Adriaan Luteijn (born ’s Heer Arendskerke, 1964) received his dance training at Fontys Dance Academy Tilburg. He joined Introdans Ensemble for Youth at its inception in 1989, where he quickly became an influential figure with his striking appearance and expressive style of dance. In 1998 he ended his career as a dancer at Introdans, and from this time on began to develop his choreographic activities for a very wide range of dancers and institutions in the Netherlands and abroad. One important source of inspiration for his work is the theatrical expression and mathematical group choreographies of Romantic-era ballets. His works to date include Giselle for Studio Contemporary Dance Zagreb, POP!? (Coppelia) and Cinderella for ArtEZ Dance Academy Arnhem/Preparatory Programme Venlo, Check in/Check out and Peter en de Wolf for Fontys Dance Academy and the dance film De wonderbaarlijke mandarijn for Huis voor de Kunsten Limburg.
He has been commissioned by Introdans to create a contemporary Bayadère (2002), Gala (2004) and Geen Zwanen Meer (2005). On the occasion of the 75th birthday of Hans van Manen he made Happy, Happy Birthday Baby. He has also devised various works in collaboration with Introdans dancers in the framework of ‘De Ontmoeting’ (The Encounter) scheme, such as CC (with Moroccan dancers), Mag ik deze dans? (with dancers with a mental disability), Iungo (in collaboration with dancers in South African and Indonesia during tours by Introdans) and Het Duel (with young people with a muscle disease). and since 1999 he is a regular choreographer a the Jeunesses Musicales summercourses in Groznjan, Croatia. Besides his work as a choreographer, Adriaan Luteijn is the artistic manager of Introdans Interaction. He still regularly appears in Introdans Ensemble for Youth productions as a guest dancer (Bits and Pieces, Pulcinella).

In 2003 Adriaan Luteijn received the Incentive Prize from Dancers’ Fund '79 for his work. In 2008 this was followed by the ‘Kunstfactor Dans Oeuvre’ prize, where the jury praised his (inter)national breadth, his appeal to a wide audience and his original style. Adriaan Luteijn also contributes as choreographer to many large-scale projects such as the close of the international DACI conference in 2006, the Grandeur procession for Sonsbeek 2008 and the Fairy Tale Festival in Arnhem.  

... Luteijn is revealed as an excellent craftsman choreographer who can tell stories in a way that is accessible to a wide audience.(HET PAROOL on Bayadère)
Over "Het Duel" (Rock- en Rolstoel Producties)
It was overwhelming to see the robot arm ballet that the Introdans choreographer Adriaan Luteijn has made with four wheelchair-bound Bionic Art Project members and a ballet dancer. What a fine movement spectacle for people and machines. (DE GELDERLANDER on Het Duel)

The jury, who included the well-known dancer Han Ebbelaar, praised Luteijn as an ‘enthusiastic, passionate and inquiring choreographer’, who ‘travels his own highly independent path in the contemporary dance scene’. According to the jury, what makes Luteijn so special is the way he succeeds in connecting the legacy of the past with contemporary developments and is thus able to tell a story in movement. ‘And it requires courage to be a maverick’. (WEGENER DAGBLADPERS on Luteijn’s Incentive Prize from the Dancers’ Fund ’79)

At the very last moment Van Manen had to pass his dance role in Bits and Pieces (1984) to former dancer Adriaan Luteijn (artistic manager of INTRODANS Education). The latter then performed in the spirit of the great master: elegant, mischievous and with decorum….(…) the birthday ode Happy, Happy Birthday Baby which the same Luteijn had made for 75 pupils of the preparatory programme of ArtEZ Dance Academy. With arms full of golden gift packages, the young dancers take part in a tautly composed ’VanManenesque’ play of line. In a ‘showy’ apotheosis involving a clever stage trick all the little pupils crawl out one by one through a gift package, to emerge with their shining pointed caps like candles on an impressive birthday cake. (TROUWonVANMANENMIX)

The choreographer Luteijn was able to conjure up big grins on all the concentrated little faces and referred in Mondriaan colours to Van Manen’s preferences for style and form. This glimpse of the future generation of dancers was a fitting present for the master choreographer who, just like the audience, had no idea what was coming. (DE VOLKSKRANT on Happy, Happy Birthday Baby)