The only struggle

Now that the season is up and going the urgency to fill in and complete the WHWG show is pressing on us. Along with the lack of tarp time (only 45 mins Tuesday-Friday) there is another struggle the members and I am faced with...

The girls learning how to learn from me.

With not much time the girls must try to pick up my choreography as well as teaching style. I move quickly and do not put a lot of details in at the beginning. I like to show them the BIG PICTURE of the movement and watch to see what their bodies naturally do with it. I believe the work will end up looking and feeling more organic for the girls. However, I don't have enough time to really let work develop that way and the girls very much want to know the details.

On top of all this, this year is their first year spinning saber. The girls are learning how to handle a new piece of equipment while learning a new choreographer at the same time. I feel for the girls right now. But I believe in them, they will do great.

I tell them each day, there is 1 goal - To be better than yesterday.

With that in mind and the girls buying into it more and more I cant wait to see how they look by the end of the season. Beautiful...elegant...poised...confedent...

1st Competition

How can 12 straight hours of Winter guard make a weekend so perfect?!?!

Saturday the WHS WG had their first competition. They got to the school in the morning to have a short rehearsal. I was more my guard instructing and inspiring self that morning, running things quickly, cheering them on, complementing them where ever I could, flooding energy out into the room for them to feed upon and they finally started to. Their run throughs went so well and had so much energy it really gave me a lot of hope for the season. If only I could do that every day with them.

They did well at the competition too. They didn't make finals, but their biggest issue is incompleteness. With only 45 mins of tarp time each day it takes a while to get everything filled in. But once the show is finished I think it will be great! The girls are really doing well so far and I look forward to how they will do with what we give them next.

I want to push them. Challenge them. See the very limits of their abilities and watch them redefine those limits. I hope I get the chance to do that. There is nothing better than seeing a girl struggle with something and know they think they will never get it, then watch the day when they finally do and watching their eyes light up.

Then the thought finally develops in their mind - "If I can do that I can do ANYTHING!" Such a turning point for a guard girl. I remember that moment for me. Nashy 05...a rifle part that Scottie to Hottie wrote and I never thought I would be able to do it. Once I did I never struggled like that with rifle choreography again.

Speaking of National Ave! THEY ARE BACK!!!!! If anyone is a Nashy alumni you will be PROUD of their show this year! Makes me want to wear a button that says "I Was On Nashy!" Their show reminds me of 2005 so much...but the kids are even stronger than we were. It’s going to be a special year for them and I can’t wait to see how it ends! Good job Lady Sullivan for picking the song!

Pride has a different show this year! And when I say "different" I mean Good different! Really fun to watch and nice to see them do something they have never done before. Also, I really enjoyed watching Scott ROCK IT OUT on his solo. He was a rookie my age out year, I believe, and he has grown SO much. I am officially a big Scott fan! He will bring down the house this season!

And the BEST part of the day. The return of the Odessa and Kickapoo rivalry!!!! Its like an Edward or Jacob thing...you are either for Team Odessa or Team Kickapoo. I know some have already decided who they think will take SA at MCCGA but I think we are going to have to wait and see! I just want them to both do AMAZING at WGI and represent MO like I know they can!

Its gonna be a fun season!

Setting Up For Success

Our first competition is this Saturday and the thing I hope the most is that I have done all I can to set my guard up for success. Competition days are the hardest for me. As a performer I had complete control over what I did, but as an instructor...when the music starts I have no control over how the girls do. It is in their hands now and I want to know I did all I could to prepare them and set them up to do well.

Last year the wg I was fortunate enough to work with never stopped amazing me. When I thought I had given them something they might not be able to achieve, they completely ran with it. I quickly started to stop underestimating them and allow them amaze me day after day. I knew I had done what I could to set them up for a successful year and they completely raised to the occasion.

Setting Up For Success

Moving to a higher class -- Understanding your class

Get ready because this step might not be "fun" but I promise you it's essential and will ultimately make your life far easier.

KNOW THE STANDARDS OF YOUR CLASS

Prepare by studying the DVDs of your class from Dayton, and also look at the bottom of the next class higher. Be aware of every quality and choice those folks made and how they were rewarded for their efforts. Knowing the "field" gives you the information to assess where you stand in comparison and allows you to assess just how far you can push your students to higher levels.

Focus largely on the skills (vocabulary) and the level of training the students are demonstrating.

