ether 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