wgi winter 2011 focus
DESCRIPTION
The Winter 2011 issue of WGI's FOCUS Magazine.TRANSCRIPT
focusthe offi cial news of wgi sport of the artswinter 2011
CAPTURING THE 2011 SEASON
Meet WGI’s HIDDEN HELPERS
focusfocusfocusfocusfocusfocusfocusPAST
PERFORMERS FIND NEW
SUCCESS
Getting a Lift from
FLANAGANHIGHHIGHHIGH
This top guard just keeps raising its game
Stretch Out!
BUILDING A BETTER WARM-UP
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WINTER 2011 Volume 25, Issue 1
Winter Guard International
Ron NankervisChief Executive Offi cer
Bart WoodleyMarketing Manager
Aaron JenkinsMarketing & Communications
Coordinator
Published By:In Tune Partners, LLC
Irwin KornfeldCEO
Will EdwardsPresident
Angelo BiasiPublisher
Mac RandallEditor-in-ChiefJackie Jordan
Creative DirectorRobin Garber
Production DirectorBarbara BoughtonBusiness Manager
Contributing Writers:Debbie Galante Block, David G. Hill,
Alex Mendoza, Cathy Applefeld Olson, Michael ReedPhotography:
Jolesch Photography, Robert Cawthorne, Susie Ferreira, Dan Scafi di, Linda Unser, and Sid Unser
WGI FOCUS is an educational publication of WGI Sport of the Arts. Its purpose is to broaden communication within the family of color guards and percussion ensembles. FOCUS is published
three times per year.
WGI FOCUS is a free publication with a circulation of 14,000 copies and 12,000 online viewers. All members of the WGI family may
submit articles for consideration. WGI reserves the right to edit all submitted material.
If your address has changed, please notify the WGI offi ce. Failure to do this could result in the loss of your WGI FOCUS subscription. We don’t
want to lose touch with you!
For advertising information please contact Aaron Jenkins; phone: 937-247-5919;
email: [email protected]
WINTER GUARD INTERNATIONAL2405 Crosspointe Drive
Dayton, OH 45342937-247-5919
offi [email protected] www.wgi.org
focusthe offi cial news of wgi sport of the artswgi
WGI FOCUS 5
INSIDE7 ENSEMBLEThe 2011 season: Who’s new, who’s back ... WGI goes mobile ... Spirit of America prepares for a South African mission ... The latest from Spinfest on Tour ... Ayala High School’s Ike Jackson profi led ... and much more!
14 CLOSE-UPFlanagan High School is continually raising the performance bar—and also raising awareness about art, history, and the world around us.
16 SPOTLIGHTPhotographers and merchandising designers are ready for a new WGI season.
20 ONWARD AND UPWARDWhen they were ensemble members, they performed amazing feats. Now they’re doing the same out in the world as young professionals.
25 WHO’S RUNNING THE SHOW?The term “contest administrator” may not sound so exciting, but WGI events couldn’t get off the ground without these behind-the-scenes helpers.
28 CLINICIf you’re going to perform your best, you need to warm up fi rst. We asked some guard and percussion directors to take us through their pre-show routines.
30 SCHOLARSHIPSarra Bae’s parents moved from Korea to give her a
better life. When she joined United Percussion, she got the chance to live out an American dream.
34 WHAT’S YOUR WGIQ?Identify the performers in these photographs from the 2010 season.
34
7 Rhythm X and others announce their concepts for the 2011 season.
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NEWS FROM THE FLOOR AND MOREEnsemble
The coming of the new WGI season also marks the return of some familiar groups to the competitive fl oor after a year or more away. Among them is the Independent World guard Zydeco, based in Dayton, Ohio. “Zydeco took the 2010 season off for a myriad of reasons,” director Byron Valentine says. “Our path had been forged so quickly after our 2007 inaugural season that we needed to take a year simply to catch our breath… Hav-ing the team back out this season is every bit as good as I imagined it would be. Although we’re only in the preliminary stages of our season, I believe this year is already setting a new stan-dard for the Zydeco organization.”
Another group coming back to WGI is IW guard Corona, from Los Angeles, Calif. And in Atlanta, Ga., two ensembles are making their WGI debut this year: Paramount (IW) and Ter-minus Atlanta Percussion (PIW). The latter group actually combines two previous ensem-bles, Odyssey and Pariah; their show designer, Kit Chatham, is profi led on page 20.
