Intents

Inspiration = Ailey made the work to say something about the huge influence that
black women have had in my life. I am trying to express something that I
feel about, life, the human spirit, the beauty of things
Overall Intent A 16 minute 3-part plot less solo tells of life, work and spiritual rebirth as experienced
by an everyday women - the experience of living black in America. Ailey explores the
struggle from sorrow and pain to joy and freedom. It depicts the struggles of different
generations of Black American women.
Section 1 Intent She represents those women before her who came from the hardships of slavery. The
defiantly shifting images of identity. A depiction of contemporary African American
identity.
Section 2 Intent The pain of losing loved ones, through overcoming extraordinary depressions and
tribulations.
Section 3 Intent Coming out of a world of pain and trouble she has found her way and triumphed. A
joyful release and the sensation of survival. It depicts an expression of belief and
happiness.
Quotes by Ailey =
Dedicated to all black women everywhere - especially our mothers.
I believe dance is from the people and should be delivered back to the people.
Show the tapestry of richness of the black experiences of the country.
I am trying to show the world that we are all human beings and that colour is not
important. What is important is the quality of our work.

Skills of Analysis
Components

Movement, spatial elements, dynamic elements, aural elements, dancers

and setting and environment
- In descriptions talk about where, what and how - movement gestures, spatial,
emotional dynamics
- Say what it is and then how and where it is done
Section 1 The overall section is about the roles women had to undertake during slavery.
It is in a way a faade; we dont see the dancers true emotion until section 2. She
replicates a woman of strength and pride but underneath she is broken.
Nearly every phrase shows her true identity and culture or her bound by slavery, this
fluctuates in every phrase.
Towards the end of the phrase her culture is reflected more but it ends in slavery as
she slowly lowers to the ground - succumbing to slavery and accepting her role.
Example of defiance
- the beginning phrase - the circular sway portrays internal thinking and struggle
and then as the dancer opens up her arms and the scarf lowers from above her
head she shows determination against the white material that surrounds her.
- the second last phrase - 2 significant pauses show pride and confidence;
fighting back and being defiant; she looks at the scarf - acknowledging her role
as a slave
Example of being controlled by white people
the zigzag walks - the material is laid across her arms and is guiding where she
walks; controls where she goes - she walks tentatively and cautiously, her head
glancing from side to side - worried
- the scarf is a physical symbol of a barrier as she dancers behind it - when she
first gets off the floor she spins, appearing free but she is heading backwards she then percussively contracts her torso and with an angular arm line, reaches
toward the material, as if longing to get past it
- many of the phrases incorporate some sort of gesture to the scarf - a longing or
pleading
- the struggle in the scarf - stands on ends of scarf and portrays being bound and
shackled showing restriction and burden
- end of section - hands crossed at wrists above head - inferiority, turns sharply
and stares at scarf as if knows her place, then runs and lunges at scarf, repeats
hand position but sitting on ground facing back, slowly lowers to the floor surrendering to suppression
Example of being frustrated at work
- material across the front phrase - the repetitious movement of aggressively
throwing the material and then tenderly straightening out, then contracting her
torso shows frustration at white control but also care for her duties
- this phrase is repeated twice more in the phrase to show no sense of
progression
- scrubbing of the floor - her head and body are erratically thrown around as she
concentrates all of her efforts into cleaning

Example of hardships
- run and grab phrase - running and reaching upwards and then contracting with
fisted grabs and shuffling backwards, doubled over shows desperation and
struggle but repetition to other side shows resilience - whole phrase repeated at
the end of the section
- crawling on knees and convulsing body phrase - the hard labour and
suppression of everyday life
Example of culture and pride
- head scarf - the dancer runs with the head scarf draped off her head
representing strength from her culture and pride - projection from sternum and
sense of dominance in composure
- fluttering of hands towards the end of the section - organic movement - pulls
skirt up and does dominant walks, chest held high, determination, repeated in a
few phrases
- attitude derriere turns with skirt
- dynamics and weight portray freedom
- wafting and wavering of arms and open arm shapes, deep plies and contractions
- polyrhythms and percussive dynamics