Look for trends, both at a design level and at a performance level. Note what seems to be getting the scoring "nod" and consider this as you make your choices.

Most of you will be listening to what seems to be the popular musical choice (that's going to be a major topic in and of itself in a few weeks) and I want to caution you about the tendency to jump on the "Ballad" bandwagon. If you do choose a ballad, make sure you have a "twist" that will set you apart.

KNOW THE SCORING SYSTEM

You've got to do your homework. Study the manual. This is the common tool that both you and the judges will work from. This is your "Accountability" link that will give you the basis of being on the same page.

Do not assume you know what the system is about.

Do not assume we are like any other scoring system in our related activities. Philosophically we function with a totally different set of priorities, and while score sheets from Activity to Activity may have a similar name, I assure you the application is very different for Winter Guard.

KNOW YOUR STUDENTS

Consider the talent level of your students. Know just how far you can challenge them.

Consider how much time you have for training. Don't shortchange this step.

Consider the social/economic circumstances of your students because that could impact their personalities and their time.

KNOW YOUR STAFF

Don't over or under estimate those who will be assisting you. Set everyone up for success.

IF YOU ARE IN A HIGHER CLASS

Challenge the students with a more diverse vocabulary.

Set them up mentally for higher expectations. Push their limits and set goals that they can achieve and be sure they start to think in a different way.

If you are now an open class guard, remember that now the Movement and Equipment scores equally credit vocabulary and excellence.

Don't buy into the idea that you should just keep doing what you did the previous year. I assure you, the higher the class the greater the expectations and challenges.

REMEMBER, THIS IS COMPETITION. IF YOU WANT TO DO WELL IN THE GAME AT ANY LEVEL, YOU MUST KNOW THE RULES AND THE OTHER COMPETITORS. TRAIN TO TAKE ADVANTAGE OF THE FIRST AND TO SURPASS THE SECOND.

THE EDUCATIONAL PART OF ANY COMPETITIVE EVENT IS PUSHING THE BOUNDARIES AND SURPASSING PREVIOUS EFFORTS.

Plotting the Show for Effect

Oh, my very close guard friend, and GE judge, would be so happy to see me post this next topic. Effect is so important in a show and something I feel I am getting better at. I love how some designers (like my very close friend) can create an effect and you don't even see it coming. I hope to one day be able to do that. For now, I just make sure that I have the big effects and have them in the right place musically as well as on the floor. As always, I hope this information that as been sent to me helps you in seasons to come.

PLOTTING THE SHOW FOR EFFECT

10 More Questions and More big Payoff

By now you have your show tunes, or you're well on your way to making that final decision. When you do have the music selected and roughly edited you're now ready to plan your effects. Effect doesn't happen by accident and it isn't guaranteed. It requires you to design the moment, place it strategically both within the show and upon the stage and assure that the performers understand and achieve their part in its production.

QUESTION 1: What is your first effect, and on a 1 to 10 in "impact," how does it score?

QUESTION 2: What is your desired reaction from both the Judges and the Audience? (Continue to the next effect repeating questions 1 and 2 until you have done this through the entire show.) This will help you when listening to judges' tapes as you gauge their "reaction" to those planned moments.

QUESTION 3: How much time elapses between each effect? This addresses the rhythm of the pacing of the effects. You can have a sequence of rapid fire effects or a separation between each of them. Get the feel of that rhythm and go back to question 2 to assure you are getting the reaction you desire.

QUESTION 4: Where on the stage have you placed your effect moments? Have you offered varied staging or is everything "front and center?" Does it coordinate well with other elements of the guard?

QUESTION 5: Does the viewer's eye travel easily to where you have placed your effect?

QUESTION 6: Have you offered a variety of effects? What are they? Flag, rifle, saber, dance or drill features; are they Intellectual (fascinating, showing depth) Emotional (exciting, nostalgic) or Aesthetic (familiar and accessible to the viewer)? Variety is the spice of life. It's also a scoring consideration.

QUESTION 7: Is the effect musical? This shows up on every score sheet and is a vital investment on your part.

QUESTION 8: Have you factored in the element of Surprise or is each feature predictable?

QUESTION 9: How does all of this feed into the overall PRODUCTION VALUE of your show? Have you given total thought to the "look" through costume, color, props, floor design and how that all illustrates the Sound Design of your show?

