Elijah Laurant was born and raised in Southern California and began his training at Zeneith Performing Arts Center in Long Beach under the Director Nyiki Swain and Janette McGhee. He attended El Camino College to become a dance Major, then joined Pony Box Dance Theater as Co. Director and dancer in 2011. Elijah proceeded to dance with Diane Lauridsen in South Bay Ballet as a company member and student. He moved to New York City to further his dance career at The Ailey School on full scholarship 2014-2016. Elijah Laurant has worked with numerous choreographers: Kim Borogra, FDA, Matthew Rushing, Wendi Baity, Award Winning Tiffany Billings, Christopher Rudd, & Roberto Villanueva,Joshua Beamish , Helena Simonaue, and Jennifer Muller/The Works. He is currently the newest member with Stephen Petronio.
Hannah Jane Frederick, originally from Minneapolis, Minnesota, is extremely well versed in multiple genres of dance and has been a force in the New York City arts community for the past eight years. She is an ever-evolving contemporary choreographer whose mission is to strengthen human connection and inspire honesty and integrity through dance.
Since moving to New York, Hannah has been fortunate enough to expand her dance knowledge through a variety of prestigious programs including Broadway Dance Center’s Intern Scholarship Program (now the Professional Semester), Luam’s “Rock the Industry,” and Calen Kurka and Chris Hale’s “Pushing Progress.” Additionally, Hannah has had the privilege of assisting and training under some of the greats such as Sheila Barker, Derek Mitchell, and Cat Cogliandro. Through these connections, and others, she has been seen performing in high profile festivals like Carnival, Sirens After Dark, Sybarite, and the Capezio ACE Awards, to name a few.
As a choreographer, Hannah’s work has been presented in countless festivals and showcases on reputable stages all over New York City. At venues like the Highline Ballroom, Symphony Space, and the Salvatore Peridance Capezio Theatre, she has featured work in the 2016 and 2017 Pushing Progress Showcase Series, Jared Grime’s “Run the Night”, Sybarite “Love is Love”, Jennifer Muller’s “Hatch” Series, Shelly Hutchinson’s “Giving Tree” and “New York Moves” benefits, and NYC Choreographer’s Carnival. Furthermore, Hannah was the featured Opening Number choreographer at the PULSE on Tour’s 2017 Final Gala in Las Vegas. Hannah currently has several works in progress that can be viewed at shows throughout New York.
Presently, Hannah is a full-time faculty member at Broadway Dance Center, teaching weekly open classes, as well as occasionally sharing her talents with BDC’s Children and Teen Program. She is a guest faculty member at Peridance and Millennium Dance Complex, and she spent a season as a resident faculty member for the touring convention Artistic Dance Exchange.
Hannah is a nationally and internationally recognized instructor and choreographer, teaching weekly at local studios and traveling throughout and outside of the U.S. to share her love of creating with the world. Most recently, she spent time in Israel at Nadine Bommer Animato Dance Theater in Rishon Le Zion and the 2017 Movement Dance Festival in Eilat.
Hannah Jane has a heart not only for choreography and instruction, but also for those she is able to reach with her talents. In classes, Hannah is constantly making moves to create a space that feels safe, so that dancers can share, grow, and dissect their personal journeys, stories, and feelings. Her objective is to encourage all voices to be recognized and capable of existing together in a place of commonality. She believes that art is an important catalyst for this mission, and she continues striving to uphold the integrity of this goal.
Hannah will be presenting her work “repave (repair)” at HATCHed, our capstone presentation, on Saturday, May 26th. Hannah has presented work at HATCH and has been invited to show her artistic development since then. Please join us at Jennifer Muller/The Works at 8:00PM: Click here to purchase tickets!
KK Mayo graduated from Hofstra University in 2012 with a dual degree in dance and civil engineering with a minor in mathematics. After founding KAKE Dance in November 2014, her choreography has been showcased at numerous events including WAXworks, Fertile Ground at Green Space, NYC Dance 10 at Dixon Place, Triskelion’s Summer Shake Up, the American College Dance Festival, the National College Dance Festival (The Kennedy Center), and the biannual Amalgamate Series. In past years she has taught at numerous studios as well as held master classes including at her alma mater, Hofstra University.
KAKE DANCE Co. will be performing KK Mayo’s work “Recalibration” at this year’s HATCHed presentation on Saturday, May 26th. KAKE DANCE Co. has participated in previous HATCH performances, and this invitation to HATCHed is reflective of distinguished artistic growth. Please join us at Jennifer Muller/The Works at 8:00PM: Click here to purchase tickets!
It is a really great tool to see how an audience reacts to a work during the process of creation. It is also extremely helpful to an artist to see how a work can set itself on a stage and to begin to experiment with lighting which is sometimes not always at the forefront of your mind when creating work. Receiving any feedback during a creative process before it reaches completion is in general always helpful because the feedback may help you conceptualize different paths for your work and where you originally saw it heading.
