Communication, whats it all about?

[BigW]

The Caption Heads used to for certain, and knew it was a very serious responsibility to get the right combination of people together that would result in as unbiased a result as was humanly possible. I'd discuss this in more detail over a craft beer any time, Jeff, Fran, or anyone who can come after an Alumni rehearsal to the Brew House.

[bythebooks]

Here is what the 2014 rulebook says about effect and communication:

Section 4.4 - Effect

Effect is dependent on the engagement of the audience. Composition and performer effectiveness require an active and proficient demonstration of all relevant skills. All effect judges must consider, recognize, and reward all component parts of the production in terms of the diversity, motion, energy, quality, and spirit of the concept, as well as the proficiency, excellence, and competence of the performer. The judge should understand that it is the sum of all elements of effect that create the most successful and entertaining performance. Each subcaption must be evaluated independently while recognizing their significant interrelationship. The judge is to reward the entertainment value of the design, composition, performers, and the combination of all factors visually and musically that communicate with and move the audience at any given moment and throughout the program.

Section 4.4.1 – Visual Effect (200 points)

Subcaptions include:

Design Effect (100 points)

Coordination and integration; Variety and Contrast; Pacing, Continuity, and Climax; Creativity, Artistry, Interpretation, and Entertainment.

Considerations: To what degree did the design:

- display effective coordination between musical and visual effects

- show creativity and originality in the use of the components

- offer consistent pacing through which the audience is engaged

- present effective climaxes and impacts

Performer Effect (100 points)

Involvement; Emotional Range; Artistic Expression; Qualities of Excellence; Showmanship.

Considerations: To what degree did the performers:

- display an emotional intensity

- deliver a high level of excellence to contribute to the effect

- demonstrate an understanding of all of their responsibilities

- deliver nuance and detail

Communication & Engagement (100 points – averaged with Music Effect)

Establish The Connection (Who, When, Where, and How);

Develop, Explore, and Sustain The Connection (Throughout the Performance); Resolve and Fulfill the Connection (Conceptually and Emotionally)

Considerations: To what degree did the corps:

- display an emotional intensity

- engage the audience

- demonstrate an effective level of communication with the audience

The judge is to consider all elements of design and performer effect within all elements of the corps and performance. It is the sum and blend of elements that communicate clearly and connect with the audience.

Section 4.4.2 – Music Effect (200 points)

Subcaptions include:

Design Effect (100 points)

Coordination and integration; Variety and Contrast; Pacing, Continuity, and Climax; Creativity, Artistry, Interpretation, and Entertainment.

Considerations: To what degree did the design:

- display effective coordination between musical and visual effects

- show creativity and originality in the use of the components

- offer consistent pacing through which the audience is engaged

- present effective climaxes and impacts

Performer Effect (100 points)

Involvement; Emotional Range; Artistic Expression; Qualities of Excellence; Showmanship.

Considerations: To what degree did the performers:

- display an emotional intensity

- deliver a high level of excellence to contribute to the effect

- demonstrate an understanding of all of their responsibilities

- deliver nuance and detail

Communication & Engagement (100 points – averaged with Music Effect)

Establish The Connection (Who, When, Where, and How);

Develop, Explore, and Sustain The Connection (Throughout the Performance); Resolve and Fulfill the Connection (Conceptually and Emotionally)

Considerations: To what degree did the corps:

- display an emotional intensity

- engage the audience

- demonstrate an effective level of communication with the audience

The judge is to consider all elements of design and performer effect within all elements of the corps and performance. It is the sum and blend of elements that communicate clearly and connect with the audience.

EFFECT DEFINITIONS

6.VISUAL EFFECT DEFINITIONS

It is the sum of all elements of effect that create the most successful and entertaining performances. Evaluate each sub-caption independently while recognizing their significant interrelationship. Reward the entertainment value of the design and performers and the combination of all factors visually and musically that communicate with and move the audience at any given moment and through-out the program.

DESIGN EFFECT

Recognize and credit the program, first measure the "whole" program design, and then measure the quality and effective introduction, development and resolution of ideas through coordination within the "whole". The sum always has greater significance than any one of its parts in isolation.

COORDINATION:

The ability of one or more ideas or elements to elevate the effectiveness of another idea or element.

Example: the staging and flag work around the trumpets helps to create and elevate the musical moment or the trumpets and staging help elevate the effective flag work: how all elements work together to heighten the effect.

INTEGRATION:

Consider all elements of the brass, percussion and color guard, the relationship within each section and within others section and among all the sections. Recognize how all elements successfully explore opportunities and effects through development, staging, placement and movement. Integration, interrelated and isolation are design choices that can further enhance the variety, interest and coordination of the program. There’s no mandatory method or amount of integration required; it’s one of several design elements and opportunities.

VARIETY and CONTRAST:

The effective use of stylistic choices visually and musically within the program through, but not limited to: tempo, meter, mood, color, use of space, form, body, equipment, movement and theme. Variety just for the sake of variety may not be successful and may not contribute to the entertainment value of the overall program.

PACING, CONTINUITY and CLIMAX:

The building process within each phrase, production and program. Consider how all ideas and events are effectively planned, introduced, developed and resolved at any given moment and throughout the program.

