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Color Guard Instructors Academy

 Music for All Summer Symposium
Color Guard Instructor Academy 2013

Notebook Material
Table of Contents
2012
 BANDS Of AMERICA COLORGUARD

techo.iques used by your colorguard. You

The Importance of Developing must be aware of the proper ';1;-"ay to initiate
Proper CoJorguard Techniques every move. Understand how each move
should be attacked, how it should feel, and
bow it should look when you master it. You
by Thomas Gilbert should have a understanding of what should
~ be done to make the unit look as if it were
lui.. TOO OFTEN I see performances that .. mirror images of one person.
would be great, but fall short of the mark for When teaching basics to new members of
r one reason: poor technique. There are so your guard, remember that the technique they
1 many col orguards working hard, trying their &."'e you use will be the technique that they
best to be the besr they C:an, but they jUS[ lack
t
!
the technical skills to make things happen.
try to imitate. As a leader, or instrua:or, you
' should always set the example for ever 0:r1e
1bis is a problem that can be solved, like ·
to follow. When teaching new mer.:.bers the
most, with a little time and hard work. Often,
basics, always take time to demonstrate, both
guard captains spend the majority of their verbally and visually, the proper technique.
time going over and over routines and drill,
There must be a specific method to perform-
neglecting technique. We should never
ing every move. You must make it cl~1 to
forget that the key to mastering a skill lies in everyone what that method involves. E ,rery
developing the proper technique.
member of the unit must· perform every move
It is extremely important that everyone in
using exaaly the same technique.
your colorguard understand the meaning and
When all the members of your guard
importance of proper technique. Technique
understand and get a good grip on the meth-
is simply the method or way of performing
ods of performing basic moves, things are
the mechanical derails of what you do. In
·headed in the right direction. You v.rill see
other words, your technique is how you do
that things go so much smoother when ~t is
what you do.
time to clean and polish the show. In other
Althqugh separate colorguards may do
words, an early emphasis on technique can
things differently, it must be understood that
prevent hours of trying to dean the simplest
within a single colorguard, t.~e tec..lmiques moves.
used must be identical. Everyone must
Your technique is like many ·ather things
perform every move with the same technique.
that you do. As you spend more time work-
Your clh'1.idans here may teach you a new
ing and praaicing, your technique will de-
way of performing a move, and that's great!
velop. But be warned, grear technique just
Add all the variations you learn to your
doesn't gradually appear 'With rime, you must
repertoire. Keep in mind that the techniques
work hard to develop the proper technique.
that you learn here are what we, the clini-
If you just ·go through the motions,· as so
cians, feel are propenechniques. Different
many do, you won't be developing great
guards do things differently. The important
technique you will be developing 'What I
thing is that you understand the particular
think is best termed a severe ca.se of "motion
techniques of your guard and master them.
sickness." ~
As ~ individual in a performing group,
you have a responsibilit}: to yourself and to
the unit to be the if-St you can possibly be.
The basis for reaching your goal should start
with the understanding and application of the

1
 Band$ cif Amfn'ia SUI'TJI'rUir Sympo.sium
Color Guard TrBf::k Workshop ~is

TECHNIQUE:
The overlooked secret to a great color guard
By John M. Whalin

Ciilln you remember your very iirst day of c~. guard'?, Hopefully.. someo~
was there 'to lend a helping hand and demonstr-ate .-for you that one ·basic
concept of a .. drop s;pin- (some call it a '"'front spiri•, because they ch;1n"t
like to drop @). .Those beginning .ciays of guard probably taught you a lot
abo.ut how to·boltf the equipment. how 1:o mak:e it spirtr maybe even how
to:toss it. M~ imporbntiy, I bet you learned what it was like tc be a part
cf a team and. now to be accountable far your own actions as a member cf
-chat particular group.

All cf whlrt 1 am ~fening 'to r~ates wrth 'the prii'leiples we call teennique~

Techniqua represent,s the ft~biiity, str-ength, focus,. perfection. and

pertornl:ance qualities ·~f'basi.~ and even more advanead color guard skil~
Withotrt -techruque. the bealrtiful work you a~ perfotmihg in your show
haslirtie c:::ontro!, support. and es$entially~ all of th~ nrembers. on the fieki
or winter guard floor- cion"'t look the same performing ~e $how. Tl-!ir;; c:an
~re~tfy· affect timing, general eifed:. and yOllr 9rc~ps overaU darity ar
-=:leanl~n~.

T echniClue nries from guard to guard. The .main idea to unc!etstand 2s you
and your group desperately treed a solid foundation of skiDs that vain your
mind and body. These skills do not neec:l to be "the same work you perform
in your marching band or winter guard show, but tney will inevitably help
y.our show. immensely. Ac~Jor guard that can ~rlOnn 200 dl"Op spii'!Sr.in
ti~? -cl ~monstrates that 1hey hi3ve strong ha~ds and know how to use
"th~, ··~·~and c:hec:kpoints to stay together~ Ertcluranee~ :otrength, and
\tisual awareness ~re esserrtial fer executing yow- iield or floor show.
when it gets clown to the -Iast leg at the season.,. arid the great guards:
:ib;lrt ~lting away frOm tb~ average guaf'd.$.. 9Ume$'0\.ri: of ,0 you will find
that Udlnique and solid trairiing or~ equi?ment and dance are the rea~ns
why these great gua:rd exc:ei above the rest.

The next time yeu pit:k up your equipment or begin a dance combination,.
visit your exerciSes for tedlniql.k.. Avoid the thought process; that simple
RXercises are. only 'for the f"U'St days of the season. These exerd~, wi'th
detailed attentionr over an entire season... will ber::om.e tne w~nn-up routine
fgr an olltstanding perfonnance. You will be9.in to notice that when. your
mind· and body are stron~. you Wiif be able to.g13t
through your shpw
with mere ease,. more ~antral. ~nd most importantly. confidence tha't your
c:c-lor guart;l h~s what it take5to be_·sua:~L · ·

1
 2006 BOA Summer Symposium Color Guard

Technique and its Applications:

or "Why do we have to do all of these drop
spins?''
By Mary McWilliams, BOA SSY CG FACULTY 2002-2005
I have been a guest clinician to many color guard units for many years.
When I go in, the first thing I do is be sure there is a set technique for the many
ways and spaces equipment can move. Some groups say to me, 'Why do we have
to do all of these drop spins, we don't ever do this many on the field?"
If the unit wants to achieve their goals, drop spins and other exercises are
and will be necessary. Sure, no one does the hundreds of drop spins {or weapon
spins} that are done in rehearsal in the performance arena, but they are necessary.

FiJ · They teach proper hand placement, how to squeeze the equipment, and
what each part of the hand can do- something crucial for catching tosses
and performing other choreography. ..... ·:J. ..,
FiJ They assure the teacher that every individual knows how to stand in the ·
correct position. The shoulders, the rib cage, the spine, and arm and ·
hand shape can be examined for correctness as well as similarity.
Placement of the upper body and separation from the lower body is
crucial for performing all equipment choreography. ·
RJ They teach timing. If a unit can drop spin together, they can learn to do
ANYTHING together!
FiJ They teach a set standard for articulation and excellence.
FiJ They teach the muscles it is OK to push and keep going, even though .
they may be tired. Increasing stamina is a skill that can be taught. ·
FiJ They teach the unit that the one of the most fundamental things that .
must be accomplished is to STAY TOGETHER!
FiJ When fundamentals are done in both the left & right hands, it engages
the brain and the body!
FiJ They teach students to have patience with themselves and the unit.
When it comes to cleaning minute details of a show, they will be happy
they spent hours on spins because they are prepared for very detailed
cleaning sessions.

Drop spins and other technical exercises should never be boring or mund~me.
Many times, instructors and students will become bored with technique exercises.
When this happens, technique suffers and in turn performance and excellence
suffers. If the expectations are set in the beginning, if students know why the
exercises are done, if the instructor and the students place meaning on their
technique package, students will come to appreciate the exercises and eventually
rely on them.

3
 2006 BOA Summer Symposium Color Guard

When it comes time to clean choreography, the process will be easier because
the students will know the many ways and spaces equipment tan move. When
cleaning units, I have often said, "In this piece of choreography, count two. is the
same placement as the plane exercise," -and other remarks that always relates ba~k
to the technique block. It is why units do technique, not only 'for . timing,
articulation, and excellence, but also so there is an application for ·a later
performance. This places meaning on the technique and students can see a bigger
picture. Teams will become very strong very quickly when students are taught to
relate what they do in technique block to what they do in the performance arena.
I recommend working on a few exercises and really mastering those before
multiple or complex exercises are added to the technique repertoire. A good
beginning for a repertoire of technique exercises might include:

FJJ Drop spins on both hands

FJJ Some sort of speed or strength spin on both hands
R:i A carving exercise on both hands ·
Fb An angle exercise on both hands {an exercise to hit
different angles and planes around the body} ·
FD A stopping exereise {one in which both hands have to
strongly stop the equipment- at different angles).

I wouid do tosses in isolation, hot part ·of the· entire exercise; Students need
more feedback when working· on tosses.· As· students· beeome more'proficient,
more exercises can be .added,. more diffiCUlt exerCises. that.deal. with :planes around
the body, one handed carving~ and strength exercises.. ' : .·
When.stud.ents have mastered the basics to a high degree of excellence, the
bar can be raised. Fluid or· isolated movement of the body can alway~ IJe .adqeq to
the technical block. One exercise may be done in second· position; then second
position plie, and then second position releve. Spins and tosses can always be done
while traveling whatever the method of transportation. · ·
Another thing I teach to students is to self-talk during the technique block. I
teach the students that they shoUld be talking to themselves some and asking very
specific questions. I have them think and self-talk about what their body is doing, is
everything· being done the way it should be done, can it be done better, and
finally, how can this be applied to something in their show or performance" I teach
them that this unit is concerned with timing and a lapse iri concentration could
mean . timing; excellence, or articulation errors. I also teach them to encourage one
another in the block. It doesn't bother me if a student verbally ·encourages the
group or individual, but some teachers may not feel comfortable with this s:tyle~.
I always say to students that technique is their friend. They laugh, but it is
the truth. Friends rely on each other, they are dependable, an!=~ they stick with you
no matter what. When you are performing in front of people, you want something
you can rely on and that something .is technique. When yol,j do h._,ndreds ·of tr:~pl~
tosses correctly, the one you thro"Y in a performance will be exaptiy the same as
the hundreds of others you threw in the techniques block. That is a comforting
thought!
 BACK TO BASICS
by: Bart Woodley

Technique: Learn it, Live it, Love it

Learn
There is no universal technique. Assess what you like and make your own! Only
through experience and time. It is a cumulative process. Video instruction and
observation.

Live
Keeping kids interested in technique by making it a fun experience.
Make technique part of every day ... at least one exercise.

Love
Be excited about technique, let your students know how impornint it is to their
success. Bring technical aspects out ·when you :see them in your program, make
the connection for the s.tudent to how technique is truly important.

Tecfm.l4u~ (equipment and movement)

l) Meticulous adherence to technique set, follow through

2) Mindset and tone set for rehearsal
3) Learn how to watch~ style of movement and timing infonhation
4) Endurance I flexibility
5) Comfort factor- insUTa.Ilce _policy
6) Working with different parts of the equipment, standard mov.ement from the show
7) Weight of equipment
8) Moving with equipment

A tgec.bnician should clean "the how". Wheri cleaning your show look for ..••.

Equipment
1) Quality
2) Equipment principles (planes)
3) Breath, muscle, tension, flexion and rotation
4) Physical development
5) Physical and mental control of equipment
6) Understanding of dynamic efforts- space, time~ weight, and flow
7) Equipment control while on the rr:iove
8) Involvement of body
9) Adherence to style
I 0) Concentration and stamina
11) Recovery sldlls

5
Movement
1) Body principles
2) Breath, muscle, tension, flexion, rotation
3) Pbysical development
4) Physical and mental control of body
5) Understanding of space, time, weight, and. flow
6) Training while handling equipment and moving in staging
7) Adherence to style
8) Recovery skills

Performance
1) Adherence to style
2) Oear message from·everyone
3) Honesty- teaching
4) Human contact (the connection)
5) Give them something to look at in rehearsal
6) Sectional equipment runs early season

1) Watch above trick

2) Get on floor for feet
7) Get to the side
3} ~lic:!='J- personal run through, floor cam videos

'(p
A positive attitude in virtually all situations. will help the moment become more
enter..aining and educational. Stay focused this week and ask questions V..'HENEVER
you need to get answers. 'You have one week of intense training tobetter develop your
skills and most of you v.·ill be rerurning to a color guard program that desperately needs
your help in design creation and strong leadership skills. You will get out of this week.
whate'.'er you put into it. I will help you do that in any way I possibly can. {}

Technique Exercises (or Flag

The Front Spin .
The most known and basic of the spin exercises, this spin tead1es strength in the foteam:i,
group focus, and smooth blendin·g skm_s. Ideas to remember are:

Initiation, moving through the track, spinning at or below your belly button, solid
:".·r::arn·'· C.own-Jevel-up-level, grabbing out of the tab, not rolling up your flag, strong
posture while spinning

The "Peggy" Spin

One of the most challenging spins to perform correctly. This spin teaches everything that
the Front Spin introduces and also the abiliry to create speed changes in the spin. Ideas to
remember are:

Spinning at or below your belly button, solid forearms, no "'chicken arms", slowing down
after the overhand grab, g;-abbing all points straight up and down, grabbing out of the tab

l
The 1.5 Toss
This toss is a 2~dirnertsional toss that arrives from a ·'Peggy'· Spin and is caught straight
up and down. Ideas to remember are~

Perforrn a correct "'Peggy" Spin sequence before releasing the flag, free-arm location,
grabbing halfway down into the silk, pressing with the thumbs, following the track on the
way up; releasing the silk when it is pointing straight up, catching strong and with
separation of the hands

Cones and One-Handed Cones

A great exercise to develop an understanding of the 3-dimensional space around you, this
skill utilizes carving planes to create figure eight patterns. Eventually, one hand can
maneuver the flag, adding more difficulty to the exercise for strength-building purposes.
Ideas to remember are:

90 d~gree angles are key, watch the bottom arm of th~ carving plane to guarantee it is
straight out from the sternum, move smoothly through the plane, keep the top hand away
from ti1e head, relax shoulders down, keep hands at the tab and bottom of the flag pc>l"".
see the rotation point/spin spot in front of you at all times

Sweeps
1'his skill develops the concepts of levels when referenced to the body. Adding turns can
help with balance and timing for show routines. Ideas to remember are:

Keeping the flag flat at all times, awareness of the parts of the body, avoiding "saib".
keeping a smooth pace with the people around you, not going past the check point

.n l, I: iTit.s
All about strength and aggression for this exercise. Ideas to remember are:

Wait longer-move faster, separate hands every time, relax as the exercise gets raster,
squeeze tbe pole, keep upper body" from moving

(I
 . <;'SABRE SAVVY"
By Stacey Flannery- BOA Sunrmer Symposjurn, 2003

Webster's DictionaT)' defines technique as "a method for accomplishing a desired aim." The
basis for anything, whether you are writing a term paper or running uack, is technique. Technique
enables us to gain experience by doing things in the "right" way, and it provides a solid foundation for
growth and development. Just like we can't write a 12-page research paper before we can form complete
sentences, we can't jump to the cool tricks on sabre before we gain the proper technique.
The hardest thing about teaching the BOA Summer Symposium is that each sabre group consists
of young men and women from all across the country, from different color guard programs, all of which
have their own style and methods to technique. For me, the easiest thing to do is tO ask my· srudenrs w
kind of forget everything they have learned before for one week, and to take. in all the information I give
as if it is the iirst time you have ever heard it. This will enable us, as the_ BOA sabres, to become one
group with a unified technique. Once you get back w your own guard programs, use .what I ha·, ...: .~..w.; y:J\•

.:md i:1c0rporate it into your own technique program. Maybe at one point I will help you figure out a
diff.~ult e: e;·-::ise that you already do in your own guard program. The information T give you might help
0u~ !h~> f1ther -pef1ple in your color guard, and you will be able to share that ·with them w?en you get home.
il1.:: :..-:chn.ique that we will focus on this week will consist of a few exercises that I have
developed throughout my teaching experience. We will begin with the very basic exercises and ·then
graduate to more difficult and involved exercises to have you progress even further.
. . Spins- Spinning is the exercise that has to be perfected first. Spins enable us to gain <'
better understanding of what it takes tO manipulate our sabre in the correct way. We will
do spins on both the right and the left hand, beginning with 1 spin, thef13 spins, then 8
spins, and fmally I 00-200 spins. I will talk a lot about the way to spin your sabre so to
prevent it from nvisting. Remember to keep your hand pocket as tight as possible (you
will understand what J m~an after our first day.)
2. Double time- Double time ,;rilJ be the next exercise that we will tackle. This is just a
variation of spins that ·will help you to understand how 10 change the speed and rotation
of your sabre without creating more height, like a toss would. Our exercise v.rill consist
of a.nurnber of series of 8 spins and 8 counts of double time. We will break the exercise
dov.'Tl in detail throughout the week, and hopefully we will be able to get tbroug:h 5 sets of
the exercise-] set consists of 8 spins and 8 counts of doubl~ time. Double time will also
help us to bener understand how to prevent our sabre from twisting in the air, which will
 build on what we will have learned while doing spins. And, as always, we will work on
double time on both hands.
3. Angle Exercise- 1 have not come up with a more clever name for this exercise- hopefully
my students can name this one this summer! This will be another exercise that will help
us to bener understimd the speed and power we need to put into our sabre to gain the
desired results. We will work a Jot on learning how much energy it takes to get our
sabres to the correct angle. In addition to the energy needed to push our sabres to the right
angle, we will also have a better understanding of how to make ow sabres stop crisply at
different angles.
After we have done some basic technique exercises, we will move onto tosses. Depending on the
experience of my students, we will begin with singles (1 rotation) and move. up to where~er we can
challenge eacb member of the sabre class. There are t'J>:'O types of tosses that we will complete in our
technique sessioru;:
1. Blade tosses- Blade tosses are done with the right band holding on under the blade, and
the left hand grabbing under on the hilt. This type of toss will help us to unders~~nd th::
weight distribution of our sabres. Almost all of the weight of a sabre is in the hilt, and
blade tosses will help us learn hov.: to toss our sabres b)' changing the energy we put into
getting the hilt "up" into the air.
2. r:!:iit tosses- These are the traditional left-handed tosses that we all do. The left hand
begins in the hilt, and the right hand will begin down the blade, about 3/4 of the d i~tance
berv.•een the hilt and the tip. We will start at flat, and then move to a dip position- a
shoulder-hip angle, with our left hand at our left hip and our right hand at our right
shoulder. From here, we will release our sabres at the flat position. Since the majority of
the weight is in the hilt, we have to let go oftb~ sabre at flat in order to keep our toss
rotating straight above our bodies. Remember that if you release early (before your hilt
gets to flat) your toss will rotate too far to the left, and if you release late (after your hilt
passes through flat) your toss will rotat~ too f~r to the, right.
This is a lot of information to take in, and 1 know that it can get frustrating to learn so much in a
short period of time. Again, 1 ask my students to come into the sabre class this summer with an open
mind and a "clean slate." This will allow the class to move smoothly, and it will also heip us get the most
out of our time together. Use this guide when you get back nome as a refresher to help you remember the
exercises we focus on this week. These are not the only exercises 1 will teach you- if we can get through
these successfully, then I have a wealth of even more fun exercises that can help us understand our sabres
even better!

/0
 By John \Vhalin
BO/\ Summer Sy1nposium.
2003
The rifle is truly a fundamental piece of equipment on the marching band field today_
Along with flags, sabres, and various functional props, rifles add so much to the
musicality of a show. But lei's take a further look at what makes the rifle such a unique
toorfor visual pageantry.

Tif.'7-Len did the rifle conie about?

The history of the pageantry rifle dates back to the military. For use in drill teams, these
rifl~s would demonstrate the beauty and skill of the weapon for awards ceremonies and .
large military events. Men and women would perform many intriguing maneuvers fe>r
the audience while standing in a straight line or multiple lines. The military dJ'ill ~·..:a;n:., ·
\"::Jrl:c-G hng hours to perfect their flawless, entertaining routines.

·rhe natural progression of the rifle moved into the military marching bands. They wr:re
simply rested. on -the shoulder of a soldier w.Qi1e marching down the. street. Evenru.all;',
someone "stepped outside on the thinking bo'x" and decided to put the drill team
maneuvers on the move. Tne rifle v.:as now spinning in one hand, two hands, aT:d
performing skills that added more enthusiasm and difficulty for an audience.

3r;;:;·:··.·:"rJ. r:! in that progression qfhistory~ marching bands began existing in public
schools. M:y assumption brings me to new music programs in the school systems and the
need for patriotism in the community. Along with these marching programs came the
flags, sabres, and rifles of the miljtary. The color guard equipment became necessary to
highlight and accentuate the music being performed.

The rifle skills oftodayhave evolved immeasurably but their function remains the same.
They are the "tricksters" or the .. dare-devils" of the marching band field. Through
spiiiD:ing, tossing, and fancy moves, the rifle can still captivate any individual who gets in
its path.

Tif77.ere can I get a rifle? JiVhat J...:i.nd of rifle should I choose?

Rifles can be purchased through several marching band stores and catalogs. The length
and weight of the rifle are factors lO consider \Vhen making your purchase. Straps and
color are other choices that can influence your decision. Rifles are reiative]~· inexpensive
(remember they are only made of wood!)

1/
How do I start using a t·zfie '!
Technique is so essential with color guard equipment and the rifle is no exception.
Strong posture is key to looking great. Ideas to consider are:

Relaxed shoulders, a flat rifle slightly below the belly button, elbows lifted with a
"breath" underneath, ankles, hips, and shoulders in alignment

Basic spins from one hand usually generate a great start to a warm-up. Ideas to consider
are:

Initiation ofthe spin, placement of the forearm, stability ofthe shoulder, speed ofthe
spin, understanding the weight of the rifle

Double fast, Triple fast, and other neat spins come with time and experience. These can
also be interesting skills to include in your warm-up.

Should 1 be dancing around with mv rifle like I see the other

guards doing?
To put it bluntly ... YES! A great dance program for your guard is key to performing well
and looking graceful on the field. The rifle should incorporate into the dance training.
Try to put basic dance wann-ups with your rifle spins. Basic spins and tendu' exe;cises
work well together. See what other combinations yotir guard can achieve.

How do I toss the riOe?

Tosses are cool, hub?! Let's face it. .. rnost people like to see the rifle go up in the air
really high and then,see some aggressively catch it. (Catching is key to a toss!!!-&)
ldeas to consider- are: ·

The dip or preparation of the rifle, the manipulation of the hand and the rifle goes into the
air, the booy strength underneath the toss, the rotation of tbe toss, the free ba_I1d, anc:l the
aggressive catch with two hands working as one

Hopefully, this article sets up a brief introduction regarding the rifle and its history.
Throughout the summer symposium week, I will here to expand upon anything
mentioned in the article or answer further questions you may have. Some of the best
parts of spinning the rifle are performing the routines wrinen for you by your instructor:.
They will also have lots of answers to your questions.

Good luck this \~'eek and keep practicing!

11-
 Michele Dershimer
Rifle Basics- beginner-intermediate

For increasing strength and flexibility of wrists:

I. Reguhir spins: l 00 each hand with a four-count stop/hold in between; 75 each hand with a four-
count stop/hold in between: 50 each hand with a four-count stop/hold in between; 25 each hand with a
four-count stop/hold in between. This number of spins can be increased or decreased depending on
level of spinner. I normally call this 3/2/l exercise and do 300/200/l 00. Students can work up to that
and beyond.
IT. Spins with stops on the angle: Start with 4 right hand spiEls stop.on count 5 in an upper left angle
position, hold counts 6.7 .8; continue with 4 ri.g:ht haric:j spins, stop on count 5 in a vertical position,
hold counts 6,7 .8; continue wirh 4 right hand spins, stop on count 5 in an upper right angle position,
hold counts 6, 7, 8; continue with 4 right hand spins, stap on count 5 in a flat position, hold counts 6,
7, 8. (Students will actually hold counts 6 & 7, and will begin to move on count 8 into their next
spin). This exercise can be done without the hold counts- which is quicker and a little more
advanced.
ill. Flurrish exercise: Eight counts of right hand spins, turn to left for eight counts of flurrishes, turn
to back for eight counts of flurrishes. mrn front completing a "yo-yo" move with the rifle on counts 1
& 2, go back into right hand spins on counts 4-8; Repeat. Turn rifle around so that neck is in left
hand and do exercise on the left. Repeat.
IV. Tracks: Start with rifle in right hand move to left hand in a vertical position, count one. flur:ish
down into 45 degree angle counts 2.& 3 stop rifle flat on count 4, repeat into right side. i\epc:..\ ~ot..1
sides into .a flurrish that is parallel to the ground. Repeat both sides into a flurrish that is up into a 45
degree angle. Repeal both sides into a flurrish that is parallel to the ground. Repeat whole exercise.

For stronger stops/catches:

I. E' at~, Flip exercise: Start with left hand under, rifle in a flat position. Move frc:T, ::r; h·•nd ~·;,Jer
to right hand under and back. Counts: ·Push and flip on count one, catch on count two, hold counts 3
& 4; Repeat once; Push and flip on tount·one; catch on count rwo; .Repeat three times.
IT. Single exercise: Part A: Start w•ith left hand under, rifle in a flat position. Push on count one and
cati:::h the rifle in a vertical position on count two; hold count 3 , move to right hand flat position on
"~":!-:-peat on left side. Repeat each side three more times. Part B: Start with lefi hand under,
nf~<.; m l:l flat position. Push on count one and catch th·e rifle in right hand under flat position on count
two, muve to vertical on count 3 and flat again on count 4. Repeat on left side. Repeat each side
three more times. Part C: Start with left hand under, rifle in a flat position. Push on count one and
catch the rifle in right hand under flat position on count two, hold counts 3 & 4. Repeat on left side.
Repeat each side three more times ..

For strengthening angle/dip positions and for timing of traditional releases:

I. Start 'IArith rifle in left hand (under) port position (vertical), move t0 flat position, move to dip
position. back to flat, back to port- hit each of these positions on count one, hold counts 2, 3. & 4;
then hit each of these positions on count one. hold count 2. then h:it each of these positions on count
one. Repeat. Speed-up tempo. Do standing up: do lying down on back for Fun!

For tosses:
IL Dips/Releases/Release points

Various other exercises may be taught throughout the week depending on the level of students!
 Man! I sraned performing with a rif1e instead of a flute, piccolo, or mellophone when my
high school winter guard opened its auditions to band members, and after years of playing these
different instruments, 1 wanted to try color guard. So during my junior year, I tried out for the rifle
line and made it! I don't even remember where I got that first rif1e, or when 1 started practicing
(never touched a flag!), but I remember my first performance. I was terrified, as most of you are
when you first get out there in front of an .audience. I remember the gym, I remember the music·
("Point of No Remrn'' by Kansas- our show totally changed after "Field Day"), I remember the
comest director, Jon I\.ersten, walking up to me and saying, "Relax, don't worry: have fun and enjoy."
From that moment on, l fell in love with perfonning, and v.·it..1 color guard. 1t became my life. My
senior year, I dropped my mellophone and tried out for Color Guard captain- ha, ha was chosen -
and figured r d better learn how to do flag! (Oh, my gosh, what were they chinking, picking me, "ye
with linle experience and none on flag!"j. From that point on, I've had many, many wonderful
inspirational instructors. Mickey Kelly and the Skylarks crew taught me that summer at a camp just
like this one (George Parks· Camp in PA); I came back to Florida and my high school's band camp
roaring tO go and l.haven't stopped since (that was 1982!).
·1 immediately joined Suncoast Sound Drum and Bugle Corps my senior year. and for the next
five summers was taught by the incredible likes Michael Raiford, Karl Lowe. and Jimmy Mahon.ey.
Michael instilled in me the desire to give every bit of effort I had to the audience. We played endless
:10urs of theaue games. He taught us how to laugh and cry and to MEL>J\' IT! But m?.rching and
performing every day all summer wasn't enough for me -I wanted more, so when my banrl din::~:.or
announced that there would be no winter guard my senior year, I went right off to Tne Alliance of
M:ami auditions! J spent rwo years there, again spinning and performing my bun off and loving
EVERY minute of it! Tony Florio taught me to love exchanges and tricks- I wasn't afraid to do
anything- including a flag parallel. somersault. catch! Ralph Viray taught me how to dance...:. back
ih<..::J., 110 one kn'ew how- we were just equipment divas!
My dream was to march Skylarks; I was ready to move to·Conn. until Mickey Kelly decided
to fold them after their WGJ win in 1984, so without a moment to waste, I moved or. w my r,ext
choice- .which turned Out to be the best decision of my life - I flew to Madison, 'WI, and for rwo years
was inspired every minute by Sal and Luann Salas, Tarn Easterwood, Scott Chandler, and a slew of
':lthers on staff of The State Street Review. That was an amazing ride with amazing people, whom I
.::a11 my family today. Scou raught me to take an intricate sabre and make it dance in my hands. I
finished my perfonning career with rwo WGI Gold medals and more experience than I knew what ro
do with- except to pass it on.
I always knew I wanted to teach, Mike Raiford, brought that out in me. Jon Kersten gave me
my first opportunity in 1984. I have been teachingiinspiring kids all over Florida ever since] I've
taught many high school groups, a college guard, and staned /co-directed an independent winter
gll2rd. In 1990, I senled down with one schooL Lake Mary High School, and a degree in English.
This situation has given me the opportunity to help steer students in a positive direction. During the
day I teach the wonderful subject of English and the rest of the dayinightiweekends -&, I am able to
give bds a program and an accivity that makes them believe in themselves; they are able to be special
at something. I LOVE watching someone fall in love with color guard. It is my passion; therefore, l
believe in its \'alue: it keeps kids in school: moti\'ales them to get good grades: helps them organize
and manage their time; gives them a second mom, a group of friendsisisters/mtors; a place to call
home: it teaches corrunitment. goal sening. and teamwork: promotes great self-esteem: and finally il
builds wonderful leade:s (and followers) ior society! Through Color Guard. I am able tO wuch
people's lives and impact them in positive "·ays, SO TH..t>,.T, they can in turn touch other people'.s
lives in positive ways! My greatest teaching memory was being able to put a WGJ gold medal around
the necks of rny 2000 Lake Mary seniors. juniors. and sophomores, who gave every bit of their heans
to THEIR audiences. that season.
 2006 BOA Summer Symposium Color Guard

Body Technique: Fundamentals are Essential

By Vincent E. Thomas, BOA SSY CG FacultyfDa nee 2006

The following -represent·ballet~s·most fundamental movements of the legs.

Each is defined and its purpose given. .

11 .Piie-·bending of the knees.

Purpose---the plie increases the circulation of the blood in the legs, thus
.facilitating warm-up (increasing·elasticity). The body must be centered over
the feet, the·spine·erect, and the ·pelvis ·in a neutral position.
2J Refeve- a rising to the balls of the feet (and lowering the heels}.
Purpose--to·develop strength, suppleness, and control of the feet. As the ·
thighs are lengthened upward during the rise, the· knees and· muscles ·of ~~e
·feg~· are-strengthened~ Combined: with a plie, the releve serves as a · :.
·preparatory exercise for jumps.
·3t',:,Tendu- stretching the .foot aiong·thefloor to a pointed position before:
·" returning..it to a dosed position.
Purpose- strengthens the foot by alternating the tension of arching and
pointing the foot with the, relaxation of the toes and then the fo~t a$ it
returns; it also· centers the body on one supporting leg.. . . . . '· .'
4} Degage..: atendu that is disengag~d from the floor. :· .
Purpose-the degage develops speed in pointing (articulating} the feet.
5} Passe- withdrawing of the gesture foot from the floor until it touches·the
front, side, or back of the supporting knee. · ·
Purpose- warms up the thighs· and strengthens the muscles in the· waist
and back.

*Source- Hammond, Sandra NoU. Ballet Basics, 3'd Edition. California: Mayfield
Publishing, 1993. ·

IS
 2006 BOA Summer Symposium Color Guard

BOA 2006 SSY Color Guard

Tech.rlical Warm-up Sequence
By Vincent E. Thomas, BOA SSY CG Faculty/Dance 2006

The following sequences present a basic foundatio.n for dancers and non-dancers and
can be developed into intermediate & advance sequences. Port de bras are used with
each sequence.

Plie
Counts and Action
1-2 Plie, 3-4 stretch (slowly}; 5~6 Plie, 7-8 stretC:h
1-2 Lateral stretch {to R}, 3:.4 plre and ma·intain laterai stretch
5-6 stretch' from plie~ 7-8 Recover tram. lateral stretch·
l7~ ·Repe,at later.~tstretch. to L . ,·
1-2 Plie, 3:4 Rel~ve" 5-:"6 Lower he.e_ls, 7~lendu. ~d Ia se.c.onde; 8•Shift w~ight
Repeat Pile and stretch se.quence m 2 , and 3 R and. L. . : ·, . , .. .
End _in parallel :and roll down· sequentially. (8.:cts}; :Deep breathe-,inhaie, arid exhale (lfds).,
Plie and·roiLup sequentially {8 cts} · ·
*For each sequence, have a strong, clear beginning and finish.

Tendu"·
Counts and Action . . .
{Right Leg} 1- Tendu, 2- Flex foot, 3- Pointe tendu, 4- Close first position, 5- Tendu, 6-
Ciose, 7- .Piie, 8- Stretch . . · ·· . ·. · .· ·.·
{Left Leg) ·1- Tendu,2- Flex foot; 3:- Pointe tendu~ ·4- Ciose first position·, 5- Tendu, 6-ci'os~,
7-··Piie,. · · · · · · .',:·
8- Rotate to turn out and Stretch
RepE:at thesequencedev.a.nt {frQnth a Ia s.econde {second),; and. derriere (back}.

Degage with Passe Balance

Degage {a Ia seconde):
ij:ight leg- 8, Left leg-8, Right leg- 4, Left leg- 4, Right leg- 2, Left leg- 2, Repeat R & L leg
tor2 . . . ,, . . . . .., . . .. . .
Plie- 1-2 and stretch legs as you Passe right leg- 3-4, Balance S-6, Lower Passe-7,-8.
Plie- 1-2 and stretch legs as you Passe left leg- 3-4, Balance 5-6, Lower Passe-7-8
Plie and Releve {strong legs, weight on the balls of the feet- mainly the first and second
toes), Lower heels
In turn out first position, roll down sequentially {8 cts}, Deep breathe-inhale and exhale
{8 cts), Plie and roll up sequentially {8 cts)
.;. .:.: .-': ~-- ~:.:,.L .. ~ :..! _:.:.: ••• : ..

DICTIONARY OF CLASSICAL BALLET

BEGINNING PROGRAM

(a-dazh-yoh) In dancing it has tWo meanings:

c) slow, sustai:nerl movemcnL
d) the opening settion of the classical pas de dcu:'{, in which the
/
ballerina is assisted by her male partner.
Allegro/ (a-Iey-groh) Brisk, light, lively.
AJlongee (a-lawn-zhay) Extended, outstreicbed
Arabesque (a--ra--reslc) One of the basic poses in ballcr named after a Moorish omamcnL
Assemble (a--sahn-blay) Assembled, joined, biougbt together.
.Attitnd.e (a-tee-tewd) A jmticular pose in dancing derived by Carlo Bl.asis from the stal.Ue
of Mercury by Giovanni da Bologna.

.I
Balance (ba-laim-say) Rocking step.
Ballerina (bahl-l:Iy-ree-nah) A principal female dancer in a ballet company. ·
Bailon (ba-l.awn) Bounce. Bailon is the light, elastic quality in jumping_
B:zttemcm (bat-mahn) Beating. A be:lting action of the extended or bent leg.
Brns (brah) Arms. .
Bras bas (br.lh bah) Arms low or down. ·

c~ (kahn-brn:y) Arched.
Chain~ (shch-nay) Chains, links. A series ofrapi.d tulns.
Changemcrit de picds · (shahnzh:-mahn duh PJaY) Change of feet
chass{ Csha-say) Chased
Corps (kawr) Body.
Cau-de-picd (kOCHfuh-pyay) ~Neck"' of the foot. The pan of the foot between ankle and the base of
the calf.
.I
Coupe (koo-pay) Cut, cnming.
Couru (koo-rew) :Running .
. I
CIOlSC (bwah-z;ay) Crossed. One of the directions of eparuemenL

/ /
Degage "{day-ga-zhay) Disengaged.
Demi (duh-mee) Half.·
Denib (deh-ryehr) Behin~ back.
Devant . (dnh-vahn) In front
/ /
Developp:: (day•·-law-pay) Developed
Double (doo-bluh) Double.

/ /
Ecane (a}'-kar-tay) Separated, widespread.

\l
 / I
Ech::!ppc (ay-sha-pay) Escaping or slipping movement
Efface (eh-fa-say) Shaded, smooth.
Embo1\{ (ahn-bwah-tay) Fitted together, "boxed"'.
En (ahn) In; while.
En a.rri'ere (ahn ahr-ee-air) Backward.
En avant (ahn ah-vahn) Forward.
En bas (ahn bah) Low.
En croix (ahn lawah) In the shape of a cross ..
En dcdans (ahn duh-dahn) Inward, toward the supp6rting leg.
En dehors (ahn duh~awr) Outward, away from the supporfuig icg.
En face (ahn fahss) Full face; facing the audience.
En l'air (ahn lehr) In the air.
En tourrumt
.,. (ahn toor-nahn) Turning.
Enveloppc (ahn-vuh.,Iaw-pay) Envelq~
Epaulement (ay-pohl-mahn) Shouldering. The placing of the· shouiders.

Ferme' (fehr-may) Closed.

Flic-F1ac (fleek-flak) A crack, as of a whip.
Fondu (fawn-dew) Sinking down; soft and g:rndual movement (liternlly means: ·melting).
Fouette (fwch-tay) Whipped.
Fr:lpp{ (fr:J-p;ly) Struck.

Glissade (glee-sad) Glide.

Grande (grahnd) Big, large.

J.
Jamb:: (zhahrnb) Leg.
Jet{ (zhuh-tny) ThrOVrTL

Ouverte (oo-vehrt) Opened.

Pas (pah) Step.

Pas de basque (pah duh bask) Basque step. A characteristic step of the nationai dances of the Basques
, that has been ad:lpted to ballet use. ·
Pas de bourree (pah duh boo-ray) Stuffed step.
Pas de chat (pah duh shah) Step of the cat
Pas de cheval (pah duh shuh-val) Step of the horse.
Passe' (pa-say) Passed.
Petit (puh-teet) Little. small.
Pied (py-:1y) Foot.
/
Pi que (pee-kay) Pricked. pricking.
Plii!' (plee-ay) Bent. bending.

\o
 Port de bras (p:l\>T duh brah) Carriage of the anns.
Prcpaiation a
(pray-pay-ra-syawn) Preparation for the execution of step or turn_
PromeruJdc (prawm-nad) A walk.

Q
Quatre (ka-truh) Four.

I
Rclevc (ruhl-vay) Raised.
Relev/Ient (ruhl-vay la.hn) Slow raising._
Retire' (ruh-lee-ray) Withdr<IWIL
Rand (rawn) Round or circular.
Rand di: jarnbc (rawn duh zhahnb) A circular movement of the leg_

Saut (soh) Jwnp.

I
Saute (soh-tay) Jumped, jwnping_
'a !a Scconde (ah l:1 suh-g;:nvnd) To the second
Simple (scn-pluh) Simple, ordinary, single.
Sissonne (se::-sawn) Named for the originator of the step. It is a jump from both feet onto one
foot \vith the exception of sissonne fermee, sissonne tom be and sissonne (fermce)
fondue. which finish on two.
Sissonne ferm~ (see-s:nm fehr-may) Closed sissonne.
Sissonnc fondue (scc-sav,.n fawn-dew) Sissonne sinking.
Sissonnc ouvcrtc (sec-sawn oo-vehrt) Op;:n sissonnc.
Six (seess) Six.
Soutenu (soot-new) Sustained Pulled under.
Smitcnu en (soot-new a.hn toor-nahn) Sust2incd in turning. Pulled under in turning.
tournant
S upponing leg Leg that supports the body ,,·hile the other leg is working.
Sur· (sewr) On;upon.
Sus-sous (sew-soo) Over- under (same :lS sous-sus) A term of the Frt:nch and Russian SchooL

Temps (tahn) Time, step, movement. A part of a step or movement in which no transfer of
weight takes place.
Temps le•·e' (tahn luh-vay) Time raised.. or m.ising movement.
Temps lev{sauti(t.:J.hn luh-vay soh-tay) Raising movement, jumped.
Temps lie (tahn lyay) Connected movement
Tendu (tahn-dew) Stretched
pd.[ Terre (par tehr) Along the ground
Tombe" (ta>m-bay) Falling.
Tour (toor) TUIIL
en Toumant (ahn toor-nahn) Turning.
Trois (crwah) Three.

19
 . . ... ..
:· •' . •.. :-. ~':... ..·...
. . ~- .. :.
.. .. - .·............ ·- .... .
~..:...
. .
,..J,.;...,.._ ...__

Un (uhn) One.

Waltz. A ballroom dance in 1/. time.

Working leg The leg that is executing a giYcn movement while the weight of the body is on the
Supporting leg.

2D
 Bands of-America
presents

Z'YNOGRAPHY
Techniques of
&XPRESSIVE ?/toVEMENT
BY

Philip Burton

::r-
'
Z'ynography is the property of the &'XPRESSIVE ?ltoVEMENT 1NSTITUTE
160 West 71- Street, Ph-G, New York, NY 10023 212 580-8327

21
 I

AGQGIC LAW AND RHYTHM:

RHYTHM,
THE MISSING LINK

Connections Concerning This Vital Theatrical T.ool

The living evidence of accents and stresses, the lightenings or suspensions, pauses, assertions,
hesitations, preparations and resonations; the colors and forces of WEIGHT reveal the dynamics of
RHYTHMIC BEHA VJOR in both stage artist and pedestri?n.

WEIGHTS AND STRESS

I. Agogics is a musical law that requires various counts in ~y metered phrase to comply to certain
sets of accents and shadings. It is also the term used in this study to classify the weight quality
of a character, moment, scene, act or any prescribed pattern or section of performance.

2. Rhythm is defined for this study as the LIFE through the applications of weight or accent to
any metered or open phrase. Counts in metered phrases are timing points of non-duration
which mark and anchor the phrase.

DYNAMJCS OF AGOGIC LAW

I. ANACRUSIS- the preparation or upbeat. The first part of the moment which introduces and
designs the crusis. It is the preparatory breath, the exposition scene; the windup before the
pitch; the run before the vault, the rising action in a scene. This type of behavior is marked by
lightness and as a rule has an easy ability to move quickly.

2. CRUSIS- From the Greek, krusoick meaning "the strike" or Jvouein meaning "to push". That
part of the moment which receives the accent, stress or weight. Behavior in this agogic place is
marked by assertive weights and more heavy movement in comparison to other agogics in the
scene. This is the meat, the center cut of the moment which can easily be mrstaken for the
whole unit itself.

3. METACRUSIS - the middle weight portion of behavior which mar~s daily. life or the
transitional resonance following crusis and rising to meet the next anacrusis.
 2

4. GRO\VIN~ METACRUSI5- beats or moments which_ serve in themselves as preparatory,

building anacrusis risin,g to anticipate the anaausis and =ul tim at ely the next ausic downbeat.
Met.acn.lsic behavior need not be dull simply because it is in the middle weight area. Also,
all a.gogic states of behavior have margins of lightness and weight.

.Natural law of behavior, art and illusion conform to the arrangement of Agogic Law. Without
this quality. rhythm may at times seem foreign or not human and at times super human. The
artist who ·can address himself to physicaJ responsibility can use agogics consciously ~r
subconsciously to create moments of comedy, surprise, shock and a myriad of dramatic moods
wruch can transform the audience into deep responses. Understanding the use of anacrusic
impulses to introduce crusic moments makes the dynamic control of stress and weight of the
downbeat more accurate for the performer. The concept of sound and movement and motion
as sound is very helpful in understanding rhythm studies.

Every gesture has a song, and every sound has a movement.

It is very useful to realize the law of preparation, assertion and resonance which is dictated by
Agogic theory. During rehearsal or performance, the fad that things become stale can often be
attributed to a disproportionate decay of anacrusis or metacrosis"

Vibrato, . Perist.aisis, Respir:ation. Circuiation. Emotional Behavioral line, wavefroms,

pendulum oscillographies, electroencephalograph.ics, hydraulics and the Law of Nutation are
only a few examples of Agogic Law in nature.

Sameness is metacrusic. In other words, all loud, all fast, all light and so on become lacking in
dynamic interest and can become dull from no variety or relief. Loud may be more dramatic
. when contrasted with preceeding softness, light is perceived when it is compared with heaviness,
slowness in various degrees is more interesting to experience.

Types ofW eight

Compression:
Vfhen weight is directed parallel with the line of gravity. Example: The shin bones which
conduct weight directly straight dovro through to the ground.

Promontory:
Weight which is extended beyond its support and must therefore be braced to remain in
place. Example: chin, breasts, rib cage and many misaligned postures.

Tensile:
Weight which is braced but hangs parallel to gravity. Example: arms hanging from
shoulder girdle with the weight being transferred through the shoulder girdle into the spine.

\6!1994 &xpn::ssivc movement 1nstirute.

2.3
 3

MOVEMENT RELATIONSHIP CART

EXPRESSIVE
HU11AN :Mov:EJ..ro-.rr
On Gravity Fid.d

MASS
l (Tbr:.&dy)
I
I
t _i

I SPEED I
I
IRESISTANCE I
l l
I PATH

I Quick I I Slow I I He:.vy I Light I 1 Flaibfe 1 1 Straight

{Dir«:I)
I
I T

I Is Heavy Jill Looks Heavy Jill Is Light 1111 Looks Llght 11

H Location ·~
r Locatiori
~ Composite
J--
H Intention
... l-- I Count.ermo,tion h- I Sp=r I
H Distortion
~ JFacial Harmony ~ Path Line
.1-:'

~ Carding
~ FocdLine !--

y Facial Harmony f-
......._. PLASTICITY
(Tonicity) ,
I .. I DURATION
. ·.
ENERGY
(Flow) -
1 I

I Continuum II Intermedi:ate I Pointil -,

Breaking down the components of movement and understanding each individually is an

excellent way of refining and increasing the power and effectiveness of expression. This
chart is significant in that the components under Resistance are divided into those which are
real and those which are illusions. This is one of the distinctions which gives the EXpressive
Movement Study specific relevance to the crafted performer.

~ 1994 expressive ?X.ovemc::nt 1nstirulc.

 4

DYNAWC GESTIJRE

These eight dynamics depend on the imagination, risk and creative exploration each artist
brings to this study. ··

The creation of moments with specific displays of lightness or resistance is usually a stage
illusion which should be understood and handled thoughtfully ·by the stage artist 'Why?
Exertion of weighted movement tends to be hypertonic and often sacrifices efficiency in
breath, circulation, balance or concentration. Weight itself when informing a gesture or
action is illusionary in its very nature and therefore the pages which accompany this one or
Illusions of Weight, Resistance and Weightlessness, as well as Direct Moving and GcsturiD.i:·
must be understood if the work in Dynamics is to take successful dramatic form.

SPEED- consideration of movement as QUICK or SLOW.

PATH- consideration of movement as STRAIGHT or FLEXIBLE.

RESISTANCE- consideration of movement as HEAVY or UGHT.

The use of this work is adapted from the 'Wlitings of Rudolf Laban. The applications in l\lovement Method:;
modifies certain parts (especially in the consideration of resistances) for reasons which become clear to cla'>s
members. For Laban study: The Masterv Of Movement and Effort. To say that this use of the. follo.,.ing act'inn
drives is specific Laban technique is not true.

GLIDE Slow Light Straight Directional clarity

FWAT Slow Light Flexible Counterrnotion
PRESS Slow Heavy Straight Intention, Distortion
WRING Slow Heavy Flexible Location - trunk
DAB Quick light Straight N on-durational
FLICK Quick light Flexible Fire, Fla.Shes, Magic
PUNCH Quick Heavy Straight Non-durational
SlASH Quick Heavy Flexible Onomatopoeia

CONTINUUM- These are gesture dynamics which can be constantly moved without
interruption. These are the slow dynamics; namely, GLIDE, FLOAT, PRESS and .WRING.

POIJ\TTIL OR NON-DURA.TIONAL- These gestures are performed in as little amount of

time as possible.· These include DAB and PUNCH.

INrERMEDIATE LONG- The nvo quick dynamics, FUCK and SLASH. are both nexible
and therefore take additional time to perform"by virtue of the '[]ex.ible p:aths.

25 G!994 &xprt:ssivc ?Jeovcmcnt '711S1.irutc.

 5
&XPRESSIVE '1/to VEMENT Presents.......
The Muscle of the Week!
Retread/lntro Class IT

CERVICAl
SPINE

THORACIC
SPINE

lUMBAR
SPINE

SACRUM
AND
COCCYX
tailbone)

A. CAUDA EOUINA Anterior

6. DISC {annulus 6t><Qs<4)
C. VERTEBRAl BODY
D. DISC (nucleus polpasus)
E. DISC (hetnialed)
F. SC"'TlC NERVE ROOT
G. SPINOUS PROCESS
Rectus Abdomihis
Vert.ebn.l ~umn
Rl<;!ht l..otcral

Sid Line -~- .... -+ -...

-+-+-+-+-+-+-+-+

Psoas Major & lliacus

Hamstrings

I Sloops Famorls 2. Semhendlnosus

 6
PHILIP BURTON- MOYEMEl'IT METifODS FOR TIIE STAGE ARTisr

TECTONICS AND CORPORAL SCALE

For this study, the human body is divided into six cosm~tic units._ They are:.

HEAD NECK CHEST WAIST PELVIS LEG

BLOCKS: The Head, Chest and Pelvis are
represented respectively by the Skull, Rib Cage and
Pelvis. The Head is easily delimited by the sudden
difference between itself and the narrow neck below
it; the Chest is the upper torso including the
shoulders, upper back a11d mid to lower ribs; the
Pelvis is a bowl-shaped ring of bone comprised of
+ the Ilia, Sacrum, Pubis and Ischium. In Tectonic
description or notation, the Chest is sometimes
referred to incorrectly as the shoulders, and the-
Pelvis is read incompletely as the hips.
+
;( + X SPRINGS: The Neck, \Vaist and Leg are
connectors to the blocks, and each joins in a unique
way. The distinction of waist, although anatomically
nonexistent, can be described as the area between
the pelvis and chest that can be seen to move
independently or the area: which allows movement
of two adjoining blocks independent of each other.

It is additionally helpful to observe or design these

six pieces by grouping them into 3 pairs. The
groupings are designated as Head-Neck, Chest-
Waist, and Pelvis-Leg.

INCLINATION - is the first principia! movement possibility in Corporal Scale. This

movement is seen laterally (Decorative Plane) or across sightlines of the audience. The
moving unit is seen io oblique or lean to one side or another (left or right). Example: The
H~ad Inclination left and ·right seems to say RI don't know.R

TILT- is adually an inclination as above; however, tbe direction of the incline is on the
Profound or Sagittal Plane and is less easily seen as it moves parallel with. the sightlines of
the audience. Example:· Head Tilt up and down is the same as nodding "yes."

ROTATION - is movement seen in place as a pivot around the prescribed vertical axis.
Example: the Head Rotation left and right says "No."

This conce.ptual arrangement of blocks and springs need not ,cause the. artist i.o forget thai
each unit itself is a dynamic and supple being with much individual m6vement potential.
Literally to move like a being composed of blocks and springs is to m isundersiand this _study

Ll G!994 Sxprcssivc ?1t.ovcmcnt 1nstitutc.

Z'YNoGRAPHY [duh- NOG- rah- fee] (not die-nog-rah-fee)

EXPRESSIVE MOVEMENT IS FOR EVERYONE Dynamic stage presence is no accident,

and it is not impossible to understand. It is a matter of body knowledge and muscular balance
combined with a basic understanding of the things that create dynamic expression. No participant
need say, Iii don't move well~" when the skills or this basic movement technique are mastered.
Singers and actors who move well get more work, better jobs and more varied roles. In addition
to stage performers, people in saies, public speakers, teachers, conductors, deaf sign practitioners
and elected officials are discovering more everyday bow deeply the "talking body" communicates
through gesture and posture. International travelers and business people know that the gestural
variety from one country to the next is as unique as the local language itself. Motion creates E-
motion for both audience and performer, and the lessons of this technique explores a vast range of
the physical/musical dynamics in the moving body. This course has been presented in twenty
states and six countries on three continents to a wide range of audiences. Some of the lessons in
the course include1 Basic Rhythm, Movement as an Additional Language, Analysis of Human
Movement, Motion as Musical and Dynamic Sound, Facial Expressive Power, and Expressive
Gestures Across Many Cultures. This is a lively; informative, entertaining and seldom-strenuous
class. Prer~quisitel A desire to work, to learn and to discover.

Philip Burton conducts movement seminars and master classes in movement for many
varied groups of interested, people. He received intemational critical acclaim for his direction
of Herod and the Innocents for the Spoleto Festival and was choreographer/mime director for
the US hationai tour of Stop the World, 1 Want to Get Off starring Anthony New ley_ In 1978,
he was invited by American composer Aaron Copland to create mask/movement numbers for
a PBS live concert broadcast. entitled "New Directions in Music." Burtqn has created
movement for and appeared in, concert, on stage and TV with "Saturday Night Live," "CBS
Salute to A!l)erican Magicians Gala," "The Robert Klein Show," ABC's "One Life to Live,"
and commercials for Federal Express, Chase Manhattan, Almay, Pepsi, Ethan Allen, Duncan-
Hines, Bristol-Meyers, J.C. Penny, Columbia Records, Krylon Spray Paint, and Yves Saint
Lal.l[ent Men's Fashions. He served on visiting faculties for The University of Texas, The
Rome Conservatory Theater Lab (Italy), Queensland Performing Arts·· Trust (Australia);
Bonnie Prudden Pain Erasure (Tucson), Mason Gross School of the Arts, Rutgers University,
and The Juilliard School. In New York, Mr. Burton directs the Expressive Movement
Institute and heads the opera movement program for Mannes College of Music and the
movement program for the New Dalcroze School. He wrote and directed .:(Expressive
Movement" an instructional video on gestural power and movement skills for the theater. He
holds a Masters Degree in directing from Northwestern University, and this fall will guest direct the
Broadway musical Big River for Wake Forest University Theatre.
 BANDS OF AMERICA COLORGUARD 1

l
Adaptability of Dance (or in some cases underwriting) your dance.
The student deserves a challenge which can
J
to the Field bring them to a higher level, but not at the ·
· .risk -of losing -confidence v.rithin themselves,
because of underachieving our design.
by Lorenzo Medrano
With the amount of young talent constantly
growing and expanding within this activity, it
But First••.
is our responsibility as teachers to understand
J
the strengths and the inabilities of ow- young
The beginning of your dance starts v.rith
understanding the subject and arena in which
you'll create, the capabilities of your perf~rm­
performers. Through auditions or movement
exercises, make yourseJf familiar with your I
students' capabilities before you start to
ers and a dear understanding of the mus1c design your show.
yo~'ll be creating to. Let's start with the latter Many dances have come from seeing,
of the three, since this is our biggest forum in
analyzing, and/or performing choreographed.
which we'll work.
work from instructors, teachers, or other
Music conveys many feelings and emotions
we ma.y experience, or feel for the first time.
dancers. Th6se dances were created with
specific performers in mind. Nonetheless,
I
In our visual contribution we cannot lose any
you must fmd your own way if you're to
of these qualities within the music because of
misinterpretation, or lack of musical under-
create anything fresh, with direction, and
most importantly, the opportunity for your ·
'·1
standing. Your best work will be achieved
performers to grow. Another situation that
when movement and music are in complete
can lend itself to poor performances is the
harinony with each other. I have found it to
crowding of work written to that idea. So
be advantageous in my own work to discuss
many times, we feel the power of production
with the arranger/composer the feelings and
is created through the amount of work given
interpretations felt in his music, so that
to those amounts of counts. What I mean by
J
nothing is lost in the development of your
that is this; Let's say we have eight counts to
dance. This opportunity is not always acces-
sible to everyone, but we can better learn to
understand music and it's vocabulary through
complete the phrase. To bring out the most
in that phrase, we feel we must move eight
I
ways to accentuate every beat. This may be
various other means, such as a music dass,
talking with your director, or studying other
choreographers and artists concentrating in
okay to do for the experienced dancer or
guard member, but if your performers are not
capable of achieving thls to it's fullest, search
i
this field. These are just a few suggestions
with considerations toward the music, as you
come closer to creating your dance.
for another way that's easier to bring across
that same idea. Simplicity is a quality when l
called upon at the right moments!
Using that same thought, we can read those
The Perrormer
eight counts as one complete idea, and with 1
eight people; do one move sequentially down
This area is where I feel many choreogra-
the line. This may not be the answer in every
phers/designers tend to fall short of what they
situation I underStand that, but it does tell us
that ther~ are many answers we can fmd that
mav see as a strong -written production. In
ou; minds we want to give the best possible
"Will best suit our own situation. There is no
show to our students, but fail to realize their
abilities or inabilities as a performer. This. can
iron-clad guarantee that this will be rbe best
work you've done, but no one can tell you
J
result in the amateur mistake of overwriting
it's wrong if you've created it from thoughts
 BANDS OF AMERICA COLORGUARD
and feelings existent inside of you and your
performers.
The Arena
. .
"All the world's a stage, and all the men
and women merely players in tt. ..
-Shakespeare-
We learn the theater from many artists .
including Shakespeare and all the great roles
he created in Hamlet, Macbeth, and Othello. to
name a few. Would Shakespeare have
developed the personalities of his characters
and actors the same had their stage been a
football field? As the walls of a proscenium
stage shape the direction of an actor, so do
the walls of the field shape your dance in
c guard. This is not to say that personality
at--· dlaracterization should be non...,existent in
your attempts, but, that the field.asks us in
our approach, to han,dJe those. qualities.
differently.
Understanding distance and angle is the
biggest help we'll have while in the produc-
tion of our deSign. Here are a few technical
hints to help you along the way. Assuming
your performance is on a football field, your ·
audience is berw-een a 30" and45" angle to
the performing area, and anywhere between
100 feet and 250 feet from the performance
itself. Let me offer an example to help you
better understand what these numbers mean.
The music is being played by the band fast
and furiously. The colorguar.d interprets this
i:ly running toward the audience with their
mns extended at a 90" angle in fron! of
hemselves. The intent of the designer was to
~each for the audience (with our arms), but
:rom the viewer's angle the guard is reaching
at our feet Here, with a better understanding
Jf our stage, we would raise the angle of the
u lp, to maximize the full intent of the
=hu. eography and contribute to the interpre-
ation of the music. You can see now, how
;ngles and distance play an. . important
.
role in
.his creative process. This brings us to
another consideration, that being 5patial
awareness.
Basically we're talking not only of the
distance front to back, but how the space all
around you can be used for the excitement of
your movements . .As we understand it, dance
exists simultaneously in both time and space.
The position of space can be the level in
regard to the field, and the direction' ii1 which
you're moving. To abSorb the space around
us, large movements or strong. presence is
ultimately the an'Swer. I enjoy using ihe
lower half of the body, that being the legs,
since it offers the latgE:st e::ttensioi:l for visible
purposes. In the theater, our little detii.ied
movements can more often be seen and
uqc;ierstood, because of the engineering
structure to the theater. The. field offers tiS
much more space to utilize in our prbduc~
tions, but also can hide those drarhatic 'little
. details we recognize· ·only oh the 5t:age: This ·
doesn't mean that little details or i.ntirriate
movements are inappropriate, but when used,
make sure you understand your position on
the field, and focal responsibility- to the
ensemble.
There is nothing that can be so right or so
WTong in any one treation, but there are
definite times when we suffer an absence of
appropriateness. We also have witnesSed
some of the most exciting moments of our
time, when equipment and dance equa:lly.
have shared space Within our performers of
today. Adapting dance to the field will be an
ongoing process, as we venture to learn new
and different techniques, share in other's
philosophy's, and continue to educate our-
selves through -the beautiful art ·of -dance:-<·.
·,
"Greamess krwws itsefr -{Henry ITQ
-shakespeare;_ ~
30
 By Nicole Flender at the barre
Nicole 1s a Willi:' anG ocr.:;~

\eacl·te:J h\1nQ 1n t~t\': YVii·. ;:_;,;:

Getting The Most From Your Ballet B.arre

\.Vhen the body is significantly warm.
· "Make sure there are enough repeti-
tions of each exercise so·you can
feel the muscle group you're using,"
Sullivan says.
Barre for younger dancers must be
designed to meet their special needs.
Bielski says, "A child's barre is espe-
oally long so the child can learn and
understand the concept of classical
technigue with confidence. Children
learn to stand still, move, bend, jwnp,
stretch and even turn at the barre,
. which is there to insure balance and
placement. All new ballet vocabulary
is usually introduced at the barre."
Perron adds, "New dancers have to
build muscle memory, and that's
achieved by drilling the same move-
Ballet Hispanico Sc:hool Of Dance students
ment over and over again. Meticu-

7
op ballet teachers agree that barre work is one of the most important parts of class lous correction is importa.."1llf a student
and should be approad1ed with great care. "The barre teaches placement while warm- learns bad habits early, they're hard
ing up the body," says Nancy Bielski, a professional-level ballet teacher and one of to break." A set barre can be useful,
the cre:ators of the children's program. at Steps On Broadway in New as repetition allows
York City. "Fora young dancer, barre should take h'•o-thirdsofthe dass Sullivan's Suggestions For dancers to concentrate
time," she says. "For professional dancer.;, barre should always be done Barre Work on HOW to do-not
before a performance to warm and limb~r u,..,.._ven if a class was tak-
' - ·:· Aim high. Keep an image o.f your WHAT to do.
en earlier in the day. And, of course, the only way to get back L>to shape favorite dancer in mind during bme. Remember that wann-
after an injury or layoff is through systematic barre work." up is necessary for any
Kathryn Sullivan, also a teacher at Steps and at the Ballet Hispani- ·:· Become yourownscience project. Our· physical activity. Musi-
co School in NYC, has trained young; dancers for over 10 years, fol- ingbarre, thinkofthe e><:2ct muscles. bones, cians, singers, runners
lowing her own proiessional bnllet cnreer. Sullivan's advice is to take ligamems and tendons you're using. and ice skaters all warm
it slow. "Barre work is renlly where the training and forming of mus- up. 1n ballet, each barre
-;. Envision ~ourself as a moving sculp· ·
cles occur," she says. "The foundation of training !hat you form exercise fcx:uses on some-
ture. Look in the mirror when wori<ing and
when youngwill shape you for the rest of your dancing career." thing different. Plie is for
~sculpt" SJOur bodSJ into perfect form.
How can you gel more from your barre? Fran<;ois Perron, fanner the hips, stretch and place-
dartcer with the New York Cit)' Ballet and current artistic advisor ·:· Be an instrument that accompanies ment. Slow tendu helps
and head faculty member at Studio Maestro in Nl'C insists. "You the dance. Get connected to the phras· us feel the floor and warm
should work through the barre with ~oth precision and depth- ing and character of the music. up our ankles, while fast
focusing not only on the legwork, but also on the arms and the tendu with plie is useful
-:- Think of barre asaforeign language.
head." Bielski adds, "Work with tremendous concentration for transitions. Speed is
Build and form :~our ballet vocabulary with
and energy 'Think about all your bones being in a stTaight line- increased through de-
each syllable and word.
work your turnout from the inside of the bo d y to the outside, gages. Rand de jambe
imagining thnt tum out stc;rts at the ribs. Listen to the timing of ·:· Enjoy the process.Aiwaysdoyourbest helps us to maintain
each exerci~ nnd try to b<:! very precbe." and work hard. Jo~ wil! come Irom the turnout in mo\rement.
Sullivnn tells her stttdt:nts to "connect what you <:~redoing a! progress you make. Frappes, piques and
the barre to yoW' favorite steps in the center. Try to discover how beats all help our dex-
many wa:•s you Wtluld use il degage (brush) action in tht: center. For exnmple, you terity.Adagio and fondu help u.s work
could use this in 11 jete or c;ssemble.ll;e more it mak<::;.:;en..<:.(;:, the harder !'Ou \vill strive on our fluidity and sustained exten-
to get those battements highe!, those ie~t ~uicker. thai balance more solid." sions; stretching is for limberness, and
VI/hat should you look for inn good barre routin~;? ll1cse ex pen teachers recom- grand battementswork ourstrength
mend a slow, steady progression thn t starts with plies in first or second position, and stamina. Hard work at the barre
iollowed by a simple tendu series with plies, th~n "'ithout. They like tc see 45· will pay off in the center of class, at
degree l~g lifts next. f'in.;ll)'. higi1c:r legs ami i~ster CC1mbini'ltiC1nS ;;rein trod tlCecl competition and in performance.~

31
 Ready---- Set---- Move!!!!!!
(\Varm.ing up th·e physical instrument)
Vincent E. Thomas
Bands of America 2002

Tempos racing, effort changes, stop ... go_ .. tum ·right, flank left, jazz
hln ... no, sprint. .. well, just get there a:s quick as you can. There is so much
demand placed on the body, so emphasis must be placed on preparing the
body in order to avoid needless injuries and stress on the jo-ints and muscles.

Just as it is important for an orchestra to tune their instruments and warm-up

before play:ing an overture and for athletes to stretch and warm-up before
Olympic events, it is important for the marchillg band before contributing to
.and performing the visual package intheir show.

Stretching gives the body a thorough workout by allovo.ing muscles to u.~velop

evenly, improving concentration, circul~tion, speed, technique, ~d helping :
prevent injury, Thus, the key to stretching is regularity and relaxation so that
you can reduce muscular tension which promotes freedom of movement. I! is
.. Irp.portant to br~athe as you stretch. Your breathing should be slow,
rhythmical, tLnder control, and above alL easy. DO NOT hold your [Ire::-_:·
while stretching.

This is an active participation workshop that will aid in designing a strc~.~n

program that will be best for your marching band and you. In addition, some
beginning basic movement ideas will be explored that can be used as
alternate traveling and stationary passages. Comfortable attire is
recommended.

Ready-Set-Move!!!! Part 2
This is an active participation workshop that will focus on movement and
dance for the instrumental marching member (woodwind,. brass, and
percussion): Traveling and stationary passages will be explored. Comfortable
attire is recommended. Please bring an instrument of your choice if available.

1
 Ready---- Set---- Move!!!!
(A sample sequence)

Counts Action
8 lookR&L
8 c:ircular headroll R
8 circular headroll L
8 shoulder rolls
8 torso rotation (pelvis square to front, feet in parallel)
8 torso rotation (Legs in 2nd position., rotating in hip socket)
8 roll dov.'TI sequentially (parallel legs)
8 relax torso and exhale
8 bend lmees (plie) and roll up sequentially
8 releve (lifi heel and arches-4cts) lower (4 cts)
32 repeat the previous 4 sets of 8 in turned out 1st position
"'')
J - repeat the previous 4 sets of 8 in turned out 2nd position
8 lateral stretch toR in 4, reach and exhale for 4
8 recover to vertical in 4,-plie for 2 and stand stretch for 2
16 repeat the pre·vious 1 sets of 8 to the L
8 walk the feet in
8 jumping jacks
8 R leg lunge (calf stretch)
8 . jumping jacks
8 L leg stretch (calf stretch)
8 feet together and roll do~n sequentially ·
8 exhale and relax
'8 plie and roll up sequentially

33
I
L
The Forgotten Elements of Dance-
l by tv1aria Yorton

l _t.,s a dancer teac..'fJ!ng colorguarci I 2lD concerned by bow many teams use dance in rheir routines bu1 can not perform it safe-
ly and effectively. Because these coiorguard.s Jack the proper foundation in dance, the erecution and originaliry of their
choreography suife..'·s. worse yet, poor execution can ofte.o lead to :ileediess i:ixjuties. ·
Don'r get me wrong dance c::::aJ: be done very effectively inmarc:hii:lg band programs.These follo-wing notes will help
l yuu understand the core elements of da...<Jce, ma.oy of which zre often overlooked. Unclersranding and applying these dance
elements should help you improve your programs. Depending on your expertise and budget level, you may even consider
hiring. a qualified iri.strucror to insure thai these :;.bsuact ccinceprs come to life on. the field. Jusr think of what ir takes for band

I members to learn ro play their instruments: years of practice on fundamentals and !he ckdicared instruction from rhe band
direc:tor. colorguard mem!Y-...rs, roo, need fundamenl2.ls and iosL-uaion if they are ro be effective performers.

I The Body
Total Body

I A) WCOMOTION MOVE/YIEJ\-1- body monon ;s.•hl,ch tr"..,nsl'e:..r;s the body from one place to another on the floor or field
walk, run, leap,· skip, roll, craw~ c:a.rt"Wheel, ea.
I e.g.

m_. t."Z!lSfer of weight from one foot to the other 'lllitQ one foot al'IV2ys on t:.Qe ground
I• .Ill!l· t.--wsier of wcight from one foot to the other duriilg which there is a brief moment where both feet are off the
gfOlliid

I ~We often forge: thai: wben we Jocomot its not our legs tb:!tmove us bur our leg-s catching us from falling.
Sometimes runs C2ll look av.•kward v.•he.o you t.'Unk roo much about hbw the atms and feet look rather than feeling
your whole body center moving through space. Also pay dose attention to your a.rm motion as you walk. We W2!k

I in opposition, that means your arms move opposite of your legs. Remember that when you learn travel steps
~Take some simple walks aad p::ry close attention "to how your body moves and .shifts its weight forward
through space. No», do t..he same with j:uz runs. Try doing l'll!'.s with your shoulders behind your hips. Now shift
,· ·.:~·. 'w~; your hips zs if your almos:le:ao.iog a bit forw4rd .. Tnat should feel much beaer.

S BASIC El.EVJmONS (JUMPGJ

I hQll- elev:ation which !Zkes off from one foot and lands on the same foot
~ - elevation which takes off from two feet and lands on both feet
l.e;w. - eleva,J:ion wh,ich ta,kes o1f fror:p. Ql:l~ fgqt ancj. ~~ o~ tbe oti:t~ fggr
sissonne - elevation which takes off from both feet and laods on one foot
I assemble' - elevation which l:2.kes off from one foOl and lands on both

~The most important thing in jumping is body alignment, rolling through the foot while landing and usiJlg a
I bending of the koees . Picture yourself on a pogo stick that is bo..!ll. at the center and has no spriilg. Ouch!
~:practice one of the jumps from above. Pay dose anen.tion ro how your :ankles and knees line up. Have a
partner look to m:2.ke sure you are jumping safely !

OTHER BASIC DANCE STEPS AND El.EVAllONS

~ dan.ce step which combines a walk and :a. bop, has uneveo ( usually triplet ) rhythm with accent usually up (
hips move under)
step - ho:D - dance step which combines a walk and 2 bop (hips move over)
~- dance step which combines a walk 2nd a leap ( hips move over) or a slide and :a walk with an airborne
mome.nr after the slide (hips move under) rhe same foor alw:ays leads the step , uneven rhythm
~-- undercurve srep combining 2 slide md a walk with an airborne moment after tqe slide , the same foot
always lead.> rhe step , uneven rhyrhm
 Cnlorg:uaMf • Bamls Bf America Sznmmr Bami S~m

J2<2nce- overcu..'·ve ie2p "Wirh emphzsis O!l venk:ality, placem~ of feet:a....""ld legs varies wirb cillfer--:~t techruoues
tri)2ler- rtuee step combinztio.n, usually done as undercurve wi.rb steps going low, high, high kad foot changes
wirb each set
( overQJrve - JiJ"Je of ene;yy in movemenr th2r goes up and over: underwrve - line of energy in rnovemem rhat goes
dov.11 . across and UJ2 . iike rhe sh2pe of tfle lerrer "];')

Note: Most of the time wben a srudem is h2ving difficu1y doing uavelsteps ir's because they doni: understand what
li.:.""Je of movement cbeir center is moving .
Activi!V: T.ry doing a leap "-'irh your hips moving under .You will find iLfeeling very awkw-2rd.. Now go rnc.k and do
ic as de.5e;.-ibed above. You will f.md r:h.ar rhe proper wzy 2lso .happens to be rbe .most nanm.l way.

B ) .AXL'li MOVEMB'..'"T- body motion which grows from a f.t::::ed base :around i:b.e :u:i.s of rhe body (.movement rbat srays on
one spot) Ill4Y be done from sir:ti.ng, srand.ing, kneeling, lying, ect

common examples: stretch, lY-...nd, twist, collapse, swing, shake, curl, wjgg:le, ecc.
technical =mples : battement, arch, curve, spiral, plie', tendu', ect.
kinesiolngic:al o.regories (r:he three planes of motion)
1. sag!ru..i plane ( front !0 back) flexion and exre.nsjon
·2. fronral plane ( lateral) pi2ne ( side 10 side) adduction( movement th2r moves into the center) .and
abduction( movement that moves a·way from center)
3. transverse plane (table rap) rotation
Note : Most d2.nce requires the planes of motion to be used in :a combined fashion. We have gre:ar movement
potential!
\ctivity: Pur on some music th.zt makes you want ro move and explore rbe various W<Jys your body can work in and
out ofr:he three pJ.anes. The..'l flnd our what .kinds of expression you cm get from srayi.o.g in ooe place using arm
gestures and leg movements.

BODY PARTS

...solztion, emphzsis, or fo...--u.s on one or more p:2Ilicular part, area, joint; part may also lead or follow movement

Th"'TERNAL REFERENCES
e.g. : bones , musdes, joints
:EX'I'ERNAL REFERENCES
e.g. : head, shoulders, arms, bands, torso, hips, legs , feet, ecr.
Note: We dol)'! ~!!gQ :a }or Qf tirn.e rilin,king 2bout the movemenr possibilitiesfor each of our hod:y _pms. Most co!-
orguards rend to use the lower body wd doni: explore other W<IJS to move.
Activity: Isolate Ib.e h~d, shoulders, ribs, hips, legs, and feet anyway you would like ID some fun music- ny 16
counrs 8, -4, 2, then l counr for =acb. part. Try it wil:b other bodyparts to, like arms, spme, eyes, nose and even your
wholef:ace.

;pJ.aces jn m:ace- entire area <a•'aiiable for movement

p-:rsonal SP3Ce ("ki.oesphere)- the a= imrnediare.ly surrounding :a r-rson; the am.oum of space th2I can be
reached from one flxed spot on the floor
Note: When you pe.rfom it s.bouid fell like your standing on z peak of a mounctio ntber than inside an eiev4tor. Fill
up space! To =ny performers go unnoliceci because !:hey cion't fill up eoough space..
Aqiv1ry: Peri"o.LI!! 2.ri every day action like brusbing youneerh orVI2Shi.Dgyour bair. Take this action 2.IlCi. the objw.s
:and =.ke L'lem 4.5 big as you C2.D.. do the same aaio.c -with your enlarged movemen'5 :md see bow big you
.move.
=
l
I
I lEVEL- plaC"'....menr of body or movement in space in ve..Lica.l dimension, height or clist:ar.lce from floor, e.g. higb , medium ,
low
Note: It's ok to get your uniform a little dirry. Don't be af.ra..id to g.o the to ground or reach for the sl2IS.

I Activity : Cballenge yourself to make up some new dance moves that go into the ground md up high. Try making up moves
th.ar will .have half the group go low and half going high.

I RANGE- size of movement or amount of space a movemenr uses

1) in reference to a single body part ( determined by joint flo:ibilirr)
2) in reference to whole body in a fixed position Cax:iai )

I 3) in reference to how much space a locomotion movemem takes e.g. large small
Note: Range is a tricky subject because everyone wants high Jcicks and sometimes sacrifice gmce to get them. Its always better
to have have good control than to try md overdo something. Some members h2ve many more drill moves tb:a.n others which
increases their range.
ACtivity: Stretch everyday for a month holding positions you wou.Jd like to have more ~ge in for at least one minute . Hard
work will pay off.

l
Dm.EGnON- aim of rhe line of motion projected by ilie body into space
a) bc<;Jr .. odo'1 (e.g.; furmrd, backward, side·ways, dia.gonal. circulz, ect)
hl. a,;:i1l,(e.g. ; forward, backward, sldew2ys, up, down, ln, out, ecr)
l'iote: SLDple walks can be interesting. if the performer focuses on the direction and its impact .It looks and feels dif-
.~~enJ when someone comes straight tD"--ards you. or fust walks by.
1 Activir;-: March parr of your drill look closely at how and where your lines move on the fiekLBecome aw:are of how
·- all tbe different directions members mzrch make complete pictures.

I
L PATHWAY- floor parrem- invisible desigD desc:.>ibed on floor or field a)locomotion movement e.g. ; curved, straight, zig-
:::.g. "C,
b; wr pc.o.em- •'ll'..,;ible desigo traced in air by movement
l Note: Think of How irueresting it is when you see the air force's blue angels io the sky or look at a kite io the air. one path-
way is predictable one isn't .However both are stimulating to v.ratcb.. . . ..
Activity: Take a piece of paper and d!a:w a pattern on it Once you have clone t:h.ar recreate tb2t pattern on the floor with
l your body or in the air. perform it for another person and see if they can draw the desig:n you made. How does it compare
!Q ~rY9u ~ran:ed with..

BODY FACING - direction you fuce relative ro the pathvr.ry of your movemenr e.g.; forward , backward, sideways, di2gooal,
tuming,ea..
Note: ~ a team you should always undersraod whkh way the body should face during a move. Qear bodyfac:ings will make
your dance communicare more strong.iy to your audience .Don't forget th:tr many times you will be ma.rc;hing·_one:way and
your flag will have ro face flat to the audlence. This means that you have two responsibilities, one for your feet and one for
your shouldezs.
A.ctiviry: Whlle practicing a dance sequence or flag phr2se h2ve one member mm his or hers shouldezs jusr: a lin:le off. See
how it looks when both performers are nor sure of their facings.

PLANES - a) in space - rwo dimensional (flar) are2. described by body or movement in soace
b) of motion (in kinesiology ) - imaginary bisections of the body along which movement ~c:urs
3 c:arc:liDa.1 planes ; sagital, frontal, transverse
I Note: The body flexes, exrends moves in, out and routes.

I
 I.Th'E: - E."'lear ext~ion of body or projeaed energy bro space
Note: Mmy colorgu;ud.s use wonderful poses with 2...'1d wir.bour equipment rh2t go unnoticed because r:be lines ;ue nor dearly
performed. Wirhour de31 lines ir mighr as well be mll.Sh.
Activity: M2.ke up .;; pose rhar is .flar to the from Try e:;ch pose while thiclcing of e:.cb :a.ngle of the body conuecred to rubber
ba.ncis. Srrercb the b2nds so u'lar Ihey :are rigbLT.nis will give you I.be sen.s:a.t.io.o of pulling }rour body lines into clarity:

FOCUS -a) eye - direction of gaze

b) graining ( body focus -indication of direction of inrent or energy
Note: use of focus is one of t:be best v.-zys to communicate to your audience .When· someone looks ar something inrenrly we
often musr look ourselves fu.s• to see what's going on.
Activity: Sand wirb your feet apart and hold an imagi.uary ball in your bznds. Begi.o to toss the ball up and follow lr with your
focus !ll2.k:e sure you continue to follow ir unril you hzve o:ughr it..Perform some moves you :already know and change your
focus so iliar your face and eyes become pm of the dance.

SHAPE- design or sculptura.Vorm of body or bodies e.g. curved, linear, rwisred, angular, S)'IlliDetrical, ect
Nore:Wnen you mzke a shape its not jusr the body thar's imponanr but the space the whole body fills up. lt's like having an
air pump co:mecred to your body and filling your body with air so you can really see the shape.. · ·
Activity: Have one team member make a shape. One at a time fill up that shape wi.r.b anoth~ pe..."'SSOS shape keep going until
you bav<: ~·re-tone i.L the huge sculpture . Wo~· looks gre.a!!

VOLUME- Three dimensional area created or formed by rbe body

'Note: A sculorure in :e. museum is fascir..zting because it h2..s volume. use Your body more like a sculptures than a flat picture.
UiDk fuU, l:~;: tillcl:: volume. .· · ·

FORCE

r:::l::;:~.:s :, "'..:' ·o·lnt :wd the way e.'1ergy is used ir: movernenr ; an expressive aspea givi..ng color; teXture, mood movement ;
mc.uae.s rb.ese ccncepts

STRENGTn- :amount of coiJI::r.a.crion in muscles, e..g. tight , loose

ATTACK- bow a movemenr begins, e.g. simp/ suci.de.D! quick/ gradU2.l/ slow (also time related)
WEIGffi- 2.!IlOuni of resistance or giving imo gnvi,ty, e.g. heavy, lighl
MOMENTUM- folio;~.• through motion resulting from an initiation of release; use of iDerti.a to direct movemenr (ineni2: ten-
ar
dency of any material bod:f ro remaineii.b.er re5i of in motion unless
acred upon!:)}· some
Omside force)
1\lTENSTIY- amount of energy used
DYNAMJCS - varying degrees of muscular energy used i.r. movement; change in accent, qual.i!y, or imensiry oi enefBY

Note: T.cis is the bov.• dance is done as opposed to wbat is being done . .Many colorguards perfom a variety of mov~en:.s
but they .all look the same beo:use the bow is ail the same. Can you imagine if we talked to each other with the same tone
wei tenure in our voices or if we could ear ciifferem shzpes of food but they all t2.Sted the same.
.Activity: Choose ::. selection of song:; rbat all b!ve diff~e.nr feelings to them. pl2.y rhe songs :md move to rhe musi. your
movr!ID.ent should feel and look different -with each song.

J1
 MOVEMENT QtiAI111ES

specific ·ways of moving created by difierE:Ilt uses of force( energy)

a) primary
1. swinging- "pendulum movemeor consisting of a relez.se ( drop ) with g:raviry, an arcing follow - through, and a suspension;
uneven, usually triplet rbytb.m; rel2xed musde feel
2. percussive - quick, sharp movement wirh srrong initiation and clear stop ; staccato, sharply accented rhythm; controlled
muscle feel wi.rh energy applied in bursts ·
3. susta.lned- even and steady movement with no accents, continuous. energy .flow
Note just like equipment work needs to be music:a! so do dance moves. Work on not only sharp movement but smooth and
swinging roo.
A.ctivit:y: 5'91-'ing your ums then move Lftem sharply now smooth like a flowmg river. Try this with other body pans such as
legs and torso. Think about bow each quality might be similar to certain styles of music.

TIME

MET.r::RED T.J,:E - time organization based on the use of specific units of measutemerir ( measured time.)
PUlSE- division of time into regular inte!Val.s
BEAT- specific- cl:mtio.o or note value as ciefJ.Ded by the time signature
'r:.MPO -the speed ar which a pulse goes by; :ate at which movc::ment occurs, e.g.:faSt, slow
ACCENT ; stre.!>s Ol emphaSis on a musical or movement e~ilt
DURATION- how long a sound or movement l2stli
Rh~M- :he result of variations in accent and dur2tion in sound or movemem
INITIATIONIDlJRATION- the two p:ar..mere:s of all rhythmic everus; initiation is the mome.or of onset, duration is the length
of the event
METER- the grouping r.ogerher of beats inlo regular recu..r-ring sets c:a!led measures
MEASURE- a group of bears, one of lll2ily having equal duration and recurring accents; :i notation devise for meter
PHRJ. SE - a :~a rural grouping of movements or sounds
_,.'I.;);\·~. •~ ·' · no.e v.iiue(duration) smaller rh2.n the basic unit in use
SYNCOPATION - occurs w-hen noilll2J accent panem of meter is· displaced or destroyed
Note:Band members who join the colorguard are usually very good .why? because they can read music and understand the
elements of time.
Activity: Find someone l.n the biild w-b.O can sit and t:2:l.k to you about ·the coilceors of time. Maybe you could fmd :a drummer
to teach you li fe'w !:brs d.rum bciJ:S. ~!~nfo .z:i'l1l~C as IiJJ.lth ~ J>05Sib.le and liiove to the beat.
This is a lot of infD!ID2tion, so take it one step :ar a time. Being aware of the finer part:S of dance will make a difference in
lqipteoating iL, perlornll.og il: , bei.r:ig safe with it and fmdiog a place for it in ccilorguard.
 BANDS OF AM.£ RICA COLORGUARD WORKSHOP

You•re a Dancer and Didn'"t

Even Know It!
by Maria Yorton

urprised to hear you've been friend or jumped up and cheered

S a dancer after all r.h ese ye:arr:J You don~ uiJke up one morning and say, for your f.!vorite team. How about
_Well, don't be. Dance
surrounds us all every day of
our lives. Many of the same
movements we use day to day are
I will become a tian£e:r.
the l..ime you kicked a ball or
dim bed up a flight of .sulrs. We've
all leaped over a puddle on a rainy
You wake up one morning and realize day and turned !.be page of a book.
used in dance and are the basis for Dance can be as narural as all of
doing movement gracefully. you've been a dancer all your life ... these everyday aa.i?ns.
Whether you've had no formal Therefore we are all dancers.
training, or just a few years of and you say to JOU73e!f, I am a dancer, To repeat: dance is merely
Lraining, Jance is part of you movement that we use to express
waitiDg to be used. I am dance. ourselves. The famous modem
We CAn Jearn to become stJong dancer Ted Sbaun said, "Dance is
:r.J effective ciancers if we open the on! y art in which we ourselves
our eyes to all the connections are the .stuff of whicb it. is made:
!x.-rween dance and us. Colorguards -Susan Botney Okay, so maybe your feet
of tcday should understand that weren't pointed when you jumped
dance merely means movement and your anns weren't over your
which communicates an idea or feeling ro their head like a ballet move, but at t.har. very moment you
audience. lt'$ really thar simple! Don't r.hink that dance were performing movernenL Dance technique is just the
i.:. 1...1 _;r.:..A:; ,.;t .... , rherefore uouseful to you because you act of taking those physical movements, exaggerating
haven't been dandng very long. them, e:nend.ing them in order to communicate more
Dance is more than just technique, ir.'s part of who clearly the ideas behind Ihem.
we are. This isn't to .s2y that technique isn't important, From fidd shows to parades, dance continues to be
but rather, to make you av1are of less tangible bur used to enhance routines everywhere. Whether you use
equally im(X)rrant qualities in Q;l.nce. Knowing this wll! a_s!!IJple wave of the arm :while spinning or a jump
help you become more confident in learning, exploring, while doing a flag sweep overhe:ad. Dance will make an
and putting dance in your routines. exciting difference in what you can do. So go for ir!
Successful colorguards of tod2y don't limit Don't be intimidaLed by dance, because you've been
them..se!ves. They jump right in, taking a more self- doing much of it already. Explore it, approach it,
defining approach, fiDding our what dance means to embrace k, and most of all incorporate ir imo your
them and how they can use it ro make them bener. routines.
Unfonunately, not all colorguards ha~ the luxury of
having a dance te:acher. This can be very d.iscournging Goals
when you, as a colorgu.ard member, see another "People are no/ lazy, tbry simply baue i:mpoJent goals-
colorguard that gets professional insuuaion. Ler's see if that is, goals that do not i11.Spire them. •
these next few revelations will hdp you see yourself as -Anrhony Robbins
the dancer you can be, even if you don't have dance
insuuaion. We have already said that dance i..s simpiy You rrrust know whar you wail! in order 10 get iL
cornrnunic:l.ting an idea or feeling through movemenL Many colorgua.rd.s go through the season wilhour dear
Think back to 2 time when you waved good-bye to a goals. The goals you set should be measurable ones.
 BANDS OF AMERICA COLORGUARD WORKSHOP

Tir...se goals should apply to the team,
as well as individual colorguard
members. Unfortunately, we can't DANCE
cor1trol everything, so se! goals that lnfornaation &
you can be. accountable for. For Inspiration
example, your team goal could be
communicating with your audience
Dance Books
better than ever before. An individual
goo:! might be perfecting your Dance VIdeos
equipment skills before har!d camp. MusJcals
Think of Michael jordan without the Aerobic ClaSses·
goal of being an in;:rediole basketb:<l,ll
player, or Kristi Ym~iguchi. pever MTV ... · ·.: ":.·.
:··
focusing her sights oo the gold. Your Dance Productions
mind thinks and responds to the level ·Cheerleading Competi.~o~.
of w~t you expect. If you expect
; Dan~ MagazineS : ;
gre2t:ness, and stick with it, that's what
you will get. Talent Shows
' .
Concerts with Dance
Com r.n:it~ en t · Darice Classe.S
'Tue meeting ofpreparation Ulilb
C!.tJPOil!.;~iLy generates the ojfspri11g we
Great Performances (PBS)
caa luck. • -Ant:hony Robbins Fitness Magazines
Dance
..
Phot.Ogciphy . . -: .....:..
.
Unfortunately, we hear the word
Dru.rn Corps ·
commitment often enough for ft to
lose its impact To be commiued to Winter Colorguard
5()ln'!L.hin~? is to j.!ledge (one.se!D to an . 'Ifi~t.er Shows
iw.:d. ,; ~~. T'ne fact that you're· · Gymnastics
reading this anide is a pledge to this
Ice Skating
activity. You and your ~olorguard need
to be truly comrnined: to achieving ::.rc:e Dancing . ...... ....··.. ::•' ...·····.·.·.·
•'
mUS! pLay. to learn colorguard you
must do colorguard, Le. spin, dance,
march. Aaion with repetition is the
key. lr's a known fact that repetition
brings great results. So, whether you're
practicing basics or routines, do it
again and again ...
Disc:ipline
"For erery disciplined effort t/:we is a
multiple reward.· -Jim Rohn
Imagine our country without
..
rules. Yet, the idea of rules and
regulations often gets a. bad r-ap. We
all want and need rules. Discipline is
how you react tG the rules in a given
situation. Some of th~ most important
areas of a·disciplined colorguard are
coming to practice, being on tirpe,
paying .attention, keeping yourself
organized, a:nd having a .positive
attitude. When you lack discipline, in
the end you will suffer. Make rules ·
:md live by t:hem as a team.
Teantwork
"Jfyou w6u.ld win a man to your
cause, [7J"St Gonvince bim that you are
bis sincerejrilmd. •-Abraham Lincoln

your goals. This pledge will give you
the power necessary to overcome
· obstades. Don't sell yourself or those
around you short. Although tt's not
always easy to cornm~, il: beats the
alternative-which is to quit
Action
"'The great erui of life is not knowledge buJ action."
-Thoffi2S Henry Huxley
.·····
Colorguards everywhere
·: need ~o understand t:he value of
~.y:·
Baton Twirling . . . . ·..
···::·:·: ··:· <:·"'·
teamwork. Take t:he opponunity to
'·?Athletic Sports
· make friends, :md learn to supp:>n
each other. Don't expea to-
oL.....-----------' understand every teammate, but learn
. to respect them for. their special
qualities. The fact that you're all on the same path
to:wards greatness gives you some cormnon ground. Care
for your teammates, support them, respect them, and
celebrate with t:hem.

Our society rewards action. Hard work is pan of
having a great and respectable colorgill!rd. Don't be
afraid of hard work-it won'! kill you. We can have
goals. be committed to them, but if we don't act, none of
our good intentions will maner. To learn Ihe piano you
lt's ironic bow basic these concepts seem yet how
· few colorguards live by them. Learn to Jive by things
that produce great results, and the. reward will be more
than you could have ever thought possible.

LfO
 You anty nave one bod~ so you had betteP take wwe nf YOUPSelf .•.
The Care and Feeding of the Colorguard Body
by Lany Rebillot
ny aih.lere or performer io ilie arr.s who uses
A rJ'leir body a.s an insrrumenr for ili~ succe.ss
rnU51 treat thal vehicle wir.h respea and rmiruain
it wirh proper care. Those of us in Ihe col-
orguard aan•iry musr use rmny of the same principles
in r.he caring of our "ir..suumem. ~ Since your body is
your spinning, dancing and IIl2.rching instrument, it is
up to you ro Like care of ir. Acquiririg a heahhy znd fit
body is not jusr regular exercise, bur eating sensibly,
relaxirig properly, gerti..'lg enough sleep :and having
so:::1e frn! TI1~e arez:: and more follow v.ith many
specific. fo:- oetlt!r health. Re:.ad crre.fully-because you
are rhe one who will benefit!
.A::, -v-:ir.h :..ny form of exercise, W"2.rming up is ~n­
:ial. .Pror-:r stletc:hing and warming up is truly a warm-
ing d the muscles to prepare them for rehearsal or any
activiry. This ~n be uue in your every d.ay life. A sim-
ple, bm effecrive moiT'..i11g stretch can not orJy make
you feel "body ready" fm the day, bur can also lower
the possibilities of an accidental injury. Do wh.arever
makes you feel more prepared for a wor...:our or prac-
tic~orrie SIT'.? 11, smooth srrerching, for instance, to
:.._ ..:sc.~ mu~::::;, 21.o incre2.Se your pulse rare,
Rerne.rnber, rhe colde; iris (bite Ocrober/e:2.:.-ly
November band priaic5!), the longer you need ro
warm up.
Since the physical demands on rhe colorguard body
of today are so gre4r we should indu& many dance
elem.ems in your OWIJ basic.workout. You should rry to
ser :t specific time-span ro work, such as 45 .minutes to
an hour; any discipline, like skating, ciance, or guard
aod remain fairly co.nsisr.eru:. A certain sequence is up
to you, your inst:ruaor, or captain, bur here is :a com-
mon breakdown wir.h rhree ID2in .seaions:
Floorwork--sone sitting or lying on rhe floor;
Calt:n:work--done while standing, or in one place;
Moving In Space--rr;!veling across the floor.
Floorwork concemnte.s anention on your whole
body, especiilly the rc::--o and spine, then moving on
to ann and leg exer:::i.ses to work on coordi.'l.ation
1:>--....rween your left and right sicks. lr is good ro begin
;vjrh r.i)e spine which is Ihe mosr compkx jDintlrnuscie
are2 in your oody bee<. use of rhe i'ast :amounr of SJT..alL
er bones and muscie.s it h2..s. You should being with
Yl
some s:in:ing spine stretches to round ir our, .srraighren
it our, doing small bounces, all to work the muscles
genrly. This C2Il ger the blood i:nro the muscles, which
is an advantage be::::ause (here comes Biology 101) the
blood carries oxygen to the muscles and rakes away
any V.'25le, wruch rhe musdes produce all rhe time.
Thar v.'G.Ste is wlu.r musde soreness is-a g:re:ar build-up
of wasre in your muscles.
'While starting your stretch, we also want ro think
abour breathing-a rnovemem we make all the time but
rarely rhink abour. We wan! to brearhe correcriy,
involve your entire chest, use your diaphragm, and
inhale then exhale deep, controlled breaths. 'Whew!
Continue your floorwork with various leg and al1Il
exercises. Pointing, flexing, shifting weighr all help in
coordinating our arms and legs; try ro keep tension low
and relax. We go on to side sr.rerches by using our hip
sockers. In our aaiviry, jusr as in dance, we musr
acquire and maintain a great deal of flexibility in our
hip sockers. Tne more flexible you are, t:he easier ir is
to move and stretch-out. Side stretches should be long
and sUStained movemems vrithoui bouncing. Be care-
ful to hold your legs and knees srraighr and alv.'ays
rolled back. These few, bur basic, exercises can be
enough., however, you rn2y wan! to continue with
·-some parallel leg and am flexing and spine curls while
k11eeling to help isolate muscles and movements.
Tne:se conrrac:tioos will help your back and Stomach
stre!lgrhen and become more fle:::ible. In finisiring on
the floor, use care in rising to your feet, shifting your
weight and maintaining your balance. Everyone knov:s
how to be a klutz., bur now is nor rhe proper time!
Nen we move to CentreWork, improving your
body posrure, aiignrnem, and cL"'Yeloping a beue:r
av.-areness of your own ceruer. Cenrrework can also
srrengrh.en the .flo:ibiliry of your legs and coordinating
their movc::menr wirh yow arms. You'll need to learn,
or just refresh, your basic dance knowiedge for this.
B...."'gin center -witb plies or simple k:nee~d.s in the
various positior..s ior srrei.Cb and balance. ConC'""-ntrate
on space-going ro a lower spaa::, rising ro a f..igher
one.. Plies are rhe ove.-all dance aertise. Th~y worlc
you; musc:les 2.5 well a.s your mind and develop energy
from your body to the space around you. Coruinue on
 :::c
. !
i
to same parallel a..1d turned-out exetcises v.>irh your
legs ro work on srre~ching your feet, your alignment
and shifting your weight evenly. MaflY of these teridu
or simple brush-and-rouch exercise~ can be repeated in
either parallel or rurned-out positioii.s and rhen exrend-
ed oui reaching jor even more mobility. DOI'i'"T FOR-
GET TO BRE:!:..T....J:::! .
Yot:J should no"Q; be ready for some: simple jumping,
often referred ro as rbe greatest momeni:S in movement
or dance (and even athletics!). To perform., as welJ as
to v:arc:h, is the ability ro fly in rhe air-leaping, skip-
ping, and jumping. To coordinate your legs ro be ready
ro jump you mus; th.i..'"lk of rhe ankles andfeet Work
thetn properly for your srarr ·and alv.'<!ys plie before
and after any jwnp ro cushion rhe initiation and finish
of the move.
_J ' Last in rhe breakdo"m is Moving In Space.
Marching band and colorgu~rd is based on this aspect
and our bodies are designed to do frlls; But, bemuse of
our lifesryle and up-bringing we may not be used tO it.
Everyone has 2 sense of being uncoordir..ated, howev-
er, with concem.-..tion and some practice, it can easily
be vvercr.;r,_e.. You rn2y 'll.'anr. ro begin your t.--aveling by
simple "-'Zl!-!::;g or even marching ba5ics_ In guard or
dance, -w-hen we 'tl."a.lk, march, or leap, we are given
these sreps or drill moves which are t.--aveling move-
rne;;i:.5. A..nd really, running, just fast "9.--al!:ing and a leap
("9.-•hich is rhe ia~-eSI movement we can make) is just
'b
r the movement between two sreps v:hile in rhe air!
i
Walking or u<!veling. 2..5 simple zs ir seems, can be the
hard,~ rhin g 10 .mzster. You may v.-:;uu ro do a slow
waLk Wru..lt:: balancing or a plie wail: 10. work on con-
.o:oL Move on to a trioler . or rhree-tount feel with·'vour
v.·alk, like ~ "9.-'altz, ro work on myrltm and ro stress
count "one!~ You'.re nov.' ready ro move on ro skips
;r.nd leaps- An endless variety of rnovemerus come from
a few simple moves, bur jr is just the way you arrange
them and pur !hem together. 1n skipping, you fumP off
and land on the same leg. In leaping, you transfer your
weigh! from one leg to the other, taking. elf and land-
ing on different legs. Always use your whole body
~tc:h, plie, a good push-off and a soft landing.. to
make rhe besr movemeru possible_
Of course, a long,. rhorough wazm..up, would always
be grear., however, many times your time is limited and
there·are often roo many other things to be accom-
• plished. If your time is limireci, try To condense your
~ work-our paying dose anention to 'using your entire
-··
""' body to stretch. Coordinating your equipment or props
with rhese warm-ups can nor only iruensify them, but
can also help once you begjn performing_ Some of
these equipment \\'arm-ups can be found elsewhere in
the teX!:. t-.:rid remember; rh~ ideas are specifically for
you, the individual;nor always.for agroup as a whole
(bur ir wouldn't hurt!). Improve yoi.lrself 2.S an individ-
ual and your 'iltill improve !he performance level of the
group.
/ilier a V."a.rm-up, work-our., rehearsal or perfor-
mance. most people jusr finish, say their good-byes
and leave. After aoy form of exercise, your should con-
tinue v;.ith 2 shorr cool down, especially if you mve
been working hard.. While you've been rehearsing
Chere's more of that biology lecrure) rhe amount of
blood pumped into your body his increased. If you
.-just stop, rhe blood "pools" to your extremities causing
a rush and dizziness. By slowing down gradually with
some slow stretching and breathing exercises, your
muscles will help your blood flow and pulse rerum to
normal. Massaging tired muscles can relieve after-exer-
cise stiffnesS.
Wbml YOUP Body Tai:t R3::l, l..lstell
In cQlorguard, as in any activity, an injury is never wel-
cOO'le and aJways unexpected, An injury (provided it is
nor. inflicted by someone else or caused· by a haz-
ardous practice or performing area), is ieally narure's
'W2Y of saying "SLOW DOWN!~ Everyone suffers and
injury sometime in their life_ Here are a couple of ideas
to remember concerning injuries. The best trearrnem
for swelling caused by a fall· is ice (egg whites mas-
saged over the injury are grt::a.r, bur nor always
handy-no kidding, egg whites!). iJrer a day of treating
the area with ice, try to alternate hot and cbld towels
(maybe ten minutes each) for a 45 minute period .
Repeat this every four hours_ If you hear :a loud "snap~
or feel a sharp pain, go ro 3.II emergency treatment
· c·enrer or ro. your o'wn docror immediately. Even with
the smallest ip.jury, when in doubt, seek medic:U
advice. If the use of the .injured area doesn 'r rerum to
normal after treatment, a spori:S medicine clinic. can
help. with rehabilicatic:in.. A phone call can often make a
big difference in treatment a.IId recovery_
Rel.a:x:ation is as essential as movemeru-when one
set of muscles conrracts, another- ser relaxes. Bur how
many of us really know how to make this ba:lance
right? Most of us think we know how to .make our-
se.tves rcla:c, but more often., when we· think we are
relaxed our shouiders are hunched by our eats or we
are gripping a flag/rifle until our- haiidS are ·red. If you
have time, rry to relax for a lirrle after you ate done
with praaice. A method of good relaxation is the
corpse pose; a cl2:ssic, basic yoga position. Lie· on your
back, feet apan, hands away from your sides, palms
f.ac:ing up. "Feel" th.ar your body is symmetricallening
 yoW' !highs, legs, and roes rum-our. Oose your eye5
and brearhe depiy, allowing gi2"1iry w free your
weighL Route your legs and arms in 2nd ouL Brearhe
deeoiv anci slowly, emprying all rhoughts from your
min'd.'Tnis can be a s-...ar.: of somedling wonderful, jusr
re..rn!::mber to allow time LO relax everyday.
YDtl ~ Wb3t Yoo Ezt
.A..'1y perfDTIDer requ.i.res :c sound diet ro acilleve sho'L,
.as weU .as long term perforTI12!lce. The Des;: diet still
mu.sr supply adequate m1oums of ,.,:-;arer, calories rhat
march your work demands, good quantities of prO!ein,
viwn.ins, and mineTili. The body's fu5i. neerl is for
energy. Mosr of us need abour1500-2000 c:alories a
day. To cover growth needs, and ro help r:he body
repair d.arr..ages. Without calories, we don't spin, dance,
grov: or function weU in life. You need to carefully
selecr food items from the basic food groups (mill:,
me:al, fruits, vegeubles, and grzln.s) to ensure me best
nutrition and you rruy seek advice from your doaor or
:iic-ti:ian. h::><ein is fuel ro move and you need it to
Ir.aintain muscle fiber and body fluids. Protein and car- ·
bohydrales C2.n provide quick ene!g]'. Fruit, fruit juice
and c..'7.c!:e::s ;:-:-ovide healthy quick energy and can be
easily digested, while honey and concentrated sugars
(C'>....i'ldy bars and cereal bars) rake longer IO digesr, so
rhey really aren't sources of energy. _AuJ.d don't forger
i
''-
viumins and minerals as an important pan of your
,. diet. They will not be in your body if you don'r eat
welL Good balanced eating habitS will give you proper
· ·., ..~:,.':->:· ~ Uvil2T.ins and miner-als. Sometimes w}.at
you ::at isn't enough and suppiemems may be advis-
able. An average one-a-d2y >'iramin >'lirh minerals
whid1 gives 100% of the daily recommended amounts
can be great for your diet a.."ld g:re:ar for you.
etables, juid and 'i:trilk. Coffee, rci and cola beverages
(induding moo: soft dr:ink..s) are not considered fluid
replacP.....menr because their c:affeL11e and s:ah content
causes acru..al fluid iD"..s. A good tiring ~o know is rh.at
cold v."aler is better-it is :;,bsorbed into the system
more quickly ti-..an war.rn ·water. DRmK IT COLD!
To mainr:.ain a healrhy diet, you should try to eat
regularly md sensibly. Wben you ear can be irnport2nr
in weigh! conrrol. Eating :a good breakf2.Sl: and lunch is
ideal so you wilJ. be less inclined to eat or v.rant a large
evening me21. Remember, your body needs tome ro
115e rhe food before you sleep. Never exercise on a full
sromach--you will feel uncomfonable and your circt}.
lation will be confused by conllicti.."lg demand within
your body. On the other hand, never exercise on an
empty srom:ach---you will feel we;ak and concent.\-ation
will be low.'If you fed rhe need for energy, think se~
sible, no1 convenience.
When you join band or colorguard, you don'r think
ir will run your life. Bur, we an know, just like any
activity, it can at times. There seems to be lirrle doubt if
your treat yow body proper}y-:.gtving ir the proper
nourishment and sufficient exerc:ise, condition it and
keep it healthy-your reward is a winning one, one
that m:any would give millions for, but, whic.h is price"
Jess; rhe unrnisra...lQble feeling of h~drh and well-being!
GOOD LUCK!

TIE JJI!tade DrD

\1':-:arer is essenti.ai for all body functions. II regulates
body temperarure, carries nuuiems and oxygen to c:dls
and is necessary in removing wasre.s. Due to our high
activity level, guard .and band members need ro have
more water r:han we think. Dehydntiori can lead to
hear cramps, exhaustion, naus~ heat stroke and injury
due to fatigue. These conditions can be counter-pro-
ductive for your group. If someone is rb.ink.ing more
abou1 t:hlrst insread of a iiJUtL"'le. rhell" memory w:ill.bu;·t
in !he long run. 'Warer helps to Il'l2.im.ain proper muscle
tone by givi.-1g muscles their n.arural 2biliry ro comraa.
Generally, eight ounces of fluid are needed for every
200 calories offood eateiL If you need 1500-2000 calo-
ries ciaily, thar's about 80 ounces. C?r 10 nornlal gb.sse:s.,
of warer a ciay. Warer can :c.lso come from fruitS. veg-
 Dance Terminology & Basics
by Dee Ely

1. . Grand plie-big bending

2. Demi-plie-half bending, as far as possible with hea.ls on floor
3. Releve-rise, 1/2 rcie - clernl-¢inre
4. Releve sous:sus-rise under and over
5. Port de bras--arriage afthe·arms
6. Baiiellleru rendu--strerched beating banemeru - movemenr of rhe leg a-way and toward rhe body.
7. Barremenr jere-thrown beating
8. En croiz-crosswise, in all ~ons (front, side,:back)
9. Degzge-free!ng of rhe foor ·-.
10. Rnt. de ;lmbe a terre'-Circle of !he leg on the ground (112 circle)
11. En dehor:;-ourward; En d~ward

12.. Balancoire~g

13. Cou'-C!e-piecl--:neck 'Of rhe foor

1"' Barrernenr frappe-suuck beating
15. Deveioppe-developing movement
16. Efface-shaded (diagonal position}, En face-:.'"!raighr forv.-artl
17. G~d barre::n.er.u-large be:aang
1~. .:..anb:.:~:>t'lr de piecis-changing of the feet
19. Ecbappe releve--escaping or slipping movement wii:h. rise
Ec:bappe s:mt6-escaping or slippmg with jump
20. Fondu- a soft melting pile on one leg
21. Fourte-a whipping motion executed on the free working leg
Z2. Passe-a passing through action in which rhe we of the working leg passes rhe la)ee of the supporting leg
23. En !'air-in the air
24. Pas de bourree-<Jn releve SL'"P back, side, dose from in plie
25. Pique-Srepping Ot""liD a releve (.straig±llleg)
26. Sissonne-Taking off from both feet :and lmding on one
-;
.1.. •• Assemble-Taking off from ODe leg and. landing in fifth together
28. Jete-a iumfl from one foot:;anro the other
 --- ---·---------.,

Jazz nam:e Vncaantary

Arabesque- Tne oociy is supponed on one leg, feet rw.y be rumed our or nO! ru.-ned out; the knee may be
flexed Oi lock~ Tne oilier leg is fully en~d to rhe back.

A.rrirude- Tne lxx:iy is supponed on one leg. Fee!: rmy be rumed our or nor rumed our.; r:he kn~ is flexed or
locked. The other kg is lifted in back or fo;v,4J'li "'irh ri:te knee flexed.

A moveme...'"lt in which t:he working leg is lifted from rhe hip inro the air and reruroed to t:he floor.
The woricing bee is locked, supporting leg ID2Y be flexed or locked fQO( fle::::ed or p:Jinred.

Catch Step- Two steps r.ak~ in any direa.icm, using one z.nd one-hill counrs of music.

A step rogether step; plie, releve, plie.

Chesr lifL- Tne c.~es:: relezses and lifts to its uppermasi: forv.-ml position. The ril:r-oge expands by inhaling
ilirough the nose v.irh the mouth dosed. Chesr rerums by conr.i<~.cr.ing rib-cage. Exhale m by
o~"ling mouth :and pushing air from lungs.

Chaine (rurr.s) - Fast rwv-step rums mat l2ke rwo steps to complete one tu1n. M2y be done lri releve, demi-pli~, or
grand-plie.

· Ccm.pl!S!: T;lffi - A UL."":l on one foot., oilier leg e:nen&-d ro second position.. Supporting leg m:ay be flexed or locked;
e:xrended leg is loc..l{ed and toe is poinred. The rum is ex~eci with the mended leg II12king a full
cirde on ilie floor.. ·

Conrr:action - To reduce or become reduced in size by d..-..wing rogethet. This movement applies to the parrs of
me bociy char are linked together by the Vertebrae, such 2.S u1e head, rib-age, and pel~.5.
\,oo.• ..... f. One fom cuts rhe other 2'W2Y md r:a.'l{es irs plAce. A sha!Jl cnrring G:cbmge movement of r:he feeL
!0...ay be exe:uted in rbe air or on the floor.

Demi-plie- A ~if bending of the knees, ilio called fl~g of ilie knees . Fd may be turned out or not turned
aut Kn~ e::rend over toes.

Fla;;.n Position - A De:nr position..

Frog Position - · Sil;ting on the bun:ocks, wiih knees in second posiriof1..., f~ roger:he:r (legs form a diamond shape).

Glissad!!- A gliding step, moving in any clireaion, wii:h the orller foot dosing ro the gliding foot

Grand Plie - Deep knee bold HeoJs lift off the floor in first, fourth, 'alld fifdJ. position.. H~Js re:nain on floor for
sec:and position. Legs may be turned ex..'! or !lt!ll1!'al

Hill'Toe- A sre::' t:tken direcly on the ball of the fcxx; bed is high md knee is locked..

nip lift- A lifr of the hip in any d!re:::ticm, m-arC., .sicie., or back..

Y5
 Hitch Kick- A scissor kick involving both legs kicking in the same direction. Movement ID2Y be done forward
or back, lcne5 locked and toes pointed.

Isolation- A movemenr separ...ring one part of rhe body from other pans of the body.

Jazz Hand- Palm of Mnd facing fotwczrd with fingers strerdled

jazz Sissonne- A leap into the air starting and ending wirh feer together.

j'AZZ Split- A slide .ro the floor ending wirh forv.-ard leg locked and back leg flexed

Jazz Square-. Take four steps making a square CiD floor. Cross right over left; step left foot back, step right foot
second, step left foot fOI'W'ai'd.

Walks done in demi-plie pos!tion, no turn out, feet in parallel position.

jete- A leap from one let to another. Working leg is brushed through the air, forwrid, other leg is
exrenci.."'CC back.

Knee Tum- A rum done on both knees, using right and left knee separately to complete full rum. Body remains
parallel to >'r'all.

uy-Our- A straight line posirion; parts C:onneaed to vertebrae in a line-head, rib-age, and pelvis.

Locked Position - A tightening of pans of the body in order that they remain in place.

Long Jazz _Jum - A.rms stretched ro second position, srrengtb to and shooting our of fingertips, palms down, Engers
;:n:::: t:humb together.

Outside Tum - A rum on one foot Supporting leg is flel:ed or locked; other leg is at passe position, no turn out

P-...-all.el Position • Lines of the body not meeting or !nr.erseaing.

Pas de Bourree - A se..ries of rhree Steps (can be on half roe or in pee). Steps may be taken in any direction.

P2.SSe- A movement of the leg and foot in which the position of !:he leg changes from front to back or to
serond position. Foot mzy b! poimed or flexed.

Petvis lift - A. lift of rhe pelvis in any direaion "' forward, side, or back.

Pelvis Roll- A c:ircling movemem of rbe. pe,lvis, usually ~ side, back, side. Feet and legs are in parallel
position. Knees are fic::xed.

Percussive - Srrong, striking mover:Il'"..nts which r:reare a heavy accenr to specific cotmrs of rhe music.

Plie • To benci rhe kne--..s.

 Plie-Rcleve Position - An importanr ja22 position in which the knees are fie::.ed, the heels are lifted high.

.P on: de Bru - The c:;u-riage, placemenr, and movem.enr of the arms.

Rdeve - A lifting of rhe heels.

Ron de Jambe- A circum :movemem of the leg -circles i:Dio or :a-way from the body.

Saure - Any movemenr where feer l~ve the floor.

Sear (Burr) Spin - A rum sirring on the bmrocks, knees U5illilly in .f:lexed position, and toes resting lighrly on floor.

Side ]2ZZ "Walk - A walk stepping ro second position with torso facing forward. As srep is made to side, hip isolates
w opposite side.

Susrained- Elongated move:menr, moving slowly wir:b. su.srained transitions from one movement ro mother.

Swastika Fosiricm (z-position)- Sitting on floor wiih one leg flexed in forwm! position and the orher leg flexed in back·
position.

T:;,L-ltLop Po:i.tion (£l2t back)- Amovement CY-._nding from rhe hips, with Pelvis, head and back i:n one continuous
straight line. . .

1endu- Foot glides forv;rard, second, or back wirhom lifting roe off floor. I.ifi heel aud .insrep as high as
possible wrillour l.ifr.ing toe from floor.

T'nree Srep Tum - A full mm reqi..liring 3 steps to complete the llliD..

Toru.st- A sharp acc>--D.Ied movemenr. of any parr of the body.·

Tombe- A fall; body :falls fOI"W2l'd, back or side onro working leg in plie.

Triplet- .AD.y time three steps are taken to two coum:s of musk. Direaions Ill4J' be furw.m:i, back, side, or
turning.

Two Step Tum - Afull rom requiring two Steps io complete the circle.. Head spots line of direcrion of the rum
Turned In- A'position which usually applies to f~ ~. or hip. When these pans of the body are rumed in,
rhe rorso from the v.'aist up remains parallel ro from.

Turned Our- A position where fe--...r., knees, and hlp are ru.med so they are facing on a cfugon.a.lline.. ·

V-Position Sir - Sitting on burrocks, legs off floor, exr.ending to ceiling. Knees are locked, roes pointed, 2IIIl5 in v-
position overhead.. Back is smigh.t wi:rh torso in square posltion.
.'
5o'll:I'tt (
Giord2no, Gl,l.S. Anthology ojAmeriam jazz Dcmce. E't"allS!.on: Orion, 1978.

Y7
 BOA SUMMER SYMPOSIUM COLORGUARD

Muslcal Terms

English Italian French

SWWTEMPOS

broad /o.rgo breit large

slow len to langsam lent
adagio ("at ease:) getragen lent
heavy grave scbwer lourd

MODERATE TEMPOS.

moderate andante ("walking"} gebend allant

moderato mlissig moder€
FAST TEMPOS

fast allegro ("cheerful") schnell vite

lively vivace lebbaft vif
very fast presto eilig tapide
Sli¢lt Modmcations to these tempos can be indicated by:

very molto sebr tres

somewhat pOCo, or un poco ein wenig or etwas unpeu
more piii -er plus
even more -issimo nocb -er encore plus
not too non troppo nicbt zu pas trop
1-:ss meno, -ina, or -etto wmiger moms

Tempo changes can be indicated by:

accelerate accelerando scbneller werd.en accilerer

becoming faster stringendo ("tighten") drangend ·en pressant
faster piumo.s:ro l:Jem?gter plusanime
retard (gradually) rilardando langstimet uierden rtikntissant ·
rallenumdo zzmickballen ralentir
held back (irruned.) riiineulo z:ufiickgebaiten retenu
broaden allargando tierlJreilern e/argirsarzl
less fast merzo mos:so weniger bewegt moins uite
freely rubQto (" robbed•) frci lib&€
gradually poco apoco allmiihlicb peuapeu
suddenly subito p16tilicb toilta coup
decrease in tempo calando 1UlCh /o.ssen en diminuant
and loudness
 BOA SUMMER SYMPOSIUM COLORGUARD

MusipilTmns

English italian Gemum French

affectionate affettuoso innig affeciuew:

agirated agitato lebbajt bewegl agite
amiable amabiie liebich aima.ble
animated animato belebt mzime
caressingly /usingando schmeicbelnd cares:sanl
expressive espressivo ausdru.c:ksvoll e:xpressiv
wim fire ccmjuoco feurig ardent
gracefully grazioso zierlU:b gradeuz
grieving dolente klagend rriste
held tenuto gebalten tenu
impassioned appassionato leidenschaftlicb passionne·
joyollSly gioioso freudig joyeux
~g,1rly Jeggiero Ieicht Ieger
majestically maestoso feierlicb "'TZajestueux
:n.;:;i3 :!y mar.zitlle kriegerisch martiaJe
mc·Jrniuily mesto ·traurig triste
myst..<>riously misterioso gebeimnisvoll mysibi.eu:r:
with movement con mota bewegt mouvemente
playfully, ;oking giocoso, scberzando scherzbaft en badirzant
resolutely risoluto entscbiossen resolu
simple sempltce emfacb s~/.e
singing cantabile gesangvoU. cbantant
.•• 1\
....... .....J piacevole gejallig plaisant
with soirit con anime munter avec verw
sustained sa;tenuto getragen soutenu
sweet dolce zart dou.cemerzt, dow:
tenderly teneramente .ziirtlicb tendre ·
with vigor con brio schwungvoll avecforr:e

BANDS OF AMERICA COLORGU.ARD
Body
Principles
by Stanley Knaub
· ~·aist and pelvis to thighs to knees to calv:es
PROBABLY THJ: BEST analogy for music educa-
tors' quick understanding of how and why the
human body best ufits" into their music pro-
grams follows from thiS dictum: "Know your
instrument."
t. ln1.,.;ic......an develops i.b.creasing a\l:areness
as tc hO"'~·' his/her inStrument works (its shape;
size, color, texrure, .and function). From its
mechanics, the musician learns how to wed
himlhe.--self to its form anc;l function in ord~rto
create appropriate sound from the instrument-.
This learning process requires time, energy, and
creativity.
So. too, 2 d.isdplined mover-whether in
~pon:s, dance, or milit.arlstic marching--must
realize that the body is the instrument which
has a form and function. The mover is already
"wedded" to his/her instrument. But just
because we learn to crawl, toddle, walk, rim,
and then specialize movement formats with our
instruments (playing tennis, hopscotch,, or t;h~
piano), doesn't mean that our aim for move-
ment just happens without any thought in-
volved.. Great tennis stars and pianists are
movement specialists; so are· crack armed
services drill teams. And marching bands
without the thoughtful edge as to why they
move as they do, makes the difference between
the sloppy and the pristine moving unit
Let's approach body principles this "9-'<!y:
First, the general body pans of head, shoulders,
trunk, and appendages; Second, how these
parts of the human body relate to each other,
such as alignment, through-line centering, and
command control; and Third, what the body
50
.~·~
.;~
I
must learn to achieve maximum performance
levels.
%en I first observe students, I evaluate
how they stand and move in pedestrian fa.Shion
(much as a music teacher will evaluate general
intonation and :miculation). Evaluate posture
while standing from two viewings: from the
front and profile views. Notice the relationship
of the head to neck to shoulders to rib eage to
and to feet. From this downward view; reverse
the order and review the physical "look" from
bottom to top. From this stationary eva.luation,
then watch the body in motion, again remem-
bering the double-t.ake ...the front view and the
side viev.o.
In your mind, create a plumb-line string, or
actually attach a weighted string to the ceiling.
One at a time, take each student and place·
them behind the weighted string, facing. you, so
the string han~ between the center of bisiher
eyes, shoulderS, hipS, and legs (see PostUtal
Figures A and B). As the person faces you,
.
POS'TURE; SKELETAL AUGNMENTm THE STANDNG POS1TION
I
I
I
I CENTRAL
'P
I cerrRAL
I VERTCAL ' VERTICAL
AXlS B. AXIS

evaluate the head (is it sHghtly tilted on one
side or the other?); is the neck centered above
the joining of the rollar bones?; are the shoul-
ders paralld, or is one higher than the other?;
does the v,ra.ist tilt?; is the pelvis thrust forward
or drawn in?; are the knees toudring or far
apart?; do calves touch or not?; do the feer.
point in, out, or remain in parallel?; is the total
body weight resting on the balls of the feet
(hopefully) or on the heels (hopefully not)?
From the side view, the lower back should
form a slight curve to the tail bone, the neck
should appear elongated, and the head should
seem to "floaL • Remember, much of this check
list is done while the position of the body is
stationary; the idea is to transfer the appropriate
fearure.:; of this list to the body-in-motion. You
vant a natural look., not robotic mechanics.
ut you W2nl a moving unit to appear as a unit,
and not be visually interrupted with students
whose body parts are out of sync with the
whole. You're after music in motion; you want
harmony, te:xrure, and refmement.
-~-01~ :-;>n....'lot ignore body principles in
relation to ensembie musical produaions.
Without them, you have no logical or cobere:or.
guide to moving more effectively and effi-
. ciently.
ACHIEVING BODY ALIGNMENT
For a person to easily assume the position
of effident body alignment, they must develop
an 2l!itude as well as an awareness to their
environmer.u.. Try the following:
1. Stand with your feet together, toe-to-toe,
heel-to-heel;
2. Tr.msfe:r your weight more forward on
the foot between its b:all and arch;
3. Pull up your knee and inner thigh,
abdominal region;
4.. Leng!hen your lower back, 'With ¢te tip
of the tail bone pulling dov.rn, rather
than out;
5. Lengthen your neck, relax rbe j:aw, and
tilt t.:,e chin sllghtly forward and up;
S\
BANDS OF AMERICA COLORGUARD
As you stand, feel as if you are pushlng
down . through your legs and feet in order to
•li::ft" your pelvis (cemer), continuing the lift
slightly along the spine through the neck to the
top of your head. You want energy to flow
through the legs to the ground in order to have
energy flow from the pelvic area upv.r.rrd to the
bead. To a movement specialist in dance or
marching, this process is called vertical
throughness. Without it, the body breaks into
disjointed sections without a through-line look.
When I speak of energy here, I do not refer .
to anything mystical or imaginary. Without
energy expended, the physical look as well as
performance "droops" and vr.mders. The
body's cmusic" has no discernible "melody,"
and obviously no technique through which
passion might .be seen.
WHAT CAUSES ALIGNMENT PROBLEMS?
What interrupts the body's movement mel-
ody? The following alignment problems that·
are common to us all:
1. Hyper-extended spine; too much rurve
in the lower back; pelvis tipped forward; tail
bone sticking back instead of down; rib cage
too open and thrust forward; shoulders behind.
the pelvis, rather than above it; the front of the
neck tilted back for too much e:xposure the
chin ·held ·too· high;~~CONVEX-POSTURE.
2. The round-shouldered slump. The body
focus droops, shoulders are collapsed, the
pelvis is tucked under, and sometimes the .
knees are bent. .. CONCAVE POSnJEL
In relation to the Convex or Concave Posture
problems, remember to apply the plumb-line,
either figurativdy or aaually, when the student
is stationary or in motion.
A.ny movement and musk in.struaor can
create a logical program for physical correction
of contractictory body principles in students.
You want to drill into the student's mind rhe
avr.rreness of body alignment principles, not to
continued on ne:rt page
BANDS OF AMERICA COLORGUARO

Body Principles continued ...... muscles on each side of the spine.

hobble them, but rather to release the predsion
and grace which enhances the musical produc-
tion. If you want students to move as they play
mu5ic, you cannot ignore the body as an instru-
ment. If you. choose to ignore the body as in-
strument, then the students will, and the. result
will be disharmony in your unit.
Whatev-er your corre~ve prqgram · after
diagnosing physical difficulties, you must drill·
body pritldples into the srudent's consciousness
until they flow naturally. Gooc:i movement
doesr, 't juS'< h-appen. It requires stratezy. So
unles.,. you1 as an instructor, address thiS issue,
your production will be one of visual hit-and-
miss.
IMPROVING ALIGNMENT AND MOVEMENT
To get you started on a corrective strategy
after your diagnostic assessment., I offer several
suggestions:
1. S:t.-eng""~en the front: Lie flat on your
baCk -with knees up, feet flat, anns at sides,
lower back pressed into floor. With arms
straight and handS in a fxst, beat up and down
on the floor in quick tempo, eight sets of eight
counts. Then, extenc! the legs .to a 45 degree
angle and do anotber ftSt ])eating of floor il:J
eight sets of eigfu counts while. legs are held in
the afr. at the above angle.. Then, during the
fmal set of eight sets of eight counts, slowly
lower the legs-in time-back to the original
position.
2. IJe on stomach: Keep legs tightly
squeezed together, pull in stomach and arch
upper back and head to-wards the ceiling. keep
ribs on floor while in arch, hold for eight
counts with belly button off floor; lower from
eight counts, relax for eight counts, and repeat
process three times. This exercise is remedial
for rounded shoulders and strengthens the
Using these and otberisolateci and then full-,
bodied exercises 'Nill hdp srudents to control
their bodies in a more efficient and logical
fashion.
We bear a lot in America about the impor-
tance of keeping fit. Peopie work-out, jog, play
sports, pump iron... we th,ink we're "in shape."
As a whole, we're not. American adolesCents,
on the whole, are physically sloppy. A visit to
. any dassrOOP1 or gym gives evidence to lousy ·
posture amo uncoordinat~ :rnovel-pent. s~me
of this stems fmrn al;titude. A lot of ~t stems
from not using the body/ir:istrument logically
and effici~tly.
If you want musical discipline, ¢en de-
mand physical discipline.. Move from the
simple to. the complex. Isolate problem areas,
then integrate corrections. into a whole. Con-
tinually observe and correct.. ·Drill! Encmirage!
Demand! Determine the. physical "look• you
wish from your unit and then logic::ally guide
them into acltieving it. Don't expect too much;
don't expect too little. Find the Golden Mean
with the ability level qf the unit you have. The
in..s!roctor's vision for his/her group sets the
pace, as well as the goal for what kids can
achieve with music in marion. a .

52_
 BANDS OF AMERICA COLORGUARD

Body Articulation & KINESPHERE: The area surrounding the body

within the reaching possibilities of limbs with-
Spatial·orientation out changing one's place. It is usually related
to postural movement which emphasizes the
~ace around the body, in contrast to genercll
space, in which action and locomotion rake
compiled by Stanley Knaub place.
SAGGITAL PLANE: Pure fronr-back...up and
down.
POSTURAL: Active flow of movement through- VERTICAL PLANE: Pure side-side..up and do'WD.
out the entire body.
HORIZONTAL PLANE: Pure side-side-...front and
GES'7'URAL: : .1ove:ment of only a part of the back.
body; arms, legs, head, feet, or trunk.
DlAGONAL PLANE: Elements of the three
EXTENS-iON: Returning to a starting position in a planes...Saggital, Vertical, and Horizontal.
hinge joint, !;Uch as elbo~r or knee; stretching a
limb outv.rardly (opposite of flexion). INmA11 ON.: Starting, introducing, preliminary of
the phrase .
. ·LEX! ON: Movement aw.ay from extension in a
hinge joint, such as the elbow or knee; a COMPLETION: To bring to an end; the act or
bending movement gathering the limb in"Wai"dly the process of completing the ph...-ase.
(opposite of extension). GRADATION: To shade into the next color, note,
fo.:~;_IC'T':J~~: 3r_'1ging the movement towards the or effon.
body.
Efforts:
ABDUCTION: Leading the movement away from Bound/Free- flow
!.he body. Fighting/Playing efforts
ROTATION: Turning of a body part about its Urgentllndulgem (time) efforts
long axis as if on a pivot (inward and ourward Quick/Sustained (time)
rotation). Rhythm - weight and time
weight - strongand light
ANTERIOR: Situated in front of, or the forward Weigbl Flow - drop catch, weight peaks
part of the body. in gradation
POSTERIOR: Situated behind or in back of the
Addi:tional Space Words:
body.
Advance/Retreat
CENTRAL: Movement which is initiated from, or Widen/Narrow
which passes through, the center of the body. Rise/Fall
Growing/Shrinking
PERIPHERAL: Movement occurring in the outer
Weaving: linking spatial patterns;
limits of one's kinesphere. It is usually initiated
Equipment-Body-Drill
·,y the body's e:xtremities.
0
TRANSVERSE: Movement which passes be-
tween the body's center and at the periphery of
the kinesphere.

53
Principles of Orientation in Space
Contributed by Stanley Knaub

CfmRBJIICS
Movements-direcred towards the stand lead downward. In the second position the feet are placed apart
sideways, on a line extending between the left and right dimensional direction. In the third position the feet
are placed at an angle, with the heel of one foot by the instep of the other. The feet indicate an oblique
line lying berween the rwo spa~:;U exrensions of epth and breadth; for instance, between forward 'and right,
and bacl.....·ard and left. In the fourth position i:b.e feei:· are placed part one behind the other, on a line
extending between the forward and bad--v.'a!'d directions. In the frl'th position the feet are placed closely
one behlnd the other. In this position no special direction is acentuated except perhaps that of upward
because of a tendcy to stretch the who body in this situation. We employ fbe f:tfthpositiori., therefore, as the
position which i~ sylnbolic of height~
'With regard to the positions of the legs and aim.s, when in the air, there is no uniform _tradition. In
me movement notation which the author has developed, and which has been used .fql;' some time in the
fields of dance, work and educatioii, the directions of the positions of the legs and arms, when In the air,
co:rec;pond ::o the general dlrettions of the :aforesaid five cla.sskal positions of the feet.
Thtee different spatial levels may be distinguished: one bri the floor, another a~ the mid.:.height of
the body, :lllcl the third at the height of the hands, when raised above the head .. The following Il2IIles and
symbols can be used, in order to make the directions clear:

The notation symbol for the directioE downward towards the stance is :

deep: 1
The dire-ction sYmbol upward wwards above the head is:

high:~

The direction symbols towards the side of .the body are a.s follows:

at medium level: at high level: at low level:

~ght: ~· high right: ~ deep right: ~
left: ~ high left: ~ deep left: ~

5ti
 PRWGIPI..ES Of ORIENOOIJN W SPACf

The symbols .for directions direccty in from of or behind the body are as follows:

at medium level: at high level: at low level:

forward:~ high forward: ~ deep forward: •

backward: ~ high backward: ~ deep backwaro: '

. The symbols for the four oblique directions are:

at medium level: at high level: at low level:

righrfo~:g high righr forward: deep right forward:
righrbac.kv.rard:~ high right backward: deep right bach.""Vvoud:
left forward ~ high lett forwaid: deep left forward:
left backward.: S high left backward: deep ·left backward:

The above 2o directions radiate from the centre of the kinesphe:re, the 27th point of direction CEJ), and
establish three p.l2nes each at different levels: high, meclium, low.
Figs. 1. 2, 3 and 4 show the different spatial crosses in relation to these planes.

