If "a picture is worth a thousand words" then a demo must be worth even more. Of course you should do demos if they help. Demonstration is one of the oldest ways of teaching contra dances. When contra dances were first recorded in the 1650s, demonstration was generally the ONLY way of teaching. You made up contra lines, the music started, and the top couple danced the dance without a call with the second couple while everyone else watched the demonstration. In those dances the #1s were often a lot more active than the #2s so the #2s just followed the #1s. The #1s moved down and danced the dance with the #3s while the #2s watched. The #1s moved down and danced with the #4s while the #2s started dancing with the #3s, and so on down the set. There was no calling. Everything was learnt by watching the dancers. (Just in case anyone thinks that they didn't contra dance in 1650: "The term "Country Dance" is the one invariably used in all books on dancing that have been published in England during the last three centuries, while all works issued in France within the same period employ the term Contra Dance, or in French "Contre Danse". As the authority is equally good in both cases, either term is therefore correct. The Country or Contra Dance has been one of the most popular amusements in the British Isles, France, and other continental countries from time immemorial." Howe, 1858) So, yes, demonstration is one of the key ways to teach a Ricochet Hey, and I use it whenever necessary. In response to some of the amusing comments about my insight that a Ricochet Hey follows the same path as a Mad Robin: - I would never teach it solely by saying that it is like a Mad Robin. - If you know that most of the dancers do know a Mad Robin, then I believe it could be useful. - If you plan your programme for the session so that you do a dance with a Mad Robin, then later on do a dance with a Ricochet Hey, then telling the dancers to follow the same path could help. - Even if you don't want to have anything to do with Mad Robins, you can still use the techniques for teaching a Mad Robin to teach a Ricochet Hey. Many callers teach a Mad Robin by getting the dancers to do a Dosido and then explain that they need to follow the same path while looking at their opposite. The same technique could be used for the Ricochet Hey. Two of the main challenges I have found with the Ricochet Hey is that people either cross the set (as they are fooled by the word "Hey" in the name!) or they stop moving when they are at the back. Building the Ricochet Hey movement on top of a Dosido movement will help to reinforce these two key elements of the move. Of course you would have to be careful using the comparison of the move to a Mad Robin if you were working with ECD dancers, since they might know the original Mad Robin which is a different move! :-) Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent