Creating Growth in the Drum Corps Community Through Autonomy,
Responsibility and Accountability
Mr. Timothy Cardinal
Contents.
1. Introduction
2. Measuring success of corporate objectives for a non-profit entity
3. A Socratic approach to "What is drum corps?"
a. Considerations
4. Autonomy, responsibility and accountability in the drum corps community will
promote growth
a. Economic realities of corps vs. current proposals allowing autonomy
5. A case study: Cincinnati Glory Drum and Bugle Corps
1. Introduction.
I would like to thank Stuart and the Steering Committee for making this Symposium
possible. I particularly look forward to the results of the proposed studies by Craig Bales, MD
and Mark Herzing. Any handbooks or guides that could be produced as a resource for corps
would be extremely useful.
But most of all, I would like to thank all of the Symposium attendees. Your participation
is an integral component in building a strong future for the drum corps community. We each
have an opportunity, like Scrooge, to recapture the spirit of drum corps. This week, we have had
a chance to learn of our past and present and to consider what the future may be.
For those fans who may have lost some enthusiasm, I invite you to pull out recordings of
your favorite shows, to get former corps members to reminisce, and to talk to current members
about what drum corps means to them. In comparison with other youth activities, drum corps
has unique competitive advantages. We must identify and then capitalize these advantages to
generate enthusiasm in our communities and create growth for the drum corps activity. By
creating synergy, we in the drum corps community can build our future. Below, I explore how
autonomy, responsibility, and accountability may impact future growth. Throughout, I use
Cincinnati Glory to illustrate more general issues.
These views are my own and not necessarily those of Glory's Board, management,
volunteers, or staff. And as a caveat, many of the issues I address could be developed further
and their presentation improved.
2. Measuring success of corporate objectives for a non-profit entity.
How does the drum corps community determine if it has been successful?
Measuring success in non-profits is difficult and subjective. Volunteers and supporters
may wonder if their hard work and donations are being used efficiently to accomplish corporate
objectives. For-profits have measurable goals such as Return on Equity and Sales Growth.
Non-profits may have goals such as helping the homeless, providing counseling services to the
poor. Determining how successfully these goals are met is often a neglected task.
Many books on non-profits have devoted entire chapters to mission statements and other
issues. I will limit my comments to some of the considerations Cincinnati Glory made.
Obviously, these comments may be generalized to the entire drum corps community and other
non-profits as well.
Before one can measure success, objectives must be defined. A mission statement is
extremely important. It should be simple to understand and give the organization a clear sense
of purpose. Our concept of "what is drum corps" lies not only at the heart of many ongoing
debates, but the future of drum corps. Next, products, services, and markets must be defined.
Our vision, strategic plan, and hence the focus of our efforts are shaped by our understanding of
these issues.
Finally, what is to be evaluated and how?
The decision processes should incorporate all of the above. Supporters should be made
part of the process. Communication is also important. We felt it was important that supporters
understand our goals. We felt credibility was an essential asset. Once credibility is lost due to
"surprises" of bad news, unkept promises, etc., it is very hard to regain. Therefore, we have been
communicating what our options are, what contingencies exist, what criteria will be used, and
why we felt we made the best decision possible.
In evaluating a program such as drum corps, what does it mean to achieve success? Is it
Top 25, Top 12, or winning? Does it matter where you started, or only where you finish? If
Cincinnati Glory's goal is placement during Championships week, then we should recruit
nationally the best 128 musicians and color guard (close to age 21) that can run marathons. All
our resources would be allocated accordingly, i.e., to "remain competitive". If the journey
traveled has value, then we achieve more by taking kids (closer to age 15) off the street,
involving as many kids from our community as possible, and developing them. Resources are
allocated on educational and developmental programs. We still strive to attain excellence.
Glory's success can only be considered in tandem with our mission. Potential and current
supporters throughout our community will be informed if their investment provided good
returns. Section 5 further explores Glory's mission, our perception of our products, services, and
markets, and an overview of our evaluation process.
3. A Socratic approach to "What is drum corps?"
What is drum corps? Judging by the debates over the past few years, the answer is far
from simplistic. Two published answers can be found in RAMD's FAQ 1.0 and in DCI's
promotional materials. I invite Symposium participants to apply the Socratic method during the
Symposium's Open Session and afterwards. It is entirely possible that several schools of thought
will evolve. Hopefully, a common understanding will be formed that will facilitate many of the
ongoing debates. The drum corps community can build upon solutions rather than remain
fractured.
The quintessential example of the Socratic method is "Plato's Republic". The basic idea
is as follows: explanations are offered to a "problem"; the merits of these answers are
investigated. For example Plato asks what is a "just man" (or what is justice)? One answer is "it
is the will of the strong." This is eventually refuted, however, the process provides many
insights. Another attempt is to gain insights by observing men known to be just, and on a larger
scale, observing cities known to be just.
