Grace's pioneering spirit led her eventually away from classical ballet as she became intrigued with the possibilities of utilizing dance to express contemporary ideas. In pursuit of such training Grace obtained a place at the Conservatoire and reveled in her resultant exposure to mind body techniques and the breadth of influence from Chinese martial arts to improvisation and experiment. This experience provided the processes and methodology of working from "inside out" which remains the hallmark of Grace's work. Her passion to utilize dance and employ other mediums to express ideas was ignited.

Grace's creative convictions were to be sorely tested during the four years after completing her training when her approaches met suspicion and closed minds from the public and practitioners alike. Nevertheless her determination and pioneering instincts ensured that her Company was well grounded in mind body techniques and able to express ideas powerfully through dance. She won over dancers who had hitherto danced traditional African folk dance for the media where she felt the soul and spirit that she observed in real village dances was absent.

The fruits of Grace's determination and utilization of inner processes was unveiled in Zigou Dam's premier at the French Cultural Centre, Cameroon. Zigou Dam's inaugural performance caused a sensation with the audiences, critics and the media alike. All clamored to find out what this new type of work had arisen out of! All commented on the strong and moving expressiveness of the work, recognizing its power and integrity. A tour across the Cameroon was immediately commissioned, the success of which triggered a national tour across Africa. Audience responses were consistently enthusiastic again prompting debate on the nature of this new type of dance!

Such was the public and media curiosity with the innovation Grace had introduced that the French Government sponsored a further tour with Zigou Dam performing in five principal French cities (including Paris and Lille). Grace's struggle to push boundaries and integrity and not to compromise her beliefs had paid dividends. Zigou Dam had now "arrived" in Africa and Europe. The success of Zigou Dam's French tour following a brilliant participation at the "Montpellier Danse" festival triggered a visit to the UK to contribute to the elephant. It was suggested by the Arts Council of England that Bristol was an emerging City for dance and Zigou Dam created another wave of interest during their contribution to the St Paul's Carnival. The Company eventually made contact with The Bristol Dance Centre with an inaugural meeting identifying a common interest in engaging mind body techniques and "dance for all" ethos.