WGI AT THE MIDWEST CLINICFilled with holiday lights, Chicago in December set the scene for the Midwest Clinic band and orchestra conference—though the name “Midwest” was hardly suffi cient to describe the thousands of participants from around the world who gathered to gain information from hundreds of exhibits. At WGI’s booth, attendees stopped to catch a showing of the 2010 DVDs, talk about their excitement for the 2011 season, learn more about the indoor activities, and collect a few educational videos. WGI’s Midwest presence, along with that of Drum Corps International and Music for All, ensured that the marching arts were well represented at this international music education phenomenon.
www.wgi.org
GOING MOBILEWGI now has a mobile application for the iPhone! It’s a one-stop source for all the latest news, show info, schedules, scores, and posts on Twitter and Facebook. Hit
the “video” button, and the Fan Network Mobile Website delivers new and vintage videos right into the palm of your hand. Best of all, the app’s free; just go to iTunes and search for WGI.
Zydeco (inset) and Corona at the 2009 WGI World Championships
MANY HAPPY RETURNS IN 2011
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Ensemble
www.wgi.org
SPINFEST!! NEWS: ON TOUR RECAP, IN TEXAS FOR 2011Spinfest!! on Tour concluded its inaugural cross-country run in December. Rosie Queen, who was a clinician at stops in Florida, Pennsylvania, and Massachusetts, reports: “We’ve had anywhere from 100-250 people in each location, which is pretty amazing for its fi rst year in action. Taking Spinfest!! on the road has been a wonderful way to connect with the local circuits and bring color guard education to the masses.” If you didn’t catch Spinfest!! on Tour, the classic 2-day Spinfest!! will take place in Texas this year: September 10-11 at the Special Events Center in Dallas. Go to wgispinfest.com for more information.
GUARD FOCUS
A Kit Fit for a CrisisBe prepared—that’s a good tip for Boy Scouts and percussionists alike. And whether you’re getting ready for Finals or just packing up for rehearsal, it’s always smart to have emergency supplies on hand. That’s where the Crisis Kit from Sabian’s Performers Acces-sories Series comes in. The kit contains eight cymbal sleeves, two hi-hat felts, two bass drum impact pads, four snare cords, two hi-hat cymbal cup washers, six cymbal felts, a Sabian drum key, two hi-hat clutch felts, and six tension rod washers, all in a handy carrying bag. Find out more at sabian.com.
Virtual Designer Creates Custom Flags OnlineCan’t fi nd the right fl ag for your group? Give McCor-mick’s new Virtual Designer a try. The Virtual Designer is the industry’s only online tool for designing fl ags in real time. Once you’ve logged on, you can test a dizzying range of color and fabric combinations on any of the company’s wide va-riety of fl ag styles until you create the exact look you envision. After you’re happy with your design, send it in to McCormick’s to get a quote or place an order. Custom sewn fl ags can be fi nished in three weeks; Presto and Premium Presto fl ags are done in just one. Go to mccormicksnet.com for more details.
PERCUSSION FOCUS
The Spirit of America percussion ensemble of Orleans, Mass., won’t be participating in WGI events this season, but they have an excellent excuse: They’re preparing for a very special trip to South Africa. Between September 3 and 28, 150 ensemble members will be helping to bring music and hope to underprivileged youth in the townships around Durban and Johannesburg.
“We’ll be performing our fi eld show and our ‘Instru-mental Theatre: in motion’ stage show,” director Dave Ortolani explains, “but we’ll also be doing a broad range of arts workshops, from brass and percussion work to cos-tume design and set construction. Because of economic hardship and the AIDS epidemic, a lot of young people in South Africa don’t see the point of living. We want to give them skills that will make a real difference.”
Spirit of America won’t just be teaching skills; they’ll also be donating instruments to needy kids. “We plan to come back every year with a smaller staff to keep the training going,” Ortolani says. “This experience is going to change everybody’s lives—and it’ll defi nitely be the basis for our 2012 WGI show.”
Spirit of America
SPIRIT OF AMERICA’S MISSION
TO SOUTH AFRICA
Spinfest!! in Allentown
WGI FOCUS 9
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Ensemble
As February approaches, groups across the coun-try are announcing their show concepts for the 2011 season. Many of these announcements have been featured as news stories on wgi.org. Here are a few of the fi rst to reveal details from their programs:
Beyer HS (PSO): “In a Room,” based on the true story of a father who survived a horrible event and a daughter who needs to know the truth
Rhythm X (PIW): “Stand by Me,” which takes ideas from the Ben E. King song and Rob Reiner
movie of the same name and up-dates them for the new millennium
Urban Expressions (IA): “Find-ing Happiness,” a tribute to found-ing member Sara Raymond, who passed away suddenly in August
Central Carroll HS (SA): “The Power of Words,” a message of love and hope to victims of bullying and persecution—and a plea for change
OC Indoor (PIO): “The Red Shoes,” a modern take on the Hans Christian Andersen tale and epic 1948 fi lm by Michael Pow-ell, using elements of ballet and contemporary dance.
