wgi 2009 fall focus
DESCRIPTION
The 2009 Fall issue of WGI's FOCUS Magazine.TRANSCRIPT
focusthe offi cial news of wgi sport of the artsfall 2009 focusfocusfocusfocusfocusfocusfocus
Fresh Ideas for FUNDRAISING
WGI_p1_Cover.indd 1 10/8/09 11:42:52 AM
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FALL 2009 Volume 23, Issue 3
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 Stein
Production DirectorJoan Ferrara
Business ManagerContributing Writers:
David G. Hill, Scott Markham,Melinda Newman, Michael Reed
Photography: Jolesch Photography, Robert Cawthorne,
Julia Higbe, 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 circula-tion of 14,000 copies. 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
FALL 2009 Volume 23, Issue 3
focusthe offi cial news of wgi sport of the arts
www.wgi.org 4 WGI
Directions
Ron NankervisExecutive DirectorWGI Sport of the Arts
It’s been a scant six months since the World Championships. Our per-formers barely had time to unpack from the drum corps season in or-der to get ready for marching band and winter season auditions. This is the time when everything is possible and instructors are only limited by their imagination and creativity: when groups are formed and shows take shape. Each week, the anticipation and excitement grows. Hands down, it’s my favorite time of year.
Our 2010 season will see an expansion of our color guard championship event to include semi-fi nals for all classes. For the fi rst time, World Class color guards will have an opportunity to showcase their productions for three performances during the weekend, which hopefully will ease the “all or nothing” feeling at prelims. This will put a whole new dynamic into motion that should bring a new intensity to being the “best of the best.”
These days it is vital to show support for the indoor winter activity. An experience at one of the 49 WGI events or local circuit shows is a great value. Consider what you get for your admission. Unlike any movie or con-cert, you have access to hours upon hours of performances by dedicated young people doing what they love for your enjoyment. With the economy constantly in the news, you hear the term “ROI” a lot, meaning “Return On Investment.” While we don’t necessarily relate the two ideas, you can easily make the case that the ROI for a ticket to a color guard or percus-sion event is … well, to use another term from a well-known commercial: Priceless.
A Priceless Time
wgiRiverbank HS at the 2009
WGI Championships
WGI_p4_Directions.Mast.indd 1 10/7/09 3:40:12 PM
When The Blue Devils are the designers, everyone wins.
© Pro-Mark Corporation. System Blue is a registered trademark of Pro-Mark Corporation and The Blue Devils. promark.com
DC50 Snare Stick
Sean Vega TS8 Tenor Stick
Jim Wunderlich JW1
PBD Double-sided Pad
PBDZ Snare Pad
Sean Vega SVPT6 Tenor Pad
Jim Wunderlich JW4
Jim Wunderlich JW7R
blue.devils_intune.final.indd 1 9/24/09 4:39 PMInTune_Ad_Temp.indd 2 9/29/09 9:48:59 AM
28The Ventures Winter Guards’
Practice-A-Thons make perfect .
focusVolume 23 Issue 3 Fall 2009
the offi cial news of wgi sport of the artswgi
INSIDE
WGI FOCUS 7
9 ENSEMBLEWorld semi-fi nals debut in 2010 ... The Band Hall helps put the color in color guard ... Video downloads now available on the Fan Network ... Full details on 2009 Championship DVDs ... Drum corps start new winter groups ... and much more!
14 CLOSE-UPThrough 26 appearances in the WGI World Championships, the staff and members of Miamisburg High School’s color guard have stayed true to their strengths.
16 SPOTLIGHTAt Spinfest!! 2009, a last-minute change of plan exceeded all expectations.
20 THE ABC’S OF SUCCESSWith a new winter season coming up quickly, what can you do to help make it a great one? We’ve got some ideas, in a handy alphabetical order.
25 WGI GOES TO COLLEGEIndependent performing groups sponsored by a college or university may not be new in the world of WGI, but they are growing in numbers, visibility, and talent.
28 CLINICThere’s no denying it: Color guards and percussion ensembles need funds to keep going. But choose your fundraising methods wisely and you can get great results.
30 SCHOLARSHIPMusic City Mystique’s Rebecca Wiggins has overcome multiple challenges in her journey from a tiny North Carolina town to the top ranks of percussion.
34 WHAT’S YOUR WGIQ?Test your knowledge of WGI history with these classic performance shots.
9
30
34
Cover photos, clockwise from top left: Riverside Community College, Miamisburg HS, Joey Dowling at Spinfest!!, Pope HS.
WGI_p7_Toc.indd 1 10/7/09 3:41:54 PM
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NEWS FROM THE FLOOR AND MOREEnsemble
For the fi rst time in the history of WGI, the Color Guard World Cham-pionships will feature a semi-fi nals round in all classes, including Inde-pendent and Scholastic World. At the annual Color Guard Advisory Board meeting in May, a majority of direc-tors decided that establishing semi-fi nals for all—which gives World Class groups the same number of perfor-mance opportunities that A and Open Class guards have long had—would create more excitement throughout the championship weekend.
