All 4 1 dancepalooza 2016!
4 1 dancepalooza showcases local choreographers and rising young dance
stars as well as featuring a diverse array Seattle's professional
talent. The goal of All 4 1 is to push contemporary dance forward in a
setting that encourages diversity and friendship. Young talent from
all-over the greater Puget Sound from Chehalis to Whidbey Island will
converge on Seattle's Capital Hill and Downtown to take classes from Contemporary
Dance Masters and light up the stage for three days of exciting classes and edge of your
Master Teachers 2016
Jonathan Porretta is from Totowa, New Jersey. He trained on full scholarship at the School of American Ballet. He joined Pacific Northwest Ballet as an apprentice in 1999. He was promoted to corps de ballet in 2000, to soloist in 2002, and to principal in 2005. Mr. Porretta has danced with Dances Patrelle in New York and has performed as a guest artist with Central Pennsylvania Youth Ballet, Oregon Ballet Theatre, and San Francisco Opera Ballet. George Balanchine’s Agon, Coppélia (Franz), Divertimento from “Le Baiser de la Fée”, The Four Temperaments, A Midsummer Night’s Dream (Oberon, Puck), Prodigal Son, Rubies, Square Dance,Symphony in C, and Symphony in Three Movements; Peter Boal’s Giselle (Peasant pas de deux); Todd Bolender’s Souvenirs; Val Caniparoli’s The Bridge, Lambarena and Torque; Alejandro Cerrudo’s Memory Glow; David Dawson’s A Million Kisses to My Skin; Ulysses Dove’s Red Angels and Serious Pleasures; Molissa Fenley’s solo State of Darkness; William Forsythe’s Artifact II, In the middle, somewhat elevated, New Suite, One Flat Thing, reproduced and The Vertiginous Thrill of Exactitude; Marco Goecke’s Mopey; Ronald Hynd’s The Sleeping Beauty (Carabosse, Gold and Silver pas de trois, Bluebird pas de deux); Jiri Kylian’s Forgotten Land; Annabelle Lopez Ochoa’s Cylindrical Shadows; Peter Martins’ Fearful Symmetries; Mark Morris’ A Garden and Kammermusik No. 3; David Parsons’ Caught; Kirk Peterson’s Amazed in Burning Dreams; Marius Petipa’s Paquita; Crystal Pite’s Emergence; Alexei Ratmansky’s Concerto DSCH and Don Quixote (Sancho Panza); Jerome Robbins’ Circus Polka, The Concert, Dances at a Gathering, and Fancy Free; Kent Stowell’s Carmina Burana, Cinderella(Prince, Jester), Hail to the Conquering Hero, Nutcracker (Prince), Silver Lining, Swan Lake (Jester), and The Tragedy of Romeo and Juliet (Mercutio); Susan Stroman’s TAKE FIVE…More or Less; Richard Tanner’s Ancient Airs and Dances; Lynne Taylor-Corbett’s The Ballad of You and Me and Mercury; Glen Tetley’s The Rite of Spring and Voluntaries; Twyla Tharp’s Afternoon Ball, Brief Fling, In the Upper Room, Nine Sinatra Songs, and Waterbaby Bagatelles; and Christopher Wheeldon’s Polyphonia.
Joshua Crouch has received training from some of America’s foremost modern dance and contemporary ballet schools including the Martha Graham Center for Contemporary Dance and Alonzo King’s Lines Ballet. While studying at Graham, he was offered an apprenticeship with Graham II. Recently, he completed additional studies at the Martha Graham Center for Contemporary Dance in the Teachers Training program. While at Lines Ballet Professional Program, he worked closely with leading members of the company, as well as Mr. King: training in the multi-artistic, multi-technical approach that is paramount to the aesthetic of Lines Ballet.Classical ballet training includes private coaching with former Royal Ballet principle Keith J. Martin (emphasizing choreography, batterie, and demi-caractere work), as well as studies with Elaine Thomas, Mark Bush, Ilona McHugh, Patricia Barker, Carlos Carvajal, and Alonzo King. Notable performances include soloist roles in “Signs and Wonders” by Alonzo King, the world premiere of “Thirst” by Yannis Adoniou (Artistic Director of Kunst Stoff), excerpts from “Clytemnestra” and the “Helios” section from “Acts of Light” by Martha Graham, as well as the title role in the world premiere of Mark Bush’s Peter Pan. His choreography in the Graham tradition, as well as works in neo classical ballet, character dances, and musical theatre has been set for the University of Southern Indiana Theatre and regional theatre companies, the Evansville Philharmonic Orchestra, the University of Evansville Opera, Evansville Ballet, Think Pink! Productions, Gibson County Theatre Company, Veale Creek Players, Signature Performing Arts, and Evansville Dance Theatre.Students have gone on to dance for Lines Ballet Summer Program, Alvin Ailey American Dance Theatre, Southern Methodist University, Aspen Santa Fe Ballet, Joffery Ballet, Indiana University, and have been used as demonstrators in Graham Technique at various summer programs.Joshua currently continues to perform with Blackbird Dance from New York, teaches a free community Graham in the Park class, teaches workshops nationally, and he is tremendously excited to be able to join the dance community in the greater Seattle area.
