Lester Horton Dance Theater Collection
Catalog Record: http://lccn.loc.gov/2003682045
General International Standard for Archival Description
Music Division Library of Congress Washington, D.C.
Finding Aid encoded by Library of Congress Music Division, 2006
Encoded Archival Description
Encoded Archival Description (EAD) Version 2002
collection
Lester Horton Dance Theater Collection1918-1996 (bulk 1940-1959)
Lester Horton Dance Theater
Biographical History for: Lester Horton Dance Theater Collection1918-1996 (bulk 1940-1959)
Biographical Sketch Dancer-teacher-choreographer Lester Horton (1906-1953) is regarded as one of the founders of American modern dance. He developed a unique style of technique and choreography, established the first permanent theater in America devoted to dance, and organized one of the first integrated modern dance companies. Born and raised in Indiana, Horton's early interests in art, ballet, theater production, and Native American dance led him to participate in local dance pageants. Settling in Los Angeles in the late 1920s, Horton danced with Michio Ito's company and then formed his own group. His company gave concert performances at major Los Angeles venues such as the Hollywood Bowl and the Greek Theater while Horton continued to teach young dancers. A Los Angeles base and the ability to translate ethnic dances into commercially acceptable formats led to stints choreographing musical numbers for films from the 1940s through the early 1950s. Throughout his career, Horton combined dance and drama into a total theatrical experience. He was intimately involved in creating all aspects of a production: the costumes, sets, lighting, and music as well as the scenarios and choreography. His fascination with ethnic dance, human sensuality, and cultural history was expressed in a prodigious body of work with themes ranging from the classics to melodrama, social concerns to farce. Horton's "choreodramas" were built on a movement technique that is still taught and used in dance schools and companies. Horton's company members and students included well-known modern dancers such as Alvin Ailey, Janet Collins, Carmen de Lavallade, Bella Lewitzky, James Mitchell, Joyce Trisler, and James Truitte. Horton collaborated with Lewitzky to develop the foundation of his technique; they joined forces with several other partners to found the Dance Theater in Hollywood in 1946. Dance Theater was the home of the dance company and the school, which featured dance classes for children and adults. The full curriculum developed well-rounded dancers who were also taught art history and theater production. After the partnership dissolved in 1950, Horton maintained Dance Theater with the assistance of business manager Frank Eng, mounting several successful seasons until his death in 1953. Eng sustained the theater for seven more years before closing its doors in 1960.
Scope and Content Note The Lester Horton Dance Theater Collection is a collection of multi-format materials documenting the work of dancer-teacher-choreographer Lester Horton as well as the workings of a modern dance company in California. The collection consists of correspondence, writings, publicity and production materials, programs, costume and set designs, news clippings, teaching materials, music, photographs, business papers, scrapbooks, drawings, publications, and audiovisual materials (the audiovisual materials were transferred to the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress). The collection spans the years 1926 to 1996, with the bulk of the materials dated from the 1940s through the 1950s. Since Horton's private life was intertwined with his professional one, the collection includes information on both. Individuals represented include Alvin Ailey, William Bowne, Merce Cunningham, Carmen De Lavallade, Frank Eng, Lelia Goldoni, Judith Hamilton, Michio Itō, Bella Lewitzky, Margaret Lloyd, Don Martin, Joyce Trisler, James Truitte, and Larry Warren. The collection provides a record of Horton's creative output as a modern dance pioneer and of the workings of an early, struggling modern dance company and school. The materials in the collection document his creative process in areas such as dance technique, dance training, and performance production. It also provides evidence of the day-to-day administration of the theater, school, and company, as well as Horton's personal and professional relationships. Many items in the collection were not labeled or dated at the time of their creation. Other items were lost over time or are otherwise not part of this collection. Horton's creative process also affected the documentation and resulting record in the collection. He often reworked a dance piece, altering aspects such as the costuming, music, and choreography. For some programs he created "suites" that