March 31 & april 1 2018 Fisher center for the performing arts @ Bard 7:30PM Saturday, 2 pm Sunday More info Here...
Abby Zbikowski receives the 2017Juried Bessie Award
The Juried Bessie Award is chosen by a trio of acclaimed choreographers, which changes each year. The 2017 jury was comprised of choreographers Kyle Abraham, Brenda Bufalino, and Beth Gill—herself a Juried Award recipient in 2011. Zbikowski is being recognized for using her unique and utterly authentic movement vocabulary in complex and demanding structures to create works of great energy, intensity, surprise, and danger.
The Bessies Jury is responsible for selecting a choreographer who exhibits some of the most interesting and exciting ideas in dance in New York City today. The award provides the honored dance maker with touring and residency opportunities outside of New York City through a partnership with the New York State DanceForce, a statewide network of arts organizers and presenters.
Read more about the Bessies here...
Abby Zbikowski chosen as Caroline Hearst Choreographer-in-Residence at Princeton University
The Lewis Center for the Arts’ Program in Dance at Princeton University announces the creation of the Caroline Hearst Choreographer-in-Residence program, a gift of Margaret C. and William R. Hearst, III. In this inaugural year of the residency program and in celebration of the opening of the new Lewis Arts complex, four choreographers have been chosen to be choreographers-in-residence – Ralph Lemon, Abigail Zbikowski, Karen Sherman and Anne Teresa De Keersmaeker. Read more about the residency here...
I make contemporary dance works that pay homage to the effort of living, tactics of survival, and the aesthetics produced as a result, citing my practice of Afro-Diasporic dance forms hip-hop, tap, and West African, and punk music/aesthetics/values as major influences on my sensibilities. I formed the New Utility in 2012 with core company members Fiona Lundie and Jennifer Meckley to experiment with the potential and choreographic possibility of the body being pushed beyond its perceived limits, as well as to create a new movement lexicon that works towards triangulating dancing/moving bodies across multiple cultural value systems simultaneously. Our work together has focused on reclaiming the brutal rigor that goes into the practice and performance of hyper physical dance forms by shifting the mindset of the labor away from product and repositioining the choreographic work as a vehicle for transformation that welcomes failure as an inevitability on the path to growth. My creative process/practice with collaborative performers works towards re-imagining known outcomes and is meant to relentlessly challenge the systems we cling to for understanding. Our work is driven by the obsessive practice that accompanies the mastery of complex physical tasks, and structurally builds upon the psyche-emotional growth that evolves as a byproduct of practice.
- abandoned playground(2017) Inside the intimate stadium setup of this work, 9 dancers rip through the space performing complex sequences of hyper-physical dance that push their understandings of their own capabilities and endurance. Recognized with the 2017 Juried Bessie Award for her “unique and utterly authentic movement vocabulary in complex and demanding structures,” Abby Zbikowski generates her bold, high-intensity, precisely rhythmic choreography from her background of hip-hop, tap, West African, and postmodern dance styles, deeply-rooted punk aesthetic, and close collaboration with her dancers who bring their specific bodies, psychologies, and training histories to the work. In this evening length work Zbikowski highlights each of her dancers' unique strengths and simultaneously forges an intense ensemble connection in that through vocalizations and the channeling of communal energy the dancers invigorate each other to overcome the physical and mental exhaustion of performing such extreme and virtuosic movement at the relentless pace required. Like life, no overstated purpose is given, but as the New York Times dance critic Siobhan Burke surmises "the effort justifies itself."
To read Siobhan Burke's NY Times review click here...
To read Eva Yaa Assantewaa's InfiniteBody review click here...
- on the line(2016) is a solo made in order to unknow absolutes and discover a new breed of limits within ourselves. Made in collaboration with dancer Jessie Young, this work exposes the intimate process of relearning your body while reinventing personal definitions of dance, technique, and form.
- double nickels on the dime(2015)is a duet made in collaboration with longtime dancers Fiona Lundie and Jennifer Meckley exploring the psychology of of aesthetics and physical practice of climbing deep inside known form. It was presented as part of the Movement Research Festival Fall 2015 - "Vanishing Points" at Danspace Project.
To read Eva Yaa Assantewaa's InfiniteBody
review click here...
- destabilizer(2014) is a jigsaw puzzle of effort and weight. Made in collaboration with Jennifer Meckley and Fiona Lundie for the inaugural season of DoublePlus curated by Bebe Miller at the Gibney Dance Center in New York City, this duet work features the labor of unsteady ground as dancers negotiate the soles of their feet being duct taped together and the physical and emotional residue of that brutal connection.
To read Eva Yaa Assantewaa's InfiniteBody review click here...
- "jm."(2013) is a solo based on the intense and necessary relationship performer Jennifer Meckley has to practice and the masochistic yet hopeful space it holds in her life.
- the new utility(2012) is performed in the round, synthesizes the mechanics of disparate movement genres into a singular hybrid event focused on form and the composition of watching. Through the decomposition of structure, and performer endurance, audiences are exposed humility in formality and the significance held in the ways we move through and observe the world.
Works made with/for students
heavy planet(2016) University of Illinois, Urbana-Champaign
under the asphalt(2016) University of Texas at Austin
taking off(2016) American Dance Festival
'till we collapse(2015) American Dance Festival
Brute Force(2013) The Ohio State University
striking space(2012) The Ohio State University
Abby Zbikowski created her company, Abby Z and the New Utility, in 2012. Her work utilizes both the physical aspects and psyche-emotional experience of rigorously training in African and Afro-diasporic forms, as well as playing sports and performing other acts manual labor. Abby Z and the New Utility have been presented by the Gibney Dance Center, Movement Research at Danspace Project, the Abrons Arts Center, and the 92nd Street Y in New York City, the Fisher Center for the Performing Arts at Bard College in upstate New York, and the FuseBox Festival in Austin, Texas, with upcoming shows at Bryn Mawr College in Philadelphia and the Institute of Contemporary Art in Boston. Zbikowski is an Assistant Professor of dance at the University of Illinois and on faculty at the American Dance Festival. She is an inaugural Caroline Hearst Choreographer-In-Residence at the Lewis Center of the Arts at Princeton University (2017-2019) and has been in residence at Bates Dance Festival, American Dance Festival, and the STREB Lab for Action Mechanics. She received the 2017 Juried Bessie Award for her “unique and utterly authentic movement vocabulary in complex and demanding structures to create works of great energy, intensity, surprise, and danger.” She has taught contemporary technique, composition, and hip-hop at the Academy of Culture in Riga, Latvia as part of Movement Research’s Global Practice Sharing. Zbikowski has studied intensively at Germaine Acogny's L'École de Sables in Senegal, and holds a BFA in dance from Temple University and an MFA in dance from The Ohio State University, where she worked closely with mentor Bebe Miller and Vickie Blaine. Her work has been commissioned by the American Dance Festival, New York Live Arts, and Dayton Contemporary Dance Company. As a performer she has worked with with Charles O. Anderson/Dance theater X, Vincent Mantsoe, and the Baker & Tarpaga Dance Project.