Adrienne Hurd. Photo by Julie Killerman.

 

The Horton technique can be seen in a variety of pieces choreographed by Mr. Ailey. He uses  open Egyptian arms, the stag positions, lateral Ts, percussive movements, side hip pulls and more -- all of which we include in the Extension’s Intro Horton Class.

 

A Horton dancer is long, lean and very strong, because the technique works on the whole dimension of your body. You’re not just working in an upright and balanced position; you learn to be strong and elongated in horizontal positions, turning positions, elevated positions, and controlled movements that move in and out of the floor. This makes for a very agile dancer. Your body’s core is very important in the Horton technique, because you can’t balance on one leg with your body stretched out to the extreme without it.  When you strengthen your core, you lessen the strain on your back, improve your posture, and are better able to reach your fuller potential as a dancer.

 

 

Karen L. Arceneaux. Photo by Rachel Neville.

 

The number one thing that makes the Horton technique fun is the freedom to MOVE. Horton is amazingly defiant. In saying that, I mean the many positions, turns, and falls are amazing in how they push limits, almost boldly saying to anyone looking, "Yes. That's right. I am balancing on one leg with my arms reaching out on one end and my other leg reaching to the opposite end. Lateral T. Piece of cake!"

I have seen how the technique has changed the bodies of many of my students, especially those who attend class regularly. Horton develops the entire body, working parallel and turned out positions sometimes in one exercise. The technique is so expansive that one can't help but get longer. I always tell my students to extend beyond their extremities and to engage the core from the very beginning of class to the end, and even after class. With the flat backs, laterals, primitive squats, and fortifications, the core gets stronger. Lifting up through one's center -- i.e. engaging the core -- means a long unstressed spine.

My students say I "turn them into dancers." (They often come in feeling like they're not.) They say my energy is contagious and they feel comfortable with making mistakes. They feel safe. They let go and enjoy moving.

 

 

 

Iquail Johnson. Photo by Gabriel Bienczycki.

 

Horton, when done correctly, is fluid. It’s mercurial. It encompasses a lot of circular ideas and continuous lines with no stops from beginning to end. It’s a very geometric technique. It was designed based on body conditioning, exercise, and theoretical principles that allow students to overcome perceived physical limitations.

 

First and foremost, Horton builds strength, not necessarily in terms of musculature, but in terms of physical control and prowess. Physically, what ones sees is a long, lean toned torso and sculpted legs. The technique is very leg oriented.

 

Horton also allows you to coordinate one part of the body differently from another part of the body, so that the arms can do something that’s completely different from the legs, and so on. It gives one a sense of musicality, posture, and alignment that’s distinct from any other movement style and technique. And it’s a great alternative to the Stairmaster or riding a bike because it will shape the butt and thighs. Stairmaster no more! Just take Horton.

 

 

 

(Above and below) KAREN L. ARCENEAUX Horton class at The Ailey Extension. Photos by Kyle Froman.

 

 

 

 

Horton class at The Ailey Extension. Photo by Kyle Froman.

 

 

Iquail Johnson teaching Horton class at The Ailey Extension. Photo by Arthur Coopchik.