What is it that makes a routine grab the audience by the eyeballs and yell at them, “Don’t miss this or you’ll regret it!” Audience engagement, my friends, audience engagement. What is it and how do you get some?
You can look up the term “audience engagement” and get all kinds of results for performing arts groups (I’m addressing those in the military drill world who perform- we are a performing art and even a sport, FYI) on how to engage your audience. This article is dealing with the content of your routine and how it can engage- or put to sleep- your audience.
Vocabulary
Let’s liken a routine to a short story. The story is built with words (individual moves) which make sentences or what we will call “phrases,” which then build paragraphs (groups of phrases) which ultimately build our short story (our routine). If you began reading this short story and found the same words repeated again and again or that most of the sentences (phrases) were very short without really much development or even long, run-on sentences, you wouldn’t appreciate it as much as a well-written story and so it is with drill.
Which would you appreciate reading more?
Bobby went to the store for some food.
Or
Bobby, a 20-year old young man, walked the quarter mile from his old red brick house to the grocery store to pick up some items he would need for tonight’s supper.
Mix it Up
To engage your audience, you need highs and lows; excitement (“wow moments”) and visual rest periods. You need punctuation as well. Not every phrase can be ended with an exclamation point, or a period for that matter. Big and small; complex and simple; fast and slow; high and low.
Excellence as an Effect
Yes, excellence is part of engaging your audience, but it shouldn’t be the only thing. Look at the Silent Drill Platoon, they have a high degree of excellence, but they also mix other elements into the program.
The Design Process
As a Driller, you need to create effective moments from start to finish. If you just make it up as you go, 99 times out of 100, it will be the bad choice. Use a variety of body, arm, hand, head, leg and foot movements and, if armed, integrate those movements with your piece of equipment (rifle, sword/saber, flag, guidon). You can even design using parts of your uniform in the routine. Pay attention to detail:
Audience engagement requires an exhibition drill routine to be designed with intention. involves a blend of precision, creativity, and adherence to certain principles.
1. Foundational Drill Movements:
Regulation Drill:
A strong base in regulation drill is essential. This provides the foundation for precision and discipline. Understanding basic formations, movements, and even commands is crucial.
Precision:
Exhibition drill emphasizes precision. Movement must be synchronized and executed with sharpness.
2. Strong Opening & Closing
Start with Power: Begin with a high-energy, visually striking move (e.g., a coordinated rifle toss, sharp, unique movement, or an impactful formation change).
End with Impact: Conclude with a synchronized flourish (e.g., a silent drill sequence, a slow-motion effect, or a dramatic halt).
3. Creative Elements:
Visual Impact:
Formations: Utilize creative formations that are visually appealing from various angles. Consider patterns and shapes.
Layered Depth: Incorporate staggered movement where different elements execute separate actions to add complexity (A-A, A-B, A-B-C).
Transitions: Effective and logical transitions between moves and segments are essential.
Disjointed movement is movement that lacks smooth transitions or coordination.
Flow & Cohesion – Transitions between movements are smooth and seamless, creating a visually harmonious effect.
MovementVariety: Incorporate a range of movements, including use of the upper body, spins, turns, and intricate steps.
Synchronized Asynchronized Actions: Ensure all team members move in perfect unison to create a powerful visual effect.
Asynchronous movement is movement occurring at different times.
Synchronized movement refers to two or more individuals or objects moving in perfect coordination, following a shared rhythm, timing, and pattern. It is characterized by:
Precision – Movement executed with accuracy, ensuring alignment and timing with others.
Uniformity – Each participant performs the same action at the same time in an identical manner.
Rhythm & Timing – Actions are performed in sync with a set tempo, beat, or cue.
Contrast Fast & Slow: Rapid rifle or upper body movement sequences paired with deliberate, slow-paced movement heightens effect.
Silent Sections: A sudden silent sequence before a loud, powerful move can build anticipation.
Flow and Transitions:
Smooth Transitions: Design seamless transitions between movements and formations to maintain a continuous flow.
Dynamic Changes: Vary the tempo and intensity of movement to create dynamic changes.
Equipment Handling:
Equipment Manipulation: For rifles, swords, and guidon, develop complex and visually striking handling techniques.
Equipment Movements: Synchronized and asynchronized.
Visual Musicality:
Music Selection: Choose music that complements the routine and enhances its impact.
Synchronization: Align movement with the rhythm and tempo of the music.
3. Practical Considerations:
Safety:
Prioritize safety in all movements, especially when handling equipment.
Ensure adequate space for the routine to prevent collisions.
Team Capabilities:
Skill Level: Design a routine that matches the skill level of your team.
Scale-down the routine at the beginning of the year and then gradually increase the difficulty.
The same goes for commands and signals. These can interrupt the flow of the routine and give the impression of a disjointed performance. Removing signals and commands here and there over time can help increase effectiveness.
Team Size: Adapt the routine to the size of your drill team.
Audience Engagement:
Audience Interaction: Slight gestures (e.g., a coordinated head turn toward and recognition of the audience) can create connection.
Callouts & Commands: Strategically timed vocal commands or responses can boost engagement.
Consider Audience View: Design the routine so that it is visually pleasing and understandable from the audience perspective. Pay attention to:
Team location on the drill deck.
Team orientation.
4. Adaptation
Adjust the performance based on available space and audience vantage points.
Different Venues:
Drill Deck: 100’x100’ square on a field, parking lot, or ship deck. Anything is possible here for a full team (9, 12, 16+).
Stage: Usually restricted to a squad or tetrad performance.
Indoor: This venue is a dinner setting with a dance floor. It would also be restricted a squad or tetrad performance.
Street Parade: Either a two- or four-lane road. Many formations that would be performed on the drill deck are not able to be performed here, especially if it is constant movement forward parade.
Resources:
Observe Other Drill Teams:
Watching videos of the service drill teams and competitive drill teams can provide valuable inspiration.
Analyze body movement and step technique, equipment handling, formations, and transitions.
DrillMaster Articles
DrillMaster Books
By combining these design concepts, you can create an exhibition drill routine that is both impressive and effective.
Originally written in April 20, 2012, revised March 20, 2025.
“Present the Colors” – This means to have the color guard enter, center on and face the audience, and formally present the colors. The team then marches off when finished. This is known as a “Show-n-Go”.
“Post the Colors” – There are two types
To post the colors for an indoor ceremony, the color guard enters, formally presents, and then posts the colors in floor stands.
To post the colors for a ceremony outdoors where the colors guard is at its post in the center of the battalion formation and during the ceremony, the colors are brought forward for the Star-Spangled banner, awards, etc.
“Parade the Colors” – This is uniquely Navy. Some understand it to mean having the color guard cover as much ground as possible and weave in and out of tables while the guests are standing (yes, this actually happened). That’s not what it means. It’s the same thing as “Present the “Colors”.
The Difference of Meaning
There is a difference in the definition of “parading” between military and civilian contexts, although there’s significant overlap.
Civilian Definition:
Public Procession:
The most common civilian understanding of a parade is a public procession, often festive, involving marching bands, floats, and participants celebrating an event or holiday.
It emphasizes public display and celebration.
General Display:
“Parade” can also refer to any kind of conspicuous display or exhibition. For example, “a parade of fashion” or “parading one’s wealth.”