Section 2 Repetition of movement shows that she has the same lifestyle day in and day out - no
progression
The movement evokes sympathy through always closing in and shutting off the audience
She is sure in what she wants but cant get it
The dimensions of her shapes grow as the severity of her situation does
Internal pain and struggle are shown through
- contractions
- squirming
- slow with moments of fast movements/ percussive and sustained dynamics
- upheld back shows strength but the physical burden of slavery too
- being beaten down with a slow motion stabbing action
- being pulled by the arms in opposite directions - not going anywhere, theres a
glimpse of hope but its then shut down
Hardships and pleading shown through
- reaching upwards
- the quick refraction of her arm shows she has hope but there is no one there to help
- ponches and leg extensions - suspended and elongated longing and then
withdrawal and breaking of the shape shows didnt achieve it
- uncontrollable turns - even though she has progression in the space her situation
never progresses no matter how hard she tries - frantically kicking and reaching
towards diagonal but gets no where, repeats whole thing again to other side - so
much determination and resilience yet not achievement
- venturing - the coming and going in the space
- moment of stillness after intense turns and kicks - convulsing torso and weeping
connotations, uses dress to wipe/hide face
- when she screams and her inner emotions are shown the audience sees that she is
weak and vulnerable underneath her cultural pride
- turning and leaping in a circle sequence shows strength and power - fight to
overcome - stops - looks off stage - as if she knows it was all for nothing - wilts to
the floor - dramatic reach towards scarf - pleading and exasperated - wants to
overcome
- end phrase - reaches towards front - longing and pleading - collapse into a deep
plies in second with hand hitting floor - failed
Bound by slavery shown through
- always having an arm or leg line with one part bent and one part straight to show
the restrictions of slavery, she almost gets freedom but never quite reaches it; cant
move past it
- The turns that locomote but turn back on herself show progression but that leads to
no where
- oppositional pulls reflect her uncertainty
- percussive reaches and kicks show determination to get through her hardships - she
repeats the same sequence to two different corners showing willpower and
resilience
- In the second last phrase her arms are thrown behind her back - an image of being
tied up and punished for her actions
Helplessness shown through
- phrases at the end where she is exhausted from trying so hard, she wilts to the floor as
the lethargy from trying over and over again sets in - she repeats the shape from the
end of section one with her arms crossed above her head

The last phrase is a summary phrase where she repeats various movements from
throughout the section - there is no progression, all the emotion, pain and trying was
for nothing, she has a voice but isnt heard

Section 3 Does the same movements as section 2 but with energy and a quality completely
different
Very afro orientated - connection to culture in dance
Looking out at the audience shows her confidence through her culture
Splayed hands reaching up no longer mean pleading but a celebration
Arm and chest releases and isolations = freedom
Spirited in nature - movement going in different direction showing a celebration
everywhere
She is still behind the scarf though showing still no progression
Polyrhythms and syncopated rhythms also reflect her culture
Intricate foot work - not grounded any more but constantly moving even if not
travelling
Attitude turns, spins and kicks show high energy and big use of space
Hitch kick and then kicks to second on both legs and then repeat is a celebration massive use of kinaesphere - broken free from shackles of slavery
The contractions show more a sense of pushing away and release rather than bound
and sorrowful
Use of skirt gives a wafting/flapping quality to the movement = free spirited like a bird
Even though the focus is inward it is more of a celebration of self and not of sorrow
Her expression changes to a smile
Lots of turns going outwards rather than inwards = release
Only uses medium and high levels except for one time when she gets down to pray,
not out of pleading but thankfulness
Ends in a fade out = never see it end, it keeps going, the story hasnt ended, we are
left to question

Music (Aural Elements)

Movement works closely with music - accents, stillness (dancer continues to

move - represents pain continuing), lyrics, rhythms, duration of movement,
contrast (juxtaposition to tempo)
As music climaxes and rises in energy - movement compliments
Long duration of notes = sustained and held shapes
As verses repeat, movement repeats - reinforces pain and turmoil through
movement and messages in the music

