Linda Prai
Administrator:
Jazz Band / Vocal Jazz, Choral
Concert Band / Orchestra Festivals
14169 100A Avenue
Surrey, BC, Canada V3T1K6
604-319-1630 (cell)
1-877-891-9584
kiwanisfestival@telus.net
www.vkmfestivals.org _______________________________________________________________________________________ 2016 VANCOUVER KIWANIS CONCERT BAND/ORCHESTRA FESTIVAL Dear Directors, We are pleased that you have chosen to be a part of our 2016 Vancouver Kiwanis Concert Band/Orchestra Festival. We will be returning to Bethany Baptist Church, which features a large gym for storage, large clinic rooms, as well as ample free parking. To avoid any possible damage to the facilities, we request that at least one adult, in addition to yourself as Director, accompany the band. Thank you! Festival Procedures In order to make the festival run as effectively as possible, at the end of this letter please find enclosed: • Schedule for all groups • Profile (to fill in) • Program Information form (to fill in) • Introduction Script (to fill in) • Setup Diagram (to fill in) • Student Listening Report • Sample Adjudication Form • Map of the area for Bethany church On the day of the festival, directors are requested to provide, in a 10 x 13 envelope (labelled with the group name and performance time), the following: ❑ BAND SET‐UP DIAGRAM ‐ two copies ❑ BAND PROGRAMME ‐ three copies ❑ SCORES ‐ two sets of original scores for each adjudicator ❑ PROFILE ‐ two copies ❑ OPTIONAL RATING DIRECTOR’S CHOICE ‐ two copies The above should be turned in to the Desk Secretary (main foyer) when you first arrive at Bethany church. Equipment The following equipment will be provided: Warm‐up room: 95 chairs, 40 music stands, bass amp Performance area: 95 chairs, 40 music stands, bass amp, bass drum, timpani (4), orchestra bells, gong, vibes, marimba, xylophone, 5 piece drum set, congas, and chimes Clinic rooms: 95 chairs, 40 music stands, bass amp, bass drum, timpani (2) and orchestra bells Please note: Equipment in rooms other than performance area may change due to availability. Set up in attached diagram may not be exactly as illustrated. Directors with large groups needing more than 40 stands are asked to bring the extras with them. Please make sure they are clearly identified. They will need to be taken with you to all three areas (warm‐up, performance and workshop room). Location Bethany Baptist Church (22680 Westminster Highway, Richmond, BC. Turn at the lights on McLean road to enter the parking lot). There is free parking for cars and busses, and busses can drive around the building to arrive at the gym. Groups please enter via the GYM entrance. Upon arrival Please meet your Guide at the GYM entrance (or come and see us at the front desk in the foyer) approximately 45 minutes before your performance time. Your Guide will escort you and your group to the Gym where items can be stored; then to the warm‐up room (30 minutes before performance time), and then to the performance area. After your performance, the Guide will escort you to your Clinic. Parents are welcome to be members of the audience and provide support for the performers. Unloading and Storage of Equipment To ensure the shortest walking distance with equipment, please unload buses and equipment near the gym at the back of the church. The Director can then drop off the paperwork at the front desk and we can arrange for your Host, if they have not found you already. Due to the fact that backpacks, cases and coats must not be taken into the performance area, we strongly recommend that students do not bring iPods or other valuables to the Festival. Please do not allow your students to play their instruments in the gym area or anywhere other than in the warm‐up room. Food and beverages are to be consumed in the gym area or outside only. A Guide will inform you when the warm‐up room is available. Warm‐up time for all groups is 30 minutes before performance time. Performance time is 30 minutes which includes set‐up, take‐down, as well as an optional warm‐up chorale. Bands exceeding their time limit will be asked to stop their performance. After your performance you will be escorted to one of the clinic rooms for a 45 minute clinic (one hour total is allotted