In our series of Q&As with members, One Dance UK’s Mia Illsley caught up with Dam Van Huynh.
Originally from Southern Vietnam, Dam is a UK-based dancer, choreographer and director. As a child refugee, his family and he fled Vietnam after the war and settled in the USA where Dam was raised. His work has been seen across the world and he was recently the recipient of the One Dance UK Award for Artistic Innovation in Dance.
What are you up to currently?
I’m developing an installation called Poster For Peace, supported by Arts Council England and inspired by Robert Rauschenberg, to be presented this autumn in London. Rauschenberg believed the arts have a social responsibility and the power to unite society. Poster For Peace is a collaboration with artist and stage designer Es Devlin and a living dialogue, inviting us to reflect on the word “peace” through movement and shared experience.
What are your first memories of dancing?
My first memory of dancing dates to when I was 14 years old. I grew up in the ghetto of East Los Angeles in the USA, where it was often difficult to stay out of trouble. Fortunately, there was a community dance programme run by volunteer artists who selflessly dedicated their time and knowledge to young people in the city.
What advice would you give to someone hoping to start a career in dance?
Build a strong network of support. This can be a friend, a teacher, other artists whom you respect. It truly does take a village to be able to develop a vibrant balance and healthy career within the dance industry. And it makes the journey less lonely and frankly more fun. Don’t forget to have fun! That’s crucial.
What’s a common misconception about dancers?
A common misconception about dancers is that dancing is easy and only requires natural talent. Dancers spend many years training and practising. They also need discipline, dedication, and endurance. Many people do not give value to kinaesthetic intelligence which ultimately can shape a person’s ability to navigate complex problem solving.
What concerns you most about the future of dance in the UK?
The public spends more time on social media and online entertainment, which has reduced curiosity about attending live performances. I believe the dance community must unite and actively rebuild audiences for live works. In a period of great geopolitical and economic challenges, resulting in fewer resources for the arts, the worst thing we can do as a dance community is to drift apart.
Why did you join One Dance UK as a member?
One Dance UK’s commitment to diversity and inclusion across a wide range of dance genres and practitioners creates a space where artists and organisations can engage, connect, unite and feel a genuine sense of belonging. My membership is a way of continuing to support and contribute to keeping the art form alive.
How does dancing help you in your life?
Dance isn’t just something I do. It is the rock against which I lean when I am lost, it is the North Star which guides me, it gives me a sense of who I am in relation to society, and it encourages me to continually reflect on the many ways I am able to positively contribute to my community.
Any future projects in the pipeline?
I have been investigating traditional Vietnamese Folk Opera – Cải lương – and have been fortunate enough to receive the Abderrahim Crickmay Charitable Settlement grant allowing me to spend time in Vietnam and, crucially, getting into a studio with artists from the region, exploring creative ways to look at this very important historical artform through the lens of contemporary practice.
This edition focuses on ‘Maintaining Momentum’. In your field you no doubt have periods where you need to focus on maintaining your momentum and inspiration. What do you enjoy about your work?
It feels as though the dance artform is a massive puzzle that can never be solved. I am excited by the idea that every time I approach dance, I am further challenged and stimulated by the unexpected. I love that I am clueless about what dance/dance making can be, but it is this drive to discover that pushes me further with each step.
What are some ways artists can stay innovative?
Innovation isn’t something I consciously chase and I don’t think it exists as a tangible outcome that can be produced. Developing deep knowledge within a theme allows an artist to question conventions. From that depth, new perspectives and ways of seeing can surface, sometimes leading to work that others may later describe as innovative.
Finally, you could have one last dance, what would that be?
It would be the choreography from Janet Jackson 1989 music video Rhythm Nation. I love the 80’s. Remember, I did say it was very important in a dance career journey to also have fun. Dance for me started with fun and it should remain that way!