While each service (Army, MC/Navy/CG and AF) has a slightly different way of having the guidon render a salute while in formation, there is another salute rendered by a guidon that each service requires when outside of a formation when the guidon bearer is on his/her own.
The only authorized giudon bearer salute when in formation for each service ends up looking like this:
When a guidon bearer is not in a formation (either walking somewhere or standing and holding the guidon) and is approached by an officer, there is only one authorized salute, which is different from the salute pictured above. This salute is not authorized while in formation.
The picture, below, is of a winter guard (a marching band color guard that performs indoors, see WGI) back in the 1980s. In the picture you can see the rifles are at the exact same angle while in the air and the arms, legs and bodies of the guard members are very close to being the same.
Drill Teams: this is what you want. You want to be as close to exactly the same all throughout the performance. But how can you do this? Technique. This is for both unarmed and armed drill teams.
Here is how we can describe technique. Where you put your hands on the rifle, angles of your head, arms, legs, feet and torso.
Techniques need to be the same for each of the members of your team, they have to be the same. If they aren’t your audience will notice right away. It also impairs the effectiveness of synchronous movement like marching, hand and arm movement and rifle movement, just to name a few.
Rifle and arm angles
Arm positions and rifle angles
Rifle angles along with body and arm positions
So close: Foot angles
Arm positions and hand angles
So, now you can see technique is extremely important in all you do out on the competition field or any performance. Technique begins with initial training and must be reinforced through consistent revisiting that initial training. Without that reinforcement, techniques will begin to vary over time.
This information applies to any performance: presentation/posting of the colors, solo exhibition or drill team routine. The key is acting with nothing but professionalism the whole time.
Before: Arrive at least an hour early. No two performances are the same and the more time you have to set up and rehearse, the better. Speak with your point of contact as soon as you arrive and ensure the timeline .
The service honor guards and installation honor guards travel and rehearse at performance site in their travel uniform which consists of the ceremonial or Class A trousers and a lightweight jacket- even in summer. About 20 minutes before the ceremony, the team changes into their ceremonial/Class A blouse and sets up for their entrance.
During: Perform, giving it your utmost!
After: Here is the sticking point for some. For installation honor guard units, it is permissible to remain in the ceremonial/Class A uniform if invited to a celebration, etc. because many people like to have pictures taken with those in uniform and the ceremonial/Class A is much more appropriate. If the team is going to be in the area and have time to partake of the county fair (for instance), it may be a good idea to stay in the performance area for a time for pictures, head back to transportation to change into the travel uniform and put equipment away. Then the team can go back and have some fun.
This is the “sticking point” I mentioned above: some, especially in JROTC, seem to think that once the performance is finished, the uniform can be treated however some cadets seem fit to treat it: no cover, shirt untucked, etc. This is unacceptable.
Have a plan, develop a standard and enforce that standard. It only takes on person acting inappropriately just one time to give your organization a bad name. Don’t let that happen.
Military-type exhibition Drillers around the world are looking more and more into developing their own uniform.
Creating your own uniform sounds great- after all that is what I did!
Copying a military service, law enforcement or firefighter uniform is perfectly acceptable. Many law enforcement and firefighter dress uniforms are based off of military dress uniforms. However, wearing a service’s uniform without being a veteran or cadet of that service would be frowned upon. Caution: Wearing a specific service’s uniform, without being a member of that service or service’s cadet program, is highly frowned upon. That is not to say that, when you wear a uniform that you have created, you will not be mistaken for a “soldier” of some sort. That’ is OK. Remember, wearing any kind of uniform may create some kind of question as to who you are or what you do. Explaining the situation and not wearing the uniform at any other time except for performances will work the best.
Think “uniform” and not “dress shirt and slacks” because it will look like you are wearing a dress shirt and slacks. You’re not just “dressing up,” you are dressing for the part. “Sunday-go-to-meetin’s” is not dressing for the part.
Here are some ideas of work-type uniforms. If you go with a 511 set of blue “BDUs” (for instance, the pant and the shirt), this is something that is easily recognizable as a uniform and is nondescript It may not be what you are thinking of, but it is along the lines of a military-style uniform and this is the style you are looking to pull off to create the military flavor (click here for an article on Military Flavor) look of the performance.
Here’s an idea, create a persona- this is easier for a soloist, tandem or tetrad, but can be accomplished for a larger team. Create a routine that uses a special uniform on purpose (WWII, law enforcement, gangster, cowboy, etc.). Uniform also equals costume. Not necessarily a story book costume, but something that enhances the persona that you want. But remember, military flavor.
What makes a “uniform”? Trousers, a shirt, (optional- a jacket/blouse), shoes and a cover/hat. It’s about design and color. For great insight on this, I’d like to introduce my friend, Brent Becker, a uniform designer for marching bands and drum and bugle corps, has done extensive research into what makes a uniform and the history of uniforms (read an outstanding article of his here: RE-Defined: A New Look At Uniforms).
Brent designs for musical ensembles, but the door is wide open for military uniforms. As a matter of fact, did you know that the Air Force Honor Guard wears a different uniform from the rest of the Air Force? Slight changes in design and material, but these are hardly noticeable. The contract for making the USAFHG uniform was awarded to DeMoulin, another uniform company that makes marching band and other uniforms just like Standury, the company that Brent works with.
Exhibition drill is ripe for uniform design for teams across the country. My hope is that teams begin to explore the opportunities an exhibition performance uniform creates.
Here is what he has to say on our subject of creating military-styled uniforms:
From my perspective, you’re absolutely on the right track. So much of the literature I’ve read on this matter refers to these garments as “Military Costuming.” This can be a bit of a head scratcher, since even today, the term “costume” is frowned upon even in more theatrical venues. However, your notion of developing a persona is an intriguing one, as it opens itself up to a physical manifestation of said character portrayal through wardrobe – this is the essence of theatrical costuming design and as such, where we encounter a relatively undefined zone in the philosophy of uniforms.
