Fall 2008 Information Packet

History of Color Guard: Modern color guard has evolved over the years into a form of dance theater that uses props along with movement to express dynamic passages in the music accompanying the show. Modern color guards use flags, sabers, rifles, and occasionally other equipment, as well as a mix of ballet, jazz, modern, and interpretive modern dance. Traditional color guard first began during the English reign around the same time of the American Revolution. A band would accompany the soldiers to play music to keep their spirits up and to keep them in beat. Along with the band, they also had a soldier holding a flag with their colors on it. Color guards can be found in most colleges, universities, high schools, middle schools, and independent drum corps. Members of color guard teams march along with their fellow marching band members. Today the guard uses choreography and equipment for added visual appeal during a marching band show. Usually marching bands and color guards perform during football games at halftime, out of tradition. When in competition, the color guard score is typically based on movement, visual effect, fluidity of choreography with the music, coordination of all members, drill, and the use of equipment (e.g. flags, rifles, and sabers). During a competition the guard adds to the overall score of the band, but is also judged in its own category. Color guard has been considered to be both an athletic competition and an art. Due to its popularity, it has been suggested that color guard be included in the Olympics games.

Color guard in Marching Band In a marching band or a drum & bugle corps, the color guard is a non-musical section that provides additional visual aspects to the performance. The marching band and color guard performance generally takes place on a football field while the color guard interprets the music that the marching band or drum & bugle corps is playing via the synchronized spinning of flags, sabers, rifles, or other pieces of equipment, or through dance. The color guard uses different colors and styles of flags to enhance the visual effect of the marching band as a whole. The number of members in a color guard can vary- some only having a few members while others may have 25 or more.

Team Expectations •

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Conduct and Attitude o

Each member is expected to act with respect and dedication to the team and act in accordance with all school polices. Beyond that, the color guard is expected to be courteous, positive, and focused during rehearsals. Students that continually show a poor attitude during rehearsal, show disrespect to any member of the team, or display inappropriate behavior will be asked to leave rehearsal and may be benched from the next competition.

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It is important to focus especially during what seems like the “boring” basics and technique because this is the key to creating a strong guard that can do well during the competitive season.

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It is important that if the team wants to be successful and known as a “good guard” that they act like one at all times. This means focusing and taking responsibilities of guard seriously as well as outside of rehearsal. You are responsible for the way others look at the team, so you are all required to act as upstanding and excellent members of the school and community. Do those things that you can take pride in and will allow you and the team to be viewed in a positive light. Color guard is a way to gain skills for life and part of that is creating a good light and reputation for yourself and to allow you to learn to take pride in the things that you do and accomplish. This team has great potential. The only limits to these possibilities are the decisions that the team members make. Choose wisely and choose to be dedicated to the team.

Grades o

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Each member is expected to maintain a good status at school, including maintaining at least a 2.0 GPA with no F’s. Periodic checks will be made on the student’s grades, if they fall below a 2.0 or have any F’s at one of these checks, the student may be benched from competitions until the grades are raised.

Rehearsals o

All members of the color guard are expected to attend all rehearsals and competitions, being ready to start at the time given. All members must participate with good sportsmanship at all competitions and participate in rehearsal with a positive attitude. Rehearsal time is meant for practicing the routines of the Color Guard, all other school work and outside circumstances must be handled before or after rehearsal. If a rehearsal must be missed it must be excused in advance through Elizabeth Spencer by phone or email. It must be excused 24 hours in advance. Just telling her you will be gone is not excused. You must get a reply or response from her excusing the absence. An unexcused absence will result in possible suspension from the next performance. An unexcused tardy will result push-ups or laps to be done during a normal break time. Three unexcused tardies will result in suspension from the next performance. DO NOT BE LATE OR MISS PRACTICE!

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Equipment o

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Uniforms o

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Outside of rehearsal practice is required to ensure the success of the team. Difficult routines and moves may be taught, in which the members are expected to do their best and rise to meet the challenge to the best of their ability. All Students are required to rehearse 1 hour a week on their own. A Parents signature is required to verify the rehearsal time. Remember Practice doesn’t always make perfect. Perfect practice makes perfect. Please remember to practice proper technique while at home on your own.

Proper Rehearsal Attire o

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Each team member will be issued a uniform. This is the property of the school and must be kept in the condition it was checked out in. It is the member’s responsibility to take care of any stains, rips, or other problems that arise with the uniform or pay to replace the uniform if lost of damaged beyond repair.

Personal Practice o

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Each member will be checked out and responsible for equipment for the winter guard season. If anything happens to any of the equipment, the member is responsible to fix it or pay to replace it. Each member is also required to have one roll of white electrical tape and one roll of black electrical tape. These are to be brought to EVERY REHEARSAL. Once taught how the silk and caps should be taped, each member is responsible to keep their flag properly taped. You may write your name/initials very small on the tape on the bottom cap to keep track of your flag.