included a number of individual dances. At times he would use the "same" piece (title) in different suites; at other times he worked on a piece intended for a suite that did not appear in the final, performed version. Therefore, every effort has been made to link individual items with the appropriate dance work and/or suite, in all pertinent series and sub-series such as costume and set designs, photographs, and music. Knowledge of his repertory and style and other research led to many of the identifications listed. Cases where identifications were uncertain are indicated with a question mark. All performance works are listed with the suite title first. The audiovisual materials in the collection include record albums, instantaneous disks, open reel tapes, audio cassette tapes, videocassettes, and film. The sound recordings consist of music used in classes, rehearsals, and performance as well as interviews by biographer Larry Warren. The moving image materials include copies of television shows featuring Horton works and an interview with Frank Eng. All audiovisual materials are located in the Motion Picture, Broadcasting, and Recorded Sound Division (MBRS) of the Library of Congress and are subject to that Division's policies for use and reproduction. These items are listed in the Sound Recordings appendix. They are arranged by format and listed alphabetically by title. The catalogue or record number is included if that information is available. Michelle Forner, April 1997
series
Writings, 1929-1992
The writings are arranged in the following subseries: By Lester Horton, About Lester Horton, and By Frank Eng. The materials span the years 1929 to 1992. Horton's writings include published and unpublished material on his work and ethnic dance, including a manuscript on Salome, his seminal choreodrama that he reworked throughout his career. Also included are autograph notebooks and papers that record bits and pieces of his creative process. Writings about Horton include published articles and a copy of Larry Warren's biography, as well as a typewritten transcript of a recording of Bella Lewitzky regarding Horton. Writings by Frank Eng include drafts of articles, several unpublished manuscripts, and autograph and typewritten notes and notebooks. A writer by trade, Eng's many articles and memoirs reflect his perspective as an intimate of Horton and the business manager of Dance Theater.
subseries
By Lester Horton
file
The Indian in his native art
On Salome, The face of violence
[Published articles] 1929-47
[Notes]
[Notebook]
Personal notes [notebook]
Personal [notebook]
About Lester Horton
Lester Horton: Modern dance pioneer by Larry Warren, 1977 [book]
[Published articles] 1937, 1948, 1954-78, 1992
[Unpublished interview with Bella Lewitzky] 1967
By Frank Eng
[Drafts]
Early research, Dance Perspectives article
[Manuscripts]
Lester Horton, American dance pioneer (Horton triad), 1966
Memoirs of a man of displeasure (Horton triad), 1948
Rivers and streams, part I (Horton triad), 1974
Rivers and streams, part II (Horton triad), 1980
Material from [la?] notebook, 1957-59
[Notebook, large]
[Notebook, large-loose sheets]
[Notebook, small]
Correspondence, 1939-1996
The correspondence consists of autograph and typewritten drafts, originals, and carbon copies about professional as well as personal matters. It spans the years 1939 to 1996, with the bulk of the material dated between the late 1940s and the late 1950s. The letters are arranged alphabetically by letterhead or name of the correspondent who was writing to either Frank Eng (the majority), Lester Horton, or Larry Warren. The series also includes letters from these individuals, filed alphabetically under the correspondent's name or letterhead.
5 by 2 Dance Company, 1975
Abner J. Greshler Agency, 1955-57
Ailey, Alvin, 1955-76
Allied Arts Corporation, 1952
American Guild of Musical Artists, Inc., 1951
American Guild of Variety Artists, 1954-59
Ames, Ransey, 1949
Anawalt, Sasha,1985-86
Arlen, Walter, 1964
"A" miscellaneous, 1950-56
Bauer, John, 1951
Bennett & Pleasant, 1953-54
Bowne, William, 1951-66
Brooklyn Institute of Arts & Sciences, 1949-68
"B" miscellaneous, 1950-73
California, Department of Education, 1946-54
California, Franchise Tax Board, 1958-62
Chávez, Carlos, n.d.
Chester, Anne, 1954
Cincinnati Ballet Company, 1971-73
Cocoanut Grove, 1959
Community Concerts, 1952-58
Cunningham, Merce, 1951
"C" miscellaneous, 1941-67
Dance Magazine, 1947-53
Dance News, 1949-53
Dance Notation Bureau Inc., 1971-84
Dance Observer, 1949-53
Dance Perspectives, 1966-68
Dance Theater, 1949-76
Dance Theater of Harlem, Inc., 1971-96
De Lavallade, Carmen, 1953-58
De Lavallade, Yvonne, n.d.
Detroit Public Library, 1954-55
"D" miscellaneous, 1950-76
"E" miscellaneous, 1941-69
First Unitarian Church, 1954
Ford Foundation, 1956, n.d.
Franks, Michael, n.d.
