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WGI 2010 Winter FOCUS

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The Winter 2010 issue of WGI's FOCUS Magazine.
36
NorthCoast Academy cultivates international prestige focus the official news of wgi sport of the arts winter 2010 HISTORY COMES ALIVE ON THE FAN NETWORK Getting to Know EVENT JUDGES COASTING Veteran Ensembles MAKE A COMEBACK to the Top What It Means to Be a TEAM LEADER
Transcript
Page 1: WGI 2010 Winter FOCUS

NorthCoast Academy cultivates international prestige

focusthe offi cial news of wgi sport of the artswinter 2010

HISTORY COMES ALIVE ON THE FAN NETWORK

Getting to Know EVENT JUDGES

COASTING

Veteran Ensembles

MAKE A COMEBACK

NorthCoast Academy cultivates Academy cultivates Academy international

NorthCoast

COASTING COASTING COASTING to the Top

What It Means to Be a TEAM LEADER

WGI_p1_Cover.indd 1 1/6/10 2:46:40 PM

Page 2: WGI 2010 Winter FOCUS

Let’s talk shop. The first name in colorguard stretchwear?

For WGI Independent World finalist, Zydeco, it’s FJM!

Our designers and craftspeople have developed custom, one-of-a-

kind performance wear for so many of the colorguards you know…

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Phantom Regiment, The Cavaliers, to name a few. In every class,

in every style, we’ve got a way to help you tell your story perfectly,

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Focus.indd 3 9/25/09 3:46 PMWGI_Temp.indd 1 12/22/09 2:40:31 PM

Page 3: WGI 2010 Winter FOCUS
Page 4: WGI 2010 Winter FOCUS

WINTER 2010 Volume 24, Issue 1

Winter Guard International

Ron NankervisChief Executive Offi cer

Bart WoodleyMarketing Manager

Aaron JenkinsMarketing & Communications

Coordinator

Published By:In Tune Partners, LLC

Irwin KornfeldCEO

Will EdwardsPresident

Angelo BiasiPublisher

Mac RandallEditor-in-ChiefJackie Jordan

Creative DirectorRobin Garber

Production DirectorJoan Ferrara

Business ManagerContributing Writers:

Alex Mendoza, Melinda Newman, Catherine Applefeld Olson, Michael Reed

Photography: Jolesch Photography, Robert Cawthorne, Dan Scafi di, Linda Unser, and Sid Unser

WGI FOCUS is an educational publication of WGI Sport of the Arts. Its purpose is to broaden communi-cation within the family of color guards and percussion ensembles. FOCUS is published three times per year.

WGI FOCUS is a free publication with a circulation of 14,000 copies and 12,000 online viewers.

All members of the WGI family may submit articles for consideration. WGI reserves the right to

edit all submitted material.

If your address has changed, please notify the WGI offi ce. Failure to do this could result in the loss

of your WGI FOCUS subscription. We don’t want to lose touch with you!

For advertising information please contact Aaron Jenkins; phone: 937-247-5919;

email: [email protected]

WINTER GUARD INTERNATIONAL2405 Crosspointe Drive

Dayton, OH 45342937-247-5919

offi [email protected] www.wgi.org

WINTER 2010 Volume 24, Issue 1

focusthe offi cial news of wgi sport of the arts

www.wgi.org 4 WGI

Directions

Ron NankervisExecutive DirectorWGI Sport of the Arts

Winter WonderlandThat chill in the air can only mean one thing: Winter is here! By the time you read this, the fi rst shows of 2010 will be right around the corner. All the hard work, discipline, and dedication of indoor marching arts groups, no matter who they are or where they are from, will soon be on display.

Winter brings us together, if only for a brief moment, and reminds us that we are all inextricably linked to one another by our shared experiences in and out of the gym. Those memories will sustain us in a time of common challenges that impact the very activity we love. In a time when all pro-grams are feeling the fi nancial squeeze, it is a testament that almost 300 instructors and judges came to the recent Spinfest!! in Orlando to share and take knowledge back to their students.

What WGI believes—what each and every one of you believes and what each performer you will see believes—is that this is the season to cel-ebrate accomplishment. Seeing the amazing feats that young people can perform connects all of us, and reminds us that no matter how or where we differ, we all seek our own measure of happiness, fulfi llment, and pride in what we do.

wgi

Francis Howell North HS

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WGI_Temp.indd 1 12/22/09 2:31:42 PM

Page 6: WGI 2010 Winter FOCUS

SPASMODIC - PRODUCTION DATA

FOR PUBLICATION CONFIRMATION Client: Remo Media: Magazine, 4/C Revision Number: 1 Ad Caption or Title: Greatest Heads WGI Ad Code: Publications: WGI Focus Publication/Address: Due Date: 9/25/09

MECHANICAL INFORMATION

Mechanical Dimensions: Bleed: 8.5” x 11.25” Trim: 7.75” x 10.375” Live: Image Usage: End Date:

SERVER PATH Studio Location: remo_greatestheads_wgi Client Folder: Month: Agency Job #: Digital Resources #: Document Filename: remo_greatestheads_wgi.indd

AGENCY CREDITS Executive Creative Director: Art Director: Gerry Gomez Copywriter: Print Producer:

STUDIO INFORMATION drArtist Entries: Font Families: (details upon request) Art & Image Identification: (listing upon request) Color: Cyan Magenta Yellow Black

Riverside Community College

Music City MystiqueRhythm X

Dartmouth High School

WGI_Temp.indd 1 12/22/09 2:50:18 PM

Page 7: WGI 2010 Winter FOCUS

20The Cast is heading back

to Dayton in 2010.

focusVolume 24 Issue 1 Winter 2010

the offi cial news of wgi sport of the artswgi

INSIDE

WGI FOCUS 7

9 ENSEMBLEThe color guard connections of two So You Think You Can Dance contestants ... WGI’s website gets a relaunch ... Centerville High School marches to Europe ... Promoting the Championships webcast in Japan ... and much more!

