APA Formatting so we need a header on each page and page number. We also need to include a
cover page with your name >Kalli Hanson the name of the school and your topic.
The Sport of the Arts
The activity of color guard is possibly one of the most creative and entertaining forms of
the performing arts alive today. Color guards range from beginner high school groups to guards
that perform professionally for a living. This “sport of the arts” has several very important
purposes, and those are to entertain, keep performers fit, happy, and disciplined (Sloan, 2003).
Color guard is essentially “the expression of music through the medium of movement” (Sloan,
2003). It involves preforming a routine with dance and equipment such as flags, rifles, and
sabres to either music performed by a marching band, or to recorded music. This is an activity
that requires rough physical work, a willingness to work well with others under stressful
conditions, incredible organization habits, patience, and a burning passion for performing.
Modern color guard stemmed from military color guards that would present, or guard,
their company’s colors on flags. Later on, military color guards started presenting their colors
during football games at half-time and eventually different nations’ colors were represented on
the flags while they moved in formations with a marching band. More creative liberty kept being
taken; with adding dance moves, colorful costumes, and putting even more expressive colors of
flags in addition to intricate weapon use, this all created what is known today as color guard
(Sloan, 2003). Color guard can also be performed indoors (usually in a gym) and to recorded
music; this is called winter guard (Usilton, 2003). Winter guard is essentially the same thing as
color guard, except it occurs during the winter and spring months I don’t understand why there is
spring involved if you’re referring to winter guard., and the director chooses the music that the
show will conform around.
Both color guard and winter guard would be nothing without their instructors. Why?
Myabe say why they need them.The director(s) hold most of the authority in the group, and are
in charge of organizing the members of the guard, writing the dance and weapon choreography,
and establishing all of the staging on the field or in the gym for the performers (Whitcomb,
2010). Director(s), even professional ones, often hire technicians to help train and discipline the
guard members, and also help choose officers from the actual performers. Among the directors,
technicians, and officers, practice schedules are decided upon, and meeting times are established.
A lot goes into organizing a show, and the people in every echelon of authority are appreciated
and utilized.
In the extensive and stressful process of organizing a show, many factors must be
considered. These factors include: the overall skill level of the guard, leadership strength in that
particular guard, the use of props, the requirements for time and movement/choreography in
certain competitions, influence from the guard members and other directors, and song choice.
Instructors must always be sensitive to different learning speeds and natural talent levels when
training new members. Talent comes naturally to some (meaning)?, while it may not come at all
to others would a person give up or keep trying to be part of the community?. This comes into
play when determining the part, or role, of different members in the show. The director must
make sure not to give a performer a task he or she cannot achieve perfectly, and especially pay
attention to how the space is managed on the floor (Whitcomb, 2009). If someone is particularly
slow at learning techniques and choreography, they will not be in as much of the show or have as
difficult of a part as other, more experienced members.
Communication within the guard is extremely important, and it can be somewhat difficult
at first to recognize it. Communication in this community is difficult to recognize because it is
not always verbal. Most of the time, in fact, signals and certain messages are conveyed through
body language and eye contact. The rest of the time there is counting, yelling out key words, and
even just telling someone they’re off by a few counts. Feedback, whether positive or negative, is
always encouraged in this community because everyone benefits from it( I like it. I was reading
the previous sentence then a question came to mind and you addressed it in your paper.)…if the
criticism is taken constructively. Meetings are also held to establish rules and dates for
rehearsals, competitions, etc. The goals for all of this communication are to improve
performance and skill level for the entire guard, stay organized, set schedules and due dates,
announce changes in the schedule, and to announce goals for the week or upcoming competition.
Inside all of this communication, there is a specific lexis that the color guard discourse
community uses. There are different terms for catching, throwing, spinning, different moves and
techniques for equipment and dancing. Some of these terms are singles, doubles, triples, quads,
fives, sixes, right/left-shoulder, toaster, backscratchers, crackerjacks, flourishes, attitude,
point/flex, jazz-runs, plié, 8 to 5, and the overall anatomy of the equipment (Garty, 2003). These
terms are universal ones that are recognized across all spans of color guards. This means that any
guard, no matter how skilled or famous, will recognize these terms. I don’t necessarily
understand what is being said,This lexis serves to convey what the instructor wants exactly, with
no confusion.
The lexis used by color guards really comes in handy in rehearsals and during
performances. The clarity of communication is pertinent in one of the most important aspects of
color guard, which is the flair. By flair, I mean the eye-grabbing dance or weapon choreography,
the colorful costumes, and the general excitement. The impact a show has on its audience is
severely diminished if the flag or weapon work isn’t together and the choreography isn’t
executed well (Garty, 2003). When counts or specific commands are discretely conveyed to a
fellow member on the field or in the gym, it is much more likely for the performance to be
effective and enjoyable.
Teaching this lexis is a whole different story. People that are new to color guard are often
scared because of the confusing language, and because they’re now expected to throw things
above their heads and catch them in the correct manner. What do people do to make
themselves work hard enough to become part of the community? Most of the lexis is
taught through training camps, like band camp or other summer camps designed to teach
beginners. The rest is implemented in warm-up routines that are practiced every day, and
through context in performance routines.
