Loading...
Contact Us!
Questions?
The best way to contact us is by email but you can always call or stop by the studio during office hours
Phone: 206.949.8643
Office Hours
- theNEST
- Tu - Th: 3:00 to 8:00p
- Sa: 9:00a to 12:30p
- NOD Theater
- Mo: 3:30 to 8:00p
Send Us a Message
About Exit Space
Mission | To cultivate a supportive and enriching community where dancers of all ages can discover or rediscover the power of dance.
Vision | A vibrant and robust Seattle dance community where eXit SPACE leads the way in equitable education, opportunity, performance, and artistic exploration.
Vision | A vibrant and robust Seattle dance community where eXit SPACE leads the way in equitable education, opportunity, performance, and artistic exploration.
Support | eXit SPACE has several programs to provide financial assistance to students in need of support. Payment plans, work study positions, and scholarships for BIPOC and young dancers are some of the methods employed to ease financial burden and enable dance education.
Financial Support Application
Work Study Application
If you would like more detailed information, please reach out and contact info@exitspacedance.com
Financial Support Application
Work Study Application
If you would like more detailed information, please reach out and contact info@exitspacedance.com
Marlo Martin
Artistic Director
Faculty
Marlo
Rose Amlin
Office Assistant
Faculty
Rose
Miranda Chantelois
Office Assistant
Faculty
Miranda
Alex Goldstein
Office Administrator
Alex
Christin Olyano
Facilities Manager
Studio Rentals
Christin
Marlo Martin
Artistic Director
Modern
Marlo
Annie DeVuono
ADP
Ballet
Annie D
Annie St Marie
YDP | ADP
Ballet | Pointe
Annie S
Bri Wilson
YDP
Ballet | Pointe
Bri
Carol Davis
YDP
Ballet | Pointe
Carol
DaeZhane Dae
ADP | YDP
Hip Hop | Modern
DaeZhane
Hayley Keller
YDP
Modern | Floor Flow
Hayley
Kaitlin McCarthy
ADP
Ballet
Kaitlin
Lauren Wlasichuk
ADP | YDP
Tap | Jazz
Lauren
Miranda Chantelois
ADP | YDP
Ballet | Modern | Jazz | Early Movement
Miranda
Nicole Flores
ADP | YDP
Ballet
Nicole
Robbi Moore
Robbi
Roni Witbeck
Roni
Rose Amlin
ADP | YDP
Modern | Jazz | Hip Hop | Early Movement
Rose
Scarlett Folds / Micaela Gonzales
ADP
Burlesque
Scarlett
Tyra Rose
ADP | YDP
Jazz | Modern | Contemporary | Hip Hop
Tyra
Wade Madsen
ADP | YDP
Modern
Wade
Alicia Mullikin
ADP
Contemporary
Alicia
Amy J Lambert
Amy
Joseph Schanbeck
Joseph
Mike Esperanza
Mike
Class Descriptions
Modern | eXit SPACE offers an array of modern technique classes, all focused on full-bodied movement and improving artistry. As a technique, Modern dance allows students to develop a deep connection to their center, confidence in inversion techniques and acrobatic skills (cart wheels, hand and head stands, floor rolls, etc), refined articulation through the spine, improvisation practice, and freedom of movement. Dancers learn to focus their attention on traveling through space with intention and dynamic variation rather than just focusing on shapes and steps. Basic level classes at eXit SPACE give those new to dance a foundation on which to build and explore the fascinating history of modern dance with an emphasis on individuality and adaptive formats, while our most advanced modern classes are a perfect way for professionals and trained dancers to work with local dance artists in styles that range from Euro-influenced codified forms to new age contemporary forms and afro-diaspora movement. eXit SPACE is proud to have a modern dance faculty composed of professional dancers and choreographers currently presenting work in the Greater Seattle Area and has become a vital hub for beginning to advanced level adult dancers looking for both professional level modern dance study and well-rounded foundational introductions to the form.
A brief history: Modern Dance is a style of western concert dance developed in the late 19th and early 20th century by European artists as an artistic rebellion against the perceived constraints of classical ballet and by European diasporic movers seeking to re-ground dance in indigenous and Black dance foundations. In Germany, dancers Rudolf Von Laban and Mary Wigman began abandoning the strict movement vocabulary, nymph-like portrayals of women, and confining expectations of ballet for more freeform movement characterized by organic body patterns, deliberate falls into the floor, and improvisatory scores - ideas later relayed to the United States by American dancer, educator, and modern dance pioneer, Isadora Duncan by 1914. By the 1930's Katherine Dunham, an African American anthropologist, ethnologue, dancer, and choreographer (among many other roles) revolutionized the form by rooting modern dance in Black culture and folk dance through her anthropological studies in Trinidad, Jamaica, and Haiti. Bolstered by the work of Lester Horton, Alvin Ailey, Pearl Primus, Merce Cunningham, Martha Graham, Paul Taylor, Pina Bausch, and so many others, modern dance has since evolved to encompass a multiplicity of techniques not limited to any specific vocabulary. From Horton and Graham Techniques - which explore linearity and contractions with an emphasis on flat backs, lateral extensions, tilts, and lunges - to more somatic-centered practices based on concepts of release, imagery, strength, and emotional embodiment, modern dance can encompass a wide variety of aesthetics ranging from its even broader history in european and afro-diasporan movement.
A brief history: Modern Dance is a style of western concert dance developed in the late 19th and early 20th century by European artists as an artistic rebellion against the perceived constraints of classical ballet and by European diasporic movers seeking to re-ground dance in indigenous and Black dance foundations. In Germany, dancers Rudolf Von Laban and Mary Wigman began abandoning the strict movement vocabulary, nymph-like portrayals of women, and confining expectations of ballet for more freeform movement characterized by organic body patterns, deliberate falls into the floor, and improvisatory scores - ideas later relayed to the United States by American dancer, educator, and modern dance pioneer, Isadora Duncan by 1914. By the 1930's Katherine Dunham, an African American anthropologist, ethnologue, dancer, and choreographer (among many other roles) revolutionized the form by rooting modern dance in Black culture and folk dance through her anthropological studies in Trinidad, Jamaica, and Haiti. Bolstered by the work of Lester Horton, Alvin Ailey, Pearl Primus, Merce Cunningham, Martha Graham, Paul Taylor, Pina Bausch, and so many others, modern dance has since evolved to encompass a multiplicity of techniques not limited to any specific vocabulary. From Horton and Graham Techniques - which explore linearity and contractions with an emphasis on flat backs, lateral extensions, tilts, and lunges - to more somatic-centered practices based on concepts of release, imagery, strength, and emotional embodiment, modern dance can encompass a wide variety of aesthetics ranging from its even broader history in european and afro-diasporan movement.
Contemporary | Contemporary dance refers to classes, choreography, and movement practices that draw from a variety of styles but maintain a strong foundation in modern dance. As the internet and technology allowed for dance influences to become more accessible across distances, contemporary dance began to develop. Multicultural influences and the intentional blend of dance styles like jazz, hip hop, and others has been at the heart of contemporary dance since its inception. Unlike other dance forms which have a strong historical foundation in a single codified technique, contemporary is an ever evolving form; it is frequently defined by the individual teacher and taught as a personal reaction to their relationship(s) with other forms. At eXit SPACE, contemporary classes often include full-bodied movement, bottom-heavy dance phrases, extensive floor-work and emotionality.
Ballet | Class emphasis at eXit SPACE is on dynamic alignment, strength development, body awareness, artistic expression, and quality of movement taught in styles ranging from purely classical to more contemporary, with a frequent mix of methodologies. Every class includes a comprehensive barre and center practice with the option to adapt movements based on level, injury, and comfort. Ballet has a long history of exclusion - from socio-economic status, to skin color, body type, age, and level of training – but eXit SPACE is proud to be one of a growing number of dance education facilities that stands on the firm notion that ballet is for everybody and every body with the intention of elevating individual artistic voices by decentering the historic whiteness in ballet.
A brief history: The roots of Ballet date back to European ethnic/folk dances copied by the Italian court during the Renaissance for aristocratic entertainment. An Italian social dance with choreographic elements, "balleto" or ballet, made its way to France in the 16th century where dancing masters instructed children and choreographed increasingly elaborate performances with sets, costumes and story elements. In the 17th century court, King Louis XIV emerged as a figurehead of ballet's codification, establishing the Royal Academy of Dance where Pierre Beauchamp established the five traditional rotated positions. Russia, subsequently, played a major role in Ballet's further development and Russian dancers are often credited with "perfecting" the technique. Through the Baroque Period and into the Romantic Era and beyond, Ballet gained six codified teaching styles which are often adapted and/or mixed for ballet classes around the world (the Vaganova, Cecchetti Method, and RAD methods being the most common).
For a more comprehensive history of ballet: Apollo's Angels by Jennifer Homans and Night's Dancer: The Life of Janet Collins by Yael Tamar Lewin
A brief history: The roots of Ballet date back to European ethnic/folk dances copied by the Italian court during the Renaissance for aristocratic entertainment. An Italian social dance with choreographic elements, "balleto" or ballet, made its way to France in the 16th century where dancing masters instructed children and choreographed increasingly elaborate performances with sets, costumes and story elements. In the 17th century court, King Louis XIV emerged as a figurehead of ballet's codification, establishing the Royal Academy of Dance where Pierre Beauchamp established the five traditional rotated positions. Russia, subsequently, played a major role in Ballet's further development and Russian dancers are often credited with "perfecting" the technique. Through the Baroque Period and into the Romantic Era and beyond, Ballet gained six codified teaching styles which are often adapted and/or mixed for ballet classes around the world (the Vaganova, Cecchetti Method, and RAD methods being the most common).
For a more comprehensive history of ballet: Apollo's Angels by Jennifer Homans and Night's Dancer: The Life of Janet Collins by Yael Tamar Lewin
Ballet and Conditioning | Beginning Ballet & Conditioning is a beginning-level ballet class for dancers with a basic understanding of classical movement vocabulary, which includes both a traditional ballet barre and center work along with warm-up and cool-down exercises on mats**, an emphasis on stretching, and expressive choreography. Class emphasis at eXit SPACE is on dynamic alignment, strength development, body awareness, artistic expression, and quality of movement taught in styles ranging from purely classical to more contemporary, with a frequent mix of methodologies. With that in mind, ballet has a long history of exclusion – from socio-economic status, to skin color, body type, age, and level of training, but eXit SPACE is proud to be one of a growing number of dance education facilities that stands on the firm notion that ballet is for everybody and every body with the intention of elevating individual artistic voices by decentering the historic whiteness in ballet. This is a great class for intermediate-level beginners and a wonderful relaxing work-out for any level.
**Conditioning includes work on mats and utilizes hand weights and/or exercise bands. Students are encouraged to bring their own, but we have some props available to borrow.
A brief history: The roots of Ballet date back to European ethnic/folk dances copied by the Italian court during the Renaissance for aristocratic entertainment. An Italian social dance with choreographic elements, "balleto" or ballet, made its way to France in the 16th century where dancing masters instructed children and choreographed increasingly elaborate performances with sets, costumes and story elements. In the 17th century court, King Louis XIV emerged as a figurehead of ballet's codification, establishing the Royal Academy of Dance where Pierre Beauchamp established the five traditional rotated positions. Russia, subsequently, played a major role in Ballet's further development and Russian dancers are often credited with "perfecting" the technique. Through the Baroque Period and into the Romantic Era and beyond, Ballet gained six codified teaching styles which are often adapted and/or mixed for ballet classes around the world (the Vaganova, Cecchetti Method, and RAD methods being the most common).
For a more comprehensive history of ballet: Apollo's Angels by Jennifer Homans and Night's Dancer: The Life of Janet Collins by Yael Tamar Lewin
**Conditioning includes work on mats and utilizes hand weights and/or exercise bands. Students are encouraged to bring their own, but we have some props available to borrow.
A brief history: The roots of Ballet date back to European ethnic/folk dances copied by the Italian court during the Renaissance for aristocratic entertainment. An Italian social dance with choreographic elements, "balleto" or ballet, made its way to France in the 16th century where dancing masters instructed children and choreographed increasingly elaborate performances with sets, costumes and story elements. In the 17th century court, King Louis XIV emerged as a figurehead of ballet's codification, establishing the Royal Academy of Dance where Pierre Beauchamp established the five traditional rotated positions. Russia, subsequently, played a major role in Ballet's further development and Russian dancers are often credited with "perfecting" the technique. Through the Baroque Period and into the Romantic Era and beyond, Ballet gained six codified teaching styles which are often adapted and/or mixed for ballet classes around the world (the Vaganova, Cecchetti Method, and RAD methods being the most common).
For a more comprehensive history of ballet: Apollo's Angels by Jennifer Homans and Night's Dancer: The Life of Janet Collins by Yael Tamar Lewin
Pointe | Pointe class is for students with strong ballet training who are interested in starting/revisiting pointe work. Each hour-long class is divided into two parts: strengthening and variation work. All students work at the barre on strengthening, participate in short exercises across the floor, and receive feedback on how to improve their technique and safety. On a basis of strength, safety, and overall readiness, some students may be asked to change to flat shoes as the class progresses to more difficult variations. With improvement and teacher permission, beginning/intermediate level pointe dancers will have the opportunity to work in pointe shoes for longer periods of time throughout class.
