WGI 2008 Winter FOCUS

wgi winter 2008

focus

MOVIN‘ ON UP Learning to

Compete at A Higher Level

the official news of wgi sport of the arts

Dartmouth’s

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Scholarship Winners Through the Years

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Flanagan HS at the 2007 World Championships in Dayton

WINTER 2008 Volume 22, Issue 1 Winter Guard International Ron Nankervis Chief Executive Officer Bart Woodley Marketing Manager Aaron Jenkins Marketing & Communications Coordinator Published By: In Tune Partners, LLC

Dayton Remains WGI’s Hometown After extensive talks, the board of directors has passed a resolution that the City of Dayton will remain home to our headquarters, as well as our world championships, through 2014. WGI has the option of relocating the color guard and/or percussion event once during that period.

Why Dayton? There are a myriad of reasons and it has taken the board of directors over a year to review and evaluate that question. First and foremost, Dayton has been home to 21 out of the 30 championships and the relationships we have built over the years are a valuable asset. While other cities beckon, the support we receive in Dayton is superb and everyone knows when WGI is in town. That adds to the excitement of the world championships.

Another important reason is cost. Unlike other pageantry organizations that utilize one arena or stadium for one weekend, WGI uses up to four arenas over two weekends. If you do the math, our facility costs can be as much as three times the cost for others. The incentives that the City of Dayton has offered to keep WGI, including priority over all other events, make it possible for us to expand our efforts elsewhere, especially in education.

Any city has its good points and its challenges. Nevertheless, whatever anyone can say about Dayton, no one disputes that it is the hometown of indoor color guard and percussion. True enough, we always need to look at elevating the experience for our performers but we also should realize that for more than two decades it is good to have a “home.”

Irwin Kornfeld CEO Will Edwards President Angelo Biasi Publisher Ken Schlager Editor-in-Chief Jackie Jordan Creative Director Aimee Zaleski Production Director Don Helsel Operations Director Tia Levinson Business Manager Contributing Writers: David G. Hill, Philip Mayard, Michael Reed Photography: Jolesch Photography, Dan Scafidi, Casey Spring, Linda Unser, and Sid Unser WGI FOCUS is an educational publication of WGI Sport of the Arts. Its purpose is to broaden communication 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. 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 office. 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: 937-434-7100 x33; email: aaron@wgi.org WINTER GUARD INTERNATIONAL 7755 Paragon Road, Suite 104 Dayton, OH 45459 937-434-7100 office@wgi.org www.wgi.org

Ron Nankervis Executive Director WGI Sport of the Arts 4 WGI

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Volume 22 Issue 1 Winter 2008

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The Dartmouth High School percussion team kicks up its heels

INSIDE 9 ENSEMBLE Dayton is “home sweet home” ... Going country with Keith Urban … Special effort for Special Needs kids … Seishi twirls into action with Cirque du Soleil … Father Ryan and Matrix are Europe-bound … On the beat at PASIC … and much more!

14 CLOSE-UP In the little Massachusetts town of Dartmouth, drumline is like football in Texas.

Find out how the high school percussion team lives up to the town’s expectations.

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16 SPOTLIGHT WGI’s four Power Regionals enhance the regional experience for performers and audience by bringing together the elite ensembles in pre-Championship competition.

20 ON THE MOVE Every season, a select number of WGI units are promoted to a higher level of competition. Reclassification is an honor, but it presents a new world of challenges.

25 GRANTS FOR GREATNESS WGI’s scholarship program is now 24 years old. We check in with three former winners, who reflect back with pride on their winter guard experiences.

16

28 CLINIC Performance anxiety affects everyone. Our tips can help you overcome your fears.

30 SCHOLARSHIP 2007 WGI Scholarship winner Brittany Jackson had to overcome a world of pain to continue her color guard career.

34 WHAT’S YOUR WGIQ? Test your knowledge of WGI history.

Cover photos, clockwise from top left: Carmel HS, Dartmouth HS, Avon HS, and Stoneman Douglas HS.

28 WGI FOCUS 7

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Ensemble NEWS FROM THE FLOOR AND MORE

WGI CALLS DAYTON ‘HOME SWEET HOME’

WGI Sport of the Arts has signed a deal to keep its headquarters and world championships in the greater Dayton, Ohio, area through 2014. The agreement includes an option for the color guard and/or percussion event to relocate to another city once during that period.

“This is excellent news for the Greater Dayton area,” says Jacquelyn Y. Powell, President/CEO of the Dayton/ Montgomery County Visitors and Convention Bureau. “Each April, the WGI Color Guard and Percussion World Championship events collectively bring nearly 40,000 spectators, as well as nearly 12,000 participants, over both weekends, generating a significant positive economic impact.”