14 CLOSE-UPNorthCoast Academy’s quick ascent into the upper reaches of the percussion category has drawn admirers and lured participants from far and wide.

16 SPOTLIGHTThe WGI Fan Network celebrates its fi rst birthday with a historic gift.

20 BACK IN THE GAMEIn recent years, several noteworthy independent ensembles had to bow out of competition. But in 2010 they’re staging a major comeback.

25 MEET THE JUDGESThose folks behind the white tape can be intimidating—especially when they’re scoring your performance. Still, don’t forget: WGI’s judges love the activity too.

28 CLINICWhat does it take to be a team leader? And what do you do once you’ve been chosen to lead? The answers to these questions may not be what you expect.

30 SCHOLARSHIPAs a drummer for Riverside Community College, Matthew Regua loved creating new characters, and the experience helped him strengthen his own.

34 WHAT’S YOUR WGIQ?Find the differences between two photos from the 2009 Finals.

9

25

30

Cover photos, clockwise from top left: Matrix, NorthCoast Academy, Quasar, Emanon.

WGI_p7_Toc.indd 1 1/6/10 3:01:02 PM

Page 8: WGI 2010 Winter FOCUS

Corporate SponsorSponsor

Tournament of Bands

®

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c u s t o m p e r f o r m a n c e w e a r | a f f o r d a b l e p r i c i n g | u n l e a s h y o u r c r e a t i v i t y

Focus-Winter09/10.indd 1 12/10/09 1:06:27 PMWGI_Temp.indd 1 12/22/09 2:27:46 PM

Page 9: WGI 2010 Winter FOCUS

NEWS FROM THE FLOOR AND MOREEnsemble

Fans of Fox TV’s So You Think You Can Dance were dazzled this past season as some of the country’s most talented dancers showed off their best moves for a worldwide audience. Two of those dancers have a color guard connection. Ariana DeBose, who made it into the show’s top 20, is a guard veteran, hav-ing trained with Avon High School’s Jennifer House Hinshaw. Second-place fi nalist Jakob Karr doesn’t have a guard background, but he caused a stir when he assisted Joey Dowling at WGI’s Spinfest!! in Orlando last September.

DeBose’s fi rst experience with color guard was as a freshman performer at North Carolina’s Wake Forest High School; for the rest of her high school career, she helped cho-reograph the guard. “I still work with my marching band from my old high school,” she reports. “I’ll teach dance classes and spin with them. You get the best of both worlds when you’re working in the guard world because you’re learning to be meticulous with your equipment.”

THE GREAT RELAUNCHYou’ve probably noticed that wgi.org looks a lot different these days. After a lengthy period of behind-the-scenes design updating, we gave the website a full relaunch in December. It’s now more colorful and easier to navigate, and

best of all, it’s got a lot of new features. The one that’s exciting us most at the moment is the down-loadables section. For the fi rst time, users will be able to download a wide selection of WGI-related stuff—videos, screensavers, desktop backgrounds, and more—at absolutely no charge. Of course, all the features you’ve come to rely on are still available, from a detailed

event calendar to background information on every WGI ensemble. So log on today!

www.wgi.org WGI FOCUS 9

CO

MP

UTE

R P

HO

TO: S

TOC

KXP

ER

T/JU

PIT

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IMA

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S

Looking for the latest info about the 2010 season? You can be among the fi rst to know about all things WGI by following us on our new Twitter page. Surf on over to twitter.com/WGItweets and become a part of the social network.

COLOR GUARD JOINS THE “DANCE”

TWEET ALONG WITH WGI

Karr confesses that until he went to Spinfest!!, he “never thought that color guard and contemporary movement could be combined, and then when I saw it, I was blown away. I cannot even imagine trying to throw something in the air and catch it. Whether it’s spinning or

not, it’d be hard for me.” Still, he’s interested in continuing some sort of guard involvement: “I’d defi nitely love to. What you guys [guard

performers] do with fl ags is out of this world.”One more member of the SYTYCD cast will be

forging a link with WGI soon; “combat jazz” cho-reographer Sonya Tayeh is scheduled to teach a master class on April 11 at UD Arena as part of WGI’s “Sunday After” series. Go to wgi.org for more details, and to read exclusive interviews with Ariana DeBose and Jakob Karr.

Clockwise from left: Ariana DeBose; Sonya Tayeh; Jakob Karr; DeBose

and Karr together on SYTYCD.

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Page 10: WGI 2010 Winter FOCUS

Ensemble

10 WGI FOCUS www.wgi.org

WGI GOES WORLDWIDE WITH JAPANESE WEBCAST ADMore than 1,400 participating units in the recent Japan Marching Band Baton Twirling Association Championships received a fl yer for the WGI World Championships webcast—WGI’s fi rst ever foreign-language ad (see left). “There is an intense interest in the marching arts in Japan,” says WGI Marketing Manager Bart Woodley, “so the ad to promote the webcast to those attending the ‘local’ championship seemed like a perfect opportunity.”

Americans and Japanese aren’t the only ones watching online, either; the 2009 championship webcast also had viewers in Canada, the U.K., the Netherlands, Belgium, and Sweden.