The Scholastic and Independent World Class Prelims will be moved to Thursday evening of the World Championships. Scholastic World Color Guards will take the fl oor for prelims at the Nutter Center while the Independent groups perform at the University of Dayton Arena. Friday’s World Class Semi-Finals will start off with the Scholastic guards in the morning at the UD Arena, followed by the Independent World Class. For a complete 2010 WGI events calendar, visit wgi.org/calendar.
When you’re coming up with designs for uniforms and fl ags, it’s essential to have a wide color palette. The designers at The Band Hall are a case in point. One of the principal reasons for the company’s founding in 1997 was to provide marching groups with as many color combinations as possible. Its color card, which features swatches of all the fabrics it uses, boasts 11 shades of red and a whopping 23 shades of blue, from cobalt to cornfl ower. And that’s just two colors! To receive a color card of your own, call (800) 398-3064 or visit thebandhall.com.
www.wgi.org WGI FOCUS 9
The 2009 WGI Championship DVDs are now available for sale at wgi .org/store. This year, there are eight volumes to choose from, as
well as two discs of preliminary perfor-
mances (one for color guard, one for
percussion). The prelims discs are $15 each; all others are $45 each, except for
Volume 8, which is $35.
World Class groups
like Premonition will now have three chances
to perform.
WGI_p9_EnsembleREV.indd 1 10/7/09 5:02:16 PM
Ensemble
www.wgi.org
The folks at Fred J. Miller couldn’t have been much happier with the results of this year’s WGI and DCI World Championships. One of the company’s top designers, Scott Chandler, helped create uniforms for both the 2009 DCI World champion Blue Devils and the 2009 WGI Scholastic World silver medalist James Logan High School. This is not the fi rst time that Chandler has met with such success, of course; his distinguished track record as a designer and choreographer for a variety of indoor and outdoor marching groups stretches back more than 25 years. To fi nd out more about his designs, call FJM at (800) 444-3524 or visit fjminc.com.
New Cymbal Line Creates a Brilliant NoiseLooking for a smoother, glassier cymbal sound? Sabian’s respected XS20 line of cymbals, originally available only in Natural Finish, is now also available in Brilliant Finish. Line-lathed on top and bottom, then given a high polish, the new XS20Bs have a distinctively bright tone. They come in a complete range of sizes, from 10” splashes to
20” concert band models, includ-ing Rock weights for heavier
players. A sonically matched performance
set (14” hi-hats, 16” crash, 20” ride) and an Effects Pack (10” splash, 18” Chinese) are also available. Visit
sabian.com for more information.
Audio Software Makes You the Mix MasterMore and more color guards are getting involved in mixing their own music, and Sony’s Sound Forge Audio Studio software for Windows provides an intuitive and inexpensive way to accom-plish this. Users can record live performances, import music from other sources, and expertly edit recordings to balance sound levels, trim unwanted sections, create crossfades, or synchro-nize audio with video. Built-in effects like EQ, delay, reverb, and chorus add further sonic options. The fi les created in Audio Studio are easily convertible to formats ideal for Web stream-ing or portable music players. For more information, go to sonycreativesoftware.com/audiostudio.
Some people look at tough eco-nomic times and see nothing but hardship, while others see great opportunities. Count the South-wind Drum & Bugle Corps of Lex-ington, Ky., among the latter. Ear-lier this year, the corps announced that it was creating a new winter guard. Southwind Winter Guard will compete this year in the Independent A Class on the TriState Circuit and will appear in two WGI Regionals and in the 2010 WGI World Championships in Dayton, Ohio.
“I think now is a very good time to start an indepen-dent color guard,” says Southwind Winter Guard direc-tor Marcus Lewis. “The support that I’ve received from the Southwind organization, the TriState Circuit, and the administrative staff of the local schools has been tremen-dous.” Rehearsals begin in November; for updates, go to southwind.org.
Southwind isn’t the only organization with a new winter group this year. Current IW champion Santa Clara Vanguard has launched the Santa Clara Vanguard Cadets Winter Percussion, an ensemble in the PIO Class. For more information, visit scvanguard.org/winterpercussion.
The Southwind drum corps’ color guard in 2005.
Below: Santa Clara Vanguard’s drumline at the 2009 DCI fi nals.
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The folks at Fred J. Miller couldn’t have been much happier with the results of this year’s WGI and
James Logan HS
10 WGI FOCUS
WGI_p9_EnsembleREV.indd 2 10/7/09 5:05:47 PM
zildjian.com/marching
©2009 Avedis Zildjian Com
pany
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m a r c h i n g p e r c u s s i o nC o n c e r t b a n d , m a r c h i n g b a n d , i n d o o r p e r c u s s i o n , w i n d e n s e m b l e , j a z z b a n d o r o r c h e s t r a . Z i l d j i a n h a s t h e s o u n d t o c o m p l e t e a n y e n s e m b l e .
