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 Horton's writings include published and unpublished material on his work and ethnic dance, including a manuscript on Salome, his seminal choreodrama that he reworked throughout his career.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 Writings by Frank Eng include drafts of articles, several unpublished manuscripts, and autograph and typewritten notes and notebooks.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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

The publications in the Collection are comprised of magazines, catalogues, and books that were most likely used by Horton for research and reference.