GUARD FOCUS

Pro-Mark iDPad Lets You Bang Your Own DrumIf you’re bored with the look of your plain old drum pads, Pro-Mark has a solution: the new iDPad, which you can design to look any way you want. The process takes place entirely online; upload your own pictures

and graphics in sync with a custom color palette to create a pad

as personal as your playing style. For further details, go to promark.com.

McCormick’s Custom Flag Puts Dimensions in MotionTextured fl ags are becoming a major trend at WGI events, and this one by McCormick’s, originally de-signed for Santa Clara Vanguard Drum & Bugle Corps, has a striking three-dimensional quality. Designer Alan Spaeth says, “The inspiration for this fl ag was a pleated skirt, which opens up and becomes fuller with motion. My goal was to have a fl ag that increased in size and created more dimen-sion while it was being spun.” The standard version is available in maroon, burgundy, amaretto, mandarin, and but-terscotch Aerofl o II with Aztec lamé. For more about this and many other fl ags, visit mccormicksnet.com.

PERCUSSION FOCUSThe new world representative of US Indoor Percussion is the Centerville High School Winter Drumline of Center-ville, Ohio. The group will travel to Europe this spring to compete in the 2010 Indoor Percussion Europe Champion-ships in Crawley, England. Centerville earned this distinc-tion through its long history of success in WGI’s Percus-sion Championships, reaching the Finals 11 times to date and winning two gold medals, the fi rst (Scholastic Open) in 1999 and the second (Scholastic World) in 2004.

“We are extremely excited and honored to have been selected to participate in this international percussion competition,” says Tim Fairbanks, Centerville’s marching percussion director. “I know that our students will never forget this experience and our community is very proud that the Centerville Winter Drumline is an international ambassador for the arts.”

Although the IPE Championships take place on only one day, Centerville’s trip will last nearly two weeks (March 31-April 11). During that time, the ensemble’s members will also travel to London, Paris, Amsterdam, and Bruges for sightseeing and performance opportuni-ties. “With Centerville High School as our special guests,” says Indoor Percussion Europe’s Erwin van Gemert, “we are certain that the European directors, designers, and fans will experience what indoor percussion is all about.”

Centerville HS at the 2009 WGI

Percussion Championships

www.www.www.wgiwgiwgi.org.org.org

2010年 wgi ワールド・

チャンピオンシップを

オンラインで観戦!

2010年 wgi ワールド・

チャンピオンシップを

オンラインで観戦!

WGI (Winter Guard International) は、

カラーガードおよびパーカッション・ア

ンサンブルの

屋内コンテストを全世界で主催する団

体です。WGIの

競技シーズンは、米国およびヨーロッパ

全域で、2月から

4月まで米国およびヨーロッパ全域で、

2月から4月まで

となって開催されいます。各コンテスト

のストリーミング

ビデオを、オンラインでご覧になれま

す。

www.wgi.org/fannetwork

ウェブ生放送

www.wgi.org/webcast

カラーガード

4月8日~10日パーカッション

4月15日~17日

コンテストを絶対

お見逃さないで

逃しなく!

木曜 予選 金曜 準決勝 土曜 決勝

芸術的     スポーツ

PH

OTO

S : D

RU

M P

AD

S C

OU

RTE

SY

OF

PR

O-M

AR

K

CENTERVILLE HIGH SCHOOL’S BIG JOURNEY

WGI_p9_Ensemble.indd 2 1/6/10 4:46:23 PM

Page 11: WGI 2010 Winter FOCUS

The new promark.com. Go there.

promark.omg

© Pro-Mark Corporation

The new promark.com. Go there.

promark.omg

© Pro-Mark Corporation

WGI_Temp.indd 1 12/23/09 11:13:11 AM

Page 12: WGI 2010 Winter FOCUS

Ensemble

Tickets for the 2010 WGI World Championships (April 8-10 and 15-17) are on sale now! The easiest way to get them is online; head to the wgi.org home page, click on the Tickets box, and choose from the available options. But if you’re looking for the ultimate experience, check out our Color Guard and Percussion VIP Ticket Pack-ages, which guarantee ticket holders the best seats in the house for all fi nals events. To place your VIP ticket order, call 1-866-589-7161.

Please note that the introduction of a semi-fi nals round in Scholastic and Independent World Class Color Guard has changed the overall event schedule for 2010. If you’re planning to see the prelims in these classes, you’ll need to arrive on Thursday, April 8.

“Talent” LookoutAnother sign that the marching arts are becoming more mainstream: Representatives of the hit NBC TV

show America’s Got Talent recently contacted WGI’s offi ce to tell us that their talent scouts plan to attend all California WGI events in the coming year. Non-Californians should note that the remaining open-call auditions for AGT’s next season are in Orlando (February 13 and 14), Atlanta (February 20 and 21), and Portland, Oregon (February 28 and March 1). Visit agtauditions.com for details.

CLAIM YOUR SEAT AT THE CHAMPIONSHIPS

12 WGI FOCUS

WGI_p9_Ensemble.indd 3 1/6/10 4:46:30 PM

Page 13: WGI 2010 Winter FOCUS

Thank You to Our Partners and SponsorsPresenting Sponsors

Corporate Partners

World Championship Sponsors

PW Black logos are always used on light surfaces PW White logos are always used on dark surfacesTo Avoid incorrectly scaling the PW white logo in a vector based program such as Illustrator, be sure to set your PREFERENCES for the units to scale How to: go to EDIT, then down to PREFERENCES, click on GENERAL, window pops up - check the box for “SCALE STROKES & EFFECTS”

Page 14: WGI 2010 Winter FOCUS

14 WGI FOCUS

W hen Diane King, executive director of North-Coast Academy’s award-winning percussion ensemble, notes that musicians come from near and far to join the Saginaw, Mich.-

based group, she isn’t kidding.“I once had a girl from Japan fl y over to audition,” King

says. Although no current member has to hop a transcon-tinental fl ight, many participants in this year’s corps travel from as far away as northern Illinois, Indiana, and Canada every weekend for practice. The majority of NorthCoast’s 40 members are in college, although there is the occa-sional high-schooler.