Pacing: The “when” factor of planned effects; includes, but not limited to, timing, tempo, mood, contrast and variety.

Continuity: The logical development and resolution of ideas and planned effects

Climax: The effective resolution of each important idea, event, phrase, production within the program

(Consider: the programming design and performers ability to communicate the requirements)

CREATIVITY:

A new and novel twist to an existing concept or a completely new approach, which enhances or adds value to the overall visual presentation. Recognize the use of new concepts of design or combinations of design elements which successfully evolve and coordinate within the overall program concept. Look for, innovation in any or all aspects of design through form, body and equipment. Consider all areas of effect as outlined on the sheet.

7.MUSIC EFFECT DEFINITIONS

The judge is to understand that it is the sum of all elements of effect that create the most successful and entertaining performance. Evaluate each sub-caption independently while recognizing the significant interrelationship. Reward the entertainment value of the design, performers, and the combination of all factors – visually and musically – that communicate with and move the audience at any given moment and throughout the program.

DESIGN EFFECT

Recognize and credit the program, first measure the "whole" program design, and then measure the quality and effective introduction, development and resolution of ideas through coordination within the "whole". The sum always has greater significance than any one of its parts in isolation.

COORDINATION:

The ability of one or more ideas or elements to elevate the effectiveness of another idea or element (example: the staging and flag-work around the trumpets helps to create and elevate the musical moment or the trumpets and staging help elevate the effective flag-work; how all elements work together to heighten the effect)

INTEGRATION

Consider, all elements of the brass, percussion and color guard, the relationship within each section and within other sections. Recognize, how all elements successfully explore opportunities and effects through development, staging, placement and movement Remember, Integration, interrelated or even isolation are all design choices that can further enhance the variety, interest and coordination of the program. There’s no mandatory method or amount require. It’s one of several design elements and opportunities.

VARIETY and CONTRAST

The diversity of instrumentation, color, texture, timbre, intensity and tempo utilized in the program. Variety just for the sake of variety may not be successful

PACING, CONTINUITY and CLIMAX

The building process within each phrase, production and program. Consider how all ideas and events are effectively planned, introduce, develop and resolve at any given moment and through-out the program

Pacing: The “when” factor of planned effects. Consider but not limited to: timing, tempo, mood, contrast and variety.

Continuity: The logical development and resolution of ideas and planned effects. It is the through line of the visual presentation which connects the musical and visual ideas and creates a seamless and connected presentation.

Climax: The effective resolution of each important idea, event, phrase, production and the program. These are logical effect opportunities.

CREATIVITY:

A new and unique variation of an existing concept or a completely new approach, which "enhances" or adds value to the overall musical presentation. Recognize, the use of new concepts of design or combinations of design elements which successfully evolve and coordinate within the overall program concept.

ARTISTRY

The ability to blend technical craftsmanship with expressive qualities in a convincing manner in any and all areas of effect. Also, consider detailing subtleties and nuances. Sometimes it's the combination of Big and Small ideas and presentation. Look for design and performer qualities that successfully display Artistry.

ENTERTAINMENT

The act of providing pleasure, diversion, or amusement while engaging the audience. Within DCA, it’s also the ability to, first, understand, then, connect and captivate the audience leaving them eager to experience the show again.

INTERPRETATION

The combination of creative writing/scoring and musical performance, which convey the appropriate style of the chosen musical genre. (consider: the programming design and performers ability to communicate it)

VISUAL AND MUSIC EFFECT - COMMUNICATION AND ENGAGEMENT

ESTABLISH THE CONNECTION

Consider, Who, When, Where and How the connection was created and achieved at any given moment.

DEVELOP, EXPLORE AND HOLD THE CONNECTION

Recognize the ability of the performers to hold and captivate the audience through-out the building process and program.

RESOLVE AND FULFILL THE CONNECTION

Look for, a sense of completion, conceptually and emotionally, at any given moment, through each phrase, production ending, and program ending.

TO WHAT DEGREE DID THE CORPS:

DISPLAY an emotional intensity at moments within the program and throughout the performance.

ENGAGE the audience at moments within the program and throughout the performance.

DEMONSTRATE an effective level of communication with the audience at moments within the program and throughout the performance.

CONSIDER: All elements of effect and the “emotional pacing” of the program. Creating the same types of effects (in terms of who, when, where and how) over time, may diminish the impact and connection.

Reward the blend and variety of effect elements that communicate clearly, and connect with the audience at any given moment within the program and throughout the entire program.

COMMUNICATION & ENGAGEMENT (C & E) - PHILOSOPHY & GUIDELINES

Facts:

- There is no absolute formula

- C&E is the combination and culmination of all the building blocks of EFFECT and typically combines some successful elements of performance ensemble and effect

- The judge must consider to what degree the program and performer successfully connects with the Judge (as an audience member) and audience through Communication and Engagement.

- At times absolute silence can represent the corps ability to effectively capture the moment and audience.