for setting up and leaving the clinic room, with 45 minutes spent with an Adjudicator). Monitoring Performance Area Doors In order to ensure the best possible performance for your ensembles, and because we record performances, there will be NO in‐out privileges during performances. Please inform your students of this policy. NO ENTRY areas Signs will be placed in various parts of the building where festival participants/Directors are not permitted, eg. back corridor of the main floor, upstairs except for the warm‐up room, and the church office. PLEASE COME TO REGISTRATION DESK with any questions you may have. Thank you! Food Services We are pleased to have White Spot On the Go food cart which will be on site from 11 AM to 2 PM each day. Burgers, fries, hot and cold drinks, and milkshakes are available. Debit, credit or cash accepted. Students are permitted to eat in the gym as long as they clean up after themselves – please respect the facility! Queensboro Landing is a five minute drive away and has numerous fast‐food restaurants, sandwich shops, etc. Listening Guides To help your students focus better as an audience, we have put together a listening guide to encourage critical listening skills. This process is most effective if you take some time to go through the evaluation form that is included in this package. Many of you already require this of your students and may even have your own form. Scores and public domain music 1. NO PHOTOCOPIES PERMITTED. There is zero tolerance for photocopies. Bill 60—copyright laws. Stringent laws with respect to copyright were passed as law through Bill 60 in 1989. The Vancouver Kiwanis Music Festival, therefore, cannot accept any photocopied music for the adjudicator, performer or accompanist. 2. Original copies of music must be provided for the adjudicator, accompanist and performer(s) if applicable. The use of photocopied music for either the adjudicator or accompanist is prohibited. Public domain copies of scores will be permitted if the URL and source is clearly provided on each page of the score and must be submitted in advance of the festival for approval. 3. If a competitor chooses music that is out of print or difficult to acquire, written permission from the publisher must be obtained to have the music copied. Please be aware that publishing firms out of business have generally transferred their copyright to other firms. 4. Sheet music files found online are protected by copyright laws. The Festival will accept music from credible web based music stores as long as proof of purchase OR permission to copy is submitted with the music. HAVE A WONDERFUL FESTIVAL EXPERIENCE! LINDA PRAI Administrator, Vancouver Kiwanis Music Festivals Cell: 604‐319‐1630 kiwanisfestival@telus.net BOB SCHAEFER Festival Chair 604‐582‐1403 Bob_Schaefer@telus.net Tuesday April 19th Group Name Mark R. Isfeld Secondary Concert Band SIZE Director Perform Clinic 48 Graham Green Chapel Saint Thomas Aquinas Grade 8 Concert Band 50 Victor Guy Harmonie Élémentaire École des Pionniers 50 Roger Leclerc 9:30
10:00
10:30
Fleetwood Park Senior Wind Ensemble 32 Colleen Sheridan Notre Dame Intermediate Concert Band 81 Quentin Paras Alpha Senior Concert Band 50 Kevin White 11:00
11:30
12:00
Lounge Chapel Chapel
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ Harmonie Secondaire École des Pionniers 25 Roger Leclerc Lunch Crofton House School Junior Band 22 Renee Raymond Alpha Intermediate Concert Band 30 Kevin White 1:00
1:30
2:00
Chapel
Chapel
On stage
Lounge Chapel Wednesday 20th Group Name Vancouver College Gr. 8‐9 Concert Band SIZE DIRECTOR Perform Clinic 41 Lawrence Olson Chapel
Carver Christian High School Intermediate Band 20 Cara Lau St. George's Junior Concert Band 48 Marko Rnic Saint Thomas Aquinas Grade 9/10 Concert Band 24 Victor Guy Burnaby North Junior Band 50 Ingrid Balchen Stitt Chatelech Secondary Concert Band 25 Tom Kellough St. George's Intermediate Concert Band 45 Dean Markel Carver Christian High School Junior Band 20 Cara Lau 8:30
9:00
9:30
10:00
10:30
11:00
11:30
12:00
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ Lunch W.J. Mouat Concert Band (45 minutes reserved for onstage) Elphinstone Secondary Concert Band 91 Dan Hearty 1:00