There’s good reason percussionists come from all over to be a part of NCA’s indoor drumline. In one of the quickest ascents in WGI history, NorthCoast captured the gold in only its second year in the Independent Open class at the 2003 World Championships, under the guidance of Steve Yoder. The ensemble has since moved up to Inde-pendent World, most recently coming in seventh in the 2009 fi nals.

Yoder recruited his best friend King to serve as as-sistant director as part of an ongoing reorganization that started in 2002, when Yoder reactivated the drum line after a long hiatus. “We were all at another drum line in Canada, and we brought some of our members with us. It was all because of Steve,” King says of the group’s aston-ishing rebirth. “It was a fresh outlook. We got some older, more experienced kids in there. We could only go up.”

Sadly, Yoder died later that year after an illness and King, a French horn player and public school band teach-er, ascended to executive director. She’s been on a fast track ever since with, by her own admission, lots of on-the-job training. Creating a world-class percussion unit takes “a lot of time, a lot of money, and a lot of passion,” she says. “I’m weary just thinking about the time it takes.”

In her few years, she’s already seen major changes in what the WGI judges expect during competition. “There’s a lot more movement,” she says, “Somewhere along the line, percussion ensembles add some dancing. There’s one that does a lot of hip-hop, and another one added bal-let moves. We’re not good at either one,” she adds with a self-deprecating laugh.

People don’t just travel to NorthCoast; last summer, the group became the third American WGI unit to perform in Europe. Even its theme

song, which the members gather in a circle to sing right before they take the stage, has an in-

ternational fl avor. King says the ditty was composed by a French Canadian member in 2003, and has special meaning to the group.

www.wgi.org

NorthCoast Academy Goes Long DistanceTop Percussion Ensemble Draws Members From All OverBy Melinda Newman

Close-Up

It takes a lot of time,

a lot of money, and a lot

of passion. I’m weary just thinking

about the time it takes.

WGI_p14_Closeup.indd 1 1/6/10 3:28:18 PM

Page 15: WGI 2010 Winter FOCUS

Secret Weapon

01 7 W ue e i s Pro r .indd 1 12/ /09 10:0 MWGI_Temp.indd 1 12/22/09 2:59:18 PM

Page 16: WGI 2010 Winter FOCUS

16 WGI FOCUS

O ne year ago, the WGI Fan Network made its online debut—and what a year it’s been. At fi rst, the Fan Network offered members the opportunity to view streaming video of select

WGI events. Then the ability to download videos was added. Every week, the library of available clips grew. New developments with the site’s video host raised the quality of the videos and gave users full-screen viewing capabilities. And now, to celebrate its fi rst birthday, the Fan Network has made available, for both streaming and downloading, a historic archive of WGI video: 30 years’ worth of performances, from 1978 to 2007.

This milestone achievement is the culmination of a laborious two-year process. “Getting the entire archive online has been a very time-consuming task,” explains WGI video specialist Amy Racic, who’s been the leader of the research and digitizing effort. “The majority of the past summer was spent digging through old videos and com-pressing fi les to the specs that are needed to upload to the Fan Network. There’s around 1,250 videos in the WGI Fan Network Archives alone, and each one needs to be compressed into two different fi les, one for streaming and one for downloading.”

All that hard work has paid off, creating a treasure trove of footage that allows fans to sample performances from

any time in the history of the activity. As Racic observes, “It’s really exciting to see the roots of where the organiza-tion began and to watch the progression of show designs and equipment use.”

Bart Woodley, Marketing Manager of WGI, says that some of the best treats in store for Fan Network mem-bers are the oldest. “We are including some streaming video of the 1978 World Championship performances, which have never been available to the public before,” he reveals. “Even though the quality of that vintage video is a little less than par, I know there will be some fans who will love to experience part of the fi rst WGI.”

In its fi rst year, the number of Fan Network subscribers exceeded expectations. The response has been over-whelmingly positive. “We have had several fans write the WGI offi ce saying that they love having so many shows at

their fi ngertips,” Woodley reports.Originally, the Fan Network was

the brainchild of Drum Corps International; now that WGI is also

on board, the concept has only gained momentum. “Togeth-er,” Woodley says, “we are looking for ways to revolution-

ize the way fans experience marching arts video.” To that end, look for further exciting develop-ments later in 2010, including extra content and new updates to the Fan

Network player. In the meantime, you can check out the WGI Fan Network for yourself by going to wgi.org/fannetwork.

www.wgi.org

A Birthday Treat from the Fan Network30 Years of WGI Video Now Available OnlineBy Mac Randall

ne year ago, the WGI Fan Network made its any time in the history of the activity. As Racic observes, “It’s really exciting to see the roots of where the organiza-

Spotlight

It’s really exciting

to see the roots of

where the organization

began and to watch

the progression of

show designs and

equipment use.

Watch Quasar’s 1978 World Championship gold-medal

performance online.