Promenade:
It can also mean to walk in a public place for pleasure.
Military Definition:
Formal Ceremony:
In the military, a parade is a formal ceremony involving the assembly and marching of troops, often for inspection, review, or display.
It emphasizes discipline, order, and tradition.
Inspection and Review:
Military parades are frequently used for inspections by officers or dignitaries.
It is used to display the readiness of troops.
Drill and Maneuvering:
Military parades involve precise drills and maneuvers, demonstrating the unit’s training and cohesion.
Key Differences:
Formality: Military parades are generally much more formal and structured than civilian parades.
Purpose: Military parades often serve a specific purpose, such as inspection or displaying military strength, while civilian parades are primarily for celebration or entertainment.
Discipline: Military parades place a strong emphasis on discipline and precision, whereas civilian parades are typically more relaxed.
While both definitions involve a form of public display, the military definition is more focused on order, discipline, and ceremonial purpose. (References are m-w/com, dictionary.com, and military manuals.)
Expanding on the Military Meaning
We can get a really good idea behind the meaning of ‘parade” from military manuals.
All three Drill and Ceremonies Manuals
Quite possibly the biggest indication of what the term “Parade” means is found in the command “Parade Rest:. The “Parade” is the line of stationary troops, and the command directs the members of the formation to stand at a more restful position than Attention. The “parade” is not moving, thus “parade does not equal what many normally think of as a street parade.
Granted, the US military has parades and reviews (MCO 5060.20):
Parade. A parade is a ceremony that involves the movement of marching units.
Review. A review is a type of ceremony that omits certain elements found in a parade but includes an inspection (trooping the line) not found in a parade.
The image below shows an example of an Army or Air Force battalion parade formation (notice the multiple colors in the color guard). Whether the formation passes-in-review or not isn’t the point as we see below.
US Navy Regulations Chapter 12
Paragraph 1233.
2. In lieu Of parading The entire Crew at quarters, an honor guard may be paraded in a conspicuous place on weather decks.
1249. Side Honors.
1. On the arrival and departure of civil officials and foreign officers, and of United States officers when so directed by the senior officer present, the side shall be piped and the appropriate number of side boys paraded.
1250. Dispensing With Side Boys and Guard and Band.
1. Side Boys shall not be paraded on Sunday, or on other days between sunset and 0800, or during meal hours of the crew, [etc.]. Side boys shall be paraded only for scheduled visits.
4. The side shall he piped when side boys are paraded, but not at other times.
NTP 13(B)
103 DEFINITIONS
g. Each landing party battalion is equipped with a national color and an organizational color. When participating independently in operations, ceremonies, or street parades ashore, each battalion will carry its own colors. (Emphasis mine.)
607. PASSING WASHINGTON’S TOMB
A special ceremony calling for half-masting the ensign is required of ships passing Washington’s Tomb between sunrise and sunset. A full band and guard are paraded (if aboard), the ship’s bell is tolled
As far as the US Navy is concerned “Parading” is the presence of a certain element. Parading side boys does not mean those Sailors marching around meaninglessly on deck, it means their presence for the ceremony. It does not necessarily mean movement of the element, just its presence.
Army Regulation 600-25
Chapter 4
4 – 3. Participation of foreign Soldiers in parades. b. On occasions when Soldiers of more than one foreign nation participate, the order of precedence will be decided by the grand marshal.
Here, with the designation of a “grand marshal” we can see that this parade is a street parade.
The Army song concludes all reviews, parades, and honor guard ceremonies.
Here, we see that “Parade” means a military parade, a pass-in-review, since the Army song would not be appropriate at a street parade.
AFI 90-1201 (34-1201)
8.2.4. At a parade or pass and review, individual courtesies must be rendered when the U.S. flag is six paces before them and maintain the salute until the U.S. flag is six paces past them.
DoDI 5410.19, Vol 4
Section 5: Ceremonial Support b. (2) In all other public programs or ceremonies, Service members in uniform and in an official capacity must not carry flags of foreign nations, veterans’ groups, or other non-military organizations.
As far as the US Army, Air Force, and even the Marine Corps are concerned “parading” and “parade” tends to focus on the movement of a formation. The concept aligns with the Army’s historical focus on land warfare and large-scale formations with the tradition brought from the Army into the USAF. The same concept applies to the Marine Corps.
In essence, the Army tends to emphasize the “marching” aspect of a parade, while the Navy (not necessarily the Department of the Navy) places a greater emphasis on the “display” aspect, often within the context of specific ceremonies.
“Parade the Colors!”
During a pass-in-review it means to have the colors march to the reviewing stand to render/receive honors. The Navy uses this term in indoor ceremonies to indicate the colors need to move from the staging area to front and centered on the audience. This usually (read: “should”) means to perform a show-n-go and not post the colors in the stands. If colors are to be posted in stands, the command/announcement should be “Post the colors.”
Civil Ceremonies
Your meeting is outside of military jurisdiction and that means military manuals do not apply unless you are specifically creating a color guard and want to follow military standards.
For a meeting in the civilian sector, Title 4, USC, the Flag Code, is your guidance. The Flag Code doesn’t discuss indoor parading of the flag because it’s not supposed to happen. The flag is to be at the front of the room, to the audience’s left, and in a predominant place.
For these meetings and ceremonies, leave the flag in place on the stage or near the podium, have everyone rise, face the stationary flag (or face the front if a color guard presents), recite the Pledge, or play/sing the anthem, and have everyone take their seats.
Turning to face the colors probably comes from the Boy Scouts. Long ago, the direction was developed to help younger scouts with short attention spans to stay focused. It has really confused the rest of the country ever since.
Below, the Air Force Instruction states policy for a stationary flag, not a color guard moving to present the colors. This means the audience should face the front of the room and not adjust position to constantly face the flag as it travels from point to point.
Note, the following policies apply across the US military (see also TC 3-21.5 and MCO 5060.20).
AFI 90-1201
2.14. Hoisting and Lowering the United States Flag. During the ceremony of hoisting or lowering the flag, all persons present, except those in formation, should face the flag and stand at attention. (Emphasis mine.)
8.1.8.2. Flags on stationary flagstaffs are only saluted during Reveille, Retreat, special ceremonies, or when the flag is being raised or lowered. In these cases, when outside and in uniform, face the flag (if visible) or face the direction the music is played…
8.1.8.4. When indoors and in uniform, face the flag (or the music if the flag is not visible) and stand at attention when the national anthem (of any country) or “To The Color” is played (do not place your hand over your heart). There are two exceptions. If in uniform, under arms, salute. (T-1). Spectators in uniform at a military ceremony inside, where ‘outdoor’ rules apply, (i.e., a change of command ceremony planned for outdoors but moved inside a hanger due to inclement weather) will salute. (T-1). When indoors and in civilian clothes, face the flag (or the music if the flag is not visible), stand at attention when the national anthem or “To The Color” is played and place the right hand over the heart. When indoors and in civilian clothes do not place the right hand over the heart for national anthems of countries other than the United States.
The POW and Parading
There has been confusion as far as what “parade” means in the context of carrying the POW/MIA flag. Please be aware, the League of Families, a private organization, owns this color and flag.
AFI 34-1201
The POW/MIA flag is not carried or displayed in parades or reviews but may be carried at official military funerals.