"F" miscellaneous, 1940-55
Golberg, Albert, 1953-60
Goldoni, Lelia, 1959-93
Grosset and Dunlap, Inc., 1972
"G" miscellaneous, 1946-61
Haggart, Stanley, 1953-56
Hamilton, Judith, 1949-79
Hill, Jack, 1961-85
Harrison, Lou, 1968
Hollywood Bowl Association, 1937
Horton Dance Group, 1939
Horton, Lester (references), 1947
Horton Reconstruction Committee, 1974
"H" miscellaneous, 1949-77
Inner City Cultural Center, 1970-77
Ito, Michio, 1955
"I" miscellaneous, 1944-55
Jacob's Pillow Dance Festival, Inc., 1953-54
Joyce Trisler Danscompany, 1966
Juilliard School, Dance Division, 1952
"J" miscellaneous, 1929-55
Kawasumi, Misaye, 1983
Kerr, Joan, 1972
King, William E. see: San Diego Symphony
"K" miscellaneous, 1938-76
League of Allied Arts, 1958-59
Lewitzky, Bella, 1949-75
Little Theatre of the Verdugos, 1933
Lloyd, Margaret, 1947-54
Los Angeles Herald Express, 1950-85
Los Angeles Times, 1949-85
Love, Frank H., 1951-60
"L" miscellaneous, 1940-85
Maracci, Carmelita, 1953
Martin, Donald, 1950-83
Martin, John, 1968
Martinez, Elsie, 1933-40, 1967
Metro Goldwyn Mayer Pictures, 1957
Mosk, Edward, 1955-73
"M" miscellaneous, 1944-72
National Endowment for the Arts, Dance Division, 1968-73
New York Public Library, 1961-74
New York Times, 1949-72
"N" miscellaneous, 1934-58
Occidental College, 1946-50
Ojai Festivals Ltd., 1951
"O" miscellaneous, 1949-64
Paul, Stanley, 1950-54
Paul Stefen Dancers, 1953
Paz, Juan Carlos, 1940
Pierce, Luisa, 1968
de Prida, Pablo, 1940-41
Pryor-Menz Concert Service, 1949-52
"P" miscellaneous, 1940-85
"Q" miscellaneous, 1952-56
Ramona High School, 1958
"R" miscellaneous, 1946-65
San Diego Symphony, 1954
San Francisco Ballet, 1973
San Francisco Contemporary Dancers, 1958
Satoru Shimazaki & Dancers, 1982
Shagan, Rena, 1975
Smuin, Michael, 1973
Solomon, Vida, 1953-54
State University of Iowa, 1954
Stokowski, Leopold, 1939
"S" miscellaneous, 1936-94
Time Magazine, 1973
Truitte, James, 1956-76
"T" miscellaneous, 1951-75
Union Institute, 1995-96
University of California, Los Angeles, 1938-75
University of Chicago, 1949-60
University of Cincinnati, 1971-73
University of Southern California, 1957-69
"U" miscellaneous, 1949-74
Unidentified, 1945-86, n.d.
Veterans Administration, 1950-53
Villa-Lobos, Heitor, 1940
"V" miscellaneous, 1949-76
Warren, Larry, 1953-77
WCBS-TV, 1963
William Morris Agency, 1951
"W" miscellaneous, 1949-75
Young, Marl, 1959
Young Men's & Young Women's Hebrew Association, 1937-53
Yuma Community Concert Association, 1952-53
"Z" miscellaneous, 1949-55
Production Materials
The production materials consist of manuscripts, graphic materials, and realia related to the performance of Horton works. The series is arranged by subject in the following order: Scenarios and Related Materials, Repertoire and Castings, Plays, Notes/Miscellaneous, Costume Designs, Set Designs, Set Piece, and Props. The scenarios, which are arranged alphabetically by title, include typewritten and holograph descriptions, outlines, drafts, and notes concerning Horton choreographic works, including some that were never performed. Of note is a rhythm score for Salome with choreographic notes, Labanotation of The Beloved, and a light plot for Liberian Suite. The three plays in the series, all by Horton colleague Sonia Brown, include scripts that may or may not have been used by Horton for choreographic works. The costume and set designs in the Collection, created mostly by Horton and Bill Bowne, are among the few surviving examples of production design for early American modern dance. The drawings, sketches, and paintings were made with pen, pencil, or mixed media, predominantly on tracing and construction paper. They are arranged alphabetically by title of work, which may or may not have been performed. Although many of the designs are not labeled with dates or titles, they are recognizable as belonging to a certain work or suite. The date span of the materials is approximately 1932 to 1952. The several props in the series, such as the bible used in The Beloved and the drum from Totem Incantation, are arranged alphabetically by title of work.