The WGI board of directors considered a proposal from the City of Indianapolis that would bring major music organizations (BOA, DCI, PAS, and WGI) into one city. However, the need for multiple contest arenas at a affordable cost, plus other challenges, led to the decision to remain in Dayton.

“We are very pleased with the outcome of the year-long process in making this strategic decision,” says WGI Executive Director Ron Nankervis. “The option of relocating either world championship during the next six years will give us an opportunity to bring our event to another area while providing WGI with the financial stability we have in Dayton.”

The WGI World Championships are held every April, attracting groups from as many 35 states and overseas competitors from England, Japan, Netherlands, and South Africa. The two three-day events bring more than $10 million into the Dayton area.

WGI President Randy Nelson says, “We are excited to be in Dayton for another five years and appreciate the positive working relationship throughout the community while recognizing the fact that both Montgomery and Greene Counties have been instrumental in the success and growth of WGI.”

DAYTON PHOTO: ANDY WOODRUFF

URBAN GIVES DRUMLINES A TASTE OF COUNTRY STARDOM Australia-bred country star Keith Urban knows that drumlines are as American as apple pie. On each stop of his 2007 North American tour, Urban invited a drumline to take part in the show, including WGI ensembles East Lake HS, Franklin Central, Matrix, Music City Mystique, North Coast Academy, and Rhythm X. It all began when Urban’s tour producers dropped in at Fork’s Drum Closet, a Nashville percussion shop.

There they met Carl Eppler, a store sales director who also is snare tech for Music City Mystique. Eppler helped put together a recording session www.wgi.org

where members of MCM cut the marching piece used in the show.

Although the drumline segment was only about one-minute long, it was a remarkable experience for all involved.

“The audience had listened to country all night long,” recalls Rhythm X executive director Craig Dunn. “All of a sudden the drumline comes out ... The crowd really got into it.”

Eventually, the tour returned to Nashville and MCM got to perform live with Urban at the Sommet Center. “It was a great opportunity for us to touch base with the people of Nashville,” says MCM executive director Josh Nelson.

Rhythm X on stage with Keith Urban, Nov. 1 at Ohio State University.

WGI FOCUS 9

Ensemble SPREADING THE WORD ABOUT SPECIAL NEEDS COLOR GUARD The word is out about the Special Needs Color Guard of America. Whenever they perform at the WGI World Championships (they’ve done so for four years) director Ellen Kleinert-Cohn hears from 50-60 color guard directors asking how they can set up a similar group.

Based in Tamarac, Fla., SNCGA certainly is “special.”

It comprises 23 disabled participants–children and young adults with autism, cerebral palsy, Down’s syndrome, various learning disabilities, and attention-deficit disorder.

SNCGA was the first special needs color guard asked to perform in the Macy’s Thanksgiving Parade in New York

GUARD FOCUS Seishi Prepares For Cirque Debut Renowned baton performer Seishi Inagaki has signed with Cirque du Soleil and will debut Oct. 1 in a new show at Tokyo Disney Resort. A native of Kyoto, Japan, Seishi began rehearsing with Cirque in December in Montreal.

He tells WGI Focus he will “perform one of the characters in the show,” in addition to twirling baton.

The 30-year-old Seishi most recently performed with Aimachi in WGI’s 2007 World Championships.

Applause for Dance Paws City (they are going back in 2008) and are now the subject of a documentary titled A True Lesson in Humanity by noted director Wolfgang Busch.

With so much interest in the group’s activities, Kleinert-Cohn plans to give a seminar about creating a special needs color guard this May or June, shortly after SNCGA once again performs an exhibition at the Dayton finals.

Kleinert-Cohn estimates that about 20 other special needs color guards have emerged around the country. Her south Florida program (which draws participants from Broward County and two neighboring counties) mixes in seven non-disabled participants to assist in their practices and performances. For these participants, SNCGA often is part of a career path in areas of human services, such as occupational therapy, physical therapy, dance therapy, and special education.

Meanwhile, the documentary, which premiered recently in Tamarac, is also spreading the word about KleinertCohn’s program. It is available for sale on Amazon.com.

For Kleinert-Cohn it all adds up to advocating for kids with special needs. “Our mission is to bridge the gap between the general and special populations by showing the world how talented, capable, unique, and special individuals with developmental disabilities truly are,” she says.

It’s hard to enjoy the thrill of victory, if you are suffering the agony of the feet. That’s where Dance Paws come in.

