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Question #1

In our activity, it’s not very uncommon that our designers & instructors have been educators with different corps. However, you are a member of that Unique Category; “there are only a handful that have!” What does it mean to you to have history as teaching both All-Male Corps?

I honestly hadn’t thought of it until you asked this question! I think it is an honor and a blessing to be a part of the 2 all male corps in DCI.  I spent about 7 years teaching the Cavaliers and those were some of the best summers of my life.  This summer will be my first at the Madison Scouts and I am so looking forward to it.  I might be the only female instructor that has worked with both corps… how cool is that?   I love playing the role of big sister, mother, and friend to my students, and in being one of the few females around you learn to enjoy every moment. 

Question #2

When your role was only as “Drum Corps Fan,” were you one of the many in the sea of fans for The Madison Scouts?

I was always enthralled by the power the Madison Scouts would use to blast the audience.  They have such an enormous fan base and support from the crowd… I always found that so inspirational.  One of my favorite Madison Scouts show was the year they did the Pirate show… I LOVE that guard!!

Question #3

This interviewer TRULY BELIEVES that the activity will get to see some of that 90’s Magic from pageantry once we see the 2010 Madison Scouts Production. With the Brilliant Executive, & Staff Position Restructures, could we hear from you what your position means for the Madison Scouts Color Guard?

My hope is that our great color guard staff will bring that 90’s magic back to the corps … and then some!!  Bryan Sutton, Jim Moore, Joshua Benningfield, Kaysey Thompson and I are planning on taking the guard program to the next level and developing the strength, masculinity, and power that only an all male guard can bring.

Question #4

What are your feelings on the “Prospects” of this years’ 2010 Madison Scouts Guard Membership? What can fans look forward to seeing from the guard?

One of the most exciting things about the 2010 guard is that there are so many dedicated returning vets coming back to the corps this year.  These guys obviously love the Madison Scouts organization and are really excited about the upcoming changes that are taking place.  We hope to display a great sense of passion and masculinity to the program this year in taking the guard program to the next level in 2010.

Question #5

When talking about successfully nurturing the psychology of the male or female color guard performer you are a true “Master Artist!” What would you say are the 3 Greatest Similarities & 3 Greatest Differences in both personas?

I think there are definitely some things that are different about all male vs. mixed vs. all female guards.  The 3 greatest similarities are:  desire, passion, work ethic.

The 3 greatest differences are: physical strength, less crying at practice J, and a sense of brotherhood and team. I love teaching both male and female color guard folks for different reasons… but there is a special quality about the strength and power all male can display. 

Question #6

Instructing Color Guard not only in the states but abroad as well, what are some of the similarities & differences in the student & how does understanding that help you to be a better teacher?

I have been blessed to teach the Aimachi color guard from Nagoya, Japan since 1996.  What a unique opportunity that is.  The Japanese people have such an incredibly strong work ethic that goes unmatched.  They also have such a respect for their equipment, instructors, and each other that can sometimes get lost in the American shuffle.  They have a ritual that they do at the beginning and end of each rehearsal.  At the beginning of rehearsal…the members will turn to the instructors and ask them to “please teach them well” today, and they turn to each other and say “please work hard today”.  At the end of the rehearsal, they do a similar ritual in saying “Thank you” to their equipment, instructors, and the rest of the team for all of their hard work.  It is such a nice way to begin and end rehearsals.

Because I am not very fluent in Japanese, I had to figure out how to communicate with them without having a common language.  It is amazing how universal the language of color guard is.  This made me a much better teacher on so many levels.

Question #7

Curious… With the exception of the Holy Name Cadets, every other group that we’ve known you to participate with, you’ve been with that organization for no less than 4 years. Just to name a few; Cavaliers, Pride of Cincinnati, BLAST, Aimachi, Crown, Center Grove… What are the characteristic requirements for your “Wanted Investment” to a program?

I never really thought about that either!! It is so true that the investment over time is so important to me.  I recently took over the color guard program at Carmel H.S. in 2003, it has been a very challenging but rewarding experience over time.  I really believe that it takes at least 3 years to start seeing the results you are working for when taking over a program.  It does not just happen overnight, it is a process of teaching the members, the parents, the administration, the community how to be a top notch organization.  It is WELL worth the investment if you have the patience!

