Many of the group's works and performances received positive reviews from critics around Australia and the company was warmly welcomed to Canberra by appreciative audiences and supporters.

From the beginning, it seems that the driving force behind the Human Veins Dance Theatre was Don Asker. A pamphlet promoting one of the group's earliest performances described Asker as "probably the best known internationally of Australia's young choreographers".

Having lived in Europe for eight years, he danced and choreographed for several large dance companies there and then decided to return to Australia with a small group of experienced dancers.

Asker had worked with the Netherlands Dans Theater and it is said the name of the company comes from a Dutch expression, op menselijk stemming, which implies "lifeblood" or "human temperament".

Apparently some of Asker's works, that were described as "essentially contemporary, though firmly rooted in classical technique", had already been performed by the Australian Ballet and Sydney Dance Company.

Working off the proceeds of a grant from The Australia Council, the Human Veins "project" began their performances at the Australian National University's Art Centre where the audience was able to watch the work up close in an intimate atmosphere.

Canberrans loved the idea of having their own professional dance company. At the end of April that year, Asker wrote to the Chief Officer of the Department of the Capital Territory to thank him for the continued use of the ANU Arts Centre to be able to complete the production of The Year of the Monkey.

As well as performing the full evening work in Melbourne, Brisbane and Sydney, they had also been booked for a return performance at the Playhouse in Canberra.

Many Canberrans also participated in twice-weekly classes at the ANU and attended open rehearsals. Asker pushed to establish a permanent base in Canberra:

''There has been a strong surge of support towards the company establishing itself here in Canberra on a permanent basis.The Arts Council of Australia, ACT Div. and many private individuals have expressed their desire that we seriously consider finding a rehearsal and performing home in Canberra.

"I and the company as a whole are very willing to explore and support such a plan.''

Archive files show that the company was supported by some notable individuals, including Dame Peggy van Praagh (artistic director of Australian Ballet) and senator Susan Ryan who, among many others, provided written representations on the dance group's behalf.

The Human Veins Dance Theatre was able to set up a base in Canberra but, at least in its early years, a lot of time and effort was devoted just to ensuring the company had the resources and funding required to survive.

Compared to other dance companies in capital cities, Human Veins was small. Don Asker was not only the artistic director but also choreographed and danced in the productions.

By February 1981, the company's manager Wendy Tubman wrote to the Department of the Capital Territory about her concerns about the number of dancers that could be employed by the company.

In particular, they had just two male dancers, Asker being one of them. She argued that this detracted from the company in several ways.

"First, it limits the extent to which Don is able to "step back" and direct the concept and performance of the company...

"Secondly, the present composition of Human Veins, four female and two male dancers, detracts from the artistic balance and appearance of the company as a whole.

"Thirdly, the present composition greatly limits the repertoire which the company could undertake... in addition, with only the present complement of dancers, the company's entire engagement schedule is vulnerable to the possible accident to, or illness of, any one of the dancers.''

Another issue the company faced was securing suitable accommodation. They had reluctantly taken up residence in Block G of Gorman House in 1981 while Block F was to be renovated to a standard suitable for a professional dance company.

When word got around that the renovations would be delayed, some well-directed lobbying ensured adequate funding was allocated to complete the works in the agreed timeframe.

Despite many successful tours around Australia and abroad and the takings from the box office and royalties, as well as the enthusiasm in the Canberra community for a performing dance company of their own, efforts to secure grants, private sponsorships and donations were a constant effort in the first few years after the company was formed.

There was a series of articles in The Canberra Times during July 1982 that supported a public campaign to allow the company to continue to exist, which it did until some years later.

Canberra's Human Veins Dance Theatre continued to perform until it was disbanded in 1988.