Section 1 - Alice Coltranes electronic score, Something About John Coltrane

- spiritual, majestic and atmospheric sounds flow out of the harp and piano and the
soprano of the saxophone
- in the jazzy section - fluttering of arms - moment of cultural strength and freedom,
very organic, but after each phrase she collapses forward from the torso - this
freedom is only momentary - she gets knocked back to her role as slave
Section 2 - Laura Nyros, Been on a Train
- emotion and heartache of the lyrics reflected in the dance
- distinct and loud piano chords used for holding shapes and emphasising dynamic
force - energy of movement coincides with the percussive nature of the music
- flux of rhythmical actions - acceleration leads to a sudden pause or stop - accent
Section 3 - The Voices of Harlems, Right on be Free
- strongly righteous
- chorus work = testament to the power of the people
- gives deep soulful feel
- firmly grounded in the lyrics
- reminds us that little is more powerful than the human spirit, and with focus and
determination, anything is possible
- songs are a source of strength and encouragement
- Partay! Vibrancy and energy from music shown through movement
Dancers -

- Solo dancer is more personal and is able to portray a variety of roles and show the
full range of experiences black women endured

Skills of Analysis
Organising the Movement
Motif, phrase, motif into phrase
-

Motifs help communicate the emotions and themes within Cry

They connect real emotions to real issues that were present in Aileys life, and of all
the African Americans before and after him - racial discrimination

Section 1
-

initiation of circular pathways by percussive jolt

sustained lunges
contractions with angular arm shape
combination of sustained slow release of tension and forceful contractions (different
qualities portray different aspects of the intent)
vibratory actions - scrubbing and twisting/wrapping of scarf
reaching - not much
locomotes through running and turning - reflect freedom - not bound - pride
carriage of torso - elevated posture - her culture - emphasised through projection
varying roles and actions due to her shifting images as she cant find her identity in
her supressed society - she fluctuates between different emotions
vibratory fluttering of her hands - traditional afro culture - see freedom and
enjoyment - flourishing in the culture she presents
circular arms and gestures around her head and torso in a sustained manner femininity and pride as a female and mother

Section 2
-

contractions - vigorous - quick and rapid

collapse
circular motif done on a large dimension
extensions of arms and legs
oppositional pull
limbs follow and move along contours of the body (touching gesture)
reaches - but always something holding her back
contractions turn into weeping
angular arm shape
repetition of phrases with varying time or dynamic
stabbing action unique to this section

Section 3
-

splayed shape
polyrhythm
extensions and circular actions still there but timing is different (isnt tense or
bound but free)
flapping/wafting - very prominent and characteristic of this section
how she moves her torso changes the look of the motifs used in previous sections
isolation
extensions
repetitions representative of what she has endured and now achieved reinforcement!

Skills of Analysis
Organising the Dance

Sequencing, transition, repetition, variation and contrast, formal structure,

unity
- Cry is structured to show the progression of black people throughout history, in
particular, women.
- Each section develops a new experience and layer to the journey they have endured.
- Variation and contrast = many ways material is used - representing many roles
and themes
= use of motifs - reaching means help in first 2 sections but
thankyou in last
= movement is often the same throughout the sections but the way
it is performed changes its meaning i.e. time and dynamics
- Unity = use of motifs throughout dance, transitions
- Transitions - in silence and we see her transform from section to section
= end of section 1 - hands crossed at wrists above head (abstraction
of opening shape) - inferiority, turns sharply and stares at scarf as if knows
her place, then runs and lunges at scarf, repeats hand position but sitting
on ground facing back, slowly lowers to the floor - surrendering to
suppression
= end of section 2 - reaches towards front - longing and pleading - collapse
into a deep plies in second with hand hitting floor - failed - the last phrase is a
summary phrase where she repeats various movements from throughout the
section - there is no progression, all the emotion, pain and trying was for nothing,
she has a voice but isnt heard
- Ending = The ending of Cry suggests that that journey continues on, as we see the

dancer continue to dance while the music and lights fade out and the curtain
drops. We dont see a definite end; the story will continue and develop for the
future generations.
- Phrases = gradually reveal intent to audience that develops over the duration of
the dance
= help to reveal the various identities
Section one is structured to portray an array of shifting images of identity; it gives an
overview of the many roles black women had to fulfil and the hardships of slavery and
black oppression. The phrases fluctuates between the dancer being in pain, working
hard to fulfil the demands placed upon her, pleading for help and a way out of her
circumstance, and showing the dancer as determined, strong willed and proud of her
cultural heritage and identity. However, every phrase that she stands up proud and
tall is followed by a phrase where she is knocked back. She never full achieves
progression.
Aileys use of repetition throughout this section highlights the constant battle fought
to be equal and gain freedom from the suppression black people endured. (phrase on
floor with material repeated 3 times) (phrase running and grab on diagonals repeated
on right then left, then whole phrase towards end of section)
Section two is structured to evoke deep sympathy from the audience, achieved by
always closing in and shutting off the audience. The dancer is sure in what she wants

but cant get it and the dimensions of her shapes grow as the severity of her situation
does. (examples)
Repetition of movement shows that she has the same lifestyle day in and day out - no
progression
Section three is structured to express a joyful release and the sensation of survival.
Many of the phrases have movement in them from previous sections but the change
in dynamics and timing makes them unique to this section.