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WGI_Temp.indd 1 10/7/09 10:06:28 AM
Ensemble
12 WGI FOCUS
In addition to sponsoring WGI, Pearl Drums also works closely with many other organizations, including some pipe and drum bands—yes, those guys with the bagpipes and kilts. It was in this capacity that several Pearl representatives were present in Glasgow, Scotland on August 15 for the 2009 World Pipe Band Championships. Over 200 pipe bands from 16 nations featuring approxi-mately 8,000 drummers competed for top honors at this event, which has been held annually since 1946.
Along with approximately 45,000 other spectators, Pearl’s representatives watched as Simon Fraser Uni-versity of Vancouver, Canada made history in this year’s “Worlds” (as they’re affectionately known). Not only did the SFU Pipe Band win the championship for the second year running and sixth time overall, but its drum corps also won the Worlds’ separate drum corps title for the second year in a row. SFU is the fi rst band to manage this feat in 50 years. For more details and video footage, go to pearldrum.com/News/Marching-News.aspx.
Pearl’s tent at the Worlds is hopping (above); Simon Fraser University celebrates its win.
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With the WGI Fan Network’s new performance down-loads, you can watch your favorite color guard and percussion performances anywhere! It’s simple, and you don’t have to be a subscriber. Each download costs $5.95; when logged in, Fan Network subscribers enjoy an exclusive dollar-off discount. Either way, it’s a small price to pay to watch—and re-watch—some of the activity’s best moments. Visit wgi.org/downloads.
Fan Network Downloading
WGI_p9_EnsembleREV.indd 3 10/7/09 5:02:58 PM
Thank You To Our Partners and SponsorsPresenting Sponsors
CorporatePartners
World Championship Sponsors
Strategic Partners
Offi cial Media Partner
www.wgi.org
WGI_p9_EnsembleREV.indd 4 10/7/09 5:03:13 PM
14 WGI FOCUS
T rophies are nice, but the real memento that Miamisburg (Ohio) High School color guard director Jim Olson hopes his students carry with them after graduation doesn’t fi t on a shelf.
“Without a doubt, the one thing I want them to take with them is that hard work pays off,” Olson says. “If you put the effort in, something will be given back to you.”
As one of WGI’s longest-running groups, Miamisburg High School’s color guard knows something about putting in an effort—and creating a winning team. The guard’s fi rst appearance at the WGI World Championships was in 1983. The very next year, they made the Independent A fi nals. “Back then, the scholastic class was just being started,” Olson explains. “We, along with some others, remained in the independent class.”
truly stronger athletes; they work out and need to condi-tion themselves more and more. “
Although factors like athleticism may change, other aspects of planning a strong program never go out of fashion. They include “being true to yourself and your group’s identity,” Olson says. “Once you have created [a group identity], it’s okay to be true to it year after year. Even though we try to reinvent ourselves yearly, in the end I want people to know that they are watching Miamisburg.”
For Olson, building a strong, effective team happens long before the group hits the fl oor and far away from the competitive environment. Miamisburg doesn’t ap-point captains, preferring to treat all students as equals. Therefore, it creates leadership and community by having
older mem-bers serve as “big sisters” to younger stu-
dents, and hosting bonding events such as the annual holiday party and slumber parties. “We spend nights at the high school during the winter season to really get them to develop a sense of family and comfort with the guard,” Olson says. The team’s mascot, a toy elephant, even joins in the activities. “But it has to have its trunk up; that supposedly brings you good luck.”
Being part of Miamisburg’s color guard isn’t all fun and games; Olson monitors students’ grades to make sure they excel both academically and athletically. He proudly adds, “We have been very fortunate over the years to have graduated valedictorians, salutatorians, and many students in the top 20 of their class.”
www.wgi.org
Miamisburg High School’s Show ofStrengthA Long-Running Color Guard Stays True to Its IdentityBy Melinda Newman
rophies are nice, but the real memento that Miamisburg (Ohio) High School color guard director Jim Olson hopes his students carry
rophies are nice, but the real memento that Miamisburg (Ohio) High School color guard
Close-Up
If you put the effort in, something will be given back to you.
Since its debut, Miamisburg has appeared in 26 World Championships—winning three gold medals, fi ve silver medals, and four bronze medals—and has consistently been at or near the top of the Ohio color guard circuit.
Olson took over the program in 1998 from Cathy Barnes, who now focuses on Miamisburg’s younger stu-dent programs. During the past 10 years, he’s noticed an increased focus on athletic ability in the color guard activ-ity. “The talent level of the students involved has changed immensely over the years,” he says. “It is completely unbelievable what some of the students can achieve today with their equipment and their bodies. The students are
WGI_p14_Closeup.indd 1 10/7/09 3:43:10 PM
16 WGI FOCUS
T he magic that guests at the Walt Disney World Hilton were feeling on September 18 and 19 wasn’t just coming from the nearby resort, but from the open atmosphere at WGI’s third
Spinfest!! Guided by Color Guard Steering Committee Chairman Karl Lowe, more than 250 color guard instruc-tors attended classes taught by 18 of the activity’s leaders, covering all aspects of managing, designing, and teaching a winter program.
