possibilities. It is the kind you see exhibited by a dancing team in
public and private ballrooms and at social or club functions, and may
take the form of the exhibition fox trot, the exhibition one-step, the
tango, the exhibition waltz or the whirlwind dance. It is very pretty
and very profitable work for those who are adapted to its
interpretation. This type of dancing is not taught in classes in the
Ned Wayburn Studios, but is given special attention under qualified
private tutors, in private lessons, and has prepared some remarkable
dancers in this field. Two of the popular dances which I have
conceived and arranged and which have lately swept the world are the
ballroom "Charleston" dance and the exhibition "Charleston."
As my pupil you will discover in the course of your advancement that
you have a particular preference for one of these types of dancing, or
perhaps two, or three. Each person has his or her own personality, and
certain personalities are better suited to the Tap and Step style of
dancing than to the Ballet, for instance. But in order to meet the
competition in stage dancing in the future, you require a knowledge of
the five basic types, as outlined.
I cannot emphasize too strongly the importance of _personality_ in a
successful stage career. Along with the actual mastering of the
dancing steps and acquisition of health and a beautiful body, comes
just as surely the development of personality. And since each
individual has a distinct personality it is advisable for everyone to
select the type of dancing best suited to that personality. It is
because of this quality that the performance of stars like Evelyn Law,
Marilyn Miller, Ann Pennington, Gilda Gray and Fred and Adele Astaire
leaves a lasting impression. Every step, every movement is designed to
drive home the characteristics of their individuality. Even more
important than the actual dancing steps they do is the manner in which
they execute them--the individuality which gives expression to all
that they do. It is the almost indefinable factor called personality
which lifts one out of the ranks of the chorus and makes the solo
dancer. In this book I am trying to help you develop your personality,
in the way that I have discovered and developed the personalities of
so many of today's stars.
Most emphatically I want to impress upon you that it is not "chorus
work" that you learn in my courses. It is professional, individual
dancing, taught thoroughly and completely.
Anyone who masters the dances takes on a certain confident feeling in
time, after exercising great patience in practice. With this
confidence the happy pupil radiates a new magnetic personality which
the audience feels. But more about this later on, when you will learn
just how one's self is injected into the dances until they are
vitalized and made living exponents of a beautiful art.
NED WAYBURN'S FOUNDATION TECHNIQUE
[Illustration]
The human body is the instrument of the dancer, and must be as much
under the direct command of the dancer as the violin is at the command
of the musician. It must respond instantaneously and without effort to
every emotion and thought in the dancer's mind. To do this it is
obvious that the physical mechanism of the entire body must be
completely mastered and controlled.
The first stage of the work to achieve command of the human frame as a
dancing instrument is to bring about flexibility in all its parts and
obtain muscular guidance and control. This demands a special technique
that shall coordinate in harmonious functioning all parts of the body
by an unconscious effort of the mind.
[Illustration: CLASS IN DANCING FOUNDATION TECHNIQUE AT THE NED
WAYBURN STUDIOS.]
The foundation technique which I evolved for the Ned Wayburn courses
is a limbering and stretching process for the body, which precedes the
teaching of dancing steps, fitting all pupils properly with a basis, a
foundation for the important work to come. Without these exercises,
all of which are set to inspiring music, muscles employed in dancing
would remain taut or soft and not respond properly, the pupil would
quickly tire, and the attempt to dance become an unavailing effort.
With the limbering and stretching course, time is saved in
preparing the student for the lessons to come, and the time necessary
for the training and development of a dancer is much shortened from
the long apprenticeship that once prevailed under the old antiquated
Ballet technique. What is known as the Ned Wayburn method brings into
play all the bodily muscles that are essential to the dancer's use,
gives strength, suppleness and symmetry to the entire body. All forms
of outdoor exercise are valuable adjuncts to bodily health and
strength and beauty, but supplementing them the dancer must carry on
with just the foundation technique I have devised, in order to waken
and strengthen the dancing muscles, a result not brought about by even
the best of romping sports or one's other usual exercising.
