Stuart Rice
2003-08-19 20:02:02 UTC
www.geocities.com/flatlandpress/PA.html
How about a link to the cliff notes for those of us with shortNo link at present, but I'll try to sum it up in simple terms:
All drill has movement. Two dimensional movement, specifically, which
we tend to draw with dots on paper with implied movement beween the
dots.
USE
First and foremost, Planar Analysis identifies nine different kinds of
drill movement (a tenth has never been found - $50 to anyone who can).
These nine kinds of movement, and their combinations, make up every
move that has ever been used - or ever will be used - in drill.
Planar Analysis categorizes all drill movement into three categories -
movement that affects the location, shape, and orientation of a
formation.
All nine movement types fall into one of these three categories -
three types for each category of movement.
Now that we have PA to identify different kinds of drill movement,
what do we do next? We count them. When analyzing the drill in a
show, we (I) sit down and count every single move, and combination of
moves, and document it. I then add up the moves and - viola! we have
counted how many moves the show has - we call that "Total Use" or just
"Use".
In addition, we count the most important moves in each "phrase" of
movement (analagous to each page of drill). We call this move an
"event". We count these events, and we have an index for the length
of the show, roughly - the category of PA we call "Events" (their use
to be explained later).
By dividing the number of events by the total number of moves in the
show (Total Use), we get a third category - "Complexity" - which
measures how many different kinds of movement are going on at the same
time, at any given time (or during the average event).
DIFFICULTY.
Some types of moves are more difficult than others. Follow-the-leader
in a closed formation - square or circle, for instance - we call
"Circuitous" movement, and is pretty easy. "Structural" movement -
"reshape" to some - is pretty tough (based on how difficult they are
to achieve without drill charts or field markers).
How do we give credit for more difficult moves? Planar Analysis lists
all nine movement types in order of difficulty, grading them on a
scale of 1 (easiest) to 9 (toughest). It also uses that grade to
identify the move - "1" represents Circuitous movement, while "9" is
Structural.
We can use these numbers to calculate the difficulty of a drill in two
ways - first, we can add the numbers, or difficulty level, of each
drill move in the show together and get the "Total Difficulty" of the
show. Next, we can divide that number by the number of "Events," or
significant moves (pages of drill or movement phrases, if you prefer),
and get the difficulty level of the drill's average move. We call
that category of PA, "Difficulty per Move."
So now you know the five technical categories of Planar Analysis and
how they work to measure a show:
[Total] Use
[Total] Difficulty
Difficulty per Move
Complexity
Events
Next, we'll talk about the five creative categories of Planar
Analysis.
BALANCE
Wouldn't it be boring if the drill in a show we were watching had only
one kind of movement - scatter drill ("Polar") or follow-the-leader
all over the field ("Canonic")? Interestingly enough, PA has found
that even among the DCI elite, the majority of movement in most shows
only uses 2 or 3 kinds of movement.
PA rewards a balanced use of the entire 9 movement spectrum -
"Balance". Judging balance of movement - like balance of color -
takes creative judgement. Hence, it is a creative category.
VARIETY
The final four creative categories of Planar Analysis are based on the
most prominent movement used in a phrase (often a page of drill) or
"Event". Because it is the most visible (based on the size or
placement of the formation using it), the movement types used for
these "Events" deserve special consideration.
Events are performed sequentially. There are two creative ways to use
movements sequentially - with variety (123456789123 etc.), or
methodically (one movement type at a time - 111122223333 etc.). PA
rewards drill for using both approaches.
The category "Variety" rewards Events sequences that emphasize variety
(123456789123 etc.). The "Variety Grouping" category of PA rewards
the methodical approach (111122223333 etc.), based on the assumption
that "1111" does not mean the drill will be presenting the same
movement the *exact* same way each time.
GRAMMAR
Grammar is a little trickier to explain, but works the same way as
Variety. Remember, all 9 movement types fall into 3 categories of
movement, based on how they affect a formation - by changing location
("Translatory"), shape ("Contrapuntal"), and orientation ("Periodic").
We call these categories of movement "Grammar" because, just as parts
of speech use grammar to organize words according to their type -
noun, verb, adjective - two-dimensional "grammar" organizes movement
according to type. In fact, noun, verb, and adjective are roughly
analogous to Periodic, Translatory, and Contrapuntal movement - in
creative function.
We measure the "Grammar" category of Planar Analysis according to the
variety with which these categories of movement are presented in an
events sequence. Grammar rewards Events sequences that emphasize
variety (CPTCPTCPT ect.). The "Grammar Grouping" category rewards,
again, the more methodical approach (CCCCPPPPTTTT etc.).