There are certain rules that every performer must follow, no matter how skilled they may
be. Every guard member is given a “role” they must play, so as not to seem pedestrian. The
performers must always perform “full out”, and can never just “go through the motions” of the
routine (Whitcomb, 2009). Performing is meant to be fun, and if the performers aren't enjoying
themselves or aren't fully invested in their part, it is very apparent to the audience, and will
detract from the entertainment value and the final score in competitions. Other "common
knowledge" rules include always starting with your left foot, unless instructed otherwise. The
choreography that is given is law. A performer cannot smile, turn their head, or bend their knee
unless it is written in the choreography (Garty, 2003). What happens if someone makes a
mistake? How would someone correct their mistake?
When talented and skilled enough, guard members will join what is considered a
"professional" marching band, which is called a drum corps, or winter guard. The organizations
that are recognized for these elite performers are Drum Corps International (DCI) and Winter
Guard International (WGI). These organizations are only decades old, and hold competitions for
hundreds of different drum corps and winter guards. The process for applying and auditioning
for these groups is very difficult and extensive, so as to only accept the most skilled and talented
individuals. The most accomplished groups such as, The Blue Devils or Phantom Regiment,
consist of true competitors. Being a true competitor means that one "derives their greatest
pleasure out of playing against the very best opponents, even though they may be outscored"
(Whitcomb, 2008). The immense pressure and challenge provides the rare opportunity for them
to perform at their absolute best, and this is when they thrive. True competitors are difficult to
come by, and when so many of them are concentrated into drum corps and successful winter
guards, it makes for an absolutely jaw-dropping performance. This is why organizations such as
DCI and WGI are as successful as they are. At such a high caliber of performance quality, one
doesn't need to be trained in any sense of marching band or color guard to thoroughly enjoy the
show as an audience member.
In order for these elite groups to be as perfect as humanly possible, many follow insane
rehearsal regimens. The drum corps rehearse for four months non-stop during the summer, for
about 11-18 hours a day, on average (Usilton, 2003). The winter guards rehearse less extensively
from day to day, but the rehearsals are almost year-round (Whitcomb, 2012). The upmost
discipline and passion for the activity is required to acquire and maintain a spot in these groups.
Often times, performers in these groups will obtain side jobs as technicians and assistants for
high school color guards or help teach techniques in guard camps. This is a small way of giving
back to their own discourse community to try and better the skill levels or younger guard
members that aspire to be in groups as prestigious as they participate in themselves.
No matter how experienced, a guard member will always face the challenges of rough
physical work and handling the group dynamic. Injuries are very prevalent in this sport,
especially head injuries. Keep in mind that the performers are throwing wooden and metal
objects into the air, and if the toss isn't executed perfectly, the consequences can be disastrous. It
is very important that instructors pay special attention to the county's policies regarding injury
and student safety (CGEadmin, 2009). Bruises, sprains, cuts, and scrapes are a part of color
guard that the performer has to accept. If someone somehow completes a year of color guard
virtually unscathed, it is either a miracle or that individual wasn't working hard enough. Even
though injuries are apparent, extensive measures are taken to avoid them. By practicing often
and working carefully, color guards try to minimize their injury rate as much as possible.
The benefits to performing in a group like color guard or winter guard are endless.
Artistic and physical development is important now more than ever in our communities and in
our schools. Students that participate in such a close-knit community such as color guard, learn
how to work well with others, and establish commitment and discipline within the group.
Members also experience situations that might not always seem fair, and learn how to take those
situations and grow from them. Self-confidence is encouraged and reinforced, so performers are
comfortable when it competition time rolls around. Students learn how to cope with stressful
situations and different group dynamics, and also learn how to set personal goals and surpass
them with hard work. The discipline and sense of comradery that is obtained is not easily
exceeded by other activities. Physical endurance and strength is not only established, but is built
through long rehearsals and training. The school and community also benefit incredibly from
these organizations. “Students are placed in the public eye and bring positive awareness to the
school and the community. They are a Public Relations asset” (Whitcomb, 2009). Lifelong
friendships are made among the performers’ peers, and they learn to enjoy performing as well as
creating memories that last a lifetime.
Color guard is, in fact, the sport of the arts, and it is much more strenuous than the
general public may believe. From spinning equipment to performing to functioning as a unit in
the gym or on the field, this activity still has characteristics that are not understood outside of the
discourse community of color guard. Groups exist that perform color guard shows for a living,
and this activity is recognized world-wide as a creative and beautiful way to represent music and
art on the whole. I constructed this paper in hopes to inform and enlighten the reader about this
wonderful pass-time, and to down-size the generalization that guard members merely “twirl
flags”. Maybe make this longer too.
I over all like the paper. I feel that I was very informative of the community but yet pretty
interesting. I think you should add about methodology a little bit more of the more personal level
through the interview. Add the articles that we read about. But for a first draft it is pretty swell.
Works Cited indented
CGEadmin. (2009, March 27). Head injury. Retrieved from Site, T. C. (2007, September).
[Web log message]. Retrieved from http://colorguardeducator.com/blog/head-injury/
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Sloan, K. (2003). Chapter 1: The sport of the arts. (pp. 6-10). Broomall, PA: Mason Crest
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Usilton, T. (2003). Chapter 4: Winter guard. (pp. 14-38). Broomall, PA: Mason Crest
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