You always want a through line when creating a longer work. You don’t want your work to appear disjointed and not have a fluid theme or at the very least a common thread. Sometimes as an artist I can go off into tangents with a certain phrase which will lead itself to a place that doesn’t align with the core message or even the right tone of the entire piece. The differences aren’t always bad though. Creating a longer work allows you the capabilities to explore every thought and every idea relating to something. I often with shorter works can see them turning into longer ones if I really like them. This piece in fact was one of those shorter works. It originally started as a dance of 6 people that had no music and was 6 minutes long. This ended up being the middle section of the piece I built the entire work off of.
NYC is an artists’ haven. There are so many different type of artists and audiences to show for within this amazing city. Due to people being so commonly exposed to different art it makes them that much more of exceptional tool when receiving any feedback or when even observing how they respond to work in different ways. Artists are pushed harder to think outside the norm in order to stand out with innovative ideas and unique points of view which either leads to work you hate or really interesting work that makes you want to see more.
For the first time I didn’t want to work with music while creating the work. The music came at the very end as I wanted to experiment with making our own sound. We played around with the idea of recording a rehearsal and playing the track backwards to use as the music but it ended up setting a tone different than what we wanted so we kept the piece silent with just the hissing sound the dancers make when showcasing their form of aggression. Audience members can look forward to our play with silence and human sound. I hope the piece takes them on a smaller journey from one version of self to the next. This is an abridge version of a slightly longer work but I think it highlights the most important aspects of the work.
This Saturday 5/12 will be our final regular season HATCH of the Spring Series…but look out for our very special HATCHed on 5/26!
Anna Sokolow (1910-2000) was born in Hartford, Connecticut and began her training at the Neighborhood Playhouse with Martha Graham and Louis Horst. In the 1930’s she was a member of the Graham Dance Company and assisted Mr. Horst in his dance composition classes. During this period, in addition to her association with the WPA dance unit, she formed her own company and began choreographing and performing solo concerts and ensemble works. Ms. Sokolow’s interest in humanity led her to create works of dramatic contemporary imagery showing both the lyric and stark aspects of the human experience. Her vast range of repertory includes drama, comedy, and lyricism with her commentaries on humanity and social justice threaded into each of her works. In a 1965 Dance Magazine article she wrote that there were no “final solutions to today’s problems,” but that she “could simply provoke an audience into awareness.” In 1939 Ms. Sokolow began a lifelong association with the dance and theater arts in Mexico. Her work for the Mexican Ministry of Fine Arts grew to become the National Academy of Dance there. In 1953 she was invited to Israel to work with Inbal Dance Company. Following that, she choreographed for the major dance companies in Israel including Batsheva, Kibbutz Dance Company, and Lyric Theatre. She visited Mexico and Israel frequently to teach and to choreograph. Ms. Sokolow’s works are performed by the Sokolow Theatre/Dance Ensemble, and are in the repertories of numerous other companies around the world. Ms. Sokolow also choreographed for the Broadway theater. Her credits include Street Scene, Camino Real, Candide, and the original Hair. In the late 1950’s Ms. Sokolow was the first modern dance choreographer to have her work (Rooms) presented on national television. Ms. Sokolow’s interest in teaching took her to universities, dance companies and acting studios throughout the U.S. and abroad. She was a longtime faculty member of the Juilliard School in both the dance and drama divisions. She received many honors and awards, including Honorary Doctorate degrees from Ohio State University, Brandeis University and the Boston Conservatory of Music. She received a Fulbright Fellowship to Japan, the Dance Magazine Award, a National Endowment for the Arts’ Choreographic Fellowship, the Lifetime Achievement Award from the American/Israeli Cultural Foundation, the Samuel H. Scripps Award, and the Encomienda, Aztec Eagle Honor (the highest civilian honor awarded to a foreigner by Mexico). Anna Sokolow passed away in her home in New York City on March 29, 2000 at the age of 90.
Sokolow Theatre/Dance Ensemble will be performing at HATCH on Saturday, 5/12 at Jennifer Muller/The Works. Click here to purchase tickets!
Ms. Sokolow’s work demands a strong technique and willingness to strip away all of the mannerisms and flourishes that take away from her vision of truth. The entire company is willing to take the emotional leap necessary to perform Sokolow’s work with the depth and clarity it requires. All of the dancers in the Sokolow/Theatre Dance Ensemble need to have a strong base in a classical modern technique. Either Graham, Humphrey, Weidman, or Limon.
It is important to share Ms. Sokolow’s works which continue to be relevant to the times we live in and that touch the hearts of all people, everywhere, struggling with the universal issues of living regardless of differences in place and culture.