So now you know the five creative categories of Planar Analysis:
Balance
Variety
Variety Grouping
Grammar
Grammar Grouping
The technical categories are based on quantities of raw movement and
difficulty level, while the creative categories of PA are based on the
balanced use of these movements, and the creative arrangement of a
drill's most prominent moves (events).
The accuracy of GE Visual results of any drum corps contest, can be
compared with how well their rankings reflect the average of rankings
all ten categories of Planar Analysis among all contestants analyzed.
Among DCI finalists analyzed thus far, PA tends to place contestants 1
or 2 placings away from their GE Visual ranking.
Any questions?
who says your way is right besides you?
Nobody say's its right. However, I believe it is accurate, based onwhat it professes to measure, and I think most who have studied it
agree. That is all one can hope for of any method measuring drill.
The devil is in the details, mind you. Simple design factors can make
or break any drill, no matter how well its PA scores. However, as
subjective as the judging of drill is today, it would be wise to pay
careful attention to how we reward (or punish) drills which, analyzed
or not, evidence high Use and Difficulty.
As for "who says" PA - or for that matter, functional marching
technique, the Upright Method, or the methodological, historical,
biomechanical, or social manifestations of marching in my research,
experience, or application - are useful or interesting, here are a few
comments I once posted here:
Dr. Donald Chinn, Ph.D: "I just finished reading through Stuart
Rice's rather long article on Functional Marching that recently
appeared
in the Symposium (1996). The short summary of the article is that
Stuart
describes first a brief history of marching (drum corps and marching
band) from his own perspective, the rationale and philosophy of the
brand of marching known as "Functional Marching." Then he discusses
four case studies .... The final three sections are concerned with
Stuart's vision of what marching can be and how to fix the problems in
marching today.
Stuart attacks RAMD as a place that does not value ideas ... I agree
....
The two anecdotal case studies that involved Stuart's
marching technique were interesting. It would be interesting to see
this implemented on a larger scale. ... There are lots of interesting
and thought-provoking things Stuart has to say about the subject of
marching in his article. Specifically, the idea of proper form and
technique is well-taken. His total philosophy is at the very least
thought-proking ..."
Dr. Craig Bales, M.D.: "I would encourage all thoughtful RAMDers
to read or re-read his [1995 Symposium] paper. It shows us where
society, and yes, where DC has its roots. Keep making us think,
Stuart"
Matt Dillon: "Stuart's views about why people march are very
interesting"
Mark V. Herzing, B.A., Lawrence University, Master of Public
Policy, Harvard University: "In previous posts, Stuart has presented a
complete, well-researched account of the content and historical
context
for the marching arts'"
Matt LaFontaine: "... thought-provoking"
"Esme" (***@internetaddress.com): "You have the gift for putting it
into words!"
Richard Moon: "It is nice to be able to occasionally see the
forest for the trees"
Mr. Bill Cook: "I have read The Medium is the Message' and must
agree with the conclusion that marching/drill' apparently is being
discarded by some music educators"
Dr: Richard Lamb, Ph.D:
* On Functional Marching: "... it looks like a more ergonomic
way of marching"
* On Planar Analysis: "... his taxonomy of drill moves ... are
basically sound"
* On Anthropology: "Stuart seems to regard marching as any time
walking becomes an act of communication instead of just a means of
locomotion. As a biologist who studies animal behavior, I find this
an
intriguing idea"
* On Music Education: "He has a very good argument in his paper [The
Medium is the Message: Choreographed Marching in Twentieth-Century
American Schools], but he has not repeated it on RAMD in enough detail
for everyone
to follow .... A good deal of it comes from there being the people
who
are left to maintain marching instruction in schools and then, in
their
national standards, striving to eliminate it from the curriculum. If
you care about marching (and Stuart does) then you would be distressed
by this"
* On Research: "I have a hypothesis that the reason people
don't get Stuart is that he doesn't traffic in the usual social
currency of drumcorps--gossip, war stories, and trivia. This makes
the
average drum corps person suspicious of his authenticity. Instead, he
is off by himself doing research. What a wierdo! :->"
* On Contributions: "Stuart is a historian and a theoretician
of marching more than a practitioner. We have lots of drill writers.