In connection with correct diet, which has attention in later chapters
of this book, my methods of preliminary exercise will aid the
over-stout to reduce pleasantly and surely, and also enable the
under-developed to put on needed weight, in both cases the attendant
blessings of health, strength and symmetry following in due order.
My method induces perspiration, opens the pores, eliminates unhealthy
tissue, and at the same time supplies new tissue replete with health,
which is placed evenly over the entire body where nature wants it.
Do not let the words "limbering and stretching" mislead you. Perhaps
there may be words that describe the work better than these do. But my
idea in using these words is that flexibility, suppleness, grace and
freedom of movement are all covered by "limbering," while "stretching"
is intended to convey the idea of a proper fitting of the body and
limbs for the various forms of kicking that are absolutely essential
in modern stage dancing. Some people get the idea that stretching
exercises will lengthen the body or limbs. This is not so. Neither is
the result of any mechanical operation whatever. You bend your body
rhythmically, and by degrees acquire a proficiency that enables you to
"stretch" and "limber up" yourself to an extent that may surprise you.
No one was ever hurt by my exercises; you gradually limber and stretch
yourself! All who have taken the exercises and have practiced them as
directed have materially benefited. They bring health, graceful
figures and a fitness for learning dancing as nothing else does of
which I have knowledge. That is what these exercises are for, and just
what they do.
And another important fact in connection with my foundation technique
for dancers, it does _not_ bunch the muscles into unsightly shape; it
does _not_ make huge, knotty muscles in the arms and legs, as has long
been the case with certain Russian and Italian ballet methods. You
have no doubt seen ballet dancers with distorted bodies. The American
woman will not be content with any development that mars the
appearance of her figure, and she is right. You have seen the Ned
Wayburn trained girls on many a stage, and never yet saw one that was
not pleasing in figure, to put it mildly, and that is the way we
insist in developing them at the studio. Our pupils acquire agility
without angularity or unsightly protuberances anywhere. We take the
"raw material," child or adult, between four and forty, with or
without any former experience or training, proceed with them through
my foundation technique of limbering and stretching, and advance them
from there to courses in any of the various forms of dancing, with the
perfect assurance that they have the necessary basis of flexibility
and muscle control that will support them on their way to perfect
dancing success.
In conjunction with this work, all types of kicking steps are taught,
front kick, side kick, back kick, hitch kick, and the others. Since
strength for kicking comes from the abdominal muscles, a workout that
will especially exercise these muscles around the waist line is
essential, and a series of strengthening activities is given to this
end.
Imagine that you are in practice costume, one of a class of students
similarly dressed, standing in line on a padded rug in my Foundation
Technique studio. The instructor begins with the simple exercises, and
directs you through a number of them during an hour's lesson today,
repeating them briefly tomorrow and adding new ones to those you
learned yesterday, till soon you have progressed through the entire
list. The work is done rhythmically to music, and all exercises are in
eight counts. Each is repeated in measured time till the class masters
it, and the student is requested to practice the lessons at home
faithfully and earnestly, and the proficiency thus acquired is looked
for in the class work of the day after.
[Illustration: NW]
Here are a dozen of the Ned Wayburn series of Limbering and Stretching
exercises selected from my Foundation Technique:
[Illustration: EXERCISE 1.
_For limbering and stretching the triceps, and loosening the waist
line along the sides._]
Stand erect, head up, heels together, arms down at sides, raise right
arm straight up over the head. Bend body to left as far as you can,
sliding left hand down the thigh. Return to erect position, then with
left arm raised bend to right. Alternate left and right eight times to
count of "one, lean; two, lean," etc.
[Illustration: LOUISE GROODY]
[Illustration: EXERCISE 2.
_For loosening the dorsi and abdominal muscles, developing muscles of
chest and waist line._]
Stand erect, chin in, heels together, toes pointed out, raise left arm
straight over head, right arm down at side. Swing right hand up over
head also, and lean the body right oblique. Swing both arms down, then
up and lean left oblique. Do this for eight counts of "one, lean; two,
lean," etc.
[Illustration: EXERCISE 3.
