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When I asked Wu-Kang and Ray Sun how this project started, they said that when they met several years ago, they knew they wanted to work with each other, but not for each other.  What emerged is this ever-evolving piece which places the moving body, video, light, and sound on an even playing field–emphasis on play!


And as for the field itself, it’s an hour long, divided into twelve five minute segments.  Before each performance, we held a ceremony of chance.  Using the I Ching, we determined which departments (if any!) would participate in each five minute segment.  Then, we discovered the hexagram, and interpreted the story in the Chinese divinatory text.  Each department had twelve words for this interpretation–words like birth, illness, formation, conclusion, twist, death.  We placed the words on our spaces on the board, and that would be our show. 


While each department had a basic motif for each word, nothing was set in stone.  From performance to performance, there was no telling who may or may not be performing at any given moment, or what that department’s word would be.  Improvisation, intuition, watching, listening, and responding were key.  And at the end of each five minutes, a new idea would begin.

Wu-Kang and Ray Sun said they wanted the performers to have the same experience as and audience would–experiencing something new and unknown each time.  Liveness was essential and each department was a performer.  Have you ever seen an improvised lighting solo?  Well we did!

The design departments were also able to affect each other when desired.  Sound frequencies could control light color.  Video flashes could control sound volume.  There were several live feed cameras, (mounted, remote controlled, handheld, wearable) and projectors that the dancers/designers could interact with.  Those images could then be manipulated through sophisticated programming by the video team.  Video and sound teamed up for an on stage hazer and mic duet.  

My strategy for the piece was to bring everything I had that made sound, and discover and play with my design partner, SHENG.  He used Ableton Push to sculpt multidimensional beds, as well as electrical interference and a hydrophone in ice water and dirt.  I performed electroacoustically on everything from flute, autoharp, and theremin to bells, rainstick, and bowed metal chicken.  From day one, SHENG and I found endless joy exploring the sonic possibilities of our materials.  


Closed Tomorrow was my favorite experience during my years at CalArts.  Their non-hierarchical, collaborative approach was devising at its best and the combination of technical rigor and improvisation hit all the marks for me.  It was incredible to perform a show live.  I am proud to have been part of this process!

Lead Artists:

Wu-Kang Chen

Ray Sun

Wu-Kang Chen

Jessica Emmanuel

Yacnoy Abreu Alfonso

Jules Mara

Madison Stamm



Ray Sun

Wei-Fang Chang




Clare Marie Nemanich


Kinsei R&D

Cad Apastol

Emma McManus


Debbie Huang

Ho-Ju Wu

Rui Xu


Rebecca K. Hsia

Winky Kim

Collaboration between HORSE and The Calarts Center for New Performance

at the Walt Disney Modular Theater

Valencia, CA

March, 2023

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