'Into Sunlight': Commemorating the Vietnam War Through Dance

To commemorate the 50th anniversary of the end of the American War in Vietnam, Hofstra University hosted a performance of choreographer Robin Becker’s “Into Sunlight.” Inspired by Pulitzer Prize-winning author David Maraniss’ book, They Marched Into Sunlight,

Becker reimagines this story of the human tragedy of war and the eruption of violence during student protests into a powerful and poignant dance production. Through expressive movement and visual artistry, the performance explores the psychological, emotional, and moral complexities, as well as the historical significance of this tumultuous period.

As a combat veteran of the American war in Vietnam and having yet to “put the war behind me and go on with my life,” as is often advised by those who were not there, I must admit that I was profoundly conflicted by this performance. “Into Sunlight’s” portrayal of the horror and ugliness of war set against the artistic backdrop of Robin Becker’s brilliant choreography and the skilled movements of her dancers, provided a striking contrast that mirrored a personal unease, one that I have long endured and labored to express in my poem "The Rose":

I remember once, in another lifetime,
noticing a lone rose rising defiantly
from beneath the rubble
of a destroyed city North of Danang.
It had no business being there,
adding color to the drabness of war,
beauty to the ugliness of destruction,
and the hope of life
when life held nothing
but suffering and death.
It was a contradiction
and created confusion
amidst the clarity of killing to survive.
...I stepped on it.
There are no flowers in a warzone
nor color, nor beauty, nor hope.

During the talkback that followed the performance, my uneasiness found expression in my rather abrupt request that audience members refrain from applauding my “service” as they had for previous veteran speakers. While I understood that their intentions were sincere—especially at an event intended to honor the "selfless sacrifices" of veterans—I do not believe that my actions as a warrior deserve praise or appreciation. Nor do I believe that participation in war should routinely be met with honor or celebration.

Moreover, after experiencing the horror of war so powerfully portrayed aesthetically in dance, I thought it crucial that the lessons conveyed by the performance not be misunderstood or, worse, glorified. I felt compelled to point out that the common practice of heroizing veterans is not only misguided and dangerous, but perhaps more importantly, fails to serve the interest of both veterans and civilians for several important reasons.

The Mythology of Warrior Worship

1. The glorification of warriors hinders readjustment. By providing veterans a refuge of sorts where they may choose to see themselves as heroes, they can avoid facing the realities of their experiences—especially their personal responsibility and guilt for the deaths and destruction they may have caused. Confronting these realities is an essential step toward healing, or better, for reestablishing a sense of normalcy in their lives.
2. Heroization of warriors significantly affects public discourse about militarism and war. By making warriors into heroes, open discussion and debate about the necessity, legality, and morality of military engagement become far less likely. As a result, veterans and civilians may be more inclined to support the deployment of military forces to distant battlefields and, increasingly, to American cities, under the pretext of “quelling” what in many cases are manufactured crises.
3. Glorification of warriors functions as an effective propaganda and military recruitment tool, an asset to maintaining public support for militarism and endless war, attracting the next generation of “cannon fodder” into military service, often without adequately addressing the realities and consequences involved.
4. Though public displays of gratitude and support for veterans and members of the military may appear genuine, they are often superficial and mask the reality of the scandalous way this nation has neglected the needs of returning warriors—the high rates of unemployment, PTSD, moral Injury, homelessness, addiction, and suicide.
5. And finally, the heroization of warriors benefits no one in this nation other than the militarists and war profiteers and does little to serve the true interests of veterans and the broader public. Instead, glorification upholds a system that prioritizes military endeavors over the well-being of those most directly affected by them.

Rejecting Troop Blame: Shared Responsibility in War

While recognizing that the mythology of warrior worship must be rejected, and that war is not noble, it is equally important to reject its antithesis as well, the mythology of troop blame. This view regards veterans as murderers and places the entire burden of responsibility for illegal and brutal war on their shoulders while backhandedly absolving civilians of culpability. In a democratic society, governance and responsibility for war is a collective burden—by and for the people. Thus, in a very real sense, there is blood on all of our hands.

The Integrative Power of “Into Sunlight”: Dance as a pathway to Healing

The genius of “Into Sunlight” lies in Robin Becker’s ability to choreograph the sublime movement of her dancers to provide audience members a face-to-face confrontation with the harsh realities of military violence, human suffering, and death. By blending the visual beauty of dance with the discomfort, awe, pain, and exhilaration experienced by warriors on the battlefield, Becker creates a powerful contrast that evokes, in the realm of art, the intense and complex emotions associated with personal trauma.

“Into Sunlight” is not to be passively enjoyed in the conventional sense. Rather, it is participatory, reactive, and demands personal engagement and interpretation. Such art provides an immersive experience transforming audience members from passive observers into active co-creators of meaning. By blurring the boundaries between creator and audience, this performance encourages personal growth, introspection, understanding, self-forgiveness, and reconciliation, opening a pathway for audience members to begin the difficult task of identifying, processing, and healing the lingering effects of personal trauma and moral injury. Or, at least, it provides a way to come to terms with these experiences—to find a place for it in one’s “being.” It is precisely at this intersection where beauty meets the sublime that anguish is transformed into poignant artistry, allowing “Into Sunlight” to succeed in ways other more conventional therapies may have failed.

Conclusion

Though the performance is undeniably unsettling, I know I have benefited from the experience and am confident that other “victims” of war or of personal trauma, will benefit as well. Facing the demons we have for so long tried to suppress, though uncomfortable, is a difficult, though necessary, prerequisite on the path to healing.