It’s the same as the text for the Medal of Honor flag: “2.20.6. The MOH flag is not carried or displayed in parades or reviews but may be carried at official military funerals.”
Written with input from DeVaughn Simper, vexillologist.
The issue is that the service drill and ceremonies manuals do not specifically state that a color guard must be covered (wear their headgear: hats, helmets, or berets) all the time when presenting the colors. In this article, I go over the standards of being covered and when we can remove the cover.
You’re Covered
When we are in uniform, when we enter a building, we remove our cover before, during, or just after going through the door.
The same thing can be said for a vehicle.
When leaving a building, we replace our cover before, during, or just after going through the door.
Again, the same for a vehicle.
While walking outside and going under an awning or overhead structure that does not have walls, no matter how big, it does not qualify for removing your cover just because you walk under it. If the awning is at a building entrance, and you are going inside, removal of your cover is required as stated above.
“No Hat – No Salute” in the USAF, there are areas designated as areas where salutes and covers are not required. Most often this is an area between buildings where people must walk back and forth, and it would be unnecessary to constantly take your cover with you just to do a few minutes’ worth of business.
We do not remove our cover when walking from the parking lot into this area. There is no magical line where a cover is removed, you walk from your vehicle to the building entrance and remove your cover there as usual. The area is designated “not hat – no salute” for the individuals who are moving from one building to another.
Removing your cover while sitting down while eating outside is considered polite but there is no specific guidance on this.
“Under Arms” has always been a statement that conjures up a member of the military police (or other armed individual) walking into the chow hall or on-base convenience store who doesn’t remove his cover because he needs to have his hands free to draw his weapon just in case something happens. Sounds good but isn’t a written standard (it can be local policy).
When we look at TC 3-21.5 and AFPAM 34-1203 we see they do not have written information on wearing covers while on colors. How do we find this information then? We look at the photos, we don’t solely rely on the text.
The only reference to not wearing covers is in MCO 5060.20 that states covers are not worn when presenting the colors inside a chapel.
Marching from and to outdoors would be an easy reasoning for wearing covers at all times since both situations require the team to wear their headgear from the start or to the end of the process. Inside all the time would be when the question would arise and that’s where the photos in the three service drill and ceremonies manuals come in.
All the color guard photos in all three manuals show team members in a complete uniform to include covers relevant to the uniform worn. Nowhere in the color guard descriptions does it state that covers are not necessary. That means covers are required all the time when on a color guard.
This information affects all bases overseas for all services.
The photo at the top of the page is from 2025 of the Spangdahlem Air Base Honor Guard color guard in Luxembourg for the celebration of the liberation of Vianden with the wrong colors in the wrong positions. When my wife and I were stationed at Spang, I did this very same ceremony as a member of the BHG, our colors set up was just like this because of “common knowledge” , and we were also wrong. We just didn’t know we were wrong back in 2009 because of the lack of guidance.
Military color guards overseas cannot carry the country’s color just because you’re in a foreign land. Strict requirements must be met, and those requirements are found in Department of Defense Instruction 5410.19 Volume 4.
Another thing about the Spang team above. The USAF Honor Guard has restated that the USAF flag will always be carried for color guards of this nature*. That is plainly shown in AFPAM 34-1203, Drill and Ceremonies.
*Two rifle guards with only the national color is the minimal team authorized for all services. It’s not usual and most often is solely for foreign national arrival ceremonies but it is an option.
SECTION 5: CEREMONIAL SUPPORT AND MILITARY SERVICE EXHIBITS 5.1. CEREMONIAL SUPPORT. b. National Flag of Foreign Nations and Other Organizational Flags. (1) U.S. military personnel in a foreign location may carry the official national flag of foreign nations participating in official civil ceremonies sponsored and conducted by the U.S. Government or a State, county, or municipal government. (a) An official of the foreign nation concerned must be present in an official capacity to receive such honors. (b) The official must be an individual to whom honors normally are rendered. (2) In all other public programs or ceremonies, Service members in uniform and in an official capacity must not carry flags of foreign nations, veterans’ groups, or other non-military organizations**.
DoDI 5410.19-V4, September 29, 2021 (underline and asterisk emphasis mine)
**This is the key phrase that forbids the POW/MIA from every being carried outside of a funeral for a former POW.
When I write articles, I sometimes duplicate the information in another article and state it a different way. I’ve written about this here.
Ramstein Air Base Honor Guard Colors Team 2025
The Ramstein team pictured above is also in the wrong because the team is carrying the German flag (and a whole host of other issues).
So, What Can You Do?
Display the nation’s flag for ceremonies and do not carry it unless the above stated requirements are met. In the Ramstein photo, you can see the colors are all preposted on the stage and that means the team entered for what we call a “Shoe-n-Go” where the team enters, formally present, and then departs. All of the colors that need to be displayed are displayed and the color guard should then only present the authorized colors (US and AF).
Your Job
Spread the word. We need to get every Protocol office and ceremonial team in the DoD educated about this and stop violating instructions.
There is the idea that the POW/MIA hat table or Missing Man ceremony should be brought outside for any remembrance ceremony.
The Premise
The whole premise for the POW/MIA Hat Table Ceremony, which you can find here, is for the table to be with and yet separated from other tables. The POW/MIA or Missing Man Table is set with an empty plate and glass for one to six settings in stark contrast to the place settings at the other tables for the people attending the luncheon or dinner. It is even appropriate for a breakfast, if need be, but the emphasis since its creation (see MCO 5060.20 and the League of Families website) has been a formal evening military dinner setting like a dining-in/out.
The Guidance
Don’t. The ceremony will always have meaning, even if you take the ceremony outside, but the context will be lost.
This message is for all adults involved in cadet programs. It’s time to take a hard look at ourselves and confront some uncomfortable truths.
I know there are incredibly dedicated adult servant leaders in every youth program. I interact with them almost daily, answering questions and providing guidance to those who strive to be the best for their units.
However, I also hear from frustrated cadets who seek advice on dealing with the ultra-arrogant adults who insist on doing things “their way.”
The Basis
Drill and Ceremonies (D&C) is our foundation. Everything is built on it in the military and cadet programs are no different. Accepting this fact is crucial for everyone. Refusal to acknowledge this or to merely assume D&C should be relegated to history and that precision in this area is unimportant is to fail those you work with. Precision in D&C is not just about following orders; it instills essential qualities for effective training and overall success for the individual with an impact on the entire program.
When we lack accuracy in D&C, the affects are felt everywhere else, and the program suffers considerably because discipline is not there.
D&C creates a structure of standards and expectations essential for anyone wearing the service’s uniform. This is mandatory for military service and a fundamental requirement for all cadet programs. Please see my white paper that I turned into a series of six articles, Understanding the Types Purpose and Benefits of Military Drill, for a complete explanation.
Training Methods: I am emphasizing the importance of D&C as the foundation of cadet programs. Some may argue that a more flexible and adaptive approach to training could be more effective in addressing the diverse needs and learning styles of cadets. Allow me to quash that insipid argument right here. Teaching D&C can take longer for some cadets and that is just fine, but D&C is taught one way with patience and understanding of cadet needs.
