ESSEN tia LS

1. ESSENtiaLS Twirler and Dance Clinic December 8, 2012 Tyrone Middle School

2. Imagine . . .

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

4. What is Repertoire and Performance Effect? • Repertoire effect includes: • Sound design • Program design • Sequencing and coordination of effects throughout the program • Look and feel of the program • Sets • Props • Floors • Colors • Equipment • Performance effect includes: • Passionate and emotional investment and commitment of performers • Qualities that layer a technical skill with life • Qualities that invite the audience members into the performance • Skills that demonstrate believable and competent performers and performances

5. Ways To Generate Effect • Intellectual approach • Reflected in the range and quality of the design • Aesthetic approach • Reflected in the ability to capture and hold the audience’s attention through the manipulation of familiarity, contrast, and expectations • Emotional approach • Reflected in the planned response to stimuli that is designed, coordinated, and staged for the purpose of evoking a specific planned reaction

6. When, Where, and How • When of effects: • How far apart • How often • How large of an effect • Where of effects: • Place on stage • Highlight and focus techniques • How of effects: • Staging • Movement • Equipment • Combinations • Elements are designed and coordinated to act in one or more of these ways: • Supplement • Complement • Alternative • Strive for an investment and commitment from performers • This means an investment and commitment from teachers as well

7. The Only People . . . • . . . who can invite, entice, and maintain the audience’s interest in your show are your performers. • Teach • Internalize • Perform

8. Alignment of Effects • Alignment is ensuring that each design, development, transitional, performance, training, and effect effort support and aims toward the same goal or goals

9. The Numbers Game- Part 1 • The handout represents everything that goes into your program. • Your job is to strike out the numbers 1 to 49 in the correct sequence. • You have 30 seconds to complete the job and get your show aligned.

10. 48 87 45 72 30 33 27 3 69 51 21 24 18 57 9 75 54 78 6 36 63 60 15 12 81 42 39 84 66 90 53 2 68 80 77 86 62 74 29 65 5 41 20 23 35 56 32 89 44 8 83 50 26 47 17 11 38 71 59 14 31 64 49 34 61 7 28 54 40 16 52 58 76 10 22 88 73 85 1 43 4 82 25 13 37 19 67 79 46 70

11. The Numbers Game-Part 2 • Happy with your score? • Could you do better? • Let’s remove all the unnecessary numbers. • We only have to get to 49, so why deal with 50 through 90? • Now, strike out the numbers 1 to 49 in order, in 30 seconds.

12. 48 45 30 33 27 3 21 24 18 9 6 36 15 12 42 39 2 29 5 41 20 23 35 32 44 8 26 47 17 11 38 14 31 49 34 7 28 40 16 10 22 1 43 4 25 13 37 19 46

13. The Numbers Game-Part 3 • How about your score now? • Let’s put “things” in order. • We have some order built in now. • The numbers are located from bottom to top, left to right. • Same task.

14. 48 45 30 33 27 3 21 24 18 9 6 36 15 12 42 39 2 29 5 41 20 23 35 32 44 8 26 47 17 11 38 14 31 49 34 7 28 40 16 10 22 1 43 4 25 13 37 19 46

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

16. Numbers from 1 to 49 2 10 4 7 8 6 3 5 9 1 16 20 15 17 18 11 19 14 12 13 21 24 25 27 28 22 26 30 23 29 32 31 33 36 37 34 39 38 40 35 41 47 44 43 45 49 48 42 46

17. The Numbers Game-Part 5 • Let’s go back to the original, with two missing numbers. • Which ones are missing? • How will you find out what is missing?

18. 48 87 45 72 30 33 27 3 69 51 21 24 57 9 75 54 78 6 36 63 60 15 12 81 39 84 66 90 53 2 68 80 77 86 62 74 29 65 5 41 20 23 35 56 32 89 44 8 83 50 26 47 17 11 38 71 59 14 31 64 49 34 61 7 28 54 40 16 52 58 76 10 22 88 73 85 1 43 4 82 25 13 37 19 67 79 46 70

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

20. Numbers from 1 to 49 2 10 4 7 8 6 3 5 9 1 16 20 15 17 11 19 14 12 13 21 24 25 27 28 22 26 30 23 29 32 31 33 36 37 34 39 38 40 35 41 47 44 43 45 49 48 46

21. The Numbers Game-Part 7 • The points: • Design efforts have to be clear in your mind. • Get rid of unnecessary “stuff.” • Sort • Order • Standardize as much as you can • Transfer to students • Teach • Internalize • Perform

22. Themes • Telling stories in Jr/MS/Novice classes • Be very clear as to your intent! • Do something related to a story: • Select music that relates to a theme and choose appropriate costuming, props, etc. • Make it something familiar!