The flexible, form-fitting spandex bands cushion the ball of the foot with synthetic suede padding. “Pride of Cincinnati first used Dance Paws during our 2007 season,” says director Charles Gumbert. “They gave us the look of being barefoot but provided a great surface on the ball of the foot for our performers to complete turns easily.” Dance Paws also are designed to wick away moisture from the skin. Individual toe holes keep the bands in place. Dance Paws come in light and dark skin tones and in black, and are available in original or padded, with extra foam for tender feet.

WGI REGIONAL PERFORMANCES GET NEW WEB HOME WGI has created a new streaming video channel on wgi.org for the 2008 season called REPLAY. The channel will offer subscribers access to full performance videos of all finalists from each of the four color guard Power Regionals and select other color guard and percussion regional events from the 2008 season. Log in to watch shows as often as you want, and get a preview of what everyone is performing before we all meet in Dayton! Visit www.wgi.org/replay.

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NEW ADVENTURES IN THE OLD WORLD The members of Father Ryan High School and Matrix are getting their passports ready for the trip of a lifetime. The two groups are heading for Europe in late March for two weeks of exhibitions and clinics in the U.K., France, Belgium, and the Netherlands.

Father Ryan co-directors Derek and Jeff Schletzer report that the group will be based in Belgium and will travel to Paris, London, and other cities. “It’s an opportunity for the kids to experience something they never have before,” says Derek Schletzer. He points out that such European tours are typically undertaken by independent, rather than scholastic ensembles.

The trip will not be without scholarly pursuits. The Father Ryan entourage will include the school’s academic dean and math department chairman, who are scheduled to conduct classes on weekdays.

There is hard work involved, too; after Father Ryan arrives in Belgium, all of their sets have to be constructed on-site. Somewhere in that busy schedule, Father Ryan HS they will also have an opportunity to see the sights in several of Europe’s most-fascinating cities.

LEARN FROM THE BEST WGI Sport of the Arts is offering the “lesson of a lifetime” from some of the top teachers in the activity. The new DVD Toss! provides tips for instructors and students alike on fl ag, rifle, and saber tossing. The DVD takes you from the beginning toss to more challenging tosses. You’ll learn from top equipment designers and technicians, including Jill Brennan, Robby DuFresne, April Gilligan, Fred Marier, Adam Sage, Rosie (Miller) Queen, and Tracy Wooton. The DVD can be ordered for $29.95 at wgi.org/store.

12 WGI FOCUS

WGI judge Jim Dwyer

Drumming Up Attention at PASIC The WGI booth was a popular place at the Percussive Arts Society International Convention this fall in Columbus, Ohio. WGI fans dropped by the booth to watch the 2007 World Championships DVDs and to get information for the 2008 season. PASIC featured more than 150 concerts, clinics, master classes, labs, workshops, panels, and presentations with many of the world’s best musicians on drumset, orchestral percussion, keyboard, world percussion, marching, and more.

Hilliard Darby High School, a Percussion Scholastic World competitor, was among the performers.

Beat It! Practice pads are an indispensable part of the percussionist’s tool kit—especially if he or she wants to stay in good stead with friends and neighbors. Pro-Mark and Vic Firth both offer a comprehensive series of pads for the marching and concert percussionist. Many of the pads combine soft surfaces for quiet practice and harder surfaces for more intense workouts. Pro-Mark’s line includes two marching tenor pads and 13 snare pads with various surfaces. Pictured above, top, is the PT5 model. Vic Firth’s Heavy Hitter series includes the Heavy Hitter Quadropad, pictured above, bottom. Check them all out at promark.com and vicfirth.com

PERCUSSION: 2007 Championships by the Numbers Total Attendance: 17,539 Participating Units: 175 Total Performers: 4,725 Number of Performances: 292 www.wgi.org

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Close-Up

Dartmouth’s Passion for Percussion Small Town Turns Out Big-Time Performers

By Ken Schlager

I

n the Massachusetts town of Dartmouth, “percussion is like football in Texas,” says Tom Aungst, who has been director the Dartmouth High School percussion program since 1992.

The fervent support of the town is one of the many ingredients that have made consistent winners of the Dartmouth Indoor Percussion Ensemble. The unit has been a top-three finisher in the WGI World Championships every year it has gone since 1998. Dartmouth took home the gold in 1998 and 1999 and earned silver in 2007, finishing just one point behind winner Mission Viejo.