WGI_p16_Spotlight.indd 1 1/6/10 3:29:50 PM

Page 17: WGI 2010 Winter FOCUS

The World’s Largest Percussion Resource

Rudiments . Publications

Scholarships . PASIC

Marching Percussion Festival

More

Join Todaywww.pas.org

Santa Clara Vanguard Percussion Section, PASIC 2006

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D R U M C O R P S I N T E R N A T I O N A L P R E S E N T S

2010 DRUM CORPS INTERNATIONAL WORLD CHAMPIONSHIPS • AUGUST 10–14, 2010For a complete schedule, tickets & additional info, visit: www.DCI.org

DCI Half Page Map WGI 2009 Resized (Dec 11) .qxp 12/16/09 2:40 PM Page 1

The World’s Largest Percussion Resource

Rudiments . Publications

Scholarships . PASIC

Marching Percussion Festival

More

Join Todaywww.pas.org

Santa Clara Vanguard Percussion Section, PASIC 2006

PASAd4WGI.indd 1 9/26/08 3:34:13 PM

The World’s Largest Percussion Resource

Rudiments . Publications

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Marching Percussion Festival

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Join Todaywww.pas.org Santa Clara Vanguard Percussion Section, PASIC 2006

PASAd4WGI.indd 1 9/26/08 3:34:13 PM

The World’s Largest Percussion Resource

Rudiments . Publications

Scholarships . PASIC

Marching Percussion Festival

More

Join Todaywww.pas.org Santa Clara Vanguard Percussion Section, PASIC 2006

PASAd4WGI.indd 1 9/26/08 3:34:13 PM

The World’s Largest Percussion Resource

Rudiments . Publications

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More

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Santa Clara Vanguard Percussion Section, PASIC 2006

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WGI_Temp.indd 1 1/7/10 1:48:48 PM

Page 18: WGI 2010 Winter FOCUS

2010

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Page 19: WGI 2010 Winter FOCUS

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Page 20: WGI 2010 Winter FOCUS

Every once in a while, ensembles may need to take a time-out from competition—but when they return, they’re stronger than ever.

ometimes stepping off the beaten path can be a blessing in disguise. With the economy in the dumps, 2009 saw an increased num-ber of winter guard ensembles taking a hiatus for fi nancial reasons. But with fl ex-ibility, creativity, and good old-fashioned tenacity, these troupes turned a poten-

tially sticky situation into a sweet victory. High gas prices coupled with complex logistics waylaid

upstate South Carolina-based The Cast this year. “We had kids traveling from Atlanta, the eastern part of Tennessee, the eastern part of North Carolina, and right before the sea-son was going to start gas was around $4.50 a gallon,” direc-tor Bud McCarter says. “Given the cost of travel, we decided to take a break and see what the economy was going to do.”

The 30-member Pride of Cincinnati color guard recently took time off after discovering that it had to slash its bud-

ometimes stepping off the beaten path can be a blessing in disguise. With the economy in the dumps, 2009 saw an increased num-ber of winter guard ensembles taking a hiatus for fi nancial reasons. But with fl ex-ibility, creativity, and good old-fashioned tenacity, these troupes turned a poten-

tially sticky situation into a sweet victory. High gas prices coupled with complex logistics waylaid

upstate South Carolina-based The Cast this year. “We had

20 WGI FOCUS

By Catherine Applefeld OlsonPride of Cincinnati

www.wgi.org

WGI_p20_BackintheGame.indd 1 1/8/10 10:27:26 AM

Page 21: WGI 2010 Winter FOCUS

get to ensure smooth operations. The hiatus resulted in an analysis and overhaul of everything from transportation to food to practice sites to staffi ng. “We had to basically go back to the drawing board of how we do things,” director Charlie Gumbert says, “and really think about, ‘Are we doing some-thing because we really need to do it or have we just been doing it because we’ve had the money?’ ”

For some troupes, particularly those located farthest from WGI headquarters in Dayton, Ohio, fi nancial constraints are a given, recession or not. The London, England-based Mayfl ower color guard often elects to miss the WGI World Championships, but that’s by design. “Since we are so far from Dayton, we had always planned periodic visits to WGI,” designer Robert Da Costa notes. “Funding a trip every year to come is prohibitive and was never in our overall plan.”

Since Mayfl ower’s last visit to WGI in 2005, Da Costa adds, “we have been focusing the guard program on building a

stronger local base and we felt it was appropriate to take our time before we returned to WGI competition. Our 2010 WGI trip has been in the making for the past three years. Re-gardless of our competitive placement, bringing Mayfl ower to WGI has always been the most amazing experience for our members.”

Lemonade Out of LemonsAlthough the economy may have been the catalyst for taking a break, wise troupes have used the extra time to regroup for an even stronger comeback.

For New Jersey-based Emanon, a 2009 hiatus turned out to be just what the doctor ordered. During the time off, co-directors Vikki and Tony Del Corsano completely restaffed and the color guard basically disbanded, with the majority of its 20 members segueing into neighboring marching ensembles. When it was time to get back to practice for 2010, two of the “original” mem-

WGI FOCUS 21

The Cast

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bers returned, to join 13 new members. “We’ve got a whole new troupe now,” says Vikki Del Cor-

sano. “They all know the history of the guard, though some have never marched in winter guard before. It’s very exciting and uplifting that all these new kids wanted to do it.”

Thanks to a new designer, Emanon’s shows have taken a more sophisticated turn, Del Corsano says. And the fresh start gave Vikki and her husband a chance to rethink the way they want to run the organization. “We were very connected to the kids the fi rst few years, but as the business end started to take over more of what we did, we lost contact a little,” she says. “We’ve changed that now and are getting more con-nected with the kids because we really missed that part. And things are running really smoothly.”