- We then ask to what degree, within Communication & Engagement, we try to see C&E, hear C&E, feel C&E and ENJOY IT

- The judge needs to feel C&E, react to C&E, and reward C&E

- C&E must be considered from the opening moments of the production, throughout the production, at select moments within the production, and at the conclusion of the production

- Under Design/Composition Effect, we look in more detail at when, where and why

- Always be open to a variety of approaches; your personal preferences are not to be considered

- The Judge can and should recognize and discuss Design Effect, Performer Effect and C&E independently and simultaneously while understanding their interrelation.

- Let the program and Corps direct the conversation; do not force the commentary; just to cover ever item on the GE Sheet

- The judge must consider the show from the perspective of a member of the audience, not necessarily from the perspective of an expert musician, designer, or intellectual/analytic adjudicator.

- The judge must “untrain” previously learned approaches to judging, and retrain and adopt a new philosophy in judging DCA.

C&E is NOT:

- C&E is not an applause meter

- The judge does not scan the audience to see if they appear to be engaged

Working Steps To Arrive at Scores

1. Utilizing all the tools, criteria and show dynamics at each show while arriving at the Top Box (DESIGN EFFECT), the Middle Box (PERFORMER EFFECT) and TOTAL.

2. Take a moment, deep breath and mental transition when arriving at the COMMUNICATION & ENGAGEMENT - an Independent Score and then Consider:

To What degree to the Corps and Performers

- ESTABLISH THE CONNECTION ( WHO, WHEN, WHERE, AND HOW )

- DEVELOP, EXPLORE AND HOLD THE CONNECTION (THROUGH-OUT THE PERFORMANCE)

- RESOLVE AND FULFILL THE CONNECTION ( CONCEPTUALLY AND EMOTIONALLY)

[ajlisko]

Here is what the 2014 rulebook says about effect and communication:

It would appear the the first sentence in Section 4.4 and the 2nd bullet in what C&E is NOT are contradicting statements ... no?

Edited September 4, 2014 by ajlisko

[Fred Windish]

Frankly, the entirety of the verbage is FAR too excessive. It creates many more 'gray areas' than necessary. There is NO way, during an 11 minute performance, anyone can fully analyze the relationship of each part to what is being witnessed live, without the benefit of replay and deeper study. In other words, the entire category is destined to be a free-for-all, subject to constant change. But, I've never been a drum corps judge. Maybe there are a few clear, quantifiable objectives in there that give one confidence, but, as of fan, I just want to applaud as much as possible.

[androidx2]

Frankly, the entirety of the verbage is FAR too excessive. It creates many more 'gray areas' than necessary. There is NO way, during an 11 minute performance, anyone can fully analyze the relationship of each part to what is being witnessed live, without the benefit of replay and deeper study. In other words, the entire category is destined to be a free-for-all, subject to constant change. But, I've never been a drum corps judge. Maybe there are a few clear, quantifiable objectives in there that give one confidence, but, as of fan, I just want to applaud as much as possible.

Totally agree. Way too many gray areas, which can explain weekend to weekend swings in this caption. Brass/Percussion/and Color Guard are simple. How is the design, and do they perform it well. But this effect caption seems to be all about, how does the judge "Feel" about certain things.

I will say this though, after reading through the whole post above, I truly have no idea how Cabs didn't win the effect caption. They had more of what is being asked for in that text than any other group. Variety, Integration, Highs and lows, visual communication of the music (dancing/choreo) and artistic staging of performers than any other show.

[littleBknown]

I will say this though, after reading through the whole post above, I truly have no idea how Cabs didn't win the effect caption. They had more of what is being asked for in that text than any other group. Variety, Integration, Highs and lows, visual communication of the music (dancing/choreo) and artistic staging of performers than any other show.

I will give it to Cabs..they had the communication per the book in this case.

I think where they fell short is here:

Design Effect (100 points)

Coordination and integration; Variety and Contrast; Pacing, Continuity, and Climax; Creativity, Artistry, Interpretation, and Entertainment.

Considerations: To what degree did the design:

- display effective coordination between musical and visual effects

- show creativity and originality in the use of the components

- offer consistent pacing through which the audience is engaged

- present effective climaxes and impacts

[GE Guy]

9 judges were given the difficult task to rank and rate 4 Class A corps and 10 Open Class corps, not taking anything into consideration other than the performance of the moment and the criteria on their specific sheet.

DCA (= the 10 voting members) revise the rules every two years and then all agree to abide by them.

The judges are picked by the Chief Judge for Prelims & Finals. Then, we trust these experienced men & women will do their absolute best to get their caption right.

Fans, on the other hand, watch "the shows", and are able to decide, for themselves, which corps they felt was the best, and which was 2nd, 3rd, etc. Some are more informed than others, but all have some bias.

For anyone to think their OPINION is more valid than the 9 judge system, with all of the weighting and averaging that the member corps have agreed upon, would be ludicrous. It funny that some say things like "undoubtedly" or "everyone could see" or other absolute statements of fact, when it's really just their opinion.

DCA did their best. The Buccaneers are the 2014 DCA World Champion. Case closed.

The judging caption heads (visual, percussion and brass) - along with the judging coordinator - select the panel for prelims and finals based on the work of the judges over the course of the season.