Each member is expected to wear tennis shoes or dance shoes (NO FLIP FLOPS OR SANDALS), shirts that you are able to move in and cover the shoulders and midriff when dancing or spinning, and pants or capris that also allow for all types of movement (NO JEANS, dance pants are encouraged). If proper clothing is not worn the student will be asked to change or leave rehearsal.

Pass offs o

Since we are a competitive program we will be having pass off to ensure that all students are on the same level. (Just like a test in Math or Science) If a student cannot properly pass off the required work within two attempts they will be benched from the next performance. Again we are a competitive program and in order to become the best we must be the best.

Introduction to Body Movement Fundamentals Positions of the Feet In ballet, there are five different positions in which your weight is evenly distributed over your feet no matter what position you body is in, with your legs turned out from the pelvis.. • • • • •

In First Position, with heels touching, both feet are turned outwards and in line. In second position, the feet remain turned out wards and in line but the heels are separated, with equal weight on both feet. In third position, One foot is in front of the other with the of the front foot touching the middle of the back foot. In Fourth Position, The feet are placed the same as third position, but one step apart. In Fifth Position, With both feet touching, the toes of each foot reaches the heel of the other

Parallel vs. Turn out Turning Out is the process of rotating the feet outward to an angle, so that the toes point away from each other. The angle that results between the feet is known as the degree of turnout. When the feet are held without any turnout, they are referred to as parallel. Feet Turned out

Feet Parallel

The Elements of Movement When you start dancing, it is important to recognize the tools a dancer needs. There are eight (8) elements in dance that are most vital. As you progress your understanding will change as you discover what they mean to your body. The total sum of these elements is what is meant by technique. CENTERING: This is fundamental to your ability to dance well. This is maintaining a sense of your own body center that holds you together as you move. It allows you to move gracefully and freely. This means you have to have the ability to move, to hold, to organize yourself around your own physical body. If you are centered you can eventually learn how to do anything. If you are not centered you may develop beautiful looking arms and legs but never be able to move well. Liken your center to home. If you don’t have a sense of home you will probably get lost every time you go out. Your body needs to be balanced like a see-saw. Position fluctuates between individuals. Center for Middle Eastern Dance is in the solar plexus. Every movement has to go through center. This is what makes it Orientale or eastern. Your natural base is approximately just below the navel but the movements for this dance form come from the solar plexus. Everything emanates from there. Start by feeling how your arms and legs work from the same central point in the back. Moving from your center will make movements easier to control. GRAVITY: This is the force that holds you to the earth. It is a force you have to work with because it constantly inhibits movement. Try to become aware of the pulls in your own body. What points are taking the most weight? When you push on these points can you feel a rise up from them? You should be holding yourself better. When you dance you want to feel as if someone is pushing you under your buttocks and the base of your spine and directing the energy up through your breastbone. BALANCE: Balance is concerned with more than balancing on one leg. Your aim is to achieve and constantly maintain an inner balance of the whole body. It is tension of mutual support among all parts that brings the whole together in a new way. It is an inner relationship between all the points of your body which you hold in your awareness. It is not something you do once in awhile. It is constant. A sense of balance whether you are moving or standing. In the actual act of balancing, if you can find inner balance , you are nearly there. If you are aware internally the need for the sensation of balance, you should be able to get it. * Remember, balancing in both states is an active state. POSTURE: To achieve this element you need to change your perception of your body, there is often a wide discrepancy between what feels right and what looks right. Dancers work all their dance live on their posture, also called alignment. It is the key to balance and movement. Your posture not only reveals your feelings but can also reveal feelings in you. Learn how to stand properly. You will actually feel brighter and more aware.

