The 1920's through the 1940's Lester Hortons life was devoted to developing his own dance technique. He based a lot of his movement around his studies of traditional native american movement and dances. Lester also studied the Aztecs, Haitians, and Africans. His work differed so much from other choreographers in this time period because of his study and focus on the human body. He studied anatomy and the way dancers use their bodies. He spent a lot of time on research and in the studio rather than on stage and preforming. Lester believed the classroom was the stage; there were no mirrors or barres. There was no traditional ballet in any case. For instance his technique is designed to improve dancers physical limitations. He formulated exercises to strengthen the body for performance in any style. His movement was kinetically sound and adaptable. There were pelvic movements in dance for the first time. Lester developed them from traditional African movements. He used the deepest second and fourth positions possible knowing that the body is the strongest and most solid there from his anatomy studies. His goal was to mobilize every joint. To achieve this there were swinging patterns, and sharp, clear, and exact rib articulations. For example a jazz warm up today could compare to a Horton exercise. Ana Marie Forsythe, the chair of the Ailey schools Horton department states. . ." Many jazz teachers incorporate some of Hortons Ideas in their warm-ups." The Flat backs, Lateral stretches, tilt lines, and lunges I have personally experienced in jazz warm ups I have been involved in.

Lester experimented with popular music of the time. He used musicians such as Duke Ellington, Stan Elington, and Les Baxter.