Check Out Talissa Bavaresco! See her new piece this Saturday 8:00pm @ Jennifer Muller/The Works


Native of Paraná, Brazil and NYC based, Talissa Bavaresco is a Dancer and Choreographer with expertise in Classical Ballet, Jazz and Muller Polarity Techniques, as well as the Theater and Commercial world.  She was the first Brazilian to graduate from Joffrey Ballet’s Jazz&Contemporary Program on a four years merit-scholarship and furthered her studies at the Scholarship-Apprentice Program at Jennifer Muller/The Works.

Talissa has performed with dance companies such as Keigwin+Company, Joffrey Ensemble, Humans Collective, Jazz Ain’t Dead, TunanuT and KR3T’S; and done independent works with Nicole Wolcott, Tyler Gilstrap, Gabrielle Lamb, Patrick O’Brien, Manuel Vignoulle, Mark Caserta and more.

Commercially, Talissa has performed live with Grammy Award winner artist Kimbra at the Park Armory Gala-17’ and was featured in Andrew McMahon in the Wilderness’ ‘So Close’ and Ivan Modoni/Oriion’s ‘Indigo’ music-videos. She performed at PANORAMA Music Festival-2017 with The Windmill Factory and has worked with JoiLynn Moves on concept videos and FlashMobs in partnership with Flash Mob America.

Choreographically, Talissa has presented works at DUMBO Dance Festival, Dixon Place’s ‘8 in Show’, The New York Jazz Choreography Project, JCE Jazz Dance Project, WAXworks, HATCH Presenting Series, Holi Hai Festival NYC, Uptown Rising and NACHMO.


Here are some of her thoughts on the upcoming showing.  

Why is it helpful to present a work in progress?

HATCH is a great platform for works in progress due to the interactive discussion between choreographers and audiences that happen at the end of each show. It is a good opportunity for choreographers to note what the audience’s initial take aways and reactions are, and also a special moment to ask questions the choreographer has been wondering about the work from an audience perspective.

Why is it important to present this piece of choreography to audiences in NYC?

There is always such a wide range of spectators within the HATCH audiences. From other dancers and choreographer, dance supporters and enthusiast, to friends and family with no dance related background or necessarily a dance interest. Insight from both types of audiences are extremely valuable to a choreographer, specially during their creative process. You also get audience members who are actors, writers, lighting, set or costume designers, who give valuable contributions to other aspects of a choreographer’s work that they might have not given as much thought to as of yet.

What should HATCH audiences look forward to in your work?

I am interested to see what their personal take away are, what parts of the work stood out to them and why, and if there were moments where they were compelled to see something/expected something to happen.

Come out and support her new choreography!

Tickets can be purchased here


Check out Josh Pacheco! Choreographing for the December 1st HATCH showing.


Check out Josh Pacheco’s thoughts on his upcoming showing!

Why is it helpful to present a work in progress?

Seeing a work in progress on stage can tell a choreographer a lot about where the piece is and where it needs to go. The feedback from a work in progress showing is crucial to the development of the work. I’ve been in similar settings, showing a work in progress for feedback, and received a few words to a couple paragraphs, and some of the most important feedback comes from audience members with a limited background in arts exposure. I know I’m on the right track when I’ve captivated an audience member and moved them to approach me, or write about the work they saw.

Who are the most rewarding dancers for you to work with and why?

The most rewarding dancers for me to work with are the ones that are fearless in rehearsal. I love to work with movers who are unafraid to collaborate and throw themselves into the work, whether it be their own wild interpretation of my movement, or studying their movements, asking for clarity and intention. I work extremely collaboratively, so trust and communication is key. Those who think critically and act passionately are often the ones most vital to the process and help the vision shift and grow. It’s also those dancers that help me grow as a result. We discover more about ourselves and each other. I’m extremely lucky to work with these amazingly different, yet like minded people.

Why is it important to present this piece of choreography to audiences in NYC?