So You Think You Can Dance choreographer Joey Dowling and assistant Jakob Karr grabbed the opportunity to jump into the world of color guard after special guest Mia Michaels was forced to miss the
movement to the next level. Color guard instructor Law-rence Rebillot said, “For not knowing what to expect from all of us, Joey well exceeded all of our expectations.”
On Saturday, 60 WGI judges, who had been in their own set of instructional meetings, joined to watch the four guards perform again and discussed how they would critique the performances. Color Guard Advisory Board A and Open Class Representative Jeff Bridges said, “It was long overdue that we put the instructors and judges together in a non-competitive environment. The opportu-nity to meet and exchange information that we can all
apply is truly enlightening and simply the best part of the whole experience for me.”
Each day started with a class by the legend-ary Scott Chandler about putting together a
program. Dancers Carol Abohatab, Michael James, and Michael Rosales demonstrated their methods of teaching and creating movement. Equipment experts Kathy Aruda, Jill Bren-nan, Robby DuFresne, Rosie Queen, Daniel
Riley, Ann Marie Valeri, and Daniel Wiles led participants in an exploration of fl ag, rifl e, and
sabre manipulation from basic to advanced levels. And masters of management and design Jeff Bridges, Michael Gaines, Chris Raichle, Michael Raiford, Adam Sage, and Jon Vanderkolff shared their theories on the activity.
“It was gratifying to see a total learning community, instructors and judges, come together to be inspired by the outstanding faculty at Spinfest!!,” said WGI Executive Director Ron Nankervis. “This type of informative, collaborative effort is something to be enlarged upon in the coming years.” The next Spinfest!! will be held in 2011.
www.wgi.org
Spinfest!! Offers Insights and InspiresJoey Dowling Helps Make Third Color Guard Conference MemorableBy Aaron Jenkins
Spotlight
The opportunity to exchange
information that we can all
apply is simply the best part
of the whole experience for me.
event due to an injury in rehearsals for the MTV Video Music Awards. Friday night’s proceedings culminated in a master class with Dowling, whose work can currently be seen in the Broadway production In the Heights. Four ensembles—Blessed Sacrament, Braddock Independent, Northeast Independent, and Santa Clara Vanguard—per-formed for Dowling, Karr, and the audience. Each group received specifi c feedback on how they could take their
Choreographer Joey Dowling
WGI_p16_Spotlight.indd 1 10/7/09 3:44:24 PM
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WGI_Temp.indd 1 9/29/09 3:23:05 PM
WGI_Temp.indd 1 9/24/09 10:47:58 AM
20 WGI FOCUS
Want to have a great winter season? Learn this alphabet.
By Scott Markham
Pope HS
Plainfi eld HSPlainfi eld HS
20 WGI FOCUS
WGI_p20_SuccessREV.indd 1 10/8/09 10:04:28 AM
and marching band is well underway, which means one thing: Winter season is right around the corner. That means it’s time for directors to get their P’s and Q’s to-gether to assure that the groups they oversee will have a successful season. What better way to do this than with an alphabetical list of ideas to consider and actions to take?
As you read the following list, one thing is important to keep in mind: The beauty of WGI is in the diversity of its groups. Each competing program strives to perfect its own way of operating to ensure the best possible out-come, and what works for one group may not work for another. But experience shows us that organizations with consistent competitive success in the national arena—such as the ensembles mentioned below—have unmis-takably figured out what works best for them.
Audition the performers in a way that is conducive to your specific program. David Duffy,
director of perennial finalist West Johnston High School color guard, notes that the approach at WJHS is to set standards during the audition process so that the stu-dents can thoroughly prepare and know what’s expected.
Build the program from the ground up. Re-member that all groups started somewhere. Set-
ting goals and timelines for the students, as well as the entire staff and production, is essential.
Commit to the design process. Planning of a successful winter production often begins in the
summer and fall. “Beginning the design process early grants you the time necessary to fully develop all aspects of the show,” says Caleb Rothe, former director of Ayala High School’s percussion ensembles.
Delegate duties. Brian Giddens, director of the Pope High School color guard, which has rapid-
ly worked its way back to World Class, says that he is “not afraid to use parents as a support system, and constantly delegates those things that can be handled by them.”
Expose yourself to different types of educa-tion. A variety of resources are available through
WGI to give instructors and designers assistance with choreography, training, and design.
Force the students to have an open mind. Spring High School color guard director Chad
Berkstresser, who has years of experience preparing for indoor season, makes sure his students are familiar with a variety of different choreography styles: “I may even use videos of past performances of color guards so that they understand the level of performance they should reach.”
Gather ideas. Most often, an extraordinary production will come to full fruition only after all
avenues have been explored.
Harvest certain skills for the students to add to their warmups. Chad Berkstresser notes
that around May or June, he makes decisions about much of the movement and equipment he wants to incorporate
West Johnston HS
Father Ryan HS
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WGI foCuS 21
WGI_p20_SuccessREV.indd 2 10/8/09 10:11:04 AM
into the winter show, and begins to train the performers on specific skills related to that movement and equipment.
