ESSENtiaLS

ESSENtiaLSTwirler and Dance ClinicDecember 8, 2012Tyrone Middle SchoolPoint north exercise.

Everyone has an opinion and everyone believes they are correct.1Imagine . . .

2One of these things . . . GEEAObservation of creative and original design and the delivery of those design effortsRepertoire and performance combine to produce and deliver entertainment value or general effect.Rewards the extent the audience is involved, entertained, or emotionally engaged in the program.Analytical and structural in natureRewards integration of staging development, body/equipment dynamics in a unified, seamless, artistic, audio-sensitive totality over time (Composition)Rewards students for technical and expressive reflection of all responsibilities and has a strong base in the structure of the music (Excellence)3EA is the blueprint and arrangement of elements into moving design.

Appeal has shifted to audience engagement.3What is Repertoire and Performance Effect?Repertoire effect includes:Sound designProgram designSequencing and coordination of effects throughout the programLook and feel of the programSetsPropsFloorsColorsEquipmentPerformance effect includes:Passionate and emotional investment and commitment of performersQualities that layer a technical skill with lifeQualities that invite the audience members into the performanceSkills that demonstrate believable and competent performers and performances

4Can we discuss sound design? Do you need voice over? Nothing will disengage an audience more than a poorly produced voice over. It must be professionally done. It is part of the music vehicle.4Ways To Generate EffectIntellectual approachReflected in the range and quality of the design

Aesthetic approachReflected in the ability to capture and hold the audiences attention through the manipulation of familiarity, contrast, and expectations

Emotional approachReflected in the planned response to stimuli that is designed, coordinated, and staged for the purpose of evoking a specific planned reaction

5Yikes! So, which of these do you need to design to? Not all, although all has the greatest potential for the generating the most effect.

Design what is appropriate.

Staging:Presentational effects and momentsForm development5When, Where, and HowWhen of effects:How far apartHow oftenHow large of an effectWhere of effects:Place on stageHighlight and focus techniquesHow of effects:StagingMovementEquipmentCombinationsElements are designed and coordinated to act in one or more of these ways:SupplementComplementAlternative

Strive for an investment and commitment from performersThis means an investment and commitment from teachers as well6The Only People . . . . . . who can invite, entice, and maintain the audiences interest in your show are your performers.TeachInternalizePerform

7Alignment of EffectsAlignment is ensuring that each design, development, transitional, performance, training, and effect effort support and aims toward the same goal or goals

8Alignment is, perhaps, the most important consideration in successful programs. Everything should link to the overall goals, objectives, mission, and vision of the organization.

So, the training program should support the goals.The effect book should support the goals.8The Numbers Game- Part 1The handout represents everything that goes into your program.Your job is to strike out the numbers 1 to 49 in the correct sequence.You have 30 seconds to complete the job and get your show aligned.

9No, this doesnt have to do with the judging numbers game. This is an example of how to sort, filter, order, standardize, and get rid of all the bs so you can design effects and thus design a program. 91234567891011121314151617181920212223242526272829303132333435363738394142434445464748495051525354545657585960616263646566676869707172737475767778798081828384858687888990401010The Numbers Game-Part 2Happy with your score?Could you do better?Lets remove all the unnecessary numbers.We only have to get to 49, so why deal with 50 through 90?Now, strike out the numbers 1 to 49 in order, in 30 seconds.

11Highest score?

Do we often deal with unnecessary numbers in our programs?11123456789101112131415161719202122232425262728293031323334353637383941424344454647484940181212The Numbers Game-Part 3How about your score now?Lets put things in order.We have some order built in now.The numbers are located from bottom to top, left to right.Same task.

1313123456789101112131415161719202122232425262728293031323334353637383941424344454647484940181414The Numbers Game-Part 4How about those scores, eh? Keep going up, up, up.One more step, lets standardize.It is logical to re-organize in a way that makes completing the task as easy as possible. Same task

15So we have sorted, or filtered, out unnecessary garbage, and added some order to our task.

As easy as possible, or as clear as possible.15Numbers from 1 to 491234567891011121314151617192021222324252627282930313233343536373839414243444546474849401816Much easier. More clear. 16The Numbers Game-Part 5Lets go back to the original, with two missing numbers.Which ones are missing?How will you find out what is missing?

1717123456789101112131415161719202122232425262728293031323334353637383941434445464748495051525354545657585960616263646566676869707172737475767778798081828384858687888990401818The Numbers Game-Part 6Difficult, to say the least.How about if we sort, order, and standardize?A miracle occurs, and it is done for us!