The Problem – The “Cadet-Run” Program
While I support cadets taking on as much responsibility as possible, I cannot condone cadets running training situations into the ground due to a lack of proper guidance. From the start, cadets are taught incorrectly because knowledgeable adults are not involved. They are subjected to wrong commands, made-up commands, and improper execution. When they return to their units, there is often no one to correct these issues.
Cadets come to me with poorly taught training that I have to fix. Every training cycle I spend time correcting mistakes in my course and in battalion/Wing formation when I could be teaching new material. A culture shift is necessary, even if it is unfamiliar and uncomfortable.
The Value of Cadet-Run Programs: Cadet-run programs are essential for developing leadership skills and independence among cadets. Allowing cadets to take on responsibilities, even if they make mistakes, can be a valuable learning experience. The involvement of knowledgeable adults should be balanced to avoid stifling cadet initiative and growth.
The Problem – Adults
“I’m here for all the cadets.” This self-serving statement, delivered with a sense of superiority, was frustrating. It was told to me by an adult who retired from the Navy, implying that I am selfish and only care about myself and what I can get out of my time spent training cadets. These tired accusations have been thrown at me for years by those who dislike what I do or how I do it.
Why do these attacks take place? There’s a saying from WWII bomber pilots: “You take the most flak directly over the target.” That target is the woeful training cadets have been receiving for the last 30+ years.
My methods, honed over decades of learning and teaching D&C, are not always appreciated by everyone. While dissenting opinions are irrelevant, there are times when those individuals hold significant influence over cadet training, often imposing restrictive measures. This leads to less effective training sessions, as they prioritize their version of “training” over proper instruction.
Consensus and Collaboration: I am criticizing the bureaucratic processes and the need for consensus. One could argue that collaboration and consensus-building are crucial for creating a supportive and inclusive environment. Ensuring that all voices are heard and considered can lead to more effective and sustainable solutions and I am all for that – in meetings, not in the field.
Subject matter experts: Let the subject matter experts do their job. Scuba certified people teach scuba and drone teachers teach drone tactics. These are a given. The scuba instructor cannot walk around an evening colors formation and correct an individual or formation on their improper use of their equipment. That would only happen in class. However, the D&C instructor can and should make those spot corrections in and outside of class because every aspect of the training day is built around drill and ceremonies: formations, morning and evening colors, and marching to classes..
Communication is necessary: Adults need to ensure they are communicating at evening meetings. Lack of communication causes problems that no one needs.
The Solution
People are either part of the problem or part of the solution. You see me as part of the problem because I refuse to play the game of seeking consensus on every detail. That is bureaucracy, and no one has time for that.
Few understand D&C like I do, yet I am restricted by bureaucratic processes that waste time.
Corrections need to be made quickly, on the spot, not after forming committees to ensure everyone’s feelings are considered.
Initial training for cadet programs needs to be revitalized with knowledgeable adults overseeing cadets in training positions as they teach cadets new to the program how to stand at Attention, execute facing movements, and march.
I need to be very clear. I am not the solution. I am part of it, but I am in no way suggesting that only I have the answers. In fact, the answer has always been right in front of us, appropriate and accurate training at Basic Training, Boot Camp, and the similar initial training for cadet programs. Let’s get back to that.
In order to arrive at perfection in any art, it is indispensable that the principles of the art be understood. Everything not understood or mis- understood is mysterious. Those who do not comprehend what military discipline is, and some who only partially understand it, are impressed with the idea that it is a very mysterious affair, and many consider that it ought to be a mystery in the hands of a select few. There is confessedly a great deficiency of knowledge, or otherwise a very unaccountable disagreement in it; and if it be a very simple art, as it is alleged by some to be, then it should be made as intelligible as possible to every capacity.
MEMOIR, 1808, autHor unknown
The correlation between dance, other performance activities, and unarmed/armed military exhibition drill (UXD/AXD) is strong, as these disciplines emphasize precision, rhythm, coordination, and expression. Here are some key connections:
Choreography & Movement – XD sequences, like dance routines, are carefully choreographed to create a visually compelling performance. All involve intricate footwork, controlled body movement, and dynamic transitions.
Timing & Rhythm – Just as dancers move to the beat of music, drillers synchronize their movement with an internal rhythm (cadence) or audible cues (e.g., stomps, slaps, or vocal commands). Precision in timing is critical to a polished performance.
Body Control & Posture – All require strict posture, balance, and muscle control to execute movement with clarity and purpose. Whether it’s a spin in dance (pirouette), complicated pivot, or a rifle toss in drill, maintaining control is essential.
Expression & Performance – While dance expresses emotion through movement, XD conveys discipline, intensity, and sometimes even storytelling through formations and sequences. Some drill teams incorporate theatrical elements, further blurring the line between activities.
Training & Discipline – All demand rigorous training, repetition, and endurance. Mastering techniques in either field requires dedication and continuous improvement.
Influence of Dance on Drill – Many modern XD performances can integrate moments of breakdancing, hip-hop moves, and even ballet-like jumps and spins, demonstrating the crossover influence.
Ballet Dancer Grand Jete
A Detailed Breakdown of Connections and Influences
The relationship between dance and similar activities and XD is deeply rooted in their shared emphasis on movement, synchronization, and performance.
1. Choreography & Movement
Both these activities rely on carefully structured movement sequences to create a visually engaging routine. In dance, choreography is designed to flow seamlessly between steps, while in XD, drillers execute movements with sharp precision, ensuring each transition maintains a crisp and disciplined look.
Similarities:
Both require mastery of formations, body angles, and spatial awareness.
Choreographers and drill designers (masters) plan routines by mapping out formations, transitions, and pacing.
XD routines, like dance pieces, can tell a story or convey emotions through movement.
Differences:
Dance often focuses on fluidity and grace, whereas XD emphasizes sharp, rigid, and sometimes explosive movements.
XD is rooted in military tradition, while dance has cultural, artistic, and entertainment purposes.
2. Timing & Rhythm
In both disciplines, rhythm dictates movement. While dancers often follow a musical beat, XD drillers use an internal rhythm or cues from teammates, commands, or foot stomps.
Examples:
Breakdancers (B-boys/girls) time their moves to the beat of a song, just as drillers time rifle spins, stomps, and body slaps to create an engaging rhythm.
In step dancing (e.g., military-style step teams), movements are both visually and audibly rhythmic, much like XD’s slaps, claps, “beasts” (slaps on a rifle) and timed movements.
3. Body Control & Posture
XD and dance require extreme control over the body to maintain balance, posture, and precision. Movements must be deliberate and exact, with proper weight distribution to avoid errors.
Key Connections:
Balance – Just as a ballet dancer controls their center of gravity in a pirouette, a driller must maintain stability during spins and high-speed movements.
Strength – Dance styles like breakdancing require whole body strength for power moves, much like XD’s high-flying rifle tosses and exchanges.
Coordination – Whether executing a grand jeté (a ballet jump, a high leap where the dancer’s legs form a split in the air) or a rifle toss, timing and coordination between different muscle groups is essential.
4. Expression & Performance
Both dance and XD are performance-based, engaging the audience with a combination of movement, energy, and intensity.
Performance Aspects in UXD:
Some teams incorporate dramatic poses and facial expressions to heighten the impact of their routines.
Drillers use their entire bodies to communicate power, discipline, and sometimes creativity: body movement, equipment manipulation, and/or drill design.
