dancer is limited to a single line in this work, but can spread out
over the entire field if competent to do so, there is surely ample
encouragement to the dancing pupil to make an effort to profit by the
opportunity my studio instruction affords, and become not only a good
dancer but also a good, better, best specialty dancer--something quite
worth while on every stage, European as well as American.

Almost any pupil will naturally specialize in some one form of dancing
in the learning process. Thus one may show a preference for the
musical comedy work, or tap and step, clogging, acrobatic dancing,
whatever it may be. It is preferred because one takes to it easiest,
or is most proficient in it, or has a personal liking for it. That is
the dance for you to specialize in. Perfect yourself in it. Do a
little better than anyone else does, and you are on the boulevard
headed toward becoming a specialty dancer.

Legmania is a form of specialty dancing. The Charleston, at present so
popular with the multitude, is another. The Hula Hula and all other
kinds of character dancing are specialties. Clogging, the ballet,
interpretive and toe dances--why enumerate them. Let it go at this:
Any form of dancing that you like best and are most efficient in can
be made _your_ specialty dance if you give it personality,
atmosphere,--if you vitalize it so that it stands out alive and
distinctive--your very own.

It takes brains as well as legs to become a specialty dancer of real
quality, capable of controlling the public's interest. Yes, and it
takes competent instruction to guide you right, and it takes practice
on your part after you get the instruction, too. But it is quite worth
while. The rewards are sure if you merit them.

[Illustration: NW]

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