elite dance coaching

Search online archives for my work as a dancer and dance writer under the name Jacqueline Pascoe.

arabesque soloIn the 1980s I danced with the Australian Ballet (where I did a few featured roles with both the Dancers Co and the main company), and in the ’90s with the Queensland Ballet as a principal artist, performing lead roles in classical and contemporary repertoire including Titania in Harold Collins’ Midsummer Night’s Dream, Blanchefleur in Jacqui Carroll’s Carmina Burana, Medea in Natalie Weir’s Medea, and both Myrthe and Giselle in Garth Welch’s classic Giselle (on alternating nights in my final, memorable season). In my time at QB I was also privileged to create roles in works by Rosetta Cook, Natalie Weir, Graeme Watson, Jacqui Carroll and others. I left the life of the company dancer at the age of thirty, spending the next two years studying, teaching, hobby farming, and working with a local youth dance group as a guest artist and choreographer. In 1995 I enrolled at the University of Queensland to study English and philosophy.

Since then, along with assorted other arts, performance and business training, I’ve explored freeform movement disciplines from Tess de Quincey’s Butoh-based Bodyweather to Gabrielle Roth’s shamanic 5Rhythms, along with body-conditioning systems ranging from yoga and Pilates to the Aldous floor-barre to Alexander and Feldenkrais techniques. Other relevant experience includes the Vipassana meditation course, vocal training and performance, writing and performing cabaret for a NIDA short course and for events around town, and generally developing an unusually diverse performance practice. I’ve also adjudicated dance exams and competitions.

I rarely teach, but on exceptional occasions I’ve taken on one or two elite-level students for an intensive coaching program. I teach a Vaganova-influenced classical class; my contemporary classes are subject to a sometimes-unconventional variety of inspirations. To date, both my senior students have been accepted into elite full-time training institutions; I will not accept a student for intensive training unless I believe, on assessment, that they have professional potential. Students are accepted for coaching by audition only, after comprehensive discussion of their intentions and needs. To inquire, please use the contact form below.