Part 14

Stand erect, knees stiff, heels together, hands on hips. Rise on the toes; down, up, down, etc., for 48 counts.

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.

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.

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.

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.

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."

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.

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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.

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.