As of now, we only have one academically minded critic--Stuart"
* Drum Corps World, Volume 25, Number 6: "Planar Analysis clearly
called the winner--Cavaliers. ...Planar Analysis is more than an
academic exercise in counting how many drill moves are in a show. It
is
also a practical tool for evaluating drum corps marching. It shows
which aspects of a corps' drill judges reward and predicts corps'
placements based on the technical merits of their choreography.
Planar
Analysis does so because it uses an objective and uniform standard for
judging the difficulty of any maneuver. Because it works, Planar
Analysis promises not only to be a major innovation in describing
marching choreography, but also as an aid to judging". (Dr. Richard
"Vince" Lamb, "PLANAR ANALYSIS AND PLACEMENT -- WHAT KINDS OF DRILL DO
JUDGES REWARD?")
Joe (***@aol.com): "Stuart does know his stuff. I dont
think he remembers me, but I remember him. He wrote an entire book on
marching [The Upright Method: The Art of Choreographed Marching]. He
developed a completely new technique of marching that is quite
innovative."
Nikk Pilato, Drum Corps World Staff: "Well, Stuart...[I] just got
back from visiting your web site, dedicated to the advancement of the
marching arts. Let me cut right through the crap to the chase:
Brilliant. Absolutely brilliant. You probably think I am being
sarcastic, but I'm not. I am 100% honest. I think it is fantastic
that
you have dedicated yourself to this subject. I applaud your efforts,
and your dedication. ... Everyone I have talked to about you (doing my
research, as you always suggest) from former teachers to fellow 83
Blue
Devils all say the same thing: Very smart kid. ... they were very
positive. ... The funny thing is, I agree with much of what you say on
the subject of marching. ....
I only hope that I can change myself for the better. ... Be a
researcher.
Be an educator. Be an innovator. For the sake of the activity I love
....
From what I saw on your website, your ideas are valid and a great
tool.
You're very logical, very precise, and very calculating. ... you
seem
to be passionate about the marching arts ...."
Kenneth A. Gondor (Stuart's former high school band director):
"During
the years following his graduation I have kept in contact with Stuart
and know he has continued to learn and participate in the art and
entertainment that is Drum and Bugle Corps. I believe his experiences
in this area can be of great value if he should have the opportunity
to
work with and develop a corps .... The students involved in such a
program would benefit greatly from their association with Stuart Rice"
Dr. Steve Roens, Assistant Dean, College of Fine Arts, University of
Utah and collaborator on Planar Analysis: "As a result of much hard
work, careful research, and imagination guided by substantial native
intelligence, Mr. Rice succeeded in coming up with a language to
describe marching. Throughout his work on this, I was impressed not
only by his insight and his ability to use research skills in an
effective way, but also by his wide knowledge of marching and his
highly
developed critical acumen. In addition to his success in research and
academic work, Mr. Rice is personable and mature. I found him to be a
pleasure to work with and expect that he will function equally well
working independently or in a group"
Dr. Richard L. Openshaw, Ph.D, Director of University Institute
Music, University of Utah: "artful and capable in instructing and
training ..."
Mr. Gregg I Hanson, Director of Bands, Professor of Music,
University of Arizona: "an extraordinarily gifted musician and
talented
writer and possesses many creative talents beyond these two. He has a
brilliant and inquisitive mind that I found fascinating. He is not
only
an avid fan [of drum corps], but somewhat of an authority on the
subject"
Carol Lessinger, Licensed Practitioner, Feldenkrais Awareness
Through Movement/Functional Integration: "... a young man with
commitment. He is responsible, dependable, dedicated, and most
importantly fascinated by learning. ... a creative and original
thinker"
Grant Beglarian, President, National Foundation for Advancement
in the Arts: "... a promising young artist"
Orrin G. Hatch, United States Senator, candidate for President
of the United States: "The many hours you have spent in study have
certainly paid off!"
Madeline Albright, Administrator, Student Services, The
Juilliard School: "On the basis of your audition, the faculty jury has
recommended that you be considered for a tuition award"
Boyd R. Ivie, Scout Executive, Great Salt Lake Council: "... you
have become a Marked Man.' Be a leader, but lead only toward the
best.
... Too many use their strength and talents to exploit others and to
gain selfish ends. You are charged to be among those who dedicate
their
skill and ability to the common good of mankind and service of God"
Jeff Ream: "an absolute pleasure to have met you Stuart. You're right
about how meetings of online adversaries tend to go.....but i can now
gladly say i met you and you were really cool. Hopefully next time
we'll have more of a chance to talk."
Hope this is helpful to someone.
Stuart E. Rice
www.marchingresearch.com