/ ® U.H /

_________,_____/
~~~----·
I

~1-® 7
/@ Cfi"'....~ /®

-""---/_--~=-~/----=--

55
 Fig.l shows the "three-dimensional cross.· It is formed by the six prindpal directions:

radiating from the commi::m c~tre of the body.and its kinesphere,t}.

We call these udimensional directions."

Each dimensional direction or "ray"" lies bernreen four directions or rays of the diagonal cross; for
instance:

lies as a kind of axial point between:

Fig 2 :-;!:z,·, • 'ne '"'four-diagonal cross." It is formed by the eight diagonal

Fxc. 2.-Tlu •'furu~ crOJ:s."

'Movements radiatingfrom and to the common c:en:re ojrbe body anti its kinespbere may be caiied Nrays. •
 Cll guard • a-1: If Jael i:a Be wi BBf Sy ; 1 h'&'

directions,

radiating from the common centre of the body and its kinesphere, E]. We call these diagonals "diagonal
inclinations"- and their directions: "diagonal directions."

Each diagonal direction or ray lies berween three directions or rays of the dimensional cross; for inst:mce: ~
lies as a kind of axis berween~ ~ ~ .

Fig. 3 shows the "s.i:x:-diametral cross." lt is formed by the twelve deflected directions:

~ ~ ~ ~

~ '
~ ~
8 8 88

.. Toe rerm ·incL71ation ~ is i:mrodu.ced w denote a digressi.l:m. from tbe given rr..orm, tbe three-dimensional o--=, caused
by anorber spatial influence.

51
radiating from the common centre of the body and its kinesphere,E] . We c:all these diameters udia.I:netral
inclinations" or pri.mary deflected inclinations and !heir directions "diametraJ directions."
Each diametral direction lies between two rays of the dimensional cross, and two rays of the diagonal
cross; for instance:

lies in !he centre of the four :rays:

Fig. 4 shows th:ree levels of a cube in relation 10:

(a) the dimensional cross,

(b) the diagonal cross,
(c) the diametral cross.

• See secondary deflected incliru.uions on p.68.

EFFORT-SHAPE/ SPACE-HARMONY
By Stanley R Knaub, Bands of America Summer Symposium 1989

ff'HJRI': :E:bv the l::x:rly ccocentrates ·0."1 its exertion

1. Fla.v of noverrent
2. Qaality of weight
3. Cna...'l")ges of ~
4.
---
Fcx::us of space

The four rcein ingredients to any existing rroveme..'r'lt:

Space/ Time/ Weight/ Flow

Q1a.nges in the guality of the flow of tension; cne beccm~

either :free or bot.:IrlO • Tne "going witil" the flow of m::wement r
we call free ; the res--criction of the flo.N, we call 1:::ound.
Free a.nd 1:ound are the e:lernents or gualities o£ the flo.v :factor.

It is erroneous to think tbat Free Flow is "better" than B::>und

Flo,.;, even though the connotations of these terms may suggest such
a value judgement. 'Ihere are m good or bad novement quc.lities
~ se. ~e are appropriate a.TJd inappropriate uses of novement
qua.lities. The proverbial "bull in a china shop" is an exa:rrple,
at least partially, of an i.'J.awropriate use of Free Flo.v.

'WE:IGffi': Olanges in the qt.ality of the 1::o::Jy "~~>=-igbt~ cne becomes either
light of force:Eu.l . Light and strong are the elements or quali tl.es
of the weight factor. Cne ~. l~ght v.ihen carry:L~ a· fragile
cbject; cne is forceful 'nhen pushing a car.

Cbncepts related w the weight fa~::t.or:

1. SensatiCD of weiqht; cne must be able clearly to sense
cne' s own b:rly weight before c::oe can actively change ~ts
quality.

2. Center o£ weidht or Center of gravity: The center of

weight refers to the part of the b:dy nost i.T'lvolve:J. in
initiating shifts of 'Weight and generally activating and
sUfP=lrting the ·;woo-ight J.S necessary for prcduc:iilg changes
in the quality ·of the weight, either as light or strong.

3. Shift of 'Weight: A change of 'Height is a change in weight

dist:..ribu<-.....ic::o.. It is not necessarily a dlange in quality
of 1H2i.gbt.

TIME: Changes i..'I'"J. the quality of ~ in rnoveroe.."lt rely co 'becaning either

sus""..a ined or quick.

Tne quality of prolonging or stretching t..i:rrE out, is termed

Sl.lSt,.;nrnent. The qtJC.lity o:f urgency or quic:ke..rung in time, is
te..-rned quiCkness. B:rt:h sustained and guick are the eleme..'l")ts of
gualities of the Ti.rre fac-....or.
EFFORT-SHAPE/SPACE-HARMONY page 2

By Stanley R Knaub, Bands of America Summer Symposium 1989

SPACE: The Space £actor - Changes; in the quality of spatial :Eo=us or

attention; becarning either indirect or direct.

To get sc:met:hi.ng .in a roundab:::ut fashion is ~t is called

indirect. l'1:::1V'ement in WhiCh the b::X::ly is pinpointed, channeled,
or single fo;::used, "We call d:I.rect..

SHAPING: The b:dy' s creation or adaptation to o:::ntour: and to u..o and three
d.i:mensional :6::mns in Space. EXanples are: gathering or
scattering, rising or si.nk:i.ng, spreading or enclosing, advancing
Clr retreating .

nr:REx::Tic:JilAi. MJVEME1'lT: Sp::lke-like ar ~lik.e II:OVement n lil:ild.ng II the b:ldy

With a piace in ·space. ·

SPATIAL ~ICN: we can desc:::r:i..be Where

lllo::1'.fement. goes in the k:ines,phere
by.rreans of six di.rect:ians Yihi.Ch are called the su
spatial tenoencies, or by o::::rnbinations of tVoJO or
three of these spatial tendetici.es •

SJX SPAT!AL TENDE!.iC:tFs:

l . tJp;iJard
2. D::lwnward
3. Eig'h
4. ~.iddle
5. 1J:;JH
6. Place

General TeJ:ms USeful in SP~ ·

k t i'lie f'1.ow of :ri'oVetnen:t. th:tOtighout. .the ~e 1:x:dy m a
o:%lSist:ant manner - in o:r.rtrast to ltOVemetXt. of only a part
of the 1:::ody; anns, head or trunk .. alone.

Shaping is novernerrl:. irivblving o::ostattt..1y Changing three

ditnenSi.otlal relationsbips of the b:dy to space. Anatomically,
shaping requires a Cl:::lribi.riatioo ·of rota:tic::c, extension ar
flex.i.on; abd ad- or ab::luct.ioo. in the torso, limbs and head.
The C!fJfOS.ite of rraintaining a static shape ar FOS~Um,
shaping refers to the quality of sculpting 3-di.mensional forms
in space.

~ & SCATI'ERlNG: General shaping caning ta.ard the b::Xiy or going

away fran J.t, not speci..:Eic ab:::Jut Where in .space .

I!f.overnent. ~ch is .L."litiated. f:ra:n or ,Passes through the center

of the b:::dy. 'fue dilneihS:Lbnal scaler the diagonal scale and
the diameters (plane di..agc:oals) of each plane are cer:n:ral
ll0\1e!Ile!It..

Coo
- - - - - - - - - - - - - - - - - - - ' 2 0 0 4 BOA Summer Symposium Color Guard_ _

Planning your Color Guard Year

By Mary McWilliams, BOA Summer Symposium COLOR GUARD

''Plan your work and work your plan. "

Some famous person and my father!

FO You should start with the plan in mind!

FO Look at the whole year and make a map-

Purchase a Year-at-a-Glance calendar to mark and post
Have a school calendar handy to eliminate days off...
But do consider them for marathon rehearsal dates
Mark all dates you know (games, events, fundraisers etc.)
i\lotice gaps in calendars (perhaps a good day for$$$$)
3e consistent with rehearsal dates and mark them all year
Even if you have to cancel some, your parents will appreciate you!
Transfer all of the dates to on~ sheet to pass ouL
Update often

FO Once you have the full year map, work down from there-
Split up into smaller sections (football season, indoor season etc.)
.._Gok at one season at a time and see if you can break up into even
smaller blocks of time. ·· ·
Consider hiring a choreographer
If you change songs every week consider doing a basic 54-count routine
and repeating it (only your hairdresser will know for sure!)
This will free up time to work later in the football season and competitions
Have a lesson plan in mind before you go to rehearsal
You can cut rehearsal time by planning
This makes everyone© © © © © © ©

At the Rehearsal

RJ Each rehearsal should start with a warm-up

You must warm up the mind tool
As well as the body and the hands
It can be the same warm-up each time, but vary it every once in a
while so they are on their toes. The brain craves novelty!

. r . Col
 Build periormance skills into the warm-up. It should not become
mundane. "This time we are going to smile through the whole
warm-up!"©
You can and should review technical points during this time
If students are not doing it correctly, they should know and you
should tell them!
Always praise students that are doing things correctly and with the
appropriate manner and feeling

FD Each rehearsal should start with a review of the previous rehearsal

FD Each rehearsal should end with a review of that rehearsal as well as multiple
"run-thrus"

RJ One of your jobs is to get everyone to do everything at the same time! It

seems simple, but that is one of the main ways to look good--sometimes it
doesn't matter what you do!

FD When kids feel pride in a unit, they are more motivated to do wei!. Pride is
built. Your job is to help .build it. Have them wear the same clothing, sing
songs together, walk in a straight line to the practice field; do encourage them
to put all of their equipment down in the.$ame spot- neat as soldiers. It is the
. • ·, ,;.3t of details that makes most units gush with honor to be a part of them.
This helps for recruitment and retention as well. It works for the mi.litary. Am I
suggesting storm troopers- NO! Let's talk about the differences! The military
focuses on leaming by fear, you will not. But like the military-- rituals and
routine and proud uniformity affect a student's emotions and when that
happens a student will feel safe. When this occurs, more learning will take
place. They will feel comfortable with risk. It will be OK to make mistakes. A
d':.. ..Jp that never makes mistakes is something to worry about-how do they
ever learn? See if you can prove it!

Fb You set the tone for rehearsal.! How you behave will always be they way they
behave. After time, they will come to know when to be really serious and
when it's time to have fun! Boundaries are what it is all about Giv~ them
knowledge of the boundaries. Boundaries are. a safety riet and you already
know what happens when kids feel safe. It provides an opportunity for safe
risk taking and this is a good thing!
 . . . QUALITY
C~J-tf&r Grrv.v& C'ofor G-uard Whatever else we do we must constantly
strive to achieve the highest quality of team and Indi-
2001 .. 2002 vidual performance, rehearsal, and communication,
For those of you new to our team--- WELCOME I It's very simple - ALW&S give It your best shot.
And for those returning for the new season - - - great to RESPONSIBILITY
have you· back I We are. looking forward to another We all take ownership of this project and
exclllng season as we strive to achieve our Individual must care for It, Keep track of your things, Keep track
of your progress. Keep track of the team,,
and team goals.
As a part of the Center Grove music program the The bottom line Is that YOU are responsible.
color guard shares In the long standing tradition of Don't expect others to get It done. The more you Invest
excellence which has developed over the years. In the the more you will receive In return.
quest to uphold and further these standards we must There will be detailed roles and job de-
understand and be dedicated to the expectations and scriptions for everyone, and anything not covered by
goals of the team. We will all have to make some those descriptions will be the responsibility of anyone
sacrifices to tal<e this program to where It needs to go. and everyone. ·
but we can assure you that we will all benefit from our Jake the Initiative to make positive thlnos happen for
experiences together. yourself and the team. .,
CGCG works through three simple principles, T~ls If we allow respect, quality, and responsibility to guide
us In our decisions we should find It easy to achieve our c<l
Is our code. They are our roots. Strong roots are Im- ~
perative for continued growth. goals, We must maintain strong roots. It Is very Impor-
tant we remind ourselves what they are and how they
RESPECT
a) Respect yourself What do you need'? apply, It Is also Important that during your time as a
What do you want? part of this color guard that your grades. family, and
How do you choose to personal life also remain Important. You will spend an
present yourself? amazing amount of time with the band and guard and
b) Respect, other·s Your teammates less time doing other things, but If you learn to manage
The staff your time correctly the amount of care you give to
People In general those other things will remain at a high level.
c) Respect your craft Strive to be great at As you would expect. being a part of CGCG Is
what you do not easy; physlcdlly. emotionally. or mentally: however
Be on time we think you will find the benefits are worth the journey.
Don't miss rehearsals We will laugh together,, cry together, be frustrated to- ·
Always have what you I· gether. fall together, and most definitely succeed to-
need when you need It · gether. WE WILL BE A GREAT TEAM\
E~pect respect In return - the best way to earn It Is to With all these things In mind - let the season begin I
ai'LSLLL.
 EQUIPMENT
C.~hc&r Grov& C~for Guarcf
Policies & Procedures
ATIENDANCE
If you absolutely must· miss a rehearsal: ·
Turn In absence form to music office
Turn In a copy of fqrm to Josh
This should be taken care of, In advance
If you have an emergency situation:
Turn In forms when you return to practice
Please call music office or pass Informa-
tion with somone coming to practice
Anytime you ore unexcused or missing from a
rehearsal we will contact you and your
parents to account for your whereabouts
Your goal should be to never miss a rehearsal!
PRACTICE ATIIRE
For.normal O"utdoor rehearsals:
Shorts, tee shirts, tank tops, sports bras
Tennis shoes with socks (required)
Some form of head cover, for extreme sun
For cold weather rehearsals:
Dress In layers to remain warm and
comfortable · Fall rehearsals - leave before school, after
Dance class:
spandex shorts and sports bra, leotard,
or unltard, etc.
EXTRA REHEARSAl: IT.EMS
Some type o"f water jug, sunscreen, loose leaf
binder tor drill charts, coordinate book, pencil,
etc. Anything else Is open to suggestion.
You are responsible for your equipment:
Take your own to rehearsal
Spin your own at rehec_:trsal
Put your own away .offer rehearsal
Any equipment left out following rehearsal will be
confiscated by the staff. ·
FLAGS - Practice flags~ stay with you or are stored
In the guard room;
Practice flags and performance flags will
have your lden1"1flcatlon ... this will end
problems with people getting equipment
with something wrong at the last moment;
WEAPONS - Always stay with you or In your locker,
. never left In the. guard room or the band
"T
room; ~
Always spin your own equipment and .,
do not allow any other people to "ploy
around" with your weapons;
REPAIRS
Summer rehearsals - before rehearsal
(plan to allow some extra time), after
practice, on longer breaks If possible
• rehearsaE during stretch time (If not
a major problem)
Always bring In problems as soon os pos
Sible, neverwalt until Ws too late;
Never walt until It's time for rehearsal to
begin ... It's too latel
 LOST EQUIPMENT REHEARSAlS
If your equipment Is lost or stolen as a Concepts for quality rehearsals:
result of Irresponsible actions on your part Work Hard·
you will be held resp·onslble for the Pay Attention
replacement cost of the squlpmen+. Be Involved
Flag & Pole - $25.00 Respond to Staff
Rifle- $30.00 Participate with Group
Sabre - $80.00 Respect Everyone
Gloves - $1 0.00 Be Prepared
LOVE YOUR EQUIPMENT! Shhhhh! - LISTEN
This may sound a bit dramatic but In this Watch & Listen for U1e Details
activity It Is your vehicle for expression Just Avoid Frustration - BE PATIENT
as your Instrument Is In band or orchestra. · l<eep Busy - Work on Your Own
Know Your Job and Responsibilities
• I .
JOB RESPONSIBiliTIES
Everyone will be assigned a job during the sea- General Rules for Rehearsal:
son J·o help make the unit function more efficiently. NO GUM .,
These responsibilities will be divided among and as- NO SIDING - unless you are told to; ul
signed to small groups or Individuals within the guard. Always bring water Jug, sunscreen, hat,elc. 0
Jobs will be assigned as required and needed.
BE SMART!
Jobs may Include: Don 1t rely cin others to thlnl< for you;
First Aid Box Make things happen on -your own:
Guard Supplies Box You don 1t always need help;
Sound System
Attendance REMEMBER - l?ehearsals are not Intended to be
Pracllce Field or Facility Clean-up boring, painful, or mlse~able In any way. Rehearsing
Uniforms & Shoes hard strengthens Iteam relationships and prepares lfS for
Make-up performance. You will never be great performers with-
Performance Equipment out great rehearsals!
AWAY FROM REHEARSAl
ACT SMAml We are all committed to this team.
We cannot afford to make any decisions that would
Jeopardize our par11clpatlon on the team; le. needless
InJuries. poor health. bad grades. bad habits, disregard
of school policies and/or band rules. Most Importantly,
learn J·o use your time wisely!
HEALTH
You will definitely experience minor discomfort at
times. You may even feel slight pain. Be sure to use
your best judgement; If you need to sit down, If you
need Ice, If you need water, If you need anything -YOU
need to let us !<now. We are not doctors, we won't
know there Is anything wrong If you don't say some-
thing.
This is·a very physical activity and you will need
to learn to push beyond the pain and fatigue, But
never to the point of damage or Injury. We will work In
the heat, we will stretch and build our muscles, we will
do cardio-vascular conditioning, we Will dance and run
and jump and spin and toss sore muscles, bruises. and
minor scrapes and cut are a part of lt. Learn to push
yourself!
On the other hand ... If you neE?d to sit out,
please do not continue to hurt yourself just to satisfy
someone else. We only ask that you be HONEST with us
- if you need to tal<e It easy we will support your deci-
sion. It does neither the team or yourself any good to
aggravate an Injury.
Always try to give your boqy the rest It deserves,
you only Increase the risk of Injury If you are too tired.
Your body and mind need to operate at full capacity.
LEADERSHIP
It Is always best to lead by example. Leadership
does not mean control and will never be about
power. We all lead and follow In different ways.
Learn from each other, we all have something to
give and It will make us a stronger team. We all
have different jobs and responlblllties, that does
not medn any one group or person Is more Important
than ·any one else. Remember, whatever we do, we
do It as a team and we do our best. There Is nothing
better than accomplishing something as a team.
PARENTS
Parents ore also an Important factor In the '--.9
color guard team. You need to be supportive, but 0
also make sure your student Is doing their Job at home
as well as at school. If your child complains please .,
make sure you are getting the whole truth and the
whole story. Please don't be afraid to talk to the staff.
We are all here to help each other.
You may also be asked to give further support by
volunteering to help with equipment, uniforms, props,
food. etc. Please don't walt to get Involved ... you'll be
missing a great part of this activity. The band booster
organization can bg a slgnlflcdht addition to your
family.
 2006 BOA Summer Symposium Color Guard

Spring Training foryour Color

Guard: Getting a Start for Next Year!
By Larry Rebiflot, BOA SSY CG FACULTY 2006

Spring training is right around the corner and before you know it,
marching band season will be here! Here are a few thoughts to help you
and your color guard prepare for the upcoming season.

For those of you participating in a winter performance activity, keep

up the great work! You've grown by experiencing the benefits of
dedication, hard work and strong performance skills. If you can, give
yourself a short break to allow your body and mind a chance to unwind ana
relax before spring training begins. If you haven't had a chance to perforrnt:
~- since marching band in the fall, you will soon be faced with auditions,
'~,·· selecting your new guard members and preparing for the next season. .:r.
'' · Taking this time to warm up your body to prevent injury and reinforcing .:;.
~·:·.~."
proper technique will establish a great foundation for the upcoming year.. ;(
. -~

Start out slowly by taking walks, or extended stretches to your

favorite music. This will let your body prepare itself for the road ahead. Use
isolations and isometric ex~rcises to increase your flexibility and strength in
the specific body parts that we use in color guard. They can be both
effective and FUN!

Involve equipment technique exercises regularly while you practice

on your own; don~tjust spend time on fun routines or interesting
equipment tricks or·tosses! Explore these areas after a good, solid warm-up.
Repetition of the exercises early will allow for the mastery of your basic
skills, giving you the chance to concentrate on the more interesting aspects
of being a color guard performer later. Start with basic exercises, focusing
on technique rather than on a number of repetitions. Think about pos~ure,
hand placements on equipment, release points, rotation, free hands, and
timing. Gradually increase your endurance with larger amounts of
. repetitions such as SOx qr 1OOx and reaching these goals without breaks or
changes in tecrynique. Expect only your best efforts every time you practice!

Spring training can make a new team good and a good team great!
Good luck this year, have fun and enjoy!
 2006 BOA Summer Symposium Color6uard

How did you do that?

Well, kind of like this...
By Shannon Clark, BOA SSY CG Faculty 2006
Have you ever asked someone for directions and tried to follow them?
"Turn left on Mississippi, then a right at the second.... no third traffic light, then the
road will kind of split and you will take the right fork. It looks sort of like it goes
straight but, it really is the right fork. Then you will go to the fourth stop sign, and
make a left. The opera house is the blue house next to the two yellow houses, near
the second intersection past the curve at the top of the hill. You can't miss it."
Next thing you know yoJ.reJost and you have to stop and get directions again.
More than likely, the person who gave you these directions felt like they really
helped you out while you feel the person who gave you directions was a total
nitwit.

. This misunderstanding in communication could happen for several reasons.

First, the person who gave you directions already had a visual image of the places
of which he was speaking while these places are yet to be discovered by yourself.
The direction giver has much more experience with the uterritory" then yourself.
Second, as you listen and process the directions, you are creating your own ideas
of what this landscape you are attempting to navigate will look like. You more
than likely are creating images in your head based on things you have experienced
before. In short, communicating what we mean to another person is an extremely
difficult task, even though we do it every day.

Think for a second about brushing your teeth in the morning. Imagine that
you are already in the bathroom standing in front of the sink. List the steps you
must follow to accomplish the task of brushing your teeth and leaving the
bathroom. One's list may look like this:

How to Brush Your Teeth

1. Get toothbrush and toothpaste

2. Put toothpaste on toothbrush.
3. Run toothbrush under stream of water.
4. Put toothbrush in your mouth and move back and forth and in tiny circles.
5. Spit out toothpaste
6. Rinse mouth and toothbrush.
7. Put toothbrush and toothpaste away.
~ 8. Leave the bathroom.

Now lets say I try to follow your directions. Keep in mind I have never brushed my
teeth before. I look for the toothbrush and toothpaste under the sink, in the
shower, in the medicine cabinet. J finally find the toothbrush and toothpaste in
 2006 BOA Summer Symposium Color Guard

the top right drawer. I put the toothpaste on the toothbrush handle. After all, I
had no idea that the bristles were there for a reason; I have never done this before.
I run the toothbrush, the whole toothbrush, under a stream of very hot water.
Next, I hold the toothbrush with one hand on each end; I place the middle of the
brush in my mouth ant:f move the brush in somewhat of a side--to-side motion and
around in small circles on my tongue. Then, I spit on the floor, l·rinse my mouth
and the toothbrush, and I put away the toothbrush and toothpaste and leave the
bathroom with the water still on. In this case, I did follow-your list of steps;
however, I have a sneaking suspicion that the way I brushed my teeth using your
list of steps was not at all what you intended.

How does th.is translate into color guard? Explaining techniques and the
steps to choreography are very· difficult. In the activity of color guard, we strive to
have several people do many things the exact same way. For example, your color
guard has a very specific way to do a. drop spin while another guard may do them
differently. Do you grab in the silk or on the pole, do you start from right shoulder
or from another position, do you grab every count straight up and down or at an
angle? And, would a person learning a drop spin for the first time, know what you
are talking about if you use words like silk, pole, or right shoulder? There are so
many variables.to communicating when .we·. are :teaching-another person •.

..::...:·Atfere,are:my:sugges.tions:-for.:p:eople.,who··msh.:to::teacb::anotheq:>erson-or·a
.:gr:oup::of:people:a:coior.:guarc:Uechnique·:or:cboreography..:.Just.,as when giving
.~trav.eLdir::ections . .or:making a Jist,of.steps .for . an:.every:'dayactiv.ity;yatr·must be very
specific with your language, and .provide·visUal:·images.otexactly·what.you.need· · ·
(when possible). The more details. you inClude; the; better the chance that you will
achieve the results you are looking for. One of the great things about teaching
color guard is you are there to be the example.

To be as efficient as possible when explaining things, I follow a three--step

process.
• Step one: LEAD the activity while explaining the details. Include all
the information you have to communicate to another person exactly
what you are looking for.
• Step two: MODEL exactly what you want your student to do. Have
them watch and observe you doing the things yoLi are expiaining.
• Step three: TEST the student to see if you need to explain something
in more detail, or if you need to Clarify something that didn~t·ti"avel
the line of communication very smoothly.

This three step process gives the explainer the opportunity to provide the
learner both visual and verbal background. Thus;. the Ieamer has some knowledge
of what they are being asked to do. Then, the learner is able to observe the '
explainer. This Jets the learner absorb things that the explainer may not even
think to explain. Finally, the explainer has an opportunity to observe the learner.
Then the eXplainer can begin the three-step teaching process over to better the
learner's understanding of the material.

lo
 2006 BOA Summer Symposium Color Guard

Running an Effective Rehearsal:

Make the Most of Your Time
By Susie Harloff, BOA SSY CG FACULTY 2006

Rehearsal time is a precious thing, something too valuable to waste. Here

are some suggestions to maximize the use ofevery minute!

MEMBERS MUST STRETCH BEFORE REHEARSAL STARTS

You know the kids are at rehearsal early anyway..• chatting in the band
room or making up their own work on the field. Why not use those 10
minutes BEFORE rehearsal starts to get a jump on the game?

· · Teach the members a stretch that they can use each time. Designate a
captain or upperclassman to get the group together to make sure everyon~.
participates. Demand that stretches be taken seriously and are not a time''<""
. .,. ·• for chitchat. Emphasize proper alignment and stretch technique. Silent.
stretches are the most productive as students can really focus on their
bodies.

The extra 10 minutes you gain by having the members stretch before
rehearsal can be used for dance TECHNIQUE. Repetitive stretches are
important, but they eat up time. Dance technique can be varied each
rehearsal and can address choreography you actually use in your show.

ADDRESS EQUIPMENT PROBLEMS BEFORE REHEARSAL STARTS

Make it a rule to be prepared for each rehearsal. It should be each

member's job to make sure his or her own equipment is ready to go. How
many times have you seen someone waste 10 minutes on the sideline re-
taping their flag onto their pole? Those are things that should be done
outside of rehearsal. Insist that this is taken care of!

ll
 2006 BOA Summer Symposium Color Guard

MOVE QUICKLY FROM .ONE THING TO THE NEXT

When you are in transition from one thing. to the next {everyone is warming
up on flag, then you break into sections}, encourage a QUICK transition.
These are the times members lik~ to "milk". They move slowly and chat to
their friends. Get them moving!! They can talk all they want when practice.
is over! An energetic instructor or, even better, a captain who seems ready
to go, can motivate their color guard to move quickly during transition
times. If you allow yourself to start chatting or moving slowly, you are
setting the example for the rest of the group.

LESS CORRECTION LECTURES. MORE REPETITION

Practice makes perfect.•. right? Actually, it has been changed to Practice

makes'PERMANENT! Repetition is. the key to getting your members ·
.comfortable with their .e.quipmeht work.so they can start performing ~nd· ·
you ·can start cleaning., .Instructors and captains .often.sp.end WAY to.o.ITiuth
time talking after·.running·:a section.:of the show. You do n·ot.hav.e to. give
:extensive lectures... A .few. brief;. yet SPECIFIC corrections go,.a. long way. For
example, ·"Don't forget to. point yotirtoes!'~ has been heard :to·o mariy. times,.
your members won't even hear it any more! But, "l<elly, you need to point
your toes on the arabesque on count 16," is to the' point, and you can pet
l<elly vJiu tiear it!' · · · ··; · · · ' .. ·

Give your corrections and do the phrase again... many times.•• quickly.
When you say, "reset, do it again", don't wait 5 minutes for everyone to
rne'ander back to their spot. Start clapping right away. Start saying, "5, 6,
5,6,7,8~:." while girls are still moving. This gives the rehearsal a sense of
urgency. This' lets your members know you are NOT wasting time! .

HAVE A PLAN

If possible, watch a video of a recent rehearsal. Map out what needs to be

better and plan a schedule: Sometimes we get caught up on one thing and
spend FAR too long on it. Move cui! Don't forget to consult the band
director to make sure you are cooperating
.
with his or
~ .
her schedule .as well. ·
.·;

Best of luck this upcoming season!

 10 Steps to a Better Colorguard
By .~an Spaeth

Here are l 0 easy things that YOU can do to make your colorguard-ex:perience much more
positive.

L Understand the differt:nce between practice and rehearsal.

There is only so much a guard insrructor can do to help you and your fellow guard
members if evel)' time you show up to rehearsals they have to re-teach the
choreogr-aphy. Once the work is taught it should be the responsibility of the guard to
practice the work on their O'WTI. Come to rehearsal to fine-tune the choreography and
work on timing with the ensemble . ·

2. Show up to rehearsal early a.nd be _ready to go when it is time for rehearsal t~

start.

If you and your fellow guard members want to be ready for your performances you
must remember tha1 rehearsal time for most groups is very .limited. If the first 20
mir.utes of every rehearsal is spent getting evel)'one together you can imagine that
tt.Cs time added up over the entire season would really make a big difference.

3. Make.sure you attend all rehearsals ..

Every time even one person is missing from rehearsal it will negatively affect the rest
- - will
of the colonro.ard. All the information that is 2:iven at. that .rehearsal either have
tr: be repeated or the absent members may not get the important information, making
1l..: · r weaker performers. .

4. Help the less experienced members of the guard.

If someone in the guard is struggling vvi.tb choreography- volunteer to help them

before or after practice. Remember that you ......nil only be as good as your weak._est
member, and part of a team is helping those "Who are having problems or are slower
learners.

5. Lead by example.

One of the most productive things you can do is be the best colorguard person that
you can be at all times. Show the other members bow to achieve excellence through.
hard work, dedication, co!J1..mitrnent and respecting your fellow members and
instructors. ~o many times the negative people are the strongest influence. Rally the
positive people together and become the prominent voice ofyour colorguard.
6. Keep all your equipment in excellent worldng order- without having to be
told.

If your flags or costumes need repa.IT - find someone to fix it. If your fl~opoles need
taping, painting or cleaning- do it. Let your instructors concentrate on teaching and
choreographing. All the "little'' things add up and take the instructors' minds off
making the show better.

7. Don't over commit yourselves during the performari'ce season.

Be reclistic about how much you can do during the performance season. It is easy to
think that you can do it all - but Once you make the commitment to yom teammates it
is unfair to let them down. Make sure that you can attend all the rehearsals and have
enough time to practice your choreography. Remember to set aside enou~b time for
homework and your family commitments. Colorguard is a big commitment!

8. Put the needs of the guard above your personal desires.

~7hen putting together a production the instructors have to place the people they think
are the best for each pan of the show. Ho\v members handle not being chosen for a
particular part, such as a dance feature, a rifle spot or a saber spot, makes a big
difference in the succ·ess and happiness of the team. It is disappointing to be looked
over for a desired part, but in any type 'of performance-based activity decisions have
to be made. Having to deny people from being in certain pans of the show is one the
most difficult parts ofteaching colorguard. However, you joined colorguard to be part
of a team- every· member is important. If you truly desire to become a weapon or
feature dancer then you should take the initiative to become a better spinrier or dancer
dUring the off season; so when auditions for the ne::-..1 seasori come around you will be
better prepared.

9. Le2ve your non-guard problems out of guard.

No one ha.S a stress free life. As a high school student you have problems with
parents, friends, grades, work, boyfriends/girlfriends, 1among other things. Use your
time at guard to forget about those things and concentrate on the task at hand. The
only thlng that bringing your outSide problems to rehearsal will do is make your time
there even more stressful for you and your teammates. "While your insrructors can
sometimes be a good listeners and counselors, rehearsal is not the proper time or
place.

10. Focus on the positive things that are happening in the col'orguard.

It is very easy tb start to pick apart everything that might be Wr-ong v-.>1th your
colorguard. \Vhen this happens it creates a negative environment that is hard to
th tha1 have "Ql'ipe sessions." What purpose does this serve? 'Nhy not sit around
in~:ircle and tell a:
about the good tbmgs tha1 are happening a result ofbe:ing part of
a team. I bet tha1 even at what might seem like the worst of times you can find a lot
of positive things to boost the moral of yam guard.
 2006 BOA Sunmrer Svmposium Color Guard

NOT ACCEPTABLE!
By Susie Harloff, BOA SSY CG Faculty 2006

I have been working with instructors from ·across the

country for several years now.- We·· discuss everything from
writing choreography to planning trips, from choosing makeup
to making flags. One thing constantly and consistently comes up
is the BEHAVIOR of their color guard members and how it can
tear a unit apart. I have two words that I share with these
instructors that can help in almost any situation:

NOTACCEPTABLE

Setting high expectations for a color guard program is

pretty easy when you are talking about hiring a great
choreographer, spending a little extra money for quality flag
silks, or purchas-i_ng new rifles so all of the members have the
same kind. But s-etting high expectations for behavior and work
ethic can be extremely difficult. Backlash from students, and,
worse, their parents, can send an instructor running for the hills.
But as long as you are willing to stand your ground, defend your
position, and even have a few members quit, you can build a
positive, respectful, and enjoyable unit. ·

Here are some examples I've come a<:ross, and how the words
· ~~NOT ACCEPTABLE" can be used:

Scenario #1; •t's ti·me to get ready for a show. All performers are
to have their hair "slicked" back into a bun, including the bangs.
One member refuses to put her bangs back, saying, "My
forehead is huge. I look ugly without bangs". The instructor's
response, 'Tm· sor-ry•.. it's NOT ACCEPTABLE for·you to wear your
hair differently than everyone else. If you don't slick it back, you
don't perform."

l5
 2006 BOA Summer svmposium Color Guard

Scenario #2; At rehearsal; you are· trying to give instructions

while two members of the guard continue to talk about the
up«;o~ing dance. The instructor's response, "ladies, it is NOT
ACCEPTABLE for you -to talk While I am talking."· Don't forget to
follow through. l.f they .coritinueto disrespect your request, have
a consequence! ·let them know it is.. NOT ACCEPTABLE to talk
while an instructor is talking ... period!

Scenario #3; A·member consistently shows up late for rehearsal.

He has no exeuse-from his· parents or good reason for being late.
He has been missing the body warm up. The instructor's
response, ~·It is NOT ACCEPTABLE for you to be late for rehearsal.
You are missing ·body·warm -up. You could get injured if you
don't prepar~ your body."

Scenario #4; You witness a ·few members of the guard talking

"behind the back" of someone else, and saying some pretty rude
stuff! The instructor's. response, '~It is NOT ACCEPTABLE for you
to talk rudely about others. You don't have to·like them, but you
must respect them!"

I could go on and on!! Setting the standard for what you expect
out of your m.embers ·is very difficult, especially when you are
challenged and have to stand up to it! Parents are especially
tough to stand up to.

Just make sure· that what you are expecting is cleared with the
band director, and maybe·even the prineipal. You can't just
make up rules- and kick people out because you want to! FolloW
the correct protocol~ get some. backing from administration, and·
then set your plan in action.

Expect nothing but respect from your kids or yourself!!

l{c;
 Criticize in Private, Praise in Public
by Tim Lautzenheiser
E ALL WANT attention. Psychologists tell us it is
W !he number 1 pay-off for t.he human creature. It
conflllDS our very existence. In many cases it
means we are needed. The need to be needed is one of rhe
distinctions between man and other animals; in fac~ for
many iris more lmporranr than survival irself. Even rhose
people who say rhey don't really want attention often do
so because that gets them attention. Wberher iris via
approval or reprimand, we see..lc rhe aclrnowledgme.or of
those around us and guide our behav:ior according to the
arrention-rew'2!ds issued by chose in our environment
In any kind of rehearsal, practice, sectional, or even
peiformance siruaci.on, from tbe perspective of a student;
what is the quickest way to gain your arrention? By doing
something posidvely or negativeljr? Which students are
extended the most co=unication? Let's look one step
beyond; how does rhis exchange influence the entire
group? Does ir motivate rhe group ro move forward, or
does it deter the positive flow and hopeful expectations of
r.b.;:: :1..1 t~wG short rehearsal period? For the sake of example,
let's say that the quickest way to gain arrention In most
~-::sw?uld be to do something wrong. Misbehaving,
Lat1.:i.n 0 during class, being rude, inteifering wirh another
student's performance, not p;rying attention, and a host of
other choices are almost certain attention getters. With all
good intentions of dearing up the problem, the~
group is brought to a standstill while due explanation of
tb.e .inappropri2teoess is lavished on the guilty parry.
Haven't we all walked our of a rehearsal in a state of
frustration and trying to justify our actions (or reactions) to
a situation which not only prevented any DJllSical
improvemen~ but set the group back three rehearsals. Of
course, we then have to deal with the emotional residue
which is certain to soil all those in the ensemble. When all
is said and done, it usually is based on where we, as
educaton;/direcror.;, focused our atterrtiOn.
The logic would suggest that we ignore rhe students'
negative beha.v:ior and acknowledge their positive
connibutions. However, any accomplished musician is
well-aware of the fact thar rhe job is to "correa what is
wrong! (Remove the clams, if you will) How is rhis
. possible if we "ignore the things which are wrong?" The
skeptic im.meOiareJy visualizes one of those sballow
rehearsals where r.he srudenrs are given a false impression
of their achievements and conr.ributio.os by a .flood of
undeserved compliments. Rest assured, r.bis kind of
reaching technique would guarantee the de..mise of any
organization. It would be analogous to watering weeds in
a garden; eventually the weeds would consume LiJ.e
flowers.
The other end of the spectrum is the ail-too-familiar
11
rehearsal environment based on fear. The conditions are as
restrictive as the personal resistance ro rhe: confining
demands. This tension can be felt in the JDusical
performance; ice cold andsqw:aky clean. Jr is the result of
an :atmosphere where control and domi..na.:nce have
replaced freedom and creativity. The musi<:ian.s are
programmed and have been conditioned co do only what
rhey have beer. told to do ...no more, no less. The
researched conclusion indicates these stuclenrs have
difficulties in progressing without the derailed instruction
of the director for they are hesitant to take any icltia thre or
venture outside Lhe "safecy zone" in lieu of the possibie
repercussions.
Both of these scenarios create a less-than-ideal growth
experience for either the director or the students. We all
desire the value of group discip!ine,"yet.we encourage our
to
young people reach beyOnd their presair limits and·
explore their growth potential and talents. ls there some
way to have the best of both worlds? Can we guide them
to take risks and investigate new realms o.f !he expression
withour losing control of the group's ultimate goal?
Empbatically, Tis!
Behaviormodtftcatirm is nothing more than a stimulus-
response process. We repeat :my behavior for which we
are r~warded. 1n this case, the reward wou.ld be your
attention. The studenrs who are giveo the greatest amount .
of your attention literally determine the do.zninant anirude
of the group. They are tb.e ones receiving the greatest.
rewards for their bebavior'iiDd others will modify rheir
actions to be in line for their fair share of rhe bounty. Add
this proven truth to the next bit of leadership
understancling and new horizons appear.
Cl'iticizB in PPivater Praise ill Public
Criticize in prioate.. If there .is a need for an adjustment
in the behavior-or attitude of a student, meet wirh rhe
pupils privately. Tills will afford a candid exchange
without the entire band serving as a judgmenral :ruclience.
It will also afford rehearsal lime to be dedicated to
rehearsal. One of me healthy by-products of this endeavor
is the respect the students gain for you and the
professionalism ofyourte:Jching methods. "When we can
avoid the emotionalism often assoc:ia.red with critical
:admonishment, eve..ryone benefits. This may rake some
scricr personal control to develop this h.abir; however, the
:advantages are beyond measure.
None of tP.is predudes those times when we simply
need to have everyone put their insrrumenrs down and
have a good old-fashioned b&art-to-beart. Those are some
of the mosr inspiring and focusing learning :adventures in
our musical growth. However, they must be used sparingly
 laadership • Bands af Ammtica SUilfiii8P Band SymposiUm

or they will lose the value of their impact and become one
of those 'here we go again" lectures for everyone. (How
many times c!id' the yciilng bOy C:ry, "WOLF!"?)
Praise mpublic. This tould well be the key
ingredient How often do we stop a group and publidy
praise a stUdent or a section's fine work? Do we ever
simply thank: them for being on ti.lli.e an:d having their
instri.liilents and music ready.• .for taking the time to mark
their part following a stiggestion? H&ve we ever made a
"big dear out of the students who took it upon themselves
to have an unscheduled sectional?' Is there milch taken for
granted and little attention given to the faithful majority
who go the extra ni.ile in being on our bandwagon? Are
there many opportuliities to reWard various students for
positive contribution, or are our energies alWays dll'ected to
the negative few? These are difficult questions, bUt the
answers can lead us to an optimistic and profJ.table
bebiwior rnadifica:ticn offering a new path to better
rer~usal~. t:"'!.!furman:ces, and ovenll attitude of everyone
involved..
The field of music education offerS a ch.allenge like
none other. The t.peSt for the elusive Perfection has caused
even the m.ost talented to shake their heads .io dismay. In
truth, an'Y great musician knows that tli.e assigned goal is
orily another step towardS a higher level of .
performance/iJ.nderst:andiri.g. The development of the habits
via the process is the means to the end. Therefore, in
bringing our groups to a higher levei, we must dwell ,on
the process (rehearsals, communications, etc.) through an
or
effective meaos behaviarmadification. When we re:i.ch
this goal, other new and excitillg possibilities come into
view...which offers a new.set of goals, etc., ~d infinitum.

a
NetKf ~Satisfied With rr!aching goaL Once yOU. have
reached ·'it, Si.lWr it briefl:j, and then move tdwatd yoti.r next
goal. Ifyou stap ibere, jau will stagfzate. tbejOt:l:rney toward
ibe gi:Jai is much ·more reWarriing tbfin arriving at tbe
ciestinatiori..

Every musical garden (organization) will get attentiOn.

They deserve it, they demand it, and they will atrhln it to
satisfy tl:i.e human need. As educators, we have !:he
wherewithal to determine which betmior will be
appropriately recognized and rewarded. It is probably the
single most important contribution we make ro the child.
When we Choose to criticize mprivate ana p-raise in
public we are opting to water the flowers while hoeing the
weeds; a guaranteed technique for a superior garden.

l~
 2006 BOA Summer Symposium Color Guard

PRACTICE vs.REHEARSAL:
Ways to Make Rehearsal a Better Place

By Michael Shapiro, BOA SSY CG FACULTY 2006

Have you ever been at rehearsal, cleaning a part for hours

because one member can't get through it? Have you ever
practiced a part at home, only to get to school and not be able to
do it? If so, you may not see the relationships between prac:tice
and rehearsal. '

Practice is personal. ... a place where you get to "work out the ·
kinks" and figure out how to use all of the information that you 1;?
receive at rehearsal. This is where you can take chances, try out ··
all of the different ways to make a part feel and look right. If
done correctly, this can make you feel really prepared and
organized when you walk into the rehearsal setting.

Rehearsal is for the group ...a place to work on timing and

how each member looks alike or dissimilar. If members are using
rehearsal time to first get through a part, the pace will be
sluggish and frustrating. Here are a few tips to make your
practice time more produ~~ive:_

-Don't be afraid to break down a phrase ...use an add-on

process where you start with 4 counts, repeat it until its perfect,
and then add the next 4. Once you've gotten through the
phrase, you can repeat that until its perfect. Only then should
you start on the next phrase. This may seem tedious, but you can
never over- prepare!!!
 2006 BOA Summer Symposium Color Guard

-Set high standards for yourself••• DON'T SETTLE!!! Commit

to· repeating the part multiple times without an error and, don't
give up until you succeed. If you say "1 0 times without a drop or
break," hold yourself to it!!!

-Simulate performance conditions...do all of your parts full

out, and perform them like you Would in a show. YES, this feels
ridiculous at times, running around the bacl<}tard With
performance facials, but any change in energy can create a
change in what your equipment does, so why risk it?

-Don't get in your own way!!! Frustration can disable you

from getting·throughyour parts~· In the eventthatydu:can·not. .·
achieve what is being:asked of yeti, make'sure tfiat)you·are usihg
alf:of the-informatioli,thafhas.been ghieri·tO you. ·Take·ade~p-·· :
breath and- try the ipart-a- different -way~That is' what praetk:e;ls
for, to taRe cna'rlces·andto tr:tdifferent:approaches=>: .......... -

-Set your own, realistic goals for yourself. Even if you're

expected to do a whole show perfectly at rehearsal, that may ~e
overwhelming for you personally. Set a schedule of achievement
that works for you, just make sure it gets done!!!!

-Use practice as an investment for yqur confidence...Sure, ·

we all get nervous in performances, but being able to tell
yourself, "I did that part 50 times without a drop or break" is a
great way to keep those jitters at bay.

-Above all, treat practice as something you WANT TO do,

rather than something you HAVE TO do... Enjoy your progress,
and make sure you take time to reflect on how far you have
come. You'll be amazed on how much more fun rehearsal can be
when you feel prepared!

Bo
 WHAT lS YOUR A.P.R.?

11 is 6:00 a.m. and the alarm is sounding for the third time. You reach across your bed and hi1 the snooze
bar. As you Jay back dov.'!l the ac1ivities of the day hurry through your mind. You have a 1es1 in
Chemistr)·, color guard practice after school, and you Siill have 10 write a pape; thal is due in your English
class tomorrow. You have rwo ways of facing the challenges ahead. The firs1 being that you could pull the
covers up over your head, pretend to have some sudden illness, and have double the work to do the next
day. )' ou will nov.· have 10 take a make-up exam (always more difficult), Jearn all of the new work that was
caug.hl a1 practice, and don't forget wri1ing the paper that is due in English. Another way of Jook:ing at the
clay ahead is to realize that everyday is an opportunity 10 face new challenges and Jearn new and exciting
things. )'au suddenly have the mind sel that you know !hat you are prepared for the test in Chemistry, you
can'! wail to get 10 guard rehearsal because you are learning new work and seeing friends, and that the
paper you have to write for English is on a cool 10pic. You now have taken pan in an ani rude change.

1 like w refer 10 this process as increasing your A.P .R Whenever you normally hear the tenn A.P .R. it is
referring to an annual percentage rate your going to receive on thai new car your paren"LS are going 10
surprise you with, yeah right. Instead of thinking in banking terms on a car you are unlikely to see, think of
your A.P .R. as your ani rude, perception, and reaction. Your anirude is the flrst and most irnponam
component of the equation. It is the way you look and think about your surroundings. lt is the positive
thoughts you have throughout the day, and it is the army that defeats the negative though"LS that sometimes
rry to creep in. Your attirude is the foundatjon that builds the next pan of the equation, perception.

Your per.ception is the way that you make-sense of the challenges you face. It is the way that you viev.·
eac•: 'Jfth(.Se challenges as an opportunity to learn new things. With every new skill learned you also build
votJr character because you faced the challenge head on with a great attirude and conquered it on your own.
You now have improved your self worth and moved on to the next step, your reaction. l

'i our reactiun is your response to those challenges yciu face. Even if the omconie is not one you would
p:::trocularly like, you maintain your i:tappy disposition and realize that you srilllearned something from the
siruation. Your reaction should remind you to stay connected with the first and most importartt pan of the
equation, your attitude. Realizing that, while you may not sometimes be in control of the outcome, you and
only you, are in control of your anirude.

a
V\i"h:!n yew b.egm to strive everyday to always have good attitude, you are on the road to increasing your
A.P.R: You have now given yourself a guideline to improve all aspects ofyour life. You will improve_
friendships and relationships in and outside of the color guard activity. Let's face it, people enjoy being
around people that are happy and that look at challenges as something fun and new. So let's begin, what is
your A.P .R.?

-Jay Logan

81
 It's 9:15 at night. Practice was·supposed to be over 15 minutes
ago, I have t\"1 10 papers to wri4e, a test to study for, and laund1y to
do so 1 have clothes to wear to school. ]\Tot to mention I'll have to
caJTY equipment all the way back to the school from this practice
field and the11 help the fi·eshmen practice the neVi} toss "'vve learned
tonight. I'll be up 'til midnight.' Ugh!
Sound familiar? Vl'elcome to the busy world of color guard! This scenario can be fotmd
in high school band programs across the country. So how do we do it? How do we
manage to keep performing in the acri'Vity \'·/e love, but still maintain good grades and a
happy family life? Well, it takes EFFORT. It definitely doesn't happen by itself, no
maner how good your intentions. But ifyou can make it war~ you will learn onf "'f 1 :r,.·:.
most \'aluable lessons ... TIME MANAGEMENT! Here are some tips to help yo..;
balance the many aspects ofyout high school life.

MAKE A SCHEDULE

It's a basic concept, bur it works. Computers have exceilent calendar programs that you
. can use to schedule your activitie.s. Obviously, yoli must keep a practice and
performance schedule. But you may want to take that even further and create a DAILY
:;chedul e. Plot out times to do the things that must get done, like eating, studying,
··.-1·:··:··•. and practicing! lfyou actually break down the minutes of the day, you'll find
that there is usually PLENTY of time to get everything done. You might just have to
give up some activities that aren't of great importance .(like talking on the phone with
friends, or watching MTV!). Most imponantly, you must stick to that schedule.

GIVE UP Ul'\ECESSARY TIME CONSU1\1ERS

Priorities ... They are the controlling factors in our lives. Once you make a commitment
to a color guard, you must choose your priorities in life. Many activities you once
enjoyed doing may seem unimportant once you start getting into color guard. Make a list
of what is now important to you ... things that MUST get done or your life will be
miserable! As mentioned above, certain TV shows that you used to watch faithfully
- become somethin£. .vou no lon2.er
might '- ._. -
need. Trv., to let .._2:0 oftirne-consumin£ activities
that are unnecessary. This will free up \'aluable time!

52_
 :.··

,.·~·
ASK FOR HELP!
. :.:: ..
~-··
··-:-;'.
One of the greatest advantages tO belonging to a band program is the w:ide vqriety of
talents possessed by its members. If you are struggling with a subject in school. see if
there is another band member who excels. Ask for assistance. Meet with them a few
minutes before practice to get some advice on homework. You'll be amazed what hidden
academic treasures your band peers possess!

ENCOUR4..GE EACH OTHER

Finally, make sure you are supporting the members of your band and color guard. If you
know someone :is struggling to manage their time, don't ask them to tape equipment w1th
you after practice! Be Understanding of evei}'One's situations. If you have a good grasp
on time management, help someone who doesn't. ..1\nd watch out for the new members!
Remember how challenging it was when YOU were first faced with the responsibilities
of belonging to this organ.ization. Be a role model, and be available!

If you really want_to belong to an organization that takes up lots oftime, you V\7ILL r;:.;:-;]. ='
it ·.:vork. Remember to prioritize and follow a schedule that fits those priorities into yoar
e-very.:iP,y life. If you can make it through this, you Will have learned a lesson that can't be
taught in the classroom, you will have learned a LIFE SKILL that you will us·e
FORE\lER! Best of luck to you!
(~···

Susie Harloff
BOA C.:1lor Guard Clinician
200:3

(
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83
 - - - - - - - - - - - - - - - - · J . O O S B O A S i l m i i H i t ' SymporiumColotc-d_ _

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AniTUDE ADJUSTMENT
By Susie Harloff, BOA SSY COLOR GUARD FACULTY

Do you bnow what •self talb• is?

It's the way we. talb to ourselves within our own heads;, .It's the
"voice within• that tells us •1 am going to nail this quad• or •1 am
going to drop this toss•. It's the nagging self-conscience that
determines how successful we will be during a rehearsal or a
performance. It's one of the most powerful forces behind successful
people. ·
.··AND IT'S ENTIRELY CONTROLLED BY YOU!

You're teenagers••• you bnow what attitude is••• But I bet you never
thought about how much it affects you and those around you. Let
me illustrate the power of your attitude with a few scenarios. (

Vou"re at a rehearsaL One ofytJilr members is hauing lrouble

catching her triple. She continues tb dmp It, ovel' and cwel'. The
instructors get ll'ustrated and start fD push her. She begins to cry,
talb bacb, and refuse to try harder. Other membel'l begin fD get
mad at the staH. Othe/'1 get mad at the girL Before you bntJW it,
everyone's mad at each other and no progress is being made. It is a
miserable and unprt:Jductlw rehearsaL

What do you thinb the suHering member was saying in her mind?
What was her self talb? I bet I bnow! "I CAN'T catch this thing!• "My
instructors are so mean!• "Why doesn't everyone just leaue me
alone?• "I HATE guard practice!• •1 KNOW I'm the best rifle, I'm just
having a bad night!• •something's wrong with my rifle!• This bind of
self talb can ruin a rehearsal, not only for the person thinbing it, but
for those around them, including their staff and friends. Let's try
that scenario again:

··-·
 ~.. .
-----------""-_.:zoos BOA.S~~~~~n~erSymposlumColorGuard_

You 1re at a rehearsaL One ofyour members is having trouble

catching he triple. Jhe continues to dmp it, ouer and ewer. The
· instructor gets frustrated and tries lD Pl:fSh her. ·She says, •p11 get it, •
and with fierce determination tabes a deep brecithe, and nails it.
The other members encourage her and applaud when she finally gets
it. She continues tD push herseH lor the rest of the rehearsal and
inspires oihers hi dtl the same. It is a produdir;,e anti confidence-
building rehearsaL

How did this rehearsal wind up differently? The guard member was
still messing up; the instructors were still getting frustrated. But the
way the member handled herself changed the entire outcome. What
do you thinb her self tGib was this time? •t CAN do this!• •t WILL
prove to my staff that I can do this!• •t better beeP a good attitude,
. .. or I'll r..-in this rehearsal. • •come on!!• •t will NOT let my frierids
,~ . down. • "Keep pushing me staH, mabe me better!•
(::
·t:.~:.
Now, honestly, do I really expect high s~hool students to say these
things to themselves? YES, I DO!!! In fact, when I'm running my own
rehearsals, I often asb my girls, •what are you sa51'ing to yourselves·
right now?• It truly mabes all the difference in the world.

When can you start your own attitude adjustmen_t? How about .
RIOHT NOW!? You can start TODAY, at the BOA Summer
Symposium. Tty iL. when the sun is blazing on !IOU, and your
clinician asbs you to run the routine •one more time•- listen to what
you say to yourseH. Will it be, •Not AGAIN~ It's SO HOT out here. I
just want a breab!• Or will it be,. "Yes! I reallymessecfup count 12
last time, now I have the chance to get it right!• ?!? Remember.~ it's
a powerful thing•••

AND IT'S ENTIRELY CONTROLLED BY YOU!!

(
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 BANDS OF A./Y\ERICA COLORGU.A.R.D
Personal Commitment:
The Basis For Success
Daniel WUes
Over the yeaiS I ha~ seen many young people
come and go, and the question that I continuously ask
myself is WHAT HAVE THEY GO'ITEN OTJr OF ntiS?
This always forces me to ask the Students the question:
What do you beli~ that you put into it?
The biggest problem facing young adulrs·m High
School Color Guards tOday has got to be the time'
coinmitment, and the solution ro that. problem is not as
simple as! thirik most would like 1t to be. Man::hing in
a :·n..-:h ~1-Jool Color Guard, be it winter, summer, or
fall, is an inc:redible. commitment in time. Whether
you ::ue pn>cticing coundess hours or raising the funds
fo: uuiforms, equipment, etc., it is no easy cask.. The
problem that arises· usually comes when the individu-
als· are not prepared for the mental and physical
res ponsibilit:es that they have taken on.
'":"':; be~;. "9-ritl:. it is imperative for the individuals tb
ullQe!"...ii.;W...l :J.OW to motivate themselves for ali the
houiS they will be utilizing ro make their Color Guard
·a success. True, motivation is not as easy as it sounds
when you have four papers clue in school that same
week, but if you are responsible and learn tO manage
yoor time wdl, that shouldn't pose itself as a problem.
There are a variety of reasons for the probl~ of
studenrs becoming frustrated at reheacial. F"ust, the
srudents must be prepared for the leaxning process.
!Jthough it may seem like forever to the srudents, the
staff membeiS truly never believe that there is enough
time. The i,ndividua!s themselves must underst2Ild that
the time spent working on technique and basics will
help the Color Guard more than anything that they'Ii
learn all season. We all hare to hear it, but without
learning the basics and perfecting the technique, there
is not a single Color Guard that will succeed.
The next src:p is ro begin to dean and adjust the
wrinen book. I've found thal lhis is usually the stage
that the membels enjoy the most Not only are they
beginning ro attend competitions, they arc also
- .
receiving a betier chance to understand their roles as
perl"ormers. Still, the Individuals must grasp the fact
that the sezson is young and there is Still a long way to
go.
F"mally we arrive a! the point of the' season that very
r~ people appreciate, scraping the minute details out
of the show. I peiSOi:!ally feel that thls is. the best time
of the season, it is a time when the membeis have a
chance to truly fee! the petfolll12D.ce to its maximum ·
sensation. Of c:cuiSe, the oruy way that we can do this
.is by staying focused at rehearsals and always striving
for perfection. All too often this is the time when
members begin mksing rehemaJs thinking that they
don"t need to rehearse any longer,
The individiml must then figure out a way to keep
the reh~ fresh and new. One thing th:tt I could
suggest is to attend rehcaxs:al with a great attitude and
to remember that there is always something that can (
be fm:d, big or small. Remernbei.' that when you're
working on a section over and over, it might be a part
that you are doing e:aremely well, but somewhere else
on the fre!d it might not be going ~ well. So stay
focused and try [0 make the most of it.
In closing, try to remember that the success of your
colorguard depends OJ:l the attirude of the membeis.
Whether you man:h in the best guan:i in the country,
or in a brand new guard scming from sccuch, the
responsibility lies in the commitment that you give as
you strive for perfection. Most bnportantly, allow
yourself to leave this chapter of your life behind
knowing that you got as much out of it as is possible.
\
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 _ _ _ _ _ _ _ _ __..2005 BOA Scammw Symposfum.ColorGUWI:I _ _

(""••
\

Buddha as a Guard Member

By lay Logan, BOA SSY COLOR GUARD FACULTV
Let me tell you something deeply personal: Guard is meditation. Forget about the
incense and the chanting monbs for a second and focus.

You don't need' to be Buddhist to understand this. In fact, I don't bnow a thing about
Buddhism. But I do bno\N guard. And guard is meditation. This iS not a religious thing;
it's a mind thing. When you are dancing wit.fl a flag in your hands and that flag
becomes an extension of what you are tryin'g to express and all distractions that are
around you have melted away, that is meditation. When you spin a rifle with such
dexterity that suddenly your hand bnows more than you do, that is meditation. When
solid technique and fluid expression unite and you spontaneously create Your own flag
r:~·-:·. worb, that is meditation. HC»w these moments feel is unique to everyone, but how to get
;...;.;:.; ...·
there is not. ·
In guard, technique is very powerful. It is powerful because many people have
put their energy into finding it and refining it. Once someone masters technique, they
begin to find wcvs to improve it. When it is improved, it is passed on to others, who
then try to improve it.•• if it's possible. You are getting the best of the best from the
best. Trust the technique you are taught.••and when you are ready, try to improve
upon it.
Then, libe all great meditators, you've got to breathe. Breathe for energy. Ciood
breathing will give you good energy for your performance. Not just so that you mabe it
to the end of your performance, but also so that your energy mabes it to the end of
your performance with you. Also, breathe for concentration. As you are breathing,
distractions fall away. When you breathe for these reasons (energy and concentration),
you create something uery important: focus. Focus is a state of mind that lets what you
are learning (and doing) be the most perfect it can be. When you are focused, you will
find confidence in yourself. When you have confidence in yourself, expression that
wants to come out will not be afraid. When expression is not afraid, it can become
Beauty.
Finally, enjoy what you are doing. Learn to cultivate a strong will that bnows
joy. The worst hu.stration is nothing. when faced with even the tiniest chucble.
Now, in the great tradition of wisdom, its time to say ~mething that doesn't mabe any
sense: forget about where you are going, and instead focus on how to get there. I wouldn't
be a teacher if I didn't tell you what that means. It means: don't water the flower- water
the seed. In other words, if you want great guard moments (the flower), then put energy
into what will create those moments (the seed). I just told you how to water the seed•..
- - - - - - - - - - - - - - - - - - 2 0 0 5 BOA Summer S~d~m~ Color Gc,lard_ _
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Pride in a Unit
By Mary McWilliams, BOA Summer Symposium COLOR ClUARD

Iam writing about something that has nothing to do with the activity of
color guard and something that has everything to do with the activity. Pride in
what you do and whom you do It with is one of the most important aspects of
being In a group and achieving goals. It is reflected in every aspect of life. I
always had pride in the units I marched with and taught. I thought I bnew what
pride was and how it should be disp~ayed. I learned much more cifter September
It,. 200t.
On that day our life in America changed forever. Our serenity was
shattered and our peaceful existence forever rattled.
I have many relatives in New Yorb. I have a brother that is a New Yorb
City Police sergeant in Brooblyn, just over the bridge from the Trade Center.
Many worb in the financial field. My cousins,. Martin McWilliams and Cireg Stajb
worbecl in the same firehouse in the Upper East Side of NY. Their firehouse Is on
85th street,. many blocbs north of the World Trade Center towers. (
When it happened, I was many miles away in Florida. We had received
word from the Superintendent of Schools that we were not to have the news on in
the dassrooms of the elementary school where I worbed. My job was to assure
teachers and students that they were safe. I was feeling anything but safe. I
wonied about m!.l' brother first, and then thought about ni!.l' cousins. ·I bept on
calling my mother to see if my brother had called. He finally did about noo~ and
he was standing on the Broobl!.l'n Bridge directing the heavy streams of people
heading out of the smobe-covered Manhattan. My family did not bnow of my
cousins• fate.
After school, I stared at the television set. I could not tear m!.l' eyes away
from the screen. Some people had to turn the TV oH, to try and stop seeing the
planes going in to the buildings every fiue minutes. I only wanted to bnow more.
I wanted minute details;, maybe even an image, hoping for some scrap of news.
At 1G-.30 that night, m!.l' brother called me to tell me that Martin's body
had been recovered. He was crushed by falling debris. How happenstance and
indiscriminate the debris was. Another firefighter he was with, narrowly missed
that same debris and is alive today. Cousin Cireg was one of the hundreds
missing.
This is not a story about their deaths; it is a story about what happened
after their deaths. And I learned about pride.
The first funeral was the weebend after the horrible event. I guess you
could say that we were /ucby to have Martin's remains. Cireg's memorial service (
would come a month later !.l'8t no recouef!.l' had been made.
 - - - - - - - - - - - - - - - - - - - - ' - - - ' 2 0 0 5 BOA Summer Sympcstum'Cclor Guard_ _

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~.. .. .

When we went to the funerals of my two cousins the tremendous

outpouring of support and pride was unbelievable. There were so many
firefighters there. I could not count the number standing at attention and
saluting the passing fire trudn holding Martin and Greg's coffin. I could not
count the numbers standing in the reserved section of the· church. There were
hundreds. It was a vast sea of blue. These people had spent many hours at
Ground Zero, spent so many hours loobing for their fallen buddies, and yet were
there in crisp, full dress uniforms, saluting their bt'Dthers. I am sure many of ~m
wanted to go into their homes and never come out again. So many had been to
<Countless funerals and memorial services. The bagpipe corps had played
Amazing Crace hundreds of times. So many of them had not slept since
$eptember n, ~ they were there.
At both services, the firefighters, my cousins' brothert did not cry openly.
Silent tears streamed down many faces. They were stolid and sure cind held their
ground when I am sure it would have been so easy to breab down and give in to
their own grief. They were this way because they were representing a long
history of brotherhood. They displayed pride in their unit! In the firefighters'
most grave moment, when the .death toll of their brothers numbered almost 350,
they stood together and made their unit stronger, impenetrable. When times
were at their worst, their pride made them the best. Across America, the citizens
.······:·. praised the labors of firefighters for successfully completing one of the largest
rescue efforts in history and their perseverance after the search and rescue
mission was called off. I also praise them for their pride- it 'IAICIS undeniable. It
was certainly something no terrorist could recbon with!
·It is much the same for participation in any un.it. When individuals sticb
together and support one another, i:he results can only be positive. Groups will
always be rewarded for pride. Rewards may come as scores or trophies. The
reward may also be that members will hold the warmest memories for many
years to come. I will always carry the memory of the funerals. There will be a
time when details become faded. but the feeling I will remember will be the
pride the firefighters showed.
After each service was completed, the firemen were released ahead of the
family and the guests so that: they could once again line up in formation on _the
street. As they left, the congregations, guests, and families stood and applauded
until the last blue uniform was out of the door- perhaps three or four minutes! I
haue never seen or heard anything Jibe i~ no~.do I expect I will. I have had units
that I taught win national championships, yet this moment was the proudest
moment in my life.

'"Beca~ al the routines U~e Follow, we often Forget that 6le is an ongoing advedure. We lecwe our .htNneS
lor r.f.PtH'b, acting and berlelling that 11M!' will reach DUT destinations with no iurusua/ eflent startling us out qf
set expectations._ Life is pure adventure and the Jocner we rea/iu that, the quicker we will be abk ID tr«Zt
life as art... We need to remember that we were created creative and can inuent new scenarios as fl'«fuently
as they are needed,•
 The Sky's the Umit!
by Damon Padilla
A 60-member colorguard, all juruors and seniors, ar1d an unlimited budgeL Ha, only ·in
your dre2..1.-nS! Unfo~t~ly, this is far fran_: an accurate_ descrip~on of most . colorguard
progr.o.ID..S wday. In raa, r·v~ ne':er ~eard. .?r anyone havmg ~ rhis, although JL IT12.Y
seem rh.at way when you v1ew the mc:reruble performances tnar are presented every
year. The rea.liry of me siruaLio:c is t:hat even r:he best: prog:ram.s deal -with me most ·.
com..-non problems: ·
• U.ck of membe:s
• Ine::cperi ence
• Limited budget

By Jc.,.1 owing :1 few rric.l:...s of r.:.'-le L-:J.de you can elli-ninate the negative effeiis of r.!)ese
issues ::md concenmHe on more imponanr things. Like rr...a.k.L•g your guard rhe best I
can be!·

LAck of Membe:-s
So vou are all excited :1bour r:he upcoming se:1son. Lhe show picked our.. .ir' s going td
be ~e besr ve:1r yet~ You w:1lk imo the gym to hold your firsi: t:;-ai.ning session for new
members a~d th~:e sit rwelve kids. On top of that. rolf your guard from last: ye:JI .
graduated ::md you only h.:lve :1 few rerumi.ng membe::s. Firs;:, don·r panic. Believe it or
not most everyone has been i.n this same siru:llion. You :u-e just going to have to take a
different : ::.proach.

::-laving ::;. sm:1ll gm.rd doe:sr1i n~cess:uily me:1n you'll be ineffective. it jusT me:1ns you
are going ro have ro spend :.1 licJe more r.L.--ne phnning how to 2w.'1ieve r...h:u effect_ With
a gu:J.rd of 30-+, e:ffecr comes prerr::v e:J.S::>'- We've all seen [har huge flag line doing spins
in a block making the people in the sonds scream. Well, m:ar's nor re:::!.lly an option
when you have :1 guard of 6-12. The asieSL way to :tchieve :::ffect "With a small-group'is
c-.~':'!...: 5.t-. so ging. By sL.::J.ging. r m referring to t.."le pbcemem of the colorgu:J.rd in relation
:_.:; '-·~ : ·~:1L. ov highlighting your colorgu:rrd through sr:tging, you can be just as
. -
e\:citing :15 .those .......
2:roups. &w.r :J.re rwo or"fuee
. . times ..vour size. ·

First of :tll. "Cv'hen de:J.ling with :1 sm:tll group. try and presem them as just maL a sm:ill
group. Spre::~ding out si.-.; members at a rt>.relve-step int.erval in an arc behind the band is
a sure recipe for failure. l.nste:J.d. try to utilize them much like you do your percussion
barrery. By keeping the:n together and imegr:::ned in rhe drill, you'll have a much bener
chance ar success. Sure, there·will be times when ir's appropriare to spre3.d our the
group w create visual \·:J.riery. just realize tb..at your biggeSL effects are going to come
when the guard is more densely staged.

lr's also not a good ide::J. to split an :tlre::~dy small group into smaJJer sections. We've all
witnessed that SlEllJ colorguard iliar fincis ir necessa;y to forure four rifles while r:he
oLher four fl:tgs ge: los1 in t:.t1e back. Talk :J.bout making 3 difficult situation ""·orse~ A
more effective w:;y ro handle Ihis siruar.ion would be w include evervone on ri.c9e. The
work on be -wriuen to the level of ::til involved or ::J...I1 even beuer ide; would be to
w;ite coordin:ned £?lit "~-ork_ Nov-·. not only h:rve you visu:tlly doubled Li)e size of your
group. our you've :J.!so cre:J.ted :m oppommiry to present more visual interest wirn.
layered :1nd splir pam!
One of the more cre::nive ways to present a small group is through suges or "vi.sua.l
spodights". Say you have a guard of six members. Why nGt build six small pl2rforms
which c::m be placed on t:he field and used as individual stages for each guard member.
.tllso, dle band could rake advantage of these stages as well to fe:arure soloisr or small
ensembles. Beuer yet, build them with wheels so they c:m be moved and pushed
wgemer to change the space and create one large stage for all si::x members. Now that
would be effea! This can also be done wim vinyl floor tarps painted to fir in with the
theme of vour show. The possibilities are endless.

Inexverience
So ya""ur goal is m have the entire flag line throw a toss wirh a rum around underneath
iL However. the ten new freshmen are looking at you like you just sentenced them to
death. Wirn seniors graduating and freshmen coming in, this wide gap berween
experience leveLs is a consmnr problem which no program is irn..-nune to. How do
those "big" groups always look so good, you ask? Well, again it all comes dov.rn to
making me mos'L of what you tw.ve.

The best wJy to de::~.l wirh r:his inevitable problem is to mckle it at the very beginning of