NEW SHOW CONCEPTS
RUN THE GAMUT
OC Indoor
Urban Expressions
Thank You to Our Partners and Sponsors
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10 WGI FOCUS
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He’s director of the Ayala High School percussion ensem-ble and co-founder of Pulse Indoor Percussion Ensemble. His groups have won fi ve WGI World Championship med-als and 12 Regional Championship titles. But this barely begins to describe how important Ike Jackson has been to the world of indoor percussion over the past two decades. WGI Focusspoke to him recently on a wide range of subjects.What got him into percussion: I was a football player in my freshman year of high school, and one day I got my bell rung real hard trying to catch a pass. I sat on the sideline and thought, “I don’t want to do this anymore.” So I asked the band direc-tor if I could be in the drum line and he said, “Come on in.” I loved it. Favorite Ayala show: When we were in Open division, we did a show called “Moving Without Traveling.” There was a taiko drum that had to be rotated on this ramp contraption
A FEW WORDS WITH IKE JACKSONthat weighed about 500 pounds. When we got to Dayton, the wheels stopped working, but those kids just muscled through it and made it work. That was a moment when I realized, “Man, we can do anything.”The competition: Every year, the group I’m always afraid
of is Mission Viejo. Any group from California sees them as godly, and that makes sense because we’ve all been created in their image.What he’s most proud of: There was no career in teaching percussion, at least not in California, before people like Mike Jackson and myself came along. We were the grandfathers of professional drum instruction, and now a new generation can make a career out of it. I’m so happy to have opened that door.About WGI: It’s where we live. It’s where we can really be heard and appreciated. Marching band is cool, but at the end of the day, it’s time to go home to WGI.
EnsemblePROFILE
Ayala HS in 2010
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14 WGI FOCUS
I t isn’t every color guard that papers its show fl oor with audience members’ secrets, or engages in extensive research on the legendary AIDS quilt that inspired one of its shows. But making connections—
with its program and with its audience—is standard practice for the guard at Flanagan High School in Pem-broke Pines, Fla., and its director, Dean Broadbent.
“We are always trying to fi nd that way to interact with the audience and connect with them,” says Broadbent, who’s led the ensemble since 2001. “It’s hard to do within a 60- by 80-foot boundary. You can’t reach out and touch them or sit next to them, so we try to do it from a distance.”
The Flanagan guard, which formed soon after the school opened in 1996, initially competed only in south Florida. These days, however, they’re a perennial bar-raiser on the WGI scene. They’ve been fi nalists every year since 2003, most recently taking fourth place in the 2010 Scholastic World fi nals. Despite this success, Broadbent notes that “we don’t walk into the season trying to win and get a medal. We just want to be able to be there on Saturday night.”
Finals attendees can expect to be drawn into Flana-gan’s shows. For “Post Secret” in 2008, the guard ran a contest on both its website and the WGI website asking people to anonymously mail or email the group their secrets. The best ones would be selected and become part of the fl oor of the show.
“It was incredible,” Broadbent recalls. “We got stuff from other countries: Canada, the Netherlands. But you had to come see us at a regional or WGI to see if your secret made the fl oor.”
The connections actually begin back at school, where Broadbent says the guard program is well supported, in large part because it’s so integrated with the rest of Flanagan. Before engaging in some of their more theatri-cal shows, “we had a lot of sessions with the drama department, which helped teach the kids different tech-niques to open up those doors,” he says.
Broadbent ensures that his students get more out of their performances than just music
and movement. For example, when the group was preparing for its 2002 “Patchwork
Quilt” show, which centered around the AIDS quilt, he told students to go to the school media center and fi nd the quilt on the Smith-sonian website. He then had them research people
represented on the quilt and write letters to their families.
For its “Hopelandic” performance in 2009, the ensemble spent time learning about Iceland. “We could rattle off facts just like that,” Broadbent says. And when the students were preparing for a World War II-themed show, the kids got a history lesson. “They had to fi nd radio broadcasts from that era and they learned all about Winston Churchill. Our principal recognizes that, and she loves the fact that we’re getting an education beyond just the show itself.”
www.wgi.org
TheFlanagan ConnectionSuccessful Scholastic Guard Makes Every Show an Educational ExperienceBy Cathy Applefeld Olson
Close-Up
You can’t reach out and touch the audience, but we try to do it from a distance.