Question #8

Being such a WONDERFUL Role Model, what would you MOST want to say as “Words of Encouragement,” to all the up and coming female Master Teachers?

GIRL POWER!! I feel like our activity tends to be somewhat dominated by very talented male designers and instructors.  It’s strange because so many color guards are more female based as far as members go.  So the ratio of female members becoming instructors seems a little out of whack to me. 

I say follow your dream!! I never thought 20 years ago that I would have been able to make a “full time” living out of being a color guard instructor.  I know that I am lucky in that way, but with a lot of hard work and dedication it was possible.  I always resented when people would ask me when I was going to get a “real” job, I love what I do and work with some amazing and talented people every day building young people’s character and confidence… what isn’t “real” about that?

Question #9

In this Current Age of “Pageantry” what are you trying to help the color guard performer more comprehensively understand about their specialty that could aid in advancing educational or professional performance opportunity?

Throwing flag, rifles, and sabers up in the air together is not ultimately my goal, although that may seem kind of strange to hear me say.  Teaching students how to love themselves, trust themselves and their team, and learn that working their butts off toward a common goal will make their self confidence soar and in turn make them stronger people… that is my goal.  Rifles, flags, and sabers happen to be the beautiful tools we use to achieve those goals J

Well there you have it: straight from the “Queen” herself. On behalf of every person at MyBandStaff.com and our faithful readers we thank you for your time and presence. Best of Luck to you and “The Madison Scouts” in…

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This “Hi-Stepper” has experienced various levels of Academic instruction and personal achievement.  His body of work exudes excellence and will continue to be note worthy.  We are proud to turn our attention to a seasoned professional in Hurst Texas; Mr. John Alstrin, Associate Director of Bands at L.D. Bell High School.  Before providing the interview, we preface with a few of his “Hi-Steps”.

·         A graduate of the illustrious Texas Christian University in Fort Worth Texas; and a Former Head Drum Major of the Marching Band

·         Did his student teaching at LD. Bell High School

·         Initiated his first professional run with the World Renowned Lake Highlands High School Dallas, Texas for 6 years; 2000 – 2006 where his focus was at the high school level for 5 years and middle school for 1 and all 6 having elementary school obligations.

·         Moving to the University of Houston to undergo and complete a Masters Program and attain professorship and all the while having the opportunity to teach at The Madison Scouts & Cavaliers Drum & Bugle Corps.

·         Mr. Alstrin has ended up right back where he did his student teaching and is currently the “Associate Director of Bands at LD. Bell High School!”

Question #1

What sealed your LOVE for Music and do you remember how old you were when you knew?

I knew that I loved music in the 8^th grade.  I remember playing Joyant Winds, thinking that it was the coolest song I’d ever heard.  After that the goose bumps started to pop up more often when I heard a great recording or connected with a song that we were playing in band or jazz band.  What sealed my love for music was realizing that this feeling was intensifying.  As music became more challenging and my abilities to perform, understand, and appreciate it grew, I knew it was my calling to be involved with music.  So, about my junior year of high school I decided to go to school to study to become a band director.   

Question #2

As related to truly understanding what “Music Performance Education” means, what has your “Ever Evolving Perspective” been like for you? Please take us on a journey that chronicles your humble beginnings in music performance education to where you are currently in music performance education.

First of all, I think that your wording of this question is terrific.  Music Performance Education really is what we teach.  There are inherent values and undeniable lessons that we learn in our study of music and in my case band, but realizing that what we are teaching is so largely about preparing performers is a key aspect to Music Education.

I would say that my perspective has been molded by my experiences that began with my student teaching at LD Bell High School in 2000.  I student taught with Joe Grzybowski, Jeremy Earnhart, John Pollard, Steve Madsen, and Christine Belle.  The Bell cluster was experiencing growth and success in the marching and concert band venues; the Bell band performed at The Midwest Band and Orchestra Clinic and the Bedford JH band was the BBB Honor Band.  The marching band was very successful in local area contests and was just starting their participation with Bands of America.  In my student teaching I learned to listen.  I listened and watched teachers who were achieving at a very high level.  Coming from Kansas, I had never seen fundamentals or team teaching.  Texas band was truly a mystery to me and I was fascinated.   

