SYMPOSIUM KEYNOTE ADDRESS Roots and Branches Dr. Harvey Berish INTRODUCTION: PAGEANTRY. Drum Corps and Marching Band performance has been called, and rightly so, a major new 'art form'. Like other areas of art, its history dates back to the Glories of Greece and the conquests of Rome, but the pageantry arts have not always been nurtured through the centuries by wealthy patrons and state subsidy. The pageantry arts rise from the grass roots. They have the common, rather than the classic touch, but they display a very definite expression of order, color, symmetry and beauty; and in emotional impact these arts parallel, at their own level, the impact of the masterpieces of the ages. The Corps and Bands and Flag units of today are rigid and exacting, They are clean and inspiring. These units have risen through their own efforts to their present stature in our communities and neighborhoods. More and more these marching musical and precision units are recognized as one of the most effective youth activities; and despite the unyielding discipline these performing units require of their young members, they are more and more accepted by the young people of North America, and now other parts of the globe as an activity worth the personal investment of time and energy. The flash of color, the pulsating rhythms, the brassy blare of syncopated jazz, the waving flags, the precise dance, and marching steps, serve as herald for the newest art form of our youngest generation. The loyalty to one's school or unit, the pride in one's appearance, and the group spirit assure the perpetual continuation and phenomenal growth of this colorful youth activity into the future ... pageantry is an activity, with a future as well as a past! ROOTS ... WHERE DID IT ALL BEGIN???? Marching Musical units and pageantry groups are truly organizations of great antiquity. Many museums around the world house ancient instruments, drums and banners that date back even to the bronze age, the days of Pompeii, the Crusades and virtually every ancient society. Homer tells us that the Roman Legions used horns on the battlefield to signal advances and retreats. The sounds of the drums and the horns also were used to excite the warriors and build up their courage. In the Orient, and South America, and in the middle east horns and drums and marching minions were incorporated into religious rites and ceremonies. One of the oldest, continuously used "horns" is the Jewish Shofar. It is a hollowed Rams Horn, whose sound was used by Joshua at the Battle of Jericho (Joshua VI, 4, 5, 8,) and which is still used to summon religious Jews to worship and which is used to herald the opening of the Ark of the Torah (The first 5 books of the bible) each week. No generation, no society, no part of the world where Jews have lived has not heard this piercing wailing sound. The horn and its sound has been around for more than 5,600 years. Gideon used a massed "corps" of horns (shofars) more than 300 strong to terrify and defeat the Midianites (Judges VII, 16) In the Book of Samuel (Samuel XII, 3) Saul used a horn choir to summon his army for the fight. The first horns were natural horns made from hard skin that resembles fingernail material, The Rams horns can be heard for quite a distance. In lands bordering the seas, Conch Shells and seashells were used for horns. Today The descendants of the Ancient Hawaiians still use the Conch Shell to celebrate, to herald, and to announce the arrival of important religious and royal personalities. The Annual Kamehameha Parade is opened by dozens of Conch Shell Blowers rushing down the street in military step announcing the beginning of the great event. In Tibet, large horns are used in ceremonies, some of the instruments are many hundreds of years old. The horn (or trumpet or bugle) is known to virtually every society and has appeared in almost every civilization in world history. Horns were sounded when royal children were born, when soldiers or warriors reached manhood, and when people died. It is believed by many Christians that the call of the horn (Bugle) will be the last sound heard on earth. Musical horns have always been associated with royalty, and religion. Pharaoh Tutankhamen had several trumpets buried in his tomb. When discovered they were experimentally blown by scientists to hear the sound. Only one clear note was obtainable, however trained horn players could actually get several notes from the horns. The Garna trumpet (or horn) was used by Egyptian soldiers and priests as early as 1415 B.C.E. (Before the Common Era). King Nebuchadnezzar included horns in his royal "band" in the early sixth century B.C.E. In Denmark's Copenhagen Museum there are nineteen "lur" horns. Made of Bronze, the Lur were preserved by being buried eons ago in peat bogs. It is believed they were from the Bronze age (1,000 B.C.) Originally the Lur evolved from the horn of an OX but military musicians discovered they could extend the range of the Lur by adding metal mountings at the broad open end, as well as a primitive "mouthpiece" at the pointed short end. The transition