Jazz | Ray Leeper once said that jazz dance requires three main skills of the dancer: precision of body placement, muscular resistance and stretch (strong lines), and personality/pizazz. Jazz classes at eXit SPACE honor this multifaceted nature of jazz dance through an emphasis on individuality, technique, and a variety of stylistic frameworks. Aesthetically, Jazz can range from vernacular styles such as the Charleston and Jitterbug, to lyrical, commercial, and Broadway forms that many will recognize from contemporary pop culture; classes at eXit SPACE are primarily informed by Euro-influenced forms of lyrical, commercial, and Broadway style jazz, depending on the instructor. Classes begin with a comprehensive warm-up focusing on strength-building, flexibility, isolation, extension, and rhythm accompanied by a wide range of popular music selections from pop to Broadway. Rooted into the ground through use of deep plié, jazz emphasizes strong footwork and confident gross motor movement, allowing students at eXit SPACE develop strength and precision through challenging leaps, turns, and progressions before ending class with a longer combination that incorporates a wide range of artistic concepts.
A brief history: Jazz can be traced back to seventeenth century African dance rituals characterized by polyrhythm, improvisation, and isolation. Vernacular Jazz was formally developed by Black Americans in the early 20th century alongside the evolution of jazz music as an embodiment of Black culture and liberation. Vernacular or authentic jazz refers to such forms as the Charleston, Lindy Hop, Jitterbug, and the Twist which were subsequently copied by white audiences as popularity increased. Jazz became concert dance when Black choreographer and anthropologist Katherine Dunham (1909–2006) brought works of performance ethnography to proscenium stages, having infused Carribean dance and African Diasporan traditions into her modern-based works, giving way to a new era of popular performance. Subsequent artists adapted, appropriated, and reimagined jazz, which has now branched off to include lyrical jazz as well as commercial and Broadway jazz forms (informed by burlesque, vaudeville, and musical theater) now seen most commonly on stage and TV. Eugene Louis Faccuito (Luigi), Gus Giordano, and Matt Mattox furthered the evolution of the style in the mid to late 1900's and are training the next generation of teachers to this day.
For a more comprehensive history of Jazz dance: Jazz Dance: The Story of American Vernacular Dance by Marshall Stearns and Jean Stearns
A brief history: Jazz can be traced back to seventeenth century African dance rituals characterized by polyrhythm, improvisation, and isolation. Vernacular Jazz was formally developed by Black Americans in the early 20th century alongside the evolution of jazz music as an embodiment of Black culture and liberation. Vernacular or authentic jazz refers to such forms as the Charleston, Lindy Hop, Jitterbug, and the Twist which were subsequently copied by white audiences as popularity increased. Jazz became concert dance when Black choreographer and anthropologist Katherine Dunham (1909–2006) brought works of performance ethnography to proscenium stages, having infused Carribean dance and African Diasporan traditions into her modern-based works, giving way to a new era of popular performance. Subsequent artists adapted, appropriated, and reimagined jazz, which has now branched off to include lyrical jazz as well as commercial and Broadway jazz forms (informed by burlesque, vaudeville, and musical theater) now seen most commonly on stage and TV. Eugene Louis Faccuito (Luigi), Gus Giordano, and Matt Mattox furthered the evolution of the style in the mid to late 1900's and are training the next generation of teachers to this day.
For a more comprehensive history of Jazz dance: Jazz Dance: The Story of American Vernacular Dance by Marshall Stearns and Jean Stearns
Hip Hop | At eXit SPACE, students can expect teachers to be well-versed in the history and steps associated with hip hop dance while providing a comprehensive, structured class. All hip hop classes at eXit SPACE begin with an aerobic warm up to practice basic steps and body isolations with clear dynamics, all the while building the necessary strength and flexibility for full-bodied movement. Teachers emphasize individuality, rhythm, and theatricality, embracing the roots of hip hop as an improvisational, cypher-based from. After warmup and skill building, the majority of hip hop classes are spent learning choreography, allowing dancers to engage in an in-depth study on locomotor steps while advancing coordination, musicality, and self-expression. Many instructors take early hip hop styles and steps, integrating them into combinations that represent hip hop in its current state.
A brief history: Hip hop dance emerged in the late 1960's out of the South Bronx, an economically depressed neighborhood in New York City composed primarily of Black and Latinx families. As a way to connect with one another and distract from racial oppression and poverty, youth in the South Bronx (and later Brooklyn and Harlem) channelled their fear and anger into a new culture of movement and expression, often using vacant lots and abandoned buildings for house parties where the co-mingling of rapping, DJing, B-boying, and graffiti emerged as the pillars of hip hop culture. DJ Kool Herc, a Jamaican immigrant and the "father of hip hop music" invented the break beat, a looped musical interlude meant for dancers (b-boys and b-girls) to show off their respective talents; this invention and Herc's musical/rhythmic contributions of the time made way for a new style of modern movement. Between east coast and west coast dancers, uprock, breaking, locking, roboting, freestyling, and popping styles began to make waves and – in combination with James Brown's music, the formation of dance crews, and Don Cornelius' creation of the television show Soul Train – Hip Hop dance has since made its way from the streets into the studios.
For a more comprehensive history of hip hop: Hip Hop Dance (The American Dance Floor) by Mohanalakshmi Rajakumar and/or Foundation: B-boys, B-girls and Hip-Hop Culture in New York by Joseph G. Schloss
A brief history: Hip hop dance emerged in the late 1960's out of the South Bronx, an economically depressed neighborhood in New York City composed primarily of Black and Latinx families. As a way to connect with one another and distract from racial oppression and poverty, youth in the South Bronx (and later Brooklyn and Harlem) channelled their fear and anger into a new culture of movement and expression, often using vacant lots and abandoned buildings for house parties where the co-mingling of rapping, DJing, B-boying, and graffiti emerged as the pillars of hip hop culture. DJ Kool Herc, a Jamaican immigrant and the "father of hip hop music" invented the break beat, a looped musical interlude meant for dancers (b-boys and b-girls) to show off their respective talents; this invention and Herc's musical/rhythmic contributions of the time made way for a new style of modern movement. Between east coast and west coast dancers, uprock, breaking, locking, roboting, freestyling, and popping styles began to make waves and – in combination with James Brown's music, the formation of dance crews, and Don Cornelius' creation of the television show Soul Train – Hip Hop dance has since made its way from the streets into the studios.
For a more comprehensive history of hip hop: Hip Hop Dance (The American Dance Floor) by Mohanalakshmi Rajakumar and/or Foundation: B-boys, B-girls and Hip-Hop Culture in New York by Joseph G. Schloss
Commercial Choreography | Power Hour | A class focused on a fusion of dance styles including Hip Hop, Jazz, Contemporary, and many other forms of dance. Commercial choreography refers to a style of dance seen in Music Videos, L.A Dance Industry, Television Productions, and much more. Commercial Choreography is often confused with Hip Hop Dance due to the influence of Hip Hop Culture throughout history. Due to the fusion of dance styles, Commercial Choreography is simply inspired by but not the same as Hip Hop.
Tap | Dance students at eXit SPACE are trained in basic rhythmic skills, footwork, and traditional tap dances, exploring more detailed and difficult steps, syncopated rhythms, and challenging progressions over time. Classes are influenced by both rhythm tap (which focuses on percussion, complex rhythms, and use of the feet as instruments) as well as Broadway style tap (which combines rhythm tap and jazz dance for a more theatrical aesthetic and physical storytelling), offering dancers a wide range of skill sets for versatility of performance. eXit SPACE embeds tap history – which is rooted in oppression, physical liberation, and protest art – into its curriculum, while acknowledging the privilege of learning this art form in the studio.
A brief history: Tap is an American dance form that originated through the communication of enslaved Africans and Irish indentured servants, blending the percussive dances of their cultures. Enslaved Africans learned to embed traditional African rhythms with European instrumentation and court dance structures, ultimately using clapping, patting, and percussive footwork as rhythmic substitutes for drums on plantations. Later, through experimentation of innovative rhythms, acrobatic feats, and personal style alongside the indentured Irish, Black Americans developed the foundations of what we know as tap dance today, epitomized by the works of Gregory Hines, Savion Glover, Chloe Arnold, and Michelle Dorance.
For a more comprehensive history of Tap dance: Tap Dancing America: A Cultural History by Constance Valis Hill or What The Eye Hears: A History of Tap Dancing by Brian Seibert
A brief history: Tap is an American dance form that originated through the communication of enslaved Africans and Irish indentured servants, blending the percussive dances of their cultures. Enslaved Africans learned to embed traditional African rhythms with European instrumentation and court dance structures, ultimately using clapping, patting, and percussive footwork as rhythmic substitutes for drums on plantations. Later, through experimentation of innovative rhythms, acrobatic feats, and personal style alongside the indentured Irish, Black Americans developed the foundations of what we know as tap dance today, epitomized by the works of Gregory Hines, Savion Glover, Chloe Arnold, and Michelle Dorance.
For a more comprehensive history of Tap dance: Tap Dancing America: A Cultural History by Constance Valis Hill or What The Eye Hears: A History of Tap Dancing by Brian Seibert
Open Movement and Contact Improvisation Jam |
Contact Improv Jams are an open, unstructured gathering of like-minded dancers coming together to engage, practice and explore Contact Improvisation.
Contact Improvisation is a partnered dance form based on the physical principles of touch, momentum, and weight sharing. This can lead the ensemble through level changes by ways of tumbling, rolling, falling and flying! This is a constant source of endless playful investigation of exploring points of contact and dance improvisation.
Open Movement is encouraged for solo dance exploration and individual warm up.
Jams are generally silent (no music) with the exception of a once a month live-scored guest musician. Mellow socializing and laughing about it are totally allowed.
All levels of experience are welcomed and encouraged.
Contact Jams are for adults 18 years old and up.
Here is a short video demonstrating what a CI Jam looks like.
Contact Improvisation is a partnered dance form based on the physical principles of touch, momentum, and weight sharing. This can lead the ensemble through level changes by ways of tumbling, rolling, falling and flying! This is a constant source of endless playful investigation of exploring points of contact and dance improvisation.
Open Movement is encouraged for solo dance exploration and individual warm up.
Jams are generally silent (no music) with the exception of a once a month live-scored guest musician. Mellow socializing and laughing about it are totally allowed.
All levels of experience are welcomed and encouraged.
Contact Jams are for adults 18 years old and up.
Here is a short video demonstrating what a CI Jam looks like.
Burlesque Jazz | With inspiration drawn from the art of tease and reveal, and influenced by jazz and cabaret styles, this class is a fun and vigorous experience for intermediate and advanced dancers. Dancers will play with movements choreographed by Scarlett Folds and experience the suppleness of slow burns, high energy movements, and fun, titillating ways to tease.
BASIC Modern | Modern Dance is a style of western concert dance developed in the late 19th and early 20th century by European artists as an artistic rebellion against the perceived constraints of classical ballet and by European diasporic movers seeking to re-ground dance in indigenous and Black dance foundations. Basic Modern at eXit SPACE honors the history of modern dance through an emphasis on equity and individuality while guiding beginning modern dancers through the structure of a dance class and the etiquette required in a studio. Warm-up exercises designed to center the body, re-pattern movement habits, and build strength and flexibility will prepare beginning dancers to move more fully, while movement combinations center and across the floor will allow for an in-depth study on locomotor steps while advancing coordination, musicality, and self-expression. Basic Modern dancers will also develop a deep connection to their center, confidence in level-appropriate inversion techniques and acrobatic skills (monkey jumps, tip ups, and floor rolls), refined articulation through the spine, and freedom of movement, focusing their attention on traveling through space with intention and dynamic variation.
Geared towards adult dancers of all ages, body types, and backgrounds, Basic teachers provide options for modifications and alternative movements frequently so that all dancers can participate in ways that feel safe and successful.
Download Course Syllabus
Geared towards adult dancers of all ages, body types, and backgrounds, Basic teachers provide options for modifications and alternative movements frequently so that all dancers can participate in ways that feel safe and successful.
Download Course Syllabus
Basic Jazz | Aesthetically, Jazz can range from vernacular styles such as the Charleston and Jitterbug, to lyrical, commercial, and Broadway forms that many will recognize from contemporary pop culture. Basic Jazz classes at eXit SPACE are primarily informed by Euro-influenced forms of lyrical, commercial, and Broadway styles, while honoring the multifaceted nature of the form through an emphasis on individuality and stylistic range. As a new student to jazz dance, you will be guided through the structure of a dance class and the etiquette required from all dancers while in a studio. Classes begin with a comprehensive warm-up focusing on strength-building, flexibility, isolation, extension, and rhythm accompanied by a wide range of popular music selections from pop to Broadway. Rooted into the ground through use of deep plié (bent knees), movement combinations center and across the floor allow for an in-depth study on locomotor steps while advancing coordination, musicality, and self-expression. Jazz emphasizes strong footwork and confident gross motor movement, so eXit SPACE Basic students are presented with ideas and principles of movement as well as the fundamentals of rhythm, syncopation, isolation, and individual expression. Basic Jazz teachers provide options for modifications and alternative movements frequently so that all dancers of all ages, body types, and backgrounds can participate in ways that feel safe and successful.