_For limbering muscles of the back, biceps of the legs, developing
abdominal muscles and reducing waist line._]
(Forward bend.) Raise both arms straight over head the width of the
shoulders apart, heels together, knees stiff. Bend forward and touch
the floor with the palms of both hands, if you can, if you cannot,
then with the ends of the fingers. Raise arms again over head and lean
back as far as you can. Count "one, touch; two, lean," etc., to a
count of eight.
[Illustration: EXERCISE 4.
_For making the waist line flexible. It limbers the muscles of the
thighs and back._]
Stand erect, both hands above head, arms stiff. Keep hands in this
position throughout, step left foot straight forward, bend the body
back as far as you can. Then body erect and left foot returned to
position. Step right foot front, bend back again. Alternate with each
foot for eight counts: "left, lean, straight, in; right, lean,
straight, in," etc.
EXERCISE 5.
_To strengthen calves and ankles._
Stand erect, knees stiff, heels together, hands on hips. Rise on the
toes; down, up, down, etc., for 48 counts.
[Illustration: EXERCISE 6.
_For limbering the back and the waist line._]
Kneel, knees about eight inches apart, trunk erect. Extend arms
horizontally in front to count "one." On count of "two" raise the
hands above the head, shoulder-width apart and lean back. Keep arms
stiff. On count of "and," trunk again erect and arms extended front.
On count of "three," hands over head and lean back. Repeat for eight
counts.
[Illustration: EXERCISE 7.
_To strengthen the biceps and triceps of the arm._]
From kneeling position of Exercise 6, lie flat on the stomach, palms
on floor alongside the hips, elbows up, to count of "one." On count
"two," raise the body, straightening arms, supporting body on hands
and toes. Lower body to floor on count "three." Alternate raising and
lowering body for sixteen counts.
EXERCISE 8.
_For limbering and stretching the abdominal muscles._
Stand erect, heels together, chin in, chest out, step right foot
forward, bend body front, place both hands flat on floor (foot-race
starting position). Jump, bringing right foot back and left foot
forward at the same time. Jump, bringing left foot back and right foot
forward. Right, left, right, left, for sixteen counts.
[Illustration]
[Illustration: EXERCISE 9.
_To develop the front of the thighs and the biceps._]
Stand erect, feet fifteen inches apart. Raise arms straight above the
head, shoulder-width apart. Keep toes and heels flat on the floor.
Squat down, lowering arms as you do so until they are horizontally
straight in front of you. Rise to erect position, raising arms at the
same time above the head. Keep arms stiff. Down, up, down, up, for
sixteen counts.
[Illustration: PARTIAL VIEW OF DEMI-TASSE THEATRE, NED WAYBURN
STUDIOS]
[Illustration: EXERCISE 10.
_To strengthen the lower abdominal muscles._]
Lie flat on your back, arms at sides, palms on floor. Keep knees stiff
and together and toes pointed. Raise both feet so that toes point to
ceiling. Count "one"; lower the feet to the floor. Count "two"; (do
not hit the floor hard in lowering the feet). Count "one, down; two,
down;" etc., to eight.
[Illustration: EXERCISE 11.
_To strengthen the upper abdominal muscles and the diaphragm._]
You are lying on your back. On count "one," sit up, bend forward,
touch your toes with your hands and place your head against your
knees. Count "touch." On count "two," bring your trunk erect, arms
straight overhead. On count of "down" you are again lying on your
back. Count "one, touch, two, down, three, touch, four, down," etc.,
to "eight, down."
[Illustration: EXERCISE 12.
_To strengthen the thighs and biceps._]
Stand erect, heels together. Raise arms horizontally to the sides.
Bend the knees and assume a squatting position. Rise to erect
position. Count "down, up, down, up," etc., eight times.
* * * * *
There are more than thirty different exercises given in the Ned
Wayburn courses in this work. If you desire a complete list, address
an inquiry to the Ned Wayburn Studios of Stage Dancing, Inc., 1841
Broadway (at Columbus Circle) entrance on 60th St., New York, for
prospectus of the New Ned Wayburn Home Study Courses in Dancing.
