Verity Jacobsen started her dance training at Robyn Kirkland School of Ballet in Sydney. In 2007 she graduated with a National Diploma in Dance Performance from the New Zealand School of Dance where she trained for three years.
Verity has worked professionally in and out of Australia since graduating, working with choreographers such as Daniel Belton and the Good Company Arts. She performed in Belton’s Stitchbirds for The Body Festival 2007 and then again in 2008 on the project 2nd Movement. Verity was invited to Singapore to work with Dance Troupe Horizon on Enter #1773 in 2008. While in Singapore, Verity Choreographed Second Samba on Dance Horizon, which was performed at their Beyond Horizon II show in 2008.
In 2009 Verity performed two works in the Short and Sweet Dance Festival and was also awarded Most Outstanding Female Dancer for the Festival. That year Verity worked with Vicki Van Hout on an Aboriginal based contemporary work Pack. Then she went on to perform a Classical Indian influenced work, Mother: A Tribute, which was choreographed by Padma Menon and performed in the National Gallery of Australia in
In January 2010 Verity worked with Dean Walsh on a 1st stage project, True To Nature with Dirty Feet and was also written up as Dancer to Watch in Dance Australia’s Critic’s Choice Survey for 2009. Verity then choreographed and performed her work Unwritten Etiquette in the 2010 Short and Sweet Dance Festival.
2011 brought work with Fiona Malone in Picture Perfect and also with the Good Company Arts on a dance film ATO-MISS. Straight after True To Nature Verity toured the Shorter and Sweeter Dance Festival through Regional Victoria, Queensland and New South Wales in Australia.
Verity again worked with Good Company Arts on TIMEDANCE, which was premiered at the Auckland Tempo Festival 2012. Then went on to perform in the World of WearableArt.
The following year Verity was chosen to work with Ballet Preljocaj in France remounting Ange
lin Preljocaj’s new creation Les Nuits, this was then followed by working with Maxime Gralet on La Dame aux Camélias