Guard and Taxes

Every year since I started coaching color guard and actually getting paid for it, I've filed a Schedule C with my taxes. Over the years, I've realized there were some items I should have been tracking better throughout the year, or other items I wasn't deducting at all!

Before I share my thoughts (not expert tax advice!) I need to include a disclaimer.

Tax Advice Disclaimer

 

The information on this website should not be used in any actual transaction without the advice and guidance of a professional Tax Adviser who is familiar with all the relevant facts. Although the information contained here is presented in good faith and believed to be correct, it is General in nature and is not intended as tax advice. Furthermore, the information contained herein may not be applicable to or suitable for the individuals' specific circumstances or needs and may require consideration of other matters. I assume no obligation to inform any person of any changes in the tax law or other factors that could affect the information contained herein.

 

IRS Circular 230 Disclosure

 

Pursuant to the requirements of the Internal Revenue Service Circular 230, we inform you that, to the extent any advice relating to a Federal tax issue is contained in this communication, including in any attachments, it was not written or intended to be used, and cannot be used, for the purpose of (a) avoiding any tax related penalties that may be imposed on you or any other person under the Internal Revenue Code, or (b) promoting, marketing or recommending to another person any transaction or matter addressed in this communication.

Steps to Consider


Keep in mind my thoughts apply to those who are not paid directly through a school as part of an additional stipend if they are already a county employee (e.g., teachers who are also coaches in the same county).


Step 1: File the Schedule C
If you haven't been filing a Schedule C, definitely look into it. Essentially, you are self-employed, or an independent contractor. You make money (however small) by coaching students, and that is income recognized by the government, so that money needs to be reported to the IRS. Chances are your personal expenses are great and your stipend is small, so that will possibly work out in your favor (though not always). If you need to for the first year, seek a professional to do your taxes, then after that year you may be able to do it alone with something like TurboTax.

Step 2: Track Your Income
Some schools/programs may give you a 1099 form that states your income for the year, but if you're like me, you don't make enough at any one program to get those! I have to track exactly how much I get from each gig and I input each line separately depending on the source of income. For example, I work with one independent color guard, one high school color guard, and sometimes I work for a parade production company. Track your income however great or small.

Step 3: Save Your Receipts
All of them. If you think it may possibly sort of be deductible, save the receipt and you can decide what you need later.


Step 4: Track Your Travel Expenses
I set up an Excel spreadsheet every calendar year (it's the same year to year with minor tweaks). Here's a screenshot of a template (it's large, but I figured it would be useful!)

There are two main types of expenses, local and non-local (I don't know what else to call that second category), but I don't really bucket my expenses that way since that's not how Schedule C will ask for them. If you have any expenses reimbursed by the individual/program paying you, those are NOT deductible on Schedule C.


Most expenses I track include a date, location, and a description. Here is a list of expense categories I track:

• Travel: flights, taxi's, baggage fees, rental cars, gas for rentals, hotel
• Travel Meals: breakfast, lunch, dinner and snacks for any overnight travel away from your home area (check with IRS but there's a mileage minimum for this, I believe); I use this for my annual trip to WGI Championships in Dayton. IMPORTANT: This is a separate category from Travel because you can only deduct 50% of most of these expenses; TurboTax and other tools calculate this automatically
• Misc Expenses including Professional Development: some instructors get inspiration from art galleries, some from a Broadway show, others attend conferences. If you use anything like that for inspiration for your shows, it's deductible. That doesn't mean every show you go to is deductible, but if it somehow influenced your work in color guard, it is!
• Supplies: In the color guard world, there are supplies like tape and polls that may come out of your own pocket, but don't forget about music that you use in rehearsals. Track each receipt from iTunes or your music provider
• Communications: I am assuming you do not have a dedicated office in your house for color guard (that would follow different guidelines); if you're like me, you use your cell phone a TON for guard (calling/texting staff and members, running GPS to get to competitions, recording/uploading videos/photos to team sites) and so a portion of your cell phone bill is likely deductible
• Mileage: to/from rehearsal, to/from competitions (I keep a single list of locations and miles so I do not have to search for that again year-over-year - see below)
• Car Expenses: I rarely have these, but if you have a car expense directly related to guard, this is the category you'd use
• Tolls: I have to travel on a toll road to get to some local places, but there may also be tolls if you have to travel to a competition farther away

For mileage, I keep a running list of my locations to which I travel (e.g., each rehearsal site, competition site, etc.) with the round trip mileage between there and my home. Then as I enter a line for a specific date, I just reference that number in the Excel doc.

An alternative to tracking mileage in a spreadsheet is to use an app. I haven't before but I've been debating using one this week.


I also saw a great quote that helps explain a bit further what is considered deductible:

"To be deductible, a business expense must be both ordinary and necessary. An ordinary expense is one that is common and accepted in your trade or business. A necessary expense is one that is helpful and appropriate for your trade or business. An expense does not have to be indispensable to be considered necessary. To be deductible for tax purposes, expenses incurred for travel, meals, and entertainment must be ordinary and necessary expenses incurred while carrying on your trade or business. Generally, you also must show that entertainment expenses (including meals) are directly related to, or associated with, the conduct of your trade or business."

Step 5: What if I'm Unpaid?
Let's say you're paid a stipend for a High School guard from August through November for marching band, but then you have a camp in July for which you're not paid. For the time period that you were not being paid, that would be considered a donation of your time and services. And while you cannot actually claim a deduction for the value of your time and services, you can claim a mileage deduction for the miles you drove as a charitable donation expense. Note that the per mile deduction is different for volunteer activities than it is for paid work (I believe $0.14/mile for volunteering, $0.55/mile for paid work).


Step 6: Additional Expense Areas to Consider
For these areas, you'll need to seek out more advice, but it'll get you thinking!

• Depreciation on a computer or cellular telephone required to do your job
• Dues to chambers of commerce, professional societies and unions
• Education that is employment-related
• Home office or part of your home used regularly and exclusively in your work
• Job-search expenses in your present occupation
• Legal fees related to doing or keeping your job
• Licenses and regulatory fees as well as occupational taxes
• Insurance premiums
• Medical examinations required by an employer (our county requires a TB Test)
• Passport for a business trip (this is relevant now for domestic flights if you are from one of the states where TSA will not accept that state's license)
• Subscriptions to professional journals and trade magazines related to your work
• Tools and supplies used in your work (equipment purchased and not reimbursed for)
• Gift expenses related to your work
• Work clothes and uniforms, and their upkeep costs (generally these must be a true uniform or have the employer name on them to count; school logo would constitute uniform)

What Else Do You Know?


Hive mind, I know there are many of you out there who've done this for a long time. Leave comments below with your insights (and we know your comments do not constitute tax or legal advice!) and I can incorporate them into blog updates.

Life Lessons from Color Guard

Color guard teaches members so much more than how to dance and spin. It even goes beyond increasing flexibility and strength. Many members and coaches talk about teaching life lessons, but what are they? Here are five life lessons that I've learned from color guard that can help you succeed at life:

Self-Confidence. Remember the first time you stepped into a color guard audition? You had no clue what you were doing, you didn't even know what you didn't know, but you learned. The more you learned, the more confidence you gained. You also had coaches and teammates who would not give up until you came out of your shell, because the show depends on your ability to perform confidently. Real Life Application: At school or work, push yourself to do something you’re a little afraid of, because you know you’re going to rock it. Audition for the solo in the school play. Volunteer to present your work in front of a room full of suits. Just think of being on stage right before the curtain goes up, and think: I can’t wait to show them what I’ve got.

Determination. No one was born knowing how to do a 45 toss caught behind the back. You got there by practicing. You tried … you didn’t get it. You tried again … you got closer. And finally, you got it. Real Life Application: Take your determination to reach your goals to school or work, too. Spend an extra hour with your textbook. Track down that study guide—even if it’s in the scary part of the library where no one goes. Stay late to put together the best proposal. When your project calls for extra hours and work, you’ve got the endurance to handle it.

Precision. Dancers think they're precise? Color guard people watch professional dance performances and critique how precise they are (at least I know I do). We CAN'T do sloppy. Think back to your perfectionist coach. Would he or she accept anything less than the perfection from every single member, every time? Nope, and neither should you when it comes to school work or work projects. Real Life Application: Proofread your paper—twice. Double-check your calculations on your lab report. And when your boss or teacher walks by your desk, she’ll smile a little because, it’s actually pretty organized.

Teamwork. You know the importance of a team that’s in sync, throughout an entire 5-10 minute show. If a fellow member is lagging behind, the whole team is affected, and so is the final product. Everyone helps everyone to make sure they look good out on the floor. Real Life Application: Speak up and do your part on group projects, and encourage others to shine, too. Try to make a team or group member look not-so-great, and you’ll all end up looking not-so-great. To succeed in school, work and dance: Rely on your group, and let them rely on you, too.