QUESTION 10: Is the overall package memorable, unique and creative? Here I'd like to offer you a gentle reminder. Don't confuse "shock value" with being unique. Good taste is ALWAYS critical in your decisions. Pay attention to costuming and be sensitive to changing young bodies. Performers MUST be COMFORTABLE in what they wear. Good design and fit will assure this. Young ladies should not be "tugging" on their costumes and both males and females need the proper undergarments.

When you have applied these considerations to your entire show, you will be fully prepared to gage your success or weakness through the judge's taped reaction/response. It also lets you gauge the audience's response. It sets you up for intelligent expectations and provides a basis of dialog with the effect judges in critique.

This is all about YOU and your preparedness. I promise you that if you take care with these points your life will be infinitely easier throughout the season.

The Program

Before I would work for random schools that would ask me to come in and I never really knew the kids well or the over all program. The atmosphere of the school and the community was also something I was never able to pull from when thinking of a show. Now I am finally working at a High School (High School Business teacher) and am able to work with both their High School and Middle School winter guard. So, I will be able to use what is in this post more and more. Hope you find it helpful.


Thinking about the Program

Your Identity and your Message and just who are you?

By now everyone is searching for the ideal program and of course that involves listening to dozens of tunes. You are no doubt considering the "trends" and "what the judges’ reward" and how to set your students up for success. While those are all important considerations, don’t forget to put time into focusing on your group’s identity and personality. This is where you craft a show that is "tailor made" for your particular situation.

Take stock of your guard’s history. Ask yourself these questions and give careful consideration to your answers.

What’s been your success ratio? Are you always struggling to reach a goal? Are you always successful?
Are you stuck in a rut in terms of repeating old choices?
What are the social and economic influences your students exist in?
What stumbling blocks do you repeatedly encounter?
What are your weaknesses?
What are your greatest strengths?

All of these considerations blend together to establish the common "personality" or "identity" of your students and subsequently your guard. With this knowledge, it will help you to design a show that will allow your performers to "be themselves" and hopefully be most comfortable in communicating the program you create. It’s about building on a natural resource. It will also aid in guiding your musical considerations.

The next big question is this:

How do you program? Is it for the judges, the kids or the system? Can it be for all 3?

The typical designer is tempted to "follow the trend" and the motivation behind that is ALWAYS because that’s what the judges reward. Over the past year and all through Spinfest, we have been encouraging you to be ORIGINAL and take a creative step that will make you unique. At the same time, our Judge administrators are asking Judges to be open to the diversity of programming that we are asking you to bring to our competitive stage. It gets to be that age old question of which came first, the chicken or the egg? If you don’t break away from the "common" mold, what else can judges do but reward the best of what EVERYONE is doing?

It is proper that the Activity’s standards are defined by the Guards. That’s ALL THE GUARDS in all the classes. The judging community should always be the mirror that reflects the priorities of the system. This means they will credit successes of training, creativity, originality and entertainment!!! Somebody’s got to take the lead in moving our activity to the next level. I am asking that all of you as a community of designers step up for that challenge. Know that Jim Mahoney, Kristen O’Melia and Phil Madden, as judge administrators, are reinforcing this within the judging community as well. We are all on the same page in the goal to move our creative process forward!!!

SO NOW WHAT????

Take what we discussed at the beginning of this memo and get a firm picture of your students/guard’s identity and personality.

Get out of your comfort zone and listen to diverse musical options. You can seek music to FIT that "personality" or you can just make sure that the "personality" can adapt to the role the kids will be asked to portray.

You can be creative through clever displays of body/equipment, through unique costuming, etc.

Most of this challenge is up to YOU. Your students can learn whatever you are capable of teaching them. I’ve seen guards with kids no more than 7 or 8 years old selling their shows with believable and entertaining skills. Just check out those Boston Cadets to get the picture I’m painting here.

Eliminate the fear of what judges will do. I know that’s hard, but you can be absolutely sure that your judge administrators are 100% on board in this effort and they are a constant resource to you within the competitive season. Just don’t sacrifice good sense in the establishment of training, logic in staging and planning your effects.

Finding the right music

Again, I am not taking credit for what I am about to post. It was an email sent to me by our circuits Education Director.

Finding music for a Winter Guard show is always difficult for me. Every once in a while a season comes where ONE song jumps out above all the others and I know that is the one for my guard and for that season. However, most of the time that is not the case. My iTunes has a play list named "show ideas" and has a ridiculous amount of songs in it. The songs are very random, not sticking to one theme or mood, but they all speak to me in at least one way.

And there is my problem...