As I work towards my first full length work and establishing my company in it’s first official season, I think it’s extremely important to show the process of my work to generate a lasting audience. Our connection to this city and each other are key elements to the construction of this piece. 

What should HATCH audiences look forward to in your work?

The audience should look forward to the first step of a much longer process. We are growing a garden which means constant care and pruning. This current work dabbles in creating a physical space and testing memory, then letting go of the structure when the construction of community in the space becomes the focus.


Check out Melissa Reardon! Choreographing for the December 1st HATCH Showing


Here are some of Melissa’s thoughts on the upcoming showing!
Why is it helpful to present a work in progress?
As a choreographer I am always striving to create quality work that truly conveys my
vision and intention in an appropriate way. Throughout my process I am constantly
adjusting choreography and seeking input from the dancers. For me, presenting a work
in progress allows me to sit back and experience the piece as an audience member. I
try to take myself outside of my “choreographer’s brain” and sit back and let the
performance speak to me. It also gives me a chance to feel the energy of the audience
and gage the reactions. I can then take what I have experienced, and the feedback from
others who have viewed the piece and go back to the studio and continue to develop
the work.
Who are the most rewarding dancers for you to work with and why?
Everyone loves a technically sound dancer (so do I!) but for me, a dancer that is able to
dance with intention, passion and contribute to the piece is gold. The dancers in this
piece were a prime example of the type of dancer I prefer to work with. Not only are
they extremely well trained and experienced, but they cared about the story. They
wanted to know specifics about my fathers illness and my mothers experiences (Roles
were reversed for the piece). They had input and contributed to the choreography. They
were also able to take the material given and make it personal. It is also vital to me that
my dancers can relate to and connect to each other. Without that, there is just no way
the message will be relayed to the audience.
Why is it important to present this piece of choreography to audiences in
Coming from a small town in New Jersey, I am looking forward to the feedback from
audience members and other dance professionals. Its was always beneficial to present
work in different areas in order to know that you can reach people from different areas
and backgrounds.
What should HATCH audiences look forward to in your work?
In this work the audience should look forward to watching a relationship unfold through
movement. There are so many layers to this piece. Though I did reverse the roles for
partnering purposes you will experience what a person suffering from a physical and
mental illness experiences personally, what their loved one experiences and how the
relationship is affected. Having lived through this- I hope the audience will experience
the journey and the love that prevails. Our hope is that the audience will be truly drawn
in to the emotion and breath of the piece.


Check out Erin Carlisle Norton: The Moving Architects December 1st at 8:00pm


Photo by Gwen Charles


Check out some of Erin’s thoughts about the upcoming HATCH showing!

Why is it helpful to present a work in progress?

As a choreographer, I value sharing work in various stages of process.  This allows me to both see the work in a performative sense for my own analysis and shaping of the work, as well as to hear other’s perceptions and experiences.  This process informs and deepens future explorations and iterations, and is also helpful to the dancers as they continue to discover and uncover their roles and relationships in the work.

Who are the most rewarding dancers for you to work with and why?

Dancers who can personally and intimately dig into what I am looking to investigate (movement material, movement quality, relationship, etc.) by fully giving themselves over to the process are the type of dancers I relish working with.  This allows us to build something together that we couldn’t alone.

Why is it important to present this piece of choreography to audiences in NYC?

NYC dance events bring together people of such varied backgrounds and experiences that the range of feedback and conversations are always interesting, informative, and unexpected. There is no better place to get a broad range of interpretations and points of view to assist in the creative process than the NYC dance community.

What should HATCH audiences look forward to in your work?

This new trio demonstrates a few of my favorite elements to explore in choreography – quick and spinal-centric movement qualities, unique partnering, and integration of an outside element.  In this work the use of stretchy fabric has been a leading factor in developing the work by exploring weight, spatial pulls, and relationship in connection with the fabric, each other, and ideas of personal and societal boundaries.  These elements combine to give audience members a unique experience that is both visual and personal.