Time off can also do much to solidify the bond between group members. When The Cast decided to sit out the 2009 season, some kids elected to join other winter guard ensem-bles. But, Bud McCarter reports, they discovered the grass is not always greener elsewhere, and many returned to the fold when it was time to begin practicing again for the next season. “The kids got to see how competitive it is on the na-tional level, and they got to see the different styles of train-ing,” he says. “And some realize that we have our family val-ues here. We take care of the kids and are concerned about them like parents.”

Charlie Gumbert has observed a similar bonding dynamic at Pride of Cincinnati: “Having the time off makes you ap-preciate what you have a little bit more, and the time that is spent away makes you realize how much more you actually love it. It feels like we’re getting the family back together.”

In the long run, an enforced break can step up a guard’s commitment. “We know that returning to WGI results in a more committed season—a more intense rehearsal schedule, higher costs, and more fundraising—plus time off school and college for many of our members,” Mayfl ower’s Da Costa says.

A Strong ComebackDiffi cult as it may be to step off course and return strong, the triumphant return of so many WGI stalwarts in the 2010 sea-son—from Mayfl ower and Emanon to 2008 IW gold

medalist Fantasia—is proof that it can be done. Fantasia staff member Tim Mikan looks at the process philosophically. “Every fi ve to seven years,” he says, “there seems to be a ro-tation of core performers that retire. This gets compounded by the rigors of being a part of a college marching band that performs all fall season. Be-tween the two, it is natural and sometimes necessary to step back and reassess the seasonal process and even regroup from previous years to assure the members, staff and fans that everyone will have a quality experience the following year.”

“Realistically,” McCarter says, “everyone I’ve talked with

realized that the way last year was fi nancially, it was a big burden to keep an organization going for anyone that has an independent group, which depends on fundraisers and kids paying their dues.”

“As soon as people heard we weren’t competing, they’d call and ask what happened,” Del Corsano says. “And we’d tell them we were defi nitely coming back next year; we weren’t folding. In the beginning, people were wondering if

we really were going to come back out, but everyone was supportive for the most part.”

To help keep up internal morale and external pub-licity, Del Corsano traveled to several regional

competitions, both to see former Emanon members who were performing and to put up posters letting people know the color guard would be back.

“Any time you take a year off, it makes you nervous to come back,” Gumbert says. “But it

just makes you work harder. You have to stream-line your operation and make it more precise, but it makes the students and the instructors a little more hungry.”

When Mayfl ower returns to Dayton in April of 2010, it will be the ensemble’s sixth visit. “We are well aware of what it takes, what the experience will be for the members, and what we need to do in advance to ensure a smooth and successful visit,” Robert Da Costa says. “The hiatus hasn’t changed us—it’s just kept us focused on our short- and long-term goals, which include frequent visits to Dayton.”

Del Corsano sums up her mixed emotions about taking a time-out: “The decision was really scary. I thought, ‘Did we just go inactive, or did we really just fold the guard?’ And it was depressing at fi rst. But it turned out to be one of the best things we’ve ever done.”

triumphant return of so many WGI stalwarts in the 2010 sea-

looks at the process philosophically. “Every fi ve to seven years,” he

weren’t folding. In the beginning, people were wondering if we really were going to come back out, but everyone

was supportive for the most part.”To help keep up internal morale and external pub-licity, Del Corsano traveled to several regional licity, Del Corsano traveled to several regional

competitions, both to see former Emanon members who were performing and to put up posters letting people know the color guard would be back.

“Any time you take a year off, it makes you nervous to come back,” Gumbert says. “But it

just makes you work harder. You have to stream-line your operation and make it more precise, but it makes the

licity, Del Corsano traveled to several regional

22 WGI FOCUS www.wgi.org

Fantasia

Mayfl ower

WGI_p20_BackintheGame.indd 3 1/8/10 10:27:53 AM

Page 23: WGI 2010 Winter FOCUS

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WGI_Temp.indd 1 12/22/09 3:00:36 PM

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www.wgi.org WGI FOCUS 25

MeetTHE

JUDGES A closer look at the people behind the white tape

BY MICHAEL REED

It’s contest day. The prelims start at 9 a.m. Before the sun rises, a special group of peo-ple is already awake. The night be-fore, they spent hours on an airplane, arriving at their hotel late to catch a few precious hours of sleep. Before the day ends, they will have spent over 12 hours paying attention to the tini-est detail of every program. After the awards ceremony, they may work for another few hours, meeting with instructors to discuss their groups’ performances.

These men and women are the WGI judges. They view the shows from the best vantage points and are constantly speaking into digital voice recorders. They are the ones who decide the results—and give passionate instructors and fans reasons to celebrate or grumble.

Who are these people sitting inside the taped-off area with clipboards and pencils? Why do they spend most weekends from Feb-ruary through April working long hours? Are they fans of the activity, just like the rest of the people in the stands?

Sue Nicholson has been a WGI

judge for over two decades.

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Before meeting a few of these dedicated profes-

sionals, it may be helpful to explain what they do. Judges evaluate a performance in a specific caption, giving each ensemble feedback via digital recordings. They rank the groups, assign scores in subcaptions, and are expect-ed to be proficient in numbers management.

When you consider the complexity of all these tasks, plus the fact that there are only a few minutes between performances to complete their commentary, it is easy to see how mentally demanding judging truly is. A recent survey of active WGI judges revealed that one part of the job they find particularly tough is ranking a large number of groups. For example, at World Championships it is common to evaluate over 30 in any given prelim round. According to percussion judge Chris Hestin, “as judges, we strive to ensure that every score assigned profiles a group’s strengths, weaknesses, and relative competitiveness. This can be a challenge.”