Talent. Even if spinning and dancing are your strongest talents (or even if it isn’t), don’t forget you have others, too. Think of that amazing feeling when you’re peforming… that feeling exists in other parts of your life, too! Real Life Application: Are you an awesome baker? Volunteer your best-ever brownies for the bake sale or a party at the office. Do you have an eagle eye? Offer to proofread a final document. Play to your talents and not only will you feel good, you’ll leave a great impression.

What other life skills have you learned?

Color Guard: What to do over the summer

Summer is an incredible time to try new things if you're in the world of color guard. Take a look at some of my suggestions below. Be sure to comment with what you like to do over the summer!!! And if you have spin clinics for me to add, just let me know. And be sure to check out some of my other popular posts (20 Signs You Were In Color Guard, Tips for Handling Parent Negativity, and I Couldn't Live Without...Color Guard)

My biggest advice: remember that you can learn and get ideas or inspiration from anywhere!!!

Take dance classes
Most areas have dance classes in the summer that are for teens or adults. Google search your area and see what you find. Oftentimes, studios offer the first class for free!!! Don't just stick with a style you are comfortable with, try new things too. I was trained in ballet and modern, but LOVED taking hip-hop in the summers because the music was fun and the class was always energetic. I've also ventured out to take Irish dance, flamenco, and ballroom styles. Anything goes!

One summer, I actually required my fall guard to take 2 dance classes (not 2 sessions, just two classes). They could be ANY style, and they just had to let me know what they took, when and where. One of my students took a hula class while on vacation in Hawaii!!

Go to performances
Find all the local venues that have performances of all types. Don't limit yourself to dance (though those are great!); seek out musical theater, plays, and acrobatic shows like Shen Yen. Also don't forget to check all the local dance studios for their performances, or local universities. They have much cheaper tickets and some really passionate actors/dancers/performers. Every performance you watch, good or bad, has something you can take away as a nugget of an idea or an inspiration. 

If a Drum Corps show is coming your way, be sure to check it out! There are two circuits of drum corps: Drum Corps International (DCI) and Drum Corps Associates (DCA). Most people think of DCI, but DCA has some great shows, too!

Watch videos
Check out WGIZone for videos of color guards. But you probably already watch tons of guard videos. Try branching out to other art forms! Perhaps head over to YouTube and check out these options:

• Kate Jablonski (contemporary style)
• Anaheim Ballet
• Petatonix (A Capella)
• Broadway
• Baton Twirling
• Traditional Florentine Flags

Go to a camp/clinic
Multiple companies and organizations now offer summer spin clinics or camps. Three organizations that run formal multi-day camps (some commuter, some overnight) are run by:

• Vivace Productions (my personal favorite since I taught at that camp a number of summers)
• Fred J Miller (many of my friends were instructors and this was the camp I went to in high school)
• Marching Auxiliaries

More recently, individual color guard programs have started offering 1- or 2-day clinics. My team, Stonewall Independent, does one every summer, usually on a Saturday or Sunday. Here is a listing of Facebook pages to follow so you can find out about various clinics, but also check any local teams that may not be included here! You can also check with your local circuit.

• Stonewall Independent (Northern, VA)
• Onyx (Dayton, OH)
• Emanon (New Jersey)
• Paramount (Georgia)
• James Madison University (Virginia)
• Allegoria (Ohio)
• University of Virginia (Charlottesville, VA)

Practice with your team!

At a minimum, ask your director if you can have regular practice time over the summer with your team! While I was in high school we practiced one afternoon a week, starting about 2 weeks after school ended, all the way up until band camp started. We worked on equipment technique and learned parts for the show. One of my friend's teams used to start rehearsal a week or two after winter guard ended (so in April!!) and would have a once a week dance class for a couple hours. It's also a great time for the director to bring in some guest instructors to learn new equipment styles or try some new dance moves. It's also the time of year to let everyone learn weapon, even if they may not make the weapon line for the fall.

4 Tips for Handling Parent Negativity

Every coach will have a time - probably at least once a season - where they have disagreements with parents. Whether it's your logistical planning, discussions over rehearsal times, teaching methods, artistic choices, or prop building, even adults do not deal well with criticism. If parents are unhappy, chances are they will talk to other parents before they tell you. These issues can be difficult to handle, so below are four tips to help manage, and get ahead of, parent negativity.