Abilities Dance Boston. Presenting work on November 10th, 8:00pm



Abilities Dance Boston will be presenting work choreographed by Ellice Patterson

Ellice Patterson is the founder and director of Abilities Dance, a Boston- based dance company that welcomes dancers of with and without disabilities. Her work in Abilities is modern focused with an adaptive twist so that dance is accessible to all. Outside of exclusively Abilities Dance’s shows, her choreography has appeared in Third Life Choreographer Series, Green St. Studio’s SEEDS showcase and Garage Festival, Lacey Sasso & Company’s Deeply Rooted, Abilities Expo, Bill Evans Somatic Conference, Boston Contemporary Dance Festival, and The Series: Vol IV at the Ailey Citigroup Theatre. She has appeared in the Dove Real Beauty and Slick Chicks campaigns. She has given lectures and workshops at universities and organizations across the country. She also earned her Bachelors of Arts in Biological Sciences from Wellesley College and her Masters of Science in Management Studies from Boston University Questrom School of Business.

Here are some of her thoughts on her upcoming presentation.

Why is it helpful to present a work in progress?

Presenting works in progress is helpful because it allows me to tailor feedback from the audience before presenting it in a more formal setting. I always value feedback in ascertaining if the audience is not only reading my intention clearly but seeing intentions that I might not have realized. The feedback adds layers to the work and allows it to mature. Plus, it is relieving to take a break from overthinking and throw work out there with the safety of the “in progress” label to allow for constructive criticism and support.

Who are the most rewarding dancers for you to work with and why?

All of the dancers in Abilities Dance Boston are rewarding to work with. Their vastly different personalities and experiences bring something new for me to learn as I develop further into a choreographer. 

Why is it important to present this piece of choreography to audiences in NYC?

It is nice to get an outside perspective from our home in Boston. It allows for diverse thought and new ideas that I might not have gotten at home. It also allows for new connections with other choreographers that might lend their voice to help the work take new shape.

What should HATCH audiences look forward to in your work?

HATCH audiences should look forward to original composition by our amazing director of music Andrew Choe, movements that celebrate diverse bodies and identities, and a bit of Boston dance in New York!

Choreographer, Annamaria Diamant Hatch Presenting Series, November 10th at 8:00pm!


Processed with VSCO with fp2 presetAnnamaria Diamant

Originally from Florida, Annamaria Diamant has a B.A. in Theatre Arts from the University of South Florida. She’s a former dance instructor and camp director with MA Dance Company and instructional staff member for ESP Productions’ Capital One Bowl Half Time Show. Following graduation from USF, she danced with Sarasota Contemporary Dance Company (formerly Fuzion Dance Artists). One of SCDC’s 2016 Emerging Choreographers and in January of 2018 returned as a SCDC Artist in Residence. She has performed in contemporary works by Julia Ehrstrand and Jennifer Archibald. Annamaria has presented her choreography for Sarasota Contemporary Dance Company’s 2018 Season Concert, CBGDance Empathy Series, Sans Limites Dance: Spring Season, Your Move: New Jersey Modern Dance Festival and JCHEN Project’s TRANSLATE. She is a dance educator with WRarts, Garden Street School of Performing Arts and Williamsburg Movement and Arts Center. Annamaria is currently a graduate student at Baruch College studying Arts Administration.

Here are some of her views on her work being presented on November 10th!

