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: 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: Teaching Jazz Runs to Marching Band

This past week I had to teach the band members (winds and percussion) how to jazz run because one of their drill moves requires them to move quickly and cover a large distance. It got me thinking about how I was able, in only 30 minutes, to get them all looking infinitely better than when we started...and I wasn't the first one to try to teach them this season!

Here are the elements of what I taught:

• Start with the left foot back, so that you step with that foot first
• Take one step all together first, and explain that you have to take a very large step and push off the back leg
• Then explain that you have to stay in plie (which we explained meant "fold" because you're folding your legs...and oddly enough they already knew what a plie was!)
• Then we sprinkled the guard members throughout the band so they could watch around them
• I had them add in their arms at their attention position (similar to below, but our band actually touches finger tips together instead of the traditional fist, because it requires even more stability)

• We gave them the rule that when they get across the stage, they must turn around and watch the people behind them (i.e., the rule isn't that they don't talk, but no talking is a result of them watching)
• Then we repeated multiple times with each line leading off every 8 counts, so they get the hang of it; each time I gave them ONE thing to think about and told them to make ONE thing better (See my post about Rule #7: Make One Thing Better)
• Then, because there were just THAT many corrections I needed to give, I had one line go at a time, all the way across; I gave them corrections and then had the next line go
• We then showed the band director a few times and he was impressed by their improvement!

Have you taught jazz runs to your marching band before? How'd you go about doing it?

Dance: Teaching Turnout in Color Guard

Not all dance instructors can teach dance to color guard students. Similarly, not all dance choreography works with color guard shows. Over the years, I have learned to mesh what I know about dance technique and choreography with the requirements of what works in and what is needed for color guard shows.

Color guard is interesting. Nearly everyone I've ever taught had little to know dance experience so you have to start at the beginning. However, you also have some folks who are great performers and don't want to spend hours on super basic technique! So that means I have to teach the basics in a new way, and quickly.

  Teaching Turnout  

My preference is to get in front of the color guard during auditions and start from scratch every year, no matter how many vets or rookies there are. When teaching movement, I try to start with functions rather than steps. For example, when I teach turnout (usually the first thing I talk about), I don't say to the students that they should stand in first position and their toes and knees point on the 45, which is what I notice most color guard instructors do.

Instead, I start by working from the hip without explaining the end result we will get.

I have them stand there, and ask them to stand on one foot, and flex their free foot with a super straight leg. I ask them to rotate the leg from the hip in and out a number of times, then I ask them to place it down into the turned out position. Then we repeat on the other side, so that they are standing in first position once we finish both sides!

As I ask them to rotate, I talk about how the hip is a ball and socket joint. When I ask them to turnout over the first few weeks/months of the season, I remind them that they turn out from the HIP only, not the knee, not the foot. I also talk about the inner thigh rotating forward, the inside of the heel pulling forward, and the butt cheeks working by rotating in towards each other (no wonder ballerina's have great bums) not clenching together.

  Future Technique Posts  

I'd like to hear from you! What other things would you like me to explain about how I teach dance technique to color guard students? Leave a comment, and if I explain that technique, let me know if you want me to link to a blog or website of yours!