If this blog is interesting or helpful, please comment below! You may also want to check out other posts on the blog: food for long rehearsals, teaching performance qualities, and real-world application of Stonewall Independent guard rules.

What other ideas do you use with your team (and the question is for coaches, members or parents!)?

Set expectations
The first and best way to promote a positive environment for both the students and parents is to set very clear expectations at the outset. Some expectations that I like to set include the following:

• Rehearsal start times indicate when we start dancing/spinning/teaching, that isn't the time you arrive - remember you have to get the floor set up, equipment out, props assembled
• The end time for rehearsal is when we stop spinning. After that time we still need to have our final talk, and then clean everything up. If a handful of students have to leave early because of parent pressure, that means everyone else in the guard needs to pick up their slack, and that cannot be a regular occurrence or it will cause friction
• Our goal is to do well at competitions, but the scores and the placement do not define us. We can do the best we absolutely can but the score/placement is up to 5 individuals and their perspective of our show. We ask that parents encourage their students to strive for excellence, not a score
• Competition days are 100% reserved for color guard. The days schedules are not available until 2 weeks beforehand, so those days need to be free from any other commitments. Then when our rehearsal/competition schedule for the day is communicated to the team and parents, always include the disclaimer that the schedule is subject to change because show schedules are always in flux on site
• Whenever at a competition, only positive comments about other guards are allowed (or don't say anything at all - but really every guard has something positive you can talk about). Parents need to understand this just as much as the members. You never know who's in the bathroom with you getting dressed, or who's sitting behind you in the stands. Assume someone around you is with the guard you're talking about.

Promote dialogue
One of the best things you can do to flesh out any discontent or complaints about competitions is to promote dialogue between parents and staff. If you notice that parents are only expressing their concerns to each other, it might be a good idea to host a town-hall style meeting or one-on-one conferences to get these thoughts out in the open. However, keep in mind that if you want parents to feel comfortable voicing their concerns and complaints to you, it’s essential to remain empathetic, understanding and professional. Chances are that parent grievances are not an attack on you as a coach, even though they may initially come off that way. If you say you'll change something, be sure to follow through. If you disagree, share with the parent that you understand where they are coming from but you respectfully disagree.

Establish a social media policy

While you can’t control what parents and students post on their own social media accounts, you can ask them to remain respectful and positive while posting on or about your guard's page. Stonewall Independent has an unwritten (but very clearly understood) social media policy that outlines what content they encourage and what type of comments are not tolerated. Additionally, many color guards tell their members not to share any clips of their show, share photos of rehearsals, or comments about the show content without the okay from the director. We demand (politely) that our members also only post encouraging and complimentary posts to or about other guards. Then again, our members are selected based on their character as much as their spinning ability so this isn't something we tend to worry about, thank goodness!

Solicit volunteers
Color guards rely heavily on help from parents and volunteers. I find that soliciting volunteers and giving parents various roles/jobs, keeps them engaged. The benefit is that by volunteering, they start to see all the moving parts and therefore understand when schedules are flexible, or extra rehearsals are needed. If you don't see your calls for volunteers working, ask a parent or two to organize volunteers. Perhaps one parent is in charge of props and floor/prop/trailer logistics and they solicit volunteers for building, maintenance, transporting, etc. Then one volunteer can be in charge of chaperone coordination for every trip (one guard actually assigned a different parent to coordinate each show so no one had a huge burden and more parents were involved!). You can also have a parent in charge of any forms, or medical needs of students. Once guard I worked with had a policy of having 1 parent at every single rehearsal (usually split in two shifts) and they were there for emergencies, to help open locked doors on weekends, and just be there as an extra set of hands (usually they brought a book to read or yarn to knit).

20 Signs You Are (or Were) in Color Guard

I have seen so many lists circulating on social media about signs you did x, y, or z sport and I think color guard deserves one! If you like this blog, check out some of my others: tips for turning, building strength for turning, 7 dance terms explained, and how to learn faster. Or click on Dance & Spin above.

What would you add to the list below??

1. You have at least one persistent injury. Maybe it's your back, or your knees, or your ankles, but something on you remembers how you tortured it to get those 3 counts perfect in that one show.