Lounge 35 Tom Kellough Chapel Carver Christian High School Senior Band 45 Cara Lau Carson Graham Senior Concert Band 49 Kevin Yang 2:00
2:30
3:00
Purple Chapel Purple
Chapel
Purple
Chapel
Purple
Lounge Chapel Thursday 21st Group Name Notre Dame Senior Concert Band SIZE DIRECTOR Perform Clinic 56 Quentin Paras Collingwood Orchestra 40 Denver Rawston West Point Grey Academy Senior Orchestra 47 Angie Goddard St. George's Wind Ensemble 35 Marko Rnic 8:30
9:00
9:30
10:00
Georges P. Vanier School Band 55 Pamela Heckbert Saint Thomas Aquinas Senior Concert Band 50 Timothy Horton Oppenheimer Elementary Senior Band 33 Jessica Lemes da Silva Glacier Peak Symphonic Band 60 Tadd Morris 10:30
11:00
11:30
12:00
_______________________________________ Valley View 8th Grade Concert Band 90 _____________ Mike Mines Lunch St. George's Senior Concert Band (45 minutes reserved on 88 stage) Marko Rnic & Dean Markel South Whidbey High School Wind Ensemble 42 Chris Harshman G.P. Vanier Senior Concert Band 40 Linsay Duncan 1:00
1:30
2:30
3:00
Vancouver College Senior Wind Ensemble 35 Lawrence Olson 3:30
THURSDAY EVENING COMMUNITY BAND NIGHT Group Name New Westminster and District Concert Band SIZE DIRECTOR Perform 65 John White Forte Wind Ensemble 40 Kevin White 7:00
7:30
Friday 22nd Group Name Brentwood College Wind Ensemble St. John's Honours Band Earl Marriott Grade 10 Concert Band McNally High School Concert Band Brentwood College String Ensemble Pacific Academy Grade Six Band SIZE DIRECTOR Perform 21 Tristan Clausen 8:30
42 Ryan Premack 9:00
30 Rodger Owens 9:30
50 Joedy Missal 10:00
6 Tristan Clausen 10:30
76 Aaron Hardie 11:00
11:30
Seaquam Concert Band Burnaby Mountain Senior Concert Band 55 Jill Sparrow‐Ng 62 Paul Dudley 12:00
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ Lunch Burnaby Central Grade 10 Band Seaquam Wind Ensemble 50 Robin Shier 1:00 45 Jill Sparrow‐Ng 1:30
Cambie Concert Band 25 Iris Chan 2:00
Centennial Middle School Concert Band Snohomish High School GNS Senior Concert Band 60 Linda Pilcher 2:30
50 Joe Boertmann 3:00
53 Steve Thompson 3:30
Clinic GROU
UP PROF
FILE
Pleas
se complete
e the follow
wing form to assist our adjudicatorrs.
Provide two copies when
w
you a
arrive at Fe
estival.
Na
ame of Ens
semble: ___
_________
__________
_________
__________
_________
__________
____
Dirrector:
___
_________
__________
__________
_________
__________
_________
____
Nu
umber of Years Teach
hing Experrience: __
__________
_________
__________
_________
____
Ag
ge of Partic
cipants in Group:
G
__
__________
_________
__________
_________
__________
___
Fre
equency off Rehearsa
als:
__
__________
__________
_________
__________
_________
____
Bio
ographical sketch of the group
p: _______
_________
__________
_________
__________
_____
_________
__________
_________
__________
__________
_________
__________
_________
_____
___
An
ny other rellevant info
ormation: _________
_
__________
_________
__________
_________
____
___
_________
__________
_________
__________
__________
_________
__________
_________
_____
PROGRAM INFORMATIO
ON FORM
M – THRE
EE SELEC
CTIONS O
ONLY
ame of Ens
semble: __
_________
__________
_________
__________
_________
__________
______
Na
Dirrector:
•
__________
_
__________
_________
__________
_________
__________
______
LECTION
1st SEL
Tittle
Compose
er/Arrange
er
_________
__________
________
___
________
__________
__________
_________
•
2nd SELECTION
Tittle
Compose
er/Arrange
er
___
_________
__________
_________
_
________
__________
__________
_________
•
LECTION
3rd SEL
Tittle
Compose
er/Arrange
er
_________
__________
_________
_
___
________
__________
__________
_________
VANC
COUVE
ER KIWA
ANIS C
CONCER
RT BAN
ND/
OR
RCHEST
TRA FE
ESTIVAL
L
INTRO
ODUCTIO
ON
Pleease choose one studentt to introducce your enseemble. The following script should
d be
folllowed. As so
oon as the band
b
is set up
u on stage and
a the Dirrector gives the cue, thee student is
to m
make their way to the podium
p
and
d address th
he audience and adjudicators. All rrepertoire is
to b
be announced as part of
o the introd
duction. Thee Director w
will pause between each
h selection
and
d the adjudiicators will cue the Dirrector to beg
gin the seco nd and thirrd selectionss.