Why is it helpful to present a work in progress?
Presenting a work in progress allows for audience feedback and personal reflection. I believe it’s important to see how the audience is reacting to your work. A live performance creates an energy that can not be duplicated. Watching my work during a performance is different, I’m not as concerned with the technical aspects and intricacies that I would normally focus on during a closed rehearsal – I’m looking a the bigger picture. This let’s me and performers take a look at what’s working, what needs to be reorganized or where there’s potential for growth. It is so important to have outlets and safe spaces to create and show work.
Who are the most rewarding dancers for you to work with and why?
I’m so appreciative of dancers who are patient and willing to give their time to work with me to help make my vision come to light. I have been so fortunate that the dancers I have worked with in the past are my friends, we have a great working relationship and they believe in me and my work. 
Why is it important to present this piece of choreography to audiences in NYC? 
Living in the NYC area we are always on the go and dealing with the daily commute. We have to deal with strangers, delays, weather and any surprise factors that happen on a weekly basis. I think audiences, especially in NYC, will really relate to this piece. I would love to hear the audiences personal experiences following the performance, its always interesting to share and relate to others – we might be going different places but we’re in the daily commute and grind together! 
What should HATCH audiences look forward to in your work? 
Audiences should look for the forward to an abstract look at two commuters doing their best to get to their destination. As painful as commuting might be, there are definitely some humorous moments, Im trying to make light of it – I hopping audiences see the humor too.

CHECK OUT Lydia Perakis! See her work on OCTOBER 27th: 8:00 pm, The Works studio


Lydia Perakis was born in Nashville, Tennessee and was raised in Crete, Greece. She is currently a senior at NYU-Tisch pursuing a Major in Dance and a Minor in Child and Adolescent Mental Health Studies. Lydia has worked as an Event Manager at the Center for Performance Research (Brooklyn) and as a Stage and House Manager at Soho Playhouse. She has been awarded with the June 2018 Tisch Initiative for Creative Research residency through Danspace’s Community Access program. During the residency, she collaborated with the set designer, Monique Muse, and the music composer, Ntu, and created her first evening length work, ESTIA, which was performed on June 9th, 2018. During the summer of 2018, Lydia travelled to Berlin and participated in the b12 festival, taking classes from Helder Seabra, Meg Stuart, Judith Sánchez Ruíz and Ayman Harper. She has also created several shorter works that have been performed at the Jack Crystal Theater, and has been a part of Jeremy Nelson’s art installation during the Art in Odd Places, 14th street Festival (2017).

Here are some of her views on her upcoming HATCH presentation!!

Why is it helpful to present a work in progress?

“Some of the struggles choreographers in NYC face is to balance performance logistics (such as finding studio space etc), while at the same time looking for creative and safe environments that nurture growth. This is why creating spaces where works in progress are presented and constructive feedback is given, is crucial. In addition, having a timeline and a show to prepare for, pushes the choreographer to set guidelines and short term goals for the creative process. In addition, it creates an opportunity to take a step back from the work and experience it in different spaces, with different viewers, and during different time periods. Choreographic works are living beings that adjust and adapt. Being able to present them throughout their eternal progress keeps them alive, feeds them, and flourishes them. I am a firm believer that works are always in progress and the only thing that changes is the pathway through which they progress, rather than essentially the material itself.” 

Who are the most rewarding dancers for you to work with and why?

“Being in the studio with passionate and genuine individuals, who have kindness, joy and wisdom to share is something that always thrills me to create work. Exploring together and collaborating in works that bring us to uncomfortable and foreign places is a challenge that I strive for. Being open to share your perspective and thought process as an artist is crucial during the creative period and also the most rewarding part. Being able to see dancers invested in the work in more than a physical manner is what makes dance so exciting and essential.” 

Why is it important to present this piece of choreography to audiences in NYC?

“Epistrophe is a piece that explores questions regarding our perception of arcs in time, different life stages and our motivation and rush to the next stage; without really knowing what awaits us at the end of this arc. Taking the myth of the pot of gold at the end of the rainbow, and exploring its importance as a metaphor and how it symbolically applies to many of our life decisions, helped us create this piece and physicalize the joy of the presence. Presenting this piece of choreography to audiences in NYC where time and perception of time as well as goals and accomplishment have really different meanings is important for us. We are hoping to hear feedback from people observing the work and incorporate them in the future. Opening up this conversation and understanding how different people experience similar concepts is what helps us progress as well as add different layers to it.” 

