Art of Stage Dancing — Chapter 6: 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.