NAISDA was delighted to welcome back acclaimed international performer, choreographer, educator and scholar, Alvin Rangel, for another year on campus. Originally from Puerto Rico and now based in Los Angeles, Alvin has spent the past 14 years teaching full-time at California State University-Fullerton.
During his time at NAISDA, Alvin delivered a month-long intensive in Horton Technique, alongside a series of Afro-Contemporary workshops.
The Horton Technique, developed by Lester Horton throughout the 1920s, 30s and 40s, draws on Native American dance forms, anatomical studies and a range of movement influences. Designed to strengthen and open the body for performance across dance styles, it has become a key part of the NAISDA curriculum, supporting the professional development and technical growth of students.
Alvin began his professional career performing ballet and jazz in Puerto Rico, and has performed at some of the most renowned performing arts venues internationally.
We spoke with Alvin about returning to NAISDA, his teaching experience and what it meant to him.
Alvin Rangel (5th from left) and Chima Valavanis – NAISDA Trainer Horton (left of Alvin) with NAISDA Diploma and Advanced Diploma students.
If someone’s never heard of the Horton technique, how would you describe it?
One of the ways that I would describe the Horton technique is that it is one of several foundational techniques of American modern dance. One of the things that’s very specific about the technique is that it really helps dancers understand how to better organise their bodies and increase their sense of anatomy. It provides dancers with strength, stability, and the physical nuances and dynamics to transfer that information into any forms of dance.
How did you first come across Horton and what made you want to teach it?
I first came across the Lester Horton technique as a professional dancer. I was 21 years old, and that was really my first time taking the technique. I was able to study with one of James Truitte’s students Cynthia Riesterer, (who actually came with me to Australia during our first visit to NAISDA in 2018).
Honestly, when I first took the technique, I wasn’t crazy about it because I didn’t think that I was good at it. I felt that because it was so hard for me, because it was new form of training. But over the years, I continued to work with Cynthia and other teachers, and I started to develop a deeper appreciation for the technique in terms of the tools and resources that it gives dancers in building strength and taking that information into all forms of dance.
Having that deeper understanding is what really inspired me to continue teaching it, and now it’s one of the things that I enjoy teaching the most.
What is it about Horton that still excites you?
One of the things that still excites me about the Horton technique is that although it’s codified with exercises, – fortifications, preludes, studies, there’s still a world to be discovered in how each teacher brings students to the work that is really advanced.
I design preparatory exercises, some that already exist, some that I’ve wanted to teach, and some that I’m able to create, and it’s that continuous sense of discovery within the technique that excites me.
Also being able to bring parts of my other training into the Horton technique has been really exciting. You don’t stop discovering. Most importantly, though, it is seeing how students progress as they study the technique – that’s extremely rewarding.
You’ve been coming to NAISDA for nearly a decade now, and you teach internationally. What keeps bringing you back?
One of the things that I really enjoy about coming to NAISDA, and Australia, is that there is a strong desire here for dancers to improve and understand how this technique can make a difference in their lives as artists.
It’s exciting for any teacher to come into a space where you feel your work is fully embraced and welcomed, where everyone’s excited to learn about it. So that always makes the long journey, the long flight, worth it.
It’s also really exciting to interact with students from all over the country, from different backgrounds. For me it’s an enriching cultural experience, to learn from First Nations students while also sharing a little about my own culture.
What feels special or different about NAISDA and our students?
Wow, one of the things that really feels special and unique about NAISDA is that you have Developing Artists coming from across the country with different backgrounds and levels of training.
Within this space, there’s a strong sense of community, of support for one another. It’s really refreshing to go into a dance space and feel that there is a very strong sense of community. I think that’s one of the things that I feel stands out.
Another big thing is that all the Developing Artists have different goals. It’s really interesting to see how their courses and learning are setting them up in many different areas of dance. It’s not just preparing them to be performers, but also dance activists, choreographers, and teachers. I really like the holistic training that NAISDA provides.
What’s something you really push students to break through in class and why is that important?
One of the things that I really encourage is for students to approach classes with a sense of curiosity and exploration.
Even though we are doing a set warm-up and we’re repeating the exercises daily, there is always an investigation happening, even within the things are familiar. Applying that mindset across all their dancing and activities while they’re here exploring, being curious, and remaining open minded is so important.
When students leave your Intensive, what do you hope stays with them, and how does this help them prepare for their future careers?
I hope that students take away a sense of never losing the joy in dancing. That there is something about being disciplined and working hard that can be very closely tied to experiencing joy in dancing.
In my teaching, I try to layer these notions of technique and working on our athleticism, because as dancers, we are athletes, with artistry. I hope the biggest takeaway is the layering that happens and how, as individuals, they can scaffold that process for themselves.
From your international perspective why does NAISDA matter?
Wow, NAISDA is such an important organisation and institution for educating our First Nations Developing Artists. Whenever my friends ask me where I teach in Australia, I take pride in speaking about NAISDA in terms of what it does, bringing students and emerging artists together from across the country to work, share, deepen cultural practice, to be exposed to culture.
For many students that come here, this is possibly one of the first times they’re actually able to fully immerse themselves in their First Nations identity and explore a deep, profound understanding of how that plays out in their artistry, dancing and activism. That is incredibly important. That’s why NAISDA is an amazing space that has produced incredible dancers and artists working not only here locally in Australia but around the world.
What’s been your favourite part of this visit?
It’s been so nice to meet the new group of Developing Artists and get to know who they are, what are they coming in with, and really having that sense of exploration and being curious about where they are and what their needs are.
I think it’s always a new experience, and it’s always an exciting experience. I’ve constantly been asked if I’m ready to leave, and I say no – I’m having a good time, I’m enjoying my time here and just taking one thing at a time.
It’s always a very rewarding experience coming here. And I always say I leave with a full heart, because I am able to pour all my knowledge and ideas into all my classes and passion. I feel that I leave full because the students give back to me by fully engaging in the material. I witness their growth from the very first day until the very last class.
What advice would you give to NAISDA students, or young dancers thinking about training here?
I would say, and I actually spoke about this in my classes, it’s the importance of self-reflection. At the end of each class, each day, each week it’s really important for dancers and artists to take a moment to reflect in terms of all the things that they’ve done, and to see what the takeaways are from that day. There might be one, two, three, or four takeaways, and seeing how that resonates and how you’ll use them moving forward.
Also taking time to think about the things that are becoming challenging, and in recognising them, to set goals for the next day or the next class and work on that particular intention. That sets you up to have curiosity and a growth mindset.
That’s one thing that I was given advice on – that the learning never stops. Even now, as a teacher, I am continuously learning from other teachers, taking different forms of dance. You get a much deeper understanding about your body and your dancing when you expose yourself to other forms of dance. And do as much, take as much, be as curious as you can, and then make it your own.
Anything else you’d like to add?
I’m just so grateful every time I’m here at NAISDA and Australia. It gives me a unique opportunity to focus on my teaching, to not have to worry like I do in my regular job, where I’m wearing so many hats and doing so many different roles.
I’m so grateful that I get to come here, focus on teaching, work on the class flow, on planning my classes, and to be able to witness the fruits and labour of my work within the responses and the feedback that I get through the dancing of the Developing Artists.
It’s always such a joy to be here and to feel that one’s work is valued and appreciated. And I think that is priceless. There is no compensation would make up for that.
Feeling valued in what you do as a teacher and as an artist is so important. So thank you, NAISDA, for believing in me.
NAISDA would like to thank Alvin for once again sharing his experience, skills and wisdom with our Developing and Practicing Artists.