Just as dancers use different styles to convey emotion, drillers adapt their movements to create either a sharp, aggressive, or smooth, flowing routine.
5. Training & Discipline
The process of mastering either discipline is rigorous, requiring extensive repetition and refinement.
Common Training Elements:
Hours of drilling (no pun intended) to develop muscle memory.
Breaking routines down into small sections for refinement.
Strength and flexibility training to support performance quality.
Studying other performers (dance styles or past XD champions) for inspiration and technique improvement.
Dance/Drill Team
6. Influence of Dance on XD
Modern exhibition drill has increasingly integrated dance elements, making performances more dynamic.
Examples of Dance-Drill Fusion:
Hip-hop & breakdancing – Many teams use footwork patterns, power moves (e.g., windmills, head spins), and freezes in routines.
Ballet & contemporary dance – Some teams incorporate turns and smooth transitions inspired by dance to contrast with sharp drill movements.
Step dancing & stomp – Using body percussion, rhythmic stomps, and synchronized claps to create an engaging audio-visual effect.
Summing Up So Far
At their core, both dance and XD are about movement, discipline, and storytelling. While they originate from different traditions, they share an undeniable synergy. As XD continues to evolve, it borrows more from dance, making routines more dynamic and visually compelling. Many drillers even study dance to improve their performance, proving just how interconnected the two art forms really are.
What About XD and Step Teams?
XD and step teams share many similarities, as both focus on rhythm, synchronization, and visually striking movements. In fact, stepping is one of the closest civilian performance styles to XD because of its structured, military-like precision and percussive elements.
Key Connections Between UXD & Step Teams
1. Rhythm & Percussive Movement
Both XD and stepping rely on body percussion—using stomps, claps, slaps, and synchronized movements to create a rhythmic performance.
In XD, drillers generate sound through precise stomps, hand slaps, and controlled movements with an internal rhythm.
In stepping, performers use their entire bodies to produce complex beats, often without music, much like XD teams performing without external sound cues.
2. Precision & Synchronization
In both disciplines, synchronization is critical. Movements must be executed at the exact same time to create a seamless group performance.
In XD, teams execute synchronized spins, arm movements, and intricate footwork with exact timing.
Step teams perform intense routines that require military-level precision, where even a slight timing error is noticeable.
3. Choreographed Patterns & Formations
Both XD and step teams perform intricate formations that evolve throughout their routines.
XD drillers move in sharp, geometric patterns, often using straight lines and angles.
Step teams incorporate military-style formations while integrating circular, staggered, or diagonal shapes to add variety to their performances.
4. Military & Cultural Influence
Stepping has direct military influences, especially through historically Black fraternities and sororities (Divine Nine), where many organizations have deep ties to ROTC programs and the military.
XD originates from the military tradition of regulation drill and ceremony, where discipline and precision are key.
Stepping incorporates military-style elements, such as call-and-response chants, boot stomping, and uniformity, reinforcing a structured, disciplined aesthetic.
5. Power, Energy & Showmanship
Both styles are highly performance-driven, requiring drillers and steppers to project confidence, intensity, and sometimes even attitude.
XD performers use strong body language, facial expressions, and aggressive movements to engage the audience.
Step teams use shouts, chants, and facial intensity to create an interactive and high-energy experience.
6. Training & Athleticism
Both UXD and stepping require endurance, coordination, and strength.
UXD training involves muscle control for holding positions, executing sharp transitions, and maintaining perfect posture during fast movements.
Step teams train for stamina, as their routines often involve constant movement, jumps, and body slaps that require explosive energy.
Crossover & Influence
Some UXD teams incorporate stepping into their routines, blending drill precision with percussive step movements. Similarly, some step teams incorporate military-style movements, further blurring the lines between the two disciplines.
Both are highly disciplined, visually impressive, and rooted in tradition, making them closely related performance arts that push the boundaries of movement and teamwork.
The Correlations Between XD and Other Performance Types
Yes! UXD shares strong correlations with various other performance types beyond dance and step teams. Many of these art forms emphasize precision, synchronization, and showmanship, much like exhibition drill. Here are some notable connections:
1. Martial Arts (Karate, Taekwondo, etc.)
Connection: Both martial arts and UXD require controlled, powerful movements, strict discipline, and rehearsed sequences.
Kata & Forms: Martial arts katas (pre-arranged movement patterns) mirror UXD sequences in structure and execution.
Striking & Posing: Just as martial artists perform sharp strikes and controlled stances, drillers use exaggerated movements, stances, and poses for visual impact.
Weapon Handling: In armed exhibition drill, rifle spinning and tossing resemble martial arts weapon demonstrations (bo staff, nunchaku, or sword kata).
2. Cheerleading & Gymnastics
Connection: Both involve choreographed sequences, teamwork, and showmanship, with an emphasis on dynamic movement.
Stunts & Tosses: Gymnasts perform flips and tosses, much like drillers execute high-speed spins and aerial tosses with rifles or body movements.
Formations & Transitions: Cheer teams use formations and transitions similar to UXD teams’ precision drill maneuvers.
Showmanship: Like UXD, cheer and gymnastics performances rely on confidence, facial expressions, and exaggerated movements to engage an audience.
Connection: Rhythm, synchronization, and precision are fundamental in both UXD and percussion-based performances.
Visual Movement: Drumline performances (e.g., those seen in HBCU and other marching bands) incorporate military-like discipline and drill formations.
Body Percussion: Similar to stepping, performers create rhythms through drumsticks, hand claps, and synchronized movements, much like UXD’s percussive stomps and slaps.
Strict Timing: Drummers and drillers both rely on perfect timing—one mistake can disrupt the whole performance.
4. Color Guard & Flag Spinning
Connection: Like UXD, color guard performances involve equipment manipulation (flags, rifles, sabers) with a blend of technical skill and artistry.
Equipment Handling: The spinning and tossing of rifles or sabers in color guard directly mirrors UXD rifle drill movements.
Formations & Choreography: Both disciplines rely on dynamic formations that evolve throughout the routine.
Fluidity vs. Sharpness: While UXD emphasizes sharp, rigid movements, color guard incorporates more fluid, dance-like motions, creating a contrast yet similarity in presentation.
5. Breaking (Breakdancing / B-boying/B-girling)
Connection: Breaking and UXD share a focus on explosive, acrobatic movements, footwork, and controlled transitions.
Power Moves: Breakdancers use windmills, head spins, and freezes, similar to some UXD teams incorporating floor work and dynamic spins.
Footwork: Both emphasize intricate foot patterns, with breaking incorporating steps like the “6-step,” while UXD features coordinated foot placements.
Freestyle Elements: While UXD is often tightly choreographed, some teams incorporate freestyle-like elements (individual tricks within a structured routine).
6. Parkour & Freerunning
Connection: The combination of agility, body control, and athleticism in parkour overlaps with UXD’s dynamic movements.
Aerial Movements: Some UXD performers incorporate flips, vaults, or high-flying spins, much like freerunners navigating obstacles.
Momentum & Flow: Parkour athletes maintain continuous motion, much like UXD performers smoothly transitioning between sequences.
Strength & Endurance: Both demand extreme physical control and stamina, with drillers executing rapid sequences without loss of precision.
7. Theatrical Performance & Stage Combat
Connection: UXD and stage performance share an emphasis on storytelling through movement, discipline, and dramatic presentation.