Scenarios & related materials
Annie get your gun
Barrel house
The beloved
Brown county, Indiana
Carnival in (Bahia, Recife or ?)
Carolina and the Quaker
The curious will of Josiah Manners
The cottonwood leaves are whisperin'
Dancing Americans
Dybbuk
The family
Girl crazy
House in the country
Liberian suite
Medicine show
De morte
The park
Phoenix aground
Prado de pena
Recuerdo de angustia
Rites of spring [Le sacre du printemps]
Salome
Salty dog
Sixteen to twenty-four
Sleeping beauty
Something to please everybody
Song of Hiawatha
St. Francis
Tierra y libertad!
Tongue and cheek
Warsaw ghetto
Unidentified
White savage
Repertoire and castings
Items
Teaching Materials
The teaching materials in the Collection consist of typewritten and handwritten manuscripts that describe the courses, classes, and dance technique offered primarily through Dance Theater. They are arranged by subject in the following order: Course Descriptions/Outlines, Lecture Demonstrations, Technique Descriptions, Lesson Plans and Course Outlines, and Labanotation of Technique. The course descriptions, developed by Horton and others, summarize the goals, objectives, and material covered in classes on dance technique (multiple levels), art history, theater practice, and so forth. The materials on lecture demonstrations such as "Introduction to the Dance" include Horton's notes and outlines of the programs he presented to educate the public on dance and his technique. The teaching materials also include lesson plans, course outlines, and technique descriptions (including Labanotation) by Carmen de Lavallade and other Horton disciples.
Course descriptions/outlines
Adult workshop
Advanced professional technique
Advanced technique
Art history II
Choreography
Choreography workshop
Composition
Dance research
Design for dance production II/Theater design II
Elementary progression
Fundamentals technique
Intermediate technique
Miscellaneous
Movement for actors
Theatrical practise
Lecture demonstrations
Introduction to the dance
Children's lecture-demonstration
Technique descriptions
By others
Lesson plans and course outlines
Labanotation of technique
Publicity, 1926-1996
The publicity materials in the Collection include news clippings, press releases, promotional material, and posters. The news clippings are arranged chronologically by year, and include previews, reviews, and interviews. They date from 1926 to 1996, with the majority dated from the 1930s through the 1950s. The press releases span the years 1948 to 1958 and consist mostly of typewritten drafts and carbon copies. They were primarily generated by Frank Eng to publicize Dance Theater performances, company members and students, and school activities. The promotional materials are comprised of handwritten, typewritten and printed items such as mailers, fliers, advertisements, and posters about Horton and his various dance groups, Dance Theater performances, school activities, and Horton alumni activities.
Clippings, 1926-85, 1992-96, n.d.
Posters
Press releases, 1948-58, n.d.
Promotional materials and advertisements
Programs, 1927-1996, undated
The programs in the Collection consist of original and photocopy versions of typewritten and printed programs of performances by Horton and his dance groups, by others of Horton works, and by Horton alumni. The programs are arranged chronologically and date from 1927 to 1996. Included are several programs of events connected with the Horton Collection, such as the photograph exhibit at Long Beach State University in 1984 and the reconstruction of Horton works at American University in 1996.
Undated
Music, 1918-1958
The music series consists of holograph manuscripts and printed music scores of original music and arrangements that were used primarily for performance and teaching. The materials date from 1918 to 1958 and are arranged alphabetically by title.
14 traditional Spanish songs from Texas: transcribed by Gustavo Durán. Washington, D.C.: Pan American Union, 1942.
Aesthetic ecstasy
Holograph manuscript for piano in pencil; 1 p.
Artistry in bolero. New York: Leslie Music Corporation, 1947.
Artistry in boogie. New York: Leslie Music Corporation, 1947.
Artistry in percussion. New York: Leslie Music Corporation, 1947.
Artistry jumps. New York: Robbins Music Corporation, 1946.
Babalú. New York: Peer International Corporation, 1939.
Beguine
Manuscript for piano in ink with annotations in pencil; 11 p.
Bim biri ho - Cuba antigua
Manuscript parts in ink with annotations in pencil
Bim biri ho
Bim biri ho: Mambo. Mexico: Hnos Márquez, S. de R.L., 1952.
Bizet has his day. New York: Mutual Music Society, Inc., 1942.
Blue flame. New York: Charling Music Corp., 1943.