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16 WGI FOCUS
WGI Regionals are the product of a communal effort in which each individual plays a part. While some perform, others deal with the Regionals’ logistics and strategy (see “Who’s
Running the Show?” on page 25). But it’s also important to thoroughly plan how the event will be documented and celebrated. Allowing spectators and performers to take home a lasting memory in tangible form, whether it’s an expertly captured photograph or a comfortable sweater bearing the WGI logo, involves a surprising amount of work.
This year, WGI’s offi cial photographers, Jolesch Photography, will be capturing the essence of the activity at every Regional—some-thing that has never been done prior to this season. “Jolesch is always there to provide a good service to the participants,” the com-pany’s general manager, Alan Parker, says. “We don’t get to really watch the shows, as we’re mainly working very hard at the never-ending task of or-ganizing thousands of images and getting them ready for print production. We are typically one of the fi rst vendor crews to arrive and one of the last to leave, often putting in more than a 17-hour day.”
In addition to Jolesch, there will be other photogra-phers at the Regionals, such as Sid and Linda Unser, who handle the photography featured in WGI-related market-ing materials. “The real challenges in what we do are, for the most part, greatly reduced through the incredible cooperation we receive from the WGI marketing depart-ment,” Sid says. “The long days could be to some degree considered a challenge, but when the drumming, music,
booths, which feature exclusive WGI material. Art director Sarah Phagan, senior designer Teri Steely, and designer Larae Salcedo share the task of planning the merchandise for each new season.
“We start by researching what’s trendy and what’s on the WGI website,” Phagan explains. “It always has some type of theme, so we try to incorporate that. Once we’ve developed a design, we send it for internal and WGI ap-provals. It’s always fun to collaborate with Bart Woodley and Aaron Jenkins from WGI because they get us. They have a creative outlook and are always open to out-of-the-box ideas. Of course, the best part is seeing the kids get excited over the merchandise. It’s thrilling to hear they sold out of an item we designed!”
www.wgi.org
Photographers and Designers Prepare for a New SeasonBy Alex Mendoza
Spotlight
or—in the case of, say, Onyx—sounds start, you tend to forget about the element of time. Most important as a performance photographer is the degree of anticipation. You’ve got to train yourself to envision that sabre spin, fl ag toss, leap, or drummer’s expression before it actually happens.”
Those eager to take home a shirt or keychain from a Regional will turn to PepWear’s
GI Regionals are the product of a communal GI Regionals are the product of a communal
and Designers Prepare
or—in the case of, say, Onyx—sounds start, you tend to or—in the case of, say, Onyx—sounds start, you tend to
Memories in the Makıng
“You’ve got to train yourself to
envision that sabre spin, fl ag
toss, leap, or drummer’s expression
before it actually happens.”
Gary and Sharon Hansen of PepWear
Sid Unser and other WGI photographers get ready to capture more action.
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Cosmopolitan U.K. magazine “emerging designer,” an intern for the hit TV show Glee, the featured drummer in Cirque du Soleil’s Las Vegas extrava-ganza Viva Elvis, and a men’s and women’s wear
designer for Saks, Bloomingdale’s, and Nordstrom all have one thing in common: WGI Sport of the Arts.
Borris Powell, Andrea Medina, Kit Chatham, and Trey Al-ligood started on the fl oor in color guard and percussion. Where they’ve ended up today has more than a little to do with life lessons learned through performance! Here are their stories.
Alabama native Borris Powell designs women’s fashions; the U.K. edition of Cosmopolitan called him an “emerging de-signer” in the spring of 2010. His collections, and his life, are “for the moment.” He describes his creative process like this: “The world is my muse and my creativity is how the world works, and even if we see the world through a black, white, or gray lens, I strive to be connected to each one….” Interest-
20 WGI FOCUS
Onward andOnward and
Great WGI performers of years
past are now doing equally amazing
things out in the professional world.
Above: Kit onstage with the Viva Elvis crew in Las Vegas. Below: Odyssey Percussion Theatre’s 2006 WGI show, designed by Chatham.
UPWARDBy David G. Hill
KIT CHATHAM
WGI_p20_WhereareTheyjj2.indd 1 1/5/11 2:11:45 PM
Beach, who is double-majoring in fashion design and fash-ion merchandising, was lucky enough to grab an internship working in the costume department of the Fox Network’s breakout show Glee. (The theme episodes must have been great fun!)
