Jacqueline Dugal is a dancer, choreographer, and educator originally from South Florida where she began dancing at Thomas Dance Studio in Lake Worth. She received her BFA in Dance Performance with a minor in Entrepreneurship from the University of South Florida in Tampa. While at USF, performed various faculty and guest artist works, including Lucifer’s Prance, choreographed by Robert Moses (San Francisco, California, USA) and Koto Excerpts choreographed by Alonzo King of LINES Ballet (San Francisco, California, USA).
Jacqui has studied contemporary movement in Paris, France with various artists, and in Rome, Italy with Spellbound Contemporary Ballet Company. Jacqui performed a trio at the COCO International Dance Festival in Trinidad & Tobago during her undergraduate studies. Upon graduation, on a full tuition scholarship, she studied in Mexico with the ArcDanz International program and performed at Mexico City’s Museo Soumaya.
In New York Jacqui has worked with The Von Howard Project, Roschman Dance Company, Michiyaya Dance, Impact Movement Collective, SummerRISE Dance, Eunoia Dance Experiments, and Naganuma 2. Her choreographic work has been showcased in France, Florida, New York, and North Carolina in various festivals and showcases, including The Asheville Fringe Arts Festival. Jacqui has been commissioned by the Steffi Nossen Dance Foundation, The International Human Rights Arts Festival, selected for Mare Nostrum Elements Emerging Choreographer’s Series as a 2016 participant and 2017 returning choreographer, awarded Director’s Choice at Spoke The Hub’s Winter Follies, and commissioned as a teaching artist for Mare Nostrum Elements Children's Physical Theatre Young Wave program.
Jacqui has been welcomed as a guest teacher at The Queensboro Dance Festival, Asheville Ballet, Logrea Dance Academy, Thomas Dance Studio, and The Dance Center of Brandon Ballet. Currently teaching adult classes at Chromatic Dance and professional classes through Dugal Dance Projects.
I am interested in diversity of human landscape, learning from each other’s differences, and promoting individuality in my work. Exploration of self, the human race, and inner workings of the mind drives my choreography. Battling notions of belonging, independence, and the concept of the individual against the group appear as themes in my work as I encourage performers to embrace their differences. Feeding off the uncomfortable, I enjoy setting work that is confrontational as to disrupt routine and rid the fake façade that mainstream society often outwardly displays. Psychology, science, and social issues often influence my work. Research aids creation while initiating conversations between artists and the audience.
I believe the mind is a powerful attribute; using the mind-body connection through movement to physicalize ideas and emotions. My movement reflects contemporary and European influences with an aesthetic that is grounded, physical, and animalistic reflecting the bestiality of humanity. Interested in the ugly, the contorted, and the beauty in the deconstructed, distorted and the unusual.