MR. WAYBURN ADDRESSES THE BEGINNER'S CLASS IN FOUNDATION TECHNIQUE
You are starting on a course of not less than twenty lessons and
exercises in my Foundation Technique for dancing, which is a feature
exclusive to this studio, known as the Ned Wayburn Limbering and
Stretching process for the human body.
This is one of the most important things that ever came into your
life. It is at once a necessary foundation upon which to build the
perfect dancer and an unequaled system of cultural exercises for the
correction of certain physical ills in those who have no expectation
of pursuing a professional career.
[Illustration]
Primarily I originated this series of exercises to make good dancers
quickly. There was nothing of the kind in existence that would do the
work I wanted done, so I carefully thought it out myself, and finally
developed the complete plan. Some of it will be taught you here. It
has proven to be all I anticipated,--a method of preparing the muscles
and ligaments to respond instantly to the dancer's call upon them for
precise action. It is the object of this series of exercises to
eliminate fatigue, create sturdy yet symmetrical and flexible frames
and increase the health, grace and beauty of the participant. It is,
therefore, no wonder that others than those who expect to enter upon a
stage career have sought these exercises for their own improvement in
personal appearance and physical well-being.
Now all please stand in line around the room, stand quietly and
without leaning against the wall. Stand shoulder to shoulder, hands
down at sides, heels together, feet flat down, toes pointing left
oblique and right oblique; the weight equally distributed between the
two feet. Hold your chin high and look straight ahead on a line with
your eyes.
I organize the class by first arranging the pupils according to their
height. There is a reason for this. If you are five feet tall and
stand next to a girl who is five feet eleven, you at once become
conscious of your size. It is to avoid this handicap of
self-consciousness that I grade you by height.
You are now in line as to heights. Please each of you stand in front
of a chair, one pupil to a chair, and number from "one" at the left
end. Number thirteen will be called twelve and a half. Speak out your
individual number loud and clear. This number you are given is your
personal, distinctive number during the life of this class and is
never changed. The number of this class is 501. As you call your
number out loud please be seated in the chair back of you, and while
the stenographer takes your names and the instructor collects your
weekly tickets I will say a few words.
I expect you to arrive promptly in the classroom, and request that you
time your arrival so as to be here in the studio at least fifteen
minutes before class time, so as to be in your practice costume and
ready for the call to class right on the hour set.
We have to observe discipline in all your work in the courses,
otherwise nothing would be accomplished. We have printed rules posted
in the office and elsewhere, and expect you to read and observe them.
Please do not talk at all during class work. It interrupts the work
seriously. You have all been to school before and know that silence is
one of the important rules of every school. This one is no exception.
Now, the first thing to do is to have your ticket ready. You must have
your name signed on the ticket, where it says "Signature of pupil."
Turn the ticket over and read it through on both sides. Remember your
class number and your individual number in the class. The success of
our school depends largely upon the way the classes are organized and
thereafter dominated. Much of the success of the work depends upon the
lectures you hear in the classes. They are in the form of
inspirational talks based on different subjects. You are required to
read all of our literature. Get and read the booklet entitled "Your
Career." Every month we issue a school paper, "The Ned Wayburn News,"
which tells of the activities of pupils of the school who are now
appearing in New York, or out on the road, and which has many
interesting articles and information monthly for students of the
dance. Please get a copy and read all of our literature--because it
gives you an idea of what the school and its present and graduate
pupils are accomplishing.
It is a well established rule of the studio that pupils shall weigh
themselves every Monday and keep a record of their weight from week to
week. For this purpose use the scales in the main office of the
studio, please. They are accurate. We have them tested and adjusted at
intervals to be sure that they are right. You are requested and
expected to come into my private office and talk with me once a week,
and when you do so I shall ask you about your weight, and you must be
prepared to tell me. I know just how much you ought to weigh, and am
interested in hearing whether you are gaining or losing flesh in the
proportion that you should. At the end of the four weeks' period I
shall ask each of you individually in the class about the variation in
your weights, and I am then able to tell who is faithfully following
my instructions as to practice, diet, hours of sleep and the other
simple and necessary requirements of our courses. For I know that if
my regime is observed as I request that it be, you will show it, and
if you neglect to follow my advice you will not have made the progress
you should, and will show that. You cannot disguise the real facts
from me.
