performance art.
Creative practice, Ignace believes, is necessary for survival as it is informed by experiential living. She uses dance and writing to merge her passion for public health, Haiti, people-centered methodologies.
Channeling the cultures and traditions of her family, the dance vocabulary Ignace focuses on is rooted in Haitian traditional dance, rhythm, and music to discuss concepts surrounding trauma and recovery, primarily for Afro-descended peoples. In her work, she reinterprets Haitian traditions and dances in new ways in order to explicate her own process of recovery through dance movement and those of the individuals and communities with whom she has struggled. Her dance training and learning includes West African and contemporary movement with Sandra L. Burton, in Williams College’s Kusika Dance Company, and by extension Yalani Bangoura, Mickey Davidson, Nia Love, Ronald K. Brown/EVIDENCE; Cuban Salsa (Rueda de Casino) with Rebecca Bliss of SalaBlissNYC; and dance teaching methodology at Mark Morris Dance Group. As a teaching artist she currently is on faculty at the Mark Morris Dance Center.
Kriyol Dance! Collective, officially launched in January 2016, is the platform Ignace uses to showcase her creative work and ideas on Haitian Feminist theory. It is the space where dance mediates health and dance activism to develop, advance, and uplift communities. The group has presented at various universities, local Brooklyn institutions, and private events and has supported major grant-funded projects featuring community-based research, workshops, drum intensives, public performances, visual arts exhibitions, and spoken word cyphers. Their partnerships include organizations like Haiti Cultural Exchange, The Wyckoff House, Weeksville Heritage Center, StoryCorps, and Parkside Plaza. Dance performance credits include artists like Wanito, Strings n Skins, Nkumu Katalay & LLP Band, Anie Alerte, and Klass.
Channeling the cultures and traditions of her family, the dance vocabulary Ignace focuses on is rooted in Haitian traditional dance, rhythm, and music to discuss concepts surrounding trauma and recovery, primarily for Afro-descended peoples. In her work, she reinterprets Haitian traditions and dances in new ways in order to explicate her own process of recovery through dance movement and those of the individuals and communities with whom she has struggled. Her dance training and learning includes West African and contemporary movement with Sandra L. Burton, in Williams College’s Kusika Dance Company, and by extension Yalani Bangoura, Mickey Davidson, Nia Love, Ronald K. Brown/EVIDENCE; Cuban Salsa (Rueda de Casino) with Rebecca Bliss of SalaBlissNYC; and dance teaching methodology at Mark Morris Dance Group. As a teaching artist she currently is on faculty at the Mark Morris Dance Center.
Kriyol Dance! Collective, officially launched in January 2016, is the platform Ignace uses to showcase her creative work and ideas on Haitian Feminist theory. It is the space where dance mediates health and dance activism to develop, advance, and uplift communities. The group has presented at various universities, local Brooklyn institutions, and private events and has supported major grant-funded projects featuring community-based research, workshops, drum intensives, public performances, visual arts exhibitions, and spoken word cyphers. Their partnerships include organizations like Haiti Cultural Exchange, The Wyckoff House, Weeksville Heritage Center, StoryCorps, and Parkside Plaza. Dance performance credits include artists like Wanito, Strings n Skins, Nkumu Katalay & LLP Band, Anie Alerte, and Klass.