Most judges have backgrounds in marching band, drum corps, or winter guard. The transition from instructor to judge can be a natural progression of their maturation within the activity. Each judge undergoes extensive training regarding WGI judging philosophy, scor-ing, ranking, and other aspects of the craft prior to judging an event. Most judges have judged in local circuits before adjudicating WGI events. The organization conducts annu-al training sessions for judges. According to movement

judge Jackie Campbell, “the training process is just that: a process. I’ve never been to a clinic where I haven’t learned something new.”

WGI’s current roster of judges work in almost every field imaginable, from finance to technology to education. WGI FOCUS spoke with a few of them about their backgrounds, interests, and thoughts on be-ing a judge.

William Chumley has been a WGI judge since 1995. While actively judging, he has contin-ued as a teacher, founding 2002 IO champion and multi-time IW finalist Oracle. He is currently Director of Education for Win-ter Guard United Kingdom and the director of 2009 SO silver medalist Legacy High School. When he’s not judging, consult-ing, or teaching, he loves read-ing and travel. For William, the most rewarding part of judging is “being with the performers ‘in the moment’ when it all

comes together and they have that great run.”

Tom Rarick has

been a WGI percussion judge for four years. After marching

with the Cadets in the mid-’90s, he has served as a staff member with several DCI corps. For Tom, traveling around the nation and interacting with the instructors and performers that “are making it happen” is one of the most rewarding aspects of judging. He feels that accountability is a crucial element of his work: “Bringing my A-game to the commentary, scoring, and critique is the least I can do.” Tom’s “day job” is serving our country, as a percussionist in the United States Air Force Band in Washington, D.C.

Guard judge Orlando Suttles agrees that accountability is critical in his role as a 10-year adjudicator, noting “the most important thing about adjudicating is being account-

able for your actions in ranking and rating, and remaining professional at all times.” In “real life,” Orlando works in the banking industry, and is also color guard coordinator for the Michigan State University Marching Band. He en-joys cooking, biking, working out, and collegiate sports.

One of the judges with the longest tenure in the activity is Sue Nicholson, who has been a WGI judge for over 20

years. She strives to be a fair, consistent judge and feels one of the most rewarding parts of judging is seeing color guards develop and grow. Sue was a majorette in high school and a color guard captain in college; in subsequent years, she’s been a band director and guard instructor in Mississippi and Florida. She is an exercise buff, doing yoga

and pilates in her spare time, and she plans to participate in the Atlanta Half Marathon.

The people we see judging WGI events are every bit as enthusiastic about the activity as the spectators. They expe-rience the same thrills when a rifle line perfectly catches a high toss, or when a snare line nails its feature. Theirs can be a thankless task, but when their comments contribute in some small way to helping a performance come together for that one magical moment, the weekends away from home and the raspy voices from hours of talking into a record-er seem like much less of a hardship.

www.wgi.org

William Chumley (L) balances judging and teaching; Chris Hestin (C) is a percussion training director for judges; Tom Rarick (R) takes time off from the U.S. Air Force Band to judge events.

Phil Madden

“AS JUDGES, WE STRIvE TO ENSURE THAT EvERy SCORE ASSIGNED pROFILES A GROUp’S STRENGTHS, WEAKNESSES, AND RELATIvE COMpETITIvENESS.”

26 WGI FOCUS

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S trong leadership is a core principle in the march-ing arts activities, and instructors can’t be the only ones who embody it—they’re only human, after all, and they’re juggling multiple responsibilities as

they design and refi ne the musical and visual elements of each program. Therefore, the leaders within the ensemble represent a crucial link between performers and instruc-tors, putting the rules set by the latter into place for the former to observe. So how does one go about choosing the right person to become a leader of the ensemble?

“Over the years with the Matrix organization, I don’t feel I’ve had to ‘choose’ many of my leaders,” says Rob Ferguson, director of the Matrix percussion ensemble. “The true lead-ership comes very much from what happens off the fl oor and not behind the instrument. The people who con-stantly rise to the need and inherently gain the respect of the ensemble naturally become the leaders. Surprisingly enough, many of our ensemble leaders over the years have not been the ‘center snare’ or the ‘front ensemble section leader.’ Those positions happen via performance level. Ul-timately, the leaders became the people who rose to the challenge of what needed to be done.”

Although the process of selecting the right candidate for group leadership is methodical, the specifi c criteria for leaders tend to vary from ensemble to ensemble. What one person perceives as the guidelines for a capable leader may be entirely different from another person’s perceptions, es-pecially at the high school level.

Erin Brown, director of Freedom High School’s color guard, describes how her organization proceeds in this area: “Freedom’s leaders are chosen through an applica-tion, essay, and interview process. The interview portion includes all members of the color guard and winter guard staff, as well as our band director. Student interviews last between 10 and 15 minutes, with questions ranging from future plans for the program to explanations of past deci-sions and actions. To be selected, students must have at

least one full year of expe-rience in the program, a minimum GPA of 2.0, and no discipline issues.”

After this careful se-lection process, a leader must follow the duties es-tablished by the instruc-tors. Consistency and persistent application of the various rules and prin-

ciples are essential, but at the same time leaders are also responsible for creating a positive environment, which em-phasizes the idea of teamwork in pursuit of a shared goal.

“We have very high expectations of the student leaders in our program,” Brown says. “Some of their day-to-day responsibilities include embracing their leadership role in the community, along with communication, maintaining re-hearsal etiquette, ensuring that equipment is maintained and stored properly, and organizing get-togethers.”