Andrea says that she “assisted the costume designer, cos-tume supervisor, and costumers with various tasks such as organizing the costumes, research, and fi ttings. I also did a great deal of job shadowing.” As for how her years in color guard are paying off now, she says, “By working with team-mates, and having the honor of being a head leader for color guard, I improved my self-confi dence and the ability to set and accomplish goals. Those valuable skills allow me to be suc-cessful in college and confi dent in pursuing my career goal of working in the television and fi lm cos-tume industry.”
In a recent Theater Mania review, Cirque du Soleil’s newest creation, Viva Elvis, won this accolade: “[P]lacing the live band front and center adds an extra layer of energy to a show that’s already fi ring on all cylinders.” At the heart of that live band is percussionist Kit Chatham.
If you haven’t been to Las Vegas yet to see Viva Elvis, you may still recognize Kit. Perhaps you saw him interviewed on PBS’ Cirque du Soleil: Flowers in the Desert—a two-hour special that focus-es on Cirque’s permanent Las Vegas extravaganzas. Or maybe in Blast!, or with CyberJam: Kit’s a one-man per-cussion show.
“I’ve been involved with WGI for 13 years,” the gregarious Kit says. “Currently I’m show designer for the new PIW group, Terminus Atlanta Percussion, which is the joining of t wo former groups, Odyssey and Pariah. I was show designer/co-ordinator for Odys-sey Percussion Theater from 2 0 0 4 - 2 0 0 6 , designer/con-sultant w i th Atlanta Quest for two years, am a judge for the SNIPA circuit, and design, write, and consult with high school and independent groups all over the U.S. and in Japan.”
Kit teaches the techniques, methods, and skills he learned as a performer, but he said that his biggest thrill “is help-ing young performers devel-op and advance their overall performance skills—not just
ing choice of colors, because the former Pride of Cincinnati member also says that his favorite show to perform in was the decidedly black, white, and gray 1997 bronze-medal win-ner, “Alcatraz.”
Borris’ WGI experience is refl ected in his life and in his work. “I learned discipline, determination, and how to work hard and enjoy the benefi ts of hard work,” he says. “I apply so many things from my years of guard in my business: from staging to building a show/collection around emotions to working with a small group. Those [color guard years] were times that shaped me as a person to confi dently go out every day to pursue my dreams with nothing other then a winning determination.”
It somehow makes sense that Andrea Medina’s favorite performance as a member of the Arcadia High School color guard was the 2007 bronze medal-winning “Continuum,” for her whole life is a continuum of sorts—and a gleeful one. The fourth-year student at California State University, Long
WGI FOCUS 21
From top: A favorite item from Powell’s fashion collections; Borris today; posing with his fellow per-formers from The Company in 1996.
CIRQUE du SOLEIL!
BORRIS POWELL
years,” the gregarious Kit says. “Currently I’m show DESIGNER TO WATCH!
WGI_p20_WhereareTheyjj2.indd 2 1/5/11 2:12:13 PM
West End, or all over the world with Blast! without all the things I learned.”
Like his fellow WGI alums, Trey offered some advice to young people who are part of the WGI experience: “Dream big and never become complacent. It can take your life in so many different directions and open up so many opportunities that you would never get anywhere else!”
Kit Chatham says he always tells young people “that this is the only activity of its kind out there, and that it will help them grow as performers, musicians, and individuals. I think WGI offers so many levels of the performing arts for the per-
former to be involved with and is way be-yond just marching and playing.”
For Andrea Medina, WGI is all about the memories: “Performing with a WGI unit is one of the most memorable and fulfi lling experiences. It not only gives you the opportunity to grow as a per-son, but also allows you to make strong friendships and to be a strong and confi -dent person.”
Borris Powell, though, just might have the best advice for us all. “If you have the interest, you have it for a reason. Go and
explore it. You will not regret it. You will learn more about yourself and how to work with oth-ers in a short amount of time that could take you a lifetime otherwise. You will come out of this experience a different and better person and with a new friend and family base for life.
“WGI was a way for me to fi nd myself out-side of my hometown. I found my dreams and a way to reach my true potential.
“Now, take the fl oor—and world—in com-petition.”
22 WGI FOCUS
playing skills—including acting, emoting, moving, and com-municating with the audience.”
Trey Alligood’s life has come full circle from his days as a performer in Pride of Cincinnati and his favorite show, the 1998 bronze medal-winning “First Circle.” He and his partner opened the Penthouse Showroom in Los Angeles six years ago; they represent some eight clothing brands and a watch collection, as well as their own men’s and women’s contem-porary clothing brand, Madisonpark Collective, for Bloomingdale’s, Saks, Nordstrom and several other boutiques around the world.
