Alanna Kraaijeveld is a contemporary dance artist. She toured internationally with Dave St-Pierre, one of Canada’s sought-after choreographers, in productions Un peu de tendresse bordel de merde and Foudres. From 2004-2008 she was a company dancer of Le Groupe Dance Lab, an international centre for the research and development of contemporary dance, under the artistic direction of Peter Boneham. Now ubiquitous in the contemporary arts milieu, the Lab was one of the first of its kind, established in 1988. Since 2015, Kraaijeveld is a close student of Linda Kapetanea and Jozef Frucek, and represents Fighting Monkey through teaching under the *Inspire by FM brand.
As performer, teacher and creator, her collaborations have been numerous. Her adaptability, intelligence, grit and sense of humor have supported her work in diverse projects. Additionally she has worked with Marie Claire Forté, Company 605, École supérieure d’art dramatique (Paris), Justine Chambers, Yves Charuest, Modus Operandi, Studio 303, Shannon Gillen / Vim Vigor, Stella Adler Studio of Acting (NYC), Sarah Chase, Opéra de Québec, William Parker, Louise Bédard, Susanna Hood, Frédérick Gravel, among others.
Kraaijeveld has a Master of Arts degree in Dance Pedagogy and has taught at institutions and organizations across Canada, in Europe, and the United States. She shares her knowledge of movement across various communities including dance, theatre, sports, and at-risk youth.
I have a self-effacing attitude toward my accomplishments and work: I mention them here as they provide important context to my values, professional trajectory, integrity of work, and of course it is a significant moment to name people and organizations that influenced these things, without whom the path most likely would have been so so different. At heart I am suspicious of self-agrandisement…. I am more compelled and driven by the labour of work and study. This is ultimately what draws me to art. I have conviction for plain ideas and find them worthy of my / our investment. ‘Plain’ has enough going for it and seems free of the influence of mythologies, of spectacular notions that draw in (…though I concede perhaps plainness has its own aura about it that attracts me…..)