Skills of Analysis
Interpretation of the Work
Context
- Is what is used to create intent
- Context is the meaning of the work and Aileys influences affected the context of Cry.
- It is the cultural, historical, personal and social background and gives the basis of the
movement Ailey uses for his idea.
Cultural = religion and Africa

Cultural relates to his religious faith and the morals Ailey experienced growing
up throughout his life - the African heritage embedded into him through going to
church
Symbolism - heavenly, Christian connections
Poised projected carriage of the body - priestess
Fabric offering at the beginning could be seen as a religious practice - ritualistic
nature of lunges and carriage of body with cloth draped carefully over her arms
- a totem to God
White cloth = purity
White costume = purity
Dancer uses circular motions of the upper body with high releases showing
cyclical nature of their life and ongoing nature of faith - projection upward to
God
Also shown through the physical representations of prayer and kneeling
Could have given up but continued to show strength throughout - faith provides
internal strength and resilience
Section 3 highlights cultural celebrations and energy found in community praise and worship - lots of gestures heavenward and open
Risen up from adversary and is strong - rejoicing for changes that occurred
Also when she uses cloth as a head dress pride in culture/priestess

Historical = segregation/slavery/discrimination

Historical relates the era in which Ailey worked segregation, civil rights,
struggles etc but also the hope found from activists such as MLK and RP
An example of this hope is in section 3.
The movement consists of elevated jumps, leaps etc showing pride and joy
Freedom from past American policies

Segregation is shown through cloth - stands below it at start; inferior - is

controlled by it as it leads her forward - lays it out at front of stage and never
advances beyond it; a barrier, symbolic of historical situation
Slavery and anguish shown through bound movement and contorted/twisted
shapes

Personal = mother

The personal context was derived from a variety of life experiences faced by
Ailey; the main focus being his mother and her struggles - Aileys connection to
his mother from childhood
Her spiritual background and inner strength are represented physically by the
dancer with high releases of upper body and circular motions of the arms
Also shown through the physical representations of prayer
Maternal job to keep the family together and strong - nurturing of scarf on the
floor
The sorrowful connotations used by the dancer show the hardships of
motherhood scrubbing the floor, working to put food on the table

Social = trapped and beneath

Social relates to societies views on African Americans during the time inferior,
cyclical nature of their troubles, they felt weighed down, trapped etc.
An example of this in the movement is when the dancer uses the white cloth as
a symbol for being trapped- wraps it around herself and struggles inside its hold;
shackles

Ideas and meaning communicated is like intent in composition

- The expressive meaning of the work is to portray the cultural identity of African
American experiences
- It is an expression of emotion, a celebration of culture and motherhood
- The work incites empathy in audiences through their understanding of Universal
themes explored in the work

Hardship scrubbing floor, utilitarian movement, facial expression

Frustration isolation of torso, clenched fists, flexed feet, percussive movement,
inward and outward, scream, fists, shackled squirm, cleaning of the floor
Pain and suffering contractions, isolations, non-locomotor, complementary
shapes, scream
Trauma rapid, sharp, quick brush flicks of body
Struggle constant reaching and searching
Freedom circular movements, use of high space

Despair reaching out, sustained, high release followed by collapse dynamic,

open shape, contraction,
Pride elevation, high release
Culture traditional African American movement, grounded
Femininity role as both a sexual partner and a mother shown through contrast
in movement and dynamics

- Identities in Cry = Mother, slave, cleaner/labourer, priestess/African, female, NeoAfrican

Subject matter is like concept in composition
- The themes that run throughout Cry are the relationship with his mother,
entrapment, discrimination and cultural influences
- Pretty much the same as above