Blue snow. New York: Leeds Music Corporation, 1943.
Boogie woogie. New York: Melrose Music Corp., 1943.
Brown County, Indiana
Photocopy of manuscript two piano part with annotations in pencil; 16 p.
Photocopy of manuscript two piano part; 16 p.
Brush off [blues]
Burla del unicornio
Manuscript for two piano part in ink; 14 p.
Caballo negro. Mexico: Editorial Mexicana de Música Internacional S.A., 1951.
Caballo negro.
Cholito the flop
Chôros No. 5. Brazil: Ediçao da Casa Vieira Machado de Guilherme Fontainha, n.d.
Chronicle
Closing
Manuscript for piano in ink with annotations in pencil; 2 p.
Danse Congo
Dedication to Ruth, Mary, Martha
Dithyrambos
Manuscript percussion part in pencil; 2 p.
The Elks' parade. New York: Robbins Music Corporation, 1942.
Five little dances for the piano. New York: G. Schirmer, Inc., 1946.
Five pieces on popular Brazilian children's songs. New York: Music Press, Inc., n.d.
Flight from reality
Manuscript sketch in ink and pencil; 7 p.
Frevo
Get happy - fox trot. New York: Remick Music Corp., 1930.
Growth of Action
The house on the hill: A madrigal cantata
Photocopy of manuscript chorus score; 20 p.
The hundred best short classics. London: Paterson's Publications Ltd., n.d.
Ican. New York: Mills Music Inc., 1954.
I'll never be free. New York: Laurel Music Corp., 1950.
Inebria
Jalousie
Photocopy violin part with annotations in ink
Jungle river boat
Arranger's holograph score in pencil; 10 p.
Latino. Mexico: Editorial Mexicana de Música Internacional, S.A., 1951.
Leap frog. New York: Leeds Music Corporation, 1942.
Look to the rainbow. New York: Crawford Music Corporation, n.d.
A lost soul in outer space, no. 1, op. 7
Love dance-cumbia
Arranger's holograph score in pencil; 12 p.
Copyist's manuscript parts in ink with annotations in pencil
Copyist's manuscript lead sheet in ink with annotations in ink; 3 p.
Lysistrata
Magic dance for piano and percussion instruments
Mambo jambo. New York: Southern Music Pub., Inc., n.d.
Mambo No. 5. Mexico: Editorial Mexicana de Música Internacional, 1948.
Mambo #5 - Bamboo Alley
Copyist's manuscript of lead sheet in ink; 2 p.
Mambo #8
Manuscript with pasted on photocopy of manuscript lead sheet; 1 p.
A manha da pierrete. Providence, R.I.: Axelrod-Music, 1938.
A mão direita tem una roseira
The matriarch: a ballet for 3 dancers
Medea
Manuscript piano I part in pencil; 10 p.
Manuscript piano II part in pencil; 8 p.
Mintika No.3: From the three Maries. New York: Carl Fischer, Inc., 1941.
Miscellaneous titles
Morning mourning
Photocopy of manuscript for piano with annotations in pencil; 24 p.
Occult
Manuscript sketch in ink and pencil; 1 p.
Old devil moon: Fox trot. New York: Crawford Music Corporation, n.d.
Orientale
Manuscript sketches in ink and pencil; [6] p.
The peanut vendor: Fox trot. New York: Edward B. Marks Music Corporation, 1928.
Prado de Pena see: Yerma
A próle do bébé No. 1. - Collecção de 8 peças. Rio de Janeiro: Sampaio Araujo & Cia., n.d.
Que te parece cholito: Tamborera Panameña. Mexico: Editorial Mexicana de Música Internacional, S.A., 1950.
Redskin rumba. New York: Capitol Songs, Inc., n.d.
Copyist's manuscript full score in pencil; 27 leaves
Manuscript percussion score in pencil; [70] leaves
Copyist's manuscript percussion parts in ink; 8 p.
Manuscript percussion score in pencil; [69] leaves
Copyist's manuscript percussion score in pencil; 49 leaves
Manuscript of choreographic-scenario material in pencil; 8 p.
Salome (Dance to Herod)
Manuscript score in pencil in spiral binding; [13] p.
Seguidilla
Copyist's manuscript for piano I in ink; 4 p.
Copyist's manuscript for piano II in ink; 4 p.
Sextette for piano and strings
Copyist's manuscript score in ink; 10 p.