23. Charisma • Entices people to join with you • Builds a bond or connection on some level • Encourages adventureness • Brands your group • Sets future expectations

24. Exercise • Write down 5 to 10 single words that describe you, your passions, priorities, and loves. • Write down 5 to 10 single words that you believe describes your group. • Do the words you choose to describe you and your group align? • Can you use this as the basis for establishing your group’s identity, character, style, and roles? • Can you use this list to design effect • What do you think would happen if you asked your students to do this?

25. Audience Involvement Which reaction do you prefer? Dead pan, no visible reaction? Springtime for Hitler disbelief and shock? The Beatles rip my face off and pull my hair out ?

26. Music Maps-Not Just For Drill and Staging • Tool to break music vehicle into logical and manageable chunks • Clearly illustrates: • Overview of program • Transitions • Areas to plan effects • Control pacing • Evaluate music devices and structure • Use music maps to: • Communicate with other staff, instructors • Communicate with students • Brainstorm • Developing training program • Rehearsal planning • Future rehearsals

27. Music Maps

28. Do Or Do Not. There Is No Try. You Must You Must Not • Know and understand each effect, the approach, event, and departure • Be able to understand the music vehicle and how it is designed • Know and understand each effect, the approach, event, and departure • Assume your students know and understand the approach, event, and departure from each effect • Assume you can cut and paste music and think it will just work • Assume your students know and understand the approach, event, and departure from each effect

29. Design Truths • The best you have are the students standing in front of you • The best the students have is the person standing in front of them • Variety shows are successful for a reason • Design efforts are really solutions for how to engage your audience • Aaron Copland wrote more than Appalachian Spring, Billy the Kid, and Rodeo. Check the catalogs. • Your passions, priorities, and loves are where decisions should come from. This helps you develop a style. • It all depends on who is in charge and what their loves are.

30. Design Truths • Don’t design or program effect as if you are a world-class group. • Few people have the opportunity to design on this level. • Do what we all do, and learn from them.

31. The 3Cs of General Effect • These apply to both sub captions on the General Effect sheets • Clarity • Competence • Confidence • The Cs are demonstrated and delivered via communication

32. CommunicationProcess

33. CommunicationProcess • Barriers to communication: • Physical • Location of communication • Physiological • Tiredness • Illness • Psychological differences in: • Age • Sex • Race, ethnic background • Education • Position

34. CommunicationChannels • Face • Body • Equipment • Staging • Effect channels • Intellectual • Aesthetic • Emotional

35. Critiques Be Remembered at GE Critiques ✓ Listen to the tapes. ✓ Make note of what comments need clarified. ✓ Introduce yourself or greet cordially. ✓ Tell what group, class, and show title. ✓ Give info so judge can focus on issue/topic. ✓ Dialog, don’t offer excuses ✓ Control emotion and frustration and be cordial.

36. Critiques Be Remembered at GE Critiques ✓ Have a chronological list of effects. ✓ Review the responses on the tape to each effect. ✓ Strive to develop a “to do” list. ✓ No response from judge on tape. ✓ Tone of voice changes or gap in dialogue. ✓ Roadmap of effects. ✓ Comments focus on weaknesses or performance.

37. Another Way To Be Remembered What you said We only rehearse once a month. For 15 minutes. In a janitor’s closet. What you really said I just can’t seem to be able to use our rehearsal time wisely. Or find any other place to rehearse. Plus, I have no idea how to use time wisely or help others see the need to use time wisely. What you should have said We have limited rehearsal time. What advice can you offer to help me take full advantage of the time we have available?

38. Another Way To Be Remembered What you said Over half of my group is new. And in 2nd grade. And, I don’t think they have opposable thumbs. What you really said I hate working with people who want to spend their precious time, energy, resources, and efforts to be with our groups and want to learn. What you should have said Since many of our group is new to this activity, what advice can you offer on designing, training, and performing a show?

39. Another Way To Be Remembered What you said I am the only person that works with them. What you really said There is no one within a 300 mile radius that wants to offer their knowledge and experience. And besides, who would want to spend time with a group of thumbless 2nd graders in a janitors closet once a week? What you should have said Can you point me toward some resources that would be helpful since I am the only person that works with this group right now. I would like to change that soon.

40. Another Way To Be Remembered What you said They don’t understand what I want them to do. What you really said I don’t understand what I want them to do. What you should have said How can I help them understand or see my vision for this program?

41. Take Aways • Study other groups to stay on top of current trends • Use your study and research as inspiration • Pace your show • Contour the show like a coaster • Remember the communication process: • Designer • Performer • Audience • Build effects: • Approach • Event • Departure • Approaches to effect design: • Intellectual • Aesthetic • Emotional • Make sure you, your students, and your supporters have fun and learn.