When I finished my student teaching with Steve Madsen in the Spring, he sent me to visit with Bob Brandenberger who was teaching at Liberty Junior High in Richardson.  Mr. Brandenberger had taught previously at SMU and before that was at Lake Highlands High School with Mr. Eddie Green.  Mr. Brandenberger and I talked about teaching, his time at SMU, and band in general.  I then went over to Berkner High School and met with Mike Brashear and observed his band.  While I was in the neighborhood, I dropped in on an old TCU friend, Laura Appling, at Lake Highlands High School.  She introduced me to Marion West and before I knew it, I was having lunch with the Lake Highlands team.  This led to my first job.

I began working at Lake Highlands High School in the fall of 2000.  I had taken a great job for any beginning teacher, but I really feel as though the universe crafted this JUST for me.  I got to assist with the marching band, teach the jazz band, and most importantly, teach two beginning band classes.  I would sit with Marion and ask her questions about what and how to teach beginning band students and that is worth its weight in gold.   After teaching with the Lake Highlands Team and getting to learn from teachers such as Marion West, Ramsey MacDonald, Billie Nero, Robin Moffit, Joyce Boelshe, James McNair, Jason Williams, Fernando Medina, and Randy Phillips on a daily basis.  The teachers of the Lake Highlands team were aggressive, talented, detailed, and worked VERY hard.  This group was not afraid to put in a long day and then go out to dinner to talk shop, music, and life in general.  I think this is where I cut my teeth and picked up the Texas band director work ethic.  I say Texas because in my experiences I have seen dozens and dozens of teams who fit this same description.  I think this is why Texas bands are what they are.   Texas band directors are competitive, dedicated, and very proud people. 

After 6 years with the Lake Highlands cluster I decided to return to school to continue my study of music in the University environment.  I left my salary and benefits, took on a TA position and began my studies at the University of Houston under the tutelage of David Bertman, John Benzer, Tom Bennett, and Eddie Green.   After my first year there I was hired as an Assistant Band Director and operated in that position for two years.   To say that my experience at U of H was anything less than life changing would be an understatement.  Maybe the most significant aspect of this change was having a clearer vision on the overall musical development and growth of students from 6^th grade through college.  Understanding the different levels of ability and potential at both ends of the spectrum allows for a deeper and more meaningful connection with all of the students I encounter. 

I am currently teaching on a team of directors at LD Bell High School and am having a blast!  I missed teaching beginners and working with this age group.  I wasn’t “ready” to be a full time college professor at this point in my career.  It was a GREAT job, and it was very difficult to leave it.   

Question #3

What were the similarities & differences when you transferred from High School or just Public School Curriculum, into the Drum Corps World?

Working with the Madison Scouts in 2006 and with the Cavaliers in 2009 both provided opportunities to compare public school, University, and Drum Corps approaches to teaching music and performance.  Some of the similarities consist of the dedication to fundamentals and an understanding that with the development of proper fundamentals, skills, and techniques the music comes together at a higher level at a faster rate.  It is truly amazing how this is becoming more and more evident in the parking lots of Bands of America and DCI events.  More groups are catching on to the ensemble skills and fundamentals that can be traced back to Mr. Green in the 1960’s at Lake Highlands High School.  

One of the biggest differences is the attention to the individual. My observations are that the groups, be it public school or Drum Corps, that focus on the individual with concerted effort and structured listening and specific development have the most success.  And that is happening more and more.  There is only so much that you can do with grenade-like comments to a general area in a large ensemble.  

Question #4

From your perspective.. Woodwinds to Brass to Percussion, in Elementary School, Middle School, High School or University level, give us some similarities that link all these degrees of difference in each of the four stages of development.

The link, in my opinion, is fundamentals.  I’ve heard and seen very talented beginning teachers and college professors working: mouthpiece and neck on saxophone, mouthpiece and barrel on clarinet, head joints on flute, brass mouthpieces, hand positions, fulcrums, legato strokes, lip slurs, articulation, etc. etc. etc. You see the best teachers doing the SAME exercises with students at all levels of schooling. The key is being able to diagnose an older player with the fundamental that they neglected to be taught properly in the beginning and then knowing the limitations and potential for this to be corrected or re-taught.