GESTURE: Gesture involves using the body as an expressive instrument to communicate feelings and ideas in patterns of movement. With subtle gestures and postural attitudes we show cooperation, give confidence to friends or display aggression to enemies. Arms crossed over chest are a protective wall. Hands on hips mean "show me", fists on hips is even more challenging. Anger patterns are depicted very differently form joy or sadness. Weight on one hip -waiting. Hands out in front you ready to give or receive. Raising shoulders is a gesture of not knowing or caring. Shoulders forward expresses pain. Tapping foot boredom. Observe! Recognize what the body is saying. RHYTHM: Finding rhythm is largely a matter of paying attention. It is something everybody has, though, some people are not as aware or sensitive to it. Our hearts beat to a rhythm, our lungs breathe to another. Rhythm is essential for a dancer. Pay attention! Generally the beat is carried by the drum. Make sure you are right on the beat, not slightly late. All the work going into making a beat has already been completed by the time you hear it. In fact to get it right, you have to anticipate the beat slightly. Feel as if you are making the beat with your body as well as hearing it. Try to be at one with it, rather than dancing to it. It is the rhythm and the beat of the dance that form the "threads" which allow you to memorize the structure of the dance. MOVING in SPACE: You need to be as aware of the space around you as a cat. You have to move with care and awareness, gauging the space. Space is not just empty air but a tangible element that you move through. Consider the space an area you must go through. Consciously go through space. Feel your accomplishment as a journey through space. You will express thoughts and emotions. Actually press your feelings out through your torso and limbs in such a way as to show other people how we are feeling and to satisfy our desire of movement. Our muscles feel better when they are used, and once we get used to moving them, the whole body will respond by working in harmony with itself; to dance. BREATHING: Breathing is crucial to dance. Not only does it bring oxygen to the body but it also gives your movements fluency and harmony. It is an expressive tool. Calm slow breathing suggests a certain degree of self-control. Denotes a specific quality of movement. A movement with breath has a controlled and considered extension of time, a clear beginning and end no matter how fast or slow the phrase. A phrase without breath looks stiff and mechanical. It is important to learn how to do two or three things at the same time. You frequently have to divide your attention while dancing. You must learn to breathe deeply expanding your ribs at the back of the body rather than from the front. This will also give a more emotional, organic look. Here then are the elements of dance which make up the word TECHNIQUE.

Core vs. Distal Movement Core (Proximal) Initiation: Movement initiated by body parts situated next to or nearest the point of attachment to the body. Distal Initiation: Movement initiated by body parts situated away from the point of attachment to the body.

Proper Posture

Movement and Dance Terminology • • • • • • • • • • • • • • • • • • •

Arabesque : Position in which the dancer stands on one leg with the other extended behind. The arms may be in various positions but are always arranged to form a harmonious line. Attitude : Position in which the dancer stands on one leg with the other extended to the back or front, with the knee raised to 90 degrees and the corresponding arm lifted. Pirouette : Complete turn of the body on one foot with the working leg at various angles. Multiple pirouettes can be very fast and exciting. Turn out : The basic principle of classic ballet technique. The dancer trains to achieve a 90 degree turn out of the leg from the hip without any strain. This gives maximum mobility. Warm-up: Doing exercises that stretch and loosen the muscles to prepare your body for dancing. Alignment: The lining up of parts of your body to make a balanced and graceful line. Posture: The position and carriage of the body. Pointe: A position of the foot in which your heel is held up, your big toe is stretched down toward the ground, your leg is turned out, and your foot is in line with your leg. Port de bras: Carriage of the arms. Set movements of the arms from one position to the other. Plie´: An exercise in which, standing erect and with back straight, you move down and up with the bend of the knees. Demi-plie´: A half knee-bend. Nearly every step begins and ends with a demi-plie´. Grand plie´: A full knee-bend with heels off the floor. Eleve´: A movement in which you rise up high on to the balls of your feet. A similar position is also referred to as Releve´. Lunge – A lunge is a transfer of weight to a bent leg while keeping the other leg extended. Passe – In going to passé position, the working leg is drawn up the standing leg to this position. Leap: The transfer of weight from one leg to the other during which there is a suspended moment when both feet are off the ground. Chassé [sha-SAY] Chased. A step in which one foot literally chases the other foot out of its position; done in a series. Sickling This term is used for a fault in which the dancer turns his or her foot in from the ankle, thereby breaking the straight line of the leg. Chaînés [sheh-NAY] Chains, links. This is an abbreviation of the term "tours chaînés déboulés": a series of rapid turns on the points or demi-pointes done in a straight line or in a circle.

Introduction to Flag Fundamentals Basic Flag Terminology Circular grip Pinch Grip Carving Free Hand Pitch Shoulder/Hip Angle Silks Slam Position Pop Toss

Single Toss Spin Dot “and” Count/Initiation Toaster In the Silk On the Pole Velocity Release Point

Anatomy of a Flag

Basic Hand Placement Toss hand Placement: Right hand is 3/4 away way from the Velcro on the silk. Left hand is half way between the tip of the pole and the Velcro on the pole. Velcro is at your spin dot (Example below)

Right shoulder hand placement: placement Right hand is on the Velcro Left hand is on the tip of the pole Tip of the Pole is right under your belly button. (Example Below)

Proper hand placement on stopper

Improper hand placement on stopper

Basic Flag Positions 1. 2. 3. 4. 5. 6.

Attention position Right shoulder Reverse right shoulder Present forward Present back Present Front Low

7. 8. 9. 10. 11.