Download Course Syllabus
Download Course Syllabus
Basic Ballet | Basic Ballet is geared towards adults of all ages, backgrounds, and body types looking for an introduction to classical ballet technique, vocabulary, and aesthetics. As a Basic Ballet student, you will be guided through the structure of a dance class and the etiquette required from all dancers in a studio, learning fundamentals of the technique through a traditional class structure: ballet barre followed by center floor and locomotor technique. At barre, dancers learn basic vocabulary from pliés and tendús to fondus and frappés, before moving out to the center floor where they practice stationary turns, extensions, and jumps. Basic Ballet students learn to waltz, leap, and turn across the floor with ample opportunities to modify movements as needed for individual safety and with a constant emphasis on dynamic alignment, strength development, body awareness, safety, artistic expression, and quality of movement throughout.
We at eXit SPACE acknowledge that ballet has a long history of exclusion – from socio-economic status, to skin color, body type, age, and level of training – but are proud to be one of a growing number of dance education facilities that stands on the firm notion that ballet is for everybody and every body with the intention of elevating individual artistic voices. Basic Ballet teachers provide options for modifications and alternative movements frequently so that all dancers can participate in ways that feel safe and successful!
Download Course Syllabus - Miranda
We at eXit SPACE acknowledge that ballet has a long history of exclusion – from socio-economic status, to skin color, body type, age, and level of training – but are proud to be one of a growing number of dance education facilities that stands on the firm notion that ballet is for everybody and every body with the intention of elevating individual artistic voices. Basic Ballet teachers provide options for modifications and alternative movements frequently so that all dancers can participate in ways that feel safe and successful!
Download Course Syllabus - Miranda
Basic Hip Hop Fundamentals and Movement Skills | Hip hop dance emerged in the late 1960's out of the South Bronx, an economically depressed neighborhood in New York City composed primarily of Black and Latinx families. As a way to connect with one another and distract from racial oppression and poverty, youth in the South Bronx (and later Brooklyn and Harlem) channelled their fear and anger into a new culture of movement and expression, often using vacant lots and abandoned buildings for house parties where the co-mingling of rapping, DJing, B-boying, and graffiti emerged as the pillars of hip hop culture. Basic Hip Hop classes at eXit SPACE are taught by instructors well-versed in the history of hip hop dance and skilled at integrating early hip hops steps and styles into movements that represent hip hop in its current state. As a new student to hip hop dance, you will be guided through the structure of a dance class and the etiquette required from all dancers in a studio while learning the nuances of individuality, rhythm, and theatricality. Basic Hip Hop classes begin with an aerobic warm up to practice fundamental steps and body isolations with clear dynamics, all the while building the necessary strength and flexibility for full-bodied movement. After warmup and skill building, dancers learn locomotor steps and choreography, advancing coordination, musicality and self-expression in doing so, ending the session with increased confidence, rhythm, and physical awareness.
Download Course Syllabus
Download Course Syllabus
Basic Tap | Against the backdrop of a historical framework, Basic Tap students at eXit SPACE are trained in fundamental rhythmic skills, footwork, and traditional tap dances, exploring more detailed and difficult steps, syncopated rhythms, and challenging progressions over time. Classes are influenced by both rhythm tap (which focuses on percussion, complex rhythms, and use of the feet as instruments) as well as Broadway style tap (which combines rhythm tap and jazz dance for a more theatrical aesthetic and physical storytelling). Basic Tap dancers will be guided through the structure of a dance class and the etiquette required from all dancers while in a studio; warm-up exercises designed to re-pattern movement habits, build balance and strength, and introduce different rhythmic patterns to prepare the student to move more fully, while combinations center and across the floor allow for an in-depth study on specific tap steps and their expressed rhythms. Throughout class, students are encouraged to use their whole body to feel the sounds their feet are making, find their own groove within the given steps, and advance coordination, musicality, and self-expression along the way.
Download Course Syllabus
Download Course Syllabus
Basic Beginning Burlesque | Delve into your sensuality and get comfortable in your own skin. This all ages (18+) and all backgrounds welcomed class will help you find a way to transform into a version of yourself you perhaps did not know existed.Through simple twirls, whirls and shimmies, explore a class inspired by the classic art of tease and reveal. Learn choreography by Scarlett Folds and experience the suppleness of slow burns, high energy movements and fun, titillating ways to strip.
Caregiver & Tot | 1.5 - 3.5 years | Join your toddler for a play-based, brain compatible creative dance class centering expressivity, multi-sensory engagement, and social emotional learning. With your support, dancing toddlers will work towards their motor and spatial-sense milestones while singing, dancing, and storytelling along the way! Families who enroll in Caregiver & Tot classes can expect an enriching and joyful experience guided by faculty Miranda Chantelois, who has over a decade of experience working with young children and a Master's degree in early childhood education.
- Welcome exploration: Dancers travel through the room with props, exploring the weekly concept.
- Hello song & Nursery Rhyme BrainDance: Dancers and grownups sing hello before transitioning into an 8-song series with corresponding movements rooted in foundational infant development patterns to wake up the brain. Singing and nursery rhymes build foundational phonological awareness while the BrainDance introduces neurological re-patterning; increases blood flow to the brain; and enhances coordination, core support, and alignment.
- Creative Exploration: Each week, dancers explore an element of movement related to space, time, energy, body, or action with structured, teacher-led improvisation to build perceptual and motor development and early mathematical/spatial thinking. Use of varying props and instruments integrates sensory stimulation, coordination skills, and rhythm.
- Circle dance: Dancers and grownups gather in a (standing) circle for an opportunity to reconnect in space, build community, practice rhythmic movements, and enjoy traveling around, into, and out of the circle. This portion of class embeds pre-dance skills alongside spatial thinking related to directionality and positioning.
- Rest & stretch: Dancers and grownups connect with touch and vestibular action during this low-sensory cool-down mid-class. Children get sheets to lie on and may choose to get a swing (like a hammock!) and/or a pull through the studio. Dancers transition out of rest with a brief, imagery-rich stretch series. This portion of class reduces overstimulation, re-centers dancers, connects them with their caregiver, and instills critical self-regulation skills.
- Obstacle course: This portion of class is intended to be a joyful and stimulating opportunity for dancers to travel through space and obstacles while practicing pre-dance steps that align with 2-3 yr physical motor milestones including: jumping on two feet (plié & sauté), galloping, spinning (vestibular sense), marching, tiptoeing (balance), crawling on hands and feet (upper body strength and cross-lateral coordination), monkey jumps (upper/lower body coordination, hip crease, head/tail connection & upper body strength), assisted forward rolls (head/tail connection & vestibular sense), etc.
- Instruments: If there's time at the end of class, dancers gather back in a (seated) circle to cool down with some instruments, practice making rhythms, engaging in call and response, and singing more songs.
- Goodbye song & stamps: Class always ends with a goodbye song and stamps!
Creative Movement | 3 - 5 years* | Creative Movement classes provide essential tools for children in all areas of their social-emotional development including separation, socialization, balance, coordination, critical thinking, imagination, teamwork, and structured learning – whether they choose to continue with dance or not! Taught by highly trained faculty with extensive experience in preschool aged education, dancers explore tap and ballet in 30 minute increments, learning the basic structure and discipline of a dance class while embracing "fun" as a vital element through movement games, props, music, and physical storytelling. In addition to age-appropriate locomotor and non-locomotor technique skills, singing and imagination-based learning differentiate this class for young dancers; they engage in basic developmental movement patterns as well as weekly concepts related to space, time, energy, and effort through exploration activities that encourage self expression and creativity every step of the way! Join the fun!
*Dancers enrolling in Creative Movement must meet the minimum age requirement of 3 years old by the beginning of the season, September 1.
*Dancers enrolling in Creative Movement must meet the minimum age requirement of 3 years old by the beginning of the season, September 1.
Combo Class | 5 - 7yrs* | Combo classes are the perfect bridge from Creative Movement to level 1+ classes, combining creativity and imagination with a greater focus on technical development. Students at this age are introduced to the basic principles of Ballet, Tap, Modern, Hip Hop and Jazz in 30 minute increments, learning the structure and discipline of each form with frequent integration of games, activity songs, and explorations related to specific skills or concepts of space, time, energy, and effort. Dancers become familiar with dance terminology, practicing center skills before moving through space with locomotor steps. Like creative movement classes, combo classes provide essential tools for children in all areas of their social-emotional development including socialization, balance, coordination, critical thinking, imagination, teamwork, and structured learning; these essential skills and techniques are required to progress to the next levels of dance.
*Dancers enrolling in Combo must meet the minimum age requirement of 5 years old by the beginning of the season, September 1.
*Dancers enrolling in Combo must meet the minimum age requirement of 5 years old by the beginning of the season, September 1.
Modern One through Six | 7+ yrs | eXit SPACE offers an array of modern technique classes, all focused on full-bodied movement and improving artistry in styles that range from Euro-influenced codified forms to new age contemporary forms and afro-diaspora movement. As a technique, modern dance allows students to develop a deep connection to their center, confidence in inversion techniques and acrobatic skills (cart wheels, hand and head stands, floor rolls, etc), refined articulation through the spine, improvisation practice, and freedom of movement. Dancers learn to focus their attention on traveling through space with intention and dynamic variation rather than just focusing on shapes and steps. eXit SPACE is proud to have a modern dance faculty composed of professional dancers and choreographers currently presenting work in the Greater Seattle Area and has become a vital hub for young modern dancers looking for both pre-professional level modern dance study and well-rounded foundational introductions to the form.
A brief history: Modern Dance is a style of western concert dance developed in the late 19th and early 20th century by European artists as an artistic rebellion against the perceived constraints of classical ballet and by European diasporic movers seeking to re-ground dance in indigenous and Black dance foundations. In Germany, dancers Rudolf Von Laban and Mary Wigman began abandoning the strict movement vocabulary, nymph-like portrayals of women, and confining expectations of ballet for more freeform movement characterized by organic body patterns, deliberate falls into the floor, and improvisatory scores – ideas later relayed to the United States by American dancer, educator, and modern dance pioneer, Isadora Duncan by 1914. By the 1930's Katherine Dunham, an African American anthropologist, ethnologue, dancer, and choreographer (among many other roles) revolutionized the form by rooting modern dance in Black culture and folk dance through her anthropological studies in Trinidad, Jamaica, and Haiti. Bolstered by the work of Lester Horton, Alvin Ailey, Pearl Primus, Merce Cunningham, Martha Graham, Paul Taylor, Pina Bausch, and so many others, modern dance has since evolved to encompass a multiplicity of techniques not limited to any specific vocabulary. From Horton and Graham Techniques – which explore linearity and contractions with an emphasis on flat backs, lateral extensions, tilts, and lunges – to more somatic-centered practices based on concepts of release, imagery, strength, and emotional embodiment, modern dance can encompass a wide variety of aesthetics ranging from its even broader history in european and afro-diasporan movement.
A brief history: Modern Dance is a style of western concert dance developed in the late 19th and early 20th century by European artists as an artistic rebellion against the perceived constraints of classical ballet and by European diasporic movers seeking to re-ground dance in indigenous and Black dance foundations. In Germany, dancers Rudolf Von Laban and Mary Wigman began abandoning the strict movement vocabulary, nymph-like portrayals of women, and confining expectations of ballet for more freeform movement characterized by organic body patterns, deliberate falls into the floor, and improvisatory scores – ideas later relayed to the United States by American dancer, educator, and modern dance pioneer, Isadora Duncan by 1914. By the 1930's Katherine Dunham, an African American anthropologist, ethnologue, dancer, and choreographer (among many other roles) revolutionized the form by rooting modern dance in Black culture and folk dance through her anthropological studies in Trinidad, Jamaica, and Haiti. Bolstered by the work of Lester Horton, Alvin Ailey, Pearl Primus, Merce Cunningham, Martha Graham, Paul Taylor, Pina Bausch, and so many others, modern dance has since evolved to encompass a multiplicity of techniques not limited to any specific vocabulary. From Horton and Graham Techniques – which explore linearity and contractions with an emphasis on flat backs, lateral extensions, tilts, and lunges – to more somatic-centered practices based on concepts of release, imagery, strength, and emotional embodiment, modern dance can encompass a wide variety of aesthetics ranging from its even broader history in european and afro-diasporan movement.
Jazz One through Six | 7+ yrs | Ray Leeper once said that jazz dance requires three main skills of the dancer: precision of body placement, muscular resistance and stretch (strong lines), and personality/pizazz. Jazz classes at eXit SPACE honor this multifaceted nature of jazz dance through an emphasis on individuality, technique, and a variety of stylistic frameworks. Aesthetically, Jazz can range from vernacular styles such as the Charleston and Jitterbug, to lyrical, commercial, and Broadway forms that many will recognize from contemporary pop culture; classes at eXit SPACE are primarily informed by Euro-influenced forms of lyrical, commercial, and Broadway style jazz, depending on the instructor. Classes begin with a comprehensive warm-up focusing on strength-building, flexibility, isolation, extension, and rhythm accompanied by a wide range of popular music selections from pop to Broadway. Rooted into the ground through use of deep plié, jazz emphasizes strong footwork and confident gross motor movement, allowing students at eXit SPACE develop strength and precision through challenging leaps, turns, and progressions before ending class with a longer combination that incorporates a wide range of artistic concepts.