Incorporate technique into all the skills asked of the students, and also be sure to use those
same skills while teaching the technique. West Johnston High School spends much of the marching band season polishing and addressing basic technique.
Judge what has worked for your group in the past and use that knowledge for the future.“The first
step in our process has always been to list strengths and weaknesses from the previous year,” Caleb Rothe says.
Key into what the performers need to be suc-cessful. Different students require different teaching
techniques, and all groups have styles and methods that work best for their environment and situation.
Live within the means of the program. Set bud-gets, fundraise, and make certain that a realistic
financial plan is in order.
Manage the staff. Consistency in staff training between seasons allows students to become familiar
with expectations and teaching techniques. All staff mem-bers should be clear about their roles.
Negativity can ruin the progress of a won-derful production. An affirmative and pleasant learn-
ing environment can and will ensure success.
Organization is key. Set plans for rehears-als and for the entire year. Facilitating times when
changes can be made to the production will help the season run more smoothly.
Prepare with regards to equipment, floor designs, music, and staging. This will allow staff and
students to focus on the other details of production when the time comes.
Quality of instruction and ideas should always be considered and constantly refined.
Respect the time of the students. Brian Gid-dens reports that the Pope High School color guard’s
motto is “Rehearse less, produce more.” Many groups find that, more times than not, quality of rehearsals outweighs quantity.
Schedule time for recruiting. David Duffy notes that visibility in the community and school dis-
trict has benefited the color guard program tremendously at West Johnston. “We do recruiting at the middle schools and make it quite clear to the students what the program is about so the interested students know what they are becoming a part of.”
Transparency about expectations almost always results in more productivity from students.
“Communication is paramount,” says Caleb Rothe. “The more your students understand your goals, the more en-gaged they’ll be.”
Use all of your resources. Few programs are successful without a support system in place, like an
administrative team and staff members to help with par-ticulars such as instruction and finances.
Visions of success for the program will ensure that goals are being set and competitive ambitions
are being fulfilled. While most groups are doing their best to provide an entertaining and educational environment for the students, it’s also healthy to concentrate on what needs to be done to produce a positive outcome.
Work with the knowledge that nothing happens overnight and no process guarantees immediate re-
sults. It takes time and effort for a program to succeed.
eXamine other programs to learn what works and doesn’t work for them, and consider how these
things might be successfully applied to your program.
Yesterday is just as important as today. At West Johnston High School, the performers are very
aware not only of the history of their own program, but also of the many leading instructors and students elsewhere who helped to create what the activities are now.
Zero excuses for anything less than the best from both performers and staff creates an intensely moti-
vational atmosphere, ensuring that all involved are consis-tently pushing the program to be the best it can be.
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Ayala HS (PSW)
22 WGI FoCuS
WGI_p20_SuccessREV.indd 3 10/8/09 12:23:51 PM
YOUR GUARD’S
SUCCESS
IS WITHIN YOUR
REACH…
Performance
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AND AS YOU REACH FOR THE STARS, WE’RE WITH YOU ALL THE WAY!
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Not sure exactly which direction your group should take? Our friendly, freedesign service can provide you with just the right colors and costumes to give your guard the perfect look.
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WGI_Temp.indd 1 9/24/09 11:35:23 AM
WWW.ROLANDUS.COM
SAMPLING PAD
Photo by Jolesch Photography, ww
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WORKSTATION KEYBOARDRHYTHM COACH®
“ The ability to enhance our sounds and add depth to our productions was possible because of our Roland electronic instruments. It was one of the components that helped give us our edge to win!”
- DAVID GIBBS, EXECUTIVE DIRECTOR – BLUE DEVILS
01697_WGI_Focus_BlueDevilsAd_V1R4.indd 1 9/25/09 3:59 PMInTune_Ad_Temp.indd 2 9/29/09 12:23:17 PM
or as long as WGI has existed, the ensembles in its Independent divisions have been underwritten by a fasci-natingly diverse array of organizations. Drum corps,
churches, and a plethora of youth groups have all sponsored en-sembles throughout the activity’s history. And now there’s another kind of trend on the rise: groups sponsored by colleges.
College-sponsored groups are not a new idea. The fi rst one to make fi nals was Fantasia, based out of Riverside Community Col-lege, back in 1991. However, what has become particularly notewor-thy in recent seasons is the number of college ensembles in the World Championships, which has been grow-ing steadily over time.
Just as there are different types of higher-ed institutions—from Big 10 mega-schools to more affordable community colleges—there are also many ways to set up an intercollegiate winter program. At some schools, such as the University of Louisiana, the indoor program is taken as a class for which members get credit. At oth-ers, such as Michigan State University, home of the 2009 IA Champion State of Art, winter ensembles are Registered Student Organiza-tions, but members do not earn college credits for participating.