Genre
- Genre is the type, style and classification of the movement

Incorporates Afro-American style - high release, flexed fingers

Contemporary/modern - contractions, abstract lines and shapes, arabesque
Third section incorporates jazz
Representational/literal movements used - reaching, pleading, praying,
screaming (reinforce pain), banging floor, scrubbing/cleaning, punching,
grabbing

Significance
- Is always relevant to intent and what the choreographer wanted to portray
- The expressive meaning of the work is to portray the cultural identity of African
American experiences
- It is an expression of emotion, a celebration of culture and motherhood - reflection of
his mother
- The work incites empathy in audiences through their understanding of Universal
themes explored in the work

Shows audience the experiences of black people, in particularly, women

An outlet for public to see in an artistic way the treatment and consequences of
this treatment, has on black Americans
An appreciation for all they endured and the strength they showed throughout
their life and the adversity they faced

Skills of Analysis
Evaluation
Concepts under which evaluation is made
- Personal response - how did I feel when I watched the Work? What emotions, images,
ideas and physical feelings are stimulated by the Work?
- Your writing will be influenced by your own experience and background, and what
you see and feel will be different to what others interpret
- To fully appreciate a Work we may need to look into background information on its
context - the social, personal, historical and cultural events influencing the work
General values of society
- tolerance, openness, respect, teamwork, love, beauty, goodness, selflessness, selfgivingness, gratitude, freedom, equality, human rights
- beliefs, a mission or philosophy that is meaningful
- values are psychological objects
- people dedicate their work or lives to pursue their values
- our values determine our decisions and guide our lives
- In society, we come to recognise that certain principles or guidelines are essential
for the survival or vital growth of the individual and the community - learning by
experience, essential principles are passed onto future generations as cultural
guidelines for action
Specific values in the context of the work
- personal values guide people to make decisions in life - this is the same for the
creation of dance - Ailey was motivated by his desire to portray the black American
experience, leading to choreography related to that value.

- challenge, determination, freedom, government power, human rights, faith,

spirituality, strength, tolerance,
Worth and merit, effectiveness/appropriateness of the work,
effectiveness/appropriateness of the performance

Writing and Criticism

Reading and writing reviews - newspapers magazines journals, the role of
the critic in dance, placing the criticism in context
- Personal response = subjective response to work - share your point of view with
others
= will focus on how reader viewed the work - the emotions, images
and ideas and physical feelings stimulated by the work
= your writing will be influenced by your own experience and
background
- Formal analysis = unpacks a dance from a structural point of view
= reveals how the choreographer used elements of creation
(movement, music, set, costume etc.) to portray meaning to an
audience and how it all relates and works as a whole
- Contextual analysis = describes and interprets the history and influences of the work
= requires research about the work
= may include reference to social, historical and cultural
influences on the work and the choreographers background,
experiences and intentions
- Review = includes features from above texts
= gives a personal opinion (based on extensive experience and knowledge)
about a work

Prescribed Choreographer and Their Work

Era/period in which Alvin Ailey worked
1950s 1970s (Cry made 1971)
Civil Rights

Worldwide political movement for equality between 1950-1980

Campaigns of civil resistance aimed at achieving change by non-violent forms of
resistance
1960s injustice could no longer be ignored
Civil rights legislation 1968 civil rights act made it illegal to discriminate on the
basis of race, religion, sex and national origin.
Equal political and legal rights for African Americans however, slower to accept
their rights to social and economic equality.
The average wage for an African American was half of a white person. Nearly
three times as many African Americans lied under the poverty line.

Poverty

1950s African American schools lacking in toilets, running water and even
desks.
Increased violence 1960s riots broke out causing poverty
African Americans during the 60s had a lower life expectancy
Less access to Medicare
Inferior accommodation
Property damage

Martin Luther King

February 1960 a group of African American college students refused to leave

their seats at a whites only Woolworths cafeteria entire day forcing cafeteria
business to a standstill
Martin Luther King encouraged this non-violent initiative he admired the work
of non-violent protesters like Mohandas K Ghandi
He led demonstrations that achieved some integration
He encouraged children and teenagers to participate
During his demonstrations he was arrested and imprisoned for eight days

In 1960-61 70 000 people took part in sit-ins as eating areas and other public
facilities