OOD [MORN
NING / AFT
TERNOON],,
GO
WE
E ARE THE [NAME OF
F ENSEMBL
LE] FROM [NAME OF SCHOOL A
AND LOCA
ATION].
OU
UR DIRECTOR IS [NAM
ME OF DIR
RECTOR].
OU
UR ENSEMB
BLE IS COM
MPRISED MAINLY
M
OF
F [GRADE L
LEVEL].
UR THREE SELECTION
S
NS ARE:
OU
1. [[NAME OF SELECTION, COMPOSER, * FEA
ATURING . . . ]
2. [[NAME OF SELECTION, COMPOSER, * FEA
ATURING . . . ]
3. [[NAME OF SELECTION, COMPOSER, * FEA
ATURING . . . ]
g . . .” announcement is optional.
o
Thee “featuring
TH
HANK YOU.
SA
AMPLE “G
Good morning
g. We are th
he Bellarmine Prep Wind
d Ensemble ffrom Bellarm
mine Preparratory Schoool in
Taccoma, Washington. Our Director is Mr.
M Bill Klouse. Our enssemble is coomprised mainly of Graddes 10 to 12
studdents. Our th
hree selectio
ons are . . . Thank you.”
Concert Band/Orchestra Seating Chart
Ensemble name: __________________________________
Performance time: ____________
Row 1 Chairs _____ Stands ____
Row 2 Chairs _____ Stands ____
Row 3 Chairs _____ Stands ____
Row 4 Chairs _____ Stands ____
Row 5 Chairs _____ Stands ____
Please outline your percussion
needs:
OTHER
MUSICALITY
TECHNIQUE
QUALITY OF SOUND
VANCOUVER KIWANIS CONCERT BAND/ORCHESTRA FESTIVAL – ADJUDICATION FORM
Tone Quality - Little understanding of basic concepts of
Tone Quality - Developing tone production concepts
Tone Quality - Good basic approach demonstrated, focus
Tone Quality - Excellent tone achieved most of the time.
Tone Quality - Achieves superlative tone quality. Tone is
tone production. Poor air support, embouchure or bow control
contribute to tone that is thin, airy, dull, harsh at upper volumes
and registers, fuzzy at lower volumes and registers.
although not always maintained. Volume and register extremes
not controlled well, often harsh. Focus and resonance achieved
occasionally. Uniformity of colour and texture is weak and
inconsistent.
often good. Uniform texture and colour demonstrated in less
demanding passages. Breath support or box control generally
good, although not always maintained.
Problems are minor and quickly corrected. Tonal colour, focus
and timbre are uniform, consistent, and well-controlled, though
sometimes affected in extremes of volume and range. Tonal clarity achieved most of the time.
well-focused, full, open, resonant, consistent, uniform in colour,
texture, and sonority at all times. Utmost clarity is achieved.
Intonation - Instruments not tuned well. Melodic and
harmonic intonation is weak. Few attempts made to correct
problems.
Intonation - Instruments are somewhat in tune. Melodic and
harmonic intonation are inconsistent. Difficult intervals and
harmonic structures are major intonation weakness. Listening
skills demonstrated occasionally.
Intonation - Instruments tuned relatively well. Intonation
is often good with inconsistencies. Less demanding melodies,
intervals and harmonic structures performed successfully. Wide
intervals, octaves, unisons, are with partial success. Listening is
good, attempts are made to correct obvious problems.