Trey is effusive in his love for his WGI experi-ence. “WGI impacted my life in so many ways: the people, dedication, team-work, laughter, and love I shared. I will never forget. I would have never made it to Broadway, to London’s
TREY ALLIGOOD
Clockwise from top left: Andrea Medina performing with the Arcadia High School color guard; Medina today; on the Glee set with Matthew Morrison (a.k.a. Will Schuester); a group photo with
various mem-bers of the Glee cast.
Top left: A peek inside Trey’s Penthouse Showroom in Los Angeles. Top right: Two designs by Madisonpark Collective.
ANDREA MEDINA
GLEEFUL
INTERN!
FASHIONENTREPRENEUR!
www.wgi.org
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WGI_Temp.indd 1 1/6/11 10:09:15 AM
A WGI competition is a symphony of moving parts. Aside from the beau-ty and power of the performances on the arena fl oor, there are a pleth-ora of people behind the scenes that keep the event running smoothly and on time. Think of a huge grandfather clock as an analogy. We see the hands of the clock move smoothly and hear the chimes every hour, but the gears and cogs turning behind the clock face remain unseen.
Likewise, the intricate productions on the contest fl oor are only the most visible part of the show. Judges, tabu-lators, runners, unit entry and warm-up staff, and more all play vital roles in the functioning of the contest. But to keep things running the way they’re supposed to, somebody has to be responsible for the fl ow of the event. Somebody has to be there to handle the logis-tical challenges, fi nd solutions for unexpected problems that may arise, and be the “go-to” person for questions. That “somebody” is the Contest Administrator.
The Contest Administrator’s job description includes many varied duties. The CA is the primary liaison between
the contest host, WGI home offi ce, and the competing groups. CAs also serve as a source of information for the ensembles and sponsors, and are responsible for assigning personnel for timing, penalties, and tabulation. Additionally, the CA works to ensure that all contest scores are posted with WGI in a timely manner. In a nutshell, the person who accepts this position is responsible for coordinating all the elements that go into a WGI event, weaving them into a seamless tapes-try that is rewarding for performers and spectators alike.
WGI Focus recently spoke with two veteran Contest Administrators to gain insight into what they do, how they got involved in the activity, and why their passion for it keeps them involved year after year.
Brian Johnson has been in the pageantry arts for over 40 years. He cut his competitive teeth with the St. Paul Scouts Drum and Bugle Corps in the late ’60s, and served as an in-structor, unit director, and president of the North Star Color Guard Circuit prior to his present duties with WGI. He cur-rently works at the University of Minnesota.
CONTESTADMINISTRATORS,
THAT’S WHO—THE INVALUABLEPEOPLE BEHINDEVERY INDOOR
MARCHING EVENT.BY MICHAEL REED
WGI FOCUS 25
As performers take the fl oor, CAs like Brian
Johnson and Stephanie Bonebrake are keep-ing things organized
behind the scenes.
WGI_p24_Adminjj.indd 1 1/5/11 12:01:08 PM
26 wgi focus
stephanie Bonebrake was drum major of her high school band and has a background in dance, so it was a natural fit when she began her color guard career in col-lege. Her knowledge of both music and movement has served her well in her job as a band director with many years of teaching and choreography experience. she is currently the circuit administrator for the North Texas colorguard Association and is in her fourth year as a wgi contest Administrator.
As is the case with any successful endeavor, prepara-tion is the key. Before the contest weekend arrives, Bone-brake makes sure forms and rulebooks are printed; she also compiles a checklist of items that will be needed during the event. Johnson assists with judge travel and housing, shuttling, and emergency information for the day. The cA also prepares the score sheets for each competition. Both cAs note that they like to visit a Regional site during the evening prior to the show, doing a complete walk-through to ensure signs are appropriately placed, stands are pulled out, wgi banners are hung, and many other little details are ready for the next day’s activities.
The administrator typically arrives at the performance arena at least two hours before the first group performs. This allows for any last-minute surprises to be handled. cAs will introduce themselves to key workers, answer-ing their questions and letting them know who the point person is if issues arise during the course of the event. warm-up and timing procedures are reviewed with peo-ple manning those areas, the tabulation and sound areas are checked to make sure the equipment is in order, and the judges’ room is also checked to verify that everything needed is in place. when all is said and done, the cA may work as many as 17 hours during one day of competition.
