Report: Vlamo clinic for Field Band Foundation

"What can we expect from a Field Band and how can we make sure that a South-African Field Band can distinguish itself from other marching band and drum corps in an original way? This was one of the important prerequisites taken into consideration during the preparation of the national workshop of the Field Band Foundation (FBF)." A report by Bart Tienpont.

"For the second year in row, Vlamo could send out three teachers to South Africa to support the training of Field Band tutors. This project has been financially supported through an project set up between the Flemish government and South-African cultural centers. The Field Band Foundation is well known in our country since they have made a great impression during their visit to Flanders last June. Vlamo set up a workshop week for the National Field Band in preparation of their tour in Norway and a number of performances and rehearsals in cooperation with DrumSpirit, Calypso and WIK were set up.


Preparation

During the December workshop of last year, the emphasis was put on teaching basic techniques of posture, marching, body balance and flag techniques. This year the focus was shifted to the teaching of concepts for show design and organization of rehearsals. Because this was the first workshop for most of the tutors in the group, a lot of time was still reserved for marching and maneuvering exercises. The workshop was build up from the idea of creating of 3 show pieces and one street parade. The goal was to have these pieces worked out visually by the FBF tutors themselves. Some (African) music pieces were selected and composed by Norwegian and South-African musicians.

A support program of the Norwegian Music Federation (NMF) gives the opportunity to Norwegian music teachers to help out the different Field Bands during periods of six to twelve months. Preparative contacts between the Flemish, Norwegian and South-African teachers made it possible to arrange the music pieces for a 'typical' show structure (incl. climaxes, surprise moments, singing, drum break, etc.) and this is unique in the history of the national FBF workshops. The structure of a drum break was also arranged by Wim De Vlaminck on beforehand. During the workshop, the piece was finalized with the input of the workshop participants and a Ougandese-Belgian percussionist (Gato Beseyele) and this definitely guaranteed the African character of the piece.



From idea to concept to show

The methodology for translating a creative idea to a Field Band show (by means of story boards, emotion schemes, staging schemes, etc.) was explained during a theoretical session. The group was then divided into smaller groups and each group worked out one of the pieces. There is certainly no lack of creativity within the South African tutors! For the first time, a street theater concept was also tried out. The different shows pieces were written and four different staff teams (one for each piece) were responsible to make these shows 'alive'. In this way, the concepts of organizing rehearsals in an efficient way was also tested out for real. The result was astonishing: a complete show piece was put together (inclusive synchronization of marching and playing) in only 3 sessions of 2 hours! This was also largely because of the self disciplinary attitude of the tutors. This is or will undoubtedly be by translated into the field bands. The full show was then performed for an audience at the end of the week. Videos of this show will be available on Youtube shortly.


African style

The 70 workshop participants were carefully selected by the FBF and these will be the key players of the Field Band Foundation in the future. It is therefore up to them to present the Field Bands in an original, and preferably African way during the upcoming years. The attitude of Vlamo and the NMF is therefore crucial: the aim of this workshop is to teach about organization, techniques (M&M) and methodologies (show design, rehearsal organization) â?? we call it 'the bottom layer' â?? and not about pressing forward our own style. We believe it is up to the FB tutors now to 'prepare the gravy for the meat'. The development of a 'South-African' house style can best be induced from the groups themselves. We should however not stand at the side line, but absorb the rich African culture (from traditional to modern music and dance styles), watch the creativity and try to extract the useful and feasible features. The development of a 'typical FBF style' (what to expect from a field band style-wise?) is a possible goal, but more important is to stimulate the own original creativity.

An good example of organization combined with a great self-disciplinary approach was found within the group of dancers. This was not the first workshop for most of the dancers and this group shows off experience. To enhance the African character of the Field Bands, the implementation of dance rather than using traditional European of American props (flag, sable, rifle) is preferred. Monwabisi Bangiwe was the dancer's teacher and source of inspiration. Bisi (for the friends) started as a little dancer at the Field Band Foundation. The FBF secured a bursary for him to the Pretoria Technicon Dance School where he successfully concluded his three-year Dance Diploma. He is now a respected professional dancer and was seen in successful musicals like 'The Lion King'. He also teaches different Field Bands. The way this groups works and interacts illustrates exactly what we can expect from a Field Band: motivation, creativity, self evaluation, supporting criticism, perfectionism and a good organization during the rehearsals.

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Reality

What to expect from the Field Band Foundation? After our performance in one of the townships of Durban, the group was confronted with the everyday life in these districts. In the tumult of getting the truck and bus loaded, our Norwegian colleagues got robbed by four armed men. The arrogance the robbers had (they walked away self-confidently holding their arms in the air) shocked everyone. While last year we were not extremely conscious about the background and society in which most of the Field Band members live in, this faced up to us hard. It made us aware of the importance of the Field Band Foundation for their members and the society. While music is the glue of the organization, a lot of time is invested in setting up workshops and forums about social values and relations, finance and prevention. An extensive 'turnaround' program was also merged within the musical and show technical sessions during this workshop. These programs have a huge impact on the attitude of the FBF members and a situation like the robbery prevails feelings of anger and sadness, as is witnessed by Thando (one of the FBF tutors):

'As for the incident in Chesterville, it makes me so sad, when the society ends up losing projects due to fear or safety etc. I also feel angry that parents let their kids become goons and robbers and they protect them and hide them and as a result we get normal citizens living in fear of being mugged intimidated and robed ect. I hope someday life would be better, and that the youth makes better choices and learn from incidents like these.'"
 
Bart Tienpont