from Ox Horn to Bronze horn was not as big stretch and soon they were being produced as full metal instruments. Trumpets (horns) were incorporated into the religious and military rites all over the globe ... Tibet, China, Mexico, Peru and even New Zealand. At the Boston (US) Museum, there is a Greek horn dating from 500 B.C., and in some ancient writings there is mention of a horn playing contest as part of the Olympic Games of 400 B.C. The Romans were warriors. They had large standing armies. They made use of trumpets and drums in all of their military marches and campaigns. The Roman horn was known as a Lituus. They have been pictured on coins and in 1827 a Lituus was found at a tomb in Cerveteri, Italy and is now preserved at the Vatican Museum. While excavating in Pompeii, an Italian Buccina horn was found, The strange horn was built to fit around the player. It curved under the left arm of the player and then across the body to the right shoulder. This was done to allow a marching soldier to play the horn while moving. There is a carving on Trajan's Column in Rome that shows the Buccina horn. With the collapse of the Roman and Greek Empires horn making went into decline, to be revived hundreds of years later by European royalty. A long straight horn called the Buysine, appeared in the 1500's and was used to announce the travels and conquests of King Henry. The big breakthrough in horns came when a method was discovered that allowed instrument makers (blacksmiths) to bend tubing. The discovery led to many strangely shaped horns. In Switzerland the Alp Horn (Still in use today) was invented and made of metal and wood. Some Alp Horns were 8 feet long with a metal bell. A similar horn was used for religious and communication purposes in the mountains of Tibet. (And still is). We will move for a brief moment to the other necessary part of the "marching band", the drum. Again a staple of almost every organized society. The drum varied from a hollow log, to hand carved tubing with animal skin heads. As the horns developed into more sophisticated instruments, drums remained for centuries in pretty much the same level of development. Plutarch in describing the war techniques of the Parthians, speaks of the terror spread among the opposing warriors by Kettle drums. The Kettledrums developed in the far east, and spread throughout the Asian and African Continent. Some kettledrums were mounted on animals (Horses, Elephants, Camels) to keep troops in step and moving quickly and then rallying them for battle and giving signals. In Africa, drum playing was developed until it was almost an articulate language, as well as an art form. To this day, there are African drummers who can tell stories, excite religious ceremonies, and evoke varying emotions from its listeners. Cavalry Drums, Mounted Kettledrums, and Clarion horns spread from across Europe from the far eat as early as the 15th century and were promptly recognized by reigning monarchs as essential to their power. Palace records show that Henry VIII sent money to Vienna (Austria) for a pair of kettledrums to join the fourteen state herald trumpets in the Palace band. During the same time period Elizabeth I enjoyed music played in her palace at special occasions by a "band" that included kettledrums and silver trumpets. Surprisingly, historians look towards Istanbul Turkey to find the very first true "marching military band". The group founded in medieval times (about 1400 Common Era) still performs in the uniforms which they wore in the Early Ottoman Empire period. The Mehter Takami Band is best known for its wild percussion and the fear they generated during war situations. with an attack cadence that struck terror into the hearts of opponents. To this day, their instruments and uniforms are preserved at the Askeri Muze (Museum) in Istanbul Turkey where a replica group still performs for tourists and visiting dignitaries. BANDS. The beginning of the 'real' military band, appears to be in the early seventeenth century. King Louis XIV (1643-1715) and Frederick The Great (1740-1786) employed an Austrian man named Lully to organize bands and compose music for them. As a matter of fact, court records show that Frederick the Great fixed the size of his band at two hautboys (oboes), two clarinets, two horns, two bassoons and corps of drums. In Great Britain members of the British Royal regiment of Artillery Band were required to play stringed instruments as well as drums and bugles (horns). (This condition still exists today, according to descriptions of work requirements in some regiments.) Another throw-over is the site of many of the modern British, Canadian, Australian, and Indian marching bands whose drummers are draped in leopard skin covers. This is supposed to be a heritage from when Black Africans were drummers in some of the bands. As can be expected, Military bands flourished during periods of great wars. Napoleon's infantry regiments had marching military bands with as many as forty two cavalry trumpets. Composers wrote music for these bands and were paid from the royal coffers. Early