Both Bonebrake and Johnson note that it is important to run the Regionals in a way that hews as closely as pos-
sible to the world championships. Although the finals in Dayton are held in multiple venues and feature a much larger field of entrants than any Regional, the basic pro-cess of supervising the respective shows is identical. By following well-established guidelines, the guards and drum lines that participate in wgi events can be assured of a consistent experience no matter where in the country the event is, how large the facility is, or how many en-trants are at the site where the Regional occurs.
when asked to share a few secrets learned over the years, Johnson states that he tries to “remain calm and have a positive attitude, no matter what the situation.”
some situations can be extreme. giv-en the different personality types that have to interact during a competition, the high emotional stakes involved for group directors, and the simple fact that every part of the event must run on a set schedule, being able to com-municate in an encouraging and un-emotional manner has proven to be a winning strategy.
Bonebrake emphasizes the cru-cial role that a supportive attitude can have in resolving the unexpected dilemmas that arise, stressing the importance of listening to all par-ties when making a decision: “i have learned that if we treat our perform-
ers and directors as we would guests in our home, it helps them ease any competitive anxieties and enjoy their time at the regional so much more.”
Both contest Administrators say that their favorite part of the job is centered around the young ladies and men giv-ing their all out on the floor. Johnson says, “watching the performers is a huge highlight, to see their faces, smiles, and tears. That’s what keeps me coming back every year.” Bonebrake sums up her feelings this way: “i love to watch those unexplainable show moments that strike a chord in your soul and make the hair on your arms stand tall. Being witness to those moments is priceless.”
“if we treat our performers as
we would guests in our home, it
helps them enjoy their time so much more.” -Stephanie Bonebrake
Another Finals night comes to a successful close, thanks to the work of CAs like Jeanne Strong.
WGI_p24_Adminjj.indd 2 1/5/11 12:01:28 PM
We have a stick for every occasion. except losing.
promark.compromark.com
Scott Johnson, The Blue Devils
Jeff Ausdemore,Colleyville Heritage High School
DC72, designed by Chris Retschulte – Mansfield Legacy HS
sj.ad_full.page.final.indd 1 9/2/10 2:23 PMWGI_Temp.indd 1 1/5/11 1:42:02 PM
W arm-ups are essential for any indoor march-ing performance, and even for practices that can last hours. Endurance and safety are the obvious keys to success. Some per-
cussion ensembles and color guards do a lot of drills to-gether, while others let their performers concentrate on individual warm-ups.
John Mapes, who oversees 20 high school and indepen-dent percussion programs in southern California, includ-ing Pulse Percussion, says that his groups typically pull out fl oors to do some marching and playing as part of the warm-up process. “It’s quite a sight to see when everyone has their fl oors out side by side with all the metronome tempos blasting simultane-ously,” he says. “When the season begins, warm-up time is usually longer and there’s a lot of marching happening, as the material is newer and every repetition is more important. As the season nears its end, the warm-up time becomes much less and most of the groups do a stand-still warm-up to keep the members fresher for the performance.”
Dee Dee Watson of Choctawhatchee High School in Florida says that her guard’s warm-up routine is al-most always the same. The performers begin with light stretching, and then, in a yoga-like state, they are asked to be silent, close their eyes, and visualize their perfect show. “This allows them to control their breathing and anxiety as they prepare themselves for what lies ahead,” she says. “The performers go through a routine body and
equipment warm-up as they work through the basics and any ‘features’ in the show. If music is available, then they’ll do music run-throughs and begin their individual warm-up process.”
For Ohio’s Centerville High School percussion ensem-ble, pre-show warm-ups consist of putting small groups together to play in separate sections, warming up the hands with a few basic exercises, then focusing on some feature segments. “We put the battery together (snares, tenors, basses, cymbals) and run through the harder parts of the show for about 7-8 minutes,” director Tim Fairbanks says. “Then the entire percussion ensemble will get together
and play through the en-tire show. If we have room to march in our warm-up, we usually try to do some reps with marching and playing to warm their bod-ies up as well.”
If your body is stiff be-cause of nerves, that’s obviously going to hurt your perfor-mance, according to Michael Lentz, designer for the Onyx color guard. And so on championship day, Onyx “will warm up and stretch in the hallway, then we travel to the WGI warm-up area. We also have mental exercises with words the kids recite. But we really try not to overthink because everyone handles pre-show jitters differently. Some kids need to be quiet. Others need to have a Coke. We need to let everyone do what they personally need to do.”
In the end, says Mapes, it all comes down to one basic point. “The best thing you can do to have a great show warm-up is to show up prepared!”
28 WGI FOCUS www.wgi.org
Clinic
Get Warm
If you want to
do moves like this, you need to warm up right.
WGI Vets Offer Tips for an Effective Warm-Up RoutineBy Debbie Galante Block
“Everyone handles pre-show jitters differently.
We need to let everyone do what they personally need to do.”