The Unanswered Question is a combination of Sokolow at her most minimal and powerfully emotional.
“The artist should belong to his society, yet without feeling that he has to conform to it…He must see life fully, and then say what he feels about it. Then, although he belongs to his society, he can change it, presenting it with fresh feelings, fresh ideas.”
Julianne Cariño is a Brooklyn-based dancer and creative artist. She has trained in classical ballet, modern, West African, Gaga, Latin contemporary, Bikram yoga, Anti-gravity yoga, and Improvisation. Julianne’s choreography aims to inform and highlight a performer’s physical characteristics which affect their political, and often spiritual, identities. Julianne attended the Bates Dance Festival for three consecutive summers and the American Dance Festival during the summer of 2016. She has performed her work at Brooklyn Arts Exchange, 92Y Harkness Dance Center, and Bates Dance Festival. Julianne has had the privilege of performing professionally in the work of Kimberly Tate and Akim Funk Buddha, and Donna Costello. She has also performed in the work of Sara Procopio, Monstah Black, and Kelly Bartnik as part of the BAX (Brooklyn Arts Exchange) youth dance company, as well as the work of Netta Yerushalmy and Sean Dorsey as part of repertory courses at the American and Bates Dance Festivals.
Julianne will be presenting her work at HATCH on Saturday, 5/12 at Jennifer Muller/The Works. Click here to purchase tickets!
In many ways, my performance pieces are in a constant state of malleability. Apart from welcoming and integrating audience feedback, presenting a work in process is extremely informative when it comes to playing into the heightened energy of performance. My embodiment of my work has the freedom to sway in and out of alignment with the structure, integrating new realms of potential. Sharing and performing such experimentation and discovery is incredibly liberating. Presenting a work in process allows me to be vulnerable and honest with myself and the movement in performance, in the moment. This transparency creates space for genuine presence. Infusing the breath of transformation into my work has supported me with such trust and integrity as a performer.
Although I am presenting a solo piece, I have choreographed and collaborated on a number of ensemble and duet projects both in and out of NYC. I believe the most valuable and beneficial projects are collaborative. To elevate the concept and the group, one must bring one’s own arsenal of artistic ideas and movement language to the space.
Having grown up in NYC, I am attuned to the political and social climate of the city. People have the freedom and support to be incredibly outspoken and passionate about their political stance. What has been shown to me, time and time again, is the weight, urgency, and vulnerability of sharing personal narrative. Holding space for people to speak from their own experiences of being a person of color in this country can be healing and eye-opening for all who are involved. I hope the diverse NYC audiences are able to see themselves, or someone they love, in this healing journey of identity.
At Rest: a recollection of disposition is a wretchedly visceral journey of development and alignment with identity. This solo digests the struggles and revelations of being a Mexican American woman in this country today. The creation process has served as a method of healing, coming to terms with my truth, and taking ownership of my identity. Living and creating through my identity has led me to invaluable ancestral channeling, work, and research. In the piece, a pelvis replica is my grounded companion on this journey of self-realization. The movement is energized with the pain and pleasure of unpacking myself in front of an audience. At Rest has bridged the gap between me and my brownness, and has restored my understanding of my power and the power of my people.
Diego Blanco, born in Colombia, came to the U.S. at the age of 9 and quickly embraced dance. Dance became for him a means of expression and integration into the new culture. Trained in the traditional Argentinian Tango filtered through the multicultural influences o f Miami. Diego has been performing the tango at since the age of 11, winning awards and gaining recognition as a skilled performer and choreographer with a highly personal, evocative style. In 2001, Mr. Blanco received first place in choreography from the ARTS program of the National Foundation for Advancement in the Arts. After graduating from Miami’s New World School of the Arts in 2004, Mr. Blanco became an apprentice of the Jennifer Muller/The Works International Contemporary Dance Company.
Ana Padron, born in Miami to a family of Cuban refugees, has been studying ballet since the age of 4 and is well acquainted with the rigorous training required by classical studios and Cuban-influenced classical dance with its emphasis on virtuosity and high physical skill. The daughter of a professional musician, she has embraced musicality as part of her training since the earliest years. Upon graduating from Miami’s New World School of the Arts in 2004, Ms. Padron became a company member of Martha Graham 2nd company.
Tango For All will be performing at HATCH on Saturday, 5/12 at Jennifer Muller/The Works. Click here to purchase tickets!
There are many reasons to show a work in progress. For one the company has a moment to try out the piece with audience. It’s not the same to work on presence with out the audience. Also I like to hear what people think of the piece see if I’m going in the general right direction with what I’m trying to convey. It’s also an exercise to show the piece to be imperfect or incomplete. Although I create the movement and concept of the piece it has a live of its own and like a child it’s hard to part from it. I guess it’s an exercise in letting go.