How does Dartmouth, a small town (population 30,666) on the southern shore of Massachusetts maintain such excellence in percussion? For one thing, Aungst takes no chances with his feeder system. In addition to his role in the high school, Aungst is the district percussion director for students beginning in the fourth grade. “I set up the curriculum so by the time they get to the high school there are more skills than they would normally have,” Aungst says. He also keeps a close watch on potential talent. “I’m planning ahead. I look at a fourth grader and I say OK, he

been at the highest level. I try to push the kids to play at that level.”

To help reach his lofty goal, Aungst relies on a veteran staff that includes his wife, Darcie. “When it comes to the kind of shows we are going to do, she really comes up with a lot of that,” Aungst says. “She has a very visual mind.” Other key staffers include Jason Medeiros, Ian Flint, Jen O’Neil, Michael Moore, and Cadets colleagues Jeff Sacktig and Neil Larrivee.

“The staff has a high standard for the kids and they pick that up,” Aungst says. “The kids see the competition … and they see how, if you work hard, how good you can get. The other part is that in each group there are some great leaders. If I can get those leaders on my page and I can get them to focus on what I’m looking for, they can show the other kids.”

And then there is all that support from the town and the school administration, including Dartmouth High School director of music Bill Kingsland. “The teachers, the superintendent, the principals, everyone knows the importance of what we do with percussion here, and they get excited,” Aungst says.

It is clear that Aungst and his staff are not just teaching percussion. “We try to do things where we can teach the kids about life,” Aungst says. “Last year we had a show where we tried to teach kids about making choices in life.” This winter’s show is about the power of words, rather than physical confrontation, to resolve confl icts. “We are using that as our teaching tool,” Aungst concludes.

corps m u r d e th Some of h have been at sh wit u d p e k o t r o y r w t I’ve vel. I e l t s e h vel. e l the hig t a h t t ay a l p o t s d i the k looks like he could be a pretty good mallet player.”

Aungst should be a good judge of talent. He also is Percussion Caption head and drum arranger for the Cadets Drum & Bugle Corps and a member of the DCI Hall of Fame. “Because I teach at the Cadets, I have an idea of what the upper echelon is as far as playing. Over the years, some of the drum corps I’ve worked with have 14 WGI FOCUS

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Spotlight

More Power to The Power Regionals Mega-Events Draw Large Field of Top Competitors

By Michael Reed

P

rior to 2004, the majority of WGI Regionals were one-day affairs, drawing a limited number of groups from within a couple hundred miles of the host site. While there were exceptions, for the most part the only time a large number of elite groups met during the year was at World Championships.

However, fans and instructors expressed a desire for larger shows to draw more quality, finalist-caliber units. In response, WGI developed Power Regionals. These megasize events are designed to enhance the Regional experience for performers and audience. What are the differences between a Power Regional and a “regular” Regional?

The first difference is a larger field of competitors.

Power Regionals are two-day events, featuring 65-75 units participating in prelims on Saturday, with finals beginning on Sunday morning. Fans may wonder why different regionals will close to new entries with differing numbers of units.

WGI Regional coordinator Dale Powers explains that the number of entries is based on the finals schedule. “We build the finals schedule as the entries come in. World guards are guaranteed a spot in finals if they achieve a minimum score, but we have to plan on them all qualifying. With this in mind, we

start building backwards from our 4 p.m. end time on Sunday and when we reach 9 a.m. we close entries. It seems odd that one show can be at 66 and another at 74 but if a show has more world or open guards that show will close earlier.”

Power Regionals offer critiques so long as the guard is competing at the World Championships. In these sessions, the instructors get the opportunity to interact with the judges. This can provide important feedback to help the groups achieve their maximum potential. What’s more, the prelim and finals contests at a Power Regional are judged by separate panels, giving the units twice the information to draw upon.

For 2008, Power Regionals will be held in Monmouth Junction, N.J.; Tampa, Fla.; Avon, Ind,; and San Bernardino, Calif. With travel costs and facility rental fees at an all-time high, WGI made the decision to hold two of these events at large high schools instead of university or civic arenas.

Avon High School, the 2007 Scholastic World Silver Medalist, is playing host to the Midwest Power Regional. “Being centrally located should have its benefits,” says Avon director Daniel Wiles. “I would think we’ll have a couple thousand people in attendance. We have a tremendous facility that has the feel of a college campus. Our contest flow should be one of the strongest a guard will experience at any regional because of our world-class facilities.”