2. You often try to see if you can still throw a six (or whatever was hardest in your shows).

3. You remember how to do Peggy spins.

4. You save old costumes and reuse them for awesome Halloween costumes.

5. The smell of any tarp brings back memories of unfolding the winter guard floor.

6. In any yoga/pilates/exercise class, you try to stand on the 50.

7. You call the center of anything "the 50."

8. Dance Moms doesn't hold a candle to "Guard Moms" (and dads for that matter). I mean, do the Dance Moms have to build props that can be set up and torn down in 60 seconds, and travel in a tiny trailer?

9. Speaking of props, if you speak to someone in theater you have to translate to "backdrops," and remember their "props" are things you'd likely want to spin or throw in the air.

10. You know a ton of music in every genre on any music station. Ode to Joy. Send in the Clowns. My Immortal. Anything Phillip Glass. Vivaldi's Four Seasons....all of them. Black Magic Woman. February (Dar Williams). Its the End of the World. You name it, a guard has probably done it.

11. "And" is a count, and it's forever vitally important.

12. You still find random bobby pins, even if you haven't performed in a decade.

13. "Get it" or "You got it" is part of your every day speech, but non-guard folks don't understand.

14. You still have old gloves...and they smell gross!

15. When you get stressed out, you have the "keep pushing" talk with yourself.

16. You love and loathe glitter, simultaneously.

17. You get the urge to spin anything and everything: umbrellas, brooms, baguettes, you name it!

18. You watch guard videos, for hours on end, just for fun.

Plug for WGI's new Zone! - http://wgizone.com/

19. You get used to not drinking water, and you bring snacks you can eat quickly in case you get a 30 second break. You take what you can get!

20. At work or in school, you hate when people ask unnecessary questions and waste time. Those questions were conditioned out of you in guard rehearsals!



If you made it through all 20, I nominate you for the #ispinbecause challenge!!! Write a post/tweet/update using the hashtag #ispinbecause and #WGI2015 to tell us why you spin!!!

The challenge was started by #stonewallindependent as a social media campaign to raise awareness about color guard and what there is to love. Be sure to nominate someone at the end of your post!

I Couldn't Live Without...Color Guard (weekly line-up)

Those who know me, know that I don't just dance, or teach dance, I actually coach a nationally competitive winter guard called Stonewall Independent. I'm not sure what I would do if I didn't get to coach guard!!! I'm hooking up with a friend at Pursuit of Pink for this post.

Stonewall Independent, or SI as we like to abbreviate it, is based out of Manassas, VA. I started working with Stonewall Jackson HS winter guard in 2011 (flower show) and 2012 (eclipse) where we competed locally in a Scholastic A class. Then in 2013 we went into the Independent A class with our show "Saying Goodbye," and went to Winter Guard International (WGI) world championships for the first time with this team. They won the silver medal out of all units competing in their class!!! In 2014 they were promoted into Independent Open class and we made finals with our show about a journey. This year we're heading to Dayton for WGI championships in a few weeks and were positioned to do well again with our show "Harmony in Disarray."

About a week ago I prompted SI to start an #ispinbecause challenge on social media to share why they each spin, and then nominate others to take the challenge. I've been so excited by the trend we've started!! It's great to hear why everyone chooses to perform in this crazy guard activity, and we've heard some inspiring stories as well.

Personally, #ispinbecause it gives me life and breath. I LIVE for the moments when I get to perform even if that is just when I'm demonstrating some choreography.

While I have loved hearing all of the reasons people spin, here's the one that's my absolute favorite so far!

Color Guard: Tips for Turning - Learning the Turn

After building strength, here are my top seven tips for learning a pirouette itself.

  Learning the Turn  

1. Practice by going onto releve and posse, without turning first. Prep count 8, up on count 1 in posse, hold for count 2, down on count 3. If you achieve that with a solid balance, hold counts 2 and 3, and come down on count 4. If you can balance in posse on releve, you'll be able to turn better.

2. Balance by engaging your entire standing leg all the way up into your hip/butt muscles and engage your core. If there is a weak or non-engaged muscle in the chain or alignment, it will be the weak link that makes your balance not as rock solid.

3. Do not twist your back. Shoulders and hips should stay in line. And make sure your shoulders and hips are both parallel to the ground both when you start, and during the turn. If not, it will cause you to go off center.

4. Launch your turn from a balanced, centered pile. Feel grounded before the turn and feel the energy that you need to push off the ground into the turn.

5. Withdrawl your working leg quickly and get it into posse right away. It will make the turn look cleaner.

6. Make sure your working leg is turned out and the toe is at the knee. Depending on the technique or school of thinking (or in guard, the choreography!), you could have your toe on the side, the front or the back. NEVER put your arch on your leg. Ick!