All my dancers are rewarding each in a different way. What I receive as a reward is watching them grow. If one of them has a lock i feel it’s half my job is to see how I can unlock and get the fluidity. There are two types of techniques that I work with tango and contemporary. So the work introduces an element of contemporary dance to tango dance or vise versa this challenge is presented and we work.
It’s important to show “De Tal Palo” because there is a social traditional construct as to what tango is, the male and female dancer as a couple where the dominant energy is the male and the submissive is the female. De Tal Palo shows the opposite a male being dominated my a female and two same sex dancer dancing with an affinity of care and tenderness. Its not only important to show it in NYC but in the world the power exchange and that vulnerability is powerful.
HATCH audiences can look forward to seeing Argentine tango as a language not at its pure theatrical form. Better yet if they can come with an empty cup we will be honored to hopefully fill it.
Meredith Pellon is a recent graduate of the BFA program at the University of the Arts under the direction of Donna Faye Burchfield. She has presented work in Pennsylvania Ballet II’s performance En Avant, and Koresh Artistic Showcase in Pennsylvania, as well as in Ballet Inc.’s The Series: Vol. II in New York. In 2017, Meredith received a grant from the Corzo Center Innovation Lab to complete a series of site-specific dance projects performed at different locations in Philadelphia. She has completed summer intensives at The Joffrey Ballet School, The Hartt School, Alonzo King LINES Ballet, and PHILADANCO. She has also interned with Eryc Taylor Dance, and writes dance reviews for Phindie.
Meredith will be performing her solo work at HATCH on Saturday, 5/12 at Jennifer Muller/The Works. Click here to purchase tickets!
Presenting a work in progress offers me feedback on my current work, which helps me to understand it from the perspective of someone other than myself. I find this to be immensely useful as I develop the work further and make decisions regarding what I want out of the work and how I would like it to be viewed.
I enjoy working with dancers that are willing to collaborate and utilize dance to create a unique experience for themselves. Witnessing the individualized mentality of each dancer within the work allows for greater possibilities. I can then direct the piece in a way that makes sense for both the whole and the individual journeys.
As a new graduate, it is important to me to present work outside of my school community in Philadelphia. I’m looking forward to my post-collegiate life and presenting work in new spaces to different groups of people.
HATCH audiences should look forward to seeing cracked patience and circular hand gestures.
Sue Samuels has mentored/trained over 4 decades of artists worldwide including Melba Moore, Brooke Shields, and Irene Cara; Flo-Bert award; Broadway Dance Center faculty (since 1986). Performance/Choreographic credits: Broadway’s Got Tu Go Disco (Minskoff Theater), The Johnny Hallyday Show (Paris), Brazil Export Show (Rio de Janeiro). Television: “All My Children”, “Jerry Lewis Telethon”, “Contemporary Women”, numerous commercials/industrials. Co-founder/owner/director of Jo Jo’s Dance Factory (10 years/NYC); the Jazz program for Children (Ft. Lauderdale Ballet), Boca Raton Children’s Program and Jazz Roots Dance Company: http://www.jazzrootsdance.com.
Sue’s Jazz Roots Dance Company will be performing at HATCH on Saturday, 5/12 at Jennifer Muller/The Works. Click here to purchase tickets!
It is helpful to present a work in progress because, many times when you are developing a piece you are so involved with it that you can’t see it from any other perspective and we want to be sure the work is evolving the way we would like.
The most rewarding dancers for me to work with are the high level dancers who have classical jazz training and who also know the vocabulary of classic jazz.
It is important to present this piece of choreography to audiences in NYC because it is a piece created in NYC, with dancers who live in NYC, choreographed by a NYC choreographer, in a studio right here in NYC. The best audiences for this piece are in NYC!
HATCH audiences can look forward to seeing a style of dance which is rarely done in today’s world. It is classic jazz dance done in concert style. The piece is highly energetic and very musical.
Born and raised in Brooklyn, New York, Nadia Joseph has always been interested in the art of dance taking gymnastics, ballet and tap at the age of 10 but it wasn’t until the late age of fifteen that she truly developed a passion for it. She began taking classes at Restoration Youth Arts Academy in Bedford Stuyvesant where she continued to study Ballet, Modern, and West African. Nadia then went on to Hunter College where she furthered her education in dance studying modern, ballet, dance history, West African and choreography. After participating in many student choreography projects and being able to choreograph herself Nadia started to view choreography as an art form always appreciating the different challenges it presented forcing her to dig deeper into who she is as an individual and the message she wants her viewers to receive when watching her work. “Anyone can put together a sequence of steps and call it a dance, but to touch someone through those same sequence of steps is not as simple. It’s about how it is delivered and designed; I believe one must have respect, humility, and patience when it comes to the art of choreography.” Nadia graduated from Hunter College with her BA in Dance, and is currently earning her Masters degree in Early Childhood Education.