A brief history: Jazz can be traced back to seventeenth century African dance rituals characterized by polyrhythm, improvisation, and isolation. Vernacular jazz was formally developed by Black Americans in the early 20th century alongside the evolution of Jazz music as an embodiment of Black culture and liberation. Vernacular or authentic jazz refers to such forms as the Charleston, Lindy Hop, Jitterbug, and the Twist which were subsequently copied by white audiences as popularity increased. Jazz became concert dance when Black choreographer and anthropologist Katherine Dunham (1909–2006) brought works of performance ethnography to proscenium stages, having infused Carribean dance and African Diasporan traditions into her modern-based works, giving way to a new era of popular performance. Subsequent artists adapted, appropriated, and reimagined jazz, which has now branched off to include Lyrical jazz as well as commercial and Broadway jazz forms (informed by burlesque, vaudeville, and musical theater) now seen most commonly on stage and TV. Eugene Louis Faccuito (Luigi), Gus Giordano, and Matt Mattox furthered the evolution of the style in the mid to late 1900's and are training the next generation of teachers to this day.
A brief history: Jazz can be traced back to seventeenth century African dance rituals characterized by polyrhythm, improvisation, and isolation. Vernacular jazz was formally developed by Black Americans in the early 20th century alongside the evolution of Jazz music as an embodiment of Black culture and liberation. Vernacular or authentic jazz refers to such forms as the Charleston, Lindy Hop, Jitterbug, and the Twist which were subsequently copied by white audiences as popularity increased. Jazz became concert dance when Black choreographer and anthropologist Katherine Dunham (1909–2006) brought works of performance ethnography to proscenium stages, having infused Carribean dance and African Diasporan traditions into her modern-based works, giving way to a new era of popular performance. Subsequent artists adapted, appropriated, and reimagined jazz, which has now branched off to include Lyrical jazz as well as commercial and Broadway jazz forms (informed by burlesque, vaudeville, and musical theater) now seen most commonly on stage and TV. Eugene Louis Faccuito (Luigi), Gus Giordano, and Matt Mattox furthered the evolution of the style in the mid to late 1900's and are training the next generation of teachers to this day.
Ballet One through Six | 7+ yrs | Emphasis in Ballet classes at eXit SPACE is on dynamic alignment, strength development, body awareness, artistic expression, and quality of movement, taught in styles ranging from purely classical to more contemporary with a frequent mix of methodologies. Every class includes a comprehensive barre (depending on level and readiness, classes may practice barre skills at center), center practice (preparing students for turns, balances, extensions, and jumps), and across the floor, allowing students to develop strong technical skills while exploring their individuality as artists. eXit SPACE is proud to be one of a growing number of dance education facilities that incorporates dance history into its curriculum and stands on the firm notion that ballet is for everybody and every body – ballet educators at eXit SPACE seek to elevate individual artistic voices, decenter the historic whiteness in ballet, and create spaces where dancers feel respected, safe, and honored in their dancing bodies.
A brief history: The roots of Ballet date back to European ethnic/folk dances copied by the Italian court during the Renaissance for aristocratic entertainment. An Italian social dance with choreographic elements, "balleto" or ballet, made its way to France in the 16th century where dancing masters instructed children and choreographed increasingly elaborate performances with sets, costumes and story elements. In the 17th century court, King Louis XIV emerged as a figurehead of ballet's codification, establishing the Royal Academy of Dance where Pierre Beauchamp established the five traditional rotated positions. Russia, subsequently, played a major role in Ballet's further development and Russian dancers are often credited with "perfecting" the technique. Through the Baroque Period and into the Romantic Era and beyond, Ballet gained six codified teaching styles which are often adapted and/or mixed for ballet classes around the world (the Vaganova, Cecchetti Method, and RAD methods being the most common).
A brief history: The roots of Ballet date back to European ethnic/folk dances copied by the Italian court during the Renaissance for aristocratic entertainment. An Italian social dance with choreographic elements, "balleto" or ballet, made its way to France in the 16th century where dancing masters instructed children and choreographed increasingly elaborate performances with sets, costumes and story elements. In the 17th century court, King Louis XIV emerged as a figurehead of ballet's codification, establishing the Royal Academy of Dance where Pierre Beauchamp established the five traditional rotated positions. Russia, subsequently, played a major role in Ballet's further development and Russian dancers are often credited with "perfecting" the technique. Through the Baroque Period and into the Romantic Era and beyond, Ballet gained six codified teaching styles which are often adapted and/or mixed for ballet classes around the world (the Vaganova, Cecchetti Method, and RAD methods being the most common).
Pointe | Ballet Level 4+ Elective | Pointe class is an option for YDP students in Ballet Four and above who have teacher permission to enroll. Each hour-long class is divided into two parts: strengthening and variation work. All students work with resistance bands and/or at the barre on exercises to improve ankle, calf, adductor, and rotator strength before progressing to exercises at center and across the floor. On a basis of strength, safety, level, and overall readiness, students in this class may be asked to remain in flat technique shoes, get divided into groups, or receive individual instructions about how to proceed throughout class.
Please do not purchase pointe shoes or enroll in this class until receiving permission from the instructor.
Please do not purchase pointe shoes or enroll in this class until receiving permission from the instructor.
Hip Hop One through FOUR | 7+ yrs | At eXit SPACE, YDP families can expect teachers to be well-versed in the history of hip hop dance while providing a comprehensive, structured class. All hip hop classes at eXit SPACE begin with an aerobic warm up to practice basic steps and isolations with clear dynamics, all the while building the necessary strength and flexibility for full-bodied movement. After warmup and skill building, the majority of hip hop classes are spent learning choreography, allowing dancers to engage in an in-depth study on locomotor steps while advancing coordination, musicality, and self-expression. Many instructors take early hip hop styles and steps, integrating them into combinations that represent hip hop in its current state, while also emphasizing individuality, rhythm, theatricality and the roots of hip hop as an improvisational, cypher-based form.
A brief history: Hip hop dance emerged in the late 1960's out of the South Bronx, an economically depressed neighborhood in New York City composed primarily of Black and Latinx families. As a way to connect with one another and distract from racial oppression and poverty, youth in the South Bronx (and later Brooklyn and Harlem) channelled their fear and anger into a new culture of movement and expression, often using vacant lots and abandoned buildings for house parties where the co-mingling of rapping, DJing, B-boying, and graffiti emerged as the pillars of hip hop culture. DJ Kool Herc, a Jamaican immigrant and the "father of hip hop music" invented the break beat, a looped musical interlude meant for dancers (b-boys and b-girls) to show off their respective talents; this invention and Herc's musical/rhythmic contributions of the time made way for a new style of modern movement. Between east coast and west coast dancers, uprock, breaking, locking, roboting, freestyling, and popping styles began to make waves and – in combination with James Brown's music, the formation of dance crews, and Don Cornelius' creation of the television show Soul Train – Hip Hop dance has since made its way from the streets into the studios.
A brief history: Hip hop dance emerged in the late 1960's out of the South Bronx, an economically depressed neighborhood in New York City composed primarily of Black and Latinx families. As a way to connect with one another and distract from racial oppression and poverty, youth in the South Bronx (and later Brooklyn and Harlem) channelled their fear and anger into a new culture of movement and expression, often using vacant lots and abandoned buildings for house parties where the co-mingling of rapping, DJing, B-boying, and graffiti emerged as the pillars of hip hop culture. DJ Kool Herc, a Jamaican immigrant and the "father of hip hop music" invented the break beat, a looped musical interlude meant for dancers (b-boys and b-girls) to show off their respective talents; this invention and Herc's musical/rhythmic contributions of the time made way for a new style of modern movement. Between east coast and west coast dancers, uprock, breaking, locking, roboting, freestyling, and popping styles began to make waves and – in combination with James Brown's music, the formation of dance crews, and Don Cornelius' creation of the television show Soul Train – Hip Hop dance has since made its way from the streets into the studios.
Studio Rentals
We have three locations and five studios to choose from. Each studio is equipped with a full wall of mirrors, wifi, sound system, and ballet barres.
Details for each studio and location are listed below. Email rentals@exitspacedance.com for more information or to set up a rental.
Details for each studio and location are listed below. Email rentals@exitspacedance.com for more information or to set up a rental.
Marlo Martin
Artistic Director
Marlo Martin is a director, choreographer, teacher, and producer in Seattle, WA. She finds fulfillment and joy in celebrating and practicing all that encompasses and defines dance. Martin founded and currently directs eXit SPACE, a center for dance education and performance opportunities for the beginning student through professional level dancer. Martin has grown eXit SPACE from a single room studio (2006) with two teachers into a 2900 square foot facility with three studio spaces, 14 faculty members, housing for local dance companies, and over 80 classes per week.
While developing eXit SPACE Marlo has also continued to work as a choreographer. She has created works for her own company, oaklanDrive (2005-2009) and badmarmarDANCE (2010-2015). Since moving to Seattle in 2002 her work has been presented at numerous concerts and festivals including The Bridge Project Velocity Dance Center, the High Wire Series Seattle U, 12 Minutes Max On the Boards (2005, 2010, 2012), BASH theater, Redd Legg Dance, A Moving Conversation The Fremont Abbey, Evoke Dance Production’s Full Tilt, Beyond the Threshold / Spotlight on Seattle (2011, 2013, 2015), the BOOST dance festival (2010-15), the Fall Kick Off Velocity Dance Center, NEXTfest NW Velocity Dance Center, self-produced full length tenSIDES (2012) and SPLIT BILL (2013), Cornish Dance Theater, Bellingham Rep Dance, Strictly Seattle (2013/2015), and Western Michigan University Dept. of Dance.
In 2016 Martin forged on to create a new artist's space called theNEST. It hosts major dance companies, workshops, classes, and events in the Greenlake neighborhood of Seattle. As a producer Marlo proudly presents the bi-annual BOOST dance festival, featuring PNW contemporary dance artists and companies alongside with the BOOSTmeUp Dance Festival for pre-professional dancers and schools.
Currently you can find Marlo teaching weekly technique classes at eXit SPACE while co-directing the pre-professional division, thePROGRAM . She has been a dance faculty member at Cornish College for the Arts. Ms. Martin is currently focusing on the development of NOD Theater in partnership with eXit SPACE and looks forward to doing her part to cultivate art, community, and positivity through dance in Seattle.
She is genuinely interested in sharing her vision and ideas through teaching and creating dance, by developing forums for the exploration and presentation of dance works, and by supporting and nurturing fellow dancers, artists, and director.
marlo@exitspacedance.com
Artistic Director
Marlo Martin is a director, choreographer, teacher, and producer in Seattle, WA. She finds fulfillment and joy in celebrating and practicing all that encompasses and defines dance. Martin founded and currently directs eXit SPACE, a center for dance education and performance opportunities for the beginning student through professional level dancer. Martin has grown eXit SPACE from a single room studio (2006) with two teachers into a 2900 square foot facility with three studio spaces, 14 faculty members, housing for local dance companies, and over 80 classes per week.While developing eXit SPACE Marlo has also continued to work as a choreographer. She has created works for her own company, oaklanDrive (2005-2009) and badmarmarDANCE (2010-2015). Since moving to Seattle in 2002 her work has been presented at numerous concerts and festivals including The Bridge Project Velocity Dance Center, the High Wire Series Seattle U, 12 Minutes Max On the Boards (2005, 2010, 2012), BASH theater, Redd Legg Dance, A Moving Conversation The Fremont Abbey, Evoke Dance Production’s Full Tilt, Beyond the Threshold / Spotlight on Seattle (2011, 2013, 2015), the BOOST dance festival (2010-15), the Fall Kick Off Velocity Dance Center, NEXTfest NW Velocity Dance Center, self-produced full length tenSIDES (2012) and SPLIT BILL (2013), Cornish Dance Theater, Bellingham Rep Dance, Strictly Seattle (2013/2015), and Western Michigan University Dept. of Dance.
In 2016 Martin forged on to create a new artist's space called theNEST. It hosts major dance companies, workshops, classes, and events in the Greenlake neighborhood of Seattle. As a producer Marlo proudly presents the bi-annual BOOST dance festival, featuring PNW contemporary dance artists and companies alongside with the BOOSTmeUp Dance Festival for pre-professional dancers and schools.
Currently you can find Marlo teaching weekly technique classes at eXit SPACE while co-directing the pre-professional division, thePROGRAM . She has been a dance faculty member at Cornish College for the Arts. Ms. Martin is currently focusing on the development of NOD Theater in partnership with eXit SPACE and looks forward to doing her part to cultivate art, community, and positivity through dance in Seattle.
She is genuinely interested in sharing her vision and ideas through teaching and creating dance, by developing forums for the exploration and presentation of dance works, and by supporting and nurturing fellow dancers, artists, and director.
marlo@exitspacedance.com
Miranda Chantelois
Office Assistant
Miranda Chantelois (she/her) holds a BFA in dance from Cornish College of the Arts and a Master's of Education in Early Childhood Education from Eastern Washington University. As a student, Miranda performed in works by local and nationally-renowned artists including Kyle Abraham, Sidra Bell, Amy O'Neal, Walter Kennedy, and Jason Ohlberg and has since gone on to perform professionally for a wide variety of artists including Mike Esperanza, Deborah Wolf, Bennyroyce Royon, and Rachel Winchester. Her pursuit of visceral and emotive performance opportunities ultimately led her to join Marlo Martin's contemporary dance company, badmarmarDANCE, with whom she currently dances.