“In addition to the ‘work’ I expect from them, I have very much enjoyed seeing each set of new leaders continually take on more and more than the previous one,” Ferguson says. “I think that is a special thing and, quite honestly, the defi nition of leadership: always pushing for more.”

28 WGI FOCUS www.wgi.org

Clinic

Profi les in LeadershipEnsemble Leaders Play a Crucial Role in a Program’s SuccessBy Alex Mendoza

The leaders of Freedom High

School’s guard are chosen

through a multi-step process.

“Many of our ensemble leaders over the years have not been ‘center snare’ or ‘front ensemble section leader.’ They were the people who rose to the challenge of what needed to be done.”

WGI_p28_clinic.indd 1 1/6/10 3:36:41 PM

Page 29: WGI 2010 Winter FOCUS

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I vividly remember my fi rst Winter Guard International World Championships experience. It happened during my senior year at Rubidoux High School, in 2004. The championships were held in San Diego, Calif., and

they infl uenced me to march in WGI until I aged out at 22. That weekend opened my eyes—not merely because of the clean drumming or the spectacular show design, but be-cause of the amount of energy and dedication each performer displayed. I realized that WGI could help me release suppressed or un-known emotions I had, in shows that could change people’s lives.

Competing in WGI was my escape from everyday life. I am a full-time student at Cal Poly Pomona, majoring in chemical engi-neering. Drumming with Riverside Commu-nity College helped me get my mind off Ber-noulli’s Equation, thermodynamics, and organic chemistry. Through each drumming performance I have transformed myself into various personalities: a West Coast dancer, a symbol in a deck of cards, a child, a French-man, and a Maori Warrior. Each time I took the stage, I evolved into that new role and left behind the stresses of college life.

Drum corps valued the ensemble over the individual, and stressed perfection in unison. Each member of the Blue Devils’ snare line wore the same shako, uniform, and facial ex-pression. When winter season came around, I was able to develop my own character. And when I performed with RCC, every smirk or gesture I made corresponded in its own unique way with the message we were con-veying in the show.

30 WGI FOCUS www.wgi.org

Scholarship

Becoming a New CharacterWinter Role-Playing Leads to Self-DiscoveryBy Matthew ReguaRiverside Community CollegeRiverside, California

I am lucky to have been a part of the age group that wit-nessed WGI bleed into drum corps. My fi rst year of drum corps, in 2003, featured minimal body movement and con-sisted of strict marching technique. By the time I aged out of drum corps in 2007, our drum solo was completely cho-reographed with motions that had rarely been seen before. I attribute this to the infl uence of WGI. Today’s high school

seniors graduate with performance skills that are higher than ever due to the de-mands of the winter activity.

My favorite part about WGI was becom-ing a new character every year. Embrac-ing each of my roles has enabled me to appreciate other cultures and value sys-tems. My fi nal year meant the most to me, because the Maori Warrior is who I am to-day as a person. On stage, the Maori War-riors were aggressive, expressive, and relentless in our quest to uphold our val-ues, culture, and family. I try to live like this in my new endeavors, as my march-ing career has now ended.

I thank WGI for giving me the opportu-nity to combine my love for drumming with my love of performance. Great in-struction from Sean Vega, Scott Johnson, Jon Kisner, and countless other mentors pushed my potential. To all students still marching, remember to become the role by transforming into the character on stage, and value the work ethic neces-sary to be successful.

Matthew Regua is one of 16 young people who received WGI Scholarships in 2009.

THE WGI SCHOLARSHIP PROGRAMSince its inception, the WGI Scholarship Program has provided over $400,000 to young people who participate in color guard and percussion activities. The money for these scholarships comes from the 50/50 raffl e at the World Championships, $1 of the purchase price of each World Championship pro-gram, and individual dona-tions. If you are interested in donating to the WGI Scholar-ship Fund, you can do so online or send your donation to WGI Scholarship Donation, 2405 Crosspointe Drive, Dayton, OH 45342. For more information about the WGI Scholarship Program, visit wgi.org/about/scholarship.

WGI_p30_scholarship.indd 1 1/6/10 3:38:15 PM

Page 31: WGI 2010 Winter FOCUS

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Page 32: WGI 2010 Winter FOCUS

WINTER GUARD DIGITAL PROPS AND FLAGS

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this year’s show stand

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Some popular sizes our 6’x9’ and 10’x10’. Flags are printed on 100% Polyester.

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Page 33: WGI 2010 Winter FOCUS

specs for the full page FOCUS ad Ad: 8 1/4" x 10 7/8"Trim: 7 3/4" x 10 3/8"Bleed: 8 1/2" x 11 1/8"

All FOCUS ads should be uploaded to the In Tune ftp site: Hostname: ftp.intune.dynalias.com <http://ftp.intune.dynalias.com/> ; user: intune; password: textbook Navigate to the WGI Ads folder, and place in the appropriate advertising issue. Please email Aaron Jenkins at [email protected] when upload is complete. RequirementsPlease submit artwork as high-resolution pdf �les. If on a CD, Mac OS Quark, In Design or Photoshop please include fonts. The publisher reserves the right to reject any advertisement it deems incompatible or inappropriate for any reason.

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34 WGI FOCUS www.wgi.org

At fi rst glance, these two photographs of the Black Watch Color Guard at the 2009 Finals look identical—but they’re not. There are seven differences between the shot on the bottom and the shot on the top. Can you tell what they are? To fi nd out your WGIQ score, go to wgi.org/wgiq.

What’s YourWGIQ?What’s YourWhat’s Your

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Page 35: WGI 2010 Winter FOCUS

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Page 36: WGI 2010 Winter FOCUS

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