Background and training

Background

Born in Roger, Texas on the 5th of January, 1931

Father abandoned them when Ailey was 6 months old
Raised by a single mother Lula who was 17 at birth
Alvin feared and mistrusted white people after his mother was raped
He and his mother moved often as she struggled to find work - ramifications of
the Great Depression
Coming from the South, strict segregation of white and black races was
reinforced church, homes, restaurants, bathrooms etc
Political rights were taken away from blacks
Lynchings, beatings etc of blacks
He had feelings of rage but also pride, found in experiences with the Southern
Baptist Church
Black churches were lively in culture and encompassed an uplifting atmosphere
Education for white people was superior and they were given many more
opportunities and resources black schools did not receive funding/equipment

Training

Aileys interest in dance was sparked by a high school excursion to an all-white

company dance performance the Ballet Russe
Ailey did not become serious about dance until 1949 when his school friend,
Carmen De Lavallade introduced him to the Hollywood studio of Lester Horton
1949 Alvin began classes as the Lester Horton School - major influence became mentor - gave him a technique and a foundation from which to grow
artistically
Horton organized the first multi-racial modern dance company in the US
One of the few teachers who would let Black dancers into his studio
He studied contemporary dance with Hanya Holm, Martha Graham, Doris
Humphrey, Anna Sakolow, Katherine Dunham and Charles Weidman
Briefly studied tap didnt like it
While in NY he studied ballet with Karel Shook

Influences
Church

Growing up with quite a traumatic childhood the church helped him to establish
pride and community
It gave him a place to belong and feel accepted
Seeing the joy it gave his mother and the rest of the community made Ailey realise
its importance in African American culture
Gospel music was a source for lyrical content used in his works
Black Americans used gospel music to express their discontentment and sadness of
their hostile environment

Lester Horton

Ailey viewed Horton as a father figure

His first choreographic piece was a tribute to Horton
Ailey has said that the technique he learnt form Horton has continued to affect and
influence him and his work
It is an important part of the curriculum at the Alvin Ailey American Dance Centre
and continues to be an inspiration for his choreography
He said the Lester Hortons influence went beyond the studio
Lester Horton was the greatest influence of my career.
Horton was a mentor and gave Ailey a technique and a foundation from which to
grow artistically
He taught him the aesthetics of production - costume, lighting, set etc.
Seeing the struggle and challenges his mother faced created a high respect with
Ailey for his mother
Hortons technique - torso generated, elongation. Body is lengthened and each
section of the body is isolated

His Mother

After seeing his mother raped and struggle through life, trying to find work, Ailey
had an upmost respect for her and all women
Lulas ability to care and raise him by herself, the sacrifices she made so that Ailey
could have food on the table all contribute to his work
Despite their wealth, Alvin always felt a sense of support from his mother - as a
child with his poetry and this devotion throughout hardship also influenced his work

Theatrical Experiences

Alvins theatrical experience influenced his aesthetic concerns

Aileys dramatic experiences affirmed his basic sense of heightened theatrical

scope and projection
Aileys experience in the commercial theatre influenced his understanding of what
appealed to audiences of the post war era
His varied theatre experiences contributed heavily to the amalgam of dramatic,
theatrical and pure dance technique that became Aileys signature choreographic
style

Culture
Aileys black heritage and pride in his culture
History of slavery
Segregation
Hardship
Celebration of faith
Afro music

Choreographic/movement style
General

Ailey made use of any combination of dance technique that best suited the
theatrical moment
He pushed his company toward a performing style, full of glamour, with
beautifully trained dancers
Valuing eclecticism, he created more a dance style than a technique
He wanted his dancers to have strong projection with a ballet bottom and a free
top
He incorporated the whole bottom

Church

His inspiration partially came from the joyous approach to dance he experienced
in the gospel churches

Culture

Africanist dance values downward directed energy, instant rhythmicity and

access to a dynamic flash of the spirit that is spontaneous and unpredictable
Black American roots - African American

Lester Horton

Horton developed a dance technique reputed to fortify, stretch and strengthen

the human body in preparation for its use as an instrument for expressive dance
Every muscle of the body is lengthened and each section of the body is isolated
His technique utilises all spatial planes and movement levels

Known as architectural technique - focusing on joint mobility, developing,

throwing, flinging, swinging, casting and off balance movements and his
expressive use of the rounding and arching spine
Torso considered to be the origin of all movement
His movement works from the joint out - exploration of anatomy
All the elongated reaching with upper body shapes and lateral rotation of spine
into E looking shape is Horton technique