your se:t.son: auditions. This is where the biggest mis!:tke is usually made. In a belief
that more is berrer, many times 7.-:e set ourseives up for frusuation by mking too many
ne>v membe:-s. Ide:rlJ~·. ne~' members should nor make up more than one~chi.rd of the
group. S2y. for insunce. you have si.'\.t:een member-s reru.rning from 1he previous ye::u-.
The ide:t.l number of new members would be eight. The reason for this is vou'Il be
establishing :t.n environ.'Tlenr where the norm is to be good. and as a result the new
me:nbe:-s wi!.l excel ar :1 much faster r:ne. Also. ,.,.,.hen choosing ;.rour .new m.::rnbe·:-s."ir's
best ro ta!:e freshmen or sophomores, therefore J.Ssuring :1 strong furure for your group.

Ok::J··, so this didn't .._..,.·ork and you're stuck with !'1-'enrv rookie members in a guard of
Lh.~'- Again. don't panic-all you'H need is :1 lor 0f ?a'tience and :i few tips to- guide
you. Re:1iize thar "~>.--hen you see _ a gre::Lt guard, what you are usu::tlly impressed with is
nor necessarily what they're doing, but how well it's being done. If )'OU keep this
princ:ple in mind. you could h:1ve ::rn incredible gu:t.rd f!];lde up emireily of n~w
memhers! W1ar this me:::ms is m::tke sure wharever iris you do, it is done well. Be sure
i:)-1e ::l-. :;r:::og: J ~ny is wrirre::1 so thar every member is :t.ble to achieve ir :ar :a high level.
The old saymg: "Tne group is on!;;- J.S good :15 irs weakest member," is very true when
it comes ro colon:ward. If vou do have J _group of more experienced members. whv
not fe::rrure them ;lone during some pan: ;f th~ prog:::rm? B~y doing rhis, the. older ·
members :tre more ch::!.lknged :t.nd you .:tre :tlso :tble to incorpor:1re more advanced
skills into your sho'tv.

Another gre::J.r w:~y ro make an int::.x:perienc~d gl:lr~.tci look great is rouse oversized flag:;
or -wings. These c:tn cre::He gre::1r moments. especially if you put some time into me
designs and colors of them. Some of Lhe gre::rtest effects cre::rted b.ave been nothing
more than presenting a large be:wtifully designed flag in beautiful colors! _Also, don't
forge: &..:n colorguard isn't only flt~gs. rifles, and sabres. The u.Se of mher props is
limiuess. ::me your only restriction is your im:tgi.r.::uion!
Limited Budget
Wny is ii ct-.ar band ci.i.rea:ors always seem to find the funds ro pay for those new music
s-..and.s. bur when you go m ask for ne-w· fuags you'd think you were asking for the
cro""n je-wels! I thjnk irs uruver;;aL Most prog:-ams just don'r have the funds to
ourd1ase everything c.l:-..at we think we need. The trick here is ro work wich wrut you
hzve and w constandy plan ahead. There are many -ways m make your colorguard
great a.s -well as save money. Many times ii is just a mao:er of common sense.

One or" me ez.siesr wzys w save money is m make your own flags. This can add up to
t:housand.s of dollars in savings, which I'm sure you can find other uses for. The
ave:-aee CJ.talog sells flags for about S34 each. With a guard of thiny, !hat would come
ro s 1.020 for one set. You can make your o-wn for about 56 eaw.'1 which totals 5180 for
durry. n-..ar's a savings of S840! For the cost of one ser of car.alog flags you could rr..ake
five! Bv making your own flags you also r...ave no limiratior.s -when it comes to
designs-you can make up yow- o-wn or use one you've seen elsewhere. One thing w
keep in mind, if you are on a very suic: budget, try ro c:-c:::;.re designs which c:m be
used ye:lf 10 year. The only other dUng you need is people to sew. Holding a meeting
with all your colorguard parents usuaDy leads to 1112.ny volunreers who are more chan
happy r~ help. Material can be bought from many companies who now specialize in
selling fb.g fabric in an unbelievable :LSsorLIDenr of colors.

Much like flags_ making vour uniforms can save vou J rremendous amount.of monev ..
Mas! gu:1rd ucifonns r;6y would be more ::lCcu~:::nely described ::lS cosrumes, ::md by
making iliem you C:ln customize- the:n to me theme of your show. For e..".;tmple, you
c:m use a basic black bodv sui! :l.S a base l:aver fmm which vou· c::1n cre:1te m:mv
dlfferem lo?ks. How abo~t :J.dding a coordi~:ning skirr or w~p. or whar :1bour ~
srylized vest? Again the optiom are limir:less and they can all be achieved on the most
li.Jniied budget. ·

One of the mosr overlooked resources for help and :J.ssist:J.nce is your guard pa;-ents.
·Most of the time, :a mee':ing ro discuss "'·h::ir is needed will almost ::tl"-':J.Vs result in
someone willing ro help or knowing someone who c::m. lt's am:lzing the resources
rn:J.ny of us ".:;ve if "''e are willing m :1sk. A.rchirecrs. engineers. artists: all these people
.::,. .. u~ c,; ;;e..!t re!p when desig!1ing ?raps or painting sets. Many times your parents
m:J.y be me owners of the loCJl lumber smre or paim shop. Again. they are usually
h:1ppy w do~ne goods to your progra..TTI-saving you even more money!

Being in charge of ::t colorguard loday involves much more than jUSt gerting Li-)e flags to
spin mgether. The secrer of a suc:::essful guard progr.:~.m goes much deeper chan r:hat.
Whether it is de::1ling v..rith a small guard or unexpected budget cuts, nothing should
srand in vour wav. The· onlv limits vou h:lYe p._re IDQ;;e which vou set vour:5elf. Ir's e:iSV
to iook :t~ a succ;sful program and thi...J.k the reason ir work.si~ b~ca~e they have ir -
"e:J.s-y.~ This couldn't be further from che truth. Everyone de:1l.s -with the same setbacks
a.nd ir's those thai fmd solution.s to them that exceL Wirh this in mind mere should be
nothing holding you back. Like I said, Li-J.e sh;."'s rhe limit!
 I I I '.

- -

• CFeifonning means tliis:

.~- cro step out onto tlie great st:ages
- .~ of the worE£; before tliousancfS of. -
·· r- rapt and liopeju{peopfe, into
~ ~
rtJ pristine space, trainee[ and a6fe
- · ·l comraLes on either liand; a - .

~
·• symphony orckestra at yourfeet~- a
~ . carpet ofmusic spread under you
<·D-·: -.. ~ eacli niglit,. to jfasli ancf soar- yo~
: .
r-
J
tlie ordinary one ~ to. ric£e viofins· ar;d
.. :o trumpets...yoJi are out ofyourself- - ..

-_ .. ~ farger and more potent, mo~e

·• 6eautifu£ 'YOu are for minutes,
· • r. J{eroic. rrliis.is power. 'Iliis is gfory
-r-
-' • on earth. }lndit is yours niglit[y.
I.
.
~

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-
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..
.

• •
~ }lgnes {])e9rfi{[e

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 Ice-Breakers and Improvisation: (.
Getting your guard to open up to each other .•. and themselves

By Susie Harloff .
Breaking the ice
It is important to have a guard rhat works as a team and ·gets along. With seriior:s graduating and
new members joining, irs often difficult t:c work cleisely at first. That's when it helps to "break rhe
ice" ... get people talking, sharing e."tperiences, and learning names! Here are a few ideas to help
you get going. It is most beneficial to do these games at the very beginning of the season.

Greet to the Beat

Put on some eroovin' music ...something with a great dance beat. Instruct the members that thev
are to run/~ce :1round each other for 16 counts of the music. After thm 16 counts. they are ro
stop and introduce themselves co rhe closesr person to them for the ne..'\.'t 16 counts. Then ~t sraru
a1:1 over again·... run/d2.nce around for 16 more counts. then introduce themselves to a nevv
person. Vary the length, style, and speed of the ruriida.nte as well a:s what happens once they
stop. There may be a group that :llre:J.dy knows e::1c..."1 other. In this C:lSe. after they ru.n.:d:Lnce for
16 counts, they could SJ:OP and tell the ne:tresr person their f:~vorite color guard memory. or give
!heir mvn advice fat becoming :J gre:1t color guard performer. This game is easily adaptable for all
s:ruaoons.

N:::une: Your Movement

St.:J.nd ir: :! !a.r£e circle or form :1 block. (You m:ly W:J.nt :1 opt:tin or insuucror to facilit:J.te the
···-· ,:;ame.'J Eacn member most sily their name and incorpoore their name with some form of .
move:nem. h em be n.s simple or complex :J.S r:h:J.r member would like, but the fudiir:uor should
encouoge the movements to be CRE..~T!V ~ ..o\.5 each mem~r demonstrates their name-
movement. rhe other members must do the same. The facilit.Jtcir should srop at various times in
the ~:<ame rc. revie~v! Call our someone·s name and W:J.tch the group do that person's movement!
T ...: :. :?.:r._ · :u '1 w:Jy to !e:J.m everyone's name while allowing the members ro e:."tplore their
own cre:J.oviry.

Sculpture Bonding
Put members into small groups with v:1rying ages and e::..-perience levels. Give e:~.ch.group some
kind ofsiru:uion, setting, or object (:J volc:mo erupting, palm trees on a be:l.ch, a kindergarten
classroom. :1 v..-ashing machine, people running in a mar:Jthon. etc.) or have e:J.Ch group come up
with their own.•.6o.llow 5-10 minutes for each group to work independently to come up with a
'sculpture' that is made of the members' own bodies! It on be moving or stationaxy. but it should
reflect the given or cre:tted situ:J.tion. setting, or object. Of course the goal is for each t~ to
v...·ork coo:peradveiy as they C!e:ne their o"'n ~m:J.Sterpiece.~ Tney will enjoy the process of
cre::tting as well 3.5 seeing what other members of the gu::trd t:une up with!
 Improve with "IMPROV" ·
There is great demand placed on rhe shoulde.--s of today's col()r gua.rcLperformers. Nor only are
they supposed r:o spin dangerous pieces of equipmenr., dance gracefully across the field, and ·-.··
-· keep within rhe drill form. they are expected to perform with EXPRESSION.lt is nm enough. to
DO rhe work._ .the~- musr PERFOR.r'VI me work. For the average high school student, however,
they simply aren't comfortable enough v...ich rheir bodi~ to allow that kind of ex:p~ve freedom.
How can we improve the performance quality of our color guard? Try these e.."rerctses to help
ubreak our of ·rn.e shell". These c:m be done at _>\NY time during the ye:rr, as often as possible!. ·-rt
is important m esc:tbiish an atmosphere of SEJUOUSJ\ITIS when doing t:hese·e."Cercises. They
should NOT be raken as a joke ... unless a joke is _intended within someone's improvisation

TheWill .
This is a type of"across the floor". Starr on one side of the room or fidei Imagine rhere is a
huge brick ""<lll in the middle of r.he floor. Each member. one at a time, goes across the
floor, however they choose! Rur.., skip, walk. dance. crawL. ir's improv! When they get to !he
wall, they must decide bow to ge-:: to the oilier side. See how creative chey can get. Remind
them to EX..-1-GGERATE :Ul movement. If their peers can't tell ""Wilat they are doing, the
audiences sure won't.

Slow Motio.n Zone

This is :u-iorher rype of -across c..~e floor'". Sra.rt :all members on one side of the room or field.
Imagine there is.!l z.one in the middle of the floor_ Members begin moving across the floor
with either a made-uo move:nem or one given ro rhem. When rhev hit that zone. ;:b~:::.
movement mu& rum' into sio"t'.· motion! This stresses the import:mce of !Il:lint:J.ining balance
as well :l.S lengr.1ening through t:he limbs to m:t."ctmize the movement in time. -<;)..-ben they
de:ar ;:he z.one. the·y return to norm:1l speed.
I
/ .:
Couv-Dt Circle
Sit ~,;ervone in a circle so i:l->..:1r evervone on e:ISilv see t:he center. H:rve a volunteer st:::lrt: in
the cen~e~. Tnis individu:al sw.rrs .so~e kind of m~vement md continues the movP.m-ent 1 •nril
a."'lother volunteer from che circle st:~.nds up to join che first. -~ soon :J.S the new volu:1.~e:.:;
on do che fusr person's movement, this new person on make up their own.. It may sound
confusing bur it is b:lsiolly ~follow the le:~.der. Ag::Lin, it is important ro est:1blish a sense of
seriousness. Encourage rhe members to use movement thar they may use during
perform:mce. They might even utilize r.he sryle they will be using during the show. If their
choreognphy :S b:aller-orie!1red. encour:1ge bailer moves. If tileir choreography is modem in
narure, encour:J.ge rhat style. Restrictions can be made ro vary the e..."Cercise. Try to use only
me feer :lS the m:J.in focus of rhe movement. or just the hands.•¥Iavbe the movement can be
;f
a sort of he:J.d gesrure. Ag:tin, adjust the e.....:ercise ::o suir the need the progr:mt.

Mirror, Mirror
··Pur the· group imo-a blockwit:h :1 !e::tder su.nding in front, facingrhe group~ Music can be'··
pl::tyed or the exercise can be done in silence, for added concemr:uion. The le::tder begins
moving while the groop mirrors the Ioder. Encour.Lge the !e::tder ro use unique movemenrs
rhar. the reS! of che group c::t.n mirror. Use :1 different loder every time. This is a gre:1r w::Iy to
end :1 body session. Ir an l:l.St from 30 seconds ro several minutes. It emphasizes "';vJ.tching,"
wblending,- and "Liming" while providing a rel::t.-dng V.."::!.rm down.

Final. Note
.tuong with the irnprovis:aion t:.\:ercises. iris IMPER.A..1TVE ro utilize che performance factor .~TAll
1i..Iv1ES. Remind the performers t.'"lat they :J.re to perform :u all times ... nor just: during fun games
and exercises. noc just in uniform. bur :lll c..i)e cime. Tnc:: old saying goes; ''Pmctice makes perfec::".
( The new s::~ying goes. ··P:-:~crice m:~.kes PER.1vl-\.!'-I"E!':l!" Lf perform:mce is nor pr:!cticed... it will not
', · be utilized. p~riod! Best of luck r.his se->_son!
 BANDS OF AMERICA C:OLORGUARD WOR.KSHOP
The Fun of Perforn1ance
OR where is all the fun now?
by Lawrence J. Rebillot
t had not been a good week. But on the sraning line
I in from of thousands of people, Sally can't believe
the exciremenl All those months of praaice,
learning and relearning, now jtisr seconds away from
the dtum major's commands to begin. Everything passes.
before her eyes. She has had great rehearsals· this week
but did poorly on a chemisuy test·And the bus's flat tire
on the way to the event hasn't helped, but this moment
is worth it all. BANG. The show begins. No problems so
far but here comes Sally's most dreaded part of the
opener, THE TOSS. Think. right, hand position,
momentum and ... DROP. For that split second Sally
wonders, Why? She practiced and practiced that toss and
-boom, she drops iL So; where is all the fun now?
The Fun of Performance in modem marching band
auxiliary refleas everything leading to the show itself. As
perfonners, we try to 1:lSe emotions and imagination for
the amusement and delight of the audience. When
looking at the enjoyment of doing what we do, the
audience has a powerful impact on us, the players.
Through our performance, we try to involve the
audience in our producrion for their entertainment. But
any given audience will not agree on what is
entertajning. We desire and fear our audience but most
of us "psych-up• when we get ready to go on and switch
on the automatic pilot. But their reaction can make us do
our very best while unfavorable or even no response can
make us lose intensity and not do as well as we can.
And our fun has tumed.sour. So, why do we do
something if the end result isni: fun? In the long run, v.·e
want that certain feeling of satisfaction knowing we
really did something enjoyable for ourselves and those
waiching. Though we sweat, work. hard, pull muscles,
make mistakes, feel like the mosr uncoordinated guard
member ever, we should realize, enjoy and learn from
rhe fun ofir all.
Sure, performing isn't always fun, but what is? Aie
we crazy to get up at 5:00 on those crisp· fall mornings
for a 6:00 band praaice before school? Or those endless
after-school rehearsals? Okay, maybe we are a little
goofy, but sa are the football team, cheerleaders, drnma
dub and everyone else who works hard to achieve a
goal of success. Look at the joy when we give the
audience that chance to reallr enjoy the color and
movement and to appreciate ciur hard work and
dedication. I often hear guard members say, •well, our
shows aren't fun shows" or ·we don't use fun music. We
use stuff people don't want to listen to.'" But does that
mean they don't listen to the band or don't watch the
guard?
Fun doesn't always mean jumping up and down
with laughter. The sheer pleasure of performing can give
us a posili.ve energy. A professional dancer may enjoy
dancing more in a cl~ical ballet ~ch as "S':'·an I:lke"
than· in an upbeat modern or contemporary dance, aP.ci .
vice versa. Yet even in classical ballets, drama or musical
theater, there are lighter, more enjoyable moments; The
performers are enjoying their an, their craft, their chosen (
!Jd.th for just that one play or, for us, that one· se~n or
spedfic show.
And what is it that makes our "gig" mGrc Fu.:1 than
any other? We <::ombine so many factors to maJ.-~ band
and guard a very well-rounded activity. We take the a.ns
combining musk, dance and theater with physical sport,
add dedication and school spirit with teamwork and
learning and present it to an audience. Being artists, our
origins and existence are with music. The marching band
activity began in the 1800s as military bands and
colorguard as honor guards for the national colors. just
look at us now! Today we truly are artists painting our
canvas with color, dancers creating moods with our
bodies and charaaers with our movement. We've
brought theater's stage outside using irs elements of
story, scenes, costuming and joined the arts together to
make an outdoor music spectacle.
The physical demands of today-'s
colorguard/auxiliary can be as strenuous as any sport.
We start and always refer back to the basic fundamentals
of equipment and lxxiy. With exercises and repetition,
we condilion our I:xxiies and work on endurance like a
distance runner. We acquire the accuracy of a
professional quarterback and yet still perform with the
grace of an ice ska[er.
Our time is given, but our dedication grows with

BANDS OF AMERICA COLORGUARD WORKSHOP
every memory. We have our doubts ar those long
rebeam.ls on rold nights. We miss some things but we
are rewarded with achievements, awards and even
traveL We have all heard of band trips to Europe-not
bad for joining the band. We combine dedication with
school soirit-at times we are the motivation at games
and ralli~. We realize that success reflea.s on your
whole school. And that working harder cr~es success
and recognition. All of !his beii.ers your overall pride for
yorn group and from the eni.ire student txxly. And
maybe ... wow ... more fun!
We learn about a!J of these element.s and use
precision to create a testing area. You know all
.
auxiliafi.o...s worry about their moves being together. We
work 25 a team and coordinate ourselves with the other
sectiol15 of rhe band for the sake of . . . the audience,
our greatest cril.ic:s, reason behind our work and our
support 2S well.
Well, remember Sally? She recovered very
professionally from her mistake and made up for it by
·' concentrating more, jumping a lirrle higher and she v:as
flawless throughout the rest of the show. Performing is
fun no matter the circumstances or re.sult.s. But the ftm .
of ~rforrnance is only a.S fun as you want it to be. And
the next time vou doubt, think of Sally.
·'
-
Putting
Together the
Pieces of the
Puzzle
by Lcrwrence J. Rebillof
ave you ever tried to put togerher a big ~e?
H I mean a really big puzzle? Like lO,OOJ pieCeS?
Where do you srart? From the outside in? Or
from top to bonorn? That endless lxJx of pieces
that all look the same . .After awhile (when you're
wondering why you're doing this in the firs!: place), the
pieces start becoming recognizable. Diff:::re:~t :;;';.;j ;,.)\ .: ti.J.-.2
different colors all stan coming togerher and you begin
to see the picture on the front of the box. Wow, what a
concep:! Before you know it, all of the individual pieces
have come together to make that beautiful picture c1
YOUR B~'D! Now there's a fund-raising idea!
Somehow over the many years of t.eachin~
colorguard, one of the better skills 1 have developed h4.'l
been rhe ability to rum a bunch of kids intc :'. :nn-F.lled,
energetic team. But just like the puzzle, the question is,
how? How do you take some individuals and make
them into a group? Very truthfully ... does anyone
really know what it is that makes a band or guard dick?
More often than not, something within the unit sparks, ·
and before anyone real~ it, the individuals are
working together_lik~ a unil
Even though 1 doni. know what the exad
ingredients are that make a group "bond," I truly believe
it has to do >ltith the ~naliry and background of the
person in charge. lt's just having a positive attitude.
Within my experiences in color guard, T've tried to
evaluate the group and to make the best of every single
situation. Most of the time when people think something
is bad l alwavs find 2 v:ay ro make ii good Believing in
what ~ou can. do and making it happen to the bc..s! of
your ;bility, while still making everything fun and
organized.
1do have to say there is much more to being a
group than meets the eye ..A.s everyone knows, band,
j~ like any oilier organization, changes from year to
 BANDS OF AMERICA C::OLORGUARD WORKSHOP

year and so dCX!S the attitude of the fX!Orle. -A valuable
captain might have graduated, too many "new kids" have
}oincd or an instructor has quit or mover.! away arc all
I
'
contributing factors that cari cause some scp.1ratioo
within an ensemble. nut, just as those situations could
ruin a program, those same situations rnuid also he used
as a rum-around. Although last year's valuable captain
might have left, anOlhcr can fill the shoes; there ran
never ~ "too many" new kids, and a new instructor can
J always be found. Most of the time it really is just the way
' you look a! what is going on.
p:Jsitive ouUook and you must also know what you are
doing. Even the most educated person cannot take
charge of a unit or situation that they cannot control.
Patience and perseverance definitdy are keys to
successful~ managing an organization. Dealing with
human beings is very difficult, as we all know, but
treating aU of those individuals e<juany within a group
truly makes what you do worthwhile. just remember to
learn what you can 1 do what you em, and always have a
positive mitude. And always keep the pieces of the
puzzle together! .

l
'
Maybe the hardest part of crcating a group is the
beginning of any season. Everyone kno'lliS the story-all
the returning members "diquing" together in one comer
and the new members huddled in be opposite cornet
avoiding everyone in sight. 1be abilii'y to bring tho5e
diStant feelings together takes some time to develop. But
it is the instructor m leader's responsibility to break
I down those barriers and awkwardness. And just like
anything else in life, it takes time to bring out the ~...st in

I everyone. ln color guard, the skills do not come

naturally for everyone, but praaiCe and determination do
control the resulting performance. And of cour5e, you
I always feel better about your5elf and the group when
you go out and give llQOAl, Your effort is a reward ro the
entire group. Sure an individual may have a poor
perforrilance, but you can unite your feelings as a group .
to bring everyone together.
The personality of the leader can bring out those
I special qualities that make life and practice interesting·.
Our individual personalities make the group funaion.
Many things happen day to day that cause· us all to react
and adjust our live.S accordingly. Although you can't be
best friends with everyone, the v.•ay ytiu respect others
and what they do reflea your pride in the band. The
way you ad cir react to any given situation also ·
influenc:fs the entire ensemble. And if e¥eryone
remembers to always have a poSitive attitude, the unit
will stay together and work together much better and
probably fot' a longer amount of time-and will likely be
more successful in the long run.
Education and training definiLely contribute to the
quality of the leadership. UnderStanding aspects of
teaching color guard will definitely help. But you need
to be able to handle crowd control. When standing in
front of a band or guard, you have to demonstrate that
 DE\lELOPJN"G A PERFORMA...N"CE QUlu..ITY
When any one of us watches a group of marching bands or color guards, what
is it that makes us remember just a few of them as "really special?"' What qualities
do those groups possess that adhere ili.em to our memories? What iliings do we
look for when we're watching other groups (or even our own group) perform?
Whe.p. you iliink about it, the answe~ are pretty straight-forward... "What do they
do?" and "How well do they do it?" These are two of the most: prominent factors
influencing how successful a performing group will be. The really important thing
to realize, though, is that those same questions need to be directed at each
individua:l in the group ...not only by the instructors, but by each performer as
welL You need to be ask.ing yourself "What am I doing? Anp now well am I
doing ir:?"
When you go to rehearsal throughout a performing season, you might feel that
your goal is to do all your work, ~oing and dancing· on the correct counts and in
synch with everybody else. Certainly that is a valid goal, but once you as a
spinner/ dancer/ actor understands the skills that you are being asked to achieve,
you need to focus on becoming a performer!
How does one become a performer and not just a spinner? Is perfo:mta£ ~~.r
getting your head up and freezing a big, toothy smile on your face? Is it something
that you just need to do when you're performing at a show? Cenainly not! Having
the ability to perform well and enjoy your performances comes from hard work at
rehearsals all season long...
First and foremost, you must know your show! If you are not confider.x With
all of the choreography that you are asked to do, you will never be able to enjoy
your performances or have someone else really enjoy watching you! If you have
trouble with a part, get help from another marching member or fr-om your
u;..~:rucror. If you're afraid of any section of your show, do it a thousand times
until you understand it and it doesn't scare you anymore. Far too ofre~, I notice
performers practicing something that they are already good at... because it makes
them feel good and confident in themselves. How does that make them better? I
understand that it is far less fun to practice something that you aren't good at, but
that's how you improve your skills tO become a better performer! The bottom line
is, 1:0 be a great performer, you must first master your show.
Once you are confident with your choreography, you can really begin to
develop your performance quality. The tbing that makes a great performer great is
her ability to give a linle bit of herself to the audience for which she is performing.
When those people leave me show, they will remember you if you have given
something of yourself tO them. Certainly you need to do your work on the correct
counts and so on, but it is equally if not more important w put your own spirit
and personality into the choreography. That is what gives it life and makes it
interesting and memorable to watch. This doesn:t just include "looking up 1:0 the
press box" or having that toothy grin that I mentioned arlier... you have to believe
in what you are doing and be comm.ined to it! If you are:n.,t loving and caring deeply
abour what you. a.re doing, why should the person watching you? Don't be afraid to
find an individual in the audience.. .let them know that YOU LOVE WHAT
YOU~RE DOWG. If you believe ip. and sell your show, you could be marching at
right shoulder or doing 32 counts of drop spins and the people ~ra.t~ you will
appreciat:e and accept you and wha:cyou're doing as being great. But only happens
if you give ypur show t:he life that it needs ...
So you can just go to a show for the first: time and all this will automatically
happen for you, right? I' rn. sure you know by now that is the furthest thing from
t:he t:ruth. In order to be able to reach people in the audience and do a great job
with your choreography at the same time. It has to be what you ;u-e used to doing.
In other words, \"OU :MUST PRACTICE HOW YOU W MTT TO
PERFORM!!!
Now, is this easier said than done? You bet:I W,hen it's cold and rainy in the
middle of October, you have a headache and 2 hours of homework after practice,
the last thing you may want to do is give 100% perform.anc;:e qualit:y in practice.
However, if you begin performing from t:he very first pract:ice that you attend.,
performing in practice won't even he an issue anymore, it'll be second nature.
Perform to your instructor up in the bleachers, ~rform to an imaginary audience
in your head, perform to the giant speaker on the top of one of the light post" hu.:
jil.St perform! Not only will this make you a better performer, b~t it: ~ also J:..l.aK.c
rehearsals more interesting.and fun! If you think that it's a little tough to develop
this habit, your right. But once you do, it will stick with you for your whole color
guard career ~ ..and believe me, it is an invaluable skill to possess.
I hope t:his is. helpful to you. Just r~member that no matter how long yon' :·t..
been practicing, how hot .it is, how tb.i.my.you are, or how .m,any rimes you've
done something; there is always room. to make it a little bit better...and neve,.. fc '·
get "to love what your doing and the p~ple that your doing it wit:h.!

Derek Smith

lOO
 The Importance of Performing
Lef s all thinl back to the beginning of color guard, when stem, cold faces were forced
upon the audience. It was acceptable to look mean, even when a beautiful ballad was
being played. It was important to have·your chin way up to the sh.)' even when a somber
dirge was filling the air.

My, how things have changed. A color guard member is no longer a static-faced, rigid
performer_ A color guard member is nov: an expressive force that interprets many
different musical sryles. A color guard member is now responsible for spinning, dancing,
marching, and PERFORMING! .

So how do we learn how to use our faces to imerpret the music?

v..:e PR..ACTICE, that" show!

Here are some exercises that you can do with your color guard that will make thf':' t1- :--·k
about their faces and how IMPORTANT their faces truly are.

Facial Vl:arm-lips
V·/e spenq time slrelching our muscles before we practice. Ir's time w slretch our
FACIAL muscles as welL These stretches will help performers become aware Gf .h·.
Yariery of movements a face can do. ·

Have a leader (an instructor or captain) stand in front of the group. The lcad:::r
should begin with the mouth. He/she can stretch it by making different vowel sounci .
shapes ("-Qb.hh''- '~Eee", "Aaay", "lye"", ''Ooooo"). Then, the leader can focus on the
eyebrows. Performers should be able to lift them up and dov..rn. T~, doing one aT. a t~me!
Next, the leader can demonstrate a cheek massage_ Many times, performers are
encouraged tO smile ... A LOT! The cheek massage feels great on tired, smiled-out faces.
Finally. the leader can display different facial expressions for the group to imitate (happy,
sad, excitement, somber_ fear, anger.. worry_ desire).

Facial Run-Throughs
Before a facial run-through is possible. the group needs to sit dovvn with the music to
which they will be performing. Discussion must take place on the emotions that are
being felt in the music. Whar are the pe1:formers tr)1i11g lO communicaze zo rhe audience
ar each panicular momenz in the music? js rhr emozion rhe same rhroughour rhr show or
arc rhere several differeni emorions_ielr? ~17wr kind offaces can be made lO
conznnmicau: thar emorion? \\'hen these questions have been ans'\.vered and understood
by all members, then facial run-throughs can be performed.

Have the mern bers be!:!in b\' sininc in a circle. Pla \' the show music and have the
members display the face t~e; wo~ld use -during that pan ~fthe music_ Emphasize the

\0 I
importance of CONSiSTENCY! It doesn't count if you just make a face for eight counts
and then forget the rest of the time. It IS difficult to emote for long periods of time,
u'N"LESS YOU PR.C.,.CTICE IT!! Having the members in a.cir:ole allows them to look at
each other and borrow facial ideas. Once they become comfortable with the facial run-
through, have them all sit facing front and practice emotip.g their facial expressions to an
imaginary audience.

Clean the\~: ork, Clean the Performance

It is extremely important to PR.C.,.CTICE PERFORMt~,.NCE. Faces should not be "saved
for the shov..···. Each and every time a performer goes through his or her routine, they
should be performing it!

\l.'hen cleaning a phrase of work., always make sure the members are aware of the
face they should be using. Maybe there is a moment, or a count, that an extra bit of
performance can be used. Find places in the work where a wink, a smile, a grunt, a snarl,
a head-fling. etc. can be put in. Make the performance face part of the cleaning process.

It is important to note that performance MUST be emphasized by the instructional staff or

captains. Ifmembers are not required to perfofiTI·at all times, they will nm devel0: '
habit of doing so on their ovm. Consistency is essential!

Find an E1:arnple
When members are doing agood job of performing, it's important to let them know. It's
also important for other members to see their example. Let the individual(s) whoare
doing a good job with facial expressions perform for the others (if they're willing!).

Another way to show good examples of performing is to find videos of drum corps or
winter guards that do a nice job using facial expressions.

Final Note:
Facial expressions are aPART of the overall performer. Utilization of the body is also
irnponant. At the 2002 Summer Symposium, that part of performing will·be addressed.

Susie Harloff
Clinician
BOA Summer Symposium
2001

102_
 herv aoov can Perform!
It's J\10RE Than Using Your Face
If I had a dime for every time I heard a guard instructor yell, ""SMILE!!!" ....

We have all discovered the importance of performing in the color guard activity. Just observe a
winter guard show ... You' 11 see everything from goofy, smiling faces, to vicious, angry .scowls.
But what many are missiug in the whole "performance" package is the expressive quality in the
rest of the body belov,rthe neck. Don't get me v..Tong ... rve yelled, ""Smile!" on many, many
occasions. A smiling face is a great start to venturing into the world of performers. But a
TRUE performance runs much deeper than a plastered grin.

CHOREOGR..A.PHY IS THE STARTING LINE

On your mark, get set, CHOREOGR.A..PH! \\'hat a writer gives to the performers is truly the
best way to start. ·when writing work, a choreographer must NOT separate body and
equipment. Writing an eguipmem phrase and "adding the body. later" is not only diffic.uh to do:
it is unfair to the performers. Equipment work should instead be considered as an extcJ~sion -.:I·
the body ... as if you could take the equipment out ofthe performers' hands and W<itch "!:hf'"m
dance through their routine. V/hen the body is a vital part, and a direct inf1 uenc.! L -· •. : .. -
equipment, it makes for a much more comfortable phrase to EXPRESS, not just DO!

FREE or BOUND?

To begin v.Titing anclJor performing with the body, you must first dec,!de what the style of
movement is going to be. Tnere are two basic qualities utilized in color guard today ... free or
bound.

Bound movement is characterized by defined body shapes that hold firm. Classical ballet
might be in this category as well as movement that might express anger or intensity. In bound
movement, a performer.must engage their muscles for a strong, tight, or 'placed' look.

Free movement is characterized by use of breath to express fluidity. Releases are a popular
way of expressing free movement. Muscles are more relaxed and shapes f1ow from one to
another without much defini1ion.

It is imponam for performers to understand what expressive qualit)· they are using. Once
you've determined the quality of movement you· d like them to use, it is also important to
discuss and practice that qualiryl

lO~
 CLEAN THE WORK. CLEAN THE BODY

I am not saying that in color guard, everyone ·s expressive qualities should be exactly the same
throughout the guard. Pan ofthe fun of watching quality performers is to watch indh·idual ·
personalities jump off the field or floor. However, there is an advantage to ·cleaning the
performance'.

As checkpoints are given for equipment work, there should be discussion about things the body
can be doing to further express emotion. For example, if the rifles are catching their quad on
count 8, is there something they can physically do to emote the feeling behind the catch? If it's
an·angry part, can they grunt and hunch their upper body over the catch? lfit's a jovial part,
can they flip their head back, jump, or open their body tov-lards the audience?· Another example
might involve cleaning a flag checkpoint. Lefs say the flag is up on count 5. To help express
joy, the performer can lift their upper body towards the flag to enhance that count. Or, they
might look at the grollild in opposition of the flag to represent sadness. The possibilities are
endless!

FrND AN EXAMPLE

Just as you can find a member performing V::ith their face, you can also search out members
who are utilizing their bodies as well. Let these performers know they are doing a gooL~ i.,iJ
and let them perform for their peers (if they are willing). Sometimes the best V:·ay to teach
performance is to let the students see a living example. You must alsci <?ricourage t:.'..'"::
performers to continue expressing throughout all rehearsals, not just special occasions. lf
younger members are consistently exposed to great performers, both physically and facially,
they will have no choice but to jump on the bandwagon, so to speak!

Best of luck to you with your upcoming seasons. llook forward to feeling your performances,
not jUst seeing them! ·

Susie Harloff
Clinician
BOA Summer Symposium
2002 .
 2006 BOA Summer Svmposium Color Guard

Instant improvement: Be th.er.e now

by Jay toga~, BOA _SSY ·cG Faculty 20~6.

\.: '·. Thinkabout·oneofthe.greatest p'erformances:you have seen. What

· made it one of-the greatest?

Most people say it is the talent, the difficulty of the work,· or. the
experience the ensemble brings to the performance. But,. think
·· · deeper•••and simpler. One of the most crucial parts ·of a gr~afperformance
is the ability and commitment oUhe peiformers to just· simply. . .· .:
~ commit~~~commit'td:giving·a _full-o~ perlOrrriance; not almost,; hot.pretty
close, not good enough. An ua!.most''-'perfor:mancei"is ft)oling'n<fone~ .~You
...
1·:
know it the audience feels it and the judges see it. But. a great full-out
performance inspires everyone;' Eveiyone·feels.~a great performance:· For
those moments, the performer isn't.just dancing-·the perfQrmer is the dance.

Many people·inthe color guard activity view The. Pric:::l~ :of Cincinnati's
. ; . 2001 ~how UChannel One Suite~ as one the most memorable shows in the
actMty. The reason that so many.. people feel this way has so much to do
with the performance. qf the ensemble. .The en~!re color guard t11.at season
. ·. made a commitment to always do-everything full out~ making_ evf!ry ·
performan.ce
. . ~orgettabJe. You can
.truly '
.have that
.
same
.
greatness
..
by
doing one thing today: commit.to go .full out in your performance. Not
almost. not pretty close, not good enough..•full out••• and love it
. .. . . . .. •. . . . . . . .·. ·. . -.

Have you ey:er.felt strange.or even very awkward when ·an instructor
I • • '

asks you to do a c::er::tain movement or portray a feeling or become a

character? ·UHe wants me to do what with my body?" Is it fear that you'll

lOS
 2006BOA Summer Symposium Color Guard . . .. . .. . .

look strange or silly.~hat i~ holding you back? Performers end up look(ng

-: :.~·,.: .:···~.:...~:~~_,. :··:_:., \;·. ···:·:~·~.-::· :.' .. :::; :,~-::·. _···, ~. ;.; ; .... :~:.-·-····.~ .·~··.· :.· ... ,;Y'>.-'\·,,; ··. ::.::·;~"-~ ~--~· ·-::::..:,_'·:·::-:· ')~::• >!'·/.~ .
· . · . .-···awkWard because· they don't: go'fuU·out:· ·When· you ·petforrtr a movement,
or expre~$ a feeling,, pr ~~co~~ ~ chC\Ir~cter, leap if"ltO it and don't hold back.
Th~k·irtist '16tif.'lil~t;u~tol tci ~ite2t'jc;~··tr6riHhC!~~~ ·~~~--.,~~ctors will
respect your full-out effort.

···; .,·:.," · · . ·:··:. ··There::ar~·a Jot .of' qualities. that;,take a· .great ~deal: of ·effort and time to
leam... hours of practice to leam a new technique-and. days to ·learn.drill.
But, committing to go full out in all that you do will instantly take you to the
.··:· ·,. . :·.::··. •,

·.:: · ~· .', ,,,. Scenario:\An.in$fr.Uctor shows,you·a~moveth~t.youtbink:wilf,·make

you look s~lly.ifyo;,Jcti:y~. ·.What- sholild.your..fir5t ·reaction b~7:~ T:ry·it! All the
·<~;,wayidf.yoa:r.ecawes9.me~;hem;telllYou,;:;Jf;yo~;rie~dmprov.ement;;be}ll tell

i-:.· .· Today•.we~:.wil~ expl~;,.:e,.attitudes::to::develop•.thi~;simpl~.:skill"' :,.' .; ,, ,.: ,;-·-·.......

. ..,. >.. ' · ·" · .•. · What'is t:Joldlng:you.back:?.~.Nothing~.-:. '·,i: ·· '': __ ,::·:· ·'·::::·· ;: ·...... ·... :.:.

• Going full out is the building block that makes or destroys a color
· ::, . :;: . :·:.. ::;· :. ·. ··guarck· .-·:-·~· ;·_.·,... , ·, . ; ~- .·.· : · · ...;. . . . : ····.: .-. ·..-;· · . ·.>·~-·· ~ '<··· . :.·.•~
'· ; ·,. · ·. ·•' .· :· ttS··C:allea:"vocabuJary• .because :irs ·a Jariguage~••u~e ·it·tcH:onVInce
. . ~.
~ . ..... ·· . people~· ... · ::: · ., · '
.. ··· · ,.;. . .:)·... :. .: .:.·... ..... · .....
.

· · ,. .. ·:.. ·. ·~ . ' Yoi.i" contral·tfi~·a·udi~nce;~:i:ind 'they ·wanfmore:·-> ·:. :· '< ··: ·: ,··
·: ·~· :·. 1\!~ 'moti,Jatlor.?' ;mink 'm·y6o~:tavJrite; p~rl'titirlante. ·wooid it
·. .; · ·'· ,. . .··. •hilve 6~h 1ft1~ same it' the ·p'eribrhi~r V\i-~$ ·".aln'ioft' ~eref·· '\ :· . ·~
~ 'f,l·,~~' ···.·~ . .~··, .. - ~ , ; ......."'··~·. .

guaid,
... .... .":··; ...: .... , ' . . ·' •• - •. .•

so many times while teaching a C:C»ior i feei'as if 1am leading them

on a journey: a journey to explore the freedom of expression. Sit with
v. , _·j>;, .'. ,: rn,~ ·C?f!·:~JC?.~.~Q.ey,~«? +Jfl~~f:~~aoq~ ,~~~~ y~~r::t~~~ ..~..s.n~~ c.~.t and be there
· now, today. . ' . . .. · . .
.
.,..,, ···,;. -:' .~..• '·.·. · ... ;- _,.,_,. '·' ·'·. :-\·i·. ~;.. ';· :·\· ,·. •,J~. ·' : ··; ;;~;· •• ~--~:···

~' •• • '•' •. r ., ' .:

'.•
...... .. ··.:
,•

";
.... .; ·· ... , ' :. ·.·: . .
. . ;'' .. ·, ~ .'

/O(p
 2006 BOA Summer Svmposium Color Guard

UN-JNVISIBLE ... so you thin I< you can hide?

By Jonathan Smith, BOA SSY CG Faculty 2006

I know how it can be. I remember being at a winter guard show as a
competitor and feeling tired because I didn't get much sleep the night
before. The rest of the rifles and I were getting in trouble and having fun.
On top of that, when I would be at practice, I never really imagined that I
was rehearsing to be in front of an audience, so I never took practicing my
performance seriously. Therefore, I would go to perform at a show and look
like I was only giving half of an effort. My problem was that I felt like I
wasn't always being seen. I pretended that if I didn't see a particular person
or persons looking at me, I wouldn't think that it mattered what I did
because no one would know anyway. I had to learn a lesson for myself, and
now I can share i~ with you. I know it may seem hard to believe, but YOU
CAN BE SEEN! Just because you don't see one person looking at you,
doesn't mean that there aren't plenty of other people who can see you.
People tend to believe that they can hide from other people in plain sight. A l:z,

'· person at a party may think something like, Hit I stand over here in the
corner, no one will notice me... "

I made an amazing discovery. I have found that it is impossible to

disappear! Again; I know you may be thinking "duh", but even grown adults
play this little game with themselves! I will let you in on a big secret: adults
sometimes feel embarrassed and self-conscious and depressed, too. I teach
at a community college, and every month I see people who think that they
can sit in the back of the room and not be noticed by me. It's not just the
youngsters right out of high school, either. People of all ages think they are
invisible, too. Well, it doesn't work that way in my class. I get to know
everyone - their names, a little bit about them, and I usually accomplish this
with everyone that attends.

What I have found is that those people that try to be hidden usually
garner the most attention from me. This is sometimes the case when I judge,
too. I judged a lot this winter, and I was overwhelmed by just how many
kids THOUGHTthey were working hard at looking good but actually
weren't. You could see this in their lack of energy and movement technique
(i.e. pointing their toes, really stretching with extensions). I just want to
remind everyone that you always have ~o be aware of your own
performance -you always have to thjnk about your bodies and the EFFORT
it takes to maintain a great performance with them all the wavthrough
your show. You can never let down. Som.eone in a flag line might think,.
"Cool, the rifles now have the focus in the show. Since I'm just going behind

lOl
 2006 BOA Summer Symposium Color Guard

a prop, I can give in to wanting to look 'cool' and look tired, like I've just
worked really hard..."

... Or something like that...

It doesn't have to be that deep, or calculated, either. Sometimes we

just forget! What might be commonly thought of as easy equipment Work,
becomes much more difficult when you think of what it takes to perform it
perfectly all the way from beginning to end. Our minds just become tired
and it becomes easy to be distracted. Sometimes at practice, we are
distracted by not feeling well, having a lot of drama going on at home,
being mad at someone else in the guard, lots of homework, etc. In a
performance, however, we are much more aware of ourselves in the
moment. Our nervousness, the audience; odd things like lighting, weird.;.
sounding music, being tired, and so ori can distract us as well. As you all
know (I hope!), they way you practice is the way you perform. I don't care
how "talented" a person is. If that person does not rehearse EXACTLY the
way hejshe wants to perform, it simply will not happen in front of an
audience~ You have to put those distractions away during practice in order
to give your best effort for the entir.e time•. The· same thing applies to· ·
. .p:e~:for.man.c.e:.You:can::ackn:ow.l:edge:the.things:.that:distractyou, but then
.rrght·afterw.ard,.P.UT THEM .AWAY! Co.ncentrate~·on ·what y.ou ·are: doing arid
how your ·body,feels,:and y:ou will :be· in a.~p.osition to::apply.your movement
techniques:thr.oughout your ·show.

It can be difficult for audiences andjudges to watch color guards

perform when some of their members look like they have given ·up on
looking good. Among other things, I feel bad for them. Not just for the
people who are giving up, but more for the ones in the same groups who ·
aren't. It just doesn't seem fair to those people who are really trying to look
good. Whether you are front and ·center and performing all of the feature
parts, or whether you are only in a few parts -you might dance a little and
do a couple of flag parts - vou are in the group and it is impossible to not
look at you. You are a performer! PERFORM! As a judge, we simply cannot
·ignore you, so you have to perform as if you are every bit as good as
everyone else in the entire guard. To do that, you should be thinking about
how you look during every minute of practice·. That way, when you go to a
show, you will automatically be thinking about how you look. It won't be
different, as long as you did that faithful/yin practice. I was really amazed
this past winter when I really discovered just how easy it is as a judge to tell
the difference. It is obvious who rehearses with the audience in mind all the
time and who doesn't Judges are fans, too! We judge guard because we
rove it and we really do want to see everyone else love it; too. Work hard,
stand in the front row in dance class, know your choreography, and make
yourself un-invisible!

\05
 . .
Coiol-guaptt • Bands of AmePica 8ulumer B2nd ~
Our Own Private Hollywood
Alook at colorguard from a pertomen perspective
by Michael Gaines
hat is it eiactly that anraru us to the color guard
W activity? Why do we spend coWltless hours per-
feeing a program trun is only seven to ten min-
utes longl Why do we sweat, get frustr:~.ted., risk
injury, get sunburned, and get rained upon? I.s a piece of
aluminum "-<ith material on the end worth giving up time we
coUld have spent at the mall wirh our friends? J.5 a pfece of
wood we thro"-' in the air worth missing that party that
"everyone" else was going to? Is that piece of metal that
looks like a sword worth. missing a dare with that someone
spedal, just because you have to compete? The answer for
many of us is YES! The que$on is WHY?
I do tiot believe the answer to that question lies in the
equipment. It is certainly fasciruuing to spin those things, or.
to dance, but 1 believe the real fascination lies in ilie activity
it.Self.
What we have in the color guard acth1ty is our own pri-
vate Hollywood. Fim of all, we are all performerS. We ·
must audition for the pans-just as if auditioning for a role in
the movies. Some will have smaller roles if we are nor as
experienced. Some will have leading roles si.Jch as soloiSts
or captains. There are a variety of parts to choose from.
Some ch:iraaers are rifles, some flags, some dancers, ~d
some ·are sabres. No matter what pan we receive, there iS
tremendous preparation and training.
Once we know our roles we begin the rehearsa4;. Tne
coundess hours of sweat tha~ we pm in for those few magic
moments under the lights. Many of us will have a director ·
lead.irig U:S through our .partS, through our emotions, and
through our equipment work. We work up to the very last
morilci!t, perfecting the smallest detail, for this performance
will be Jive.....:not on fllm.. Ours will be a perlormance likea
Bro'a~y play..::..;in frOnt of a liVe audience! ,
When the announcer tells us to begin, it is as if that
imaginary curtain is opening and the play or movie begins.
It seems the entire world is watching us-our every move,
OUr e'li'ery step. Butwe love it because we.knovtwe are
ready. They are watching us because they love what we do.
Some wish they could do what we do; Others are like
retired aaors and acrresses thai don't work as Ilnlch any
more.
When we hii that last pose, or throw that last toss, or do
that l2.st dance combination., we kncrw in our hearts -whether
we did our best. Our judges are similar to movie or play
critics. They may like it, or they may nm like it. The impor-
tant thing to remember is whether we did our best If an
aaor does what he feels to be. a superior performance on
opening nighi and reads in the paper the next day thai the
critic did not like it, he is sure to be 2 Utile disappointed.
But if he did his best. he should know in his heart that he
accomplished something. Did the audience like it? Did his
peers enjoy the performance? Those are the things we all
have to latch on to-not the decision of our critics/judges.
Have you ever experienced someone coming up to you
and sayi.Dg, "Hey! Didn't you perfonn ~th
_ _ _ _ _ _ _ _ _ _ _ color guard? You were
great!" For that moment in time, you felt what it is to be a
celebrity. You know in some small way what it is like to be
famous. Some of you may even have been asked to sign an
autograph (although this is usually in the more experienced
color gU..ards).
Have you ever watched a unit perforrri and seen that cer-
tajn person thai caught you:r eye because they were so
good, and then seen them somewhere else later c.t.ar -lav?
Somehow you feel a ~ond ~th that person. The)' per-
formed to you-they gave something of themselves in that
performance. Now there is a cc:nain mystery ot intrigue
because you do not really know them, bur you feel like you
should. It is the same way with movie stars. Hov1 '112ny
times have you wished you knew smheorie you saw in a
movie? Or maybe you've seen so many movies and inter-
viev.•s with a certain celebrity that you feel ·like you ;;hould
k:D.ow them.. The· coltir guard activity is like HollyWood also
because "'rhe.t,her on the smallest level or on a national level,
certain people become celebrities. If you see someone walk ·
into the room wi:th a jacket of your favorire band or guard,
don't you wa.teh them for a moment or poini them out to
you,r friend like somebody famous walked in? They are a
celebrity for a momeot.
Jusr. as actors and actresses have the Oscars we have ow
own :rWards Cd.ebration almost every conteSt Some might
hp:ve full retreats, some miy·have just· a Small awards cere-
mony. Whether we are tallcing Ae1demy awards, or retreat
at a small band show, !he emotion is reaL People come
av:ay feeling they ire the very best: In their area, others
come away disappointed. the reauty of our activity is that
everyone haS been nominated "for an av.'"2rd. Whether or oct
we win is irrelevant. We do our best and if we win, that is
great. u·not, we know that we pur our beans and souls inro
our performance. ·
Spinning oill equipmein and dancing iS a lor of fun. But
the activity is :SO much more. We are performers, we are
dancers, we are aaorslaaresses·, we are critics, we are d.irec-
tprs, and we are C:hara.aers. No tnaner how you look at the
activity, we love it. We love whar we are doing, and we
love our own private Hollywood.
Confidence Conquers ...
We've all been ttrer-e before.
by Kevin Mathis

ongrawlations! You've macie the final Olt and are now encounter a colorguard person who is willi.og to settle for

C 2 member of your school's color guard. This is 2 big

srep in your h.igh school weer and you prolnbly
have no idea what happe..'1S nexL Colorguard. still repre-
being #98, 12 steps in back of the rear hash and 2 steps
outside the 25 yard line. Everyone usually wants be in to
the fro!).! where the :action is. We are perfoiiD.2Ilce addictS
sents unci:J2..11ed territory and because of this it carries a lm and because of rhis, or in spire of ir, we usually exerr too
of excess baggage. much pressure on ourselves to excel right zway.
"Will I f![ in?" How can we begjn. ro fed that we are comributing in a
"Will they like me?' positive way? Unforrui12!ely, there are no "how-to._ • books
"Am I good en.ougb?" or videos ro refer to, anci it's unlikely, t:har many high school
"Whar is this guard rhi!lg anyway?" stucienr.s would acimir they feel the same
These are all timeless questions It takes a lot-of cotwage to way you do. After 21!, we are 'Winners
which all fJist year students ask roo or at least that is what we want others
harshly of rhemselves. If you haven't to say about us. Wher1 vou begin ro
yet, you will. It is within our narure as get involved. It's easy to be expeiience those mol!,~LJ.S or dnl.!bl,
members of the colorguaxd species to re:ac.i! out to your instruaor. You were
over examine ourselves. If you .have chosen for a reason and it may just be
experienced moments of self doubt, safe ami stt on t1:te side- · time for a reminder. When you've spent
relax. You are 1l0! alone. a full d:ry on the field basking in the
As an i!'.strucror, it's very disturbing sun, it's understandable i; (;J!:JrguarC.
ro .leam tW.t 2. srudenr fea.r5 failure so lines. Give yourself a begins ro lose so!Iie of irs innocence.
strongly. My high school tr2ck coach Those thoughtful raotr..ents of ful" and
told me that by joining the tr2ck team, I challenge may tal;:e a back st:a: to
-was already better that half the srud.en! chance anti remember... lhoughis of z water br:.~ 1 : a.1cl bel"'er
body who did little else oth--J than the ways of geaing a tan. Colorguard is for-
minimum of reaming rhe balls of the ever evoi:ving, henceforth, you can
schooL I'n:;. not sure if I agree with him expec:! to be c:hallenged at every
entirely, bur what 1 hope he meant W2S rehearsaL
that it t2kes 2 lot of courc.ge to get Very few students are fortu-
involved. You know, "it's easy to be nare enough to begin high school wi!h
safe and sit on rhe side.lines." experience in colorguard. Most insmlc-
In my twelve years of teaching, I have yet to encounrer rors are still j:udging potential as well as talenr. at their
a smcienr who didn't feel some of the fear:s or apprehen- spring auditions. Just by being seleaed in the final cur,
sions me.o.r.ioned above. It affects each of us differently and lile2.!lS that someone wirb exp"....rience and koowiedge
at different sr2ges of our colorguard career. Even e:xp~­ r:hi.nk5 enough of you to give you a chance. Naw you -need
enced colo~ officers engage in moments of self doubt. to give~a chance...
Wondering wb.e:her or not they will consistently respond to Moments of self doubt ocrur so regularly ar the school!
the cballenges of leadership. B--...ing 2 high school sruden.t is teach in Incliaoa that vre now have a saying of "confid!:nce
stressful enough, colorguard should be enjoyable and chal- conque..rs. • Moments before they enrer r..l,.e gym or fidd for
lenging 2.i: the sani.e lime. Pe_~ps that's one of t.'J.e reasons a competition, you can hear someone tell the rookie,
why so ID.2.IlY coiorguard il::!structors are willing to relive the "W ~ve 2ll be<-...n there before.. •
experience years after high school or ci.rum corps. CONFIDENCE CONQUERS!
.ArJ. old friend of mine told me, "Coiorguat'd is just a
legal form of child abuse.• He was obviously joking, but we
all .know colorguard can be emotionally c:h2J.l.o...nging to the
novice and experienced guard person 2.5 welL rve yet to

t (0
 2006 BOA Summer Symposium Color Guard

How Do You Write for Your Guard?

Some simple tips ...

By Derek Smith, BOA SSY CG Faculty2006

Many of you are charged with writing the routine for your ·
high school color guard... this is a big responsibility!!! No doubt,
you are excited and up to the challenge. The following few tips
will hopefully help to guide you in your writing experiences...

1J Usten To the Music!

Have you ever watched a marching band show and thought t'!;:. ;.' ....
yourself, 'What are they doing?" Not that the group was bad, but,.
~·.
what they were doing didn't seem to make sense with what the 0,, . ':
··~.-

band was playing., When you are writing, you need to remember·;,~ :~· .· ... ·.
~·
that the music should be your inspiration and your guide! .The. b~~t
color guard work is that which is the most musical. ·Listen carefully ··; ·
to the melody of each tune. If there is a 4 count long extended
note, maybe you do a big, slow movement, rather than twirling
· your flag up and down ten times...in many cases, less is more!

2} Don't Over Do It!

Here's the "less is more" idea again. Don't think that your guard
has to do every cool thing that you've ever seen done or tried.on
your equipment. Be aware of the skill level that your team
possesses, and write your choreography accordingly. It should not·
be the most difficult thing you can come up with, unless everyone
in your guard can achieve it. Something that is a little bit "easier"
when performed very well is MUCH MORE EFFECTIVE than
something that is very difficult but performed poorly!·. You . . ...
definitely want to challenge your group, so they can improve their
skills. But be smart and select a few moments that might be a little·
more difficult than the majority of the show. Focus on being clean·
and allowing your group to r~lax and perform their show!

\ II
 2006 BOA Summer Symposium Color Guard

3) Be Aware of the Whole

It is important to understand how your color guard fits into the

whole picture of the marching band as a whole. The most
successful and entertaining' shows are those which:combine all the
elements of the group together. Not every count of your show is
there to feature the color guard.. Remember that we are there to
enhance the band's music and formations... Certainly, there are
times when you will be featured, but be aware of when those
are.•• they should be your most interesting and musical moments!
Don't be afraid to ask your band director what your focus should
be at any point in your show. Be aware of the band's music and .
drill and how they relate to you. Be aware of your own staging~· If
the guar~ is running at a 4 to 5 step size, don't plan your coolest
toss at this· moment•. .it won'tend up looking cool at alii Knowing
these things can makeyour ~riting process a lot easier. ' · ·

4} Other tips..•

+++When I Write work, I have the score of the ~usic'with ~~, sb I

cah see what 'is being· played, 'as wefl'as hearing it' 'trotn th~ ta'pe·: or
CO. This also· helps to count the music by being able to' look ~t'fiine
signatures, measure numbers, etc. Ask your band director to _mak~
notes on the score telling you where big impacts or·moments are.
and where the_ color guard might be featured •.

+++ Video tape yourself when writing. This may seem iike a p~in,
but how often do we come up with something cool that worked
really well with the music or felt really good, then. we forgot it?
The video can be your saving grace. · ·· ·

+++ Take time off. Don't try to write the whole show iri one day.
The process should be fun~ If you ever start getting fru~trated, take
a break and come back later. You wilf'not come up with yout best
if your' not e~joying yourself! HAVE FUN!!! ·

II]_
 BANDS OF AMERICA COLORGUARD

·,·~~------,~~)
~

going to be working. It is best to obtain a

Writing Routines-
How To Start
by Tim Heck
A5 a captain or student leader of you: ~~l_or
guard, you will be given many respcmslbihtles
and expected to possess or acquire the
appropri2te skills needed to complete those
· tasks in a competent fashion. These tasks can
range from something as basic as uking
attendance at rehearsal to a "not so easy" task
of conducting a sec:Iional. rehearsal on your
own. Along similar lines, you might be asked
to select a new flag -design for the upcoming
season, but also be handed the responsibility
of raising the money to pay for them. One of·
we mcst difficult tasks for many students,
however, is that of creating or writing a
routine to the music that your director has
selected for the half-time or competition
show. How does one go about writing a
rom.i~~' ~'!1ere do you start? How do you
start?
To begin with, it is imperative to define the
role of the color guard. It is safe to 2SSUme
· that mosr people .in the color guard field
today feel that the color guard's primary
responsibility is to enhance the musical
presentation of the band Too often, people
have in mind a set of "rricksm that they W2Ilt
·band literarure for the field shows. This
to use regardless of whether there is any
musical motivation to justify their use. If your
primary goal is to include these types of
moves in a routine, the creative process is
very likely to be very frustrating. One must
remember that what we see in rhe visual
elements of a program should parallel what
we hear aurally. Jf we agree that the music
should provide the motivation for the creative
process, tben the first step in 'VY'Tiling should
. jus[ need to h.ave a good feel for the melodic
be to learn the music to which you are going
to write.
Your first steo in learning rhe music is to
get a recording. of tbe song on which you are
recording of your own band playjng the
selection as opposed to u..sjng a commercial
rec'ording for the· simple reason thai your
director may have made modifications in the
original score. · The tempo that your director
has in mind may be faster or slower than that
of the commercial recording. Your direcror
may have taken out a section that ~ origi,-
nally to be repeated. Certain rhythmic figures
that are too difficult to be played while
marching may have been simplified or
changed. Often times percussion transitions
are either shonened or elongated. As a
designer, you need to be aware of these
changes. In some situations it may not be
realistic to ask the director for a uperformance
levelm recording for your use. In this case,
the recording released from the publishers
"\.Vill suffice; make sure, however, to sit down
with your director and discuss those areas just
mentioned so that you -do riot have to make
unnecessary changes at a later time.
After securing a recording, you need to
learn the music- yes, LE4RN it! Listen to the
song over and over. Get a feel for the mood
of the piece. Start to visualize in your mind
what kind of visual effects might be appropri-
ate for the music. Tills process may take a
few boms if you are already familiar with the
song or it may take several days. Many bands
are currently using contemporary concert .
music is often times very difficult both me-
lodically and rhythmically. To think that ·you
are going to sit down in one afternoon and
write an entire routine to a song of this
complexity is being foolish. Before you start
the writing process, you should be familiar
enough with the melody that you can sing
along with the recording. You need not have
a professionally trained voice for rhis. You
line and where it is going in terms of the
song.
The next sreo is to break the song into
seaions. Wn~ you are doing the .,.,;nLing,

II~
 BANDS OF AMERICA COLOFtGUARl:>

you will want to listen for indiVidual group- the captain, possess stronger equipment skills
ings of notes called phrases. Prior to this, it is than some of the other members of your
helpful to listen for the larger· subdivisions of group. You must write to the ability of your
the piece. Take for instance a song which -ovm group. In· .closing, there is no better way
starts. and ends very aggres.Sively with a great to learn bow to write then to just "dig in" and
deal of rhythmk ihtensiry; yet has a contrast- start. Have the courage to give that initial
ing section in the middle whiCh is softer and atteinpt and the ability and the humility to
more flowing by comparisOn. You, as a learn from your own In.ista.kes. e;
writer, should keep those developments in ·
mind from the onset of the creative process
so that you can parallel those contrasts
visually. ·
Once you have a "feel" for the major
sections of the song, continue tb· break it into
further subdivision- into indiVidual phrases.
A musiC:al phrase is si.mply a rtniSical. sen-
tens:;e: a grouping of notes that together
make a cornp1ete thought. In many of the
current publications, the phrases are often
either twO' or four measures in length. If you
have problerris hearing the phrases, it is a
good idea to get· a copy of the muSical score.
If you have had· any. experience in music
whatsoever, you are likely to know what
pl:-...rase marks look like. If not, ask your
director to show you. These markings from
the arranger/composer are excellent means of
distinguishing the individual phrases.
At th.iS point you are ready to write. Simply
listen to what the musical phrase says to you.
In moSt cases, the muSic .is very clearly
making a statement as to what kind of moves
would be appropriate. For example, a very ·
percussive, accented seCtion of musk might
call for one count directional moves like
slams, presents, lances or any other hard-
hitting move. A smooth-flowing section, on
the other hand, would best be complimented
by carving moves that use a lot of space.
Sp:ins, backScratchers, and figure eights best
depict music that has a winding feel, like
running eighth notes create.
As you start the creative process, remember
that sometimes the most simple combination
of moves is the most effective. Also keep in
mind thai the entire group must be able to
perform the rouUne. Chances are that-vou. as
 Waving the Flag for Music
AUseful Tool for AdVocacy
by Tim Lautzenheiser
OR 1HOSE OF us who are deeply involved in teaching
F music, it is apparentwb.ar an Important role the am,
specifically music, play in the development of any
student It is unthinkable to consider preparing a child for
life without a solid background in music, however it .is
obvious we need ro remiad others of this reality. The
following is a collage of "reasons why' it .is important for
music to be a fundamenral part of every child's leamiDg,
and can be used in its entirety or in parr when addressing
any group who needs to be infoiJDed; just as there ca:n be.
no musiC without learning; no education is complete
without music.
If we believe schools exi5t to develop a cbtldfor a .
productive cmd meaningful life, ilien we must look at the
contribution music makes in scope of the curriculum. The
following rationale is broken inro four main areas of focus:
lntrin.~ic value of mwic, academic and peer associations,
;m·;M:...:...:11 k·r life, and building individual positive self-
worth. Each st:md.s on its own, bur offers a powerful
combination when presented in irs entirety.
lrrtrinsic 1/alua
The process of roakiDg musi~ is the reward Urilike
many things we do in school, music is music for its own
sake. It .is beauty within itself. It offe!"S a microcosm of
life, fJr ilie ~ce of life is in rbe living, nor ilie end. rt is
the journey, nor rhe destination, the process, not the
producr, and ultimately the purpose, nor the outcome. It is
much like the man who flShes, not to catch fish, but for rbe
pleasure of f.!Sbing ... only ro throw the flsh in the water
once they are caught so he can fJ.Sb. some more.
Music offers an opportUnity to experience the ple35Ure
of self-expression at a new level opening exciting vistas of
self-sat.isfuction. So much of our educational system is
~impressionistic. • The srudent is given the material and the
better he/she can repeat it, the higher rhe grade given.
There is little chance to "create.. or add a personal touch ro
the assignments. In faa that is often discouraged. Music is
a place which is ~expressionistic" and srudents are
encouraged to pur their own thoughts and feelings inro
their music-making. This olfers a much welcomed change
from the normal learning process, not ro mention the need
to be able to give something ro rhe overall results, i.e., to
feel needed, to be a contributor to me goaL
The veteran musician knows thar music speaks to
something more subtle than ilie inrellecr; it speaks ro the
very soul of man, rhus it is woven into the fiber of ou.r life,
our spi!iL We are moved, changed, alened to a new sense
of knowing by experiencing music. Think of your reaction
when you hear Handel's "Messiah, • or wim.ess a find band
marching doWll the srreer ar the local parade, or feel the
bean-wrenching plea of a t:a.lented blues singer. We know
rhere is happy music, sad music, music for celebrations,
and music to soothe the wounded emotions. What else
can generate such feelings?
Music stretches one's uruier.;randing of self, which in
tum helps us understmd oiliers. And, eV'ery musician will
quickly rell you it stimulates a part of the mind which
opens our imagio:ation, bringing about a highly intellectual
activity we have come to call, JOY.·
AcariBIDic and PeaP Association
We become like the people with whom we associate.. The
world of behavioral psychology continues to point out the
reality of pe!SOnal.il:y modification through peer associati,on..
We are adaptable creatures and we quickly conform to our
·environment (Whatever it may be) to perpetllate our
survival Therefore, if our children are going to become
academically strong, it would.reason Ihey should be
spending time in the presence of other successful students.
With that in mind, consider these fmdings:.
Students in music are sroring 20 to 40 poim:s higher on
SAT tests, cmd the longer a student partiCipateS in tbe school
music program, tbe higher the SAT scares.
Music develops the apperiie for learning and creates
habits of self-discipline and personal tenacity which carry
over imo every fact of schooL Young musicians are skilled
at: concennation, alertnesS, memory, a.ndself-cOil!rol.
These mributes are basic for success in higher education,
but more importantly succeeding in life.
Thert: is a strong correlation between music and the
disciplines of science -and math since it uses-the same
rea.soning processes of the mind And the social
requiremeniS of group effon, communication skills, and the
development of motor skills is an integral part of every
music lesson.
Many have said that !heir !IIUSical background helped to
develop the •forgonen side of the b.rain, • for it encourages
us rouse acquired knowledge to deal with various aspects
of life: values, ethics, creative-decision making, and
problem solving. Music is not an answer, but a set of
questions requiring the individual ro • discover the answer.•
Ufe is nor about answers, bur rather a quest ro flnd the
a..-lSWers, and the more profound the question, the more
aciring the search for the answer.
PREPARATION FOR LIFE
We ail want our children to experience a healthy,
bappy, and prosperous life, enjoying themselves tb.rough
 LeatlarshitJ • Bands af America Smifill91' Band·Sympnsium

the pra<:es.S. There are certainly mental tools which aid in image rises because we have biWght sometlling ;unique to
this goal,. and music is c..."Uc.ial in bringing this to t:he the world. We are unique, exclusive, and important. We
forefront. ' have value as a vital me~r of society, and the awareness
A. CREATIVITY. Music opeps new horizons of the of this reality encowages us to be responsible in our
mind and supports wondermertr, imagination, appreciation actions as a contributing member of the community_
and sensitivity. Creativity is the source of possibilitY and a in today's-workb so manyyoung people seem to be
m.enra.l muscle !:hat must be tlained and exercised often. lost, swi.rOming about in a maze of quick fixes, desj>erately
B. COMMUNICATION. Music is a language beyond looking for something other than fashion labels with which
words. Musk can only be e:rplained with music because of to identify. If their musical talents are cteveloped, n'Urtured,
irs various styles, textures, tempos, and dyrutmics. It can and sought, then theirvaiue increases, and the.y have worth
elicit and emotio11. Think of what televisio.n or movies. ... self-worth, the most important component of a fruitful
would be without musk warning us of tb.e lnlpending- life.' . .
dailger, or setting the ~mod_ for the festiVities of a wedd,ing. This article is cenainly not S'llggesting. the study of music
It tiuly stirs the soul of man. No words or visual display at the exclusion or expense of other area subjeas, but
cari come dbse to the emotional impact of music. merely stating the fundamental importance of th~ an form
C. CRmCAL ASSESSMENT. Music is one of the key in the basic development of the student It is the birthright
·-::-ea5 -:r;~-._ere ar. individual Ciii develop .a consistency of f!'1f!I'f child, and it becomes our duty to see it is
ue!.WeCll iure1lectual and emotional understanding. Here is developed.
the chance to bridge the cognitive and affective data of life, There is an import:mt duty we all share as music:
which-many feel is the recipe of genius. It offers one the educators, and it has been dormant in many job oqt$nes.
clla.nce to conceptualize, p.ot just respond In other words, Although we can rum our backs on the plight of music
we c;m create formulas ~ead of just solutions, to be pro- education, it seems to be our moral duty t:o_wave onr own
active rather than ie-aaive; to open the mind avoidi,ng £lag. Although we IJ:!2Y feel incompetent as_ lobbyists for
runnel visian, and in doing so coming up with discerning our own cause, the. alternative is· extinction.
opiilions which develop quality characrer. The questions are bold and simple:
D_. COM!\1trMENT. It is almost impossible to be • If not .now, when!
"partially conunilred• to music. One may quit on a tes~ • If not here, where?
refUse to tum in an assignment, or fust not be aware .of • If.noryou,.who?
wbat is going on i.n a lecnue class, but the participation just as tbm can be no 1TIUSfc wilbouJ Iearntng. there can
level in music requires a focus of attention unlike most be no educaiion Wilbout. music. Let the music begin.
subjects in school. 1t causes. one to learn persistence and
the value of "not giving up, • even .when there is the
temptation to throw in the toweL ~any have pointed to
-~power" as one of the greatest personal attributes in
our society. Welcome to one of the key benefirs of the
si:Udy of music.
. B1JIIDING TNPTYIDUAL POSITIVE SELF-WORTH
. Eveiy individual is a unique and i.mporrant source of
human poreDtial. To be able to offer our personal artistic
signature to any- endeavor offers us a special place in-life.
Music does give us a vehicle to critically express our
individuality while supporting our fellow beings.
In a. very important way, it allows us to know who we
areand answer the question we all face, "Why do. I exist!'
In music, we do matter, we do make a difference, we do
have value and nobody can make the same contribur:i.on to
the art as we (singular) can.
It offers us the balance between what we rake and what
we give, and through the giving (the expression) our self-

I I (p
 Competitive Marching Band:
The Creative Challenge
by Alan Spaeth
There are many r:hings that make Competitive Marching Band a unique pageanay activity.
There are nc li.."T.irs on size, ir'.strP-m.em:ation or elecr..roPics. The audience b2.Se for
marching band is comprised qf mosrly parenrs and re.larives of the performers. Because
dli.s Ls a high school based acci:viry where members and fans "graduate" o~r of me activir:y
there is a large percentage of new funs every yeat. There is also unique judging crir:eria,
focusing less on the separate entities that comprise a marching unit, concentrating on the
"whole" as it relates to effect, composition, and ex:cellence both mil.sically and visually. _t;.s
a designer, r:he challenge is to. design2: show thar. is rig.hi for your band, entertaining.!_O