in the 1700's two British musicians James Fraser and Hyde began composing and arranging music for Military Bands and bugle bands. They were the first to introduce harmony in some of the calls and marches. Some of the bands of the British Military, still use these arrangements to this day, and their unique sounding arrangements led to the popularity and dissemination of military bugle bands and marching units so that by mid century some of the original groups (The Royal Sappers and Miners bugle band) acquired a fine reputation and made numerous public appearances. State or Cavalry Trumpets began to appear The bell of the horn and some of the mountings contained gilt and silver. A number of European museums have these horns on display. In 1810 Joseph Halliday added moveable keys to increase the musical scope of the horns and under the patronage of the Duke of Kent, who was military commander in chief at the time, and the horns became known as the 'Kent Bugle' .... It is noted that on July 22nd, 1812 Sergeant Major Webb of the 5th Dragoon Guards and personal field trumpeter to the Duke of Wellington, played a field trumpet twice the length of the State Trumpets (approx. 48 inches) to sound the charge at the Battle of Salamanca. By Mid 19th century Henry Distin invented and installed a chromatic piston attachment to the horns of the Band of the Royal Artillery Brigade which then increased the size of its horn section to be the largest in the British Military. Henry Distin patented his piston attachment and that is how we know of these developments. THE FIFE & DRUM in AMERICA. In The New World, the creation of an American nation was beginning ... and being born of revolution, the military on both sides had musical units to accompany them into battle and to sound calls, alarms and celebrations. One of the first official acts of the Colonial Congress was to create "a company of fifers and drummers.' This was the offshoot of many community marching 'bands' and displayed the healthy regard the colonial settlers has for bands. To this day there are Fife and Drum Musters in the new world, and the Mattatuck (Connecticut) drum corps can trace back its heritage (according to their bass drum head) to the 1760's 16 years earlier than the nation itself. In Connecticut the 'Governor's Foot Guard' of New Haven traces its history back to 1774. In Washington DC the United States Army's 3rd Infantry Division, The 'Old Guard' is one of the most famous of the fife and drum corps and still marches at Presidential Inaugural parades and ceremonials at the White House. New England has the longest tradition of 'fife and drum' but at this point there are 'Ancient fife & drum corps" across the nation. In June of this year, I was at the Portland (Oregon) Rose Festival and was stunned to hear the sound of an authentic corps located in the state of Oregon. Parades, musters and Field days have been popular since the 19th century, and the Centennial in 1876 saw a revival of these type of units, wearing the uniforms, and playing the written music of the Colonial and Revolutionary times. In 1876 a corps from Moodus Connecticut revived the Colonial style uniform, and numerous other fife & drum units joined in. Veterans of the Grand Army of the Republic and the Veterans of the Civil War formed many marching drum bands and brought the activity to its zenith in the last decade of the 1800's. By the turn of the century many of the corps had adopted the use of bugles that marched with the fifers. The long rope drums remain a defining site at fife and drum competitions. The 'National Championship' for fifers and drummers is held each year at Deep River Connecticut. Groups from throughout the US appear, as well as some of the European groups that have sprung up in past decades. In 1965 Ed Olsen, a fifer from Westbrook Connecticut, and Bill Pace a drummer from Chester Connecticut revived the name 'The Company Of Fifers and Drummers,' and now almost 200 units are affiliated with the organization. They have an extensive archive and collection of old sheet music, instruments, photos and newspaper articles about 'Fife and Drum Corps' in America. GUARD. Those in 'Winter Guard' or 'Color Guard' usually refer to their roots in terms of military history only. After all, even in the 20's through the early 70's our color guard or flag units appeared with rifles, and sabers guarding the national, state, city and organizational flags. In parades we actually strapped holster style devices onto our young ladies (At that point most guards were girls), and they worked endless hours on perfecting the goal of holding the flag pole straight up, with the eagle at the top facing absolutely straight forward. We cringed at shows where a member of the guard fell victim to the 'falling' flag. This happening when the leather tab holding the flag to the top of the pole slipped off the screw or wasn't taped correctly, and the flag suddenly started to sag and slip down the pole. Flags had fringe. The units were inspected for any flaw in appearance. Old-timers all have a memory of someone marching part