Intonation - Instruments are tuned well. Melodic and
harmonic intonation is very good. Problems sometimes occur in
range and volume extremes and difficult passages and situations
but are of short duration and/or quickly corrected. Listening is
very good, with good ability to correct most problems.
Intonation - Instruments are tuned very well. Melodic and
harmonic intonation is superior. Ability to control difficult tuning
situations is well developed. Excellent control of pitch in all
registers. Superior listening and adjusting skills.
Blend/Balance - Blend and balance between and within
sections not achieved most of the time. General listening skills
not yet developed.
Blend/Balance - Blend and balance sometimes achieved
during less demanding passages. Individual players and/or
sections tend to dominate the ensemble’s sound most of the time
Listening and attentiveness are inconsistent, often neglected.
Blend/Balance - Good blend and balance, though at times
sections and/or individuals tend to dominate the sound. Problems
occur during extremes in volume and/or range, dynamic changes,
dense harmonic structures, etc. Good overall listening skills often
demonstrated.
Blend/Balance - Excellent blend and balance established
and maintained most of the time. Tonal blend almost always
uniform and consistent. Minor lapses in extended registers or extreme dynamic levels. Overall listening skills are well developed.
Blend/Balance - Superior blend and balance maintained at
all times both with and between sections. Tonal blend is uniform
and consistent. Extremes in register and volume do not detract
from superior blend and balance. Superior listening is demonstrated at all times.
Rhythm/Precision - Rhythmic accuracy and precision
Rhythm/Precision - Basic rhythmic accuracy and preci-
Rhythm/Precision -
Rhythm/Precision - Superb control of pulse, tempo, and
sion demonstrated in simple passages, although rapid or complex
passages are weak. Rhythmic uniformity inconsistent quite often.
Pulse not always controlled, tempos not maintained at all times.
Note accuracy is fair.
Rhythm accuracy, precision, note
accuracy and understanding of subdivision good much of the time.
Good awareness of pulse and tempo. Rhythmic patterns interpreted
correctly and uniformly much of the time. Problems occur with more
complex rhythmic patterns and structures. Ensemble cohesiveness
good most of the time.
Rhythm/Precision - Rhythmic accuracy and precision
are weak. Pulse poorly controlled. Uniformity is lacking. Note
accuracy weak.
are excellent. Pulse and tempo are under control most of the time;
lapses are infrequent and usually happen in more difficult passages. Rhythms interpreted correctly and uniformly; only minor
inconsistencies. Clarity and ensemble cohesiveness excellent
most of the time.
rhythmic patterns. Ensemble cohesiveness is outstanding at all
times. Precision and clarity are exemplary. Flaws, if any, are very
minor and quickly corrected.
Articulation/Bowing - Articulation/bowing technique
not well developed. Poor clarity and accuracy. Articulation/bowing styles neglected most of the time.
Articulation/Bowing - Articulation/bowing technique
correct some of the time. Articulation/bowing styles are accurate
and uniform some of the time.
Articulation/Bowing - Articulation/bowing technique
and style are good most of the time. Styles performed uniformly,
but lack consistency and accuracy. Complex articulations lack
clarity and control.
Articulation/Bowing - Articulation/bowing technique is
good most of the time. Styles performed uniformly much of the
time, but lack consistency and accuracy. Complex articulations
lack clarity and control.
Articulation/Bowing - Outstanding and comprehensive
knowledge of articulation/bowing styles and techniques. Wide
variety of articulations/bowings played with excellent consistence
and uniformity.
Facility - Technical facility is poor. Finger dexterity is under-
Facility - Technical facility is fair. Flexibility and dexterity
Facility - Technical facility good most of the time. Players
Facility - Technical facility is well developed. Manual dexter-
Facility - Technical facility is superb. Superior flexibility and
developed. Knowledge of fingerings is lacking. Concentration is
poor. Very little attention to the director.
are persistent problems. Good technique is demonstrated by some
players. Players pay some attention to the director.
demonstrate a good degree of flexibility and dexterity. Correct
technique usually demonstrated by many players. Concentration
occasionally inconsistent.
ity is excellent. Flexibility is quite good. Difficult passages are
well played with only minor flaws. Excellent concentration. Players are responding to director very well.
dexterity exhibited by entire ensemble. Only minor flaws happen
during the most demanding and complex passages. Concentration
is superior, creating an extremely solid polished performance.