I do feel as though you can go deeper into concepts with older students.  And that said … too many teachers are overly cautious conceptually with their younger students.  6^th graders are smarter than most teachers give them credit for.  The most important thing here is knowing how to layer concepts in a way that builds grade by grade, level by level.  And that takes awareness, practice, and of course trial and error.    

Question #5

Do you have an idiom preference…. concert, orchestral, jazz, marching, drum corps?

I would have to say that one of the reasons I love my job is that I get to do a little bit of everything.  As soon as I get too deep into one I usually take a break from it and then go back.  If I had to pick, it would be jazz.

Question #6

What is your history with LD. Bell & what does it mean for you to be in the trenches with the program now?

I have given a little bit of the history in a previous answer, so I will answer the latter.  For me, being in the trenches is significantly meaningful.  Being at the school where I student taught, 10 minutes away from TCU where I went to school, buying a house in the area, raising a family and scouting out elementary schools in the district, all of that is very fulfilling to me as an educator and a father/husband.   I am on a team of unique talents and I thoroughly enjoy working and being with the other directors, lesson teachers, field techs, etc. The three feeder Junior Highs are set up in a 7-9 grade model and have homogeneous beginning classes and amazing directors.  It is really a dream job. 

Because of the unparalleled success of Jeremy Earnhart and the Bell directors for the past ten years in the marching arena, we have tremendous shoes to fill and feel that pressure and responsibility to the community and our stakeholders past and present.   We enjoy the challenge.   

Question #7

Do you believe that “Music Education” EVER has to fear being taken out of school curriculum?

Yes, I do.  I’m glad that there are people that are motivating to protect Music Education on a daily basis.  I think that all in all, I trust that there is enough fight to counter the financial pressures to keep this from happening.  I have heard of schools losing programs in California.  It feels like a death in the family when I hear stories like that. 

Question #8

What is you & your Head Director, the renowned Mr. Van Mathews vision for LD. Bell? What should we be expecting from you guys in say the next 5 years

The vision is to do our best and to keep the program growing and moving.  We are truly standing on the shoulders of Giants.  Realizing that this momentum needs railroad track in front of it to keep rolling is enough to keep us all busy.  We are simply trying to maintain while continuing to develop all aspects of the band program on the whole. 

Question #9

To the THOUSANDS of Band Directors, in our country alone, what would you say to your colleagues about the reason or reasons that makes you happiest for making the decision to be an “Instrumental Music Educator?”

When I thought about what I wanted to do for the rest of my life as an 11^th grader, I thought to myself … I want to play music every day.  That just sounded like a fun job to me.  And it turned out that I was right.

Question #10

Describe for us, a moment, that was a major impact to a successful professional development… and did it spill over positively to your personal life?

Realizing that I had to follow through with kids.  That they needed it.  That they might not get that from anyone else in their life.  And yes, that is spilling over into my role as a dad.  Being a dad is making me a better teacher and being a teacher makes me a better dad. 

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Winter guard isn’t just for high school any more. In fact, college color guard and winter guard can actually help you succeed academically in higher education.

For years, college administrators have known that involvement in student activities and student organizations actually help students’ transition to the college environment. Today, college winter color guards provide important social connection, mentorship and friendship that help reduce the anxiety of freshmen transition. Yet many high school color guard members don’t continue their involvement to college and college administrators are now promoting their students’ continued color guard involvement.

Because college is more expensive than ever before, parents and new students often make the decision to focus all of their efforts on class work and academics. It seems intuitive, but continued research in college and universities indicates that the closely-knit bonds and community created in small group interactions actually helps academic transition. Students who get involved in college activities like color guard and marching band, actually do better than those who do not get involved. Staying involved in color guard acts as a bridge between high school and college. Focusing only on academics can stress students out, and without connection to the college experience beyond the classroom students miss out on important life lessons and friendships.