of the show with their flag over their shako and head because it had not been affixed to the pole correctly. The old time bands, and university and college bands, and original drum and bugle corps did not have 'show' or 'flash' flags as such. The color guard was a small unit usually comprised of 2 or 4 rifles, a captain or two with sabers, and perhaps 4 or five flags total. During one period of our marching field history, it was required that the 'color guard', march straight down the fifty yard line towards the grandstands and present arms. There were time limits, and military requirements, and the crowds always grew silent, only to burst into sustained applause at the "Color Presentation." In 1947 the American Legion held their parade in Boston, Massachusetts, and a newspaper article of the time spoke of the 600 "precision color guards" that marched the parade. Many were veterans, who were honored to be in the section, others were sponsored by the Catholic Youth Organization. All had one thing in common: they were militarily inspired, and followed all rules as established and promoted by the American Legion and The All American Association of Contest Judges. To this day you will see American Legion Senior Flag units at most parades. Though the men are now senior citizens, they still "render" the salute and march in time honored tradition that dates back to the middle ages. So, where did all this start? How did it evolve? Here is a brief look at the very beginnings of flag units .... Needless to say, Hollywood has glamorized the medieval knights and warriors who carried regional, and religious flags into crusades and battles. Flag making is one of the oldest and most time honored occupations. Notes appear in many kingdoms and many dynasty's across the world that speak of "banners" and herald designs. Museums throughout Europe, Asia, the Middle east, and the America's feature paintings, and in some cases actual cloth banners that were carried in events. Here in America, no state could join the union until they displayed their own "state Banner or Flag." The encyclopedias are full of the story of flags, many with great colored replicas and art work. In Bologna Italy, in North Central Italy, there is a city organization of "Flag Wielders". The organization dates back to antiquity, when during the Middle Ages (1200 A.D. approx.), all Jousting tournaments, attended by knights, were preceded by a flag tournament featuring flag twirlers whose banners carried the coat of arms of the participants. The knights were led onto the field of competition by their banners and their flag twirlers remained motionless during the battles. When the flag was lowered or fell, it meant the war or battle was lost (There are numerous notations about flag bearers who accompanied the Roman Legions in their many conquests, but they were not organized for flag competition). Though Swiss and Italian flag twirlers have existed throughout history. It was not until after World War II that the modern movement began in 1966. The University of Bologna has its own museum, and a physical education professor Ernesto Zuenelle became fascinated by the old flags and costumes, and so when Bologna revived its ancient city festival, a group of nineteen young men were recruited and trained to perform some of the old routines as portrayed in art works. The costumes were also reproduced from art that showed 15th century Royal Court attire. Even the haircuts from that period were copied, and the men learned a half hour routine which they performed at City festivals and in church squares on Holy Days. The Bologna team proved to be so popular that other teams were then formed in a number of Italian Cities. Now there appear to be teams in Arezzo, Sienna, Faenza, Rome, Florence and other places. At the tragic Munich Olympic Games in 1972 The Flag Twirlers of Florence Italy performed in the Opening ceremony. Bologna's Team performed at the European Games in Rome in 1974. In 1977 a special flag twirling competition was held at Carovigno, with Daniele Bovoli taking the solo flag award for the European Flag twirling guild. Bovoli, won by combining acrobatic moves with his flag twirling ability. I have not come across articles recently in any of the European publications, but on occasion photos do appear in Travel or Tour publications. The flags used in the Italian competitions are made of silk, are five feet square and are attached to a six foot fiberglass pole. They weigh a total of 3 pounds. Most teams are 25 adults, however there are classes for smaller teams (16 members and even 8 members). The routines consist of two and three flag twirls. Many times they 'juggle' the flags so that one is in the air at all times. There are team 'tosses' that measure about 35 yards for an 'exchange' or 24 yards for an 'exchange.' With the exception of Bologna's City Team, all teams are made up of young men ... boys who begin their flag twirling training at age 10 or 12. The Bologna Team has a special category where there are about a dozen young women who perform with the men in rather acrobatic