Beyond performance, Miranda has had a versatile professional career in arts education, dance criticism, arts administration, and child advocacy, but has ultimately spent the past decade specializing in dance education and curriculum integration for preschool-aged children and dancers of all ages with varying support needs. Miranda has taught Dance for PD® as a Teaching Artist for Seattle Theater Group, co-taught for Pacific Northwest Ballet's Dance for All program serving high- support-needs-youth, and is a current Teaching Artist for PNB's community education department bringing arts integration to K-5 schools. She embeds adaptive practices into all of her work, including classes of typically-developing children and non-disabled adults. Her approach has been informed by the lived experiences of autistic and disabled adults; graduate courses; certifications in Autism Movement Therapy®, Youth Mental Health First Aid, and Youth Protection Advocates in Dance®; and training in physically adaptive dance, Dance for PD®, and Brain-Compatible Dance Education to name a few. Most notably, Miranda's full time role is at her dance home eXit SPACE, where she serves as the Young Dancer Program Director and Adult Basic Program Coordinator, managing communications and programming for hundreds of students each year in addition to teaching in the classroom. Alongside Artistic Director Marlo Martin, she works to enrich the Seattle dance community as a whole with learning and artistic exploration opportunities for children and professionals alike. A firm believer that dance is for everybody, Miranda seeks to cultivate an equitable community informed by neurodiversity-affirming practice and joy.
miranda@exitspacedance.com
Office Assistant
Miranda Chantelois (she/her) holds a BFA in dance from Cornish College of the Arts and a Master's of Education in Early Childhood Education from Eastern Washington University. As a student, Miranda performed in works by local and nationally-renowned artists including Kyle Abraham, Sidra Bell, Amy O'Neal, Walter Kennedy, and Jason Ohlberg and has since gone on to perform professionally for a wide variety of artists including Mike Esperanza, Deborah Wolf, Bennyroyce Royon, and Rachel Winchester. Her pursuit of visceral and emotive performance opportunities ultimately led her to join Marlo Martin's contemporary dance company, badmarmarDANCE, with whom she currently dances.Beyond performance, Miranda has had a versatile professional career in arts education, dance criticism, arts administration, and child advocacy, but has ultimately spent the past decade specializing in dance education and curriculum integration for preschool-aged children and dancers of all ages with varying support needs. Miranda has taught Dance for PD® as a Teaching Artist for Seattle Theater Group, co-taught for Pacific Northwest Ballet's Dance for All program serving high- support-needs-youth, and is a current Teaching Artist for PNB's community education department bringing arts integration to K-5 schools. She embeds adaptive practices into all of her work, including classes of typically-developing children and non-disabled adults. Her approach has been informed by the lived experiences of autistic and disabled adults; graduate courses; certifications in Autism Movement Therapy®, Youth Mental Health First Aid, and Youth Protection Advocates in Dance®; and training in physically adaptive dance, Dance for PD®, and Brain-Compatible Dance Education to name a few. Most notably, Miranda's full time role is at her dance home eXit SPACE, where she serves as the Young Dancer Program Director and Adult Basic Program Coordinator, managing communications and programming for hundreds of students each year in addition to teaching in the classroom. Alongside Artistic Director Marlo Martin, she works to enrich the Seattle dance community as a whole with learning and artistic exploration opportunities for children and professionals alike. A firm believer that dance is for everybody, Miranda seeks to cultivate an equitable community informed by neurodiversity-affirming practice and joy.
miranda@exitspacedance.com
Christin Olyano
Facilities Manager
Christin Olyano (she/her) holds a Bachelor of Fine Arts in Dance, Magna Cum Laude from Cornish College of the Arts. While at Cornish, Christin trained with artists such as Michelle Miller, Wade Madsen, Pat Hon, Tonya Lockyer, and Jason Ohlberg. She had the honor of performing Songs of the Disinherited by Donald McKayle, Mixin' It Up by Bill Evans, and selected works by Mark Haim, Deborah Wolf, Wade Madsen, and Halie Kuperman. She has presented her own work as part of the Seattle International Dance Festival/Art on the Fly, Evoke Productions Full Tilt, The BOOST Dance Festival, and at the Fremont Abbey.
Christin has had the pleasure of being a part of the eXit SPACE team and watching the studio grow over the last 15 years. She has taught classes in ballet, jazz, hip hop and modern, and been a member of the administrative team. Due to chronic illness over the last 8 years Christin stepped away from teaching, but maintained the position of Rentals Manager. One day she hopes to be back in the studio full time, as illness has never diminished her passion and drive for dance.
rentals@exitspacedance.com
Facilities Manager
Christin Olyano (she/her) holds a Bachelor of Fine Arts in Dance, Magna Cum Laude from Cornish College of the Arts. While at Cornish, Christin trained with artists such as Michelle Miller, Wade Madsen, Pat Hon, Tonya Lockyer, and Jason Ohlberg. She had the honor of performing Songs of the Disinherited by Donald McKayle, Mixin' It Up by Bill Evans, and selected works by Mark Haim, Deborah Wolf, Wade Madsen, and Halie Kuperman. She has presented her own work as part of the Seattle International Dance Festival/Art on the Fly, Evoke Productions Full Tilt, The BOOST Dance Festival, and at the Fremont Abbey.
Christin has had the pleasure of being a part of the eXit SPACE team and watching the studio grow over the last 15 years. She has taught classes in ballet, jazz, hip hop and modern, and been a member of the administrative team. Due to chronic illness over the last 8 years Christin stepped away from teaching, but maintained the position of Rentals Manager. One day she hopes to be back in the studio full time, as illness has never diminished her passion and drive for dance.
rentals@exitspacedance.com
Tyra Rose
Office Assistant
Tyra Rose (she/her), originally from Des Plaines IL, moved to Seattle in 2017 in pursuit of building on her dance performance, education and choreography experience. She graduated magna cum laude with honors in 2016 from Webster University with a BFA in dance. Tyra studied ballet, jazz, modern, hip hop, aerial and Thai classical in school and furthered her artistic interests with painting and other art forms. Her multimedia explorations culminated in an evening length performance collaborating with Corbin Hall and produced through ANNONYArts in St. Louis, MO. Tyra presented her own work in St. Louis at the Spring to Dance Festival and Artica Fest, in Seattle with RAW Artists and the Full Tilt Dance Festival. She is grateful for the performance opportunities she’s had here, notably with Catapult Dance (Michele Miller), AJnC Dance Theater (Amy J. Lambert), Gender Tender (Fox Whitney) and The Three Yells (Veronica Lee-Baik). Besides creating, performing, and teaching, Tyra spends most of her free time with her two dogs going on long walks.
tyra@exitspacedance.com
Office Assistant
Tyra Rose (she/her), originally from Des Plaines IL, moved to Seattle in 2017 in pursuit of building on her dance performance, education and choreography experience. She graduated magna cum laude with honors in 2016 from Webster University with a BFA in dance. Tyra studied ballet, jazz, modern, hip hop, aerial and Thai classical in school and furthered her artistic interests with painting and other art forms. Her multimedia explorations culminated in an evening length performance collaborating with Corbin Hall and produced through ANNONYArts in St. Louis, MO. Tyra presented her own work in St. Louis at the Spring to Dance Festival and Artica Fest, in Seattle with RAW Artists and the Full Tilt Dance Festival. She is grateful for the performance opportunities she’s had here, notably with Catapult Dance (Michele Miller), AJnC Dance Theater (Amy J. Lambert), Gender Tender (Fox Whitney) and The Three Yells (Veronica Lee-Baik). Besides creating, performing, and teaching, Tyra spends most of her free time with her two dogs going on long walks.
tyra@exitspacedance.com
Alex Goldstein
Office Administrator
Alex Goldstein (she/her) is an Advanced Soma Practitioner with a background in chemistry, software development and business management. She studied dance as a small child, took a long hiatus to pursue sports and academics, and rediscovered movement arts at the end of her time in graduate school. She is grateful for the many opportunities she has had as a dancer, having been part of several companies and working with many notable choreographers. She has recently instructed circus/aerial arts and was a longterm member of badmarmarDANCE. Since abandoning the tech world, she splits her time between her own bodywork business, ensobodywork.com and administrative work for the Soma Institute of Structural Integration and eXitSPACE. Alex has been on staff for eXitSPACE since 2016 and enjoys working behind the scenes to support the studio and its mission for a supportive and inclusive dance community. She keeps the technology part of her brain happy working on the website and figuring out how to make the MindBody system bend to her will.
alex@exitspacedance.com
Office Administrator
Alex Goldstein (she/her) is an Advanced Soma Practitioner with a background in chemistry, software development and business management. She studied dance as a small child, took a long hiatus to pursue sports and academics, and rediscovered movement arts at the end of her time in graduate school. She is grateful for the many opportunities she has had as a dancer, having been part of several companies and working with many notable choreographers. She has recently instructed circus/aerial arts and was a longterm member of badmarmarDANCE. Since abandoning the tech world, she splits her time between her own bodywork business, ensobodywork.com and administrative work for the Soma Institute of Structural Integration and eXitSPACE. Alex has been on staff for eXitSPACE since 2016 and enjoys working behind the scenes to support the studio and its mission for a supportive and inclusive dance community. She keeps the technology part of her brain happy working on the website and figuring out how to make the MindBody system bend to her will.
alex@exitspacedance.com
Rose Amlin
Rose Amlin (she/her) grew up dancing in Seattle and is an alumni of the program at exit space. She continued her education at the University of Washington, pursuing a dual degree in dance and psychology. There she furthered her training in modern, jazz, and ballet as well as street and club styles. She has performed in works by Dani Tirrell, Mike "Majinn" O'Neal, Alethea Alexander, Rachel Lincon, Roel Seeber, Amy Lambert, and many others. Rose has also found joy through dance in the vertical space and has participated in workshops with BANDALOOP in Oakland, CA. She is interested in blurring the lines between genera and has a great love for finding community and shared experiences through dance.
rose@exitspacedance.com
Rose Amlin (she/her) grew up dancing in Seattle and is an alumni of the program at exit space. She continued her education at the University of Washington, pursuing a dual degree in dance and psychology. There she furthered her training in modern, jazz, and ballet as well as street and club styles. She has performed in works by Dani Tirrell, Mike "Majinn" O'Neal, Alethea Alexander, Rachel Lincon, Roel Seeber, Amy Lambert, and many others. Rose has also found joy through dance in the vertical space and has participated in workshops with BANDALOOP in Oakland, CA. She is interested in blurring the lines between genera and has a great love for finding community and shared experiences through dance.
rose@exitspacedance.com
Marlo Martin
Artistic Director
Marlo Martin is a director, choreographer, teacher, and producer in Seattle, WA. She finds fulfillment and joy in celebrating and practicing all that encompasses and defines dance. Martin founded and currently directs eXit SPACE, a center for dance education and performance opportunities for the beginning student through professional level dancer. Martin has grown eXit SPACE from a single room studio (2006) with two teachers into a 2900 square foot facility with three studio spaces, 14 faculty members, housing for local dance companies, and over 80 classes per week.
While developing eXit SPACE Marlo has also continued to work as a choreographer. She has created works for her own company, oaklanDrive (2005-2009) and badmarmarDANCE (2010-2015). Since moving to Seattle in 2002 her work has been presented at numerous concerts and festivals including The Bridge Project Velocity Dance Center, the High Wire Series Seattle U, 12 Minutes Max On the Boards (2005, 2010, 2012), BASH theater, Redd Legg Dance, A Moving Conversation The Fremont Abbey, Evoke Dance Production's Full Tilt, Beyond the Threshold / Spotlight on Seattle (2011, 2013, 2015), the BOOST dance festival (2010-15), the Fall Kick Off Velocity Dance Center, NEXTfest NW Velocity Dance Center, self-produced full length tenSIDES (2012) and SPLIT BILL (2013), Cornish Dance Theater, Bellingham Rep Dance, Strictly Seattle (2013/2015), and Western Michigan University Dept. of Dance.
In 2016 Martin forged on to create a new artist's space called theNEST. It hosts major dance companies, workshops, classes, and events in the Greenlake neighborhood of Seattle. As a producer Marlo proudly presents the bi-annual BOOST dance festival, featuring PNW contemporary dance artists and companies alongside with the BOOSTmeUp Dance Festival for pre-professional dancers and schools.
Currently you can find Marlo teaching weekly technique classes at eXit SPACE while co-directing the pre-professional division, thePROGRAM . She has been a dance faculty member at Cornish College for the Arts. Ms. Martin is currently focusing on the development of NOD Theater in partnership with eXit SPACE and looks forward to doing her part to cultivate art, community, and positivity through dance in Seattle.
She is genuinely interested in sharing her vision and ideas through teaching and creating dance, by developing forums for the exploration and presentation of dance works, and by supporting and nurturing fellow dancers, artists, and director.
marlo@exitspacedance.com>>
Artistic Director
Marlo Martin is a director, choreographer, teacher, and producer in Seattle, WA. She finds fulfillment and joy in celebrating and practicing all that encompasses and defines dance. Martin founded and currently directs eXit SPACE, a center for dance education and performance opportunities for the beginning student through professional level dancer. Martin has grown eXit SPACE from a single room studio (2006) with two teachers into a 2900 square foot facility with three studio spaces, 14 faculty members, housing for local dance companies, and over 80 classes per week.While developing eXit SPACE Marlo has also continued to work as a choreographer. She has created works for her own company, oaklanDrive (2005-2009) and badmarmarDANCE (2010-2015). Since moving to Seattle in 2002 her work has been presented at numerous concerts and festivals including The Bridge Project Velocity Dance Center, the High Wire Series Seattle U, 12 Minutes Max On the Boards (2005, 2010, 2012), BASH theater, Redd Legg Dance, A Moving Conversation The Fremont Abbey, Evoke Dance Production's Full Tilt, Beyond the Threshold / Spotlight on Seattle (2011, 2013, 2015), the BOOST dance festival (2010-15), the Fall Kick Off Velocity Dance Center, NEXTfest NW Velocity Dance Center, self-produced full length tenSIDES (2012) and SPLIT BILL (2013), Cornish Dance Theater, Bellingham Rep Dance, Strictly Seattle (2013/2015), and Western Michigan University Dept. of Dance.