Right shoulder hip/slam Hip horizontal Forehead horizontal 1 o’clock (shoulder/hip) 11 o’clock(Shoulder/Hip)

8. 9. 10. 11. 12. 13.

Flip/Flick Toss Roll over wrist/wrist roll Body Wrap Horizontal Exchange Horizontal Drop Spin

Basic Combos 1. 2. 3. 4. 5. 6. 7.

Drop spin Double time Carves Wrist rotation Behind the back Behind the head Back Scratcher

Flag Fundamental Routines Basic Fundamental Routine 1. 1 o’clock 2. Forehead horizontal 3. Shoulder hip/slam 4. Hip horizontal 5. 1 o’clock 6. 11 o’clock 7. Forehead horizontal 8. Right shoulder 9. Present forward 10. Right shoulder 11. Present back 12. Right shoulder Drop Spins Routine 1. 4 count hold for 16 counts 2. 2 count hold for 16 counts 3. 1 count for 16 counts

13. 14. 15. 16.

Slam (shoulder hip) Reverse right shoulder Present front low Right shoulder

Practice the Fundamentals just like the drop spin and double time routines 1. 4 counts hold for 16 counts 2. 2 count hold for 16 counts’ 3. 1 count for 16 counts

Double Time Routine 1. 4 count hold for 16 counts 2. 2 count hold for 16 counts 3. 1 count for 16 counts

Carve Routine slow and fast. Slow carve Routine 1. 1 o’clock 2. Present forward 3. 11 o’clock 4. Present back 5. 5 o’ clock forward 6. Present forward low 7. 7 o’clock 8. Shoulder hip.

*Fast Carve Routine 1. Present forward 2. Present back 3. Present forward low 4. Slam (shoulder hip)

Flip Exercise 1. Shoulder Hip flag down 2. Shoulder hip flag up 3. Shoulder hip flag down 4. Straight up and down flag down 5. Shoulder hip flag up 6. Shoulder hip flag down

Please rehearse the carves in the standard format 1. 4 counts hold for 16 counts 2. 2 count hold for 16 counts 3. 1 count for 16 counts

Remember this is in a sweeping motion across the body, It’s like your stirring a large pot) Double, double toil and trouble; Fire burn, and caldron bubble

*The slow routine gives you check points between the present positions, once you are comfortable with performing the slow routine move to the fast routine without the check points.

Please rehearse the Flips in the standard format 1. 4 counts hold for 3 reps 2. 2 count hold for 3 reps 3. 1 count is not required

Basic Fundamental Tosses Pop Toss: Begin with the flag at hip shoulder angle with your right hand lower than your left. The silk of the flag should be on the lower side. Your right palm should be facing downward and the left hand should be facing upward. With your right hand pull upward on the pole and release. The flag should rotate one time and you should catch at the same hip/shoulder angle with your palms facing the same way that you started in. The key is to pull fairly hard up on the pole because of the lack of momentum. Single Toss: Hold the flag at a hip-shoulder angle or a "seatbelt" angle with your right hand lower than your left. The silk of the flag should be on the lower side. Your right palm should be facing upward toward the sky. Your left hand should be facing downward toward the ground. Thrust your right arm upward while pushing with your left hand downward to gain momentum. When the flag rotates so that the silk is upside down, let go. The flag should rotate 1 time. Watch the flag in the air and when it is time to catch, put your left hand up (palm up) and catch the flag in the same hip/shoulder angle that you started. Notice that your hand positions have switched.

Introduction to Rifle Fundamentals Basic Rifle Terminology Right Spin Left Spin Butt toss. Shoulder Hip angle Horizontal toss Attention Position Single toss Double toss Free Hand

“And” Count/initiation Thumb pressed against the neck Thumb wrapped around the neck Bolt Head lights Dip Release Point Flourish (Same as a wrist rotation in a flag)

Anatomy of a Rifle

Basic Hand Placement

Proper hand placement on Butt

Proper Hand Placement on nose

Improper hand placement on butt

Improper hand placement on nose

Thumb pressed

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Wrapped Thumb

Basic Fundamental Routines Right spin

Angle Sequence

Left spin

Flip exercise

Basic Fundamental Tosses Single: To do a single rifle toss start from attention position, hold the rifle with your left hand palm up at the belly, and your right palm down, covering the butt. Push the butt downward, and pull up with your left hand. When the nose of the rifle is pointed to th the e ground, release the rifle and let it rotate once (or a 'single' time) in the air. Catch the rifle with your right palm up at the neck and left palm down at the nose. Double: Start at the shoulder angle and aagain, let go of the rifle when the nose points to the ground. This time allow your release point to be higher than your singles release point!. Let it rotate twice in the air and catch in the same position that you caught the single.