The number of collegiate winterensembles is getting bigger—and so are theiraccomplishments.BY MICHAEL REED
www.wgi.org WGI FOCUS 25
WGI_p25_Collegev2.indd 1 10/8/09 2:10:25 PM
It may seem logical that an en-semble affi liated with a college would only be open to students enrolled at the school, but the reality is that many of these groups are set up to serve the needs of the community outside the campus boundaries, and are open to any person who is not over the WGI age limits and can make the dues pay-ments. Kimberly McCool, director of the FIU Performance Ensemble (from Florida International University), notes that “of the 20-member unit FIU fi elded last winter, 10 students came from lo-cal high schools who were not fortunate enough to have programs of their own.”
One primary difference between a college ensemble (or any indepen-dent group) and a scholastic one is the amount of rehearsal time. Many high school-affi liated groups are able to rehearse four to fi ve times per week. Between the rigors of academic life and availability of rehearsal space, intercollegiate groups in most cases have to get by with two to three eve-ning rehearsals during the week; when not competing, they may only rehearse on weekends.
Another major difference involves money, which is critical for the success of an intercollegiate winter group. Items such as insurance, equipment, entry fees, and transportation can become obstacles if group leadership is not diligent in raising funds and paying attention to how those funds are spent. According to Kimberly Fullam of Penn State Indoor Drum Line, “a scholastic group typi-cally gets 100 percent of its funding from its school or boosters. We get a small percentage of our budget from our university and must either fund-raise the rest or collect it from dues.”
Setting up a budget is crucial for any independent ensemble, especially in a college setting; operating without one threatens the future of the group. Equally important is having a realistic idea of how much money a fundraiser will raise. With a well thought-out budget, attainable fundraising goals, and motivated members to help raise those funds, the costs to the stu-dent can be kept affordable. James Cork, of the Univer-sity of Louisiana color guard, describes the process for his group: “We set fees based on the entire season. We create an initial down payment, and the students make monthly payments. We do offer fundraisers to help offset their cost as well. Our goal at the end of the season is to be able to pay students back part of their fees.”
Of course, being in a university environment does
pose its own set of challenges. One obstacle that the majority of non-collegiate groups do not have to contend with is the col-lege football season, which can run as late as December, not including bowl games or play-offs. “We attend every football game,” McCool explains. “This means we cannot start our sea-son until December, while most independent ensembles in our circuit start during September/October.”
One further element that can challenge the design team is the differing talent levels of students who come from myri-ad backgrounds. According to
Cork, “Our biggest chal-lenge is the wide range of talent. We try to fi nd a place for each student that is interested in our program, which is why we have developed two A Class groups.” This remark touches on another emerging trend; many colleges have found that the best way to deal with talent disparity is to start a second group, which gives more performers the opportunity to hone their skills.
While a college-based ensemble does by nature have an older base to draw from, this does not always mean that its members have previous experience competing in WGI. For example, of the 21 members of State of Art, only three had performed at Championships prior to last season. At FIU and University of Louisiana, the situ-ation was similar, with 20-25 percent of members having WGI experience prior to joining the group. At Penn State, the number has been near zero in the past.
Given all these unique challenges, is it worth it to start an intercollegiate guard or drumline? According to unit di-rectors, the answer is a resounding yes.
Perhaps the most thorough advice comes from Kimberly Fullam of Penn State: “Before you start, know it’s a lot of hard work. Be organized and get your name out there. You will fi nd more talent than you think you will. Next is fund-ing. Don’t be afraid to sell candy bars out of your dorm room. Establish a relationship with your school’s march-ing band. [Note: Nearly all directors interviewed for this story stressed the importance of being on good terms with the school’s music department.] Once it becomes successful, you realize all the hard work was worth it.”
semble affi liated with a college would only be open to students enrolled at the school, but the reality is that many of these groups are set up to serve the needs of the community outside the campus boundaries, and are open to any person who is not over the WGI age limits and can make the dues pay-ments. Kimberly McCool, director of the FIU Performance Ensemble (from Florida International University), notes that “of the 20-member unit FIU fi elded last winter, 10 students came from lo-cal high schools who were not fortunate enough to have programs of their own.”
a college ensemble (or any indepen-dent group) and a scholastic one is the amount of rehearsal time. Many high school-affi liated groups are able to rehearse four to fi ve times per week. Between the rigors of academic life and availability of rehearsal space, intercollegiate groups in most cases have to get by with two to three eve-ning rehearsals during the week; when not competing, they may only rehearse on weekends.
involves money, which is critical for the success of an intercollegiate winter group. Items such as insurance, equipment, entry fees, and transportation can become obstacles if group leadership is not diligent in raising funds and paying attention to how those funds are spent. According to Kimberly Fullam of Penn State Indoor Drum Line, “a scholastic group typi-cally gets 100 percent of its funding from its school or boosters. We get a small percentage of our budget from our university and must either fund-raise the rest or collect it from dues.”
any independent ensemble, especially in a college setting; operating without one threatens the future of the group. Equally important is having a realistic idea of how much money a fundraiser will raise. With a well thought-out budget, attainable fundraising goals, and motivated members to help raise those funds, the costs to the stu-dent can be kept affordable. James Cork, of the Univer-sity of Louisiana color guard, describes the process for his group: “We set fees based on the entire season. We create an initial down payment, and the students make monthly payments. We do offer fundraisers to help offset their cost as well. Our goal at the end of the season is to be able to pay students back part of their fees.”