Koach Tee Giggz is the Artistic Director of Kutt’n’up Entertainment, a hip hop group that consists of youth from all over the greater Seattle area. Koach Tee is not only a great Koach, he is a valuable mentor that strives to improve the physicality and mentality of his dancers and audience through his passion for dance. Kutt’n’Up provides a family atmosphere that encourages 100% dedication 100% of the time.
Koach Tee teaches at Rainier Community Center as well as other community centers and dance studios. Kutt’n’Up is featured annually at KUBE 93 Summer Jam, tours nationally and performs at local high schools and festivals such Festival Sundiata and Juneteenth. Koach’s words of encouragement: Dance, Dedication, Discipline, Desire & Dream. For more on Kutt’n’Up please visit kuttnup.com.
Ariana Lallone is a former principal of Pacific Northwest Ballet and current star of Teatro Zinzanni’s Bon Soir Liliane. With PNB, Ariana has danced numerous leading roles including Kent Stowell's Carmen, Carmina Burana and The Nutcracker; Nacho Duato's Jardi Tancat; Val Caniparoli's Lambarena; George Balanchine's Rubies and Prodigal Son; and William Forsythe's In the middle, somewhat elevated. Ariana toured with PNB both nationally and internationally. She performed the solo from Val Caniparoli's Lambarena at the Benois de la Danse Gala in Warsaw, Poland, in 1997 and the role of Hippolyta in the BBC's 1999 film version of PNB's production of Balanchine's A Midsummer Night's Dream filmed at Sadler's Wells Theatre in London. Her performances have won numerous accolades including being featured on the cover of Dance Magazine.
Contemporary & Partnering
Daniel Wilkins graduated from School of American Ballet performing principal roles in the graduation workshop at Lincoln Center. Wilkins went on to dance professionally with Pittsburgh Ballet Theatre, Donald Byrd/The Group, Spectrum Dance Theater, Complexions Contemporary Ballet, and Suzanne Farrell Ballet among others. Daniel formed DASSdance in 1996, with the intention to push the athletic and architectural limits of dance. An integral part of his artistic vision is 20 years experience in sports such as wrestling, basketball and baseball as well as a curiosity in visual art that began with employment at the Guggenheim Museum, and remained with him to fuel his All-Terrain / multimedia choreographic endeavors. DASSdance inaugurated Diane von Furstenberg -The Theater in 2000 and has performed five world premieres with original costumes by DVF. DASSdance has also performed seasons at the JoyceSoho (NYC), Baryshnikov Arts Center (NYC), HundredGrand Soho (NYC) and the Bagley Wright Theater (Seattle) including residencies at Langston Hughes Performing Arts Center (Seattle) and currently at Washington Hall (Seattle). Wilkins has been commissioned nationally and internationally, including for the Chrysler Salon, Spectrum Dance Theater’s Northwest Best, Cornish College of the Arts, Seattle Gilbert and Sullivan Society, Flux Laboratory in Switzerland, Arts for Art NYC as well as film and commercial projects. Wilkins has been featured in New York Magazine, Flaunt Magazine, the New York Times, Seattle Times and named one of Paper Magazine's 50 most beautiful people. Daniel is the Founder and Producing Artistic Director of DASSdance.
Jill Marissa was born and raised in Eugene, OR, where she trained as a competitive gymnast. After high school, she moved to New York City where she studied dance at Hunter College on scholarship, choreographing and performing. Since moving to Seattle four years ago, she has danced/choreographed for Walrus Dance Company and performed with The Asterisk Project, Full Tilt 2008, the E.P.I.C. festival and for DASSdance in the 2009 season. In addition to performing her own aerial work she performs with Tick Tock Dance and the Aerialistas.
Tinka Dailey began her training in New York City with the Harkness Ballet and went on to tour the world extensively in a number of Broadway shows as well as being principal soloist with the American Dancemachine for 10 years. This company created a living archive of Broadway choreography that would have otherwise been lost. She also served for years as dance assistant to pioneers that changed the role of dance in theatre such as Lee Theadore, Agnes DeMille, and Buzz Miller. She worked intimately with Broadway veterans including Gwen Verdon, and Chita Rivera. She was guest soloist for New York City Opera. She continues to study and perform different styles from cultures that influence American jazz dance including African, Brazilian, Cuban and East Indian. Her expertise is Theatre Dance and she has been teaching for 30 years. Tinka currently is in her 16th year of teaching at Cornish College of the Arts, both in the theatre and dance departments and continues to teach master classes throughout the country. She’s also taught for Spectrum Dance Theater (Donald Byrd), Pacific Northwest Ballet and Seattle Opera’s Young Artist Program as well as The 5thAvenue Theater in Seattle. Tinka’s on Faculty for the Summer Dance Lab at Whitman College in Walla Walla, Washington.