HATCHed: Elijah Laurant

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.

Elijah Laurant will be performing under his company name Goligbodies at this year’s HATCHed presentation on Saturday, May 26th. Elijah has participated in previous HATCH performances and danced many times in our studio space, and this invitation to HATCHed is reflective of his distinguished artistic growth. Please join us at Jennifer Muller/The Works at 8:00PM: Click here to purchase tickets!

HATCHed: Hannah Jane Frederick

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!



Photo credit: Katherine Mayo

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!



Photo credit: Katherine Mayo


Artist’s Statement:

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.