Art of Stage Dancing — Chapter 19: Ned Wayburn's Exhibition Dancing

[Illustration] What is technically known as Exhibition Dancing is an exaggerated form of the usual social or ballroom dancing.

It is "team" work, performed by two, a man and a woman, and is never given as a solo dance, by a single artist.

There is no end to the styles of dances that may be employed in exhibition work.

The public is thoroughly familiar with those most often presented to view in public and private ballroom, at social or other functions, which are either the Exhibition Fox Trot, the Exhibition One Step, the Tango, the Exhibition Waltz or the Whirlwind dance.

This by no means covers the possible field.

Its limitations are measured only by the ability of the "team," and the popularity that demands this or that style of dance, as the fickle public fluctuates in its preference.

An exhibition dance of whatever nature must have an element of the spectacular and theatrical in its presentation in order to appeal.

The dancers must inject some surprise steps in an effective place, throw in a little "tricky" stuff that is new or startling--do something neat and out of the ordinary to make the dance qualify as "Exhibition" and not just the usual every-day type of some well-known form of the dance.

[Illustration: MAURICE] Among the best-known exponents of exhibition dancing one naturally recalls Vernon and Irene Castle, Maurice and his several partners, Florence Walton, Leonora Hughes and Barbara Bennett, as well as the "teams" of Clifton Webb and Mary Hay, and Basil Durant and Kay Durban.

All these and many other professional exhibition dancers have amply succeeded in their efforts to please the public, and have found the financial returns to be most satisfactory.

It is a very profitable line of work for dancers of the right qualifications.

Exceptional personality is essential, as well as great skill in the art of dancing, and less than a commanding supremacy will not suffice to carry the work through to a successful issue.

Yet there is a large field here, open to many who may not as yet even dream of their adaptability to such a career as this suggests.

It has been my pleasure to assist in the direction of every exhibition dancer whose name I have quoted above.

Some of them received their first impetus along this line from me, followed my advice and instruction, and in consequence became internationally famous and successful.

I am still taking those well adapted to this line and putting them in the way they should go.

I know the type of person best qualified to make a success in exhibition dancing, and if those I select will be guided by my experience and knowledge there is no reason why they should not reap the rewards their merit earns, as well as those I have named have done.

There is a knack in acquiring the necessary ability as a dancer of this type that not every instructor is able to impart.

I do not teach exhibition dancing in classes in my studios.

Individual private lessons is the only successful way, and that is my way.

Most other forms of dancing are learned as well or even better in classwork.

I doubt if exhibition dancing will ever be overdone.

It is popular, and good dancers for this line of work are not too numerous.

So it seems likely to be in continued demand indefinitely.

NED WAYBURN'S PROFESSIONAL STAGE MAKEUP