1919Numbers from 1 to 49123456789101112131415161719202122232425262728293031323334353637383941434445464748494020How much easier is this?20The points:Design efforts have to be clear in your mind.Get rid of unnecessary stuff.SortOrderStandardize as much as you canTransfer to studentsTeachInternalizePerform

The Numbers Game-Part 7

2121ThemesTelling stories in Jr/MS/Novice classesBe very clear as to your intent!Do something related to a story:Select music that relates to a theme and choose appropriate costuming, props, etc.Make it something familiar!

22CharismaEntices people to join with youBuilds a bond or connection on some levelEncourages adventurenessBrands your group Sets future expectations

23

ExerciseWrite down 5 to 10 single words that describe you, your passions, priorities, and loves.

Write down 5 to 10 single words that you believe describes your group.Do the words you choose to describe you and your group align?Can you use this as the basis for establishing your groups identity, character, style, and roles? Can you use this list to design effectWhat do you think would happen if you asked your students to do this?

24Give one minute for each part.

Doesnt it make sense to use this list, as it is the best way to embody and sustain these? Design effect from this list.24Audience Involvement

25

Which reaction do you prefer?

Dead pan, no visible reaction?

Springtime for Hitler disbelief and shock?

The Beatles rip my face off and pull my hair out ?

How about it depends on what you design and program and how well your performers communicate your vision to the audience.

A great tool to design effect is a music map.

25Music Maps-Not Just For Drill and Staging Tool to break music vehicle into logical and manageable chunksClearly illustrates:Overview of programTransitionsAreas to plan effectsControl pacing Evaluate music devices and structureUse music maps to:Communicate with other staff, instructorsCommunicate with studentsBrainstormDeveloping training programRehearsal planningFuture rehearsals26Much like a mind map is a tool to organize information into manageable chunks, a music map is a tool to help break down show music in to logical, manageable, and understandable chunks. It provides clarity for the show concept, can help with movement, staging, and equipment choices and drive effect design and decisions.

Adapt to fit your design style and circumstances.26

Music Maps27

Yeah, everybody, or mostly everybody, puts their staging efforts on paper. But, do you put your effect efforts on paper? Can you reference the horizontal pacing of the show through time as it related to space? Can you reference the events that lead to an impact, the impact itself as it is situated in time as well as space, and finally, the departure from the impact, which begins to approach the next impact?

Find the hook in your music.

27Do Or Do Not. There Is No Try.You MustYou Must NotKnow and understand each effect, the approach, event, and departureBe able to understand the music vehicle and how it is designedKnow and understand each effect, the approach, event, and departure

Assume your students know and understand the approach, event, and departure from each effectAssume you can cut and paste music and think it will just workAssume your students know and understand the approach, event, and departure from each effect

28Transitions between effects28Design TruthsThe best you have are the students standing in front of you

The best the students have is the person standing in front of them

Variety shows are successful for a reason

Design efforts are really solutions for how to engage your audienceAaron Copland wrote more than Appalachian Spring, Billy the Kid, and Rodeo. Check the catalogs.

Your passions, priorities, and loves are where decisions should come from. This helps you develop a style.

It all depends on who is in charge and what their loves are.

29Shows like DWTS, Americas Got Talent, etc. are, in essence, variety shows. Though the idiom is the same, there usually is a wide variety of music, style, etc.

Example: Quiet City, The Cat and the Mouse, Sunday Afternoon Music, Hear Ye! Hear Ye! Music for a Great City, Happy Anniversary. Choose wisely. Relate to what Liz has to say about music selection.29Design TruthsDont design or program effect as if you are a world-class group. Few people have the opportunity to design on this level.Do what we all do, and learn from them.

30There are few people who design on that level, have the resources for that level, and can make that level accessible for performers and the audience.

You dont have to design an effect every 10 seconds of a show. The key is to sustain development between effects and build on previous effect efforts.

30The 3Cs of General EffectThese apply to both sub captions on the General Effect sheetsClarityCompetenceConfidence

The Cs are demonstrated and delivered via communication

31Communication ProcessIn music, the process begins with the composer, is interpreted by the performer, and finally arrives at the listener.

During that process, the music passes through multiple filters from both the performer and listener.

What is the best way to hear the composers intent? Have the composer interpret and perform their own music.

This process happens in the twirling and dance world as well, with the addition of a layer, namely using prerecorded music (which has been interpreted by someone already) as the vehicle for a designer to interpret in a new way. So, the best way to know the designers true intent would be for them to perform their creations. Since that wont happen, the intent is filtered through multiple performers before it is is delivered to an audience. The most important communication channel in this process is from designer to performer.