watch, received well bi t±le JU9giDg community and IS cap:a:bte of bemg,perform,ed ar. a
high level of excellence.

The Right Show for Your Band

Great bands co~.e in all sizes. Past Bands of.Ap;terjc:a Grand National Firui.li..st:S range in
size from 30 to 300 members. Ideally, a designer likes the nurriber somewhere in t:b.e
·middle. Very small bands and very large bands require special attention and rely heavily
on good conceprual design co rruudmize. their potential.

Smaller bands can benefic gready from cal.ented individuals, electronics and the use of
props co reduce the size of me performance area. The most· impon:anr: thing for a small
band is co recognize t:heir strengths and pick a show r.b.at will !llaXimize them.

Large bands present the designer -with unique problems in 51:2ging. Clut:t:er and lack · "J.f
integrated elements are me most common problems associated with large bands. Tilt::
Colorguard Designer, Percussion Caption Head and the Band Director must work very
hard co coordinate and cornmunicare me effect momenrs and staging concerns with r.b.e
drill writer-before the dors are puc on paper.

The most: impor1.2.nt thing m remember when designing a show is co know your band's
abiliry level and rm.ruriry. Find a way to challenge them and educate your'srudenrs, bur do
nor: go beyond what they can achieve based on their experience and rehearsal sChedule.
Pick a show t:he members vvill be able r:o perform at a high !evt::l of e..~cellenc~.

Entertaining vs. Artistic: The Great Debate

Do you design for the audience or the judges? Hopefully as a designer you will rake bor:h
entities into account. Every performer enjoys the exdtemem of having the crowd jump co
their feet in a roar of cheers and applause at the end of their performance. Sraff members
enjoy looking at a recap r:har has their group ranked at the rap. A great show will have a
blend of the rwo design ideals, an emerraining show that is artistically unique. Too much
of one or the orher can have irs drawback:.s. A show t:hat is roo "cute~ can be perceived as
silly or trir:e. A show dlat is coo "seri.ousn can be perceived as boring or elitist. A good mle
ro folio-,;; when designing ::i show is - Don't underestimate the ability of t:h.e :mdie:::J.ce
to experience something :new and different: and don't overestim.ate th.e ability of
the judges m experience something new and different. Whatever your conceptual
design is. make ir clear 3.nd undersm.ndable. If you :md your sraff are the onlv people -.;;-..rho
' .

' 11
 under:sLand w-har your show- is auempci.'1g to communicate, ir will be a grueling season for
you and your performers.

The "Whole Band" Approach to Design

A marching tr.and is comprised. of c.hree essential elemems: w-inds, percussion and
colorguard Some bands pit these elemems against eac.."l ocher in rhei.r sho-ws, wich each
element trying co ourdo me other, arrempring ro be consranrly recognized_ The besr bands
know- how co utilize meir srrengrhs bur also !mo-w how ro share me sra.ge·~ You are
desig:ping a show- for one band mar is comprised of !bree elemenrs. Inco:ri?orare all of the
e!emenrs into a harmonious blend. When des]gning, derennine who will be the primary
focus during each musical phrase and combine all Ihe elemenrs when you "Wish w make a
full impaCL If every elemenc is conrL.-mally fighting for me focus me show will take on a.
futc., redundam appearance. The besr shows give each elemenr a chance ro shine. This
creates variety and the appearance of a ream efforr. ·

A sho-w that marches t:he experience level of your band, is emerraining for the audience,
inspiring to the judges and blends all the elemencs mgemer in, a seamless production are
the challenges for the designer. When all mese dlings are in place combined with a high
level of excellence you will have creared a great momendn the pageamry acri.viry of
Competitive !vfarching Band.

Alan Spaah is an. An Hi.mJrU:zn. who has bun daigning colorguard and band shows for rhepasr 13 yuzrs-. '.
Curra:tfy, h~ is rh~ on th~ show design '~am and rh~ hau:L colorg;ua.rd d.esigna for rh~ P/pncnah-CantOTZ ;;.:
Marching Band (MI) a un ::inu Bands ofAmerica GrandNaricma.ls Finalist. R.eanr d.t:sjgn and
i~..onal crd.irs inckk, &ahs-Pujfn- H.S. (MI) marching htUU:i and win-raguard.. Maria.n.Cahofi::'i~··
H.S. (IL) win.raguard 1Z"11Ii lnurplay (M!) winm-guard. H~ is rh~ for-ma designu for I..akL.ltmd HS. .~
Marching Band Colorr;uard (};[f) -rhe nin~ :im~ Srau Champion. H~ was also rh~ d.ir~=r ofLafuland ·:.:·.
"Epiphan:y"' (1989-97) rh~ 1993 WGI Class A Champitms a:n.d 1397 WGI.Scho"=ic Opm Silw:··
M~dailisr. He also works as a: coruul::aru wirh s~mzl hands and colorgu.ards in T a:as, Michigan arut.
Illinois. ·

II~
 From Idea to Field
The ~.au Team Concept
. hy _Uao: Spaeth

There a.re many ways to bring a show froc::~ conception to fruition_ Some programs
are the exclUsive- brain child of a single entity or a few selected sta.L..i:f members then the
show }nfonnarion is passed down t:hrotigh rhe tankS_ Some bands h1re a pmgram deSigner
to produ~ the show_ This is intended to be a blueurint for desi an-in a a show usin.a a in-
~ ~ ~ ~

house cL~gn team_ . ..

The design team that I am most f,;:,mitiar with con-=:i 'LS of the Band Director, Wmd.
Arranger, Percussion Arrange<, Thi11 Desigr1e1 and Colorguard Designer_ As a grou.p this
team puts a show tog~t:her by: treating a show :::oncept, devising the det.ci.ls" prepar...ng a
story board c..nd finaDy relaying the in:fci!IIa.t!on to the tedrnicai staff and srudents. for
impl.emelltation-

The Team Members

The mosc: irn:pqrtant r:hing in the team design process is that everyone invotved feel
the~:
..,
bave the abili::y m speak freely
...
withou[ fear-
..
of ~saying somethina
.. ::J
srupid.." If anv~

me:rr:.ber of t:he team feels that therr ilicugb.ts and ::deas are nor. valuable cr fear that s:pe.:akin£
their mind will alienate their [e2J!lf.!!ates.. there will be valuable ideas tosL or even woESe~
you will risk having someone OD board wb.() is not fuily behind the program_
If the design ream is meeting for the firsr timt or new members are involved~ the
. -.
:initial. meeti.n2: should be more of a '"'~ett;i.D.2:
-..-
to bow -. vou-· session_. Ar this first -
take time to discuss topics other thli:i matcb..irig band. it is impo!"1'..ant to understand the
~atherino
~

individuals on a persop.allevelifyou are going to be a productive teai:u._ · Be careful not to

over~x-renq the arnoum of peopie on the design team_ The old adage >.;Too many -::-:::>ck:s ;n
the lcicche:;:tspoils t±e soup"' also appl.i'es w matching band~ If ch; design team is too b.rs_c_
ic will be cli:fficu.lt !o come tq a complete agreement on the show and its specifics_ Keep the
team limited to those people who hav-e: a compositional role in the program_
One person 11eeds ro act aS the rea;-n leader. This is c~mruoniy the Band Cr:irector,
aithou~ I !lave seen CclorguardDesi£JJ.ers or Drill Desi£D.ers !.ake on this ::-ole- Tcis oerson
should.- be in charge of setting the design sch,_;:dule, detem!i.r:ll.!:tg a meeting plac'e, and
keepillg in c.oncacr -,.,-jtb the otb.eT members ber-w·een meetings to ke-ep things on tra<:k.

Conceptual Brainstorming

The nexr ;;tep is br.wging a variecy of [de:as ro present to the team as possible sb.ow
conc~pLS- This is rhe :nos~ crucial and potentially me
most frusrrating parr of the precess_
Each ~ember of Lhe desi-gn learn should bring show ideas or rnusic2..l selections fual lhev
tbin.k might fully or in .part: ma__~e a good show_ ·
Avoid keeping your ideas only within cb.e re:alrn of youT captioo. (music, guard,
percll.Ssion) - these should be broad concepts- Thillgs such as srories_ events. musical
styles_ Lb.ealric.al production~, and geographic !oc:itions creaLe ::1 good st.2.rtin.g poinL Don'L
swear: the decails at this time, no m2.rrer how impractical or -our mere" c.he idea or music
m::ry seem_ Be prepared ro explain what iris thar you find imriguing about your choices_
Take lime rc fully investigare ideas, don't immediaTely dismiss any cancepL Open
:::acb. id.:::::. up to group d!sc.:u!>sion- lalk aboullhe i.ciLial -'guL reacuon_-· When !:.he CU.ITeD.L
idea bas been discussed_ mov.; on ~o ille nexi: ~dea wiillom ma_~ng :=.ny judgmencs on r.he
previous topic. Wilen ail i:he ideas have been presented ial.k a bam wt-,_ich ones stand out as
the besr pcient:ial shews_
)2_0
 A[ r..'lis time, consider the foi1owing questions;

- Can it: be made to work as a :r:n.arcb.i.ng band show?

- Is it a good show for the current band membership?
- Is there enough content to make a fu11 show?
- Does it .have a good beginning, middle and e::1d?
- Does it reflect the ed.ucarional ideal and style of this baud program?
- Do we have the necessary budget to fully produce this show? ·

Table the ideas that are impractical for· any of the above reasons. It is important tc
keep good ideas remind for future~ (At Plymouth-Canton, '""Wnere ilie Wild Things
Are" was brought up for four consecutlve years before the design staff could find the ri.~t
ingredient<; ro put the show on !he field..) Try to narrow down ::he ideas from thr.:e to five
shows that caul·::. :xJtentiaily work. Tnis initial step in show design_ can be a tedious
process, be prep;.;:~·:.i ro spend a f ul.~ ~y or two to completely explore all the ideas.
Once you. have some potentralrde:as narrowed down, create a plan of attack foT the
next mcerina_ At this po1m everyone on ::he design team should start to foc-us in on the
potential ~detaus of the show'" and ::~mpile a Est of ideas that could be used in each cf ti:J.e
shows.

Picking the Show

It 1s now time to pick the show. Ai: this meeting it is tim.c co get to the pr.a.ctic::>l
iss-ues of purring on a production. How- ~-e we going to make this work? Each o! the
potential shows should be discussed from beginnjng ro end in broad terms-

- How will it :start?

:- What -w-ill hold people· s· interest iii. r:he body of the show?·
- How will it end? ·
-Does the music offe:- enough variecy in voice and tempo?
- \VJJar cosmming. and props are necessary to make the productio.D. work'!
- How ~ill it be memorable for the viewer?

The design re:am should voice :my concerns at this point. If a member of the !earn
C.2..'1'tfully get behind a particular concept and can't be: convinced mar the problems can be
worked out, it is best to retire the idea to the '"'maybe in the furure" list. If more than one
concept is still in ilie running, continu~ co get more detailed lli'"ltil one of rb.e concepts
= as the best show fer the curre!lt membershic. of the band. More often than not..
em.e:rcres
there will be one: show idea that creates the most interest 2nd discussio12 from the te:am..

Putting It Together
This is when tb.e derails starr to fall into place. E~·t;:ryone on tb.e design team should star.: to
think more specific in [ern:;s of Ibeir ~prion. It is still important IO work toge::b.er so that
t!Vervone is ill sync w!tb. the producLicn. in or.l:!r i.o avoid someone laking Lheir caption in a
di.ffe"'rent direction from rhe ori~nal intenr.of the show_
 The following things n.e~d to be done during this phase of the precess~

- Cr....ate a cut tape of the entire production.

- Bring together research or other visual maJ:erial thatrela.te to the show.
- Develop a flow sheet that outlines the major effects plarrned for the show.
- Make a. detailed design calendarfor completed musical scores. drill and
choreography.

Duri..ng this phase o~ the process it is important that each part of the w-hole
underStands their role in all ·segment.<; of the production. Tnis win avoid ev~ section
trying to outdo each other during the sh:ow. Underst:mding y.our band's stren:,ath.s is crucial
at this stage. For e:'cample. if the guard is strong.· feature them as much as possible to
convey the show. If they are a _yduhg or weaker section of the ban.d figure out ways to use
them effectively -w-1thout tlie stress of having to. perform beyond thc7r capabi1it:ies. Give-
and-take is extremely important in this stage, remember that the best shows offer a variety
of effects and showcases tb.e entire band. ·

The Story Board

It is crucial to put the show· on paper so each entity ha·s a clear cut idea of what is
happening when a.-"ld what_ their r?l~ is during that section. The fin;t task is to dereLm.ine
how the musical phrases will be d.iv1ded. Every element should put in ""Tiring the inrent for
each phr2.se. The most crucial pie!:e of iclormario!l for the storv board is .the ru.ood .2.nd
overall intent of the phrase. Determine what will be the primary.:- focu:;.· Tb.e band director
or wind arranger will !ist the primary· and Secondary instrumental voicing for eac!L ;:;~~-asP.
the percussion: a..mmger will list any pertinent voicing concerns and rhe colorgu.ard aesi2:Iler
will describe dle equipmeo.t3D.d visual inre:ntfor the phrase. -

i-'.I:!.!Ze lcng-JJ. : :'•iocdJ lnte::::.t lnstrumc:lt:L! Voicing Percussion Coo.c=s ! Coicrgumd Conui bmioo.

34 counts ! mysterio::s, ! l~d -low hr'<:Ss I te:::l-..nic:Uly d.iff:.::ul:. ; Buildir..g :.o impaa. The
me.as. !7-2~ i build to itup.;1ct reeooda·ry- woodu,in,:Js I for snares and tenors. I guard wUI be addtllg in
i fa'>t' paced drill Trompe~ and mei!cpbones ! !::eep step size dowll. I from :noYemeni:. to fiag
: s:ctting up for need to l;c set up for lead <lt ! during tile phrase.. With
! color~d e!l<i of pil=e i 32 ~:lcii~ an flag for
: teatuiC , impac•.
-· ·-~-·-- . ----- ... -·- ... -- --· . ·--· ·-·-· ··-···--··· ···- ·- ---· ... -
The drill designer will use all t.b.i.s information to coordinate the st2.gillg. A copy of
the storv board should be given to each sr:.aff member as a rernin.der of what each portion of
the sho~ was imended to be so rb.e same information c<m. be relayed (O the band membe~rs.

122-
 Implementing the Design
The story board can be an important teaching tool. Now that there is a consistent
record of events for the production the teaching process· will be quicker and less frustratin. a_
Every secri on can be given the same information about the mood or intent of each se....-rion ~f
the show_ If the band members know. their role and how they fit into the overall· picture
they will become active participants in the production rather than a mere dot moving around
the field.
The design team will have to be ready to make changes and compromises as the
show comes together. It is importantto discuss problems as they occur, and come rrp with
a solution. E.xing a problem as it i.s hzppen:ing is less messy !:han finishing and going back
to make adjustments later.

One of the biggest ~nefits of using a design tf:am is that there will be more people
with ownership in a productJ.on and not one "fall guy" if the show is not well received. It
has been my e~perience that people are willing to be more creative and try new things if
they have the safety net of a tea:rn around them supporting their ideas.

l1.2J
 Conceptualizing the program.
From WGI Educatio.nal Updates Dec 1, 2000

CREATING THE COUNT SHEET

The purpose behind creating this sheet is to assure that your creative vision is clearly laid
out for all of the design team to understand and to contribute to. This will become the
work sheet for your staging,_ movement and equipment design.

Count sheets can take many forms and contain a variety of information. Here are some
important considerations to include in yours:

> Phrase length

> Time signature (this is extremely important)
> Mood (this impacts on interpretation)
> Dynamics (this assures the equipment/movement folks will be in sync)
> Instrumentation on the sound track (this lends to interpretation)
> The intent of the design at that moment (this helps writers to achieve your vision)
> Who or what will be featured (what is the emphasis of the phrase)
> What the feature moment will be (this may become the focal point)
> The kind of staging needed (open set, tight form, geometric line, front stage, center.
stage, etc.)

As you go through this process, don't hesitate to get help from a musician if you
personally challenged determining phrase length or meter or time signature. Each ut Ule
writers (equipment, movement, etc.) needs to write to the same level of understanding if
all elements and sections will eventually coordinate well together.

This sheet helps you in a variety of other ways. You can easily identify to the staff just
which phrase you want to work o~ at any given rehearsal, and they can fit their writing
snugly into the parameters of the music and satisfy the reflection of musical structure and
the mood and musicality which is the basis for so much of what we do.

BLOCKING OUT THE DESIGN

You may want to merely "block" your initial concepts to indicate where you think the
various elements will be staged in order to accommodate the major impacts and features.
This involves sketching rough sets or pictures at these key points. This could provide a
checkpoint for the staffto evaluate and respond to.

When the sound track has been created, edited and you are sure it is timed correctly
for your show needs, then it is time to start to detail your vision. This begins with
the Designers Count Sheet.

l2.~
 tJNDERSTAND THE INTENT THROUGH EQUIPMENT AND BODY.
> Include clarification as to what you wish to achieve through equipment and
movement. Consider the variety of options. Do you want to stage for a unison
equipment statement or do you want an integrated form so sabers and flags can interact in
a 2-part passage; is this a big dance presentation for the entire guard; is this a
developmental passage where motion is the primary consideration and equipment or body
will be secondary to the motion? The more detailed you can be the more likely the
designer will fulfill the program intent.
> Spacing within forms will be governed by knov.ring what kind of equipment work is
envisioned. Will it be "big" multi-planal work? Will it require a close or large
kinesphere? Are you using big or small props? Be absolutely sure you plan several
phrases in advance for the change of equipment so the designer will have time to move
the performers to where the equipment will be. As you plan this part of the show, here
are some guidelines to help keep you on target

Know what you want the audience to feel and how you will manage this response.
Never leave this to chance.

. >- Know the frequency of desired effects (Pacing, impact -when and how the effect
occurs)
> Know what emotion you want ~ommunicated (mood- what and how?)
> Plan the development and follow up of each impact. (Contrast, tension, relec~.se -
~~ .

Know your audience and understand what buttons to push to gain the desirect
response
> Consider choices of creativity/innovation vs. the familiar
> Consider musical arrangements and musical tricks sure to wow the listener
> Consider colors and special effects sure to surprise and plea.Se them
Doing the unexpected with a touch of familiarity is a great combination.
Surprise the audience, but don't make them work to figure out what the effect is.
Always know every effect in your show, where it is, how it is to be achieved and
what you want the audience to feel.

Patience must be as much a .part of your make-up as your knowledge of design. You
must be patient with your own process and attempt designs that you can achieve with
success. Please don't bite off more than you can chew. If you are not highly
experienced, avoid the principles of abstraction. Use logic and reason and plan ample
time to complete your staging responsibilities.

Don't waste the students' valuable rehearsal time because you are ill prepared and are just
"faking it". Divine inspiration seldom occurs when you need it most at rehearsal.

11.5
> Be prepared with your lesson plan. Tell the students what you will cover in that class
and what your expectations are from them.

> Practice attire should include proper shoes and clothing that permits freedom and
display oftorso, anus and legs. Hair should be out of the students' faces.

> Assess your students and your teaching skills. Plan how much material you can cover
in each class. Give the students a sense of confidence and success in each step.

> Good time management and lesson preparation is essential in preparing your students
to handle the movement and equipment responsibilities of your show.

>- If you have high standards your students will develop high standards.
>- Give praise and recognition as well as criticism.
>- Develop your communication skills. .
> Be clear in the information you teach.

TIMELINE FOR TECHNIQUE DEVELOPMENT

In an ideal world,. here's how your training program might Lay out. Schedhle a MONTH
OF TRAINING with two three-hour classes per week.

When the techniques have been taught and are clear to each student, the technique
portion of each rehearsal will become the starting point of your day's wotk,'and '·
review and reinforce CORRECT METHOD in application of your movement/equipment
vocabulary.

As vour technique program is developing and vour season moves into that "mid-point".,
the focus of your teaching ti~e will begin to shift and will take on a changing priority.

YOUR FULL-SEASON PRIORITY MIGHT LOOK SOMETHING LIKE TillS:

First stage Second stage Third stage

TRAINING WRITING REFINING

Establish technique Develop/Combine Vocabulary Refine Vocabulary

Develop Vocabulary Detail

-YOU NEVER STOP REINFORCING TECHNIQUE, but it takes on a changing focus

as it is frrst learned, then applied to the show vocabulary, then refined.
TRA.Il'HNG BEGINS FROM THE INSIDE AND WORKS OUT: This means that it
must first be understOod mentally and comprehended by the student Then the training
becomes physical when the theory is applied and done. The instructor should anSJ;V~r the
questions: how, what, when, where and why relative to each aspect of any move.

REFINING WORKS PRIMARILY FROM THE OUTSIDE IN: The work is first
observed at a physical level, then corrected, refined and developed to a new level of
understanding internally (mentally).

This progression from MENTAL to PHYSICAL training enables you to begin exploring
the EMOTIONAL quality that brings performance to life. This occurs when technique
has been mastered, becom~s intuitive, and allows the performer to "detach." from that
focus and truly communicate the meaning of the show through performance.

121
 Competition
From WGI Educational Updates Nov 2000

One of the most common qualities that this Activity has given each of us is a deep
competitive spirj.t For most of us, it's how we pushed our own boundaries, it's the
exciting part of what we do that taught us that we can absolutely do ANYTHING we set
our minds to.

How many of us ever had an instructor say to us: "There's ho such word ·as can't." Not
only do most of us carry that attitude, but also, our audiences everywhere support it and
get just as invested.

Pushing our own boundaries, discovering new capabilities and building deeper levels of
self-confidence, marks the competitive nature of our Activity strongly on the plus side!
What's important here is to be absolutely clear that what we are competing against is a
set of standards within each class. We're competing against ourselves and against the last
level of achievement we reached. The benchmarks that exist within each of our cLasses
are the clear goals to which we strive (and that we sometimes surpass) on our way to
creating new benchmark achievements.

At the very outset of your career as a teacher, you need to put that whole "value" into the
proper perspective. Use this premise as a motivator for your students. Lead them in
such a way that they discover the thrill of achievement and instill in them the thirsc for
even greater discovery and success. Make certain they know that this is about Tb-:Ei\IL

Don't muddy up their thrill of discovery by pitting them "against" another group; don't
measure their success by who they "beat'' and don't let yourself fall into the ego-driven
trap of measuring yourself against any other set of instructors unless it is done in order to
learn from them.

LEARNING TO APPRECIATE YOUR COMPETITORS

One of the best ways to keep your students "in tune" with their peers, is to pLace them in
a situation where they watch the others in their class and where they are assigned to come
away from each viewing picking out what pieces of the performance they were most
impressed with. If they watch from that perspective, focusing on the "quality" and not
the "problems" within each performance, they'll begin to defme what qualities they
would like to emulate.

In addition to this "viewing" education. they can learn to appreciate and applaud the Gther
performers in their class and set themselves up to make new friends and to gather new
fans who hopefully will learn to reciprocate by showing their support and appreciation of
your students.

126
It's been fascinating to watch the professional ice-skating competitions which are
everywhere on TV these days. These professionals have redefined competition irz a
way that makes them an impressive role modeL Have you noticed the good-natured
attitude they show to one another? It's amazing how they can .be so open, appreciatiVe
and have such a great time. It's not unrealistic to teach your students to do the s41.me_
thing. if we could get everyone to do this, we'd bring a level ofjoy to what we do zhat
would be one of our best rewards.

SETTING REALISTIC GOALS

Competition can certainly spark the motivation for making some goals and setting some
objectives, and that's absolutely great. Try to be realistic when you do this. Avoid
saying things like: We want to win this class, or we want to beat the cross-town rival, or
we want to score an 80. The point here is to set your students up to succeed at every
level. The first time they perform within their local circuit, you will receive a score that
could easily become your target goal for subsequent shows. Aim to surpass that score,
aim to enhance the performance, aim to improve the program and all along the way,
make sure that the students understand that those are the goals and that's where they
should focus.

UN!)ERSTANDING THE SCORING SYSTEM

Any competitive game ·or sport has rules. WGI' s competitive arena has a curriculum. If
you want to measure your growth with accuracy and success, you've got to understand
how the show and the students are scored. Make it your business to get an adjudication
manual ai"ld leatll about the system from yotrr own fust hand point of view. Please don't
carry in any old ideas or depend on other people's opinions or interpretations of what the
system "is" or "should be". Be responsible yourself for reading the book and
understanding all the parameters.

One thing you can "take to the bank" is the detail and accountability that has been put
into that particular book. It's not an excuse for you to say that it's way too much to read.
Your job as an educator demands that you understand the curriculwn of your students.
You also need to understand the philosophy behind everything that goes on in any
competitive event; otherwise, you aren't preparing the students for a fair shot at success.
 -~' : ·.:·!:;~~:;·~t:~.r~\:·~i;~~~~~~t0~t· . . . .:·:,: _:.· .·.-~..:r~:_-..~:.:;_t~_~ir.:_~-.~.·._:~.~-:.~·.~._?:~ . ~~,-~;. ·· ·:~·- ~. ·:····
··~. u· -: ·.
!: ::.::·; :·:/~;.-::: :?· ·:·/:v;=.~·~:,,.':;;.~·, :· ~':·: . ..
ifNDS o·F AlCER!C.A c·oLORG U A R D

How to Achieve with one style throughout his life. In studying

the works of famous painters, it is evident that
Your Own Stvle
•
their styles change from decade·to decade, but
seldom successfully from day to day. This is
evidence that creating or changing a style of
designing is not a quick decision, but a long
by Tommy Keenum and thoughtful process of trial and error. Just
as changing one's traits and beliefs does not
happen overnight.
The following dichotomies formulated by
Rex Brandt show the different qualities which
WRITJNG AN ARTICLE on developing a style is shape the style of an artist's work.
like writing an article on being you. I don't
think I'm qualified to do either one, however, a A.. Outward Versus Inward
brief discussion on style and its origins in the Objectively, the work is developed like a
artistic world might help you to define and theatrical production. It is for an audience.
recognize your own. The intention is to entertain, communicate, and
'"'De E~cyclopedia of the Arts defmes style inspire. The subjective, inward, opposite,
as the manner of expression characteristic of a dedicates the work to self. Like a rosary or
work of art, a particular artist, a group (school) semantic graph, it helps solve personal prob-
of artists, or even an epoch. Every work of art lems, release creative urges, and provide
that is an organic solution to a problem has a therapy to the creator.
style of irs own, while at the same time it may
erecr characteristics that belong to the style of B. Referential Versus Non-Referential
the creator. The referential designer makes use of
Style in any art form is the imprint of the images and rhetoric commonly accepted as real
artist: or group of artists. !t is the way he/she or worldly. Tne non-referential shuns accepted
gets the act together; what is seen is tempered . signs and symbols, creating a personal imagery
by the medium (flag, dance, rifle, sabre, as- instead.
sorted props or any combination thereof), the
customs of the time, and his/her personal C. Fon:I:~, Versus Content
differences. . • Form: The creation is more important
There is no such thing as "no style." Like than any reference.
one's life style, artistic style is the product of • Content: Communicative expressiveness
both conscious and subconscious influences, so is more important than the form in
to some degree it can be imitated or disguised. which it is expressed.
Works of art in the colorguard idiom have the
strongest sense of styi~ whep they: are. tbe _ . D. Il.lustrat.ive .Versus- Symbelic· · · · · ··
.embod.iffienr -o(tb."e individual designers' strong- • Illustrative: Surface appearances are of
est traits and firmest beliefs. The opposite is primary importance.
true when a designer ignores his true feelings • Symbolic: The essence of any e:xpen
and preferences, and for whatever reason feels ence is more important rhan how it
the need to follow a trend or style that is in looks.
opposition with his personality. In order to gain a visual image of your
This is nor to say that a designer must stick artistic personality. Perform the following

130
 BANDS OF AMERICA COLORGUARO

expenmenL Determine a position on each of A

me four axes, rating yourself from one ro ten OUTWARD
on each line. I induded my stylistic tendencie
below as an exam pie.
"Learn this but be yourself," says the
reacher.
"Be Different, • the critic demands.
"You must have more equipment difficult;
or you'll never win!' the judge B
implores. · NON-REFERENTIAL
Individual sryle is suppressed
:t by sodal pressures a.s much as it is influenced.
by group or personal esthetics. It is small
wonder that trends in colorguard are so tran-
sient But the individual's personality, as
:·...
unchanging as handwriting or fmgerprinrs, car.
v-alidate his art and establish its uniqueness if INWARD
he will recognize it. A
··) Too often we fail to recognize and there-
fore exploit our own personality. We may
smve to be logical when perhaps we should
!l1.l5t our feelings; or, we may strive to be
dr2!Ilatic (because a judge or critic suggested A
k--}, when our forte is formal purity. In essenc otrrWARD
·:: we try to remake our image by changing our
handwriting - fru.sr.rating, if not impossible.
To be a successful colorguard designer
v.ith a strong sense of style, ·one must be a !or
like a professional prize fighter. You must
!earn what your strengths are. Be a ware of
your weaknesses :and do what is . B
possible to overcome them. NON-REFERENTIAL
But, when in the ring, hide them!
Nobody can beat you at YOUR gamel

!!WARD
A

I~\
 PUTTING IT _TOGETHER:

Selecting the Right Look for your Auxiliary

through Flag and Costume Designs for the Bands Total Product~on

Lawrence J. Rebillot

White: A blank page or canvas

The· Challenge: Bring order to the whole
Through design
composition
Tension
Balance
Light
And Harmony

These words are the opening lines from Stephen Sondheim's musical
Sunday in the Park with George which is base·d on the 1 i fe .and
paintings of the French painter, Georges Seurat (1859-1891). The
musical is on art and design but also his technique in whi~h when small
dots of pure color are seen from a distance, the colors are mixed by the
viewers' eye thus creating a beautiful cornbin_ation of light and color.

~: .. nen designing for today's auxiliary, we can use many of these and other
I basic design elements for our own art form. Design is order~ placing
I something in a specific order. Yet design does exist in everything we
~ do, in nature, because nature has a certain order and harmony. An
~ artist must see design in nature, but the artist must also combine those

f: ~~=p~:!~!~: ~:.~r:::!z!:g.:;o:~.:!~·~~!: !~!"t:i~!f:::hf::•l~~-~hol•.

~ elements in nature with emotion and thought to create or compose.

dimension, movement, light, texture and color. In regard to marching

, band, many of these variables have been taken care of for us. Light,
1 being the center of .all _color, for us usually means daylight or s tadi urn
~- ~~ight. Dimension, which speaks· for itself, and the other variables
~ :~-(movement, line, texture, and the aforementioned balance, tension,
~and harmony) will be heard, seen and used elsewhere in this text and
during camp. We will look at the element of color and other factors to
'· ':consider when .designing equipment and costumes to give your auxiliary
..
11
the right look".

132
When developing design ideas for fhe continuing saga of next years show,
we first look "behind-the--sc.enes" at a few areas every school auxiliary
deals with. Are we able to have a new look this year or shou~d we
continue with last seasons ideas and venture into additions and
corrections of those past concepts. Obviously money is usual~y the
main obstacle when it comes to the changing of your auxiliary 1 S look.
Many groups may only be able to buy one new flag or prop every year
while others are limitless, buying new equipment and costumes every
season. But success is using a fine blend of the new and the existing
in"\le1Y'r.D?"Y of ~~7'y"thing in y''L:i'U7' ~''U.ariJ. 'S l'eper~olre or cos"'f:'Ufues,.
1

equlpment and props. Do we like our traditional marching band look

or is a contemporary/theatrical style better for this years show?
Better or not, tradition is tradition, but there is room in tradition
for keeping up to date. Combining the two can not only add spark to
your show but can continue that fine tradition. Remember, while some
groups may have no specific ground rules regarding costuming and colors
allowing them a full range of uniform and flag changes, many units do
have guidelines to comply. with. The. judgeme·nt· of -your band directors
and in sdme cases, ,the school administration and parents/boosters do
have an effect on your look arid your pr6dttctiori. P~~nning ~l~ areas
of yotir auxiliary, coming to terms with your advisors ahd achievirig
voL'.r 9oals will bring these "behi:pd the sceries 11 factors together to .I
ach2ev~ that look for your unit.

T~~ f0remost ·factor in today's auxiliary is the Vi~ti~l ~upport for ybur
band thus to enhance the specific show or style of music. When you
assemble an audience, you create the performanc~ by presenting ~oli~
ideas as ~erformers. Those ideas in todayts ~arching bands may rartg~ J
from a typical football show ~ith pop music and ~~hool fight song~ to a
fnll ornduction of a· cUrr~nt· B~oadway MuSical. To support th~ ~~si~ ~au
may involve developing ~ character or rec~~ating a ti~e or plac~ to set i
a a:ertain atmosphere in your production. If your band decides on a big -~
band show filled with varied styles of ·40 1 5 music, you' should re;search
the trends of the 40 r s from the cUt or pattern of your costumes to . li
detailed accessories such as hats and je~el~y, t6 ~rbpS ~nd/br scen~ry I
to express the mood of the 40's right oh our fgotball fieldistage. But
whatever your show consists. of, frmtr a clas's ical approach ·where a ballet-i
fdrmat may be used to a contempora~y pop show With a rock vidao style, I
enhancing the music visually.is your goal.

Enhancing the music may be as easy as introducing color.

being the other. Light reveals form.

Remember, a
basic color is only one part of light with intensity and distribution
But color changes form. Color is
I
our most interesting and useful tool. When it comes to choosing the J.
color, you involve not only interpretation an~usicality but incorporati~­
your school colors as well. Because having t~~ coordination of the
auxiliary and the band uniform is o1 utmo~t importance.

( 2)
 '· The right colors can often solidify many'elements in yo~r band's total

r~-
performance. A deep right melodic line accompanied by a wide, expansive
drill can only be made more intense by a single, large flag design and
basic uniform. When the uniform and flag are over detailed and complex,

I the entire band may suffer from the lack of coordination and balance.

Specific color can often promote certain strengths and weaknesses within
your unit. Because our stage is dark (green being on the dark side of
the prism) light colors are prime attention getters. If your group has
a good sense of dance technique and maFch~ng ability, .. light colors in
costuming often bring out the power of your body movement. Much in the
same with flags, bright colors and white can stimulate audience and
judge reaction when combined with your strength as an equipment-oriented
un~t. Although we do not like to admit it, weaknesses are a part of
reality. We can often use dark colors to lessen the intensity of
something. When a section of the music is not as strong, perhaps a dark
flag will hold back your interpretation, and of course dark colors.can
reverse that thought as well. You may want darkness for that certain
cool, mysterious part of the music. Here are six basic 6olors and
descriptive words to help with your interpretation:

Yellow- Radiant, light-giving, golden, saintly, values near white.

Orange - Festive, earthy, peasant color, neutral shades, nature in
the fall
Red - Active, passionate, full of inner warmth, fiery, forceful
'' i0 :'_2t - Royal, piety, deeper shades, shadows, terror, chaos, a
reddening color
Blue - ?assive, receding, deep, cool, purity, icy tints
Green- Tranquility, compassion, nature in the spring and summer,
fresh, e'arth

Design. In our arena, we attempt to be artists as well as actors,

dancers, technicians, and th.e audience. We combine our skills .and
thoughts and bit by bit, as Stephen Sondhiem's words reflect:.

Art of making Art is putting it together ...

Piece by ~ieee only way to make a work of art.
,.:.
Every moment makes a contributjpn,
f.: Every little detail plays a part.
' Having just the vision's no solution,
Everything depends on execution.
j.=;··

~:

( 3)
 BANDS Of AMERICA COLORGUARD WORKSHOP.
What is ~inte·rgua.rd?
by Michael Gaines
e've all seen marching band.s, drum & bugle
W
. corps, baton twirlers, and rnilil2f)' parades
for most of our lives. lL could have been on
nr, or at a football game, or even at a ·
contest or festival. However, there is anew l.rend that is
rapidly becoming won.hy of being categorized wir.h those
other events. This is an aaiviry called Winterguard.
Although winterguard has been around for a while,
and has a historical background all its own, I would like
to discuss whar winterguard has evol'ved into, and what
it means in our iive.s today.
During the winter months, when the marching band
guard equipment has been !.2.ken inside and stored, the
band continues its education and performances through
concert bands, jazz bands, pep bands, orchestras, etc.·
This is where winter colorguard took on a new me2ning
to bands. 1t provided t.tairiing during the winter months
that otherwise would have been wasted. The studems
would come back the next ~n prepared to accept
the challenge of their nexr. produaion.
The activity h2.5 now begun to take on entirely
different charaCteristics. Winterguard shows in most
recent times have been performed to ta ~d music. This
takes away one of the more diiTicult va-iiablels in a guard
performance-the variability of the music. ln the
marching band arena.; the conduaor may take cena1n
liberties wir.h ternp::J, etc., depending upon the rrio6d of
the music. While this is imperative to truly bringing the
music to life, it dbe.s present cenain difficulties to a
colorguard who is attempting perfection. With taped
I music, the guard knows the tempo will be exaaly the
same every time (depending upon the [ape player Lhey
use). This will free up their minds from a little of the
I anxiety of the unknown and allows more energy to be
devoted to the performance al hand.
Aside from the musical nuances that are different,
I. there are cenain advantages in the visual packages that
are presented. Jn a wimerguard production, the
performers may ~ as dose as a few feet from the
audience, whereas in marching band and guard, the
audience is usually fairly distant from the football field.
\?:>5
This dos~6ess allows the audience to pick up more of
the individuals' emotion rhrough their own facial and
l:xxly expression. The more iillirnate 5en.ing also allows
more detailed co.mmunicaJ.ion to go on between the
performers and the adjudicators. We see a lot of bandS
the5e days u.Sing props to enhance; their production, or
help tell their story, or get their message across.
In the winterguard aren~ some units have Sl2.rted to
resemble Broadway productions with their extensive use
of sets and floor. coverings. The one difference that
remains now is that· winterguard has nm delved into
lighting and electronic effects. This would be difficult
because guards perform in different gymnasiums ev~ry
weekend-but v.iho khows? Maybe soon!
Due to the smaller number of people sharing in the
performing exv...rience, many strong bonds of friendship,
trust, and confidence evolve out of r.he season. I say trust
and confidence because in a performance situation, you
depend uptm your peers just as they depend op you to
do the correct thing for vrhich you have been lrained.
Winterguard is about ind~'idtials perfonning within an
ensemble.
Jn this respect, it is a lot like marching band, only
instead of anywhere up to 300 peers, you will usually
·oply have up to thirty. This is where the inten~
emOtional bonds develop. You are all working together
'to achieve that perfectio~and it is possible"-if you
work together; with everyone doing their pan. This
creares a synergy, where the group of individuals
becomes more than jusr a group of individuals. They
become a production, a p::rforrnance, and an experience
to last a lifetime.
BANDS OF AMERICA COLORGUARD
Beginning a High
School Winterguard:
Answering Some
Common Questions
by Scott Chandler
What is a Winterguard and what are the.benefits?
Ti.::: ~~~ter~ard experience involves a per-
formance situation as an extension of the
marc.!:ling band program. Winterguard is to the
colorguard student as concert season is to the
musidan.
Generally, the winterguard season begins
in January and ends in early April. The per-
forr:la,-:;ce consists of 4-7 1/2 minutes of col-
orguard, dance and theatre set to taped music
or four live musidans. Guidelines and rules are
set by the Board of Directors of Winterguard
International.
If your school system allows colorguard as
a class within the curriculum, winterguard
allows the student to continue throughout the
year. Obviously the more the students learn
technique and the more they perform with an
audience - the more the students will acrueve.
It is a chance to gain a lot of practical experi-
ence .
. Because the performing ensemble is a
·smaller unit - the individual's personality devel-
ops a.s well as his or her pan in the overall
group. Wmterguard is a concentrated, more
focused effort of the performing experience.
With the right values, HS winterguard can be a
lot of good times. Acrueving the goal of
completing and perfecting a program to the
best of your ability and watching the students
grow in self-esteem, commitment and interper-
sonal skills is well worth the time.
Wh~re do we start?
Wmterguard is about people. So people
become the number one priority for starting
your own program. Students to perform,
people to teach and design and people to be a
.SUpport group (sponsors).
Wmterguard International (WGD allows a
minimum of eight performers and a maximum
of thirty performers. We have seen all sizes of
guards do very welL Right away, you need to
"Write WGI and request all information that will
help you get started. You can order video
tapes and instructional manuals to guide you.,
.WGI will also put you in· touch with the local
circuit in your area. Your local circuit along
with WGI will be morethan willing to assist
you in any way possible.
What about the money?
Money always seems to be the biggest
heartache. Contrary to popular belief - money
does not create a winner. "What you do with
your resources will always be more important.
Quality NOT quantity.
MarlY guards depend only on fund.raising ..
Many charge the students dues. The best
siruation I have seen put the winterguard into
the overall band budget with the booster
program. A good band booster program can be
the answer to your prayers. All the parents get
involved in making every part of the band a
successful learning and growing sit:ll31ion.
Working the winterguard into the overall·
budget primarily means looking at the col-
orguard as a year long effort. Budgeting in all
flags for the year, all props for the year etc. at
least gives you clear estimate of what money
will need to be raised Students can still pay
for trips and even costuming or half of the cost
for costuming.
 BANOS OF AMERICA COLORGUARD

The money can be worked out. There
have been many winterguard already who have
worked the money problems out or at least
come up with great ways to raise the money.
What kind of time do we need?
I could go on and on about the positive
effects winterguar9 has on a progx:am. I have
seen nothing but good come out of the entire
experience - even in losing... I highly recom-
mend the experience to eyeryo~e. it is a family
and you cannot beat family now can you?

Each program at each school has its own

unique way of working out practice times. I
generally rehearse two nights a week plus the
weekend. I always try to leave Sunday open
for family, rest and catching up. I know a lot
of tim.es students complain about all the time
but parents always tell me they ~auld rather 0
!heir children be practicing than anywhere else.
Plus-. practice doesn't have to be some monu-
mental chore. Everyone is workmg on. a
C"eative project and the more everyone is
mvolved, the more joy you will have· in watch-
ing the program grow.· The instructors can
provide the motivation, even in the worst of
W!es.
I constantly combat obstacles in getting
Gym time. We either look for additional places
m rehearse or I alter the times from week to
-week. Always try to. utilize the time wisely
wether it be for .sectionals or maybe some
im:te off.
.What about the competition? .
Many local circuits aiiow fiTSt year guards
m perfon::n in exhibition or a novice class.
Never forget the number one' priority: Provide
the students with a positive learning expe- ·
rience. Of course winning is fun - but work-
rag your way up is a lot of fun. Improving is
fun. It's all in the attitude. I always tell the
.students that they have a talent - not many
people can dq what they do or do it with such
dedication - but with that talent comes a ~­
~ibilicy to the audience to give great per-
roanances all the time.. Winterguard is show
business.
 BANDS OF AMERICA. COLORGUARD -L

Vital and Essential Elements to C. Professionalism displayed and taught

at all times
Producing a Successful
II. Communication
High School Winterguard A. To performers of -what is expected
throughout the season
by Wes Cartwright B. To parents of what is involved sucb as
rehearsal schedule, expenses,
meetings, performances, goals, etc.
WJNTERGUARD C. To other staff members about

I. \ responsibilites, teaching techniques,

program changes, didsions; etc. .
A TOTAL COORDINATION

/I~
/
STAFF

COMMITMENT
/"'
PERFORMERS

COMMUNICATION PLANNING
PARENTS

~
PRODUCING

STAFF
"" /·
. PERFORMERS PARENTS
/ I
~ A POSmVE EXPERIENCE
/ I
\ I ill. Planning I
v
SUCCESS
A. Conceptualization of program ideas
ranging from music selection to
proper usage
B. Organization of rehearsal time, dev-
I
elopment of program, facility usage, .
TifE MECHANICS OF developing and produc-
ing a successful high school winterguard
involves a total coordination of staff, perform-
etc.
C. Details involving personnel, strategy,
I
schedules, goals, etc.
ers, and parents. Each element has multiple
responsibilities and commitments that blend
together to create a positive experience for all
IV. Produdng
A. Writing and chroeographing the
I
involved. Here are the three components and
some of their responsibilities.
program
B. Teaching, demonstrating, and
explaining the program
I
Staff

I. Commitment
C. Rehearsing, perfecting, and motivating
performers for performance I
A. Understanding of position and
responsibilities
B. Organization both on and off the
Performers

I. Commitment
I
coun A. Sacrifice of time. soda] life. other
 8A N o· S 0 F A M ER I CA C 0 l. 0 R G 0 A RD

conflicting events, etc.

B. Discipline for rehearsal, self-improve-
ment, group success, and performance
excellence
C. Positive attitude on and off the ·court
II. Communication
A. To parents about what is happening
throughout the season
B. To staff about scheduling of rehears-
als, conflicts, personal problems, etc.
C. To other performing members so that
outside personal conflicts do not
distract from comradery of the group.
ill. Planning
A. Organization of personal time during
the season, promptness to rehearsal,
educational studies, etc.
B. Being flexible about schedule,
·changes, and last-minute decisions,
that are necessary for the better of the
group
C. Taking responsibility to not neglect
other areas of interest and importance
during the season
fV. Producing
A. Being physically, mentally, and
emotionally prepared throughout
the s·eason
B. Ilsten.ing and learning tbtough all of
the .experiences that occur while the
season progresses
C. Focusing all of your energy into your
performance
II. CommuniCation
A. To child about rehearsals, expenses,
performance$, etc.
· B. ·To other.patents about meetings,_.:get-:-
togethers, sewing nights, etc.
C. To staff of any misunderstandings
that may arise
ill Planning
A. Being on schedUle and/or making
alternate plans for transportation of
student to rehearsals and perform-
ances
"B. Organization of personal expenses,
calling comrnittes, fund-raising, etc.
C. Planning of sodal events, banquets,
group parties, etc.
IV. Producing
. A. Creating a supportive· atmosphere,on
and off the ·court especially during the
busiest times of the season
B~ Cooperation and comradery amongst
other parents and staff
C. Attenc::J.ing an(:! helping at all perform-
ances to make this experience a
positive one for your and your family.

Parents

I. Commitment
A. Supporting your child's desire to
partidpate and excel in the activity
B. Flexibility with minor inconveniences
during the season
C. Helping and working on sewing,
props, travel sponsor, or any rdated
job that needs attention during the
season

/YO
 Crcarin:; a Competitive Indoor Winter Guard
May2000

CREATING AN INDOOR
WINTER GUARD

Index

What Is WGI----·······-···-·--·-----·----···-··-··-····--······· 1
Exploring The Possibility Of A.n Indoor Winter Guard...·-·-·--· 3
Competition As A Basis To Measure & Appreciate E:xcellence.... 4
Steps To Starting A Winter Guard-····-·-----------·-···---·-· 5
Planning The Program.----·······----·--·-·-···----··----·- 7
Music- Music- Music- Shopping For A Tune-·--·-·-··-·--·-· 8
The Program And Its Concept --·---·--·-·····---·-··---------- 9
Matching Your Audio & Visual Style....----~-
.. --------·-·· 10
Costume Desigii·-·····--·····-:--~--..,....,.............,.,-..,..-----·--·· · 10 ·
Planning Your Basic Movement Program.·--··---···--····---·- 12
Staging & Drill Design.--··----··-··-··-·····--·-----~--· · 12
Understanding The Scoring Systeni..,._____.________ ...:.._·-·· 14

Using Your Critique Time·-----·-·--·--·-__:.··----·--··-----~-- . 16

How To Be A Successful & Effective Teacher ··-·-·------·--·· 17
Time Management- Work Less, Produce More, Have Fun __.:_ 18

The Best Infon;nation You'll Ever Get·-·-·--·..:·----·----- 19

Leadership ------·-----·----·.----~------·---- 20

~ 1!11 t tf ti 1 I rt1

l ti I
 Creating a Competitive Indoor Winter Guard
May 2000

CREATING A

COMPETITIVE'WINTER GUARD

S p D (t of t'he Arts
Competitive indoor guard is an exciting branch of the Pageantry Arts With approximately I 0,000 young people
participating in units in the United Stat~s and Canada. Interest is developing now in both Europe and parts of Asia.

Local organizations are developing, which are governed by the Units themSelves. The organizations, often called
"circuits", provide competitions many weekends during the months qf Januaty tl1rough March. Attached to most
circuits are Adjudication Associations which provide judges for the competitions of the circuits. These Judging
Associations MAY be separately governed or may be attached to the Cli:cuit ·as a branch of that Parent Body. 7he
responsibility of the circuit is:

* Develop growth in the activity at the local level.

* Administer local competitions.
* Assure the writs are properly adjudicated.
* Communicate information pertin:em to the activity.

WHAT IS W.G.l.?

WGI was founded in 1977 to draw together .the growing winter color guard activity, standardize rules, provide
leadership and guidance Now there is an international organization which offers:

+ Improved Communication
+ Cooperation of circuit organizations
+ Establishment of Judges Associations
• An Educational Division offering Clinics, printed and Video material
• Identification of Persons dedicated to the pageantry Concept
+ A network of Regional Contests in the U.S., Canada and Europe culminating in an Annual International
Championship in ApriL (comp~tirlg ~~ ~ regig11al c;Q!lt~t i,? a pre-requisite to competing at the World
Championship Contest.)

All WGI Contests (except Europe) provide divisions of Competition specifically for :

INDEPENDENT groups who can compete in developmental levels defined as

A Class - Beginning programs, younger performers, limited opportunities

OP.EN Class.- The intermediate dev.elopment-le¥ei-Gfper:f.ormer.s----. -·
WORLD Class -The most advanced programs and performers

SCHOLASTIC classes are offered to units whose membership comes from the same High School or a school that
feeds that particular High SchooL

l4L-
 Creating a Competitive indoor Winter Guan:i
May2000

A Class- Beginning programs, younger performers, limited. oppommities

OPEN Class -The intermediate development level of performers
WORLD Class- The rnosr advanced programs and performers

WGI provides many services for those interested in the guard activity. A few of these are:

+ Clinics on ail Guard Topics

+ Educational Videos for Insrmctors and Judges
+ "FOCUS" WGI's Information Publication
+ RegioiJa! Contests
+ W odd Championship
+ Guard Souvenirs
+.Championship Performance Video Tapes
+ Judging Manuals
+ Support Literature
+ Public Relations Support
+ RuleBooks
+ Consulting Services
+ Associate Memberships
• Historical,Yearboolcs.

WGIIS INTERESTED IN 1Q.!.[ AND YOUR CONCERNS OR SUGGESTIONS.

WE ARE ALWAYS AVAILABLE FOR DIALOG WITH PEOPLE INTERESTED IN PAGE,MfrRY
AND WHAT IT PROVIDES FOR OUR YOlJTH.

-ooo ...

.IY~
 Creatins a Competitive Indoor Winter Guard
May2000

EXPLORING THE POSSIBIUTY

OF AN INDOOR GUARD

Directors confront many questions when considering the expansion of an existing' program to include an INDOOR
GUARD ENSE!vlBLE.

+ WHAT IS AN INDOOR WINTER GUARD?

+ WHAT KIND OF TIME IS INVOLVED?
+ HOW WILL THE STUDENTS BENEm?
+ WHAT ARE THE RULES & GUIDELINES AND WHERE DO I GET HIEM?

A Winter guard program is not only educationallv sound. it can have a dramatic and positive influence on the total
Marching Band Program if it is a part of a scholastic group.

In a school siruation, the Winter guard ensemble is a co-curricular or extra curricular activity which offers
participation to BOTH boys and girls. Usually its purpose is similar to that of a sportS teilm:

+ To. strive for EXCELLENCE

+ To develop TEAMWORK
+ To learn SPORTSMANSHIP
+ To achieve the highest possible Ranking in yotlr Competitive circle.
+ TO ENTERTAJN

Unlike sports teams, the entertainment factor makes this program unique. It can be likened to theater with elements
of a drama, or a musical. This added dimension provides the srudents with an exposure BEYOND that offere:.d
through the marching band program. Thus, the indoor guard opporrunity is a blend that produces "THE SPORT OF
THE ART".

A valuable experience for Winter guard Performers is in interaction with students from other comuL:.UUtles
throughout the United States, Canada and Europe. The success of this Activity is rich in those areas and growing in
Europe. This social and competitive exchange with groups of their own age from different backgrounds, lifestyles
and educational experiences adds another facet to their SELF-PERCEPTION while creating LASTING
FRIENDSHIPS!

Winter Guard has the latirude to perform at a local level with much the same scope as an athletic team, or they may
choose to expand to include perfonnaDces in other parts of the country affording an opportunity for trips visiting
HISTORICAL and CULTURAL sites. A combination of both types of schedule is also possible.

Very few co-curricular activities offer students an experience which challenges and stimulates growth on so many
levels:

+ MULTI-PHYSICAL
+ MENTAL
+ SOClAL
+ TllvlE SEQUENCE
• THOUGHT ORGANIZATION
• TEAM WORK
• GROUP COOPERATION

4
 Creating a Competitive lndoor Wint<:r Guard
May2000

The ActiVJty demands physical involvement in rehearsal and performa.'1ce involving muscle tone, conditioned
response to music and other srimuli. simultaneous <;:oordination of head, arms, legs, body stature as well as POISE
AND CONTROL "While experiencing physical and mental PRESSURE.

The mental training requires multi-levels of thought organization including portrayal of moods harmonious with
other performers, an understanding of why they execute each move and advance awareness of what the next move
will be and WHY it is there. The cumulative result of such physical and mental discipline is a student with deeper
feelings of understanding, a more disciplined focus which finds its way into study habits in scholastic efforts and a
higher level of self-confidence.

A Winter guard program will expand the techn.ioues of those who comprise the street and field marching unit in just
the same way that concert band, stage band and winter percussion lines continue the development of those skills
w:ith the subsequent impact on the excellence of the Music Program.

Socially, members leam to function in a group situation setting common goals, coopera,ting and striving for success
as a team

The many outlets for performances available to a Scholastic Winter Guard, besides contests, include the regular
school activity schedule of Rallies, Basketball half-times, or Assemblies for special events, which will show the
activity to the School Community. Other students will become more interested in the program, faculty members are
always impressed and the audiences (parents and students alike) enjoy the show for its entertainment value. Within
the communitv there are always organizations. loo.lcing for varied forms of entertainment and where space is
adequate, the indoor e:uard show can win tremendous support for the band program.

COMPETITION AS A BASIS TO MEASURE & APPRECIATE

EXCELLENCE

Competition in and of itself generates a divided position on the part of many educators who fear a misplar•!u focus
on winning at any cost. Because WGI is based on Education. that subject bas had· careful study anu •.Ugoin?-
sc:rutiny. Competition in this Arena is the means whereby we teach the following:

• Recognition & appreciation of the aclrievemeots of your competitors.

• A barometer whereby you measure achievement against a set of standards.
• A means to recognize your own potential !Jy aclrieving more than you thought you could.
• Putting "compt;:tition" in a light of discovery·and growth rather than "winning" as the priority.

Competition exists in tod.ay's world in every walk oflife. To prepare our youth with techil.iques·that will keep this
aspect iD a healthy focus while discovering and enj eying their own excellence may be our greatest gift to them.

Wben investigating competitions, look for other schools in the area who are already competing. Identify their
officers who can acquaint you with the rules, show procedures and schedules of contestS. and related events. If there
are no visible organizations, you may contact the WGI office for information regarding your nearest guard circuit
and who to contact. ·

Within the abundant opportunities for growth, physical expression, leadership and self-discipline for guard members,
the director/advisor also finds the satisfying reward of seeing youngsters realize their potential in such an_exciting
and positive manner.

Join the growin~ indoor guard family.

You won't be disappointed!

\45
 Creating a Competitive fndoor Winter Guard
May2000

STEPS TO STARTING

A WINTER GUARD

This challenging project will prove to be a very rewarding experience to the Membership the Staff and the
Management. Many guard are part of a larger organization such as Bands and Drum Cotps. Many ate sponsored by
school booster clubs, chUiches, parents organization or are self-supporting. When staning a competitive guard, you
should cottsider the following aspects:

STRUCTURE OF THE ORGANIZATION:

I. If you are part of a larger organization the structure will already be in place. Detenrline the role of the
guard within the larger framework. Understand the "reporting" relationships, job descriptions, goals
of the guard relative to the parent body, etc. Chances are that legal considerations may already be in
place because of the parent body.

2. If you are starting a new organization., yorir structure and foundation is of utmost importance. You will
need to form a management structure taking into· consideration the following:

* ConstitutionJBy~laws - Officers
* Philosophy
* Non-Profit Statui; 501 (C) 3
* Tax-Exempt Starns
* Leadership/Reporting relationships
* Job Descriptions·
* Meetings
* Boosters
* Budget/financial system/insurance
*. Goals (short and long range)

INSTRUCTORS: Instruction will be needed to address the selection of mu:sic, ·program. design, equipment,
technique of movement, arid teaching and perfecting the pr-oduct, etc. these duties may be done by a single
individual or several depending on the resources available and your needs. In some instances the management and
instructor niay be the same individual. If you are a scholastic guard, don't overlook the p<issible talent from your
music faculty.

MEMBERS:_In order to compete using WGI rules, an

independent unit must all be twenty-two years of age or
UNDER at the time of the WGI World Class Championship FinalS. Units competing as Scholastic guards must
h11ve ~1 memi:lers attend the same school or a school tliat feeds that particular high school.

CONTESTS:_If a local Circuit/Association is already established in your general area, contact them for information
on membership, dues, obligations, judging clinics, rules, etc. Most established circuits have a level of competition
for the new/inexperienced unit. If a circuit is not available in your genem.l area, contact the. WGI office and we will
try to help get something started or direct you to the closest circuit available.

TRANSPORTATION: The organization . will rieed· a mode of t:rabsportation· to contests; consider bus, vans or
individual cars. Funds and length of trips may detertnine whatyoti wish to use.

EQUIPMENT: Obviously, you will need the appropriate equipment which includes flags, optional rifles. and/or
sabers. Some units even involve special props which are an option and these are almost always designed and made
by the group.

6
 C=ring a Competitive Indoor Winter Gu.ard
May2000

REHEARSAL FACILITIES:Jndoor Facilities will be needed \Vlth a minimum floor space of 50 x 70 feet.

HOUSING: From time to time you will require housing (gym, hotel, private homes, rec centers) for c.amps or
overnight trips. ·

FINANCES AND BUDGETS.;_This will depend on how ambitious you wish to be. AJI of the above considerations
involve cost and will have to be considered in light of your organization and structure. Since the Contest situation
does not offer money in a prize strucrure, Fund Raising becomes an important part of your program.

RULES AND REGULATIONS:_Study the rules and score sheets and philosophy of programming carefully. 1 ne starr
and members should understand them so they know what is expected of them, and so they can starr our with the
greatest opportunity for success. Rules, score sheets and adjudication manuals can be oblained from the WGI
Office.

-oOo-
PLANNING THE PROGRAM

There are three components that are cornerstones to a successful indoor prograni. · They are the Identity or
personality qfthe guard, the concept & design of the show, and the training and excellence of the perfoii:lers skills.

This material is designed to assist units to "stand out" and be unique. There is a tendency to overlook aspects of
"personality" v.rithin the guard and to pick music that lacks real "staying power" and .interest. Often there just
doesn't seem to be the time to go through all the steps we will discuss, but their importance really can't be stressed
enough.

DESIGNING AN IDENTITY
IMAGE- PERSONALITY- STYLE

There is an innate collective I?_.ersonaliry that exists v.rith the members· of your guard. This personality or identity is
influenced by their social and economic situation, their beliefs, attitudes, values and goals. They bring to your guard
some built-in properties that can serve you well in understanding your members, capitalizing on who they are, and
helping th= to discover the best of who they can be. The other component will be those same values, beliefs,
attitudes and goals of your staff. Unless the two are compatible, you could find yourself with a conflict you really
don't need. ·

These two groups \Viii combine to fonn the "core" personality of who you collectively are. This core personality or
identity will re~ ~e bas~ of ygll{ _g1,1¥d, It v.rill evolve and grow, hut will essentially be the same. It is upon this
base that you v.rill develop the second aspect of what we call "identity". Each program you create v.rill call for a
particular sryle, look, role and character. This secondary element becomes a part of the design of each show. Here
is where the members act out the exploration of the many varied options you will give them.

Most teens are in their search of "who they are". You can provide them with a unique opporturiity to investigate
many possibilities in the safety of the guard family. You can give them the confidence to discover who they are and
who they can become. For this reason, the process involved here is an important development for them and for you .
.You are encouraged to invest in these sreps.

KNOW YOUR MEMBERS Discover their individual personalities, fears, circumstances. strengths; opinions,
preferences.

)Y1
 Creating a Competitive Indoor Winter Guard
May 2000

KNOW YOURSELF AND YOUR STAFF Understand YOUR individual personalities, weaknesses, circumstances,
strengths, opinions.

EXPLORE WITH MUSIC Music opens up lines of communication. See what the kids relate to, take them
beyond the top 40 by introducing a variety of sounds. watch their physical response to the music. Talk
about what the music feels like, what it "looks" like. A little Irnprov shows you who is willing to get up and
perform, as well as how motivating the music is to them and how they act it out. Observe the· gestures,
attitudes, and responses you get from the students and begin to put together a "look" for your show based
at least somewhat on their natural responses and their feedback to you and to one another as they share in this
process.

MOTIVATE YOUR MEMBERS Generate enthusiasm, build confidence, be positive and honest. Set a standard
for your group -they will reflect you! You will become the energy source from which they will draw.
Eventually they wii! return that energy to you when you need it most. Find time to laugh at yourself and
WITH them.

DESIGN A LOOK AN ATTITUDE AND A PERSONALITY Use the collective guard personality as the basis
for your program "role" and character. Define the character or role of the program. Spend time
directing "how they should feel" when they ar.e playing their "part".. Give them specific gestures and attitude for the
role.

Rem~mber, this is a process.

Don't look for all of this to happen in one rehearsal!
It is an ongoing ,effort.
The most memorable groups have
A clear, defined look & attitude!

-oOo-

MUSIC - MUSIC -.MUSIC

SHOPPING FOR A TUNE?

Remember, it sets the m(}(}d, leads the dance, grabs the audience and
lets you show your virtuosity. ·
It's that time of year when designers are searching. for the petfec:t vehicle to inspire and fo.nnulate t;heir wil).ter guard
shows. In recent years we have enjoyed original music, classical music:, ethnic music rock, jazz and music designed
to startle the listener, intricately orchestrated. There is no question at all that designers must have creative freedom
in the selection of the music and the cr:eation of :the musical book. . However, once that music is selected, once the
design team sets out to illustrate their vision ot:that program, then a whole new set of issues arise.

We've been talking about "pacing" of the show for years. When. where, how and why "effects" are planned into a
show has an enormous correlation to how the musical program lays ouL The whole concept,of"pacing" begins
with the selection of the show tunes and how the music is edited. Always consider the need for the kind of contrast
and development whicn can guide many shows to create a successful coordinated effects. Always be concerned with
the kind of impact points and visual resolutions which our activity has come to recognize as effective tOols within the
program. Tension and release is an important consideration within the effect caption.

8
 Croating a Competitive Indoor Wimer Guard
May:wop

The whole history of reacting to the e_ffectiveness of a program ir:Lvolves "mood" and ''appeal", and realiry is that it
will be the musical choice, that will set this in motion. One of the most commonly shared response mechanisms in
people is their reaction to music/sound. Don't lose site of this fact when selecting. your show tunes. Know your
audience. Be prepared for how they will respond to your choices. Know the "rules of competition" and the "tenets
of good programming", and be certairl that your show tunes will set you up to fulfill all the qualities which produce
an effective and successful program. Consider these points as you begin your show planning when you are out there
"shopping ior a rune".

THE PROGRAM & ITS CONCEPT

Your program concept, musical choice and visual style

contribute largely to set you apart from the many others in your class.
Strive to be remembered as you create your program.

CONSIDER THESE OPTIONS

+ Create a musical sound track that will showcase you and YOUR best assets as up create your visual illustration.

+ Don't select music that demands a skill YOU DON'T HA.VJ;:. Be careful of music with more depth than you
cao. illustrate. Can you pull it ()ff?

+ Never create a program a piece at a time. Select music that can be d~signed to create a WHOLE show. H.<..ve the
master plan in place before you begin.

CONSIDER THESE QUESTIONS

+ Does it have HIGHS & LOWS?

• Does it have opportunity to DEVELOP ideas?
• Does it have "llvfPACf" &"EFFECT" built in?
• Does it provide CONTRAST?
• Will the students be able to RELA1E to it?
• Will the Audience UNDERSTAND it?
+ Does it have a GREAT ENDING? IT MUST!
• Can you produce a "count sheetn to it? Do YOU understmd it?
• WILLIT SHOW YOUR. GUARD OFF TO THEffi. BEST ADVANTAGE?
• DOES IT INSPIRE C REA T IV IT Y

KNOW WHAT IS GOING ON IN THE ACTIVITY. Study lots of other Guards.

CREATE AN ACCESSIBLE PROGRAM. Be unique aod be proud of who yo11 are.

BE VERY CAREFUL OF GOING TOO HIGH UP THE ABSTRACTION LADDER Young performers often have a
hard time with abstract interpretation.

-oOo-

9
 Cre:1ting a Competitive fndcor Winter Guard
May 2000

MATCHING YOUR AUDIO AND VISUAL STYLE

STYLE IS DEFINED AS THE ARTISrS INDIVIDUAL MANNER OF WORKING We naturally tend to tteate a
visual look that will reflect our musical choices. It's important to understand those choices and the ~xisting visual
styles that accompany them. Be sure to research the composer/artist and the period to be best informed.

CLASSICAL MUSIC: The companion look or movement for this type of music is usually very poised and regal:
one sees a "lift" in the upper body. Moves are refined., articulate, precise.

JAZZ MUSIC: The slurred articullitio.ns and "improvisations" suggest a more fluid. "slurred" approach to
movement. One sees body and head isolations and an almost relaxed look.

THEATRICAL MUSIC: A bigger than life look, "corrunercial" choreography~ accessible & familiar.

ROCK: Here the Modernist has freedom to break rules and explore. A contemporary sound and look.

ETHNIC, TRIBAL: A wide open field inviting all kinds of interesting visuals; suggests short moves, is..olations,
etc.; could be a challenge and could define a unique personality; strong EFFECT potentiaL

STORIES: Music that suggests a story, or a clear theme invites a style that would illustrate the story. Learn more
before youjurnp in..

COSTUME DESIGN
Tasteful Attire to Support the ChQiader, Role, Personality, and Body of the
PerfomJer. ·
Consider; Functi011 - Color - Design - Fa!Jric - Style and Taste
FUNCTION OF THE COSTUME

+ Depict a role or character

+ Adapt to the stage (color & distance)
+ Accommodate mobility (freedom of equipment/movement)

IN SELECTING COLORS CONSIDER:

+ Your stage is a "yellow" gym floor or a colored floor covering which you purchase.
+ Visibility to the audience
+ Readability of body or equipment
+ Have a color wheel and know the hues, gradations and color families.
+ A vivid costume color (red) .will draw focus to the lxidy and dominate over equipment.
+ A subliminal color on the body may not emphasize what you are doing at that level and allow the color
emphasis to go to the equipment.

DESIGN:

+ Consider the body shapes you have to deal with. Always design with the extremes of body shapes in mind.
+ Consider the character or role you will portray.
+ Consider whether or not you wish m use any removable costume parts as props.
+ How long will you want to use this cosrume?
• Will they be home-made or custom made? What: level sewing skill do you have.
+ Consider your budget.

10

150
 Creating 2. Comperitive Indoor Winter Guard
May :woo

FABRIC:

• Be sure you can MOVE. Avoid binding in the body or restricting the function of !he arms or legs.
+ Consider how excessive fabric "IVill impact on drill lines as to clarity. flowing fabric won't give a clear ~ine.
+ Decide if that is a problem.
+ Consider whether you will use removable parts of the uniform as a prop.
• Know your options- Lycra, spandex, lame., polyesrer, silk?
• How many seasons do you want to use these cosnunes? Consider durability, laundering, wear & tear.

STYLE

+ Is there a particular look that accommodates your style either musically -or Visually?
+ Know what is appropriate for a classical style
+ Know what is appropriate for a jazz style
+ Know what is appropriate for a modern style
+ Know what is appropriate for a theatrical style
+ Knowing all of that, make intelligent, sensitive choices 4'1 a tm.ique and original appmach. Be one of a kind.

TASTE (This is a Biggie)

+ Taste is wbat you like.

+ Having taste implies an educated and discriminating awareness
+ Showing taste implies a sensitivity to your audience and "their" taste.
+ Being tasteful implies application of all of the above.
• Tasty meanS that it worked!

The Reality is:

+ Be sensitive to changing young bodies
+ Remember the age group you teach
• Remember if you represent a school·
• Avoid "sleaze"
+ Never dress your members in ugly attire.
+ '"Class" is often equated to Taste. It is better to be UI1derstated than overstated.

An attractive and tasty costume will make tile students feel special and will cost no more to
create. There is no stf!Jstitute for taste and detilil · .
EQUIPMENT & PROPS DESIGNED TO DISPLAY

PHYSICAL SKILLS

+ These are an extension of your costumes and should be designed to coordinate to them and one another.
Consider shape., line, fabric, color in design.
+ Know how you will use them within the show or.on the stage
+ Know what musical ideas you will be interpreting and how they will augment these ideas
+ Be creative. Design NEW props!

The word desiq_n i_mplies a Uf!iqaeness and oriqi_nalitv. Anyone C§n copy - it takes genills
and l/aang to be ong/na!. Make MdJ deSign clxfice anigoe/Yyour IJWIJI
-oOo-

ll

\s \