In 2016 Martin forged on to create a new artist's space called theNEST. It hosts major dance companies, workshops, classes, and events in the Greenlake neighborhood of Seattle. As a producer Marlo proudly presents the bi-annual BOOST dance festival, featuring PNW contemporary dance artists and companies alongside with the BOOSTmeUp Dance Festival for pre-professional dancers and schools.
Currently you can find Marlo teaching weekly technique classes at eXit SPACE while co-directing the pre-professional division, thePROGRAM . She has been a dance faculty member at Cornish College for the Arts. Ms. Martin is currently focusing on the development of NOD Theater in partnership with eXit SPACE and looks forward to doing her part to cultivate art, community, and positivity through dance in Seattle.
She is genuinely interested in sharing her vision and ideas through teaching and creating dance, by developing forums for the exploration and presentation of dance works, and by supporting and nurturing fellow dancers, artists, and director.
marlo@exitspacedance.com>>
Alicia Mullikin
Alicia Mullikin is a first generation Mexican-American and Native American dance artist and educator who strives to serve her community through activism in the arts. She holds an MA in Dance from Cal State University of Long Beach. Alicia is the director of EL SUEÑO, a company that uses dance as a gateway to community engagement, healing, and empowerment for marginalized communities. Her choreography weaves ancient and contemporary identities into physical manifestations that draw from her rich cultural experiences and deep-rooted ancestral ties. Through all of her work, Alicia aims to empower BIPOC communities and nurture the next generation of dance artists. She was recently featured in an Emmy winning episode of Borders & Heritage: Los Artists which screened on PBS and the Seattle Latino Film Festival. Visit aliciamullikin.com for more info and follow @el.sueno.dance on IG for upcoming events.
Alicia Mullikin is a first generation Mexican-American and Native American dance artist and educator who strives to serve her community through activism in the arts. She holds an MA in Dance from Cal State University of Long Beach. Alicia is the director of EL SUEÑO, a company that uses dance as a gateway to community engagement, healing, and empowerment for marginalized communities. Her choreography weaves ancient and contemporary identities into physical manifestations that draw from her rich cultural experiences and deep-rooted ancestral ties. Through all of her work, Alicia aims to empower BIPOC communities and nurture the next generation of dance artists. She was recently featured in an Emmy winning episode of Borders & Heritage: Los Artists which screened on PBS and the Seattle Latino Film Festival. Visit aliciamullikin.com for more info and follow @el.sueno.dance on IG for upcoming events.
Amy J Lambert
Amy J Lambert (she/her) has been a member of the eXit SPACE family since 2013 teaching both in the youth and adult programs. She can tell you firsthand the joy and generosity of being a part of this dance community. You might find her teaching any number of classes (Modern, Ballet, Jazz), choreographing for takePAUSE, or working in the studio as an Artist In Residence creating new works. In addition to teaching Amy J is a dance artist who playfully choreographs and directs in the realms of theater and concert dance. She obtained her BFA in Dance from Cornish College of the Arts and has been an active dance maker, producer, and educator ever since. She is currently the artistic director and choreographer for AJnC Dance-Theater, which presents whimsical and engaging works acclaimed as both “an entertaining comedy and a sustained reflection on the role of comic performance art in our time.” (Deconstruct) Learn more at www.AmyJLambert.com
Amy J Lambert (she/her) has been a member of the eXit SPACE family since 2013 teaching both in the youth and adult programs. She can tell you firsthand the joy and generosity of being a part of this dance community. You might find her teaching any number of classes (Modern, Ballet, Jazz), choreographing for takePAUSE, or working in the studio as an Artist In Residence creating new works. In addition to teaching Amy J is a dance artist who playfully choreographs and directs in the realms of theater and concert dance. She obtained her BFA in Dance from Cornish College of the Arts and has been an active dance maker, producer, and educator ever since. She is currently the artistic director and choreographer for AJnC Dance-Theater, which presents whimsical and engaging works acclaimed as both “an entertaining comedy and a sustained reflection on the role of comic performance art in our time.” (Deconstruct) Learn more at www.AmyJLambert.com
Annie Devuono
Annie de Vuono (she/her) brings a wealth of practical and professional experience to her teaching and an ability to access students of all ages and levels. An emphasis on personal enrichment and a contagious joy for movement are as integral to her classes as unraveling the mysteries of different rhythms and encouraging fellow dancers to connect physically and emotionally. Annie began her training in Cecchetti method at Evanston School of Ballet, then studied at Ruth Page under Larry Long and went to Giordano Dance Chicago for modern and jazz. After moving to Seattle, she attended Cornish College of the Arts under Karen Irvin. Her teaching began in 1979 while being mentored by Helen Salter, an original member of Ballet Society, Balanchine's first company in this country. It was under Ms. Salter's guidance that her passion to teach was fully realized.
In addition to dance, Annie began working with costume design in 1985 and introduced her own millinery line; this was followed by numerous private commissions and eventually international recognition for her headwear devuonohats.com
Annie de Vuono (she/her) brings a wealth of practical and professional experience to her teaching and an ability to access students of all ages and levels. An emphasis on personal enrichment and a contagious joy for movement are as integral to her classes as unraveling the mysteries of different rhythms and encouraging fellow dancers to connect physically and emotionally. Annie began her training in Cecchetti method at Evanston School of Ballet, then studied at Ruth Page under Larry Long and went to Giordano Dance Chicago for modern and jazz. After moving to Seattle, she attended Cornish College of the Arts under Karen Irvin. Her teaching began in 1979 while being mentored by Helen Salter, an original member of Ballet Society, Balanchine's first company in this country. It was under Ms. Salter's guidance that her passion to teach was fully realized.
In addition to dance, Annie began working with costume design in 1985 and introduced her own millinery line; this was followed by numerous private commissions and eventually international recognition for her headwear devuonohats.com
Annie St Marie
Annie St.Marie (he/she/they) is a dance artist from the greater Seattle area. They trained for eight years at the Pacific Northwest Ballet School and went on to graduate magna cum laude with their BFA in Dance from Cornish College of the Arts through the dance department's three year Accelerated Degree Program. Annie has been fortunate to dance in work by Bruce Wells, Wade Madsen, Alia Swersky, Bruce McCormick, Bruno Roque, and Danielle Agami. Annie is equally passionate about classical and contemporary ballet and spends their free time training in acrobatic dance styles.
Annie St.Marie (he/she/they) is a dance artist from the greater Seattle area. They trained for eight years at the Pacific Northwest Ballet School and went on to graduate magna cum laude with their BFA in Dance from Cornish College of the Arts through the dance department's three year Accelerated Degree Program. Annie has been fortunate to dance in work by Bruce Wells, Wade Madsen, Alia Swersky, Bruce McCormick, Bruno Roque, and Danielle Agami. Annie is equally passionate about classical and contemporary ballet and spends their free time training in acrobatic dance styles.
Bri Wilson
Bri Wilson (she/her) grew up in northern Michigan before earning her BFA in dance at the Alonzo King LINES Ballet BFA Program at Dominican University of California. Since moving to Seattle in 2018, she has performed for The Three Yells, The Gray, Maia Durfee, Elia Mrak, and others while teaching at various settings across the city including Velocity Dance Center, North Seattle College, and The Creative Dance Center. As an educator certified in Brain-Compatible Dance Education, Bri strives to provide students with a comprehensive movement and choreographic toolbox while encouraging their growth as whole human beings. She is thrilled to be teaching in the supportive, nurturing environment that is eXit SPACE. When she is not teaching or dancing, Bri enjoys biking, hiking, and swimming in the Pacific Northwest.
Bri Wilson (she/her) grew up in northern Michigan before earning her BFA in dance at the Alonzo King LINES Ballet BFA Program at Dominican University of California. Since moving to Seattle in 2018, she has performed for The Three Yells, The Gray, Maia Durfee, Elia Mrak, and others while teaching at various settings across the city including Velocity Dance Center, North Seattle College, and The Creative Dance Center. As an educator certified in Brain-Compatible Dance Education, Bri strives to provide students with a comprehensive movement and choreographic toolbox while encouraging their growth as whole human beings. She is thrilled to be teaching in the supportive, nurturing environment that is eXit SPACE. When she is not teaching or dancing, Bri enjoys biking, hiking, and swimming in the Pacific Northwest.
Scarlett Folds/Micaela Gonazales
Micaela Gonzales is a native Texan that has dedicated her life to dance. Born and raised in San Antonio, she began her training at age three thanks to the help and support of her mother. Micaela studied with Connally's Dance Workshop and then later joined the studio's pre professional dance company, San Antonio Metropolitan Ballet. She graduated with her BFA at Cornish College of the Arts in 2018 where she was trained by local Seattle natives Pat Hon, Wade Madsen, Deborah Wolf, Michele Miller, and Lodi McClellan. Along with those, she has done past performances with Danielle Agami, Tinka Gutrik-Dailey, and Ethan Rome. In her last semester at Cornish, Micaela decided to explore a genre of dance outside of her comfort zone and took the Burlesque 101 class. This led to the discovery of her burlesque persona…
Scarlett Folds -- Miss Folds if you're nasty -- is THE raunchy red-lipped lady. Scarlett knows love can be tough sometimes. She also knows you like it that way. This latinx rebel will whip you into shape and light a fire inside you that only she can put out.
With her extensive background in dance as a performer and a movement director, Scarlett brings jaw-dropping shimmies and twirls that will mesmerize you to follow her every whim. She studied burlesque under Cherry Manhattan, and was a TA for the dirty debutante's Neo-Burlesque class at Cornish College of the Arts. Scarlett made her professional burlesque debut in 2018, and has since had a joyously naughty time in many shows such as BurlesKaraoke, Queer Prom, Hollywood Burlesque Festival and more.
A sought-after dancer, Scarlett is a member of The Devil's Advocates, The Dirty Darlings, Simone Pin and Noveltease Theatre. She has no time to mess around -- well, maybe just a little.
Micaela Gonzales is a native Texan that has dedicated her life to dance. Born and raised in San Antonio, she began her training at age three thanks to the help and support of her mother. Micaela studied with Connally's Dance Workshop and then later joined the studio's pre professional dance company, San Antonio Metropolitan Ballet. She graduated with her BFA at Cornish College of the Arts in 2018 where she was trained by local Seattle natives Pat Hon, Wade Madsen, Deborah Wolf, Michele Miller, and Lodi McClellan. Along with those, she has done past performances with Danielle Agami, Tinka Gutrik-Dailey, and Ethan Rome. In her last semester at Cornish, Micaela decided to explore a genre of dance outside of her comfort zone and took the Burlesque 101 class. This led to the discovery of her burlesque persona…
Scarlett Folds -- Miss Folds if you're nasty -- is THE raunchy red-lipped lady. Scarlett knows love can be tough sometimes. She also knows you like it that way. This latinx rebel will whip you into shape and light a fire inside you that only she can put out.
With her extensive background in dance as a performer and a movement director, Scarlett brings jaw-dropping shimmies and twirls that will mesmerize you to follow her every whim. She studied burlesque under Cherry Manhattan, and was a TA for the dirty debutante's Neo-Burlesque class at Cornish College of the Arts. Scarlett made her professional burlesque debut in 2018, and has since had a joyously naughty time in many shows such as BurlesKaraoke, Queer Prom, Hollywood Burlesque Festival and more.
A sought-after dancer, Scarlett is a member of The Devil's Advocates, The Dirty Darlings, Simone Pin and Noveltease Theatre. She has no time to mess around -- well, maybe just a little.
Miranda Chantelois
Young Dancer Program Director
ADP Basic Series Program & Development Coordinator
Miranda Chantelois (she/her) holds a BFA in dance from Cornish College of the Arts and a Master's of Education in Early Childhood Education from Eastern Washington University. As a student, Miranda performed in works by local and nationally-renowned artists including Kyle Abraham, Sidra Bell, Amy O'Neal, Walter Kennedy, and Jason Ohlberg and has since gone on to perform professionally for a wide variety of artists including Mike Esperanza, Deborah Wolf, Bennyroyce Royon, and Rachel Winchester. Her pursuit of visceral and emotive performance opportunities ultimately led her to join Marlo Martin's contemporary dance company, badmarmarDANCE, with whom she currently dances.