CH
OC
TAW
HAT
CH
EE
HIG
H S
CH
OO
L
How to
WGI_p28_clinic.indd 1 1/5/11 12:05:35 PM
M y parents lived much of their lives in South Korea. Yet they immigrated to the United States, leaving everything behind, to provide educational opportunities and success for my
sister and me. They could barely speak English and we were so fi nancially unstable that we had to live in the dilapidated ghettos of Philadelphia. To watch my parents begin from that low point in our lives and slowly work their way up to the suburban middle class has been an inspiration.
Never in my life, no matter how well or unwell we were fi nancially, did my parents limit me on my dreams. Even to this day, they tell me that life has no boundaries and that even the impossi-ble can be achieved. For this reason, I lead an ambitious life. A life that seems to have too many plans, one that many people would call unfeasible.
My parents are the reason that I put every ounce of effort into some of my biggest passions in life: medicine and music. In high school, I participated in most of the musical activities, includ-ing marching band and indoor drum-line. After each season, I wanted something more… I was never able to pinpoint what that something was, or how to fulfi ll it, but there was always that empty feeling.
Once I entered college, I took mini-mal music classes and only became involved in marching band and pep band because of the start of my rigorous science classes. For a biochemistry major and Spanish minor who is striving
30 WGI FOCUS www.wgi.org
Scholarship
Living an American DreamDrumline Brings Fulfi llment to a First-Generation ImmigrantBy Sarra BaeUnited PercussionCamden County, N.J.
to attend medical school, good grades are absolutely man-datory. When I was invited to fi ll a spot for United Percus-sion, many peers, mentors, and even friends frowned upon it. Despite warnings and disapproving looks, I joined.
Was it hard? Abso-freaking-lutely. Between classes and rehearsals, I was losing sleep and coffee became my best friend. Moreover, having only ever experienced high school drumline, I learned the hard way that a World Class drum-line was an entirely different league. Especially at the be-
ginning, it was diffi cult to endure long, tedious practices or march the nearly impossible drill.
My parents say that the struggles make the journey sometimes. For them, it was learning English entirely on experience alone, raising two daughters in an unsafe neighborhood, and preparing for the intimidating naturalization exam. These struggles brought the family closer and help us appreciate our current life more.
Similarly, with United Percussion, every drop of sweat, every tear shed, every frustration unleashed was a struggle to overcome. But as we stepped into the Dayton arena for our WGI Finals performance, in the pres-ence of thousands of audience mem-bers, I knew that every struggle was worth it. And that empty feeling I’ve had since high school was fi nally ful-fi lled. It was a feeling of ultimate ac-
complishment, of absolute confi dence that the perfor-mance we had just given was breathtaking.
THE ZILDJIAN/MARK THURSTON SCHOLARSHIPSarra Bae was the inaugural winner of a scholarship that made its debut in 2010: the Zildjian/Mark Thurston Scholarship for deserving percussion ensemble members. The scholarship is named for WGI Percussion Coordi-nator Mark Thurston, who was inducted into the WGI Hall of Fame in 2006. Thurston joined WGI in 1996 and has been a guiding force behind the exceptional growth of the indoor percussion activity in the past decade. For more information about the WGI Scholarship Program, visit wgi.org/scholarship.
WGI_p30_scholarship.indd 1 1/5/11 12:06:54 PM
zildjian.com
©2010 Avedis Zildjian C
ompany. Photo C
redit:Dave Mexicotte
COMEreallyfrom.
the sounds
cymbals aren’t
WHERE
Brittany Walko, Walled Lake Percussion Scholastic World Line
WGI_Temp.indd 1 1/3/11 4:32:46 PM
Job name: Blue Devils Ad Job #: 2362 Date: 12-16-10 Magazine: WGI Description: Full Page Prep: SE
Congratulations to the Open and World Class Division Champions for winning two years in a row.
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2362_WGIfocus_BlueDevils_12-10.indd 1 12/20/10 12:15 PMWGI_Temp.indd 1 1/3/11 3:20:34 PM
34 WGI FOCUS www.wgi.org
The Sport of the Arts’ A and Open classes make up nearly 80% of competition at regionals and World Championships. Between ten classes (SA, SO, IA, IO, PSA, PSO, PIA, PIO, PSCO, PSCW), see how many of the photos below you recognize. To fi nd out your WGIQ score, go to wgi.org/wgiq.
What’s YourWGIQ?What’s YourWhat’s Your
7
12
34
5
6
8
9
11
12
WGI_p34_WGIQ.indd 1 1/5/11 12:08:26 PM
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WGI_Temp.indd 1 1/3/11 4:13:56 PM