© Christian Robert 

Emmanuelle Huynh

Emmanuelle Huynh - dancer, choreographer and teacher - has studied both dance and philosophy. Her work explores their relationship with literature, music, light and architecture. Her creations, to name a few; Múa (1995), A Vida Enorme (2002), Cribles (2009), Shinbaï, le Vol de l'âme (2009), TÔZAI!... (2014), Formation (2017), Archeologia (2019). ), Nuée (2021), Kraanerg (2022), Embrasser un arbre, embrasser le temps (2022) …

From 2004 to 2012, she directed the Centre National de Danse Contemporaine (National Center for Contemporary Dance) in Angers, France and reestablished the school, notably by creating the Essays curriculum, offering a Masters Degree in dance, creation, and performance.

From 2014 to 2016, Emmanuel was associate professor at the l’Ecole Nationale Supérieure d’Architecture – ENSA (National Superior School of Architecture) in Nantes, France, also contributing to the ENSA Nantes-Mauritius from 2016 to 2019.

Since September 2016, she is chief consultant for dance, choreography and performance at the Beaux-Arts de Paris.

In 2016, with Jocelyn Cottencin, they created A Taxi Driver, an Architect and the High Line, a portrait of New York City through its architecture, its spaces, its inhabitants, composed of portrait films and a performance.  She produced a portrait of Saint-Nazaire, France in 2019, entitled Nous venons de trop loin pour oublier qui nous sommes - We have come from too far to forget who we are. Their collaboration melds to further produce sensitive, filmed and danced portrait(s) of the city of Houston - Lands in 2023 and a portrait of the city of São Paulo, Brasil, titled Atravessemos! in 2024.

From 2018 to 2021, she is associate artist in art and creation - contemporary dance, at the Théâtre de Nîmes, France, a subsidized national interest theater, where she bring to the scene the solo Nuée on March 18 and 19, 2021. Emmanuelle is the performer - she explores questions on the journey, both artistic and personal.

She designs performances and accessible formats in order to reach audiences beyond the stage - museums, heritage sites, or in the heart of nature. Thus is born Archeologia a performance tailored for museums with DJ Automat/Matthieu Doze ; Anatomie SoNore, a city sound portrait with the musicians/composers Christophe Havard and Fabrice Arnaud-Crémon, as well as Embrasser un arbre, embrasser le temps – Embracing a tree, embracing time, performance in situ on the question of the memory of trees with the composer and director of the GMEM – CNCM of Marseille, Christian Sebille.

In 2022, following a commission from the Wiener Festwochen, she gives body and dimension to Kraanerg by Xenakis, with Caty Olive, a lighting architect, four dancers, conductor Sylvain Cambreling, and the musical ensemble Klangforum Wien.

Emmanuelle Huynh's work, carried by the Plateforme Múa, a company commissioned in France by the DRAC Pays de la Loire (Ministry of Culture and Communication), by the Department of the Loire-Atlantique, and by the city of Saint-Nazaire, is anchored in a broadened vision of dance that produces knowledge and emotions that modify the vision that society can hold of itself.

See Emmanuelle's own presentation, captured by Jocelyn Cottencin on the roof of Saint-Nazaire Building .

One episode of documentary series Art-istes en court, by Dorothée Lorang et David Beautru, is focusing Emmanuelle Huynh : here it  is !