Few performances maintain the same level of clarity in the communication channels from designer to performer and performer to audience. This is the goal. 32Communication ProcessBarriers to communication:PhysicalLocation of communicationPhysiologicalTirednessIllnessPsychological differences in:AgeSexRace, ethnic backgroundEducationPosition

What suggestions do you have to overcome communication barriers?

See you do have solutions, if you can identify the problems.33Communication ChannelsFaceBodyEquipmentStagingEffect channelsIntellectualAestheticEmotional

The face is the easiest communication channel to exploit.

Intellectual: The range and quality of the design, relates to the mind or intellect.Aesthetic: Capture and hold audience attention, relates to the audiences senses, resonates with the audience.Emotional: Planned responses to events designed and staged for the purpose of evoking a specific, planned reaction. Relates to the heart and emotions.34Be Remembered at GE Critiques

CritiquesListen to the tapes.Control emotion and frustration and be cordial.Introduce yourself or greet cordially.Give info so judge can focus on issue/topic.Make note of what comments need clarified.Tell what group, class, and show title.Dialog, dont offer excuses

Remember, youve had months of intimate contact with the program. A judge typically has 5 or so minutes. Be realistic.

35Be Remembered at GE Critiques

CritiquesHave a chronological list of effects.Comments focus on weaknesses or performance.Strive to develop a to do list.Tone of voice changes or gap in dialogue.Review the responses on the tape to each effect.No response from judge on tape.Roadmap of effects.

No response from judge: If there is no response, the effect did not have a strong impression or the focus was somewhere else. Consider what is going on around the effect and examine staging of effect. Discuss lack of impression.

Tone of voice changes: Usually means something bothered or was effective for the judge. Is it a weakly planned effect? Is the problem the approach, the event itself, or the departure. Is it a design or performance issue?

Roadmap of effects: Judge usually processes things. Focus on the success or lack of success with each planned effect.

Focus on weaknesses or only on performance: Dialogue to make judge concerns more clear, strive to establish what specifically is the issue or problem. Performance is the most commonly aspect of judging, so it is a safe area when performance is so questionable as to hinder processing the show and repertoire.

36Another Way To Be RememberedWe have limited rehearsal time. What advice can you offer to help me take full advantage of the time we have available?

What you should have saidWe only rehearse once a month.For 15 minutes.In a janitors closet.

What you saidI just cant seem to be able to use our rehearsal time wisely. Or find any other place to rehearse. Plus, I have no idea how to use time wisely or help others see the need to use time wisely.

What you really saidAnother Way To Be RememberedSince many of our group is new to this activity, what advice can you offer on designing, training, and performing a show?

What you should have saidOver half of my group is new.And in 2nd grade.And, I dont think they have opposable thumbs.

What you saidI hate working with people who want to spend their precious time, energy, resources, and efforts to be with our groups and want to learn.

What you really saidCrawl, walk, run doesnt always work. Stick stand in between crawl and walk. Break down to smaller tasks.

If they dont know what they can do, they can do anything. You are the driver, not them.38Another Way To Be RememberedCan you point me toward some resources that would be helpful since I am the only person that works with this group right now. I would like to change that soon.

What you should have saidI am the only person that works with them.

What you saidThere is no one within a 300 mile radius that wants to offer their knowledge and experience. And besides, who would want to spend time with a group of thumbless 2nd graders in a janitors closet once a week?

What you really saidTalk to performers in the group. They may know someone in the area who would be willing to help or lend a hand. Maybe just with administrative duties, freeing you for other tasks.

This new thing from Europe, called the innerweb. Check out some blobs or something.

39Another Way To Be RememberedHow can I help them understand or see my vision for this program?

What you should have saidThey dont understand what I want them to do.

What you saidI dont understand what I want them to do.

What you really saidDefine your own vision for the program.Transfer that to your performers, so they can deliver your vision to the audience.

Write it down. Use VISUAL imagery. This is a very visual art, after all.40Take AwaysStudy other groups to stay on top of current trendsUse your study and research as inspirationPace your showContour the show like a coasterRemember the communication process:DesignerPerformerAudience

Build effects:ApproachEventDeparture

Approaches to effect design:IntellectualAestheticEmotional

Make sure you, your students, and your supporters have fun and learn.

The joy of performance always shines through in memorable, top notch groups.

Finally,

Point North as an ensemble judge would like to see.Point North as an effect judge would like to see.41