Kuloflux is like a museum of transparent levels with invisible visitors. It is a reach for plateaus like rooms, which are hanging in the emptiness. It has an unknown language which tells its' own legend: there is a steppe without an end. Try to ride there and you are captured by spacephobia. Inside, outside, between. Body, space and sound.

"Completely peculiar was the evening with TRAVA, which did not only make possible a welcome encounter with the West Pomerania Ballet and the play “Gleis Novi Sad” (Line Novi Sad), but with “Kuloflux” a new play, that will be on one’s mind for quite some time still. Heini Nukari has choreographed it for herself and her musician colleague Sebastian Schmidt in such a way, as if the “Dogma”-rules were not only valid for cinema: from a frosty stringency, as far as her solo is concerned, and a hermetic structure that demands quite some exertion from the audience, should it be overcome. Nukari herself describes “Kuloflux” as a “museum of transparent levels with invisible visitors” and speaks of a “steppe that goes out into the distance.” However, there is nothing to be seen but a snow-white expanse of ground, upon which both performers from time to time, tugging at their caps, glide like two scattered ice-skaters. This does not make things easy, and in order to understand the incantations just at the beginning, the spectators must dig deeply into themselves. But the gain is immense, even if “Kuloflux” at first sight seems to be extremely reduced, and a play like “Gleis Novi Sad”, performed both precisely and highly imaginatively by the West Pomerania Ballet, is at the end as presentable as desired by a festival. It need not be a “Tanznacht” by all means, where the scene just confirms oneself. In the course of the “Tanztage” one will rather have the opportunity to discover something new. And maybe, something that can win the future."

ballet-tanz, february 2005, Hartmut Regitz.