What should HATCH audiences look forward to in your work?

“What I mostly aspire is to create a safe environment for the performers where we can investigate complex questions, question our responses and perspectives and develop some form of critical thinking around social topics, which will be physicalized through the work. Many times, we find this investigation frustrating, but at the same time it works for us therapeutically living in this chaotic world. Doing the work can help us release that frustration and create for us a feeling of empowerment. This is what I am also hoping for the audiences observing and experiencing the work. To leave the space with new questions, new conversations and a sense of relief or release, even if it’s small and temporary. Art has many limitations , but has a lot of freedom and power in the way we think about those frustrating and painful social issues. A shift of thinking and empowerment through art can eventually influence our personal actions, as well as their impact on our feelings and mental state.” 

MATHETA Dance! Come see them present a piece on October 27th: 8:00pm, The Works studio


Screen+Shot+2018-10-04+at+12.47.17+PM[1]Khensani Mathebula: Artistic Director/Choreographer (MATHETA Dance)

Khensani Mathebula (Johannesburg, South Africa) trained in modern concert dance under the instruction of Ms. Laraine Rabin. In 2010 she was discovered by international guest Ms. Ana Marie Forsythe at a Horton workshop in her hometown, and recruited to the competitive Ailey School/Fordham University BFA program in New York City. Ms. Mathebula was awarded an Emily Blavatnik/Ailey Artistic Scholarship, and a National Scholarship for Dance from CATHSSETA to attend the program. She graduated Cum Laude as a double major in Dance and Political Science in 2015. She adjudicated ‘Solo Performance’ in Johannesburg – a prestigious modern dance examination she passed with distinction. She has performed works by noteworthy choreographers including Ronald K. Brown, Matthew Rushing, Michael Leon Thomas and Vincent Mantsoe, as well as Alvin Ailey in the work Memoria at New York City Center Theater. She is a current professional dancer with Alpha Omega Theatrical Dance Company. As an emerging choreographer, Ms. Mathebula was selected as an independent choreographer at The Ailey School to produce her own show in 2015. Since then she has presented work in choreography festivals around the city. In 2017 she founded her own company: Matheta Dance, with aspirations to build its presence in both the States and South Africa.

Here are some of her views on her upcoming HATCH presentation!

Why is it helpful to present a work in progress?

“Presenting this work in progress gives me the chance to take a step back and be more objective. It allows me to determine if I am achieving the choreographic vision I have hoped for, and more easily pinpoint areas of improvement.” 

Who are the most rewarding dancers for you to work with and why?

“The most rewarding dancers to work with are those who are talented not only musically but also theatrically. They are committed to the work, and dependable. These are the best attributes I can have in a dancer, and I require all of them.  It is an honor to create material and see it be valued and cared for by such dancers.” 

Why is it important to present this piece of choreography to audiences in NYC?

“It is important to present this piece in NYC because like so many others, this crazy crowded diverse unpredictable frustrating illuminating mesmerizing city …is my home. Thus, I am humbled by any and every opportunity given to me to share my story, as it is a chance to share my spirit through my choreography with group of people that is inevitably diverse in every way. The name of my company, MATHETA, is a play on the word “theta” which means “to speak” in Xhosa, my mother’s native tongue of South Africa. I want my dancers to speak through movement, connecting with audiences far and wide, whether the performance is here in NYC or across the world in South Africa.” 

What should HATCH audiences look forward to in your work?

“HATCH audiences can look forward to great music, great dancing and a meaningful message.”

Check out Cara Leggio! See her work on October 27th: 8:00pm at The Works studio.