Military-Themed Theater: Many theatrical productions (e.g., military reenactments, Broadway shows like Hamilton) incorporate stylized marching and weapon handling similar to UXD.
Stage Combat: Like choreographed fight scenes, UXD requires pre-planned, rehearsed sequences where performers must be in sync.
Audience Engagement: Both rely on commanding presence, exaggerated gestures, and powerful execution to captivate viewers.
Summery So Far
UXD is a highly versatile art form that connects with multiple performance disciplines. Whether it’s through rhythm, precision, showmanship, or athleticism, these correlations show how UXD blends military tradition with elements of music, dance, martial arts, and extreme sports. Many drill teams borrow from these styles to enhance their performances, making UXD one of the most dynamic movement arts in existence.
How Armed Exhibition Drill Fits In
Eastern WA College AROTC Drill Team 1960
Armed Exhibition Drill (AXD) shares many of the same correlations as UXD but adds the unique element of weapon manipulation. The presence of rifles (or other ceremonial weapons) introduces additional challenges and connections to other performance arts that involve object control, coordination, and precision handling.
Here’s how AXD fits into the discussion and its connections to other performance styles:
Napoleon Dynamite Bo Staff Skills
1. Martial Arts (Weapons-Based Disciplines: Wushu, Eskrima, Bo Staff, Swordplay, etc.)
Connection: Both AXD and martial arts weapon forms require precision, control, and dynamic movement with an object.
Weapon Manipulation: AXD drillers spin, toss, and catch rifles in ways similar to martial artists handling staffs (bo staff), swords (kendo, fencing), or sticks (Eskrima).
Controlled Transitions: Martial arts weapon techniques emphasize smooth transitions between strikes, blocks, and spins—just like drillers transitioning between rifle spins, catches, and releases.
Speed & Timing: Fast, well-timed movements are essential in both to maintain flow and avoid losing control.
Phantom Regiment Drum and Bugle Corps Color Guard
2. Color Guard & Flag Spinning
Connection: Like AXD, color guard performers manipulate equipment (flags, rifles, sabers) in a choreographed, synchronized way.
Tosses & Spins: The techniques used in flag, saber, and rifle spinning in color guard have strong similarities to AXD movements.
Choreographed Sequences: Both incorporate group synchronization, solo performances, and high-level tricks to engage the audience.
Flow vs. Sharpness: While color guard often emphasizes smooth, flowing movements, AXD leans toward sharp, powerful execution with military precision.
Baton Twirling
3. Baton Twirling & Juggling
Connection: AXD and baton twirling/juggling both focus on aerial tricks and precise object manipulation.
Tosses & Catches: AXD rifle tosses require the same level of hand-eye coordination as baton twirling, where performers execute spins and catches mid-air.
Continuous Motion: Just like in juggling or twirling, advanced drillers maintain an uninterrupted flow of movement between spins, releases, and recoveries.
One-Handed & Two-Handed Control: Drillers and baton twirlers must be able to switch between one-handed and two-handed control smoothly while maintaining rhythm.
Blue Devils Drum and Bugle Corps Drum Line 2008
4. Marching Band & Drumline Performance
Connection: Both AXD and marching band performances emphasize timing, formations, and synchronized group execution.
Structured Movement: Marching band members perform precisely timed steps, rotations, and formations, just like drillers.
Weapon & Instrument Coordination: Drummers and horn players move and play at the same time—similar to AXD performers spinning rifles while marching or maneuvering.
Cadence-Based Performance: Marching band performances often follow a strict cadence, much like AXD sequences that align movements with beats or silent internal rhythm.
Breakdancing
5. Breaking (Breakdancing / B-boying/B-girling)
Connection: Both styles incorporate dynamic, high-speed movements and individual freestyle moments within a structured routine.
Spins & Rotations: The way drillers twist, rotate, and spin their rifles in the air resembles breakdancers executing windmills, head spins, or air flares.
Groundwork & Acrobatics: Some AXD performers incorporate floorwork (push-ups, leg sweeps) similar to breakdancing moves.
Flash & Showmanship: Both disciplines demand performance presence, confidence, and sometimes crowd interaction to enhance the visual effect.
Parkour in The Office
6. Parkour & Freerunning
Connection: The agility and aerial control seen in AXD share similarities with parkour, especially when incorporating flips and acrobatic elements.
Weapon Acrobatic Control: Some advanced drillers perform rifle tosses combined with flips or rolls, requiring spatial awareness and a mastery of body movement.
Momentum & Flow: Parkour athletes use controlled momentum to navigate obstacles, much like drillers maintain fluid transitions between tricks while ensuring they catch their rifles.
Strength & Dexterity: Just as parkour requires grip strength and quick reflexes, AXD demands similar attributes to catch, balance, and spin a rifle mid-air.
7. Stage Combat & Theatrical Swordplay
Lightsaber Duel
Connection: AXD routines, especially team performances, often resemble choreographed fight sequences seen in theater and film.
Choreographed Weapon Movements: Stage combat involves pre-planned movements, controlled strikes, and defensive motions, just like AXD rifle tricks.
Precision & Safety: In both AXD and staged fights, performers must execute movements with absolute control to avoid injury while maintaining an impressive performance.
Dramatic Presentation: AXD performers often incorporate poses, freezes, or dramatic pauses, just as actors in action sequences do to heighten suspense.
8. Circus Arts (Knife Throwing, Object Manipulation, Performance Juggling)
Connection: AXD has a strong connection to the world of circus-style object manipulation, where high-risk tosses and catches are performed with dramatic effect.
High-Stakes Tosses: Just as knife throwers or jugglers rely on precision and hand-eye coordination, drillers must catch rifles mid-air with pinpoint accuracy.
Multi-Object Manipulation: Some advanced drillers perform dual-rifle tricks, similar to jugglers managing multiple objects.
Performance Under Pressure: Like circus performers, AXD drillers must execute flawlessly in front of an audience, often with no room for mistakes.
Solo Exhibition Driller
Final Thoughts: AXD as a Hybrid Performance Art
Armed Exhibition Drill is a unique hybrid of military tradition and performance-based movement arts especially for soloists. It blends:
The discipline of military drill
The weapon control of martial arts
The choreography of dance and color guard
The rhythm and synchronization of drumline and step teams
The acrobatics of parkour and breaking
The high-risk, high-reward spectacle of circus arts
As AXD continues to evolve, it borrows techniques from various performance disciplines, creating routines that are not just displays of military precision but full-fledged artistic showcases of skill, creativity, and physical mastery.
Summary
In this article I tried to emphasize the importance of recognizing the strong correlation between dance, other performance activities, and unarmed/armed military exhibition drill (UXD/AXD). The document highlights how these disciplines share common elements such as precision, rhythm, coordination, and expression.
Key connections include choreography and movement, timing and rhythm, body control and posture, expression and performance, training and discipline, and the influence of dance on drill. We explored the similarities between XD and step teams, martial arts, cheerleading, gymnastics, drumlines, color guard, flag spinning, breaking, parkour, freerunning, theatrical performance, and stage combat.
My suggestions here are based on my research and anecdotal evidence, I am not giving medical advice, just passing along what has worked for me.