Others believe that color guard in college will be more expensive than in high school. However, this often isn’t the case. Many college marching bands offer stipends that actually pay students for being in fall marching band. In many cases, the money earned from marching in the fall can pay, or nearly pay for, the winter guard activity. Today, there are more and more college color guards hitting the gym floor, and they’re good! Winter Guard International recently featured the winter guard activity in college in its magazine FOCUS. College winter programs are winning regional and national awards.

Involvement with college color guard may be most important for students who commute to college rather than living on campus. Recent data from a college in southern California indicated that commuter students who lived off campus were nearly twice as likely to drop out of college by their junior year. When asked why they left the college environment, these commuter students indicated they were not involved in college activities and never made a connection to the college. However, students in marching band and color guard actually report a stronger connection, better grades and happier college experience.

If you’re debating whether or not to stay involved with guard in college, give it a try. If nothing else, give it a year. You’ll be surprised to see how guard can translate to quicker transition to college.

Randy Timm, M.S. Ed
Director of Student Life & Leadership
San Diego State University

1975…. PBS broadcasts, for the first time, the Performance Society of Drum Corps International; and wouldn’t you know that the first Champion identified by a television audience is the Madison Scouts! As interesting as that point is, since that 1975 debut, there have only been 7 drum corps that have ever earned that coveted title of Champion for a Drum Corps International Finals: Blue Devils, Holy Name Cadets, The Cavaliers, Santa Clara Vanguard, Phantom Regiment, Star of Indiana, & the Madison Scouts.

With the reunion of family, and a collection of some of the activities MOST ACCOMPLISHED, INNOVATIVE, and SOUGHT AFTER Designers & Educators, the 2010 Madison Scouts, will for sure be pushing both the competitive and creative envelopes the way they did when announcing themselves some 35 years ago in Philadelphia.

Being THE perennial powerhouse of brisk, up-beat jazz or intense Latin fares, I believe it is fair to say that this summer’s audiences will be DAZZLED by the BEST of what we all expect and GLUED to what we couldn’t predict from this all male corps; a production that is entertaining, innovative, technically finessed, and athletically achieved with MASTERY & POWER! It has always been stated that from its ashes the phoenix will rise stronger and wiser. This analogy couldn’t be more truthfully told than by the history of the Madison Scouts 70 year lineage.

While it has often appeared as if this corps has taken back seat to their competitors, the truth of the matter is that this organization has been at the very epicenter of its’ competitors never ending push forward.

Being anchored in philosophical and educational symbiosis, Madison is Royal Blood that WILL NEVER and CAN NEVER die! This is an organization that has once again produced some of our MOST REVERED Pioneers: Dan Acheson, Scott Chandler, Charlie Gumbert and Mr. Jim Mason to name a few. I am proud to say that this is one Drum Corps Fan who can’t wait to see what the corps has in store, and I’d like to end by saying….

“This is the summer of the Madison Scouts! This is the summer that audiences all across the U.S. and around the world are not only reminded, but also inspired, by the true vision of our activities founders. And it is because of our love, and anticipation of something memorable, that the Madison Scouts will NEVER walk alone!”

“food for thought”

To Perform – The Performer – Achieved Performance

As an educator or a student, part of the lesson plan over the individuals development focuses on “How to Perform, What makes the Performer, and How to Achieve the Performance.” It is absolutely one of the MOST layered concepts a person can learn. But if, and when one does, is guaranteed a wealth of opportunity from life.

During my entry, level development with the 3 concepts, like any beginner, was perplexed by the “When of What “ I was supposed to focus on or expected to achieve. It was often times a Total Gamble, and you have to admit that sometimes an instructor will barrage the student with such directives as…. “COME ON…. PERFORM! MAKE SURE YOU’RE FOCUSING ON THE PERFORMANCE! COMMITT TO BEING A BETTER PERFORMER!” For the performer, this is a very scary and frustrating place!

Through introspective study, invested mentors, and fabulous opportunities, The “Student Performer” can achieve that revered level of performance that is the ideal point of development that every performer aspires for: MASTERY! There are several stages that a Performer must go through before they can achieve Mastery. The very first stage is complete “Truth In Understanding!” And the Base to any “Level of Understanding” resides in the clarity of the concept’s definition:

Perform:    To carry out or execute an action or process; especially, to give a public exhibition of skill, as in music, drama, magic, etc….