 Cre:1ting a Competitive [ndoor Winter Guard
May 2000

PLANNING YOUR BASIC MOVEMENT TRAINING

Based on the show concepts, style and personality, design the proper training for the following components of
movement. Include wann-up and technique instruction. Little will be as important to yoil as the correct TRAINING
time you will invest in your students. Don't short change this investment

• Movement fundamentals - preparing the body for heightened responsibilities

+ Basics of step/tirne/spacefli.ne
+ Method of traveling
+ Turns/jumps/leaps/in and out of the ground
+ Postural and gestural qualities
+ Dance techniques
+ Expressive qualities of movement dynamics (weight/time/space/flow)

Movement rehearsal should be done in appropriate attire - clothing that wil1 allow the instructor to watch for
posture, alignment, starts of moves, etc. Bulky attire will conceal this de'\relopment of body skills relative both to
movement and the manipulation of equipment. Wear the kind of shoe you will use in the show.

Basicsffechnique classes should follow a pattern. Consistency will encoumge focus and achievement. Set the
example for your students. Discipline should be understood and SELF-IMPOSED. Screaming at the students will
only put tension into the body and impair productivity.

MAKE CORRECTIONS. Don't let students practice etrors. YOUR OBSERVATION SKILLS r.~u:. " · ..,h--;:;
and you must KNOW HOW TO MAKE CORRECTIONS.

Be able to do what you ask of your students; much of what they learn will be through observation.

STAGING/ DRILL DESIGN

The three basic approaches from whicb. to choose in designing your show are:

Geometric Drill-use of basic forms: circle, square cone, cylinder, linear, curvilinear. This is what me,.;· .
known over the years.

Freeform, Textured, Segmented-this approach to form design provides contrast from the starkness of "line"
geometric drill and opens up the stage more dimensional equipment moves_

Theatrical. Here we deal with staging, entrances, exits & interaction between sections or characters.

Consider the folltJWing design points as Jl1ll plan J«<f s/XJW:

+ BALANCE IS AN IMPORT ANT FACTOR IN SUCCESSFUL DESIGN. Design may be either symmetric
(formally balanced) or asymmetric (informally balanced). Freeform reqUires baiance.

• Visual Ideas should flow or evolve logically from one to another.

• WHERE you stage a picture or set is important to control the·focus of your design.

• Always write your form show !mowing in advance what kind of visual concepts you wish to present
because this will tell you how much space to plan on.

+ Staging of sections w:iil make a difference in how your visual effects/presentations will work.

+ Know in advance what kind of equipment presentation is suitable for the drill form or set you have designed:

l2

15L
 Creating a Comp-c:titive Indoor Winter Guard
May2000

+ The closer tiJ.e space in any form, the monger the INTENSITY/DYNAMJCS of the move will be.
The more open rhe space the lesser the lNTENSITY/Dl:''NAlvfiCS will be.

+ Single bounding line forms using all the performers in one big picture is an imporumt opportuniry ro create a
major impact or resolution to a musical/visual idea. This often is successful at the start or resolution of a big
idea. ·

+ Contrast is an important feature ro successful design. If you have done LINE, GEOMETRlC drill,
give thought to creatin~ contrast through texture or segmentation. If you hav.e been doing segmentation,
rexrure or th~ter, give some relief or contrast to the eye through geometric/line drilL

+ BE SURE YOUR DESIGN IS CLEAR AND READABLE ~TI PLEASING TO THE EYE.

• BE SURE YOUR CONCEPT EXISTS ON TH:E,FLOOR AS \VELL AS IN YOUR :MIND.

The design team must WORK TOGEntER to plan and create a good design. Your staging person must know in
advance when to open up space or where to segment for feature ideas or when ro create that big picture for a full
ensemble equipment statement. ·

BOTH MUSICALLY AND VISUALLY

PACE YOUR sHow;·~

CONTOUR Y()UR SHOW
PROVIDE VISUAL & MUSICAL INIEREST THROUGH CONTRAST;.
AND ABOVE ALL
REMEMBER THE IMPORTANCE OF
STAGING- FOCUS -CONTINUITY- COORDINATION- LAYERING- APPEAL
&
EFFECT

-oOo-
 Crearins a Competitive Indoor Winter GWird
May 2000

UNDERSTANDING THE SCORING SYSTEM

THE THREE TlERt:O CRITERIA REFERENCE.

The 3-tiered criteria is a detailed, specific. expanded system that focuses on and rewards all three levels of
development. It is based on a curriculum specifica!ly reflecting the steps involved within various classes. It
provides opponunity for all performers to be rated accurately and to experience a higher numerical grade for
successful efforts in all three classes.

THE FIVE STEPS IN LEARNING

Our developmental criteria is based on the 5 steps involved in the learning process. This theory is an accepted
educational premise, and describes the process of understanding and finally performing any skilL These steps are:

Step I (Box I) EXPERIENCE - material is introduced to the student. The concept is presented. -.;r.rith the
principle/theory behind it.

Step 2 (Box 2) DISCOVER - The student attempts to convey the material to physical application and discovers
his/her capabilities and what must be done to improve. The studel).~ practices the skill.

Step 3 (Box 3) KNOW - The student btows what ·is expected,..grasps the material presented and is becoming
skilled in its application. Muscle memory and dextenty are developing.

Step 4 (Box 4) UNDERSTAND- The·student has a solid grasp of the inaterial and can demonstrate The sk:.ns with
good proficiency. The student haS entered performan:ce level and understands how to control his/her body to achieve
the skilL

Step 5 (Box 5) APPLY -The skills are fully absorbed and easily applied.

PREMISE OF A TIERED CRITERIA REFERENCE

The premise is based on the learning concept previously described where information or skill is first experienced,
then processed and finally applied. To explain the development of these stages we have used the words
EXPERIENCES, DISCOVERS, KNOWS UNDERSTANDS AND APPLIES to delineate the 5 levels of learning
and doing. There is an overlap of boxes 4 & 5 from Class A to open class and then from Open class to world
class. This allows for the student-instructor review and for a re-establishment of prior skills at the same time new
skills are added. This premise implies that we reco~ize BEGINNil'lG, INTERMEDIATE AND lillY ANCED
skills in vocabulary, design and performance. fn this way, performers and instructors can pIan their programs with a
narural development and progression in mind. They can be graded much as they would in school, and the system
provides both curriculum and achievement recognition through score.

The following is a chart which will basically tell you about the progression of the curriculum.

CLASS A:
Box 1: The student EXPERIENCES the basic skills.
Box 2: The srudent DISCOVERS the basic skills
Box 3: The srudent KNOWS the basic skills
Box 4: The srudent UNDERSTANDS basic skills and EXPERIENCES some intermediate skills.
Box 5: The srudent APPLIES skills & DISCOVERS some intermediate skills.

OPEN CLASS:

14

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 Creating a C omperirive lndoor Winter Guard
May :!000

Box I: The student 1JNDERSTANDS basic skills and E"X:.PERIENCES some imermed.iate skills. (note the repetition
of Class A box 4)
Box 2. The student .AJ'PLIES skills & DISCOVERS some intermediate skills. (note the repetition of Class A. Box
4). The i..11tent is that when graduating from A class, the scores will probably lay somewhere beginning in box:. 3.
Box 3: The student APPLIES basic skills, KNOWS intermediate skills.
Box 4: The student APPLIES basic skills, UNDER-STANDS Intermediate skills, EXPERIENCES some advanced
skills.
Box 5. The srudenr APPLIES basic and intermediate skills and DISCOVERS some advanced skills.

Each of the criteria reference boxes begins with a directive, based on the curriculum atid the level of develop menr of
the student. (see above chart) The criteria will then offer more derailed delineated descriptions.

Consistent scoring is a major concern to judges and insl;ructors. There are some situatio~ Vlb.ich lead to numbers
which bounce around. We are sensitive to the impact this has on the performer and the insecurity it places in the
.insnuctor. We have identified several factors contributing to this problem.

GENERAL OBSERVATIONS

Inconsistent exposure places both judges and guards at a disadvantage. The local judge 'Nil! be measuring the unit's
growth; the WGI judge will be unaware of this factor but will be trying to grade relative to all the other class A or
Open guards viewed that season. This difference can reflect in the scores.

When a large number of guards are very similar to each other, either in prognun or achievement, judg~s· re:.:,lkngs
rnay be more at variance resulting in placement differences. This is why we encourage the guards to establish a
personality and program that will "set them apart" from their competitors and perhaps offer them a com-petitive
edge.

The size of the contest can influence ratings significantly as more and more guards come together and must be
R.AJ~D. Early season smaller Regionals sometimes yield scores that are higher than is appropriate in ligh:t of the
fact that shows are often not fully complete and the judge's number base is not yet established. Subsequen1: larger
Regiona.ls expose the guards to a broader field of competitors and the process of ranking can lower the ca:liP.: :· :~r.:r~
in some cases.

One of the biggest questiop.s in the minds of most instructors, arise at Championships when· the double panels will
· yield ranking differences of 10 to 14 places. The obvious instinctive reaction is that one of the judges is
incompetent Usually it will be the judge with the lowest ranking. The truth of the matter is that when judges have
is
seeri some of the units and not others, there a different familiarity put into the mix. Sometimes there has been an
opportunity to critique with those instructors and the guard may stand out in the judge's mind. Couple this with the
similarity between many guards (especially in the middle. of the class) and these ranking separations can easily occur.

One of the prime purposes of the double panel at Championships is to assure the unit of the faimess that the "average
score" will yield. Over the years, it has become very clear that for the most part, the average score is usually quite
fair and equitable.

The instructors' focus ·should go to this average score and ranking more than to the individuals who comprised the
team that produced thar average score.

"EXPECTATIONS FROM THE 3-TlERED CRITERIA"

!5

)55
 Cre:~ring a Competitive [ndoor Winter Guard
May2.000

This system is designed to afford the judge the opportunity ro rank. the guards within the subcaptions.
profiling for them, a clear picture of their strengths and weakness. This will produce a scoring pictute that will
be different from the compressed scores from the past. Box ties should be drastically reduced because the:re will
be room to indicate each units achievement within the sub-caption.

This system will allow the units to see the growth they may achieve over the course of the season because
there will be adequate num.bers availaole for this process to be teflected.

Units will have the opponunity to reach maximum scores in every class because the systein is designed specii:ically
for this potential to occll):". Scores given to an A class Guard will not be comparable to guards in the open o:r World
classes. This class comparison is no longer an issue. Guards should now measure their success based up oo how
close they come to reaching the maximum score. Those who previously measured their relativity to Open or
·world class as a guide i:o when they should move up to the next class, now have a new and different method to
determine this. ··

The important issues here deal with guiding each· group through a step-by step process in their growth and
development, moving into the next class when all of the training and skills have been established.

CLASSIFICATION IMPLEMENTATION

There is a strong potential impact relative to guards who may be competing in the wrong class. Because this
criteria is so strongly attuned to the curriculum involved in the developmental process, should a 'guard compete
in an inapprqpriate class, tbeir scores wili SOU!ldly reflect this. Fer example, a group competing in ti:;P Op.;p ::lass
who. is truly more suited in the World class, or a guard competing in the A Class who is truly more suJL.::d to .;e in
the Open class, may receive early season scores in upper box 4 and box 5, suggesting that a re-classificati:on may
be in order. the same is true of those who are competing in a class beyond their skills, the box 2 scores they
could receive wiU indicate this same mis-class.ification suggesting a move to ajower class,

It now becomes extremely ~portant for all gt,~ards to place themselves in the proper cla.SS. This i!: of p<1!'tic:!lar
concern in local drcuits where some guards re-group for the purpose of having a balanced number of ,;r<Jup::. in
each of their local classes.
IN GENERAL

Keep a note book identi,fying the strengths and weaknesses the judges pointed out. Try to set your lesson plan to
incorporate areas identified· for improvement Indicate your growth and continue to add ro· your book noting
subsequent comments and whether. or not the focus areas are improving. If serious scoring inconsistencies should
occur, call it to the attention of the ~hief Judge and ask that it be looked into. This will vary somewhat within the
local judging circuit and W GI. Each judging focus will be influenced by differing factors as mentioned earlier.

USE YOUR CRITIQUE TIME BY BEING

PREPARED

+ Start by identifying your guard, its class, and yourself if you don't know the judge.
• . Don't offer excuses,, Address the facts, the siruation and the performance.
• Know and understand the system & listen carefully to judges tapes
• Make notes on judging comments which you don't understand or which need clarification.
+ Relate your scoring comments to the criteria reference and the directed focus for your class .
• Apply good communication skills in dialog with all judges.

BE REMEMBERED FOR THESE STRONG QUALJTIES.

PlAN TO iMPLEMENT JUDGING INPUT IN
A LOGICAL WAY

You should have your own list of "Things to do" which will be integrated into your lesson plan

!6

\5(p
 C=cing a Competitive Indoor Winter GLW"d
May 2000

over several rehearsals. \\'hen judges point out weak spots or areas of concern in the written
program., if these observations match your own awareness, then simply check them off and tell tbe
judge that you will be addressing these concerns in the near future. If the judge adds new concerns, then
consider and discuss these concerns to determine if they require technical reinforcement or design
changes. Go to your list of things to do and incorporate them at an intelligent point in the developme:nt of
the guard Don't negate your own agenda of rehearsal points based only on judging observations. Address
them in the appropriate rime and manner.

-oOo-
HOW TO BE A SUCCESSFUL AND EFFECTIVE TEACHER

Many of today's instructors come from the unique school of "past experience". Some bring a wonderful s:ense of
work ethics, ·personal sensitivity and technical knowledge. Some cany harsh and difficult mannerisms .and a lack of
organization or focll5. They are all the productS of their owo. learning experiences and have only their own teachers
after whom they can pattern their style. Many are young guard graduates who don't have the maturity or exp erience
helpful in any teaching situation.

With the tremendous growth of winter guards within the scholastic arena we now find the adde9 responsibility of
being in tune with the various attitudes, chains of command, budgetary and time limitations, involvement of parents
and the list goes on and on. The following information is intended to assist the guard instructor in underst:anding
those areas which could make their lives easier and lead them and their students to more rapid and higher success

WHAT ARE THE QUALIFICATIONS OF A GOOD INSTRUCTOR?

+ They are fully competent to teach all techniques involved in the area for which they are hired; program, design,
technique, movement
+ They un~rstand their moral and ethical n:sponsibilities relative to the students.
.. Language -profanity is unacceptable.
+ Fraternization with students is inappropriate especially in scholastic situations.
+ Rude or insulting remarks which diminish the student's esteem are inappropriate.
+ They have a sense of Responsibility and a Work Ethic that is consistent and timely.
+ Punctuality at rehearsals
+ Preparedness "With lesson plans
+ Productivity and time management
+ Accountability to director, students, staff
+ They have strong COMMUNICATION SKJLLS:
Relative to dealing with administration
Relative to dealing with students
Relative to dealing with parents
Relative to dealing "With other staff
Relative to dealing -with circuits and competition administrators

+ They are enthusiastic \>lith a strong sense of conunitrnent.

+ They have a balanced personality.
• They understand the importance of team effon, team building and compromise where necessary.
+ They can establish attainable goals and the means ro achieve them.
+ They know how to LAUGH, PUT COM.PETITION INTO PERSPECTIVE, TURN LEARNlNG INTO
FUN AND MOTIVATE STUDENTS TO DISCOVER n£EIR GREATEST POTENTIAL.

TIME MANAGEMENT
WORK LESS- .P.RODUCE MORE- HAVE FUN

17
 Creating a Competitive [ndoor Winter Guard
May2000

[n every work situation rime is of the e5sence. The person who plans histher time and details the tangible aspects of
the job will find therru;el.ves far and ahead of those who fiy by the seat of their pants. The guard prog:rarp p Ian is no
exception. Developing this kind of time planning will not only ·serve you well.., it will impress every other individual
with whom you work. Everyone has lives they must attend to outside of this activity. They will suppon you best
when they can know your needs well in advance.

THE MASTER CALENDAR

The master calendar is for EVERYONE connected with the production ofyour color guard.

On your master calendar, enter established dates for performances, trips, exams, proms, school breaks or any
other date that will impact on yorn production schedule.

Working backwards from ·the firSt show, figure how marty rehearsals you will need to teach the show. Note the
start of production showing all rehearsals.

Working backwards from when you will begin teaching the show, determine how many weeks you will need to
teach basics. (If you are a scholastic guard, basics may already have been taught prior to band season). Note this
class time. Be sure you allow time needed to teach technique.

If you are a scholastic guard, move to the calendar time when the Fall season ends and schedule the time you will
begin rehearsals. Plan time to have the show FINISHED for the first contest:

THIS IS YOUR PRODUCTION AND PERFORMANCE SCHEDULE

Did you allow any time off between band or corps and your winter guard.? Please consider bum-out. Determine
whether you want to hold 2 or 3 full weekend Guard camps which will i;i.ve you Friday night for 4 horns, Saturday
for 8 hours and Sunday for 4 to 6 hours, or if you want to do ali-day Saturdays or a series of weeknights. Don't let
school work suffer so be careful of overdoing sch:ool nights.

DETAIL YOUR PRODUCTION SCHEDULE

+ Project when your music must be chosen

+ Indicate when costume and prop designs must be complete.
• Indicate a production schedule for sewing people showing when you want prototypes made up?
• Indicate budget planning deadlines.
• Indicate show planning meetings .
+ Indicate fund raisers.

PUT ANY REMINDER ON YOUR CALENDAR THAT WILL KEEP YOU ON TARGET. GIVE THIS CALENDAR TO
EVERY PERSON INVOLVED rN TillS PROJECT. Prepare a more simplified version for the performers. IF YOU PI,.A.N
YOUR TIME, YOU ARE FAR MORE LIKELY TO SUCCEED, FAR LESS APT TO BE .CAUGHT OFF BASE OR
BEHIND SCHEDULE AND PARENTS, ME!v1BERS AND ADMlNlSTRATION WU.L BE BEITER ABLE TO
SUPPORT YOUR EFFORTS.

-oO.o-
Pe_rhap~ the qreatest skiff you can_develon is.the abilitv to communicate with people. This
skill ltf/1/_serve, you throughout life ant/ will aiJsolllfely serve you as a tear:ller. The
followmg rs tmly...... .

!8
 Creating a Campctitivo Indoor Wim::r Gu.ard
May 2000

THE BEST INFORMATION YOU'LL EVER GET

Excerpts from Dale Carnegie's
"HOW TO WIN FRIENDS AND INFLUENCE PEOPLE"

FUNDAMENTAL TE!=HNJQUES IN HANDLING PEOPLE

+ Don't criticize, condemn or complain

+ Give honest and sincere appreciation
+ .Arouse in the other person an eager want.

6 WAYS TO MAKE PEOPLE LIKE YOU

+ Become genuinely interested in other.people

+ Smile
+ Remember that a person's name is the most important sol.Uld in the language to that person.
+ Be a good listener; encourage others to talk about themselves.
+ Talk in terms of the other person's interests
+ Make the other person feel important- Do it sincerely.'

12 WAYS TO WIN PEOPLE TO YOUR WAY OF THINKING

+ The oDly way to get the best of an argument is to .avoid it:

+ Show respect for the other person's opinions. Never say, "you're wrong".
+ If you are WTong, admit it quickly.
• Begin in a friendly. way.
+ Get the other person saying "yes, yes" immediately.
+ Let the other person do a great deal of the talking. ·
• Let the other person feel that the idea is his/ hers.
• Try honestly to see things from the other person's point of view.
• Be sympathetic with the other person's ideas and desires.
• Appeal to the nobler motives.
• Dramatize your ideas.
• Throw down a challenge.

HOW TO CHANGE PEOPLE WITHOUT GIVING OFFENSE OR AROUSING RESENTMENT

• Begin with Praise and honest appreciation.

• Call attention to people's mistakes indirectly.
• Talk about your own mistakes before criticizing the other person.
• Ask questions instead of giving direct orders.
• Let the other person save face.
• Praise the slightest improvement and every improvement; be hearty in your approbation & lavish in your praise
• Give the other person a fine reputation to live to.
• use encouragement, make the fault seem easy to correct.
• ·Make the other person happy about doing the thing you suggest

LEADERSHIP
A great attribute to effective teaching

"HIIW did I end up in this position and fXIW that I'm here, do I really want thejril? Oh
Well, since 1/w got it what do I have tD do to be greatr

19
 Creating a Competitive Indoor Winter Guard
May 1000

Apply this infurmation to yq.urself, yuur staff or to your studerrr leaders.

BE CONFIDENT IN YOURSELF
+ If you have hang ups or fears then face them up front -be honest with yourself

BE IMAGINATIVE
+ Never be ordinary or predictable; make everything a new adventure.
+ Problem-solve in new ways
+ Don't be afraid of being laughed at
+ Plan ahead for any emergency or situation you might encounter

RESPECT YOURSELF AND OTHERS

+ Always see things from the other persons point of view as well as your o'wn.
+ Treat others as you would like to be treated.
+ Never walk ahead of or behind your peers - WALK ALONG SIDE THEM.
+ Make it a point to KNOW all the members of your group. Draw them to you by making them feel important.

KNOW THE AREA IN WHICH YOU LEAD

+ Be prepared & knowledgeable - don't expect to fake your way
+ Plan your rehearsal times. Know what you need to accotnpl"isi:i and get it done.
+ Always have Plan B in case of any unexpected situation. Tins is a major life lesson. If you're caught ~!:"!art
and panic you invite loss of leadership.

HAVE GREAT COMMUNICATION SKILLS

+ Half of communicating is LISTENING AND HEARING.
+ Teach communication by example. Get everyone to feel safe opening up AT THE RlGHT TIME AND [N
THE RIGHT WAY

HAVE A SENSE OF HUMOR

+ Put everything into perspective- Laughter is often the best cure-all in the world Feel free to laugh ;:
from time to time.
+ Anything that is FUN is NEVER work. Tum life and all its challenges into FUN

Your leadership isn't something you can force on other people. Bring to your job knowledge,
enthusiasm, great ideas and a desire to get things done. Then one day you111 look around and
realize that people are following along wanting to be a part of your plan, asking how you do it!!!

-oOo-

20

\ (pO
 Your pyramid towards success starts with a base ofenthusiasm
and works its way up.

Success

Faith/Patience

Competitive Greatness

Poise Confidence

Condition Skill Team Soirit.

Self Control Alertness Initiative Intt:n

Industriousness Friendship ·Lovaltv Cooperation

Enthusiasm

(From the WGI web page)

\ (p l
 -
TR.4.INING

I
J

j
j'
Training exercises in. the areas of movement and equipment must be geared to improve the
technique, style, awcrreness·ancf ability level ofthe performers, as well as serving as a warm up. This
i.s a series of exercises that will. teach the members all necessary skills for the season. Each exercise
is focused around a di:tfert?nt skill and should be self-teaching. Training is then ~;ootinuerl with the
actual instruction ofthe show. ·
l A group's technique, method of movement and equipment handling can be specific to only
that group. However, there are universal concepts of both movement and equipment that must be
adhered to.

TRAINING IS THE SINGLE MOST IMPORTANT PART OF ANY COLOR

GUARJJ PROGRAM!

-."'··~-
·.·

HINTS FOR GOOD TECHNIQUE INSTRUCTl0N

Perform t;he exercises at the beginning of each rehearsaL

Design the exercises to be the same every time.

Assign permanent counts to each exercise and do them in the same order on a regular basis.
This will allow the performers to focus on the technique instead of the counts or what is next.

Give proper and consistent instruction.

Rehearsing incorrect technique only reinforces bad habits.

Continue training of technique during the instruction of the show.

Do not allow the performers to think of the show and technique separately.

Include performance qualities and expressive qualities of time, weight, space and flow in your
instruction.

Good rehearsal technique must be demanded

This is something that must be taught the same as anything else. Require the same amount
of intensity, emotion, focus and control as expected in a performance at ali times I

\GL
12
 TRAllVI.iVG= GROWTH IN THE AREAS OF STRENGTH, FLEXIBILITYA.ND
COORDINATION 1-VllliiNA PARTICULAR STYLE

Instruction of technique, expressive qualities and style should include the following:
'
[
·,
I.
Movement training !i
i
i
i
i
method oftraveling Coordination, style, strength I
!
walking
running
understanding ofline ··coordination, style, strength·
p!ie'
tendu
flexibility Coordination, flexibility, strength
sitting and standing stretches
technique of dance moves Coordination, flexibility, style," strength
leaps, hops and turns

Equipment training

• basics of wrist and arm control Coordination, strength, flexibility, style

spins
flourishes
• technique of releasing and stopping Coordination, strength, style .
tosses
flips
• awareness of planes and position Coordination, flexibility, style
multi-plana! work

13
lljl C\. w ·'"-.l.,.e r

J!
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/r:-- S~k

j
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i
EDUCATION AND ACHIEVEIYIENT

Color guard offers a wide variety of physical and emotional experiences necessary for the
individual growth of its participants. Team work, unity, compromise, self-discipline, respect, sense
of accomplishment, acceptance of failure, self aware~ess, working hard for sornethiag you value,
friendship, and dedication are just a few. The education and growth of the participants should be
paramount when considering the purpose of this activity. Every attempt should be made to ensure
a positive experience for all who participate. Achievement is a necessary function ofthis experience.

Success is related to past experience and what is communicated to the performers by the staff
This is different for each organization. Achievement refers to the reaching of goals with standard
expectations of excellence. Goals may be any one or a combination of the following; catching that
toss, hitting that set, doing better than last year, making finals, scoring a certain number, getting a
"one" at state, getting a standing ovation, or winning. The more that is accomplished, the better the
experience. Ifwe, as instructors, require the members to do one ounce of work, we must make sure
that the same amount is reflected in achievement. This will help to ensure that positive experience.

Programs that do agr~ that education and individual growth should be the ultimate purpose,
often overlook the concept of achievement. Allow the members to feel a sense of accomplishment.
Allow them to become dedicated. Nlow them to work hard for something they value. Give them
a common goal to work together to reach. Allow them the feeling of self-respect and pride in rheir
organization. The instructor that takes responsibility for the achievement ofthe members is domg
the program a great service. The members will eventually move on :from the activity anc! oe lef.: -;,ri~h
something better than color guard itself can provide.

It may be necessary to implement new policies and procedures that will conflict with several
of the members, parents, and maybe even staff It may require making the members work when they
are tired, an increase in rehearsal time, an increase in fund raising for the budget, enforcement of
proper rehearsal technique, or an increase in planning time by the staff. It is the members that
receive the benefit. Growing pains of a program never: last too long and are accepted as standard in
world class organizations. Too much at one time may shock an organization into disaster. But,
constant development is essential.

Do what it takes to allow your members to achieve. These decisions can and will be made
only by the staff If a program is sincerely interested in maximizing the potential and the individual
growth oftbe members, you must ensure that achievement is a part of the plan. Ask anyone if they
want to be great and they will always reply, "Yes." A.sk anyone ifthey want to do well . .t\sk anyone
if they want to improve. Ask anyone if they want to have a great experience. Ask anyone if they
want their members to leave their program with the best memories and experiences of their life.

A..sk yourself if you J.re willing to do what it takes.

 Part I: WGI 2000 --Philosophy Discussion

·VOCABULARY: .QUANTITY VS. QUALITY

There is no question that the WGI judges are well educated in the philosophy of Movement:, Equipment,
Ensemble Analysis and General Effect. Indeed, there seems to be near-unanimous agreement that the
understanding of the philosophy is .!!.Q! a problem for the judging community. AU. of y-ou are to be
congratulated for this achievement and recognition. You as a judging community have seen an enormous
growth in your responsibilities in the last several years, as programs have evolved to a new level of depth
and complexity in every class.

It is now appropriate to examine the system from a broad perspective, considering important material in the
philosophy of each caption. While there is nothing. new in the material, it is importa,nt that the judging
community look at the system with a more holistic awareness of how the captions interact witn one another.
The material in this paper, the fiFst of a series, provides a much more macro-analyzed set of circumstances.
This first paper will focus on the two I. A captions. Through .each subsequent paper, you will see the impact
that each score sheet has on the others, and specifically, within this paper, we will begin to touch on the
influence "vocabulary" is having on Composition and Ref,ertoire.

After examining the performances over the course of the 1999 season, it seemed that many units (especially
those in Class A and Open Class) struggled to perform the programs. The challenges. in Class A seem to
indicate a shift ·in the paradigm for a large number of units since all are doing more than ever. Along with
this growth, there is the recognition that many students are struggling to perform those br::oader
responsibilities.

This .now poses a two-fold qu~stion. Are the judges sending a message that ''more" is better? Or, are
instructors over-challenging their students to gai.ti a competitive edge?

Perhaps the judging community, in its fuller understanding of vocabulary, has begun to emphasize the
"what" side on the IA sheets, prompting the instructors to widen the challenge. Or, perhaps the instructors
have taken it upon themselves ·to broaden the vocabulary. likely, it is a mix of tile two groups ..

:·In application of the system, the judging community has a responsibility NOT to require or ask for more
materiaL The judge should evaluate and r:-ew:ard the choices that are made by the instructors,
commenting on the range and. variety of WHAT IS PRESENT "WITHIN THE VOCABULRY. While
this may lead die instructors to their own decisions, it is better fqr t~ }lldg!:;:S. _not to be in valved in these
qecisions. It would be appropriate to avoid the reality, or the appearance, of suggesting that the units do
more and more .. There is an important distinction between measuring QUALITY AND RA.NGE of the
vocabularies, and QUANTITY within the vocabularies. This leads to a discussion of the implementation
of the system, and how the judge should score each group. ·

First, judges must return to· the foundations of the Principle of Achievement. One of the tenets is that
the score. for any unit is the SUM of its events over time. In arriving at the score for vocabulary, one
must remember that it is perfectly acceptable to have a soloist; it is acceptable to have a sequence in
which only body application is being presented; it is acceptable to have a sequence where equipment is ·
presented without motion; it is acceptable NOT to have the triad operable at ALL times during a
program of any unit. Unless these choices and options are hlended, programs will l:>e little more than
a non-stop delivery of quantitative materiaL When that occurs, there is an "upward" impact on how
composition is designed and how effects are paced.

l
The IMPRESSION-ANALYSIS-COMPARISON phase is meant to compare the relative use and the
qualitative use of the triad and all the surrounding vocabulary choices. There is no Requirement to
insist upon total synergy, total use of the triad or greater demands upon the individuals <~f any unit.
Seeking MORE is not the philosophical intent of any part of the WGI system. It is not the
responsibility of the judge to seek more. Rather it is the responsibility of the judge to reward what
EXISTS in the program , NOT WHAT IS ABSENT In the program ..

Second, the judge already has tools that can be used to indicate an over-use, or an over abundance, of
material for any performer(s). Our sheets speak to 'compatibility', which is defined as the fit between the
skill set of the perfonner(s) and what has been asked of the performer(s). Judges need only speak to this issue
with greater confidence to assist in cautioning any over-development of responsibilities. As witn so many of
the tas)<s of any judge, the •issue of compatibility is one to be applied with discretion, and caution.. Be sure
you are clear in recognizing the difference between: an ''under-rehearsed" performance arw.d students
who are ''untrained" or ''incompatible to the vocabulary".

Third, judges have another tool in the profiling of sub-Captions on any sfieet. It is important to re-emphasize,
that ~he sub-captions of vocabulary (and composition and repertoire) have never been intended to be pure
content captions, nor are these captions ri:reant to be·o'v-erly influenced: by the performance. There has ~!ways
been a directive. related to Achievement, that each of these captions has a 'BIG WHAT, li~le how'
cons-ideration. The flexibility fbr the judge in assigning a score is based in the achievement pTocess. We
have said, from the beginning of achievement as a.prindple and a process, that all arabesque;:s are not equal in
these captions. We have said that ndt all quads are equal. The mere presentation of any particular skill is
NOT a singular and sufficient reason for FULL credit in Vocabulary. The amount of credit is also based in
the quality of any demonstration of skill, as determined by the judges' experience and the achievement
a
process. Indeed, we reward presence of skills to greater extent; however, mere presence is. :N"OT the sole
reason for complete and 'i"nax.irrium credit iri these· captions. It is ex:peC:ted that the judge will exercise
flexibility and use achievement to distinguish the quatit3.tive· aspect. · ·· ·

Typically, judges score in one of the two models shown below.

Model A: If a judge leans ·mare ·towards pure v.ocabul'ary (a considerable reliance on the 'WHAT), this
must be balanced in the other caption of the sheet. It is entirely possible to have a greater reliance (but not a
complete reliance) on the presence of skill{s) IF AND ·oNLY IF the judge also· balances through a proper
profUing of. the other sub-caption. ·· · ·

of
Model A: Judge 1 relies i:ziore (b'tit riot completely) oil presence skiDs: Score i7 .i ·
A profJle fo·r a unit with extensive re5ponsi6ilities and troubled achievement might be a captio.n split of
~-ti· .,

Model B: If Judge 2 relies less on the presence of the skrll(s) and a bit more on the achievement of the
skill(s) then it is necessary chat the score in Vocabulary be reduced accordingly.

· Model B: Judge i relies more {but not equally) on a~hievement: Score 17.1
A profile for the same unif with extensive responsibilities and tn:mbled achievement
·· mig~tbe a caption split of' 87 ·.; 84. ·. · · ·

The Task Force prefers greater reliance on the split lietweeri captions, as seen. in ;Yfodel A above, because
the injonn.ation to th~ instructor is clearer~ ·

2
 Fourth. and finally, our sheets and philosophy contain words that describe the overall vocabulary, These
phrases---basic skills, intermediate skills, and advanced skills are descriotives intended to su::mrnarize the
level of the totality of the Vocabulary. Clearly, when used, they commu~icare the judges' vie-v.r of scoring
significance in a very direct manner. What the judge must remember is that we never put a "value" on any
isolated move or event in and of itself, because in evaluating a phrase, the "value" of that same. move could
change given the different context in which it occurred within the phrase. The correct judging technique is
to identify the phrase and its c.omponents and then comment on the range of the vocabulary and bow it might
have been extended.

All vocabulary will have a wide selection of skills within the combination of any given phrase; some will be
simple, others very complex. What the judge should be measuring is how these choices are combined and
how they are layered relative to whether or not the moves have extended the vocabulary range.

The issue is clear for the judges. While the Task Force agrees that these descriptive words (beginning,
intermediate, advanced) are acceptable for reference by the· judging community as part of the philosophy,
they wish to emphasize, once again, that these references are to be applied to the SUM of events of any
unit. One phrase does not make the overall skill set basic, intermediate or advanced. When using these
references, be wary of how you communicate your intent.

With the agreement of the Task Force, the judging community must communicate the EDUCATIONAL
INTENT of our curriculum model. These days we ail t90 often see "A" guards With vocabularies that not so
long ago would have been considered World Class. The problem is not one of proper educational challenge,
for with challenge can come growth. The problem is that muscle development, training, mcitor skills, and
stamina are not usually extensive or strong enough in students, especially in the A and Open Class.
. '
It can be argued that the rvv class is the arena for the greatest challenge. WGI established the three-tiered (or
four-tiered) system as an educational model. It is a model in which each level of our activicy :.s ~·v'··,.d ·icr :·
curriculum appropriate to its own level. It seems that the model has been weakened to the extenL r.hat not on1i
are World Class guards doing World Class curriculum but also guards at every level are anernpting World
Class curriculum ·

This is not good for the units, and not good for our educational base. It is not good for our audience, which
also enjoys a high level of preci~ion. Most of all, it is not good for our students at· e:very level of the activity.

We are certainly not looking for a return to total simplicity in order to achieve precision. We are seeking a
·balance. We are seeking educational mod.e.ls in which the growth in challenge is commensurate with the
students skill set. Such proper balance encourages and allows for separate curricula in our classifications. In
the long run, proper curricula challenges will produce better students. FINALLY, THIS BALANCE
REQUIRES THAT WE USE ACHIEVEMENT, PROFILING, COMPATIBILITY, AND SCORING
SIGNIFICANT COMMENTARY AS TOOLS AND NOT WEAPONS IN GUIDING THE UNITS TO
THIS BALANCE.

Our next paper, titled: "Random acts of Color Guard vs. the Composing Process", wi1I begin to touch
upon how ''quantity" is· impacting on the "quality" factor in EA. We will also draw acorrelation from this
discussion on vocabulary to the changes we are seeing in the composing process.

Please enter imo dialog with your peers on the topics covered in these papers. Please bring to our attention,
any points of concern or any areas in which you would like clarity. We hope that chis will become an
ongoing diaiog across the course of the season, and that you, as quality professionals, will feel enriched from
the conversation that it will producec .

l~l
 Part 2: WGI 2000 -- Philosophy Discussion

RANDOI'vl ACTS o:F·coLOR GUARD VS PROCESS & UNITY

Ensemble Analysis - The Bridge
Over the past few years, we have emphasized the need for judges to recognize the design qualities seen in the
design of body and equipment. The good news is that this effort has been successful. All of you have definitely
grown in this area of recognizing "vertical orchestration". As you noted in paper #1, however, we are facing a
new issue relative to quantity within vocabulary. This paper will address how that has impacted EA.

In Ensemble Analysis, the priority is a! ways the organ izatron of the events through time. Our .ma..n ual uses many
words to describe the purpose of the ensemble sheet. There is "orchestration", "logical. sequence", and "unity".
In our quest to improve the quality of judges and to enhance their skills, we began to speak of "horizontal
. orch=estration" and "vertical orchestration". Then we added ""conceptualization" arid "ch-aracteristics''. As we
a~ded the words to the judging lexicon, the units added more material into the programs. ·

The previous paper on vocabulary discussed the problems we have encountered witb an increase in the quantity
of the vocabulary in the IA captions. The natural consequence of increased quantity is bourid tcio be seen in the
EA caption. If the increase in Vocabulary should, be problematic, it would fall .to the EA judge to spqk to any
such issues. What has occurred, to some extent, is that as more material was added to the programs, the EA
judges were looking at the material with more and more. words which seemed to. have different meanings., ;I;'his
suggested that there was little doubt that the judging· community was usually micro-analyzing in EA. By such
micro-analysis, the larger picture of organization and uriity can be (and ofte~ is) lost. The result of the addition
of more
..
and. more individual work, combined with greater count by count yielded "random acts of color gtla;:-,:.··

What a,bout ''the bndge"?. The reason the ensemble caption is present in the system is simple endugh. It wa"
meant to bring order to the whole. If the reason for existence of any program is· simply a display uf .c :~::::~ •..
ranqdm .eventS, layered events, more events - the result may well be what was discussed in the· flrst,paper.
There likely will be problems of compatibility. There likely will be problems· iii 'the development of skills.
There will be problems in any.caption dealing with exceUence. Further,.it is.entirely possible th.at 'there will be
a loss of orgahiz<J.tional development. In the quest to !;mild the Vocabulary, the sacrifice could be at the expense
of the organization of the program itself. The multiple levels of our educational curriculum try to avoid issues
of compatibility and training, and the ensemble caption has its place in this discussion. On the one side of the
bridge is the writing of the indi.vidual events."' On· the other side is the intended effect of those events: While it is
not. necessarily true that there is no effect without organization, it is the organization duH ·allows all. the
individual events to fit into the concept and lays the gro1,.1ridwork'for the·pacirtg we appreciate in GE. Indeed 1 it
is the ensemble sheet whl.ch demands that there oe·organizati6r'i and NOT simply events, When we see a lack of
organization, we calk of "random acts of color guard" where programs contain 'events that do not sh~w
coimection and development, and penultimate ideal --continuo~s engagement of a unit with'the audience.

The sc'enario is familiar, though not universal. More is added to the responsibilities of the students. There is
respo~sibility for more body work, equipment and some kind of staging development. The judge, in order m
fulfill the responsibilities of the caption (and to use its words) examines the booy, examines the equipment,
examines the staging and form. There is a discussion of the elements of design with each of these parts of the
triad. What is sometimes lost is the reason for the existence of the ensemble sheet: organiiation and unitv
between and among all of those events.

Frequently this is manifested when equipment changes are made. The exits and entrances are more a function of
rime than a function of the organization of the program. It is not unusual to see units create a "seam" in the
organization with such entrances and exits. The staff of the unit wants to be sure the change is made quickly,
likely co satisfy phrasing and musical structure. The judge is busy looking at the pam. The result is a loss of
 imegrity in the system_ The system has irs own check and balance for these simations- IE i:s the "logical
sequence of evems" anq is cailed horizontal orchestration.

We use the term "horizontal" for two reasons_ First, we want to bring rhe idea of "through time" to our ensemble
sheet- In music, the horizontal developmenr is the linkage of one phrase to the.nexl Each phra.se must work
with the next phrase or else there will be a break, or seam, to the music. In ensemble, the idea is similar_ The
end result when there are horizontal problems will be lesser quality to the composition and.lesser effect for the
viewer (or the audience)_ Essentially, the horizontal orchestration is the guardian for linking phrases together
logically_ The judging corr.u."!l.unity may have inadvertently overlooked tbe impor.ance of ·t.he horizont.a.l
development. Or, more likely, with the increased vocabulary and with a need to analyze alJ of the parts
recognizing design through equipment and body, there has been more of an emphasis on the vertical layering
from the ensemble analysis judges_

Even with a balance of discussion between the vertical and horizontal orchestration, the judge must be fully
aware of the quality of the organization and its unity. When the elements of design were' added to the manual,
the intent was nor ro dissect through the use of those elements. The intent, rather, was to UNIFY the events and
discuss the variety and quality of the events with the elements of design. Perhaps, we· haye gotten the
· proverbial cait before the horse. We now need to re-emphasize that the top-down priority begins with unity_
The elements are the building blocks that will assist the variety_ The elements themselves are not t:he priority_ It
is the unity of the organization, an organization built with the assistance of the elements. of design.·

The ensemble judge also must continue to remember that as with Individual Analysis, the mere presence of
elements is not the primary ingredient for full credit. For ex.arnple, the presence of texture is positive; however.
it is ~'how'' the texture is used within the whole, and as a part of the organization, which is the real strength of
· the reward. Also sim!iar to individual analysis judging, the excellence caption in EA is based on the
achievement by the ensemble. The ensemble judge can (should) discuss the negative impact· of' quantity and
the resultam issue of compatibility. The ensemble judge can (should) also profile the two subcaptions to reflect
·any ·issues. (refer to paper #1 on this topic) The ensemble judge must also remember that the ':::.~1:. fo.:-:.~ - ·nc.<:
to emphasize chat the "what" side of composition has a priority: organization and unitv.

With the increased complexity of the programs of the units, and with the added responsibilities given to the
judges, it is no wonder that the focus of the caption is sometimes clouded or.losL The EA judges need only take
all of their knowledge and let that knowledge revolve around two points in Composition: the organization from
both the horizontal and vert~cal perspectives, and the unity of all of the events through time. In Excellence, the
EAjudge needs to focus on letting the students' a~hievement dictate the reward.

. In conjunction with what ~e have said in the previous paper, the judge must always be careful to allow the
instructors to 'make their own choices. We judge the quality of the ·design within these choices .. Ali of the
words we use must be carefully applied throughout the course of the: program. Let us not isolate events but
···rather unify them.. Th~ issues discussed in paper #1 oq individual analysis apply; however, these are further
issues for our "bridge", ·the· Ensemble Analysis caption.

·Part 3 of our Philosophy"discussion will deal with the topic: "Volume vs. Pacing and Creating Effect". It will
tie together the crux of the issue surrounding this year's judging. discussion. Please keep these papers as a
reference and please engage in discussion on this topic with your peers.

August, 1999
 PART 3: WGI 2000- Philosophy Discussion

VOLUME VS PACL~G. PROCESS AND CREATING EFFECT

By now, the picture has no doubt become very clear in terms of how each caption influences the otbers. We began
by talking about the quantity aspect in vocabulary on the IA sheets, we moved into a discuss.ion where this
"quantity" factor seemed to be suggesting die "Random Acts of Color Guard'' which we discussed in part 2, (EA)
arid now we see how this has filtered upwards imo the GE Scoresheet as we discuss volume Vs pacing, process and
creating effect

It's interesting how our own development process can produce growth on the one hand, and can p reduce potential
"'problems" on the other hand. In tandem with the significant growth in recQgnition of. vocabulary in LA. and in
recognizing design through body and equipment in EA (vertical moments), we now. find that our GE judges are
challenged: with how this increased volume fits into the scheme of the principle of ''pacing, process and creating
effect" as the program unfolds.

When the vocabulary inordinately drives the ongoing presentation of color guard events (paper #i) and when the
result is what we have termed "random acts" of cnlor guard, (paper #2) the!). the pi".ogram can be pl~ed at risk
relative to the important areas of development, procbss, pacing and planning of varied impact poini:s and resolutions
which are truly the cornerstones of prodl,lcing effect.

On page 24, the judges manual telis us: When, where, how and why eff~ts occur successfully, involves:

+ The manner of presentation (How the effect was created - equipment, drill, movement aione or combined)
+ Pa:dng. (the "When" factor of planned effects. How far apart, how often, how large is the effect?)
+ Continuity (the development, connection and evolution of planned effects)
+ is
Staging (where each effect placed on the stage-highlighting, focus, interaction of effects, etc_)
+ Coordination (how all elements work together to heighten the effect)
+ Impact points (The beginning of important visual ideas)
+ Resolutions. (The· compietion of \mportant visual ideas)

It is very important that we reh1force these basic tenets in the application. of our judging process to all of the
programs we judge.

Please don't think that designers can't have the option of designing a fast-paced show. That is absolutely their
choice and it can be highly effective. However, within that presentation, all of the points shown abdve must also
be present and considered. in yopr evalup.tion. One of the ar~as where you i'Ilight want to pay cl<Jse attention, is
entrances, exits and development intp and out of each effect moment. Introduction or changes of eqt.i.ipment
require .the same kind of scrutin.y, ancf l:l.re. issues within continuity and development of ideas. How the stage is
uti[ized to present effects is another area of importance. Be sensitive to the repeated use of one spot on stage for
groups who run off and on to change equipmt::nt and present the "effect" Ln the same spot center stage.

Perhaps of greates~ importance is the issue of pacing, and your attention is caHed to that piece of our understanding
of effect. Pacing commentary is accurately applied to the series of effects THROUGH TIME, rather than·to the
development of each individual effect. Pacing is not something we can readily comment on too early in the
program. We must allow time for the designer's intent to unfold in order to register a valid observation of whether
the pacing is too slow, or too quick to offer the quaiities of development, impact, resolution, etc. or whether it is
successful in generating viewer interest/response.

We have all come to realize what a "trap" semantics can set for us in trying to communicate our impressions to the
listener: Be clear in rerms of your recognition of how effects are developed, and the process which connects them.
Be aware of how the designer coordinates the interaction should there be multiple effects occurring
simultaneously. Don't confuse pacing with development of an individual effect. Reinforce in your own
understanding. that pacing refers to the "'when" factor of planned dfects --how far apan. how often, how large the

\10
 effect is. It is the application of ten.sion and r-elease ~at. occurs·. in the "bu~lding" process into the effect, and the
degree of intensity of each effect rhat holds the-audience as th~ program unfolds.
......
Like all other choices in rhe winter guard program, designers ..:m c~ll upon ·a variety of ~ays 'tO present their
·planned effects. There is a growing trend to opt for a fast-paced. rapid fire display of effects. This. choice and the
speed of the pacing' is not the problem. The issue is. r.hat often within this choice. some designers fo::rfeit the proper
develepment., coordination. impact, resolution and placement on the stage. It is the attention to these qualities that
we are asking you·ro recognize.

The critical issues here are:

> Maintain a good handle an quality of presentation

? Do nat be taken in by quantity· in isolation.
·? Keep in mind the correct application of the word pacing
> Be sensitive to the process that involves development of effect to effect, and how each connects to,.or leads to,
the next effect.
)> ·Be aware of staging and how this influences the degree and variety of effect within the presentation.

These considerations are accurately applied ro any approach to programming. ·It is nor our place t<J regiment or
limit the creative process for our designers. Rather, it is our place to reinforce these tenets which the community
has endorsed and which will lead to the optimum in creating the most effective programs. ·

When all captions are sensitive to the issues we have covered in these three papers, and when they can see how·
each caption influences the others, then judges can bring an understanding to those points which we stress each
year in our philosophy materiaL

Please realize again, we are not presenting NEW material t~ you. The points in this- paper have oceu ;il ~;.; JPd.t.:l"'
manual for years. This discussion is intended to he1p.j,(;>u ~tay focused on the aspects of creating effects which
seem to be impacted by what we have observed to be a gl-owing trend toward quan~ty.

Finally, while this discussion speaks specifically to techniques of creating effect, the bottom line for you as a judge
is still one of "reaction". Being aware of these issues and offering feedback to their presence or absence, will
ultimately assist designers in the development of the effective quality they are seeking and to which you will be
able co react positively! · ·

Please rernembei that these discussions are all parr of a single philosophical presentation. The issues discussed
·within each caption must be understood not only as a "caption issue" but· as an entire judging issue, and applied
throughouL. More than ever; judges must understand th~ .. whole" in order to bring the best application within their
"part" of our sc;oring process. Dialogs with one anotf!er, across all 4 captions, will help you to reinforce· your own
observations and assure that all captions are consistent in the information offered to the guards. Please engage in
~se discussions with your friends and judging co-workers. and carry this discussion' throughout the competitive
season. Keep these papers with you throughout the judging season so you can reinforce our goals in an accurate
and consistent manner.

\1 I
llL
 Staying Grounded
By Stacey Flannery- BOA Summer Symposium, 2003

Color guard. \1\Ttat a crazy thing- we sweat; we bleed; we cry; we go broke ..And

we love it. Unfortunately, not every moment is as gratifying as performing in from of

10,000 people. There are wugb moments that we have to get through in order to get to
the amazing parts. I marched in my high school guard for 3 years, and then went on to do

drum corps and independent winter guard for another 6 years. I had my share of awesome

moments. Those moments are the ones I remember. I can remember making eye contact

with .Andy at the WGI Mid-East regional in 2002- I was performing with Crown Guard,

and I had the best shov.-' of my life. It was amazing T.O see the look of joy on his fa-:;e

because I realized that be was sharing those moments \'Vith me; the 3 minute standing

ovation rhat I enjoyed as a member of Pride of CinciiiDati in 1998 after ourWGI finals
performance; Crown Guard's WGI finals perfom1ance in 2000- we were doing tLe

hardest equipment work EVER, and finally had that awesome performance that showed

everyone that we could do it! Those are the moments I remember.

Looking back, I have to search my memory to remember the real!:->' bad times. BuL if

I think long and hard about it, I can remember having some wugh days: the hot summer

day at Bluecoats in 1997 when Jenifo got mad at me for not movin·g the tape in on my
sabre to match everyone else's, and made me carry evervone 's sabre (20) with me on

even: break for 3 days as punishment; the afternoon before Independent World finals in

1999, when I was marching in the Pride of Cincinnati, v.·hen I under-rorated a flag toss
and busted my front tooth out; the day in 2000 (my age~om summer) at Carolina Crown

when I broke my wrist. Yeah, there were some tough times. But everything balances out

in the end. \ ,
\

Throughout my years of performing, color guard transformed from something that

was fun to do to an essential element of my life. I was incredibly ludcy tO be taught by

inspirational characters who taught me more than ''doViTI, up, flat;" they helped me
discover that color guard offers life-lessons. These lessons have helped me become the
person I am todc,ty. It was these poetic and inspirational people (Eric Sharp, Michael
Shapiro, Ryan Carter, Tim Newburn) who taught me that color guard is more than
catching your rifle 7 at WGI-it is a way of life that can teach you to dig-deep into your
soul to find the strength to not only get through life, but also to succeed at it. These are all
words that have been said by some of the most inspiring, wonderful, and tremendous
people I have ever known- my guard instructors:
• "Things worth doing are never easy."
"Pain is only weaknes? leaving the body."
• "Everyone and everything around you is a teacher."
• "V/e don't remember days; we remember moments."
I have found inspiration and strength in these quotes. The meaning of each on"' =-
tremendously inspiring, and remembering them has helped me push through some tough
times- those times \vhen atl I wanted to do is give up. Even ifi didn't do color guard,
these phrases would help me remember the "big-picture."
So, after performing for 9 years, in front of a million or so people, what have I
learned? I have learned to trust in the people around me and in the goal of the group a~ltl

I know that I need to remember those words that have helped me succeed thus far. So
my advice to you all now is to keep your head up. And, no matter what, you must i.lever
give up. Everything will balance out in the end. Just stay grounded.

11~
 2006 BOA Summer Symposium Color Guard

Why Teach?
By Sarah Weimer, BOA SSY CG Faculty 2006

We've all heard the saying 'Those who can't do, teach".
say that those who understand more than most, teach. It is hard
being a teacher of any subject or activity and in color guard in
particular you have to understand more subjects than most
......_.,;..,.. school teachers. You have to know physics, geometry, scale,
·~;,:color psychology and the color wheel, ballet, modern, jazz, · ·:::
::.1'~'?·::· .. ·.
., gymnastics, music composition, staging, how to generate effectS:
and even medicine {for those injuries and simple aches). To b.e
;·::~ successful you also have to have an in-depth comprehension and
implementation of the equipment, movement, general effect,
and ensemble sheets.

Not only do you have to understand what you are teaching

but you also have to be cognizant of how people best learn. You
have to understand that Suzie 0 has to see a move a dozen times
before she understands what to do and that Patty has to hear
the instructions for the move three times before she can do it.
You also have to realize that Johnny shuts down when ~e gets
yelled at but Sally gets really fired up and tries harder with the

)15
 2006 BOA Summer Symposium Color Guard

same treatment. We are an incfl.i~ion·ary

...
: ·:.
..
ac.tivity. We teach kids
~ •)'·

with very different ability levels and interests and that doesn't
make ourjob easy (not to· mention the 100° heat). .

So, why teach? We teach because we love the mental

stimulation of being creative on a daily basis. We teach because
we l~ve the way a kid looks at us when they get something for
the first time; like you are the most appreciated and special
person on this planet and they have never been prouder of
themselves. We teach because we secretly l.ove tha.t nauseous
feeling that hits the day of a big show or right before our guard
performs. We teach because we love a good cry when tha.t
senior who as a freshmen couldn't walk i~l time or pass a class,
graduates with honors and thanks you for changing her life. But
most of all we teach because, although color guard seems silly to
the outside worfd, we are instilling in our kids a sense or
responsibility, self-discipline, team membership, work ethic, time
management, self-confidence, friendship, and perseverance that
changes all of their lives.
 2006 BOA Summer Symposium Color Guard

The Greatest Ride

By Vincent E. Thomas, BOA SSY CG FACULTY 2006

There I stooctwearing ·black sweat-pants, my favorite high school

chorus t-shirt, and ·white· over-the-calf athletic socks that were
pushed down-to the ankles. Sweat: was peeping through my
pores leaving .a misty·shefl·over my·excited but scared facial
expression. A four feet- seven inches strawberry redhead
shouted, "Ok, Jef-s-start·with·head·rolls, 5-6-7-8 .... " As soon as my
head dropped and circled to the right I knew I was in heaven!
The pulse of the driving rhythms· was my roller coaster and with
a deep inhalation· and exhalation, I freely soared on its tracks.'·
This was the beginning ... my very first dance class.

:.'.The journey continued with more classes ... ballet, ballroom,

:.'- African, and modem. It was a·natural fit with my music training· .~:;;, ····
.::· ~~: and teaching_; it became inseparable .
.;;· .~

. ~+- When I think..of ~~why·Jdo·whatldo?" the answer is always ~~why

not?" Why not do what makes-you happy and fulfilled as a
-~_,. human bein~.1t·is·notthat·f"can't·think ofanything else I'd rather
· ·· or can do, but instead; this· is what- I want to do. I understanp we
only have one 1ife,. 1fthis· is true; I want to make the most of each
moment.
Arpad Darazs*, ·my·mentor;·teacher, and source of inspiration
once said to me;."... my sweet· friend, when you sing, sing with no
reg ret ... " What a ·Jesson· for ·life that· was; and is still. Life is not a
dress rehearsal-it is the real· thing- every moment. Investing in
each incremental second that·exist·in-your·minute, hour, day,
week-life is e,chilarating.

Here I stand with black sweat pants ·cut off above the ankle, my
favorite leotard- and t-shirt;. and bare feet. Sweat still pours from
my pores, as my excitement·forthat· driving pulse takes me on
the greatest fide ...dance.

*Arpad Darazs (d. l 986}, musician, conductor, composer, and teacher escaped from
Hungary as a young child and fled to the United States.

\l1
 2006 BOA Summer Symposium Color Guard

How Can I se· A Great· Leader?.

By Amanda Van Dreumel, BOA SSY CG Faculty 2006

Everyone knows that the captain or drum major is the .

designated leader of your group. Did you know that you can be a
great leader without a designated title? It's true! You don't even
have to be an upperclassman to be a leader and a positive role
model in your group! I'm sure some of you think, 'Tm just a first
year member", or ''I'm not a senior, what place do I have as.a
leader in my group?" I'm here to tell you that every member in a
group plays an active role in the team.

First of all;. a-designated leader. needs people.to count on to

make the season go·.· smoothly..: Th:ey:cannot.one::handedly.·take ,..
.:ca-re::~o.faU.:af~th:e:::r.espo:nsib.ilities.~.~AJ IJ:ead.ers:.:n.e·e:d;:a :~suppo·rt.
·.:sy.ste:m; .a::network. of:s.o:rts;~to:::boun:ce :ideasoff:of and ask for
help.

There are many things that an untitled leader· can do to

help his or her organization.

• Setting a good example for all members of the group is an

invaluable service that anyone can easily provide.
• By staying quiet and paying attention at rehear$al you are
not only setting-a-good example, but you are also helping
your group be productive. .
• By practicing on your own time, you are preparing yourself
·to help others who·need ·it.
• By helping-even-one struggling member, you are helping
the entire group achieve their goals.
• By actively supporting your assigned leader, you are ·
sending your group on their way to success.

Remember; it takes a good leader to be a great follower!

J l >?
 2006 BOA Summer Symposium Color Guard

Color Guard will Change Your life

by Rosie Queen (Miller), BOA SSY CG Faculty 2006

Color guard will change your life.

Color guard is love, passion, dedication, determination, and
discipline. Color guard is art, athleticism, language, math,
physics, and psychology all wrapped into one.

Working through your greatest fears of throwing that piece of

equipment up in the air in front of thousands of people. It is
putting your self out there as a performer. Bringing yourself to a
place you would never be had you never joined guard.

You have to learn to trust yourself.

Trust your talentS. Trust your abilities.
Trust that all the hard work you have put in will come out in the
performance.

I like to tell my students about a tool that helped me as a

performer, many years ago...

the "'insurance policy':

Just as in any sort of insurance it is important you have a Jot of it
for that moment of truth when you may need it someday.
That day is performance day.

With every repetition you do of your choreography and drill.

You are piling these things into your insurance policy. Picture it
as a huge backpack on your back that you carry with you out
onto the field or floor. Every toss thrown, every set of drill, every
clean flag move, every drop spin, every time you perform during

\l~
 2006 BOA Summer Symposium Color Guard

rehearsal. All the times you sit in your back yard and practice
your .flag work, even though your neighbors think you are crazy.
Each repetition is preparing you for that performance and
building up your insurance policy.

There is that moment of truth when you are standing on the

starting line and your mind starts to race... Did you do everything
you could do to prepare? Did you work hard enough? Did you
do your show more times right than wrong?
. . .
When you go out for that big perforr:nance~ there is notring
more comforting thari knowing you have the biggest insurance
policy you tali for that day in time. Even though you have
butterflies in your stomach your insurance·. policy win help. you fly
them in formation.

Practice.· hard, ·Prepare hard~ arid . b.e. passi.o.nate...

Amateurs practice until they get it right..

Professionals practice until they cannot do it wrong.

Which one are you? ·

)50
 ' .·.·· . .·

2006 BOA Summer Symposium Color Guard

·I\IIY Fir~t ·Year Out·

. .
... ··' .· .···
By Michele Oershimer, BOA SSY CG Facultyl006

... I started performing in. this .activit}' in. 1979; that first yea'r leacfme · · ~ :;~
down·a path that Will never end. l marched with my high school b.iuid, ·and·
color guard; thei'l' in independent winter, guards, and drum corps. J'v:e .·. ·.. :·:... :.
taught numerous high ·school and independent coror·guards, from middle··: . ~
school ~gecnnrough college-aged :srudent:S~ I've taught at varioos·sumrner :.
and
..
band camps and for the last 15 years I was the director of a nationalJy ..· ·
•' :

competitive high.school winter guard.. ltwaS.:mylife '1'S+·hours~aday~ seven···.t'~ ·· t

days·a week!.. (And :ram a full time'high-school English teacher as:·weii!JM~;.~'
sons were· involved (as Hoot crew and boyfriends} and now my. daughter< .·:::·
too loves the activity. lwouldn't change a mhiute ofit. My best friends are;)~. ..,
the ac;:tivfty; iny· husband, jock-turned-Winter. guard· 'C!rill-writ~r.:thinks ·;r:s:!;,: .;
-::z:
. ·o:· • ·in

the· most amazing :sPORT he's ever seen·.'. -~AND it ·is~· This hobby turned ·
profession shaped my life and in turn, I've been able to shape ·others'"lives-:· .:
through it.
.· ,. •' . .' ,.

··· ·. BUt there comes :a time When one who hilS. ·given every· Friday night,.>
and everji Sab:Jrday and Sunday·for'25 years deCide$ it's time~ to be done.:.;:;·'
but I couldn't walk away: totally; ljust knew I was ready to mov~.unto thE:f '> ~­
next phase Of'iny life·in this actiVity; It was time to.beginjudging. Many: .;'.<'·:
instructors say horrible comments ·about judges; many blamejLidges;. ·. "'•'':·:.
disagree with judges,. speak poorly about them to their students and their
parents. But as a .performer, I remember being inspired by some judges. .I
remember getting to a show, finding out who was judging, feeling safe and

\0 l
 2006 BOA Summer Symposium Color Guard
.. ·.:

excited, and going onto. the C()Urt :or fielq r_eady·to :imf;uess and entertain
:--l,' . .: ·· .. ·.: ·· • . .......t ."' ·.' .: .:.. ..', ,•,• ··:1 !

them. As an instructor. I educated my students on many levels, one of

which was on ~he judges' sheets and what the judges' responsibilities were.
. l: ·.
::~~~~~~;~_;) y~- ;~·~:·_:.;:.:·~: r.: ;:· ·:~~~.;:.: ~·/ ~: . -:\ ··;} \-:-~:;>?. /\. ,r~·: -~~~~ ~: y.r: .; :.:.·\.· ~ .;':·:·.·:..~ ;,:_ :}!, ··~:>>~::~\~ ·~ ~::,.:L{-.;_;·0 ,-,.~~::t~:.,

Since those days of performing, i knew that one day I wanted to be

one Qf th9$e jp~g~:•.tn~.t ·$tu_c.(~n~,.f~~t'~~fe.,p~r,fqf'~.h19: fqn ..thatstL,r.de.nts
~~r.~ .~~~,t~q~ t~ ·p~r:f9rmi!or.~: J wqr~ed. very h~r:d tbi~.y~ar wnile ~ti;CJ.i.ning-~n.d
judging:.t9 giv~.th~ ins.trL,re1:qf$.:~md:P~rfqrm.er$:~~·. f111,;1(;(l.~s·tbey:;w.er.e.. ghdf.lg:,
m~~:~: ·lf$.~a ha.rd jo~~· .J,I;;ldge~ ·hav~ ·a· h~g~·r.e$p~;,l.n$i~ili.ty: ~nd ~qse1that ta~e.Jt:,
serjp~sJy, pr~p~r~ C,th~~ct qf, tim.~•. m~e tbe:ins~~~~~rs.:;:wncN?.~r:fqrm~~::~.Q~:·:: .-.:t: 2 ..
:"· , ··: •· ·' .· J~;~(.lg~s:: g~t n.ervo~$;,j~_gg~,s;·WC,IOJ;·. ~p·. ~get.. Jtdght~~; :·th~y,·w.c,nt.,tQ?:; ·~/ :.: :': ,
• • .,, 't..

r~.).!l7.al:'d:tb~.P.~rtorm~a:s-. ~'1d:the ~~~g~~r$ .fqr:,tf;t~.ir ~ffc;>r.t;s,;· Jh~y::g.~t 0~1".\(Q,~~­

at to~: JJ.i,g:;StJP~~,,CJ$ . W~U :a~ :th~Jitf;l,~ ,sf1P.W$•.::.Tbey·:tr.y. tP.: m~f<~. tt,J~Jt;n~m~~.l!$.:
r~fle.c:J;·N\d;l~t tf:ley·. ~~~~...~O~ :t.f:t~.Y·h9p¢.. :t.P., flaye· .~QQe.,s~. dic;t!~·gq~~WJth t.f?e . . . ·. ,
in~tr.Lfgqrs ·s() tnere: i$.::J~~r.o.,ryg ·qn ·bPth ,sic;fes~ ·.Q.I_J~jt;Jclg~~ c;fc;n~tt.·~JW.~Yi$ g~t it
right.;.; tney ~.re.
'
life.~ p,~rtorm.~r$:.:c.tf1ey m.a~~ ·misJak~~; -~tl~y;q~qp.~. ~b~y /{m~ss ;r~·:
".

I never thought I knew all there was to know about the activity, but I
did;·~i.n~.tha.t.J:f."ad:a;·pr.~~· gpqa· .grip ,Qn mo$t 9.0~-::biJ~·I~y~ .J~~rn~!J;hat

"yf,>Lf. .n~~er.stqp:l~a.rO.ing/~:J n~d::ct,S. ·~any ·.~m~ti.qn~J hig!'t.$·:·~n~. .~()Vtl~·:tl1i~ ;.. ;; , ·

yec,ri~s·~j"'qg~:~s r;v~tJt:~dJrtPr~v,-Qu~,y;~a.rs. Cfl$;:~n,·in~Jf.4~Qr::ct~~:@.$.i:~·.:: ·~, ; ;~·.,·.:~·
perfoliOte.r...·J:·w~.sju.s..t
.. '·· ..?f,S, tl~rt;( o,n: my.$~1f as;~j~~g~·a.s:·(
' ... ;w.a.s 'W..t:n~p · •· w~.$;;.. ·;:: ~,: '. '\

151
 2006 BOA Summer Symposium Color Guard

Well, I'm here...so, now what?

. · ...·' __, ...
By· Stacey Flannery~ BOA SSY CG Faculty 2006

There' is no doubt that you had a list-a miie long of 'stuff you h~d to.,,..
''

do just to get to the BOA Summer Symposium. Fundraising.. ~practicing.~. · ·

getting'your 'equipment ready... pack:ihg... traveling arid surely so 'mucti . ' '.
more. You probably had all kinds of. help getting .through these ~eps of th~··
. ;· .. ·.
process. But, what do you do now toot ·you're here? i am confident that you
would gain a lot from this week just by coming here for the experience. But,
with a .little· planninga~d ·adVice, I thr~k yiJu' could get ·even m~te otit of this
pcitentially life-changing experience. ·
.-,·

First.and·foremost~ piease app.ro~ch every facet of'this· experien·c~' ···:'

with an ope~ind. vou may· hear things this w~i< that you hav~ .lie;,er:·:. · -~'
heard' b~fore an.d. may ne:V_er .hear again . .Ju$1: l<now that all of the . ' ' ' ' . .' : :.:
instructors, SWAGS;. and Leadership presenters are h~re for a reason'-~e all'
ha'Ve:a Jot of irtformation to offer aiiy6ne ~b,is willing to ac~ept it. ·comih~
into this week Witli an attitude that you au·eady im~w e~erything w;li ani}/·
dose you off to learning. great new ideas.' we're not sayiilg'tt.at.we k:now· :·,
everything-that's not the point at all! We are saying that we can offer you
. . . . .
(hopefully'}' new ideas- some that you can take back ho'm~ 'to your own
' ''

color guards, and·some that you can leave. But it is up to you to absorb as· ·· ·
....
.....
much as you c~n. · '\:

Secondly, please allow yourself to get out of yot:ir 'comfort zone.' Just
like you, there are hundreds of other people from all over the worldwho,
for just one week, get to come together and be immersed in this camp.
 2006 BOA Summer $ymoosium Color Guard

-~··. ;'.,,.: M.' 0 ~·· 0 ~. :~ ~.·.:.·:,: ;,; ~.·.·.: ··:''.,~.;"',':: ,,·~. :_~ ~-.·.:,~.· ;·,·,f'.',~ "::• ,;•
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. •l

Don't j~~t.~~t ·"YiY, yo~r. ~i~fi~s -frpm ·ll~.~frh~~e,;::g~t•.t~:fk~C?"!':~ofrl~: ~'f these

incredible people! You may find that someone who, at first glance may seem
tof;~IIY.9.iff~ren.t,.J~
_.:'J•• ~
·.·:.•
..so. . m~~.hJi~~ yo'! ~~a~ jf f~~~~ ~i~~ Y,~U: .VV.~f.~
.:·;·,;.·~
sep?J~at.ed at
,..t::. ·. i • ··:··. ·~_;;:·', • • • . "• •.. ·. ':":.::·.·::.·~·· • ., . . '··.· ,·, i ,,. •, ., •• •• • • • , • • . ~-: ~-

birth! AII()W. YQI.Jrs.~lf to.~~ ~rave Clnc;l s~rt up ~ ,(:or,.v:er~~tioo wlti:J.sq~~cm.e

•; .. ~::,.. •. ~.\~ ~~·· ,,1'':.:,'1 ,.,·~ •• ·~···; •.· •. ,.~·.·;~,. ·,
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new.~.~ p~,~~~o::~~n~t l.~t tQ~~-q_~..:~iet.~QU.I

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n.ot t~ geth9mesic~. ,We ~U. mi$s qurf~R1i'i~s,.,fi.'ien~$~ .... .
'~ ·:,·. ) , ; .' " : ,;., ;. i' 1 :, ~ ••:; \ ,; , ' : :1 ' f , f ' : , , ~ .,1 ·'' ,: , ' ,' \. 1 : : ; 1 1 ::. ; 0 I : ' t ,, .,:: t •:, O : • ,: , ,' '; , '· ·, >
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boyfriends, girlfriends, dog, grandparen~.(Y<?~ .g~~. t~e. i.pea) •.. ~l;l~ r.~f'!l·~,m9~r •' •,' ··.' •l.o• •' _,1>.. ;,·•'•'•, I.,.' .,1':,, •.: ,-, •' ,., .,. ,.·:;.:

that you are only here for a few short days. And I know from experience
that.~h~ VV~~J<:
.c•
~~~1. gp. QY V\fa,Y: . ~o<?. q~~~.~Jy~ !J.Qr:'l:'~. ~.iss: P..H~. p~J~~r..ning,, . :
•" I 1 ,,,,,Jol', 1 . y•' •··'• ''·•' 1 o•/ ·' •.~. ,.,• \ , .·• 01,,· ·'\,.lo' _.. , ·~;' !~: ,, , .. ·.•.,·..:. ·, ·.~ ... ·"'· • .•• \I,; t- /',.,• .. 1·,. .. ~.,., ,.1 I, ,,