Our contest flow should be one of t the stronges

a guard will experience at any regional

16 WGI FOCUS

www.wgi.org

Awards photo by Jolesch Photography www.jolesch.com

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Carmel HS

On the Mo Plymouth Canton HS

Code Black

By David G.Hill

L

ast season, the Plymouth-Canton High School percussion line competed for the first time in WGI Scholastic Open. At its very first regional, the Michigan ensemble earned fourth place on the power of two strong performances. After the awards ceremony, director Andrew Ebert grabbed the judging packet and looked at the timing and penalties sheet. On it was a note with the words: “Under review for reclassification.”

The school received word later that week that the unit was being promoted to World Class. “At this point, the staff asked itself a lot of questions,” Ebert remembers. “Do we make major rewrites on the show? Do we change our approach with the students?”

These are the sort of questions faced by all A and Open Class directors whose units are promoted to a higher level of competition.

What kinds of changes are necessary? How will this affect the per-

Walled Lake HS

Move Rhapsody

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Promotion to a Higher Level of Competition Can Be Daunting, But Most Units

Embrace the Challenge formers? And, most important, will the members of the ensemble be asked to rise beyond their abilities?

Ebert and his staff did what the leaders of most units ultimately do when their ensembles are reclassified. They continued to stress the same fundamental educational and performance goals that they had always had for their members. While fully aware that the reclassification could be daunting, they looked forward to the opportunity to thrive in their new world.

For Plymouth-Canton, the promotion was especially challenging since it came in mid-season. Going into the season, the staff had to decide on what WGI level they wanted their unit to compete. “Knowing that our students had some performance experience with Bands of America but no winter experience, we felt that Scholastic Open was appropriate,” Ebert says. “We started in mid-December trying to do a show that would challenge the students and prepare them for a respectable first showing in Open Class.”

Then came the news that they had been promoted. “After much thought, and good advice from some very trusted people, we concluded that we were not going to make any changes that had not already been planned. In our minds, being reclassified did not mean that the students could potentially be World Class. Reclassification meant that they were ready for World Class and that they were World Class. We made the decision that a change in title would not change the approach of the program,” Ebert concludes.

Similarly, at Michigan’s Walled Lake High School, where the percussion unit is moving up this season to Marching World, director Nick Pourcho says, “nothing has really changed.” He explains, “We are still a music-to-make-people ensemble that uses this activity to teach kids things like how to be principle-centered, act with integrity, be leaders, act with empathy, be self-sufficient, act responsibly, be confident, be humble, and interact interdependently in society.”

What changes have occurred, have been largely positive. Pourcho says promotion “has made us a name within the community.

We have been given donations because of this. We have also been asked to perform for various community events and also state WGI FOCUS 21

Zydeco

Lake Park HS

directors to turn to when feelings of hesitation arise. Will we have any kids who want to march with a second-year guard when there are great, established programs already in the area? Will we be able to survive financially?”

Code Black’s Robbie Wang ponders “not living up to everyone’s expectations of our project … including our own. We don’t want to lose who or what we are, as our process evolves. Even though our classification has changed we want to preserve our identity.

“Before Code Black even had a name, it had a membership. The membership is still an integral part of the decision-making process,” Wang continues. “We have previous and present members who serve on the executive board, and on the design and management teams. Our motto has always been ‘everything should be a positive experience for everyone: members, support volunteers, and staff.’”

On the other hand, Zydeco’s Valentine views promotion as opening up a whole new world. “We were very excited to receive our promotion letter. It was validation, by our peers, of the blood, sweat, and tears that had gone into our [inaugural] season.” Capitalizing on the all-age membership in World Class, Zydeco’s 27-member cast now includes “a third who would be ineligible to compete” if the unit was in a lower class. “We were able to select a more mature cast,” Valentine says.

Exuding Confidence events like the Governor’s awards.”

Naturally, some guard and percussion units acknowledge certain concerns about the new level of competition and describe the steps needed to rise to the occasion.

Rosie Queen, director of new Scholastic World color guard member Carmel High School, expresses the universal promotion fear of “not achieving all that you are capable of. There is a certain level of anxiousness and excitement about all of the unknowns.” But she adds that the guard “is looking at this as an honor, a challenge, and an opportunity to continue to grow. We are now among the elite in our activity, the World Class of WGI.” The Indiana school, last season’s Scholastic Open winner, will “continue on the road we began paving last season and hopefully grow as a color guard, as an organization, and as a staff,” Queen says.

At Americas High School in El Paso, Texas, the color guard is moving up to Scholastic Open. While the unit has “kept the same training in regards to equipment, we have incorporated more movement skills,” says director Cecil Crabtree. “The school also has a very successful middle school program that trains the performers to come into high school being proficient in dance, fl ag, and rifle. Much like many successful band and color guard programs, we have aligned the high school and middle school programs to be a continuation of education.”