I do not want any of you to overexert at these limbering and
stretching exercises. They are scientifically constructed to do for
you what no other known cultural movements of this kind will do. At
first they will tire you, leave you "all in," I have no doubt. I
expect that. You see, in these exercises you are putting into play a
lot of muscles that have been lying dormant, perhaps never been used
in the way you will use them in this class as preparation for health,
comeliness and dancing strength. You need to use these muscles. It is
to stir them up and make you strong, and at the same time supple and
shapely, that I have devised this series of exercises. It was not made
by guess, this plan of developing and conditioning, but as the result
of years of study and proof.
These exercises will make you feel perfectly wonderful after a while.
Nothing else will do you as much good. But do not, please, expect the
perfected results to show in a day or two. It cannot be done so
quickly. You have been several years getting the way you are, and if
you can improve greatly in a few months you must consider yourself
fortunate.
[Illustration: CONDITIONING CLASS AT THE NED WAYBURN STUDIOS.]
Let me say, as a word of caution, that if you have any organic
trouble, or have been weakened by a serious operation or recent
illness, I wish you would report the facts to your class instructor
or to me before you take on this work. In any event, don't overdo at
any time, neither here nor in your home practice. If you find it
necessary, stop at any time and sit down in your chair a few minutes
till you get your breath. But don't stay out of class tomorrow because
you find your muscles are tired. Every other student's muscles will be
sore tomorrow, as well as yours. If you remain absent you will be much
slower in getting those sore muscles feeling right than if you come
into class and work the soreness out.
If you are absent you may miss something you will want to know. There
is something new taught every day--or there may be a special lecture
which you cannot afford to miss.
I hope you are going to be patient. I hope you are not going to say:
"This is too much for me!" No matter how tired you are this work will
do you more good than any medicines. You are not to take medicines
without telling me about it. You are not to eat between meals; you are
not to take any liquids with your meals. Masticate your food
carefully. Don't bolt your meals in a hurry. Take time to eat
properly. Don't sleep more than eight hours. Don't dance half the
night away. You must look out for your health while you are training.
Some of you are underweight, because you are not properly regulated so
far as your meals and living is concerned. You are eating things you
should not eat. Others are eating in such a hurry that the food is not
properly assimilated by the body. You should drink not less than
forty-five ounces of water a day. That is about nine glasses. You
should drink a glass of water before and after each meal, NOT during
your meals--one about eleven o'clock in the morning, another about
four o'clock in the afternoon, and one just before you go to bed at
night. NOT ice water. Water not only flushes the system but it
induces perspiration. And you must perspire freely in all of our work
because you get rid of many impurities through the pores. I reduced my
own weight, by diet, exercise, and dancing, from 262 pounds to 207
pounds. But you have got to be very patient in reducing or building
up. If you take off or put on a pound a week you will be doing very
well. But let me regulate that, please. Sometimes pupils who are
underweight when they first come here begin to lose weight, and they
get worried about it. But you shouldn't worry. That means that you are
losing unhealthy tissue, which will be replaced in time by healthy
muscular tissue. That doesn't mean that you will get big knots of
muscle on your arms and legs, such as you see in pictures in some of
the magazines. The new tissue will be evenly distributed over the
body. It is my business to manufacture symmetrical bodies. I have
manufactured hundreds of celebrated beauties since I began my
theatrical career, sometimes through facial makeup, sometimes through
exercises and diet, but always with dancing as the chief feature in
health and beauty culture.
There is a reason why this school has grown to its present
proportions. It is because I have made a thorough study of anatomy and
know how to make human bodies healthy and beautiful. I could tell you
a very interesting story of Clan Calla, a little Irish princess who
came to me with curvature of the spine to see if I could help her. She
was very weak and hardly able to walk; they had to carry her to the
studios from the subway. Now she is strong and well and dances
beautifully.