Performance Through The Dance Technique Of Lester Horton by Bradley Shelver

Author:Bradley Shelver [Shelver, Bradley]
Language: eng
Format: azw3
Published: 2014-06-03T04:00:00+00:00

52 The Magic and Commitment- Dance perspectives 31 (1967). Page 64

CHAPTER 3 THE HORTON CLASS

What to expect: My first experience with Horton was at the Alvin Ailey School in New York City in 1998. Having a background predominantly in Ballet, Jazz, Tap, Classical Greek dance, Graham Based modern, Flamenco and West African dance; I was immediately drawn to the Horton Technique’s rhythmic, dynamic and powerful elements.

Since that first class, I have taken countless classes with masters in the technique such as Milton Myers and Ana Marie Forsythe and sat through lectures from ex Horton company members, such as Carmen de Lavallade53 and taught and investigated as many aspects of dance technique and performance as I could, and still to this day, I get an eager exhilaration every-time I enter a Horton class. Whether it is the complex musical rhythms, the nuances of each body part, the physical and mental goals set with each Fortification or Prelude or Study, or just even the sense of accomplishment when I discover something new- The Horton class is a technical, sensual and dynamic vehicle for students and professionals alike.

As a teacher54 I have found it an incredibly energetic technique to pass on to students. I often get caught up in the vibrancy and excitement of the students as they balance, turn, fall and sweat. In this chapter we will deal with the structure of a Horton class, how to train professional dancers, in a company class environment, as well as master class and workshop teaching. I will also discuss the benefits of the technique for students of modern and contemporary dance.

53 My interview with Ms de Lavallade was held at the annual Horton pedagogy seminar at the Ailey school in New York City during the summer of 2007. This conference is open to international teachers who are interested in developing in the Horton Aesthetic. It is run by Ana Marie Forsythe.

54 My career as a teacher began when I was a dancer with the Alvin Ailey Repertory Ensemble in 1998 although I have had experience of teaching Tap and Jazz classes in South Africa before that time.

Horton for students: the benefits of the technique for students of Modern, Contemporary and Classical dance. As a student, the dance class is much like a lesson in language. As in any form of communication, there is a design that has to be followed in order to most accurately portray ones emotions. This design would include; grammar, punctuation and vocabulary as a mode of expressions within the style. In dance, these take the guise of dynamics, technique and expressiveness and, as a teacher, it is important to

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