Performer:    One who performs anything; particularly one who takes part in a public entertainment or exhibition.

Performance:   The act of execution, accomplishment: a formal exhibition of skill or talent.

At the surface level, one would see no difference in the meaning of these three terms? It seems to be a matter of semantics. But when you give the definitions, provided by WEBSTER’S New Twentieth Century DICTIONARY Unabridged Copy, a closer look you’ll find that it makes a world of difference.

Each definition gives specificity to particular parts of an entire “FACE!” The performer must understand what it means to perform, before they can achieve the performance; and the entire while understand that their role as the “Performer” is as the vessel through which one performs and gives life to a performance. It’s such a tongue twister but totally true!

 As it turns out, a “Performer” is a musical composition that must present with melody, harmony, & at times dissonance if they are to legitimately expect a “Desired Reaction!” As cerebral as this initial level is, it is the fundamental start of the matter.

Next: Conditioning the performer through the most proven “Efficient & Effective Methodology” is where the mentor or instructor are expected to contribute greatest. In this relationship, the teacher/instructor has to provide correct types and appropriate amounts of opportunities to the performer to perform the performance; and all the while, be capable of giving the student performer enough information, to correctly trigger respond the appropriate type of happening. Guiding the student’s ability to individually assess and execute a skill in real time is the true charge for any teacher or instructor.

Like we started off with emphasizing the importance of clarity in vocabulary definition, the teacher/mentor must be clear about the vocabulary used if they expect to trigger the correct type of performance reaction. In the performance there are bound to be mistakes but recovering from the mistake is an expectation and conditioning process of successful performance. Telling the student performer to “THINK” rarely triggers the most correct response from the student performer. "Thinking" naturally implies to the student performer that they have time on their hands when performance is a “Real-Time Reactionary Sport.” Instead utilize the vocabulary “ASSESS." Assessing implies activity in the reaction but offers a process of evaluation with level of value to the individual!

Finally: “REPITITION!” One of the primary tools for Successful Performance is the amount of times the performer gets to experience the performance itself. In the “Experience Phase” for the performer’s development it is equally important to maintain humility when non-success from the practiced performance occurs, as it is when success flourishes in the practiced performance. Why? Because as I stated earlier, every performance is a GAMBLE! Knowing how you might potentially react to failure or success ensures a stronger grasp of achieving the performance through any performance dynamic!

The approach for developing the performer's education of "How to Perform Through the Performance," should be similar to the “Method To The Madness” in following through to achieve success in a process. Therefore…. the performer is TRULY the living embodiment of "A Process!"

“The scholar who cherishes the love of comfort is not fit to be deemed a scholar!” 

                                                                                                                              --- Confucious

Author – Randy Phillips

“food for thought!”

Managing The Team   

I have to admit…. putting together the “RIGHT TEAM” can be stressful and sometimes a hassle. However, "if you plant sunflower seeds you will eventually get sunflowers!" The basic premise being: By planting a specific type of seed inevitably grows you a specific type of vegetation. When transcribing the parts of “what it takes to create a successful garden” into what it means to “Successfully Manage A Team,” would without question translate to mean:

“Arranging your personnel to the appropriate position’s, and tracking with them in the various segments of time, till everyone in the process is capable of achieving SUCCESSFUL Results!”

When constructing a Performance or Professional Team the, “Program Director,” A.K.A “Gardener,” must provide the basic components and proper tool requirements to establish a healthy foundation. When speaking from the MOST BASIC level of preparation for vegetation this would include: a surrounding environment/a proper plot, nutrient rich soil, type of seed, water, fertilizer, sunlight, and a little nurture. Level of Preparation & Guidance (The "Tool Side" of the trade) provides the potential possibility for growth of the stunning garden. The Head Director for a “Stage Performance Based Program,” band, percussion, color guard, choir, theatre, orchestra, & dance, all share identical developmental needs and job reference criteria to that of a Stunning Garden and Professional Gardener!