Musicality - Little meaningful musical interpretation. Very
little use of dynamics. No uniformity in phrasing. Expression is
almost non-existent.
Interpretation/Style - Very little meaningful interpretation of musical passages. Style is undeveloped and inconsistent.
Tempos are inconsistent.
Interpretation/Style - Meaningful and uniform interpretation some of the time. Style is good, but can often be rigid
and mechanical. Tempos are consistent and stylistically accurate
much of the time.
Interpretation/Style - Good uniform and meaningful
interpretation most of the time. Style and interpretation are good
most of the time. Tempos are consistent and stylistically accurate
most of the time.
Interpretation/Style - Thorough and stylistically valid
interpretations at all times. Players exhibit a thorough understanding of style, tempos and interpretations.
Phrasing - Mostly mechanical and non-musical. Very little
Phrasing - Phrasing is basic, uniform and somewhat consistent
Phrasing - Phrasing is thorough and natural most of the time. Uni-
uniformity.
some of the time although not always natural; often mechanical.
formity of phrasing is consistent throughout most of the performance.
Phrasing - Phrasing is always natural and uniformly performed by all sections and individuals.
Expression - Some attempts at expressing melodic lines,
but with rigid, mechanical and uncomfortable results.
Expression - Dynamic shaping and contouring is sometimes apparent, but sometimes mechanical. Expression is often
mechanical. Communication is occasionally good with many
lapses.
Expression - Expressive shaping and contouring of phrases
and passages is very good with only occasional lapses. Expression
is seldom mechanical or contrived. Communication is very good
most of the time.
Expression - Clear, meaningful and expressive shaping of
musical phrases at all times. Expression is natural, sensitive and
highly effective. Communication is superior throughout.
Sensitivity - Little use of accents and stress. Little ability to
Sensitivity - Good use of accents and stress at times, but
Sensitivity - Excellent use of accents, stress, rubato, and
Sensitivity - Superior demonstration of use of artistic subtle-
perform beyond technical and mechanical aspects of music.
not always consistent. Some demonstration of ability to perform
beyond technical and mechanical aspects to create an aesthetic
product.
flexibility in phrasing most of the time. Good demonstration of
skills necessary to transcend technical and mechanical aspects
most of the time.
ties. Sensitivity is achieved throughout the performance.
Dynamics - Some attempts at altering dynamic but with
limited range. Dynamic changes not well controlled and lack
uniformity. Little communication of musical ideas.
Dynamics - Some successful attempts at basic dynamic
variation though limited in scope and range. Players demonstrate
some knowledge of artistic concepts but with incomplete success.
Players usually respond well to conductor.
Dynamics - Good use of dynamics with some lack of dynamic control. Good ff’s and pp’s but full dynamic range not completely explored. Overall performance is expressive, sensitive,
and tasteful most of the time. Overall communication of musical
ideas is very good.
Dynamics - Superior dynamic range with excellent control
at all levels. Thorough use of all dynamic levels with excellent
dynamic sensitivity. Superior use of musical techniques to create
a sensitive, effective, naturally communicated artistic performance.
Optional Rating
q
Gold
q
Silver
q
Bronze
Literature/Appearance - Inappropriate selection of
Literature/Appearance - The literature selected limits
Literature/Appearance - The selection of literature
Literature/Appearance - Good selection of literature
Literature/Appearance - A nearly perfect selection
literature that is too difficult or fails to allow the group to display
its musical abilities. Lack of proper posture, attentiveness, stage
presence and appearance.
the display of the group’s abilities and/or is too difficult. Most of
the members’ posture, attentiveness, stage presence and appearance is inadequate.
somewhat limits the group in displaying its range of music abilities. Most of the group has good stage presence and appearance.
that allows the group to display most of its performance strengths
while usually remaining within its musical limitations. Stage
presence and appearance are very commendable.
of quality literature that thoroughly displays the performance
strengths of a group that possesses an exemplary stage presence
and appearance.
14