January 31, 2025
Mirthe van Etten
Arnhem

For over 25 years, choreographer Adriaan Luteijn has been bringing the most remarkable people to the stage at Introdans, the dance company based in Arnhem. From elderly members of the LGBTQ+ community to young people in wheelchairs. This approach has sometimes earned him criticism. “When I started this, it wasn’t considered normal.”

The performances he creates are modern and original, often featuring people you wouldn’t typically expect to see on stage. For Luteijn, inclusivity is essential. He has created performances with people who have autism, muscular disorders, or Down syndrome. His work and influence in the dance world have now earned him the Cultuurfonds Gelderland Culture Prize.

You are known for making the dance world more ‘inclusive.’ Was that necessary?
“Maybe it was, but it actually happened by chance. Twenty-five years ago, I made a performance with older people who had no dance experience, and the national media jumped on it. I was even invited to appear on Paul de Leeuw’s show. But there was criticism too. One reviewer described it as cringe-worthy to see elderly people on stage. After that, I kept working with new groups. For example, with Roze Cast, a performance we did in collaboration with Stichting Welzijn Ouderen Arnhem. They had noticed that many elderly people didn’t dare to be open about their sexual orientation. When they were younger, being gay wasn’t accepted, let alone being transgender. We ended up performing this piece in nursing homes across the country.”

How did people react?
“Reactions were very mixed. Some people loved watching it, but it certainly stirred emotions. A long time ago, I choreographed a piece featuring people with physical disabilities. During the intermission, I overheard someone say, ‘I’m not paying 25 euros to watch a disabled person.’ That really reflects the time we were living in. Today, everyone is talking about inclusion and diversity, but we were already inclusive before the term even existed.”

You were a dancer yourself until you were 35. How did you transition to becoming a choreographer?
“During my dance career, I was already teaching. I enjoyed creating and making things, and my background as a teacher was helpful in that. Like in professional sports, dancers know that at some point, they’ll have to stop. Around 35, you become more prone to injuries. Fortunately, I was able to transition into creating choreography. What I particularly love are modern and theatrical performances. Costumes and lighting are crucial—they help tell the story. And it has to be executed professionally; no falls or awkward moments on stage.”