I have a habit of always choosing songs that speak to ME emotionally when I know there are many other elements I need to consider if I want to have a successful season. One of my close winter guard drill writing and designing friends says he is the complete opposite. The emotion is never what hits him. He and I now try to put our 2 brains together to help balance out our song selections. And THAT is where this article comes in handy. It really helped me and I hope it helps you in seasons to come (since everyone has already chosen their show for the 2010 season).


MUSIC

10 EASY QUESTIONS WITH A BIG PAYOFF

I'm going to ask you to approach this all important design choice with a list of questions to ask yourself (and your staff) as you wade through a million options.

• QUESTION 1: What kind of mood do you want to put your audience in?

Excited, nostalgic, sad, happy, energized, lethargic, fascinated, surprised, and the list goes on and on. Answer this first and it sets a road map toward your goal. Remember, one of the most commonly shared response mechanisms in people is their reaction to music and sound.

• QUESTION 2: Do you want to grab your audience immediately with a big effect

or do you want to build into it? This will also help you as you consider the opening of each tune you listen to.

• QUESTION 3: Does the music provide a great ending????

You always want to leave the audience "wanting more." Do you want the audience to be left "holding their breath" as you conclude, or do you want them screaming and on their feet?

• QUESTION 4: Does the music guide you smoothly through the "dance of design"

as you conceptualize the show? Can you visualize each segment as you listen?

• QUESTION 5: Does the music provide contrast and contouring

so that your show takes the viewer on a joy ride of highs and lows? Can you visualize those impact points and strong resolutions?

• QUESTION 6: Does the music have interesting depth of orchestration?

When considering a specific tune, how many different arrangements/artists do you research before making a decision? Have you considered combining different versions of the same tune?

• QUESTION 7: Does the music suggest a specific style or "look"

and can you assure that your students can carry it off?

• QUESTION 8: How many other groups have used this music

and will it set you up for a direct comparison?? It shouldn't but I promise you that there are some tunes that need to be "retired" for the next decade. It's risky to pick a tune used by a highly memorable guard.

• QUESTION 9: Is this tune similar or different from what you've done for the past couple of
years?

Is it time to redefine yourself? Redefinition will keep the kids interested and broaden their skill
sets as performers and challenge you as designers!!!!

• QUESTION 10: Can the performers relate to your vision through this music

and do you have the knowledge to teach them how to interpret their role and character?


Once you've settled on this year's show music, consider how you might embellish it with any special effects or layer it with other arrangements to provide a more unique sound. This is ALL ABOUT YOU and your creative thought process as you set up your show for the best possible production value.

Musical choice may very well be the most important choice you will make.
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. Create a musical sound track that will showcase your best assets as you create your visual illustration.

Training - Vocabulary & Expression

I first want to say that these are not my words! I am not taking credit for any of it! This information was sent to me by my circuit's Education Director and I thought it was "worth sharing" information. There were 7 of these emails and I wanted to share each of them with you. I found it to be very helpful information and I hope others do too.

Training - Vocabulary & Expression

In an ideal world where you have tons of time, money and rehearsal space (LOL) you would provide your students with a full conditioning of their bodies. Let’s begin by clarifying the difference between training and warm ups. Training teaches and heightens the body to handle responsibilities beyond the normal pedestrian type of movement and establishes the techniques needed to achieve the vocabulary. Warm up gets the blood moving, the muscles responding and SHOULD reinforce technique. It is never as effective unless the TRAINING has established those techniques.

Realistically, most groups only have the time to teach their students those "task specific" techniques that will be an integral part of their show. Don’t forget that the body WILL have a direct bearing on the efficiency of the equipment and the ability of the performers to project those qualities that inspire "communication" with the audience and the judges.


VOCABULARY BY CLASS

Several years ago we printed a vocabulary list that typified each class. Not wanting to limit groups, it was removed from the Manual. However, I honestly think it might be helpful to reacquaint ourselves with those models. Everybody has a few students who can do those isolated high-level tricks/moves and that levels the playing field in that regard. However, the balance of the guard (if in the proper class) will be typical of those skills shown below. While you should ALWAYS create your vocabulary based on the students’ skills, this might serve to bring us to a common ground and help you in proper classification as well as achievement of your goals.