som~~':J.i~.9 .':'~~·. 9.f.. 9~tti.n.g .~~. k~:f~:W. ~.om~~~~. Vt,t9ry.;:l~rf~l, ,f?e~.~~~~.Y.~~ ,a.r~,...,.·
o ,o ,{ , , • , ·•· • •, ·• t· •o,' ••• ". •. ,. • . ,-. • ,,, , • , •,,,~ • , I ·. 1 '· 1 • · • i. ·~ ., • ol • t ,I • •• I. , .•,. , ., ( 1 , •, , 1', ,. :,o ~ I ·••

on your celtptJon~.a~'. ttl,.~ .:tir:n.~~ .0( .co~r$ey~u,$hC?.~.I.c;f. (.~JUl~~~- a~(:'-J~t . . , , , . :.

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eyel'}'~n.e_ h~~.r ~Qoutc.tU t~~ fut:t. ,~~ff

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h~VIt, r:nu~h fl),~re YC?,li.. 'N.'~II .~I?P..f.~CiCI:te ,th?s~ fol~. f?.~c~ .~o~~ ~.ftep!!IJPW.ing .•.,.
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• "• • • 't ,·. •• ' : • ; • ;• oJ. • I'' •" : ••'" ·•,,;· • • 'o > .' : '' • I • " . ,; ' • •''' .- ·: ~ • • ' ' ., .;; ~ • ' ·' '.....- •• •' 0:. ' • •' ·• ' ; ,I !> o •o ,.• •: • . ~.'! :. ~ •·

You decide the quality of 'stuff you take home with you bas.ed on..YQ.U.r , . .. ., .• : ••• .: ~-.11••. '· .; ••• I,: '~:/~·. '1,

attitude coming into the week. So my final piece of advice is this: your week
i~.~ha:~~?-:li'·~~~~·~f~~~:,.,. :.": ..:·;,.,.,, ".':.'· :,:' ,·.·..;: . ,._., .... ;~ .·.... ·,:, . ·''\:.) ._.r·::-·;·. :···~../
.......::::

~.. !' .: . . . . \. ·~ ~ :! .··.-. : . ·.;. .. :t • •• ,· ... - ' .

 2012 Music for All Summer Symposium
Color Guard Finale- Count Breakdown
"I Wanna Dance With Somebody"- Remembering Whitney
Houston

Introduction: 64 cts Dance lntro- Vincent

1st verse: 32ct- Ricardo/Shannon Weapons

2nd verse: 28 cts- Shannon/Ricardo Weapons

CHORUS: 32 cts- Ricardo & Shannon Weapons Together

CHORUS: 32 cts- Nathan Master Class Weapons

Transition: 32 cts- Nathan Master Class Weapons

3rd verse: 32 cts + 28 cts- Nathan Master Class Weapons

CHORUS: 32cts + 32cts- Susie/Jay Flags

Transition ("Somebody ... Whooo"): 32 cts- Jay/Susie Flags (maybe some

rifle tosses?)

Bridge of verse: 28 cts- Master Class Flags

Transition to Master Class: 16 cts + 32 cts- Master Class Flags and

Susie/Jay Flags support

CHORUS: ALL on Equipment 32 cts

Transition: "Don't you wanna dance?" 32 cts. (all condense)

DANCE: 33 cts- Vincent

 2012 Music for All Colorguard
Body Warm-up #1
·Vincent E. Thomas
Head:
Right & Left
Side to Side
Up & Down
Circle to right
Circle to left

Shoulders:
Up/Down
Front/Back
Roll up and forward
Roll down and backward
Port de Bras (1st to 5th to 2nd and extend)

Torso:
Shift R & L
Shift Front & Back
Circle (one direction)
Circle (the other direction)

Pelvis:
Swing side to side
Swing front to back
Circle Dips

Ankle:
Standing on Left Leg, Right knee lifted- flex and pointe
Standing on Right Leg, left knee lifted- flex and pointe
Standing on Left Leg, Right knee lifted- circle and reverse
Standing on Right Leg, left knee lifted- circle and reverse

Breathings- Full Body:

Inhale-gather space, Exhale- round the spine
Inhale- gather space, Exhale- undulate the spine
Inhale- gather s·pace, Exhale- lengthen to flatback
.. H_an~the torso over!egs,_bEJ.n~ the_i{J1e~!) (pli€)) <md r()ll up

Lunges (Right side then left side):

1)Demi-lunge ?)Downward facing dog
2)Full lunge 8)Leg to ceiling and fold through to Pigeon
3)Side lunge *torso to floor
4)Second stretch *torso raised
S)Fulllunge 9)1mprovisation to other side (16 cts)
6)Sitting spiral