Speaking mainly from the standpoint of musical groups, much of my philosophy revolves around this idea that, a) uniform purchases are tremendous investments and that they should be, b) based upon the intrinsic values and performance demands of a specific unit within their given time and place.
Again, this is kind of an “easy out” and it doesn’t define anything per se, but it lends certain academic credence to your statement concerning costuming.
Perhaps more important here is the facet of “how” the articles of clothing in question are worn or presented. In the earliest records of European military-issued uniforms, they were part of a compensatory package – a “perk” if you will, of joining up – a man who enlisted received an overcoat emblazoned with colors and markings significant to his master or nation/state. For an impoverished peasant, this was a tremendous and cherished offering! King/Country was literally putting clothing on his back – and very often, that garment would be the absolute finest article that that man would ever wear – hence the long-standing tradition of men marrying in uniform! So dressy without being too flamboyant. Refined and mature without appearing stuffy and droll.
Uniforms in the European military tradition were also seen as something of a extension of the Colors – banners, standards, and other symbols representing Divinity, Ruler, Nation, City, Unit, etc. As a representational extension of those institutions, it is approached with utmost reverence and honor. Hence, to be referred to as “a disgrace to the uniform” is to accuse its wearer of disrespecting that which the uniform represents. So, without directly taking a serviceman’s uniform and copying it, let’s think about what those colors and symbols mean to the people who wear them and the citizens they defend. I’d recommend a sort of, “reverse engineering” of government issued attire – think about the image those uniforms create and for what they stand [emphasis mine -DM]. What can a military Driller assemble on their own to present that same-said essence?
I guess my point in all this comes back to my contextual/art & design stance – When is a uniform “military” in nature? Certainly when it appropriates physical accouterments of government-issued apparel. Sight lends itself to immediacy in the mind of most observers and as such, a visual suggestion of militaria immediately connects such a uniform to the armed forces and service organizations. But I would think the underlying motive driving one’s choice of military costuming must be considered – and this ties right back into your earlier notion about developing personae – in other words, if going with a military-inspired outfit, why? Is the Driller in question presenting an outward manifestation of honor, duty, sacrifice, patriotism, strength, precision, loyalty, etc.? If so, what kinds of lines, shapes, colors, or existing symbols can be used to suggest those otherwise intangible elements? Again, I know it’s subjective, but I would honestly leave this more open on the grounds of individual preferences within their given context. Perhaps advise striking a balance between a very standard military image and creating a unique, lasting impression, especially when adjudication is a factor.
Yes, the above is quite a bit of reading, but then you will be that much more educated. Now, let’s get into the “flow.”
1. Vertical Flow. This first definition is about the smooth work of a piece of equipment and/or body movement.
The word, vertical, is used to describe the brief usage of flow in the performer’s equipment or body work. This flow is only in a short segment and there can be more than one segment.
When using a piece of equipment, flow centers around continuous spinning and the Here is an example:
Unarmed exhibition drill vertical flow is more difficult as the performer’s footwork, hands, arms and body all play a part in continuous smooth movements over a short amount of time. I have judged military drill for over two decades and can only remember seeing one true flow segment and that was when I marched in high school back in the early 80s. My teammate, Russell Fryman, created an amazing unarmed routine that had large segments of flow using his arms and footwork that I have not seen duplicated since. I wish we would have recorded his performances!
2. Horizontal Flow. The second definition takes the whole routine into account.
Logical progression best describes Routine Flow. This is when there are smooth transitions between segments of drill. This flow is from the beginning to the end of the routine encompassing all movement, body and equipment.
Watch any routine and pay specific attention as to how segments fit together. This can be difficult because it is normal for us to only react to a performance in the form of liking or disliking it. You have to train yourself to not be entertained and react to those feelings (probably 90% or more of how drill has been judged for decades) and look further into the performance. Try it with this video: exhibition drill, rifle drill, jrotc, drill team, rifle team, armed drill, rifle spinning
In 1990 I began my first book, Exhibition Drill for the Military Drill Team. I didn’t know that it was going to be a published book, I thought I’d write out a few drill moves and offer it to whoever wanted a copy- for free. However, in 2009, with a big shove into the unknown from my wife and my daughter, I finally published what I call XDI. I never considered myself a writer, how was I to know?
Fast forward to 2014 and I have written over 1000 articles and am working on books 8-12. So, I guess that qualifies me as a writer now and maybe you are in the same boat; you have an idea, but don’t really know how to get it out there. Well, that’s where I come in.
Under the name/title, The DrillMaster, I have created education, training and certification programs for members of the military drill world and here is another program: guest writer for this blog.
A guest writer would write on any topic that is within the realm of military drill: regulation, exhibition, ceremonial- or maybe you have thought of another tie-in on one of the above subjects that has not been covered here, something new and you have wanted to reach Drillers each day around the globe.
Dozens of people from around the world read this blog each day. Depending on the time of year (the school year, specific holidays or ceremonial-type days), this blog, as of 2014 averages over 600 hits per day.
If you would like to, write. Use the articles here as a guide and provide a picture or two or even a diagram with your article. When you think you are ready to have it published on this blog, send me an email through my Contact page stating that you are interested and I will get back to you right away so that you can forward me the article(s) you have in mind.
Get paid to write?
Well, not exactly. But if I do feel that your article would be a good addition to the next edition of my book, Filling in the Gaps, then I will send you a copy of one of my books that you choose while giving you full credit in the book- your name will will be in print as a contributing author!