In conversation with New Zealand Dancer, Hana Morris
Coachella stages, global campaigns, world tours—Tessa Patrick finds out that the New Zealand dancer is moving fast, and not looking to slow down.
We finally made it work.
I know—the time difference in London is just ridiculous.
It’s crazy. Where have we caught you?
I’m in Australia. Just here until Tuesday.
And what are you doing there?
Honestly, just having a holiday. I had a three-week break off work, my partner’s here, and I just thought, ‘Oh, f*** it. I’ll come over, get some sunshine.’
It looks so nice. Auckland’s kind of miserable at the moment. Do you get back to New Zealand much?
I try to, but the travel’s so far—even coming here. You never really have long enough to go home, be home, get over the jet lag, and then leave again.
And actually see people.
Exactly. But I try to go at least once a year.
I had questions prepared, but I also feel like we should just talk and catch up.
Yeah, let’s just chat.
Okay—starting from the beginning, then. You’ve always danced, as long as I can remember. But for people who don’t know that—how did it actually start, and how did it turn into what it is now?
I started when I was about six or seven. I’m pretty sure it came from those Giants basketball games—you know how the kids would dance at halftime?
Yeah.
I must have seen that and told Mum I wanted to dance. It was just a hobby for ages—through school, I was dancing and playing sports— and then it got more serious later on. We started competing and travelling with my crew, and I decided to put all my energy into dance instead of sports. I think it was because of the travel. That was exciting at the time. But I had no idea it could be a career—I was just following what I loved. Then I moved to Wellington for uni, which didn’t last long. I was dancing more than I was studying, which kind of said everything. I kept training, competing, moving around. I didn’t realise I was chasing a career—I just knew I wanted to keep doing it. Then around 2017 or 2018, when I was living in Australia, that’s when it clicked. I started teaching, and then I booked my first big international job—a music video. They were like, ‘We’re going to fly you to Taiwan,’ and I was like, ‘What do you mean you’re paying for my flight?’
That’s insane.
And then once you get that first one, it kind of builds from there.
What does your work actually look like now? Because I think people see the end result—tours, performances—but not how varied it is.
Yeah, it’s different all the time. No week looks the same, which is cool—but also hard. It makes structure really difficult. Some weeks I’m travelling constantly, whether that’s performing or teaching. Other times I’ll stay somewhere for a month or two working on one project. It’s very fast-paced.
And then you get moments like this, where you’re suddenly still.
Exactly. That took a long time to get used to. I like routine, so it was an adjustment— learning to go with it instead of fighting it.
I feel like that’s such a Nelson thing, though. You grow up somewhere small, and then you either stay in that rhythm or you completely push against it.
Yeah— 100%. And because it’s a bigger risk to leave, you’re more determined to make it work.
How would you describe your dancing style now?
It’s still rooted in hip-hop—that’s what I trained in until I was about 18 or 19. But once you move into commercial work, you have to learn other styles, like jazz. So now it’s kind of a fusion. What people call commercial dance—a mix of jazz and hip-hop. A tidier version of hip- hop.
What does it actually feel like, physically, to dance at that level every day?
I feel really grateful that I get to use my body like that. My job keeps me fit, and it doesn’t always feel like exercise. The best part is that it doesn’t feel like a job most of the time. At the start, it took me a while to accept that this was my job—that I didn’t need another one. And being on stage, in front of thousands of people—that doesn’t feel like work at all. That’s one of the best feelings ever.
Do you still get nervous before that?
Yeah. If I’m not nervous, I get worried. I’m like, ‘Oh s***, I don’t care enough.’ The nerves are good—they keep me focused.
What have been those moments where you’ve had to kind of check yourself and go, ‘This is actually happening’?
Dancing for Tyla was one. I was listening to her every day at the time, and I didn’t even know I was dancing for her. We just got told we were doing an awards show. Then I walked into rehearsal, heard the piano, and thought, ‘If this is Tyla, I’m going to cry.’ Then I saw her choreographer and realised it was.
That’s such a crazy way to find out. Do you get starstruck in those moments.
Yes—definitely. But you have to keep it together. You can’t show that on the job.
Yeah, you can’t be like, ‘Hi, I’m your biggest fan.’
Exactly.
Like, hold it together for five minutes.
Literally.
Were there any moments that felt different because they were here? Like, closer to home?
Dancing for Six60 in Auckland was really special—Eden Park and Western Springs. That felt more emotional. It was a home crowd. It felt like, ‘I’ve done pretty good.’
Why do you think New Zealand produces so many incredible dancers?
I think it comes back to being from a small place. You have more drive to make things happen. And because we don’t always have the same access, when opportunities do come, we really make the most of them. If an international choreographer came over, you’d do everything to be in that class—and then you’d hold onto that for months.
You don’t take it for granted.
Exactly.
Your partner’s a dancer as well—what’s that like, with how unpredictable everything is?
I wouldn’t have it any other way. It would be really hard to be with someone who didn’t understand the lifestyle. There’s a lot of long distance, but there’s also that mutual understanding. Like, ‘I love you, but I have to go to the other side of the world for this job.’
No explanation needed.
Exactly.
What’s been your favourite part of getting to see the world like this?
Getting to do it with people. You’re travelling with your friends, working together—it doesn’t always feel like work. And just seeing places I never would have gone to otherwise. It’s opened my eyes a lot.
How do you feel about TikTok now? Because I feel like dancers have such a complicated relationship with it.
At the start, I hated it. A lot of dancers did. There were issues with people using choreography without credit, which took away ownership—and that’s a big thing in the dance community. But now, it’s just part of the industry. There are still challenges, but there are benefits too.
What’s next for you this year?
I’m on holiday right now, which is nice, because the rest of the year is busy. I was on tour with Robbie Williams last year, and we’re doing more with him—rehearsals start at the end of May, then festivals over summer. There’s also a potential Disney movie in Spain, which I’m hoping gets confirmed.
That feels very full circle.
Yeah—it’s definitely on the bucket list.
And the dream would be bringing all of that back home at some point?
100%. Doing a home show with a job that’s taken me around the world—that’s the dream.
I feel like so many people are told creative careers aren’t realistic. What would you say to someone who’s doubting the dream?
If you really love something, you’ll find a way to make it work. Drive and determination are the most important things. There is risk, because there’s no clear pathway—you have to figure it out yourself. But that’s also what makes it exciting.
Yeah. No one’s handing it to you.
Exactly. I just kept following what made me the most excited. That was it.
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