Eyes Wide Open New Independent World color guards Code Black (Texas) and Zydeco (Ohio) are moving up with eyes wide open, and with expectations tempered. Zydeco director Byron Valentine says he is “grateful to have a fantastic staff and board of 22 WGI FOCUS

Amy Sharp is approaching Illinois’ Lake Park High School color guard’s move to Scholastic Open “with zero expectations, only the excitement of uncharted territory. We want to give the members opportunities to grow as spinners and performers, and at the same time give them something they would have fun with! I am a strong believer that change is good and we are going to embrace this change to the fullest.

“After last year’s success, the returning members definitely feel like anything is possible,” Sharp says. “I see more confidence in their eyes than I ever have before. Confi dence is half the battle in my opinion.”

For Seattle’s Rhapsody Winter Guard, the 2007 Independent A gold medalist, promotion has meant “more members and increased visibility,” says director Jimmy Fursman. “In just the last year we’ve started educational clinics and summer camps, revamped our website, begun custom uniform and fl ag production for local schools, implemented a souvenir operation, and are looking into a permanent rehearsal facility.”

He is concerned that the program could be growing too fast. “I see it as my number one priority to make sure we have [adequate] finances and volunteer support.” In addition to the promotion, Rhapsody “is debuting an A Class group,” Fursman says. “Our mindset, though, is really the same as it’s been during the two seasons we’ve been around. Our values of commitment, training, quality design, and member experience remain intact no matter what class we compete in.

“We definitely see the promotion resulting from our WGI Championship as a reward for a job done right. The classification system is really designed to allow for growth of its member units,” Fursman says.

“I personally believe groups promote themselves. WGI just handles the paperwork.” www.wgi.org

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THE INFINITY PERCUSSION ENSEMBLE DEPENDS ON YAMAHA. “When we decided to launch Infinity, it was our intent to move from WGI Independent Open to Independent World, where the performance expectations are on a whole different level. We knew that our performers deserved the highest level of quality instruments available. Yamaha not only met but far exceeded our expectations. Everyone involved with Infinity has found Yamaha products to be both durable and dependable in every possible performance application.”

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WGI’s Scholarship Program Reminds Us That The Marching Arts are Educational Activities

I

t has been 23 years since Mitch Weikert stepped forward at the Winter Guard International World Championships to receive the first WGI scholarship. Then a member of State Street Review and a student at University of Wisconsin-Madison, Weikert received a check for $1,000.

Since those humble beginnings in 1985, close to $300,000 has been awarded to deserving students in the winter guard and percussion activity through the WGI Scholarship program. Last year alone, WGI awarded $1,000 each to 30 performers.

Like all WGI performers, the scholarship winners strive to balance hectic rehearsal and performance schedules with academic pursuits. WGI also seeks a balance in making the grants.

Each unit competing at World Championships can nominate one member for the scholarship.

Nine individuals representing the WGI community–ranging from board members and instructors to volunteers and sponsors--are selected by Executive Director Ron Nankervis for the scholarship committee, which gathers before the championships to evaluate the 130-160 applications received.

When reviewing the applications, “scholastic achievement is always evaluated, but need is considered as well,” Nankervis says. “The committee looks at the application of each and every submission, which includes transcripts, recommenda-

www.wgi.org

tion letters, educational goals, and also an essay on why the student desires the scholarship.”

Nankervis explains the importance of the program, saying, “The board of the directors feels that WGI is an educational activity and as such, the scholarships are funded by a line item in the annual budget. Since WGI is a scholastically based activity, it is only right that we encourage further studies by our performers. Our goal is to increase our awards and reach a target of at least $100,000 per year.”

Scholarship applications must be received

by March 1. If you are interested in donating to the WGI Scholarship Fund or have any questions about the program, please contact the WGI office at 937-434-7100.

WHERE ARE THEY NOW? The Marching Arts can have a profound impact on the professional and personal lives of all those who participate in the activity. The WGI Scholarship adds another dimension to the experience for its winners. On the next page, you can read about three special individuals who were honored with scholarships in the early days of the program. >>

WGI FOCUS 25

‘NO SUBSTITUTE FOR HARD WORK’ Kala (Klinger) Moynihan’s color guard and academic careers went hand in hand. She performed with State Street Review and attended Miami University in Oxford, Ohio, where she majored in accounting. She is a threetime WGI Scholarship winner, earning grants in 1986, 1987, and 1989.

