Starting off the Competition Season with CGE

| January 21, 2011 | 0 Comments

Each year, whether novice instructor or experienced, the start of the competition season can be overwhelming.  It seems things just pile up as you try to squeeze in one last 16 count phrase, explain the competition day process to new performers and train a parent volunteer support crew.

It’s easy for something to get overlooked.

CGE has a growing library of practical articles to help get you organized for the start of the season.  But we know that few instructors have the time right now to search the site and wade through sections and titles.

So here are some links to articles and documents that might be useful this time of year so you can quickly scan, find exactly what you need and get back to teaching!  Hope it helps!

First Show – Tips and Management

“First Show Tips” by Cheryl Myers (1/2010) Important tips from our Movement Chick about preparing your performers for their first competition.

“Finishing Touches” by Darrick Betro (8/2007) Don’t overlook small details that can have a big impact!

“Cell Phone Saavy: Preparing Your Communication Hub for Competition Day” by Catina Anderson (1/2010) – helpful reminders for what important numbers to program into your phone before getting on the bus!

“Between the Door and the Music” by Chris Casteel (3/2009) don’t overlook the importance of practicing what happens from the time your guard enters the doorway of the gymnasium until the set on the performance floor.

“Equipment Survival Kit” by Catina Anderson (1/2007) A competition day essential!

“Avoiding a Penalty” by Catina Anderson (2/2007) Don’t overlook tiny details that can’t result in big penalties!

“It’s Show Time!” by Meghan McCourt – tips for performers getting ready for their first show

Important Names and Contact Numbers Form (a .pdf you can print)

Show Design:

“Mapping out your Show” by Catina Anderson (1/2007) It may be a bit late to be starting with this one but if you don’t have a clear plan for your show design it may be worth a read.

“Equipment Transitions: Four Problems to Avoid” by Catina Anderson (2/2007) – four of the most common drill/equipment transition problems – if you can avoid these you’ll be one step ahead!

“The Evolution of a Show Through Time: Helping Your Students Deal with Change” by Catina Anderson (2/2007) – Tips for helping prepare your students for those inevitable changes that will occur throughout the season

“Put on Your Audience Eyes” by Cheryl Myers (2/2010) – tips from our very own “Movement Chick” for avoiding some potentially embarrassing choreographic mistakes.

Expression and Showmanship

“An Exercise in Expression” by Catina Anderson (3/2009) describes an exercise from bringing out student understanding of showmanship and expression.

“Let’s Face It” by Chris Casteel (2/2010) another article on teaching expression and showmanship!

Volunteer Management:

“The Parent Factor” by Chris Casteel (12/2008) Chris discusses tips for creating a good relationship with parent volunteers.

“So You Volunteered for Floor Crew…Now What?” by Catina Anderson (2/2007) originally written as a handout for parents that helped with Anderson’s floor crew to help answer frequently-asked questions.

I hope that makes it a little easier to find some of the time-relevant information we have buried in our library here at CGE.  We’d love to hear how you use it or if you have your own experiences to add!  Contributions are always welcome!

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Category: From the Archives, From the Archives, Latest News

About the Author (Author Profile)

Catina Anderson is the founder/editor of the Colorguard Educators blog. Color guard has been part of her life for almost 25 years. She began coaching in 1994 and worked with the Broad Run High School color guard in Northern VA from 1998 until 2010. She has also written for Halftime Magazine and served on the Executive Board of the Atlantic Indoor Association. A former teacher, she enjoys sharing what she has learned and hopes to encourage others to share as well. Together we can create even more positive experiences for performers and help to collectively strengthen marching arts activities worldwide.

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