BE ORGANIZED
AND GET YOUR NAME OUT THERE.YOU WILL FIND MORE TALENT THAN YOU THINK YOU WILL."
—Kimberly Fullam, Penn State Indoor Drum Line
intercollegiate winter group. Items such as insurance,
University of Louisiana
Penn State
FIU Performance Ensemble
26 WGI FOCUS www.wgi.org
,,
WGI_p25_Collegev2.indd 2 10/8/09 2:10:59 PM
©2009 Yamaha Corporation of America. All rights reserved • www.yamaha.com
“A
-Seth WoodardMusic Arranger & Composer
DARK SKYPERCUSSIONDEPENDS ON
YAMAHA.
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WGI_Temp.indd 1 9/24/09 1:54:07 PM
F or nonprofi t youth organizations, fundraising isn’t just a means of staying solvent. It’s also the single best way to keep a group engaged and vital in its community, within its membership, and among its
alums. But in these troubled economic times, how do you best go about asking people for money? We asked three WGI-affi liated ensembles what approaches they’re taking to this never-ending challenge.
“We have a very profi table bingo game that we’ve run for 15 years,” says Gates Chili (Rochester, N.Y.) scholastic color guard director Dick Hoppe. “We pay all of our guard expenses from this—there are no dues or fees. We also support the school music program by purchasing equip-ment needed for the fi eld and parade bands. Each family is obligated to work a certain number of bingo occasions. We do not get, nor do we ask for, any assistance from the
school district, other than the use of practice facilities.” Hoppe knows the value of this funding, and is able to bud-get charter coaches and hotels for Gates Chili’s trips with extra effort.
Tony Lymon’s Petal Indoor Percussion Theatre in Mis-sissippi raises money the old-fashioned way: through folks’ appetites and entertainment. “We sponsor a spaghetti din-ner/karaoke night; we call it ‘Spaghetti-oake.’ One year we did it American Idol-style and called it ‘Spaghetti Idol.’ The parents all make potluck spaghetti and bring it to the event. There is virtually no overhead because of this. We sell tick-ets for $10 a plate. The students, parents, and community sing karaoke for fun and prizes. It’s a great night of great fun and it turns a pretty decent profi t.”
Ontario, Canada’s Ventures Winter Guards—Cadet, A, and World—raise funds by involving their members in Walk/
Practice-A-Thons. Director Jacquie Renaud says the events “raise thousands of dollars in a matter of hours. Although the pledge sheets are designed for people to sponsor our members by the kilometer or hour, most sponsors sim-ply give a lump-sum dollar amount. Many even pay ahead of the event, which makes collection easy.” Renaud uses a fundraising “best prac-tice” for all of the organization’s events: “Spon-sors over $10 receive a charitable tax receipt.”
Renaud says that the Ventures’ most suc-cessful fundraiser “provides adult labor at Kitchener-Waterloo’s Annual Oktoberfest, the largest festival of its kind in North America. Profi ts are equally divided among all partnering groups. It is a wonderful opportunity for small organizations like ours to earn money for our operational budget.”
28 WGI FOCUS www.wgi.org
Clinic
From Bingo to “Spaghetti Idol”
Gates Chili has raised
funds through a bingo game for
15 years.
Here are three other fundraising ideas that any nonprofi t can use.
1. SHOW NEED THROUGH THE MISSION STATEMENTA strong, action-oriented mis-sion statement states precisely what the need is, and who exact-ly will benefi t when that need is met. Make the need manageable so that supporters will feel that they can make a difference.
2. ANNUAL GIVING TURNS EVERYONE INTO DONORSFocus on asking for annual
gifts to support general operations. Target alumni
members, volunteers, and past donors through direct mail, personal solicitation, or via the organization’s website.
3. CONSIDER “CAUSE” RATHER THAN “EVENT” FUNDRAISINGWhile they can be a lot of fun, special event fundraisers often cost more than what they net—and take more human capital. Use your mission statement to ask potential donors for support. You’re changing lives; that’s a great reason to give!
Ensembles Find Creative Methods for FundraisingBy David G. Hill
A FEW MORE TIPS
WGI_p28_clinic.indd 1 10/7/09 11:55:55 AM
S ome people say that everything happens for a rea-son. That has some truth to me. The other day, I was feeling pretty down and happened to stumble upon a sentence that defi nitely was meant for me
to read. It was something to the effect of “Without chaos, you will not evolve.”
I have defi nitely evolved, and still am evolving. I have been through some diffi cult challenges in my life, and it has been extremely hard at times to not give up. But then I re-member that everything will work out if you just keep your head up and work through it.
I am one of 12 children, and that’s fairly rare nowadays. Financially it was diffi cult, and I would often get discour-aged when I’d see kids in high school with expensive clothes and other luxuries that I didn’t have. I realize now that it helped me be humble. It also helped me to make things happen, no matter the circumstance.