The Situation
I was teaching at a school Friday through Sunday and when Saturday morning came around, one of the female cadets on the team had to fall out and sit down since she was suddenly not feeling well. At the next break I went to check on her and asked her the first question I always ask in when this happens, “Did you eat breakfast?” Her reply was, “No, we had a sleepover, and I just skipped eating.” I thought so, her blood sugar had dropped like a stone.
Read my article, How not to Faint or “DoN’t lOcK YeR kNeEs!” In that article I go over the necessity of consistent eating and hydrating, etc. One thing that we often overlook is the inclusion of minerals and salt.
Urine Color Hydration Chart
My go-to for the above situation was a packet of LMNT Elemental Labs Recharge electrolyte drink mix (https://drinklmnt.com/). I always have a box of watermelon salt packets with me, and I talked with both instructors before offering a packet to the young lady. She poured the packet into a bottle of water and sipped it for the next ten or so minutes.
I knew the results would be outstanding and 20 minutes later she was back in the flight marching around with the rest of the cadets. Salt and accompanying minerals are essential for us daily.
Types of Salt
Salt is a mineral composed primarily of sodium chloride (NaCl). It is essential for human and animal life and has been used for centuries for seasoning, preserving food, and various industrial applications.
There are different types of salt, including:
Table Salt – Refined with added iodine to prevent iodine deficiency.
Warning! This is garbage and should never be consumed, it is bleached and processed so there is no value in it whatsoever. This is what contributes to blood pressure problems. Salts 2 and 3 are much better for you.
Sea Salt – Obtained by evaporating seawater, often with trace minerals.
This is very good salt. Celtic is even better.
Celtic salt, also known as Celtic sea salt, is a type of unrefined sea salt that originates from the coastal regions of Brittany, France. It is harvested using traditional methods, often by hand, from clay-lined salt ponds. This process helps retain its natural moisture and mineral content.
Himalayan Pink Salt – Mined from the Khewra Salt Mine in Pakistan, rich in minerals.
Along with Celtic salt, this is the best. Salt filled with natural minerals and little flecks of purple (iodine) are so beneficial for you.
Kosher Salt – Larger crystals, used in cooking for its texture and ease of handling.
Epsom Salt – Not actually salt, but magnesium sulfate, used in baths for muscle relaxation. This is a great laxative as well.
Borax – also known as sodium borate, sodium tetraborate, or disodium tetraborate, is a naturally occurring mineral and a salt of boric acid. Its chemical formula is Na₂B₄O₇·10H₂O (decahydrate form). Great health benefits when ingesting tiny amounts, do your research.
Salt plays a crucial role in bodily functions, including fluid balance, nerve transmission, and muscle contraction. However, excessive salt intake can contribute to high blood pressure and other health issues.
Severe dehydration (dizziness, confusion, very dry skin): Several hours to a full day, often requiring electrolyte-rich fluids or IV hydration in extreme cases.
Everyone’s needs can be different, professional guidance is recommended.
Drinking only water is good, but there’s a better way that I will explain in a moment.
“Sports” and “energy” drinks should be completely avoided.
I highly recommend electrolyte supplements, but not all are good, do your research.
A balanced diet contributes to hydration and overall performance.
By focusing on the general principles of hydration and emphasizing the need for professional guidance, you can provide valuable information without giving potentially harmful advice. It’s always best to err on the side of caution when it comes to health and nutrition.
Hydrated Enough?
You can tell if you’re properly hydrated by paying attention to these key signs:
1. Urine Color & Frequency
Pale yellow or light straw-colored urine = Well-hydrated
Dark yellow or amber urine = Dehydrated, need more water
Clear urine constantly = Might be overhydrated
2. Thirst Levels
If you rarely feel thirsty, you’re likely drinking enough.
Feeling thirsty often is a sign you need more fluids.
3. Energy Levels & Mood
Proper hydration helps maintain energy and focus.
Dehydration can cause fatigue, dizziness, headaches, and irritability.
4. Skin Elasticity (Turgor Test)
Pinch the skin on the back of your hand and release it.
If it bounces back quickly, you’re hydrated.
If it stays pinched for a moment, you may be dehydrated.
5. Mouth, Lips, and Eyes
A well-hydrated person has a moist mouth, soft lips, and clear eyes.
Dry mouth, chapped lips, or dry eyes indicate dehydration.
6. Sweat & Body Temperature
If you’re sweating normally and maintaining body temperature, you’re likely hydrated.
Excessive sweating without replenishing fluids can lead to dehydration.
7. Mental Clarity & Focus
Hydration affects brain function. Brain fog, dizziness, or headaches can signal dehydration.
How Much Water Do You Need?
A general rule: Half your body weight (lbs) in ounces per day. Example: If you weigh 160 lbs, aim for 80 oz of water.
More if you’re active, in hot climates, or sweating a lot.
Bottom Line: Listen to your body! Watch your urine color, thirst, and energy levels to ensure you’re staying hydrated.
Too Hydrated?
Drinking too much water can lead to a condition called water intoxication or hyponatremia, which occurs when excess water dilutes the sodium levels in your blood to dangerously low levels. Sodium is crucial for nerve function, muscle contractions, and fluid balance.
How Water Intoxication Happens
When you drink excessive amounts of water too quickly, your kidneys can’t excrete it fast enough. This causes:
Dilution of sodium in the blood.
Cells begin to swell, including brain cells, leading to pressure in the skull.
This can result in headaches, confusion, seizures, coma, or even death in extreme cases.
Symptoms of Water Intoxication
Mild: Nausea, headache, bloating
Moderate: Confusion, muscle cramps, weakness
Severe: Seizures, loss of consciousness, coma
How Much Water is Too Much?
The kidneys can process about 0.8–1.0 liters per hour (about 27–34 oz). Drinking much more than this, especially in a short time (like 3–4 liters in a couple of hours), can overwhelm your body’s ability to balance fluids.
Who is at Risk?
Endurance athletes (marathon runners, triathletes) who drink excessive water without electrolytes.
People with kidney or heart conditions that affect fluid balance.
Overhydration due to excessive fear of dehydration.
Prevention
Drink when thirsty instead of forcing excessive amounts.
Balance fluids with electrolytes (especially sodium and potassium) when sweating heavily.
Monitor urine color—very pale urine all the time can indicate overhydration.
While rare, water intoxication can be fatal.
The ”Solution”
There isn’t necessarily a problem although we do need to know the above information to keep ourselves healthy even when exerting ourselves in training sessions but what I am talking about here is literally a solution of water and minerals.
My suggestion to you is to not just drink water but drink water that has structure to it so that it will be distributed throughout your body at the cellular level and retained instead of just creating a lighter colored urine.
Bring your own container: Using a copper water bottle is very good, stainless steel works well, but plastic should be avoided since it leaches chemicals and microscopic pieces.
Use a supplement: What I carry with me is for urgent and occasional use. Taking an electrolyte supplement regularly has a bad effect on your body.
Salt is good: Again, not bleached table salt. I take just one grain of Celtic or Himalayan and put it in my reverse osmosis or distilled water (the only water I drink) when I travel and teach. It helps me maintain a good electrolyte balance. I also salt my food with those salts and practice iodine and salt loading at times (https://www.breastcancerchoices.org/drshevin.html).
Other than salt: you can replace minerals with ConcenTrace Trace Mineral Drops.
