Yes, I recall the previous email conversations about the 1/2 promendade vs the Rt & Left thru... So, the introduction is before teaching at the top (A1)? or the one you've seen... When I walked it through in my head, here's where I got stuck: when you teach the B1 "1/2 Hey" W start pass Rt Sh, then "Shadow Swing", don't you need to explain in which direction to look for their shadow coming out of the 1/2 Hey? (to the right or to the left?)... or do they know from recognizing the face from the introduction of introducing the P, N, Shadow prior to teaching?

As far as where their shadow is, here's how I think of it: If you reverse the last move of the dance, the roll away, their shadow is next to them both before and after. This is the way that Peter Amidon taught it and I copied him: "Bow to your partner, bow to your neighbor across the set, bow to your shadow next to you on the side of the set." It sets up a nice continuous rotation and identifies the three people you are

I've been thinking about Head of the Bed for a while. I like the simplicity of the dance, the 'ah ha' moment of finding your partner, and the lovely roll away into your partners arms. However, I've been watching dancers in that roll away. If you think about that roll away, the momentum is opposite of a swing. Gents roll the ladies away in a counter-clockwise spin, from right to left. The ladies land in their partners arms turning CCW, only to then start moving CW. I've been watching dancers, but it doesn't seem to be an awkward transition. So I don't think it is a problem. People certainly aren't complaining about it. If the rollaway was left to right - ie, in a completely different dance, gents rolled a lady on their left to their right and then turned to their left to swing the next - would that be any smoother? It's not like you could just change the dance - going to the shadow on the other side of your partner, for example - doesn't make that situation happen. You'd have to go your 2nd shadow on the other side of your partner. Swing them. LL, roll away your 1st shadow on the other side of your partner, and then swing your partner. I'm trying to put it into a dance, but it would be pretty complex - involving a ladies chain on the right diagonal and then a chain on the left diagonal, or something pulling along the lines or something. seth At 01:19 PM 1/5/2006, Seth Tepfer wrote: >At 06:36 PM 1/4/2006, Karen Fontana wrote: > > >> Yes, I recall the previous email conversations about the 1/2 promendade >>vs the Rt & Left thru... >> So, the introduction is before teaching at the top (A1)? or the one >>you've seen... >> When I walked it through in my head, here's where I got stuck: when you >>teach the B1 "1/2 Hey" W start pass Rt Sh, then "Shadow Swing", don't you >>need to explain in which direction to look for their shadow coming out of >>the 1/2 Hey? (to the right or to the left?)... or do they know from >>recognizing the face from the introduction of introducing the P, N, >>Shadow prior to teaching? >> >> >Sorry I've been off email. Here is what I got from Nils: > >Head of the Bed >becket (have the dancers identify their shadows - next to them in long lines) >A1 cirlcle left 3/4, neighbor swing >A2 promenade, ladies chain >B1 1/2 hey, turn away from partner and swing shadow >B2 long lines forward, gents roll shadow away on the way back...into >partner's arms for a swing > >Now, when I called Head of the Bed at Sacramento, I did it as written. The >words I used, when people are in becket formation, are "Take hands in long >lines. One hand you are holding is your partner. The other hand you are >holding is your shadow" > > > > >>As far as where their shadow is, here's how I think of it: If you >>reverse the last move of the dance, the roll away, their shadow is next >>to them both before and after. This is the way that Peter Amidon taught >>it and I copied him: "Bow to your partner, bow to your neighbor across >>the set, bow to your shadow next to you on the side of the set." It sets >>up a nice continuous rotation and identifies the three people you are >> >>

Duh. How obvious. You are brilliant!