I had a strong desire to pursue my love for music. I grew up in Robbinsville, North Carolina. It’s an isolated town in the middle of the Smoky Mountains. There wasn’t much op-portunity for youth like me. My high school was small, ap-proximately 300 students. It was an athletic school and I was in band, so I didn’t really fi t in. But my band director
30 WGI FOCUS www.wgi.org
Scholarship
Overcoming Life’s ChallengesPercussion Is Key to One Student’s Continuing EvolutionBy Rebecca WigginsMusic City MystiqueNashville, Tennessee
could see that there was something different about me, that I had promise in my future. He and I searched for the clos-est accessible teachers to help me become a better pianist and percussionist.
Every week I drove 30 minutes to my piano lesson. Two to three days a week I’d drive to the nearest university, about an hour away, and take percussion lessons. The teachers were really understanding and worked with me on payment plans because they knew that I struggled fi nancially. My school couldn’t afford a marimba for the band, although my audition piece for all state auditions required one. Luckily, the university where I took lessons allowed me to use its marimba, and I drove there as often as I could to practice. Who would’ve thought that I’d make fi rst chair in my state, coming from a little town in the middle of nowhere?
Growing up in a small town resulted in my missing out on some early opportunities. I was oblivious to what drum corps and WGI were until I came to college, but I didn’t let that stop me from auditioning for the indoor drumline that I wanted to make: Music City Mystique. It’s normal to be scared, and I was defi nitely scared of auditioning, but that was my ulti-mate motivation to practice and take the risk. I’m so glad I did. My fi rst year of indoor drumline was wonderful and I
look forward to the next few years. I’ve shared these few personal experi-
ences because I have an important point: Regardless of the situations I was in, I never let those situations take control of what I needed to do and what I desired. Life throws challenges at you and unex-pected things happen, but you have to make the best of it.
Visit wgi.org/about/scholarship for more information about the WGI Scholarships.
Rebecca’s Trifecta This has been a lucky year for Rebecca Wiggins. Not only has she won two 2009 scholarships through WGI—the Yamaha Dennis DeLucia Scholarship and the Bob Wiles Memorial Scholarship—but she is also the recipient of the 2009 Jim Ott Scholarship, granted by the San Joaquin County, Calif., nonprofi t Sponsors of Musical Enrichment (S.O.M.E.). Created in memory of drum corps brass arranger and instructor Jim Ott, the scholarship is awarded to a current drum corps member pursuing higher education in the music fi eld who demonstrates leadership qualities. Wiggins’ membership in the front ensemble for the Bluecoats qualifi ed her for the honor. Congratulations, Rebecca!
WGI_p30_scholarship.indd 1 10/7/09 3:45:33 PM
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
InTune_Ad_Temp.indd 2 9/30/09 4:06:17 PM
WGI_Temp.indd 1 9/25/09 10:36:17 AM
Become a member of the world's most elite and exclusive marching music ensembles.
D R U M C O R P S I N T E R N A T I O N A L
DCI Recruitment Ad_FOCUS 09.qxp 9/16/09 5:17 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
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
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
WGI_Temp.indd 1 10/6/09 3:41:14 PM
34 WGI FOCUS www.wgi.org
The history of WGI now stretches over more than three decades. In that time, we’ve seen countless gifted performers take the Sport of the Arts to new heights. These pictures from our archives capture 12 classic perfor-mances from years past. We’ve identifi ed the groups, but can you guess when they were taken? To fi nd out, go to wgi.org/wgiq.
What’s YourWGIQ?What’s YourWhat’s Your
7
1
2
3
ENSEMBLE YEAR 1] Ponderosa HS —————— 2] Lassiter HS —————— 3] Union HS —————— 4] Winston Churchill HS —————— 5] Center Grove HS —————— 6] Northglenn HS —————— 7] Blue Devils —————— 8] Onyx —————— 9] Music City Mystique —————— 10] Nolan Independent —————— 11] James Logan HS ——————12] North Coast Academy ——————
45
8
9
11
12
6
WGI_p34_WGIQ.indd 1 10/7/09 3:47:05 PM
The Blue Devils consistently strive for perfection. Many say they have already achieved it.It’s great to have a partner that shares your obsession. Pearl and Adams welcome the Blue Devils.
Let the competition begin.
w w w . p e a r l d r u m . c o m
Winner of 13 DCI Championships & 11 DCI Drum Titles
WGI_Temp.indd 1 10/7/09 3:30:06 PM
wgi.org/wgi.org/wgi.org/wgi.org/wgi.org/wgi.org/downloadsdownloadsdownloads
Download Your Favorite wgi Indoor color guard & percussion Performances
Download Your Favorite wgi Indoor
color guard & percussion Performances
WGI Fan Network subscribers enjoy an exclusive dollar-off discount per download. The convenience of downloads lets you travel with your favorite shows!
1769WGI_FocusBackCvrAd_093009.indd 1 10/2/09 12:52:55 PMWGI_Temp.indd 1 10/6/09 1:31:19 PM