.: Understanding the Job and Getting Acquainted

Regardless of your situation, you will be dealing with a variety of people who will be essential to the success of your guard. One of the most important ingredients for your personal success in dealing with these individuals is to understand your particular place within that group, and then learning the art of effective communication as you deal with them. The points discussed below may vary for you depending upon your particular role within the guard. Each and every one of you wants to succeed. Make no mistake about it; the skill of dealing with people in a positive and effective manner is your key. Please don’t approach this segment with anything but an open mind. If you find yourself feeling a little “foolish” about some of the things we’re recommending, just sit back and reflect on those folks who always seem to “get what they want” and reflect on how skillful they are in the art of “managing” people.

DEALING WITHIN A SCHOOL SPONSORSHIP
Schools today will no doubt require all of the people working as adjunct faculty to be fingerprinted and provide a health certificate. Know this in advance and be prepared for this eventuality.

• If you are a new instructor hired by a school to produce their guard program, take the time to make certain you’re clear on all aspects of the school’s expectations, your financial base in terms of production costs, general values and attitudes, their expectations for their students and from you and any other instructors.
• If you are part of a Marching Band program, remember that it is the Band Director where the “buck” stops. Be certain you are fulfilling his/her goals & needs. Be sure to include the Fall Band in your program development. This is no doubt his/her priority. Winter Guard may be secondary to the band program.
• Become friends with the custodial staff. Often they literally hold the key to your rehearsal opportunities.
• Meet with the Athletic Director. Be on the same team. Don’t have disputes over use of the gym or any other facility you might need. Invite him/her in to see the quality of your physical development program so he/she can recognize that you are actually both on the same page in terms of the welfare of the students. In some cases, the Athletic Director could be a good resource for you in case of injuries, etc.
• Take the proper steps to work through the Administration to get rehearsal facilities. Know now that you will be sharing with a myriad of other groups and be prepared to compromise. You can utilize the cafeteria or multi- use room, the dance room (if there is one) and of course the gym. Be certain all the paper work is in order for the use of these spaces. Never assume that it’s being done for you.
• If you are in a school setting, and you have a Fall Marching season to deal with, figure out how you can train, prepare and condition your students for your Winter program through the Fall season. Plan your costumes, props and flags well in advance so that you can be cost effective in terms of using as much as possible from Fall into Winter. Saving money is very important in all programs. Proper training in the Fall can short cut your training time when you start the Winter program.
• Put your program plan down on paper. Include your goals (both short and long term), your educational plan for the students, your production plan and any other information that will impact your overall success. Give this plan to your immediate superior, the Band Director, and to any other person who may impact on your success. While you never should go over the head of the Band Director, you should make it your business to find out all the names of folks who would be important to your progress and work to keep them updated on your program.

DEALING WITH GUARD DIRECTORS
Many of you will find yourselves in a new job, working with and/or for another person(s). Don’t assume that this individual will know everything we’re telling you in this book. You may need to be the one to initiate communication on a great many levels.

• Be certain that your job description is clear and in writing. Assure that the Director’s expectations are fully understood, and you are confident you can fulfill them. Address any areas about which you are concerned.
• Be certain you understand your rehearsal obligations, the time involved in each rehearsal, who you will be working with in terms of sharing time, the line of accountability/authority within these rehearsals, etc.
• Be sure you are clear on the frequency and location of staff meetings, as well as your participation within these meetings.
• Be sure you know all you need to know about budget, your limitations, your salary, etc.
• Inquire about rehearsal sites and any limitations you might ne ed to know -- ceiling heights, whether the floor is wood or cement, size of the room, any break down and/or set up that may be required. (Wood floors are the safest and best for students in any movement program.)
• Ask about the unit’s standards and values relative to staff.
• Have a clear understanding of the goals for the organization.

DEALING WITH HIGHLY SUCCESSFUL DESIGNERS/INSTRUCTORS
If you are fortunate enough to be placed on staff with one of the many highly successful designers or technicians, then your on-the-job training should be great. Clearly they didn’t get there without proving their talent and value over a long period of time. I’m sure that it’s not necessary to tell you that they deserve the respect that is their due. You might not always understand immediately why they make the choices they do, but don’t forget that they’ve been doing this for a long time and have learned effective methods and techniques. Watch for an opportunity to “pick their brain” when you can, and enhance your own knowledge base through their experiences. You might not see them taking “all the steps” we’re asking you to take, and often that’s because those “steps” have become second nature to them and have been integrated into a broader approach. That doesn’t mean these steps aren’t important for you.

DEALING WITH BOOSTER CLUBS
Booster clubs are a critical part of every organization. For the most part they will fund your program, be the source that will build props, sew costumes and flags, be the support staff for the set up and tear down of each show and in general be there for their own kids and for the guard as a whole.

Treat this body of supporters with respect and appreciation. Keep them up to date on how things are progressing. Give them ample time to plan their time for the production of your props, flags and costumes. Let them know the times of year when money will be most needed for production and/or travel allowing them to plan fund raisers appropriately.

Like any other aspect of your life, you are always well served if you are clear and up front with any person who will impact on what you do. Be certain the parameters are clear relative to their contribution. They must understand that they will not be a part of the creative process nor may they be the “rule makers”. These responsibilities fall to other parts of the organization. In most cases, these clubs are willing and eager supporters who will function best when they are “included” in the information net-working of the progress of your plans for their kids.

Remember, the words “Please” and “Thank you” are golden words. Use them often.

UNDERSTANDING THE GUARD’S HISTORY, GOALS & PERSONALITY
When you first come onto the scene, you may be filled with eager ambitions and fabulous ideas for all kinds of shows and concepts. Most new young instructors have been planning for years what they will do when they have their own guard. Please be cautious, however, because this, like everything you ever learned in this Activity, is a process that must be built into over time.

The getting acquainted period will be of gigantic service to you. Find out all that you can about the group’s history, their prior instructors, the strengths and/or weaknesses of their earlier programs or the personnel involved with their program. Learn about whether this group is accustomed to “winning” or if they have struggled with limited or disappointing results, or if they will be new to the competition scene. Learn all you can about the “personality” of the organization, the other staff members and the performers. Are they very conservative? Are they risk-takers? Are they aggressive in nature or are they subtle in character?

Whatever your personal artistic vision is, you are best served if your beginning efforts are geared to make everyone comfortable by letting them “be themselves” as much as possible. Earn their trust and respect before you introduce them to subtle changes that will ultimately lead to your “vision”.

BEING A TEAM PLAYER
Nobody can produce the winter guard program in a vacuum. There are countless people involved in this process. Regardless of your role in the plan, you must be ready to be a teamplayer.

The most significant team effort for you will be with the Staff of your guard.

Compromise, trade-off and patient communication will become the by-products of your existence.

Learn how to listen, hear and process what others have to say and then respond to them with patience, logic and sensitivity. Get them to be on your side through the act of according them the courtesy and respect of hearing their points of view. If there are issues upon which you feel you cannot yield, be sure to tell them clearly and quietly why you are resistant to their suggestion. If you are the “rookie” on staff, then your role will require a great deal of listening and the points made within this book will be fine tuned to your specific place on the staff.

The most successful team efforts occur within the staffs who meet in advance of each phase of their program and plans rehearsal content, reaffirms their goals and listens to one another. It then becomes a growing and evolving process which promises a renewed level of respect, trust and enjoyment.

No matter where you are in the “chain of command”, this is a job that requires incredibly hard work and patience. Remember, you are an educator first and an artist second.