7. Practice the turns slowly! If you can turn a pirouette slowly, you can do them controlled quickly. You'll also be able to know which way you're leaning if you fall off balance and should be able to analyze your standing and working legs better.

Do you have any other tips for pirouettes?

Color Guard: Tips for Turning - Building Strength

At Stonewall Independent auditions, I taught pirouette turns and thought I'd share some of the tips we used to help everyone learn how to do them properly. In this blog I'll cover how to build muscle strength to prepare you for turns such as pirouettes. In a future blog, I'll cover some tips on the turns themselves.

  Strengthen Your Muscles  

1. Build Ankle Strength: Your ankle strength is key to avoiding that wobbly-ankle look when you releve or turn.

One exercise it to use a bar or the back of a chair, and standing up very straight on one leg (turned out), coupe the free leg. Slowly go into releve and back down 10 times. Then switch legs. Your ankles should feel tired. If not, try doing 15 or 20 in a row. Be sure you are maintaining control and engaging your core. You also need to ensure proper alignment to bring your weight over the middle of the ball of your foot - don't roll out or in or you'll actually start straining the tendons and ligaments around your ankle.

A second option is to scrunch a towel in your foot. Stand up, and put a towel on the ground. With your bare feet, grab the towel with your toes and lift it off the ground. Control the release back to the ground. Repeat 10 times, and then switch sides.

2. Build Calf Strength: When I was at Crown, I believe it was in 2000, the horn line had a marching exercise to build calf strength. They would backwards march a yard line (10 yards) in 8 counts and then stay on that yard line 8 counts, up in releve, while lifting one foot at time (so their body stayed at the same height but their ankle would bend so one foot would come off the floor, then they'd switch feet). As I explain this, I think I need to make a video!

Color Guard: 7 Dance Terms Explained (and demonstrated)

UPDATE 10/1/2014: Clarified what I mean by using tendu when you walk, and also clarified the difference between the classical ballet tour en l'air and the way we use the term in color guard (which is technically a chasse en tournant).

In color guard, we don't usually learn what the terms that we use mean, or even how to spell them! Here are a few basic terms we use all the time but may not know the meaning or explanation.

  Chassé (shah-say)  

Definition: to chase

Description: The concept is that one leg is chasing the other. The thighs should pull tight together, in fact the entirety of both legs should pull together. But guess what, you don't have to leave the ground for it to be called a chassé. See the "how to" video below to see what I mean.

How To: Here is a link to a ballerina demonstrating the chassé in the air, and here is another link with more of a "how to" video for chassé on the floor, and lastly a "how to" video for chassé in the air.

http://northlandschoolofdance.com/2012/11/c-is-for-chasse-dance-terminology-a-z/

  Passé (pah-say)  

Definition: to pass

Description: Passé is a movement in ballet in which the working leg passes the supporting leg, sliding close to the knee. Passé is sometimes confused with the ballet position retiré in which the toe of the working leg touches the knee of the supporting leg. However, in color guard, we use passé to mean retiré, so don't stress about which to call it.

How To: Check out this video to see how you can do a passé correctly

http://www.showcasedanceproductions.com/aboutus.htm

  Pilé (plee-ay)  

Definition: to fold or to bend

Description: This is an exercise to render the joints and muscles soft and pliable and the tendons flexible and elastic, and to develop a sense of balance.

How To: This is a link for a grand plié in first position (notice how her heels go to the ground as soon as they can as she rises), and a basic first position demi plié.

http://dicasdeballet.tumblr.com/post/32241865384/o-que-e-plie-en-dehor-e-passe

  Relevé (rehl-leh-vay)  

Definition: to rise or raised

Description: In a relevé, you rise to the demi-pointe or to the ball of your foot

How To: Here is a great, detailed explanation of relevé

http://www.evolutiondanceleander.com/not-about-dance-workshop/2014/3/15/elevate-ballet-intensive

  Sauté (soh-tay)  

Definition: to jump

Description: Typically, we think of a sauté as jumping with off one foot, landing on the same foot, with our free leg straight behind us. And yes, that is a sauté. However, any jump you do is really a sauté! Try varying the types of jumps by putting the free leg into coupe or pase

Factoid: Did you know it's the same word for when you sauté something in a frying pan? The food "jumps!" 

