Meet Our Instructors


EBONI MORROW PAYNE Eboni became a serious student of classical ballet while training under Homer Bryant, Dance Theater of Harlem and Larry Long at The Ruth Page Center of the Arts. She performed as a guest principal, soloist and corps member with Ballet Legere for six years and as a corps de ballet member of Bryant Ballet. She attended the prestigious Ventura School of the Arts where she trained under David Keener, Petrus Bosman, and Keith Lee, former Alvin Ailey Principal dancer. Eboni graduated with honors with a B.F.A. in Dance from Wright University. During college she was a full time company member of Dayton Contemporary Dance Company II. In 2000, Eboni was awarded a scholarship to the The Ailey School and was later selected to perform with Alvin Ailey American Dance Theater during their City Center Season as well as in The Ailey Student Showcase Group. Eboni has danced for Walt Disney World Entertainment in the National Broadway tour of The Lion King. She is currently a member of Aloft Dancetheater.



BucaoBYRON BUCAO – Byron started dancing in an all – male hip hop group called Full Effect in 2000 then later became a part of the National Title Winning Channel Islands High School All-Male Dance Team. Byron then spent two years dancing and choreographing competitively for Cal State Long Beach Pac Modern. He also danced with Non-Stop and Mavyn Dance Company. Byron was a private instructor for the children of Metta World Peace formerly known as Ron Artest, and has choreographed for numerous high school and college dance teams, studios and crews. He is eager to help better others as well as himself to become a stronger person and dancer. Currently Byron runs a 160-member dance company in Oxnard called The Alias, a program he created 12 years ago. The Alias has won multiple championship titles all over California as well as appeared on America’s Got Talent, Dancing With The Stars and Chris Brown’s Yeah 3x music video.


11221295_10153045834270808_3862587608967769088_nFELICIA HOLLAND – Felicia‘s dance training started at the age of 4 years old, attending classes in Jazz/Tap and Ballet, and later adding Polynesian Dance. In the last ten years, she’s competed in solo competitions such as Tahiti Fete of San Diego, Las Vegas, and San Jose where she placed 1st & 2nd in her division for Tahitian Solos. In 2007, when she started learning Hip-Hop, Felicia discovered a new passion for a different style of dancing. In 2008 she joined the Alias Dance Family and competed at World of Dance Tours in Pomona, Los Angeles, San Diego, and Las Vegas with Emanon Dance Crew, who also were the defending title holders of 1st Place from 2010-2013 at SET IT OFF Dance Competition in Las Vegas. She also choreographed for the  All Female group while attending Oxnard High School. Since graduation, Felicia has been teaching classes all over Ventura and Los Angeles counties. In addition to her community contributions she’s also been on dance shows including America’s Got Talent and Paula Abdul’s dance show. Determined to impact the dance community here in Ventura County Felicia, along with the help of some close partners, started freestyle dance sessions and cyphers to keep the Hip-Hop movement alive. Felicia is extremely grateful for being able to share her passion and entertain.


headshot(1)TYLER CRITELLI – The relationship Tyler has with dance and music began before he was even born. His mom was a choreographer and studio owner, and taught while she was pregnant with Tyler until she no longer could. He grew up dancing in her studios, and by 12 years old, he was teaching, competing and even choreographing. While attending college, Tyler  was approached by the director of the dance department of Santa Clara University and  he began teaching at her studios as a part time job. During that time he was majoring in music, and once he realized that for him dance is the human embodiment of the music,  the physical, emotional, and musically specific aspects became an integral part of his creative process. It was then that Tyler also realized that he had been treating tap solely as a dance style instead of a musical instrument, and he shifted his perspective from “tap dancing” to “playing the tap shoes.”