Alison Hall Kibbe
Alison Hall Kibbe is a cultural organizer, producer, and multidisciplinary artist working at the intersections of social justice, community building, education and cross-cultural dialogue. She is interested in how the art and culture of the everyday leads us towards justice. Currently living in Santiago de Cuba, Cuba, she was raised in North Carolina and her research and work have taken her through Brazil, the Mississippi Delta, South Africa, and her family's roots in Jamaica and Cuba, exploring questions of art, identity, and social change.
Working with dance, performance, literary arts and dialogue, she uses oral history and ethnographic research to guide the development of multi-faceted storytelling and participatory experiences. As a cultural organizer, consultant and producer she supports communities, projects, artists, and organizations that use art and creativity for social justice, bringing them from concept to execution. She develops and leads education and community arts programs and supports arts organizations and projects. Collaborators include Betty's Daughter Arts Collaborative, The Horns Project/Horns to Havana, The Literacy Project. She also develops and leads cultural exchanges in Cuba with tour agencies Leyte Global Services and AC Journeys.
She has worked at leading arts consulting firms WolfBrown and Webb Management Services, the Kennedy Center for the Performing Arts, the White House - Office of the First Lady Michelle Obama, Obama for America, Duke University Women's Center, the Sunflower County Freedom Project and the District Six Museum. Alisongraduated from Duke University with a B.A. in Cultural Anthropology and Public Policy.
Current creative projects include, the performance project, body/s in question, which charts the fault lines of migration and the multiracial experience in the Americas, via her family's history in Jamaica, Cuba and the U.S. StoryBlock, an oral history and visual community archive that celebrates the cultural richness of Kelly Street residents living in the South Bronx. She also co-authors the blog Broadly Speaking: Blurring the Boundaries of Southern Identities.
Her choreography includes Procurando Nosso Espaço (2012 - Duke University, Durham, NC). She has performed with Ebony Noelle Golden, Audrey Hailes, and The Movement Theater Company, at venues and programs including Dancing While Black, NYU Hemisperic Institute of Performance and Politics, Gibney Dance and Bronx Academy of Art and Dance.
Sydnie L. Mosley is an artist-activist and educator who produces experiential dance works with her all-women company SLMDances. Through her choreographic work, the company works in communities to organize for gender and racial justice. Her evening length dances The Window Sex Project and BodyBusiness address sexual harassment in public spaces and the economics of NYC dance, respectively. The creative processes and performance experiences of these works are a model for dance-activism.
In February 2017, Sydnie was recognized by NYC Mayor Bill de Blasio and First Lady Chirlane McCray for using her talents in dance to fuel social change. Other recognitions include: LMCC Creative Engagement Grant (2017), The Field Leadership Fund (2015-2017), CUNY Dance Initiative (AIR 2016-2017), Dancing While Black Artist Fellowship (2015-2016), and The Performance Project @ University Settlement (AIR 2015-2016), Create Change Fellowship with The Laundromat Project (2013), the Gibney Dance Institute for Community Action Training (2013), and the inaugural Barnard Center for Research on Women Alumnae Fellow (2011). She earned her MFA in Dance Choreography from the University of Iowa, and earned her BA in Dance and Africana Studies from Barnard College at Columbia University.
Sydnie’s recent performance projects include: the skeleton architecture, the future of our worlds, curated by Eva Yaa Asantewaa, and Gainin’ On Ya, a collaboration with Aisha Cousins. Sydnie danced with Christal Brown's INSPIRIT (2010-2013) and continues to appear as a guest artist for Brooklyn Ballet. She is an Adjunct Lecturer with the Barnard College Dance Department, and in 2012 designed the College's Dance in the City Pre-College Program which she continues to teach.
An advocate for the field, Sydnie sits on the Advisory Committee to Dance/NYC. She has contributed writing to Dance Magazine and The Dance Enthusiast. For more information visit slmdances.com.
A public health practitioner, Haitian feminist theorist, participatory arts researcher, and alum of SUNY Downstate School of Public Health, Veroneque Ignace uses dance and writing to merge her passion for public heath and global health. Her launching pad is built upon the notion that health issues and disparities are not simply a result of poor health management, but also a result of the lack of an integrative perspective of what health improvement actually is. With her movement she hopes complicate methods to social change and health equity, connecting spiritual balance and self-understanding to modes of recovery and restoration. She has studied West African and contemporary movement with Sandra L. Burton, in Williams College's Kusika Dance Company, and by extension Nia Love, Ronald K. Brown/EVIDENCE, and others.
In 2016, Ignace founded Kriyol Dance! Collective (KDC), a collective of artist-leaders, to incite the unapologetic voices of Black arts, and Haitian culture in particular, through collaborative and unified work and intervention. Each artist participating in the collective creates original work focused on the preservation of Black diasporic culture and to some capacity on Haitian culture, and on the promotion of Haitian life through engagements arts (i.e. artistic work that involves community voices, community issues, and the Haitian state of affairs). Artist-leaders work to develop innovative and multi-pronged approaches to use art as a tool for commentary as opposed to simply entertainment. Importantly, KDC hopes to make normative discussions of Haitian culture that do more than harp on the Haiti’s poverty. We aim to continuously place the focus on discussion of Haitian lives both in-country and abroad.
Dance is an essential tool in how Ignace and KDC choose to develop, advance, and uplift communities, across varying cultural backgrounds and belief systems. In their social practice, each team member is their own creating artist specializing in ideas, theories, and movement inherent to their own experience. KDC Artists find their unifying platform in Haitian dance movement and in discourse centering community wellness.
babay l. angles
Babay L. Angles (Angelica Janabajal Tolentino) is a Brooklyn, NY-based, interdisciplinary performance artist, educator, and activist of Filipino descent. She was raised in San Diego, CA. She holds a B.A. in Ethnic Studies from UCSD and an MA in Education and Social Justice. She has cyphered/battled in the styles of Breaking and Rocking with Time II Rock Crew and Soul Heavy Crew. Currently, her solo work, “May Malas Sa Loob Pero May Datating Pa,” explores the horrors and pains of the fragmented and maladaptive Pilipinx psyche in its process of decolonization. It has been supported by Gibney Dance’s Work Up 4.0 and Betty’s Daughter Arts Collaborative Public Performance and Action Fellowship.