Summary
Salt plays a crucial role in bodily functions, including fluid balance, nerve transmission, and muscle contraction. It’s essential to maintain proper hydration and electrolyte balance, especially during training. Drinking water with added minerals, like a grain of Celtic or Himalayan salt, can help maintain a good electrolyte balance.
Time and space. Drill competitions across the country are underway each school year. School campuses are taken over for one day out of the year with different drill decks on various grassy fields, the football field, and even inside the gym and field house.
The Complaint
For that one day, the school is overrun with cadets in uniform marching several sequences, running, and testing. Someone is bound to complain that they can’t sip their soy latte, no foam, no whip, under the shade of their favorite tree while giggling with their friends.
That complaint can be dealt with by a school administrator telling students that it’s only for one day each year and that everything will be back to normal by later afternoon. Or the administrator can buckle under the pressure of the toothpick on his/shoulder and demand the ROTC/JROTC department speed things up and clear out of the campus as quickly as possible.
The Demand
That demand leads to a really bad decision in order to speed up the process. Senior ROTC drill teams are relatively few, but every unit has a colors guard, and that color guard category becomes a long list of teams wanting to compete. It’s the same for JROTC color guards.
The simple fix is to split the list in half and run two colors decks simultaneously, which is a great solution, but to have both decks compete for the same trophy is inappropriate. In this article I will explain why.
The Bad Fix
With half the competitors judged by one panel of judges and the other half by another panel, there are fundamental problems of fairness and consistency. Here’s why that scenario is problematic (at best):
Variability in Judging Standards:
When you split the competitors, the core issue is that different judges will inevitably have different interpretations of the judging criteria. This means that a performance judged by one panel might receive a significantly different score from the same performance judged by the other.
This introduces an element of chance, where a competitor’s final score is influenced by which judging panel they happen to be assigned to.
Unequal Playing Field:
The goal of a competition is to provide a level playing field for all participants. Splitting the judging panels creates two distinct playing fields with potentially different standards.
This can lead to situations where one group of competitors faces a more lenient or strict panel than the other, resulting in an unfair advantage or disadvantage.
Difficulty in Meaningful Comparison:
Even if the judges are highly qualified, subjective elements in judging will always exist. This makes it difficult to accurately compare scores between the two groups.
It becomes very hard to say with certainty that the competitor who scored the highest was truly the best, or if they just had the “better” panel.
Perception of Unfairness:
Competitors and spectators are likely to perceive this system as unfair (because it is), even if the organizers attempt to justify it.
The perception of fairness is crucial for maintaining the integrity of the competition.
Essentially, even when splitting the competitors, you are still splitting the standards. To have a fair competition, all competitors should be judged by the same standard, which means the same judges.
Additional Nuances to Consider:
Attempts at Calibration:
Sometimes, organizers try to mitigate the issue by having judges “calibrate” beforehand. This involves discussing the judging criteria and watching sample performances together. However, even with calibration, subtle differences in interpretation will persist.
Calibration can lessen the gap, but it cannot completely eliminate the problem.
The Impact of Category Type:
The level of subjectivity in the judging criteria matters. For example, in a science fair where measurements are objective, the impact of different judges might be less significant. However, in artistic performances (military drill, dance, music, etc.), where subjective interpretation plays a large role, the impact is much greater.
Even when using the World Drill Association adjudication system, the most analytical system developed for the military drill world, there is still the human, subjective, factor.
The Size and Scope of the Competition:
In very large competitions, logistical constraints might make it seem like splitting judging panels is the only option. However, organizers should prioritize finding alternative solutions that maintain fairness, such as staggered performance times or multiple rounds with consistent judging.
Having the two-deck system with 20 teams per deck and then a final round for the top five teams from each deck would be a good option.
Transparency and Communication:
Even if organizers choose to use multiple judging panels, they should be transparent about the process and communicate how they are attempting to ensure fairness. This can help to alleviate some concerns among competitors and spectators. However, it does not remove the core issue of inconsistent judging.
Alternatives:
When possible, alternatives should be strongly considered. For example, having panels rotate through different groups of competitors, or as mentioned before, staggering performances to allow one judging panel to judge all competitors.
In short, while splitting judging panels might seem like a practical solution in some situations, it fundamentally compromises the fairness and integrity of the competition. Organizers should prioritize finding alternative solutions that ensure all competitors are evaluated under the same standards.
The Good Fix
The simple fix, as stated above, is to split the list in half and run two colors decks simultaneously. You then have two options to keep the competition fair:
Option 1, Two Categories: Create two different categories, one for each deck, with a set of awards* in each category.
This is quite common within JROTC color guard competitions. Many schools will field two color guards and enter one each in “armed” and “unarmed” categories, even though the teams are always armed. See the article, The OTHER Unarmed Color Guard, for further information.
Option 2, One Category: Keep the two-deck system with both decks vying for one set of trophies. You then have a final round for the top five teams from each deck and take half the judges from each deck as well.
*Trophies are nice, but I really think we need to move to award streamers. Streamers fit in with the military system, are easily transported, and better displayed without taking up unnecessary room.
Tulane
I wrote this for the NROTC department at Tulane University, specifically, but this applies to anyone who might find himself in a similar situation.
Let’s talk about Countermarch and the Wheel for a 5-man color guard for the Marine Corps, Navy, and Coast Guard.
The Photo at the top of the page shows a color guard with Marine Forces, Europe and Africa, retire the colors during an Assumption of Command Ceremony MarForEURAF at Panzer Kaserne, Stuttgart, Germany. There are big problems in the photo.
❌The national is lower! Org bearers, adjust your sockets, that why God made them adjustable.
❌You are not a Close Interval.
How the 5-man Exists
Notice the color guard has two organizational colors. That’s because one General heads two different commands, Marines in Europe and Africa. The Marine Corps has maybe three of these instances where a CG has two commands (one in Louisiana and one in the Pacific?).
Countermarch or Marine Corps Wheel?
Can a 5-man color guard perform Countermarch? Yes! “But how”, I hear you ask. “The MCO doesn’t have that guidance.” You’re right, the only 5-man color guard movement is the Wheel with the rotation point in the center (not the Army Wheel, the MCO calls that a Turn) and the text says the team must be joint service. Hear me out on this:
A joint colors team begin at 5 members and can be larger. The guidance for a joint team to perform the Wheel in the MCO centers on the number of team members. The MCO *should* state the Wheel is for teams of 5, joint or otherwise but since it doesn’t, .
The reason for the MC Wheel is time. A 4-man Turn/Army Wheel, with rotation on the guard, takes 8 steps on average, where you don’t look like you are running nor taking forever. Add one more person and the steps increase by 2. A Marine Corps Wheel reduces the step count to 6.
Tulane, You’ve Done it Again
Each year, Tulane University’s NROTC hosts a drill meet during Mardis Gras for college teams from around the country and each year there is some sort of change to try to keep things interesting. Most of the time, the change is never researched, it’s just decided. For 2025, a color guard Wheel movement was replaced with Countermarch and since the competing color guards must march five members (possibly reflecting joint service standards) and Countermarch for 5 is not explained in MCO 5060.20, teams are scrambling and asking questions.
My guidance: Countermarch with 5? See the guidance in TC 3-21.5 for Counter Column for 5 and maintain the MCO standards.