“I used the first scholarship to begin my college career at Miami,” she says.

“I took that first year of school off of color guard. I missed it so much that I

NOW

THEN

transferred to University of Wisconsin-Madison so I could march in 1989. That same year, she received her third scholarship and went back to Miami to finish her degree.

Having also marched in the Colts and Spirit of Atlanta, Moynihan says, “I loved the people. I loved performing and I loved the creative expression. I learned that there is no substitute for hard work.”

Moynihan currently works in sales for Oracle Corporation in Chicago, and is married with two children. “I hope that my kids find an activity or a passion that can bring them the same kind of joy and satisfaction,” she says.

A member of the Alliance of Miami from 1987-89, Mike Green majored in biology at the University of Miami and was attending the University of South Florida Medical School when he won the WGI Scholarship in 1989. “It was an honor to be recognized among my best friends and people with whom I spent most of my free time,” he says. Green returned to the performance floor with Alliance in 2000 and remained on staff until 2003. He has practiced emergency medicine for 12 years and also has his own practice in Chicago, which takes a primarily nutrition THEN and prevention approach to disease-and age-related decline.

About his color guard experience, which also included Florida Wave and the Cavaliers, Green says, “The performance aspect makes you aware of who you are on the outside, while the hard work and ups and downs build your character from the NOW inside. I have leadership and public speaking skills that were shaped by being the captain of my unit, as well as an instructor. I do not know if I would have developed into the person I am without those years in guard. I would probably be very different.”

LEARNING HOW TO LEAD

26 WGI FOCUS

MOTIVATED TO MOTIVATE Mitch Weikert, who received the first WGI Scholarship in 1985, performed with State Street Review in 1985 and 1986. “It was very encouraging to get recognized for the effort I put into both my color guard and academic educations,” Weikert says. “I was lucky to receive the scholarship in its first year of existence. It was also a nice addition to job/academic applications and served as a talking point during interviews.”

Weikert spent five years

THEN working for Exxon Pipeline in Houston before pursuing a career in the medical field, attending graduate school at University of Texas-Austin and completing residencies at Baylor College of Medicine and University of Utah.

He currently practices medicine and teaches at the Department of Ophthalmology at Baylor.

WGI’s inaugural scholarship winner remained involved in the activity for many years, teaching at Westfield High School and for the Glassmen.

“As an instructor, and to some extent, as a member, I NOW learned how to motivate people,” he says. “I also learned how to explain concepts in many different ways to facilitate the learning process. I’ve found that the concepts behind handling a rifle or a flag can be very similar to those used in teaching spatial awareness and action-reaction.” www.wgi.org

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Rudiments . Downloads Scholarships . PASIC Much More

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Clinic

Wave Goodbye To Anxiety

eryone reacts differently, so it is important to understand and prepare for your own personal responses.

“Before we start, I tell the performers to take a deep breath and exhale,” says Daniel Riley, director of guards at Stoneman Douglas High School in Parkland, Fla. “This type of performance anxiety is different than what you have when preparing to make a speech, for example. Eyes will be on you, but with the color guard, you can become a character and you can channel your energy.”

Don’t let nerves win out. Blocking out the audience or pretending to just be at rehearsal, will make you miss out on the glory of what you have been working toward. Instead, you must learn how to enjoy the experience. “Make friends with the audience and believe that they and the judges want you to succeed,” Dorritie says. “Stay focused on positive thoughts. Breathe in through the nose with the goal of keeping the body and mind flexible and focused.”

Dorritie breaks down a performance into four stages, as follows: ■ The warm-up, which is when you must get your mind and body feeling good; ■ Entering the performance space, which is the time to acclimate yourself to the environment and the audience; ■ The actual performance, which should be fun time! Remember to breathe, look, listen, relax, and focus.

■ The post-performance warm-down, which is when you think about what was done and what was enjoyed. “Wait until the next rehearsal, when you are far less emotional, to decide what needs improvement. Then, breathe deeply, stretch out to relax the muscle tension.”

Riley and Dorritie constantly stress the importance of proper breathing. To relax, Dorritie recommends taking several deep breaths through the nostrils to access the body’s calming power. Inhale slowly, breathing into the lower back and expanding the abdomen as far as possible. Breathing should be deep, but not forceful.

You should think in the present tense and stay in the present time.

Of course, none of this can guarantee you won’t make any mistakes. What’s most important is to remember that mistakes happen to everyone. “What sets the best performers apart is their ability to recover,” Dorritie concludes.

Performance Fears are Normal; Here’s How to Send Them Packing

By Debbie Galante Block

S

weaty palms? Trouble breathing? Does that sound like you before a performance? You are not alone.