Beyond performance, Miranda has had a versatile professional career in arts education, dance criticism, arts administration, and child advocacy, but has ultimately spent the past decade specializing in dance education and curriculum integration for preschool-aged children and dancers of all ages with varying support needs. Miranda has taught Dance for PD® as a Teaching Artist for Seattle Theater Group, co-taught for Pacific Northwest Ballet's Dance for All program serving high- support-needs-youth, and is a current Teaching Artist for PNB's community education department bringing arts integration to K-5 schools. She embeds adaptive practices into all of her work, including classes of typically-developing children and non-disabled adults. Her approach has been informed by the lived experiences of autistic and disabled adults; graduate courses; certifications in Autism Movement Therapy®, Youth Mental Health First Aid, and Youth Protection Advocates in Dance®; and training in physically adaptive dance, Dance for PD®, and Brain-Compatible Dance Education to name a few. Most notably, Miranda's full time role is at her dance home eXit SPACE, where she serves as the Young Dancer Program Director and Adult Basic Program Coordinator, managing communications and programming for hundreds of students each year in addition to teaching in the classroom. Alongside Artistic Director Marlo Martin, she works to enrich the Seattle dance community as a whole with learning and artistic exploration opportunities for children and professionals alike. A firm believer that dance is for everybody, Miranda seeks to cultivate an equitable community informed by neurodiversity-affirming practice and joy.
miranda@exitspacedance.com>>
Young Dancer Program Director
ADP Basic Series Program & Development Coordinator
Miranda Chantelois (she/her) holds a BFA in dance from Cornish College of the Arts and a Master's of Education in Early Childhood Education from Eastern Washington University. As a student, Miranda performed in works by local and nationally-renowned artists including Kyle Abraham, Sidra Bell, Amy O'Neal, Walter Kennedy, and Jason Ohlberg and has since gone on to perform professionally for a wide variety of artists including Mike Esperanza, Deborah Wolf, Bennyroyce Royon, and Rachel Winchester. Her pursuit of visceral and emotive performance opportunities ultimately led her to join Marlo Martin's contemporary dance company, badmarmarDANCE, with whom she currently dances.Beyond performance, Miranda has had a versatile professional career in arts education, dance criticism, arts administration, and child advocacy, but has ultimately spent the past decade specializing in dance education and curriculum integration for preschool-aged children and dancers of all ages with varying support needs. Miranda has taught Dance for PD® as a Teaching Artist for Seattle Theater Group, co-taught for Pacific Northwest Ballet's Dance for All program serving high- support-needs-youth, and is a current Teaching Artist for PNB's community education department bringing arts integration to K-5 schools. She embeds adaptive practices into all of her work, including classes of typically-developing children and non-disabled adults. Her approach has been informed by the lived experiences of autistic and disabled adults; graduate courses; certifications in Autism Movement Therapy®, Youth Mental Health First Aid, and Youth Protection Advocates in Dance®; and training in physically adaptive dance, Dance for PD®, and Brain-Compatible Dance Education to name a few. Most notably, Miranda's full time role is at her dance home eXit SPACE, where she serves as the Young Dancer Program Director and Adult Basic Program Coordinator, managing communications and programming for hundreds of students each year in addition to teaching in the classroom. Alongside Artistic Director Marlo Martin, she works to enrich the Seattle dance community as a whole with learning and artistic exploration opportunities for children and professionals alike. A firm believer that dance is for everybody, Miranda seeks to cultivate an equitable community informed by neurodiversity-affirming practice and joy.
miranda@exitspacedance.com>>
Rose Amlin
Rose Amlin (she/her) grew up dancing in Seattle and is an alumni of the program at exit space. She continued her education at the University of Washington, pursuing a dual degree in dance and psychology. There she furthered her training in modern, jazz, and ballet as well as street and club styles. She has performed in works by Dani Tirrell, Mike "Majinn" O'Neal, Alethea Alexander, Rachel Lincon, Roel Seeber, Amy Lambert, and many others. Rose has also found joy through dance in the vertical space and has participated in workshops with BANDALOOP in Oakland, CA. She is interested in blurring the lines between genera and has a great love for finding community and shared experiences through dance.
Rose Amlin (she/her) grew up dancing in Seattle and is an alumni of the program at exit space. She continued her education at the University of Washington, pursuing a dual degree in dance and psychology. There she furthered her training in modern, jazz, and ballet as well as street and club styles. She has performed in works by Dani Tirrell, Mike "Majinn" O'Neal, Alethea Alexander, Rachel Lincon, Roel Seeber, Amy Lambert, and many others. Rose has also found joy through dance in the vertical space and has participated in workshops with BANDALOOP in Oakland, CA. She is interested in blurring the lines between genera and has a great love for finding community and shared experiences through dance.
Tyra Rose
Tyra Rose (she/her), originally from Des Plaines IL, moved to Seattle in 2017 in pursuit of building on her dance performance, education and choreography experience. She graduated magna cum laude with honors in 2016 from Webster University with a BFA in dance. Tyra studied ballet, jazz, modern, hip hop, aerial and Thai classical in school and furthered her artistic interests with painting and other art forms. Her multimedia explorations culminated in an evening length performance collaborating with Corbin Hall and produced through ANNONYArts in St. Louis, MO. Tyra presented her own work in St. Louis at the Spring to Dance Festival and Artica Fest, in Seattle with RAW Artists and the Full Tilt Dance Festival. She is grateful for the performance opportunities she's had here, notably with Catapult Dance (Michele Miller), AJnC Dance Theater (Amy J. Lambert), Gender Tender (Fox Whitney) and The Three Yells (Veronica Lee-Baik). Besides creating, performing, and teaching, Tyra spends most of her free time with her two dogs going on long walks.
Tyra Rose (she/her), originally from Des Plaines IL, moved to Seattle in 2017 in pursuit of building on her dance performance, education and choreography experience. She graduated magna cum laude with honors in 2016 from Webster University with a BFA in dance. Tyra studied ballet, jazz, modern, hip hop, aerial and Thai classical in school and furthered her artistic interests with painting and other art forms. Her multimedia explorations culminated in an evening length performance collaborating with Corbin Hall and produced through ANNONYArts in St. Louis, MO. Tyra presented her own work in St. Louis at the Spring to Dance Festival and Artica Fest, in Seattle with RAW Artists and the Full Tilt Dance Festival. She is grateful for the performance opportunities she's had here, notably with Catapult Dance (Michele Miller), AJnC Dance Theater (Amy J. Lambert), Gender Tender (Fox Whitney) and The Three Yells (Veronica Lee-Baik). Besides creating, performing, and teaching, Tyra spends most of her free time with her two dogs going on long walks.
Wade Madsen
Wade Madsen (he/him) has been a dance maker and teacher in Seattle since 1977. Madsen has created over 180 works and had various dance groups under the name of Wade Madsen and Dancers from 1979 till present, and has received multiple grants and fellowships for his choreography form the NEA, For Culture, Artist Trust, and Seattle Arts Commissions . Madsen has been commissioned for work by ON the Boards, University of Washington, Cal Poly, Riverside Community College, Velocity Dance Center, Full Tilt, Spectrum dance and Dance Gallery in Bellingham, along with commissions from Seattle Rep, Seattle Opera, and Seattle Men's Chorus. Wade received his bachelor degree from the University New Mexico where he majored in art, theater and dance. Wade toured and performed for various choreographers over his career most notably with Tandy Beal, Bill Evans, Dayna Hanson and Peggy Piacenza. Madsen has premiered over forty works for the Cornish dance company since joining the faculty in 1984, along with being an associate faculty at Dance Center Seattle and Velocity Dance Center since 1977. Wade has years of experience in teaching all levels of contemporary technique classes, multiple levels of Choreography and creative practice courses, Reparatory, partnering, and courses in Hybrid/Collaboration and pedagogy. As an instructor Madsen brings to his classes his years in contemporary training from Graham Limon, Cunningham and has found inspiration from Pina Bausch, Trisha Brown,Crystal Pite and many others. Wade is also a certified Yoga and Gyrotonic method teacher. He facilitates strength, ease of movement, and clear core connections in his contemporary classes. He utilizes all the above and addresses improvisation as a creative support tool for a more facile, adaptable, mover on their journey to becoming the creative dancer spirits they are meant to be.
Wade Madsen (he/him) has been a dance maker and teacher in Seattle since 1977. Madsen has created over 180 works and had various dance groups under the name of Wade Madsen and Dancers from 1979 till present, and has received multiple grants and fellowships for his choreography form the NEA, For Culture, Artist Trust, and Seattle Arts Commissions . Madsen has been commissioned for work by ON the Boards, University of Washington, Cal Poly, Riverside Community College, Velocity Dance Center, Full Tilt, Spectrum dance and Dance Gallery in Bellingham, along with commissions from Seattle Rep, Seattle Opera, and Seattle Men's Chorus. Wade received his bachelor degree from the University New Mexico where he majored in art, theater and dance. Wade toured and performed for various choreographers over his career most notably with Tandy Beal, Bill Evans, Dayna Hanson and Peggy Piacenza. Madsen has premiered over forty works for the Cornish dance company since joining the faculty in 1984, along with being an associate faculty at Dance Center Seattle and Velocity Dance Center since 1977. Wade has years of experience in teaching all levels of contemporary technique classes, multiple levels of Choreography and creative practice courses, Reparatory, partnering, and courses in Hybrid/Collaboration and pedagogy. As an instructor Madsen brings to his classes his years in contemporary training from Graham Limon, Cunningham and has found inspiration from Pina Bausch, Trisha Brown,Crystal Pite and many others. Wade is also a certified Yoga and Gyrotonic method teacher. He facilitates strength, ease of movement, and clear core connections in his contemporary classes. He utilizes all the above and addresses improvisation as a creative support tool for a more facile, adaptable, mover on their journey to becoming the creative dancer spirits they are meant to be.
Robbi Moore
Robbi Moore from Hamden, CT, began dancing at New England Ballet and continued at Dee Dee's Dance Center and New Haven Ballet. Robbi is an alumnus of Earl Mosley's Institute of the Arts, the Ailey Summer Intensive, Cunningham Trust Workshop, Jacob's Pillow's Commercial Dance Program, and the Complexions Intensive. Robert graduated magna cum laude from the Ailey/Fordham BFA Program and has danced with Amanda Selwyn Dance Theatre, The Steps Repertory Ensemble, AATMA Performing Arts, Whidbey Island Dance Theatre, Tacoma Urban Performing Arts Center, Karin Stevens Dance, the Guild Dance Company, Kinesis Project Dance Theatre, The Gray, PRICEarts, Coriolis Dance, Khambatta Dance Company, and Spectrum Dance Theater.
Robbi Moore from Hamden, CT, began dancing at New England Ballet and continued at Dee Dee's Dance Center and New Haven Ballet. Robbi is an alumnus of Earl Mosley's Institute of the Arts, the Ailey Summer Intensive, Cunningham Trust Workshop, Jacob's Pillow's Commercial Dance Program, and the Complexions Intensive. Robert graduated magna cum laude from the Ailey/Fordham BFA Program and has danced with Amanda Selwyn Dance Theatre, The Steps Repertory Ensemble, AATMA Performing Arts, Whidbey Island Dance Theatre, Tacoma Urban Performing Arts Center, Karin Stevens Dance, the Guild Dance Company, Kinesis Project Dance Theatre, The Gray, PRICEarts, Coriolis Dance, Khambatta Dance Company, and Spectrum Dance Theater.
Kaitlin McCarthy
Kaitlin McCarthy is a Seattle-based dance artist, writer, and teacher. She has choreographed and performed across the city, as well as toured nationally and internationally as a dancer with MALACARNE Dance Company under the direction of Alice Gosti. As a teaching artist, Kaitlin has specialized in working with beginning adults since 2014, and prides herself on bringing safe practices, down-to-earth vibes, and the joy of dance to the classroom.
Kaitlin's Class: Traditional and not-so-traditional ballet exercises combine for a thoughtful, anatomically-aware workout while increasing grace, coordination, posture, and strength. Working through imagery and sensation, the class will help students develop a solid foundation in basic ballet steps as well as working with musicality and developing skills for learning choreography. The fun, supportive environment is perfect for the beginning dancer looking to tackle new steps, or more experienced dancers wanting to hone their technique. This class celebrates ballet's rich theatrical history with choreography that encourages a broad range of dramatic expression and unbridled, joyous dancing!
Kaitlin McCarthy is a Seattle-based dance artist, writer, and teacher. She has choreographed and performed across the city, as well as toured nationally and internationally as a dancer with MALACARNE Dance Company under the direction of Alice Gosti. As a teaching artist, Kaitlin has specialized in working with beginning adults since 2014, and prides herself on bringing safe practices, down-to-earth vibes, and the joy of dance to the classroom.Kaitlin's Class: Traditional and not-so-traditional ballet exercises combine for a thoughtful, anatomically-aware workout while increasing grace, coordination, posture, and strength. Working through imagery and sensation, the class will help students develop a solid foundation in basic ballet steps as well as working with musicality and developing skills for learning choreography. The fun, supportive environment is perfect for the beginning dancer looking to tackle new steps, or more experienced dancers wanting to hone their technique. This class celebrates ballet's rich theatrical history with choreography that encourages a broad range of dramatic expression and unbridled, joyous dancing!
Lauren Wlasichuk
Lauren (she/her) grew up dancing in Calgary, AB, Canada, where she first fell in love with teaching through her studio's student-teacher education program. When she moved to Edmonton to complete her BA and BEd at the University of Alberta, she continued her dancing journey with MOD Contemporary Dance Movement. At this time, she also began teaching tap and jazz at Flexpointe Studios, where she taught for eight years. She also taught at a junior high school in Edmonton where she developed and implemented a beginner dance program for 7th-9th grade students. Lauren has also been a part of Viva Dance Company, a professional company that has performed in numerous events throughout Edmonton and beyond.
Since moving to Seattle in 2020, Lauren has continued to train and perform, as well as teach. She currently teaches Dance and P.E. at a middle school in Bellevue and also enjoys hiking, camping, and biking. In her classes, Lauren encourages dancers to explore, develop, and celebrate their individual artistic expression, while challenging them through strong and balanced technical training to reach their fullest potential.
