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?

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: 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?

Color Guard: 5 Methods to Teach Performance Qualities

One of the most difficult tasks for instructors of newer guards is to draw out performance qualities and get them to really convey the show to the audience and judges. I am teaching Broad Run High School tomorrow morning and started to think how I would help them learn how to perform.

I've put together a few methods you can try out to see what works for you. I've tried all of these, and it just depends on the group as to which will work best.

  1. Faces  

Around 2004 I taught color guard at a Vivace Productions camp with Todd Marcocci and there were four girls from this school in Maryland who never competed, they only performed at halftimes for their football team. Yet...they were incredible! It baffled me why their band director didn't like competing, but nonetheless, their performance ability was so spot on that I started to take notice. One day into the four day camp, I realized they would say "faces" happily to each other to remind them to perform. They would use that one word to mean "use your face to tell the story" and "change your face so it's not static throughout the choreography."

I also recently read an article online about the Rockettes1 and they had some great tips that I've highlighted below:

1. Relax your jaw and your tongue inside your mouth to give your face a relaxed look.
2. Lift your eyebrows a little - like you would if you're having an interesting conversation with someone.
3. Take in your surroundings with your eyes. Bonus! This will help with things like balance and spotting, too.
4. Breathe in through your nose, and let your breath escape through your mouth, which will be slightly open due to your relaxed jaw.
5. If you're having fun (and we hope you are! you're dancing!), let the shine in your eyes lift the corners of your mouth and smile.

  2. Storyline  

In 2006 at Act 1, our inaugural season, we had a show to the music of George Michael's Mother's Pride. The show was about sending off men and women to war. About halfway through the season, the director, Marcus Lewis, asked each of the 8 members (our team was TINY!) to write their character's story. They each took a week between rehearsals to think about their show, the movement they did, the interactions they had with other members, and they wrote their personal story for the show. The main dance soloist's story was about how her husband went off to war and didn't come back, and then her son was following in his footsteps. 

I also found out Pride of Cincinnati did something similar in 2013 for their Weight of the World show. Each member wrote about something that weighed heavily on them. Then they listened to the show music and thought about what they wrote, letting go a balloon when they felt like it was appropriate. I could see how this would help someone actively think about what weighs them and how to portray it in the show, and it would also be cathartic to write it down and then let that balloon go symbolically.

  3. Improv  

Improv is by far the most effective technique to get performers out of their comfort zone, but it's also really scary for rookies (and sometimes vets)!! I tackle it two ways. 

First, I have the staff and maybe 1-2 REALLY strong team members demonstrate the idea. 

Second, I don't put on music and say "go." I give them parameters for the improv so that it's structured. For example, I may tell everyone to start on the ground and that they must stay on the ground. Then 8-16 counts later I call out the next direction; perhaps I tell them to show they're trying to get off the ground but they can't. Then I say work your way to standing. Once they're standing I tell them to move without actively using their arms. Then they can move one arm. You get the gist. This takes the big scary improv, and gives it to the members in manageable "I can do that" pieces. 

  4. Imagery for Each Move  

When I write a section of movement for Stonewall Independent, I often make up short phrases to explain ehat they're portraying. For example, if I have the dancers reach towards the rifles, I may say "don't leave me" because if I don't, some of them may think they're supposed to be communicating "come hither" which is a very different look. Sometimes, however, I make up something more nonsensical. For expand le two years ago they had a ripple to start the show where they fluffed their dress and then turned to the back. We called it the fluff and fold!

  5. Watch other Groups Perform  

Often times people watch good groups only that are in the same style as your group (i.e., in color guard, watching Onyx). I would employ you to think outside the box on this one. Try looking at these types of groups and see what you can learn from everything:

• Not so good color guards - what can you learn from these?
• Dance companies or dance teams - watch their formations
• Cheerleading competitions - check out the lifts
• Baton twirlers - figure out how they turn so well
• Parade performances - sometimes simple and clean is effective

I think the most important advice a coach can give a team attending a competition for the first time is that they should watch every single group. As they watch they should start to make mental notes about (a) what they enjoyed and why they enjoyed it, (b) what interesting new moves they saw that they could work on, and (c) what they saw that they did not like as much and how they could do it differently.

IMPORTANT: You have to follow the golden rule in color guard: NEVER talk negatively about any group or person while at a competition. Not in the audience. Not in the cafeteria. Not even in the bathroom. Assume someone from that group, or their mom, can hear you. Don't say, "I didn't like xyz color guard" but you could say "the style of that group wasn't really for me." Avoid saying anything that can be interpreted as "they are bad" but saying something that implies "it's me, not you" is okay.

If you like these posts, check out the Stonewall Rules that translate into the real world: Rules 1-5, and Rules 6-10.

References:

1. http://www.rockettes.com/dance/facial-expressions.html