Even if practice does make perfect, performance is very different from rehearsal, according to Shirley Dorritie, who specializes in training performers, and has served as a WGI judge for the last decade.

“The performance situation means you have to deliver the goods right now. You don’t get to start over again, or wait until you’re better prepared or circumstances are better,” Dorritie says. The result is often performance anxiety.

Undoubtedly, the performance experience is emotional, and ev-

“Make friends with the audience

and believe that they and the judges want you to succeed”

28 WGI FOCUS

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Scholarship

A New Challenge Around Every Corner Learning Life’s Lessons in Color Guard

By Brittany Jackson

I

t was A Class Finals competition at WGI in April 2007.

My heart felt as if it was going to explode from my chest. The group of us from Taravella High School in Coral Springs, Fla., gathered around and said our prayer for the last time. Tears filled our eyes because every member and instructor knew that the moment could never be relived nor duplicated. Our performance received a standing ovation, but that wasn’t the most important thing to us. What mattered to the team most was completing the show and being satisfied with our performance.

I stood toward the front of the line on the floor of the Dayton Arena as the scores were called. Anticipation built with every placement. Finally came second place, and our name wasn’t called. That meant only one thing; we we’re the Scholastic A Class Color Guard Champions! That peak moment was the culmination of years of work, with lessons learned, and obstacles overcome. But let me start from the beginning.

I started color guard at the young age of 12. It was a whole new world with some new trick or challenge around each corner. I basically grew up with the girls and one guy on my team, and they became my second family. Throughout high school, I had to face typical challenges such as time management and responsibility. Those skills and many others still play a role in my life today.

During my junior year, I tore the meniscus in my left knee while learning drill at practice. I had to wait until the

end of winter season to get the surgery to fix it. The doctors told me that I shouldn’t do guard anymore, but I couldn’t let my team down. I continued to push myself and I was able to march during my senior year. Because it was too early for me to be dancing, I ended up hurting my knee again. My stubbornness was bigger than the pain, so I put on a brace and kept going. I learned that sometimes it’s better not to just give up and feel sorry for yourself, but to embrace obstacles and adjust to them. I also learned the valuable lesson of sharing. Our instructor decided it would be best to make three of us girls captain. We all had our differences, catfights, and drama but eventually we learned how to cooperate and do what was best for the team.

We were family, and we resolved our problems.

While in school, I remember getting a call from a close friend telling me I was on the cover of the 2007 Volume 4 DVD. I couldn’t believe it and I was so proud that I was representing my team. It was amazing to see Stanley Ng, the violinist, and Rebecca Sherman, another captain, next to me. It brought back so many great memories. I can’t wait to see my girls now in Open Class, and I wish them the best of luck.

I’m truly thankful for receiving the scholarship from WGI. I now attend Florida State University majoring in biology education. I also would like to be certified for marine biology.

“It’s better not to feel sorry for yourself, but to

embrace obstacles

and adjust to them.”

30 WGI FOCUS

Brittany Jackson is one of the 2007 WGI Scholarship winners. For more info, visit www.wgi.org/scholarship. www.wgi.org

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What’s Your W

WGIQ? B

One of the most exciting elements of WGI is watching the color guard and percussion units come up with amazing new costumes for each new season. On this page we highlight four top units through the years. Play along and match each unit’s pictures with the year they were taken based on costume design. To find out the WGIQ answers go to wgi.org.

A D

FANTASIA

C

1995: 2000: 2002: 2005:

B C

A

D

FATHER RYAN HS

1995: 2000: 2002: 2006: A

C B

D

MUSIC CITY MYSTIQUE

1998: 1999: 2000: 2005: A

C B

D

MIAMISBURG HS

1989: 2001: 2002: 2006:

34 WGI FOCUS

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A) is fast and easy to use B) allows musicians to ďŹ nd and hear cymbals best suited to their needs C) is like accessing SABIAN personnel for cymbal recommendations D) all of the above

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WGI Sport of the Arts introduces a streaming video channel on wgi.org titled REPLAY. This channel will offer subscribers access to FULL PERFORMANCE videos of ALL FINALISTS from select color guard and percussion regionals, including the four Power Regionals during the 2008 season.

Performances will be posted during the week following the events.

Purchase your membership to watch shows as much as you want. See what everyone is performing... before we meet in Dayton!

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A one day pay-per-view pass of the Friday World Prelims and A Finals competitions is only $14.95.

A Saturday pass to watch Open and World Finals competitions is only $19.95!

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