"[the work] has the power to rock a bit of your world."
- the Boston Globe

Experiments in Visual Music (2008)

"FUSE" (30 min)
World Premiere: World Music/CrashARTS
ICA Boston (May 2008)


photo by Kevin Bullis

"Wonderful, a tour de force!...a wild meditation on the TV set"
- George Fifield, Director of Boston Cyberarts Festival

"...it grows with more viewings. There is a lot going on there. You bit off something big and should feel nothing but pride..."
- David Henry, Curator, ICA Boston

"Strong dancing, great score, incredible sets and video." -
– Maure Aronson, Director of CrashArts/World Music

"At times the dancers look imprisoned; at other times they're empowered, as they effortlessly swing up, catch hold of the ceiling, flip upside down, and hang like bats. It all adds to a state of beautiful unreality."
– the Boston Globe

"...elements have been so carefully blended that what happens is mesmeric."
– the Boston Globe

"Kovgan's images are often eerily evocative, like the displaced blue flicker from a TV in another room. Even when the action becomes frenetic, it's hypnotically so. And some of the most powerful work comes in the slower, more ambient sections, which build to a surprisingly emotional pitch."
– the Boston Globe

"...the movement suggested dramatic encounters. Characters seemed to stalk other characters, capture them, partner them in shadow duets. A woman ricocheted off the walls; I thought of Lillian Gish trapped in a closet in Broken Blossoms... a collection of scenes from German expressionism and silent movies..."
– the Boston Phoenix

"Before the artistic collaboration of Kinodance, who knew dance, film, and the arts could be blended in such a way that the original boundaries between each medium ultimately seem to have never existed at all. In their mission to fuse the various arts, Kinodance succeeds."
- Big Red and Shiny Magazine

Program Notes

Light, alive in its many forms, the Film Frame, the Lumia Box, Silent Cinema with live accompaniment, and the film “Blade Runner” are the inspirations for “FUSE”.

In 1920s and 30s, Thomas Wilfred, a Dutch-born American light artist, invented the "lumia box" – a self-contained unit with a screen that looked like a television set. This apparatus could play programmed, colorful and dynamic light shows for days or months without repeating the same imagery. Devising compositions for his “lumia” boxes, Wilfred was able to choreograph color, volume, shape and movement trajectories of the luminescent strokes to mesmerize viewers with elegant and spectacular dances of light. The lumia box in its turn also references a film frame and early cinema.

To structure the happenings in “the frame” (of the set, the piece, the stage) we used a film script as a starting point and choreographed a human drama to a transformation of light and sound.

photo by Kevin Bullis