How To: Here is a sauté in first position (two feet), and here the last jump she does is a sauté as well

http://entertainmentguide.local.com/types-dance-leaps-10940.html

  Tendu (tahn-deu)  

Definition: tense, strained or tight (this is the literal french translation)

Description: This is something we do day-in-day-out in color guard. You can do an exercise with tendu's. When I teach jazz walks, I explain that you go through first position, and straightening/lengthening to a tendu before stepping. Another option for jazz walks goes through coupe which would not include a tendu.

How To: Here is Jennifer Carlynn Kronenberg demonstrating a tendu

http://www.nanou.org/sports/ballet/leia/Standard%20positions%20gallery/pages/tendu-front.htm

  Tour en l'air (toor ahn lehr)  

Definition: A turn in the air

Description: In traditional classical ballet, the tor en l'air is a jump turn that men (typically) do where they start in fifth position, jump straight up in the air and turn 1 or more times, landing back in fifth position. In color guard, however, we sometimes use this term to mean a chassé turn, in which you essentially do a chassé while doing one full rotation, straight up in the air. Just like with a non-turning chassé, the thighs should pull tight together. Our use of this term in color guard is not technically correct, and yet, we still call it a tour en l'air or an "air tour." Just know we are using the term the way color guard means it, and not classical ballet. Technically, in ballet this would be called a chassé en tournant (sha-SAY ahn toor-NAHN) (thanks to the commenter who posted!)

How To: Seems I can't find a good video of a chassé en tournant! Maybe I'll just have to make one. Below is a graphical explanation of the classical ballet use of tour en l'air.

http://theclassicballet.blogspot.com/2010/12/tour-en-lair.html
Note: this is the true classical ballet version that goes straight up and down, and often has 2 or more rotations before landing. It is often a jump for the male dancers.

What other steps would you like to learn more about? I am thinking of a post all about fun unique jumps (e.g., the firebird, a calypso). What else would you like to see?





References:
1. http://www.abt.org/education/dictionary/index.html
2. http://en.wikipedia.org/wiki/Glossary_of_ballet
3. http://www.step-by-step-dance.com/ballettermspronunciationdefinitions.html
4. http://dance.about.com/od/ballet
5. http://ballethub.com/ballet-term/chasse-en-tournant/

Color Guard: How Can I Learn Faster?

Now that you've aced your auditions for winter guard, or soon will, your season starts with a lot of technique and new choreography. That means, after getting to that comfortable auto-pilot phase of performing at the end of last season, you now have to start learning to learn again.

Some people learn quicker than others and I wanted to give a few tips to those who may find themselves wanting to be more efficient learners.

  1. Think Big Picture First  

Everyone knows that one person on your team that always asks super detailed questions after the choreography teaches the first 8 counts. Don't be that girl or guy! You need to look at the big picture first before you start getting into the details.

First - Watch the general movements of the flag or weapon. For example, is it going up and over to the right or to the left, or is it making a cone up or a cone forward.

Second - Look at the hand positioning of each movement (don't worry about counts yet!)

Third - Look at the body underneath. This is a pet peeve of mine, considering I'm the movement instructor for any guard I work with! What do the feet do? Do they go into passé? Are you up on relevé? Does your leg rond de jambe around? What about your free hands?

Keep in mind, you don't need to get all the big picture components perfectly, but you do need to know what they are!

  2. Count or Talk as You Spin  

Most color guards I teach either count through most of their sections or talk through them (up, down, around, over the mountain, wiggle wiggle, whatever works!). It's usually something we make them do when they're not getting the choreography or spinning together, but I recommend that you use the technique when you're first learning the work. If you feel weird talking out loud, try doing it silently. If you start talking yourself through the choreography, you'll actually be using a larger portion of your brain and connecting more neurons so that you can start to put it into your long term memory rather than remember it for 2 seconds and then struggle to get through it once the instructor isn't in front of you anymore.

  3. Divide into Chunks  

Sometimes the instructors do this for you as they teach, but if not, make sure you do it for yourself. Divide the work into manageable, logical sections or "chunks." It may be every 16 counts makes sense, but maybe 8 counts is more manageable for you. Then practice each chunk separately. I like to do one chunk a few times, and then move on to the next chunk. Then I connect the two chunks together. Every time I do a chunk, I first think about what comes before it, and then as I finish the chunk, I think about what comes next. That will help your brain start to put the pieces together because your brain needs to understand the work before your muscles will start getting it right (for most people anyway.