Cara Leggio Retouch 3Cara Leggio

Cara Leggio is a native New Yorker, who has trained her whole life to become a professional, working artist. Born and raised on Long Island, she grew up studying all genres of dance, singing, acting, writing, and creating. She attended a Performing Arts High School and spent  summers attending the Joffrey Ballet School’s various Summer Intensives, as well as other collegiate intensives. Cara began her formal, professional training at The Joffrey Ballet School. First as a Ballet Trainee, then eventually transitioning into the Jazz & Contemporary Program. During her time at Joffrey, she performed in local touring theater productions. Cara continued her professional education at The Institute for American Musical Theatre, where she graduated in the Inaugural Class. During her time at IAMT, she continued freelance performing & choreographing.

Here are some of her thoughts on her upcoming presentation!

Why is it helpful to present a work in progress?

“I believe performing a work in progress is always incredibly useful for the creative process. You, as a choreographer, are only one point of view and one interpretation. Having an audience full of unique individuals with their own thoughts, points of view, and interpretation can give you an informed, non-biased response to the work. Helping you check yourself in a way; Am I conveying my message clearly enough? Is this the desired reaction/response? etc.”

Who are the most rewarding dancers for you to work with and why?

“To me, the most rewarding dancers to work with are ones who are generous. Generous with their time, patience, talents, and spirit. I love to work with dancers who are passionate about story telling and utilize their minds just as much as their bodies to the craft of that story telling.” 

Why is it important to present this piece of choreography to audiences in NYC?

“I think NYC is full of outcasts and misfits and all different kinds of unique, interesting individuals. This piece of choreography embodies that familiar feeling most New Yorkers feel; of not fitting a certain mold or image, of feeling frustrated or confined to one way of life, “The American Dream” looks and feels and is different to every person. This work embodies that feeling to remind us that none of us are alone.”

What should HATCH audiences look forward to in your work?

“Audiences should look forward to a brilliant soloist, Hana Kozuka, through a combination of improvisation and set choreography, beautifully telling this raw, uncomfortable, honest story.”  


Check out one of our HATCH Choreographers, Luiza Karnas! See her work on October 27th: 8:00pm at The Works studio.

Luiza Karnas

photography credit: Olivia Cacciatore


Luiza Karnas is a dance artist and educator originally from Porto Alegre, Brazil. She recently received her M.F.A from SUNY The College at Brockport, NY, and graduated from Federal University of Rio Grande do Sul – UFRGS (Brazil) with a degree in Dance Education. In 2013, Karnas was a Brazil Scientific Mobility Program scholarship recipient and studied at Hofstra University (Long Island/NY) for one academic year. A tap enthusiast from the heart, her interests also include intensive training in ballet and modern dance. She has studied and performed with teachers and choreographers from Brazil and the United States. Karnas has presented choreographic works at venues in Brazil and NYC, including Teatro Renascença, Dixon Place, Triskelion Arts, Center for Performance Research, and more. Karnas is thrilled to pursue new professional opportunities in the realms of education, performance, and choreography in New York City.

Here is a look at Luiza Karnas’s views on her upcoming HATCH piece!

Why is it helpful to present a work in progress?

“It is helpful to perform a work in progress because it gives me a general notion of how the work is being received by audience members: what they see, how they feel during and/or after the performance, what moments in the choreography are more striking to them. All the information is helpful to continue my choreographic research.”

Who are the most rewarding dancers for you to work with and why?

“My creative process is based on a collaborative relationship with the dancers, which makes me look for movers that are able to bring ideas to the table, to show their personality and style, and share their experiences.” 

Why is it important to present this piece of choreography to audiences in NYC?

“I think it’s very important to receive audience’s feedback after a performance. Then, to present “The Things We Leave Behind” to audience in NYC is vital because the different artistic experiences the audience members had allow them to have a fresh and particular interpretation of my work, which is helpful on the further development of “The Things We Leave Behind.”’

What should HATCH audiences look forward to in your work?

“They should expect a tap dance piece in which I explore the relationship between intricate rhythms and quality of movement.”