on "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 i