Hannah Joseph

Hannah Joseph joined the Trinity Laban CAT programme in 2017 at the age of 15. After graduating from CAT in 2020, Hannah went on to train at Rambert. Hannah now works as a professional dancer and choreographer.

How did you discover the CAT scheme?

My contemporary teacher from my local dance school had trained at Trinity Laban and advised me to audition for it. Also around a similar time, I had taken part in a summer dance workshop at my secondary school in collaboration with Company Wayne McGregor, and the dancers there also recommended me to apply.

What had been your experience of dance before the CAT scheme?

I danced at my local ballet school in ballet and contemporary once a week. Occasionally taking part in dance clubs in secondary school. I also took part in London Children’s Ballet in both their production company that performed at the Peacock Theatre and their touring company that visited elderly care homes around London.

What was your experience of being a Dance CAT student?  What did you value?  What did you enjoy?

Throughout my 3 years as a dance CAT student I gained invaluable skills as both a dancer and person. The environment was so naturally vibrant and filled with enthusiasm and support for young aspiring dancers. I truly valued the teachers for their generous sharing of knowledge and individually catered support. In addition to the other dance CAT students who I continue to have friendships with today, as we witness each other continue to develop and grow as artists. I most enjoyed the community that it fostered, a group of people so keen and driven to work hard, learn and spread joy for dance, it was a truly uplifting feeling to be surrounded by especially given the contrast of it with school.

What has the CAT scheme taught you?

Values. That at the forefront of what a great dancer can be, comes who the person is. The CAT scheme fostered such a place that individuality was celebrated and welcomed, that alongside learning disciplines such as ballet, there was space for the self to be existing simultaneously.

Where has the scheme led you so far?

From the CAT scheme I discovered National Youth Dance Company, which I was a part of for 2 years. As well as joining Matthew Bourne’s New Adventures as a part of the Young Cast for Romeo + Juliet at Sadler’s Wells. I went on to train at Rambert School of Ballet and Contemporary Dance for 3 years. During which I worked for Alexander Whitely and was a BBC Young Dancer Finalist in 2022 performing choreography by Ivan Michael Blackstock and Seeta Patel and including my own at the Roundhouse in London. Upon graduating, I joined Company Wayne McGregor, touring nationally and internationally. Commercially appearing in Moschino Milan Fashion week SS24, London Fashion Week 2024, and Hermes Brides de Gala. Choreographically, having my own work shown digitally on Nowness and also performed at Lillian Baylis Studio at Sadler’s Wells and the Clore Studio and Linbury Theatre at the Royal Ballet and Opera with Royal Ballet dancers (for Legacy, a celebration of black history month curated by Principal dancer Joseph Sissens). My next upcoming commission is for the Royal Ballet School performed at Opera Holland Park, Linbury Theatre and Royal Ballet Mainstage.

What are any of your future aspirations?

I wish to continue to offer and exchange knowledge with the next upcoming generation of dancers and to challenge myself to remain curious.

What advice would you give to a young person who is interested in auditioning?

To go for it, have fun, and be yourself. Make friends and remember that dancing is fun and is a joy to be shared with others.

What impact has the financial support of a Department for Education Grant had on your dancing?

Without the support I had received I would not have been able to take part in CAT and therefore, undoubtedly I would not have the career that I have had. The support offered a financial relief that allowed me to feel comfortable with being involved in CAT and I never took it for granted. The services that I received whilst on CAT were outstanding, from the training in dance floor mirrored studios, highly skilled teachers, a year filled with variety and professional level work.

Finally is there anything else you think we should know?

The financial support I received was vital for someone like me to access the quality and level of art culture and education and therefore it is so significant that we continue to fund and support the current and future generations of people in the arts so that our communities can be vibrant with creativity and art.