Both the garden and the human being exist as an organic item. From my observations of the world around me, I believe that the majority of us recognize that MOST organic items start off as something and are guided to eventually grow into something else. That growing into something else is dependent on a natural setup, the types of outside help provided along the way, and a mystic energy point that we’ve named persona/character to guide our way. Those basic approaches of constructing a "Team," performance based or professional, have EVERYTHING in common with starting and nurturing a garden. 5 Points that will help to ensure success to any type of “Program Head” are:

1.)  – Own a clear picture to the "Standard of Director" you desire to be. To be viewed as a “Respected Program Head” one is expected to convey ALL curriculum, as well as critique, with respect, confidence, and the attitude of I believe in your ability to succeed through a challenge or trying time to each participant. To be considered the "Beloved Program Head" not only must one masterfully displays the earlier mentioned characteristics but in addition, allow the open visibility of personal reverence, humility & guidance from a limitation. As the old saying goes, "never bite off more than you can chew!"

Believe you me, experienced or not, a person can always see when you’ve taken TOO BIG of a bite! As Program Head, it is your primary responsibility to Clearly DEFINE appropriate and attainable levels of demand as well as their consequence for disrespect of the prescribed "Approach, Methodology or Pedagogy." You should keep an excited, and observing eye on selecting potential membership partly based on that individuals’ free willingness to base considerations from logical or clearly definable alternate viewpoint:

NOTE – “The main objective for construction, then successful management of any Performance Based Team, is the Successful Achievement In Being Capable of Manifesting Product EXCELLENCE!”

2.) – Once selections for the prospective “Team Members” are finalized, make sure to always engage the team with Timely & Encouraging yet Constructive Critique. The successful conveyance of this approach will present to the group a "Trustworthy & Competent Leader." Through out the years many "Head Directors & Instructors” have made the mistake, not only with the professionals but also with the students and parents, of “Directing” with too friendly or a too overly sociable nature.

Approaching the younger or less experienced team with an overly friendly demeanor only secures the view to a participating individual of “ME” rather than “WE” mentality in the ensemble

To cultivate a healthy progression in the growth of a “Stage Performance Organization,” the leader should consistently communicate ANY & ALL curriculum, instructions, and reactions of encouragement or critiques with a "Respectful & Straight Forward Demeanor;” and should imply a Truthful and Empathetic Tone to the participants at whenever.

Blurring the lines of "Team Member Role," at any time, is a bomb waiting to take a team OUT!! Please keep in mind, that even though the experienced emotion is So SIGNIFICANTLY IMPORTANT to a human being, only Unified Approach & Implementation of The Approach, yield the reality of “Successful Achievement” with “EXCELLENCE” when working to receive credit as a group. Successful Results rarely come to fruition unless a prescribed process is successfully followed through with. The NEEDS of the process, will ALWAYS out way the personal NEEDS of the individual. This is a common truth that anyone who chooses to be or is selected to be part of a group MUST accept!

3.) – Track with your professionals by keeping a daily communication on what is going on. It would benefit the working relationship to offer variety in how you pose your communication. Sometimes the head should be first in volunteering how they are approaching a specific part of a process and sometimes the head should ask a “Team Member” how they are approaching a specific part of the process. The “Head” should be extra watchful of enacting this approach with staff members who successfully demonstrate efficient and effective results from how they are approaching a process. Interacting this way conveys to your professional that their knowledge & perspective has value. This will ensure a sense of loyalty and allegiance to the “Team” and you as the “Head of The Program.”  It will also motivate greater productivity when engaged in problem solving or brainstorming sessions. 

4.) – Even after I said, "keep it Professional," schedule a few social events through out the year. You should look at these moments as team building or bonding events, and a time where your “Team Members” have the opportunity to infuse their unique personas into their professional identity. Offering another healthy way of ensuring the want for longevity with the team.

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5.) – Always remember, whenever earned, to show “Appreciation” for the time, conviction, and efforts presented by the “Team Members!” This point is CRITICAL! It is the fertilizer that motivates the professional to be better!

“Appreciation is a wonderful thing: It makes what is excellent in others belong to us as well!”

                                                                                             --- Voltaire

Author – Randy Phillips