifying youth voices in coastal communities. Emer’s work has been presented by Aberdeen Arts Centre, Camden People’s Theatre, Battersea Arts Centre, Shetland Arts, the Scottish Fisheries Museum, and the MAC (Belfast), among others.
As a cultural worker* and producer, Emer collaborates with communities facing structural inequality, housing injustice, and environmental degradation. Their methodology draws on Theatre of the Oppressed, verbatim practice, visionary fiction, and neurodivergent and disability justice frameworks.
Emer’s practice is taught across UK higher education—including Queen Mary University of London, UCL, Goldsmiths, Roehampton, and Rose Bruford College—reflecting their academic and sector-wide influence. They also serve as a Trustee for Creative Opps, supporting youth-led creative and social impact work.
*Cultural Worker :
Emer use the term Cultural Worker to define thier practice. Devyn Springer explains the use of this really well:
"Cultural worker has a moral positioning embedded into it, as well as an inherent accountability. To call oneself a cultural worker, as opposed to a creative, is to essentially say that your labor, or at least a particular fraction of it, occurs with the intention to uphold a certain culture. It proposes that your labor as an artist, your work in art and literature, is accountable to the idea of culture. And, if we as organizers and anti-racists and socialists and communists and revolutionaries are committed to upholding a revolutionary culture, then our labor as cultural workers is accountable to the notion of working to uphold that revolutionary culture. "
https://medium.com/@DevynSpringer/cultural-worker-not-a-creative-4695ae8bfd2d