  4. Don't Stop, But Go Slow  

After you've learned each of the chunks, try this one! One technique I found particularly useful when I was at Carolina Crown was to force myself not to stop as I went through the work. I had a habit of getting to a part and making a mistake, pausing, and then resuming the work. Or I would do a chunk, my brain would freeze, and then I'd do the next chunk. I realized I was trying to take the work up to the right tempo. I tried slowing myself down and forcing myself to do every count in time, to that slower tempo. I found that I could get my brain to go through the work and not let me stop spinning. Eventually then I could pick up the tempo little by little and was back up to speed, but without pausing!


Do you have a technique for learning faster that works for you?

Color Guard: The Audition Mindset

It's the time of year when winter guard auditions start occurring, and it's a great time to really grow as a performer. I've attended auditions for the specific purpose of getting better, because it's a time when instructors can really push you and try out new ideas without worrying about a specific show yet.

Last year, Byron Valentine (of Zydeco and Fred J. Miller fame) posted his thoughts about what you should think about going into auditions, and this year I wanted to put my thoughts on paper (virtually...so to speak!).

With Stonewall Independent auditions only a week away (September 21!), here are my top five tips to get yourself in the right mindset for any audition.

These are on top of the basics like (a) bring your own equipment in case it's needed, (b) wear form-fitting dark clothes (unless told otherwise, (c) have your hair neatly pulled back so you don't mess with it at all, (d) stay hydrated....etc.

  1. Fake it Till You Make it  

As I posted before, Stonewall's number one rule is "Fake it Till You Make it." Oftentimes, the instructor is looking for you to perform well, and just make things work. They know that you'll have a very short amount of time to figure out the choreography and they're not looking for perfection. They're looking for someone to perform it no matter how well (or how little) they know the choreography. To help yourself LEARN how to perform, check out my blog here.

  2. Crave Corrections  

My favorite auditioners are those who come to us and ask "what else can I fix?" or "how can I do xyz move?" Better yet, we love it when auditioners use each other to figure out what they are doing wrong! It warms my heart when someone goes up to a vet and asks them to watch them do the work and then ASK for the feedback. If you go into the conversation requesting the feedback, your more willing to hear what someone has to say. However, if you get a correction without asking for it, just say "okay" or "thank you" (love the Broad Run HS girls that say thank you!). Then, try your darndest to figure out how to fix it! Just like on the judges sheets, recovery is important. If you can take that correction and do something with it, the staff will notice you. More importantly, they will be excited to work with you throughout the season.

  3. Embrace a Beginners Mindset  

"In a beginners mind, there are many possibilities. In an expert's mind, there are few." ~Shunryu Suzuki

When you enter the audition space, remind yourself of this quote. Anything is possible if you recognize that within this audition, you are a beginner. That's not a bad thing. You just don't know exactly what it is the instructors will give you in terms of choreography. You may not know the instructors or veterans yet. Even the veterans are entering a space where they are learning. They won't be given choreography they've seen before, just like the rookies! If you embrace that fact, it will both allow you to have confidence and the openness to absorb everything you can.

  4. Don't be Married to "Your" Technique  

Students who audition for a new guard sometimes don't realize that every instructor or team has their own version of technique on everything. If you take the opportunity to be in a beginner's mindset, you will also open yourself to new technique as well. This new guard may toss differently. They may hold their arms in second differently (like we do...we use Horton modern technique for this arm position, which isn't typical in color guard). They may do a lot of body wraps (again...we do this!) and you may not be used to that. Even as a vet, you can use the opportunity to FIX your technique. Assume there may be a bad habit that you have. Use the auditions to fix those technique habits because it's a time to learn, not to be perfect.

  5. Try Something New  

As I've mentioned, auditions are a time for instructors to try out some new things. At Stonewall Independent, we often try some crazy tosses, just to see what happens. It's important for those auditioning to try something new even if it's scary or different. That doesn't just apply to a single piece of choreography, but maybe there's a weapons audition and you've never spun weapon. If you're interested, tell the instructor on the side that you haven't spun before but you'd really like to give it a shot. That way they know you're knew at this AND you get a chance to try something fun and different! Maybe you don't make the weapon line, but the instructors will see that you're willing to try new things. Plus, there's value in spinning a different piece of equipment and learning bits and pieces that you can take and apply elsewhere. For example, in high school I learned how to catch solid on rifle, and that improved my solid catching on flag!


What other recommendations or thoughts do you have for those who are auditioning this month?