Spreading the Vietnamese soul to the world must be the essential mission of those who make the stage, not merely a pursuit of surface glamour.

Phạm Hoàng Nam has directed hundreds of large-scale music and fashion shows. A graduate in cinematography from VGIK Film School (former Soviet Union, 1993) and recipient of the Golden Camera Award for his debut film The Blade, he is recognized as one of Vietnam’s most sought-after and influential stage directors. On the evening of November 15, 2025, he will once again take the helm as stage director for Jazz Concert – Immersed.

He was the first to introduce the concept of “immersion” to Vietnam’s performing arts, beginning with the 2023 concert Đàn chim Việt honoring composer Văn Cao.

This year, with Jazz Concert – Immersed, what new experiences do you hope to bring to the audience?

The word immersive in English conveys far more than its Vietnamese translation “chìm đắm.” In performance art, immersion refers not only to technology but also to mindset. It means the audience is enveloped within the space, not just observing from outside. Listening to music, to me, is not simply about hearing sound—it’s about learning the stories and people behind it, and finding inspiration to think, “Ah, they can do that—so can we, as Vietnamese.” First comes pride; then comes reflection on what each of us can do as Vietnamese citizens who wish to contribute positively to society.

To inspire such depth of experience—where the audience can even “feel” the music through their senses—surely requires cutting-edge technology?

The most sophisticated technology is the kind you don’t see but can feel. For instance, this concert uses one of France’s leading acoustic systems with “Immersed” technology—allowing the audience to be surrounded by sound instead of hearing it coming from visible speakers. The space becomes a living soundscape—no visible lights or speakers, only pure sensation through light, sound, and even fragrance.

All the artists in this concert share a humble, soulful spirit. They are acclaimed names, yet they never seek to display themselves—they let their music speak. Our job is to translate and extend that spirit to the audience through every layer of stagecraft and technology.

To use such high-end performance technology must require a significant budget?

I can only say that this program uses the finest equipment currently available in Vietnam—the most advanced and premium technology. The band’s technical standards are extremely high; without the best systems, you can’t truly express the nuances of jazz. Jazz, like classical music, demands absolute clarity—even the softest brush of a cymbal or the faintest breath through a horn must be heard. That’s why we’ve brought in international sound specialists to work with Vietnam’s top-tier technology.

Jazz Concert – IMMERSED will take place at 7:00 PM on November 15, 2025, at GEM Center, Ho Chi Minh City.

How does Vietnam’s performance technology compare with other countries in Asia?

Performance technology involves many factors—human expertise, market structure, and cultural context. Abroad, most shows are ticketed, whereas in Vietnam, many events are free or brand-sponsored, which changes the dynamics. Only when audiences buy tickets can we truly call it a “cultural industry.” In Vietnam, those two models are still often confused.

Another common confusion is between live shows and reality programs. For example, reality TV artists often bring their shows to the stage, but those are still reality-based productions. In contrast, global acts—like Blackpink—feature one group or performer who creates an entire show around their identity. Here, we tend to gather dozens of stars in one event, which dilutes the artistic concept.

Modern performance art today is not only about entertainment but also education and sustainability. Is that also part of your artistic philosophy?

Absolutely. The philosophy of “entertainment as education” has guided my work for years. I learn technology quickly, but the deeper “educational message” in art takes time and conscious effort—built collectively by producers, performers, and audiences alike.

Trends come and go, but what endures is the core—the lasting values of tradition and beauty. Sustainable entertainment means preserving what is authentically Vietnamese while continuing to develop it. The technologies we borrow from the world are merely tools.

Niels Lan Doky, a world-renowned Danish jazz artist, plays Western music, yet in this program, the finale returns to Vietnamese instruments and spirit. That’s how we hope to share Vietnamese culture with the world. This, I believe, is the true mission of stage art. I hope more young artists recognize that—and go beyond the surface. Thankfully, some have already started to do so.

You seem deeply invested in the “depth” of stage art—perhaps that’s influenced by your experience in cinema?

In truth, I simply love directing—whether film or stage. But at my core, I see myself as a creative artist, or perhaps more broadly, a cultural worker. For me, the purpose of culture transcends directing—it encompasses writing, visual design, and every creative role that serves the pursuit of truth, goodness, and beauty in the most holistic way.

When I talk about bringing world technology to Vietnam, what I truly aspire to is the reverse—to bring Vietnamese performance technology to the world. That’s a long journey, one I’m still passionately pursuing.

Source: Sai Gon Giai Phong