Shootin' star
Photocopy of manuscript scores [13 separate scores]
Similau. New York: Campbell Music, Inc., 1948.
Sing sing sing: With a swing. New York: Robbins Music Corporation, 1936.
Skokiaan: South Africa song: Fox trot. New York: Shapiro, Bernstein & Co., Inc., 1952.
La soldadera
La soldadera (Orozco)
Something to please everyone
Stompin' at the savoy. New York: Robbins Music Corporation, 1936.
Suite for the piano. New York: G. Schirmer, Inc., 1942.
Temptation. New York: Robbins Music Corporation, 1946.
Things ain't what they used to be
Totem incantation
Manuscript piano score in pencil in spiral binding; [32] p.
Manuscript piano score part I in pencil in spiral binding; [16] p.
Manuscript piano score part II in pencil in spiral binding; [12] p.
Tropical merengue. New York: Edward B. Marks Music Corporation, 1955.
Trumpet blues and cantabile: Fox trot. New York: Paramount Music Corporation, 1942.
The twelve days of christmas. New York: G. Schirmer, Inc., 1952.
[Untitled]
The voice of Haiti. New York: Clarence Williams Music Publishing Co., Inc., 1938.
Manuscript of choreographic-scenario material; [5] p.
Xango
Copyist's manuscript lead sheet in ink; 9 p.
Copyist's manuscript lead sheet in ink; 5 p.
Yerma
Manuscript for piano II in pencil; 11 p.
Photographic Materials, 1930-1965
The photographic material in the Collection includes photoprints, contact sheets, and negatives, dated roughly from the early 1930s to the early 1960s, with the majority dated in the 1950s. The photoprints and contact sheets are housed together while the negatives are separate; the contact sheets are filed with the predominant subject on the sheet/roll. Within each format, the materials are arranged by subject in the following order: Performance and Publicity, Individuals, Groups, Classroom--Adult, Classroom--Children, Children--performance, and Miscellaneous. Every effort has been made to file the items appropriately. The photoprints are predominantly black and white in a variety of sizes. Subjects in the photographs are often listed on the back. The negatives include originals and copy negatives; photoprints of many of these items are in the Collection. Within the photographic material series, the performance and publicity category is arranged alphabetically by title of work, and includes rehearsal, performance, and publicity stills. The photographers, including some well known from the movie industry, were attracted to Horton's work and the activities of the Dance Theater. They include Laurance T. Clark, Constantine Hassalevris, Toyo Miyatake, Howard Morehead, Jerome Robinson, Leo Salkin, Ralph Samuels, and Charles Van Maanen. The classroom category includes workshops and may contain some rehearsal shots. Some of the dancers photographed in the children's classes and productions, such as Carmen de Lavallade and Sondra Orans, went on to become company members.
Photoprints
Performance and Publicity
7 scenes with ballabilli
According to St. Francis
Another touch of Klee (1951)
Another touch of Klee
Atlantis [film]
Art patrons
Aztec ceremonial
Bal Caribe
Bamboo alley, bal Caribe
Bolero, bal Caribe 1954
Bouquet for Molly (1950)
Carmen
Chungsville
La crèation du monde
Cuba antigua
Danzón cubano
Dedications in our time.
The empty chair
Estilo de tú. Frevo [also used in Tropic trio]
Estilo de tú. Xango [also used in Tropic trio]
The flop
Frevo (1951)
Jenny and the bench of the lamb
Kandyan, bal Caribe 1954
Liberian suite (1956)
Liberian suite (1952)
The mine
Mound builders (1935)
Mirror, mirror
Miss Salome, bal Caribe 1955
On the upbeat
The park [El rebozo]
Plumed serpent
Publicity, general
Pueblo eagle dance
El rebozo see: The park
Rhythm section. Drum dance
Stick dance
Le sacre du printemps, 1937
Salome (1948)
Salome (1950)
Sarong paramaribo
Sixteen to twenty-four (1940)
Something to please everybody. Pathos
Song of Hiawatha, 1928
The spirituals
Takwish
Tierra y libertad! (1939 or 1940)
Tinnikaling
Tongue in cheek
A touch of Klee and delightful 2
Tropic trio
Warsaw ghetto (1949)
Unidentified works (1948)
Individuals
Bishop, Leigh
Brunswick, Liz
Covacevicia, Nick [Navaro, Nick]
de Lavallade, Carmen (with others)
de Lavallade, Yvonne
Ellington, Duke
Ellington, Duke (with others)
Eng, Frank
Foster, Suzanne
Finch, Constance
Gernreich, Rudi
Goldoni, Leila
Hanayagi, Tokuyae
Hill, Jack
Horton, Lester
Horton, Lester (with others)
Johnson, Janice
Johnson, Suzanne
Kadden, Diane
Katz, Gita
Kawasumi, Nana
Koerner, Martha
Lewitsky, Bella
Limiou, Jeanna
Maldonado, Larry
Maracci, Carmelita
Meyer, Mary [?]