Lauren (she/her) grew up dancing in Calgary, AB, Canada, where she first fell in love with teaching through her studio's student-teacher education program. When she moved to Edmonton to complete her BA and BEd at the University of Alberta, she continued her dancing journey with MOD Contemporary Dance Movement. At this time, she also began teaching tap and jazz at Flexpointe Studios, where she taught for eight years. She also taught at a junior high school in Edmonton where she developed and implemented a beginner dance program for 7th-9th grade students. Lauren has also been a part of Viva Dance Company, a professional company that has performed in numerous events throughout Edmonton and beyond.
Since moving to Seattle in 2020, Lauren has continued to train and perform, as well as teach. She currently teaches Dance and P.E. at a middle school in Bellevue and also enjoys hiking, camping, and biking. In her classes, Lauren encourages dancers to explore, develop, and celebrate their individual artistic expression, while challenging them through strong and balanced technical training to reach their fullest potential.
Joseph Schanbeck
A dancing "jack-of-all-trades!" Joseph has performed with the Alvin Ailey American Dance Theatre, renowned tap artist Savion Glover, Seattle's ARC Ballet Company, and the Stone Contemporary Dance Collective of Seattle. Mr. Joseph is a graduate of the University of Washington with a degree in performance art focusing on physiology and dance pedagogy and a current faculty member for the Elite Performance Dance Convention. He is also a competitive dance judge for MOVE Productions and is the Ballet, Tap and Acro director of the Surge Dance Center. He currently choreographs for the Voltage competitive team at the Surge in Lake Tapps as well as with Nova Rhythmic Gymnastics in Bellevue. His choreography has won multiple regional and national top achievements and championship titles. Joseph's choreography has recently been featured in a music video for SYML's recent single entitled Girl. Currently he choreographs and teaches dance & acro in the greater Seattle area.
A dancing "jack-of-all-trades!" Joseph has performed with the Alvin Ailey American Dance Theatre, renowned tap artist Savion Glover, Seattle's ARC Ballet Company, and the Stone Contemporary Dance Collective of Seattle. Mr. Joseph is a graduate of the University of Washington with a degree in performance art focusing on physiology and dance pedagogy and a current faculty member for the Elite Performance Dance Convention. He is also a competitive dance judge for MOVE Productions and is the Ballet, Tap and Acro director of the Surge Dance Center. He currently choreographs for the Voltage competitive team at the Surge in Lake Tapps as well as with Nova Rhythmic Gymnastics in Bellevue. His choreography has won multiple regional and national top achievements and championship titles. Joseph's choreography has recently been featured in a music video for SYML's recent single entitled Girl. Currently he choreographs and teaches dance & acro in the greater Seattle area.
DaeZhane Day
Movement artist DaeZhane Day emulates the blend between Seattle contemporary dance and Bay Area street hip hop. With a BFA from Cornish College of the Arts DaeZhane shares her hybrid form in and around the Seattle area and beyond. DaeZhane has set work for Seattle Shakespeare's Romeo and Juliet as well as performing in Intiman theatre's Black Navitiy last December as Mary. They have studied with artists like Melecio Estrella, Charolette Boye-Christensen, and Keyes Wiley, Rubberlegz, and more. DaeZhane has taught for Pacific Northwest Ballet, Whim Whim Contemporary Dance Center, Summer Dance Lab, and is currently on faculty at eXit Space School of Dance. DaeZhane hopes that her love of community and dance will further her expertise in her administration role at Cornish College of the Arts. You can find DaeZhane performing in Black Nativity again this December!
Movement artist DaeZhane Day emulates the blend between Seattle contemporary dance and Bay Area street hip hop. With a BFA from Cornish College of the Arts DaeZhane shares her hybrid form in and around the Seattle area and beyond. DaeZhane has set work for Seattle Shakespeare's Romeo and Juliet as well as performing in Intiman theatre's Black Navitiy last December as Mary. They have studied with artists like Melecio Estrella, Charolette Boye-Christensen, and Keyes Wiley, Rubberlegz, and more. DaeZhane has taught for Pacific Northwest Ballet, Whim Whim Contemporary Dance Center, Summer Dance Lab, and is currently on faculty at eXit Space School of Dance. DaeZhane hopes that her love of community and dance will further her expertise in her administration role at Cornish College of the Arts. You can find DaeZhane performing in Black Nativity again this December!
Mike Esperanza
Born in Manila, Philippines and raised in Southern California, Mike Esperanza has established himself as a sought after teacher and choreographer throughout the nation. With a BFA in graphic design from California State University, Fullerton, Mike's approach to visual construction has influenced a unique movement orchestration on stage. His works have been commissioned by prestigious college and university dance programs including Chapman University, Loyola Marymount University, UNLV, Cal State Long Beach, Cal Poly San Luis Obispo, and Utah Valley University to name a few. Six choreographic works have made regional gala appearances at the American College Dance Festival with 3 going on to perform at the American College Dance Festival National Gala held at the Kennedy Center in Washington D.C.
In 2005, Mike was awarded the "Dance: Creation for Performance" grant presented by Dance/USA and the Irvine Foundation. With this distinguished award, BARE Dance Company began. BARE has produced numerous show around Southern California including the Lestor Horton Award nominated "Manhattan" - an alternative take on West Side Story.
Mike has also been a finalist at the Palm Desert Dance Under the Stars Choreography Festival in 2006, 2008, 2009 and 2010 taking second place in 2009 and winning the paid engagement award in 2010. BARE was recently part of the "Innerstate" roster presented by ODC Theater and funded by the Irvine Foundation. The program allowed the company to perform numerous cities in Southern and Northern California.
Born in Manila, Philippines and raised in Southern California, Mike Esperanza has established himself as a sought after teacher and choreographer throughout the nation. With a BFA in graphic design from California State University, Fullerton, Mike's approach to visual construction has influenced a unique movement orchestration on stage. His works have been commissioned by prestigious college and university dance programs including Chapman University, Loyola Marymount University, UNLV, Cal State Long Beach, Cal Poly San Luis Obispo, and Utah Valley University to name a few. Six choreographic works have made regional gala appearances at the American College Dance Festival with 3 going on to perform at the American College Dance Festival National Gala held at the Kennedy Center in Washington D.C.
In 2005, Mike was awarded the "Dance: Creation for Performance" grant presented by Dance/USA and the Irvine Foundation. With this distinguished award, BARE Dance Company began. BARE has produced numerous show around Southern California including the Lestor Horton Award nominated "Manhattan" - an alternative take on West Side Story.
Mike has also been a finalist at the Palm Desert Dance Under the Stars Choreography Festival in 2006, 2008, 2009 and 2010 taking second place in 2009 and winning the paid engagement award in 2010. BARE was recently part of the "Innerstate" roster presented by ODC Theater and funded by the Irvine Foundation. The program allowed the company to perform numerous cities in Southern and Northern California.
Nicole Flores
Nicole Flores (They/She) is a movement artist from Chicago Illinois. Holding a BFA from Columbia College Chicago, their midwest roots are sunken greatly into finding spaces where community can grow and flourish. After graduating in 2017, Nicole lived in Los Angeles full time, receiving secondary training from The American Musical and Dramatics Academy (AMDA). As her budding career continued to grow, Nicole was a scholarship recipient for the LA contemporary Dance Company's 2019 and 2021 Summer intensives, giving her the opportunity to perform as a Guest Artist in Genevieve Carson's work; "Ebba". Nicole joined Psychopomp Dance Theater in 2019 as a performing artist. They have been a co-facilitator for their 2021 and 2023 summer workshops as well as a close collaborator with Artistic Director, Shenandoah Harris. Now in bloom in Seattle since 2021, Nicole has truly found a home in the dance community here. Nicole has performed works by Dance Undercurrent, Coriolis Dance Collective, and Badmarmar DANCE, among others. Nicole was granted two residencies in January of 2023 through Velocity Dance and Coriolis Dance Collective. During these two separate but simultaneous residencies, Nicole created two iterations of "These Heavy Bones" - a work that deals with the weight that depression and anxiety holds on our bodies. Nicole hopes to combine these two iterations in the future, culminating in an evening length immersive experience. When Nicole is not dancing or choreographing they are also a certified personal trainer and is very passionate about how we can bring functionality and strength into our dance practices.
Nicole Flores (They/She) is a movement artist from Chicago Illinois. Holding a BFA from Columbia College Chicago, their midwest roots are sunken greatly into finding spaces where community can grow and flourish. After graduating in 2017, Nicole lived in Los Angeles full time, receiving secondary training from The American Musical and Dramatics Academy (AMDA). As her budding career continued to grow, Nicole was a scholarship recipient for the LA contemporary Dance Company's 2019 and 2021 Summer intensives, giving her the opportunity to perform as a Guest Artist in Genevieve Carson's work; "Ebba". Nicole joined Psychopomp Dance Theater in 2019 as a performing artist. They have been a co-facilitator for their 2021 and 2023 summer workshops as well as a close collaborator with Artistic Director, Shenandoah Harris. Now in bloom in Seattle since 2021, Nicole has truly found a home in the dance community here. Nicole has performed works by Dance Undercurrent, Coriolis Dance Collective, and Badmarmar DANCE, among others. Nicole was granted two residencies in January of 2023 through Velocity Dance and Coriolis Dance Collective. During these two separate but simultaneous residencies, Nicole created two iterations of "These Heavy Bones" - a work that deals with the weight that depression and anxiety holds on our bodies. Nicole hopes to combine these two iterations in the future, culminating in an evening length immersive experience. When Nicole is not dancing or choreographing they are also a certified personal trainer and is very passionate about how we can bring functionality and strength into our dance practices.
Hayley Keller
Hayley Keller (she/her) grew up as a gymnast and dancer in Grand Junction, Colorado before relocating to the PNW to continue her education in Dance and Political Science at the University of Oregon. She trained at Shawl Anderson Dance Center in Berkeley, California before finding her home here in Seattle in 2020. She has studied under and performed works set by Adam Parson, Mike Esperanza, Habib Iddrisu, Shannon Mockli, and Marlo Martin, among others, and spent three years dancing as a member of Dema, a West African Dance ensemble. Hayley seeks out community and authenticity in all parts of her life and is always working to bring those qualities to the spaces she inhabits.
Hayley Keller (she/her) grew up as a gymnast and dancer in Grand Junction, Colorado before relocating to the PNW to continue her education in Dance and Political Science at the University of Oregon. She trained at Shawl Anderson Dance Center in Berkeley, California before finding her home here in Seattle in 2020. She has studied under and performed works set by Adam Parson, Mike Esperanza, Habib Iddrisu, Shannon Mockli, and Marlo Martin, among others, and spent three years dancing as a member of Dema, a West African Dance ensemble. Hayley seeks out community and authenticity in all parts of her life and is always working to bring those qualities to the spaces she inhabits.
Roni Witbeck
From the moment Roni stepped into her first dance class at the age of four, it was love at first step. In the decades since then, she has learned countless skills and life lessons from her dance teachers and mentors. It is her passion to pay it forward whether that be as a teacher, mentor, role model, or friend. In 2013, Roni earned her B.A. in Dance with a Modern Emphasis from San Jose State University in California. During and since that time, she has had the opportunity to perform with SJSU's University Dance Theater and work with choreographers such as Kara Davis, Mike Esperanza, Rogelio Lopez, Marlo Martin, and more. After graduating, she spent eight years as an Outdoor Educator in the California Redwoods, teaching children how to comfortably explore, learn, and find independence outside. Roni is excited to expand upon her previous experiences in the dance space once again by creating a safe and welcome environment to foster creativity, self-exploration, and curiosity through movement. She can't wait to dance with you!
From the moment Roni stepped into her first dance class at the age of four, it was love at first step. In the decades since then, she has learned countless skills and life lessons from her dance teachers and mentors. It is her passion to pay it forward whether that be as a teacher, mentor, role model, or friend. In 2013, Roni earned her B.A. in Dance with a Modern Emphasis from San Jose State University in California. During and since that time, she has had the opportunity to perform with SJSU's University Dance Theater and work with choreographers such as Kara Davis, Mike Esperanza, Rogelio Lopez, Marlo Martin, and more. After graduating, she spent eight years as an Outdoor Educator in the California Redwoods, teaching children how to comfortably explore, learn, and find independence outside. Roni is excited to expand upon her previous experiences in the dance space once again by creating a safe and welcome environment to foster creativity, self-exploration, and curiosity through movement. She can't wait to dance with you!
Carol Davis
Carol (she/her) is a freelance dancer, teacher and Pilates instructor based in Seattle, WA. She holds a BFA in Modern Dance from Texas Christian University where she trained in performance, choreography and pedagogy. While teaching full time at Atlas Pilates, she has performed with artists such as Dance Undercurrent, Tariq Mitri, Emily Schoen Branch and badmarmarDANCE. As a teacher and performer, she relies on technique, tradition and curiosity as the groundwork for artistry and innovation. She hopes to give her students the tools they need to enjoy a lifetime of creativity and movement!
Carol (she/her) is a freelance dancer, teacher and Pilates instructor based in Seattle, WA. She holds a BFA in Modern Dance from Texas Christian University where she trained in performance, choreography and pedagogy. While teaching full time at Atlas Pilates, she has performed with artists such as Dance Undercurrent, Tariq Mitri, Emily Schoen Branch and badmarmarDANCE. As a teacher and performer, she relies on technique, tradition and curiosity as the groundwork for artistry and innovation. She hopes to give her students the tools they need to enjoy a lifetime of creativity and movement!