For Younger Class A guards, Basic Equipment Vocabulary will include:

Spins
Tosses
Carving/extensions
Beginning multi-planal work
Some layering on movement
Expressive Dynamic efforts mostly involving time & weight


Basic Movement Vocabulary will include:

Traveling (walking, running)
Simple jumps, hops, leaps
Single dance turns
Simple moves into the ground
Postural and gestural shaping
Basic drill/staging responsibilities
Dynamic effort qualities mostly involving time and weight
Some movement or shaping layered with Equipment
Use of isolated body parts

As your students grow and you’re A guard is more experienced, you will introduce them to some intermediate skills moving to the point where they prepare for Open Class. These skills will include:


Layering & longer phrases
Broader range of expressive dynamics
Broader drill/staging responsibilities
Larger kinetic space
More variety in releases & catches
More variety in travel, jumps, turns, etc.

THE OPEN CLASS VOCABULARY – As you move into the Open class, your students should be capable of doing not only those moves above, but also new ones. The Intermediate Equipment Vocabulary will include (in addition to Basic moves)


Variations of Spins
Tosses - more variety
Carving/extensions - longer phrases
Some hand to hand and hand changes
Moderate multi-planal work
A good level of layering on movement
Some work from different parts of the equipment.
Expressive dynamic efforts - a fuller range
Broader range of tempo/meter/rhythm
Some ambidexterity
Longer phrasing in general

Intermediate Movement Vocabulary will include (in addition to Basic moves):


Traveling (variations in speed, and traveling moves)
Jumps, jump turns, grand jetes
Varied turns, chaines, piques
Varied moves into the ground
Balance moves - turns on l leg, attitudes
Postural and gestural shaping
Moderate drill/staging responsibilities
Broader understanding of dynamic efforts
Movement/shaping layered with equipment
Larger kinetic range

As your students advance toward that move to World Class, it is common to see the following:


Greater layering & longer phrases
Broader understanding of expressive dynamics
Broader drill/staging responsibilities
Some weight sharing (partnering)
More tempo/meter/rhythm challenge

So, once you’ve established the vocabulary, you are now ready to train and establish the techniques for these specific tasks.


WHAT ABOUT THOSE EXPRESSIVE EFFORT QUALITIES?

Obviously you write your vocabulary to the music which will guide you in terms of speed, phrase length, punctuated moments, time signatures and such things as density and weight. Notice that they include several of the expressive efforts you hear judges reference (space, time, weight, flow) and hopefully this will help to dispel the question of just how and why you should teach those qualities. If you take care in how you illustrate those qualities within the music, you will have a head start toward knowing what to reinforce expressively.

OK, so some of you are no doubt asking why we just don’t call that part of your vocabulary musicality. Here’s the answer, we don’t want the judges to be focusing on interpretive choices because that’s subjective. We do want them to see and credit those expressive efforts as the important components they are. My reference to music, is ONLY to give you an easy reference tool toward understanding, teaching and reinforcing those qualities. ABOVE ALL ELSE, teach your kids to BREATHE!!!!! Absence of breath constricts all movement.

Nebraska Winter Guard

I know we all tend to know those who are in our circuit or the big name writers/designers for the World Classes. But I am very excited/honored/blessed to have gotten the chance to work with someone outside of my circuit. Julie H. from Nebraska. She is a person I hope to continue to work with and learn from.

Julie and I had a common "friend" and we met at the St. Louis Regional last season and she invited me up to help with a couple winter guards she works with. As this season was about to get started I wondered if she remembered me and still wanted me to come up to help....Then the text! The official invitation to come up and help her with 2 of her winter guards.

I was excited and nervous all at the same time. Excited because I love working and learning from new people. Taking advice and knowledge from them and helping them with what I know. Nervous because I felt like I was, even in a very small way, representing MO and MCCGA. While on Pride (of MSU) John would always tell us when we traveled places that we were representing MSU as well as the Pride. I keep that in my mind always.

When I got up there...there was SNOW! 2 feet of snow actually.

Working with her 2 groups was a blast, the girls we wonderful to teach, and spending time with Julie was fun as well. The 2 groups have 2 very different shows and they really seem to fit them, which I believe will add to their success. One group had some beautiful dancers while the other group rocked my face off on equipment! 2 winter guard camps I am so thankful to have been a part of.

I was up in Nebraska for New Years Eve and it was a perfect girls night. Watching True Blood and relaxing after 2 solid days of winter guard camp. Just what I needed.

I wish both of her groups luck, Seward and Bellevue East...I hope you have GREAT seasons and I will see you at the KC Regional!