Mitchell, James
Orans, Sandra
Ratcliff, Carl
Salkin, Jeri
Silver, Lilyan
Trisler, Joyce
Truitte, James
Van Cleve, Kita
Groups
Dance Theater Company (and others)
Dance Theater-dancers
Opening of Choreo 1950
Classroom - adult
Workshops
Classes
Movement studies
Movement study
Movement study [lecture demonstration ?]
Rehearsals [?]
Classroom - children
Children - performance
Album
Associated captions
Negatives
Drawings
The few drawings in the Collection are an assortment of sketches and blueprints in mediums such as watercolor, pencil and ink, and charcoal. Of note are the architectural sketches and blueprints of Dance Theater by Horton and architect R.M. Schindler and watercolor sketches of dancers performing Horton technique by Verena Ruegg.
Dance Theater, architectural blue print by R.M. Schindler (architect)
Dance Theater, architectural sketches by R.M. Schindler (architect)
Dance Theater, architectural sketches by Lester Horton
Dance Theater, sketch by Lester Horton
Dancers [?] by Lester Horton
Horton technique by Verena Ruegg
Workshop sketches by Keith Finch
Scrapbooks, 1929-1950
The two scrapbooks, which cover the years 1929 to 1950, contain newsclippings, programs, photographs, and the like. In particular, scrapbook number two provides thorough coverage of the period 1929 to 1950.
Restricted: Do not serve -- BOX: 51/2
#2, Photocopies
#2, Originals
Restricted: Do not serve -- BOX: 52/13-23
Business Papers, 1930-1975
The business papers series consists of financial, legal, and administrative records that document a range of matters both professional and personal. The materials date from the 1930s through the mid-1970s. Of note are papers related to performance and production such as contracts and performers' biographies, internal communications such as memos and notices to company personnel, and school administrative records.
Addresses
Bank statements
Bills & receipts, 1935-61, n.d.
Biographies/Credits
Calendars, 1957
Checkbooks
Choreo 76 proposal
Choreographic service (notes)
Contracts, 1928-61, 1971-73
Dance Theater plans
Financial, miscellaneous, 1947-49
Forms - blanks
Grants
Income, miscellaneous, 1940s, 50s, 70s
Inner City Cultural Center 20th Anniversary Celebration, 1985
Insurance, 1950-61
Internal communications, 1950-60, n.d.
Ledgers
Legal documents, 1906, 1938-61, 1975
Lester Horton Dance Theater Foundation, n.d.
Loans, miscellaneous, 1950s
Mailing lists 1
Mailing lists 2
Newsletters, 1950-53
Payroll, miscellaneous, 1940s, 50s
Production - administration, miscellaneous, 1930s, 50s
Production - ticket sales, 1930s, 50s
Publicity - administration
Real estate, 1930s, 50s, 60s
Road maps
Rubber stamps and keys
School, 1948-50
Taxes, 1940-61
Publications
The publications in the Collection are comprised of magazines, catalogues, and books that were most likely used by Horton for research and reference.
5 by 2, n.d.
Album del IV centenario Guadalupano, 1938
Capitol news, 1951
Dance observer, 1952
Dance perspectives, 1963-67
Dance techniques and dance mart, 1950-69
Design in the theatre, 1927
Dictionary catalog of the Dance Collection, Research Libraries of the New York Public Library, n.d.
Federal theatre, 1936
Folkways Records & Service Corp., n.d.
Los Angeles Music Company, n.d.
Los Angeles Public Library books on the dance, 1938
Miscellaneous, 1941-58
Modern Japanese music, n.d.
Música y danza, 1943
Musique d'orchestre, 1940
Musique de piano, 1939
Musique vocale, 1938
Musique Soviètique, 1938-40
New Mexico Indians, 1948
Schirmer catalogs, n.d.
Vincent Van Gogh, a loan exhibition of paintings and drawings, n.d.