movements. Rita Zuenella, daughter of the Physical Education professor is the captain of the women's team. Each city has its own flags with the city insignia and the team name on it. If music is used to accompany the routine the musicians appear in the same medieval costumes as the flag twirlers, and usually consist of a corps of drummers (up to 10 percussion) and some herald horns (Usually 2 to 6). Each year, Swiss and Italian Flag twirlers appear throughout Europe at major events including the Carnaval at Nice (France) and at major Italian Festivals, and Swiss Flag twirling events. As is many times the case, Americans and Canadians, soon followed by Japanese and some European units take an art form such as military or flag twirling, improve upon it, organize it and market it on a huge basis. However what we call 'Winter Guard" today is essentially a new art form, that took the evolution of: lighter flag poles, lighter cloth material, the advent of portable sound, and cassette tape or CD to make it a reality. There are still many folks around who can tell you about flags that were 4 feet by 6 feet on oak two piece poles, or color guard contests held in mid winter where live drummers or a small percussion section would provide the cadence and 'music' for the performances. They also remember marching in a company front half way down the gym floor and rendering a salute before performing ... an 'American" or "National" section that marched in the beginning of the show and then was "parked" in a corner of the gym floor facing away from the crowd or the rest of the guard, so they would not have any flags march in front of the American Flag Party ... "posting pots" when along the perimeter of the competition floor there were tubular devices, welded to a flat base where the color guard members were allowed to take their flags out of the metallic or leather holster, and "post" the colors then step back from the flag and salute it ... girls who remember the fear they felt when the "inspection judge" walked up to them and proceeded to "inspect" every inch of their uniform, hand positions, eye movements etc. The "Troopers" drum and bugle corps of Casper Wyoming, The Kingsmen drum and bugle corps of Anaheim California, and the 27th Lancers of Boston Massachusetts were in the forefront of modern style field marching. The Kingsmen (the first DCI Champions) featured a very rigid military guard, whose black boots and rifle exchanges set the pace at corps competition in the early 70's. The Casper Troopers, made rifle twirling, and drill movement into a new art form. No one who ever saw the Troopers perform their 'How The West Was Won" expanding circle (The Sunburst) and the rifle exchanges and precision rifle twirling will ever forget this sight. After their eastern tours every kid on the block (even horn players and drummers) bought a rifle and was practicing single handed twirls, etc. (The rifles were heavier, and were later adapted so that the trigger housing etc were modified for better handling). Most rifles were originally "made" by a company called Parris in Tennessee. The 27th Lancers made flag movement into a real art with a young genius named George Zingali. Their British Demeanor, their flawless equipment handling were memorable. I contacted George because the Lake Placid New York Olympics wanted a "color guard" to march on ice ... to open the Winter Olympic Games, and Tommy Walker, the great showman and former drum corps member had contacted me. What turned out to be a mere comment in an Olympic organizing meeting turned into one of the most beautiful sights ever seen as an enlarged and expanded modern style color guard opened the Olympics and stunned the world with their grace and precision. One personal note, I was affiliated with the New York Knickerbockers and one day a young man asked to try out for the color guard (which until that time was all female). We asked to see what he could do, and Harold "Skip" Olah proceeded to do a military rifle routine, and then launch his rifle 50 feet in the air and catch it behind his back. Needless to say he "made" the line and marched for two seasons with the Knicks. He even did his thing at the NY Macy's parade and the Presidential Inaugural Parade. I'm not sure but I do think "skip" may have been one of the very first male twirling riflers of his time. We now have entered the modern era with modified Martha Graham Style Dance Teams, who are judged not only on their precision, but also on their grace, their execution of dance movement, the interpretation of the music they are using and even their costuming and use of props. Indeed at this period in history (the 90's) Color Guard is now "Winter Guard." It is overwhelmingly co-ed, and truly international in scope. There are Winter Guard Regionals in various corners of the nation, and a true National or World Championship (At Dayton, Ohio the past few years). There are winter guard units in elementary, Junior High, High School, Colleges and Open Units which are basically private "flag twirling clubs." The more things change, the more they stay the same.