Does your answer enlighten someone who knows nothing about drum corps? Would this
person be able to distinguish between an MBA band and a DCI drum corps? Did this exercise
narrow or expand the scope of your previous conception? Are marching bands more or less
similar to corps than you previously thought?
3a. Considerations.
Suppose you transported, via a time machine, fans from 1850, 1920, 1960, 1970, 1980,
1995, and 2020 to see corps perform from various time periods. Is there anything that all parties
would agree upon? What is the essence of drum corps; what is spurious? Is there any one issue
or quality that the presence or lack thereof means that an organization is or is not a drum corps?
Although your answer probably may not specifically address any of the issues listed below, is it
possible to draw any logical conclusions?
0,1,2, or 3 valves ... vocals ... dance vs. equipment work ... drill: lines vs. curves ...
asymmetry ... pit vs. marching timpani, etc. ... glide step vs. other steps (i.e., Big Ten style) ...
real rifles ... G vs. B-flat ... bell front instruments ... brass vs. woodwind ... machine produced
sounds ... props ... 1 show vs. many shows ... uniform inspections ... presentation of flag ... time
limits for performances ... standstill concert (park and blow) ... performance stage: indoors vs.
outdoors ... marching vs. standstill performances ... entertaining the masses ... art ... judged
shows vs. exhibitions ... age limits ... youth development vs. elitism ... touring vs. non-touring ...
local vs. national members ... community presence ... DCI vs. drum corps ... DCI vs. other
organizing bodies.
Is a corps better than a band? Is a violin better than a cello or better than a trumpet? Is a
string quartet better than an orchestra? Is a symphony better than an opera? Is it "drum corps" or
"something else": when (a CORPS) competes in DCI? when (a CORPS) marches in a parade?
when (a CORPS) performs a standstill; if it's just the brass; just the percussion; just the guard;
some combination? if (a HS Band) plays G bugles? if (a CORPS) plays B-flat? if a competition
does not have a uniform inspection? if (a CORPS) does not abide by DCI's rules, i.e., Shriner,
VFW, AL, and Other drum corps? when Madison plays or _sings_ "You'll Never Walk Alone" at
retreat? when Blue Devils play at the Concord Pavilion? When Star performs Brass Theater?
Are Future Corps, MicroMagic, performances at Individual and Ensemble Competition, and
non-performance time such as conditioning, practice, bus rides, and clinics, drum corps?
For example, did your answer include a reference to the number of valves? I believe it is
not essential to being a corps. However, you or our time travelers may have different beliefs,
esp. pre-1970. Indeed, one may argue that organizations participating in DCI are not drum corps
-- they use instruments with valves (they do not have uniform inspections, etc., etc.). There has
been debate whether or not Star of Indiana's Brass Theater is drum corps. My belief is that the
traveler from 2020 will not hesitate to call it drum corps.
RAMD's FAQ notes that drum corps is short for drum and bugle corps. The dictionary
defines a bugle as: a brass wind instrument somewhat shorter than a trumpet and lacking keys or
valves. Thus DCI Drum and Bugle Corps are not really drum corps after all. The dictionary also
indicates band and corps are synonyms. Unless we are willing to go back to no valve bugles,
real rifles, carrying all percussion, etc., etc., we should accept the fact drum corps has evolved.
Indeed, drum corps must continue to evolve if it is to remain alive.
4. Autonomy, responsibility and accountability in the drum corps community will promote
growth.
Many die-hard fans have opined, if it's not broken, don't fix it. Considering the attrition
in the number of corps, if changes are not made now, in ten years there may not be any corps
left. Cincinnati Glory urges the drum corps community to give serious attention to proposals
that offer individual corps flexibility. Put aside politics and bruised egos. Just as over
regulation by government hurts many small businesses, limiting a corps autonomy has "broken"
many corps. We must encourage the formation of new drum corps and the growth of smaller
corps. We advocate proposals that allow corps to make prudent decisions according to their own
resources and mission.
With autonomy, comes responsibility. Board, management, members, volunteers, fans,
the local community and the drum corps community have a dynamic relationship. Whatever our
role may be, we have a responsibility to each other. We all have a vested interest in the
successes and failures of all corps: small, large, old, new, and even start-ups.
With increasing responsibility should come increasing accountability. Whether it be
DCI, an individual corps, or a show sponsor, we must hold each accountable. The Board,
through the Executive Director, is accountable for all the successes and failures of the entire
organization. The decrease in number of corps and member participation, decrease in
attendance, and predominant financial hardships have not occurred due to bad luck. We cannot
blame changes in socio-economic factors (baby boom, bust, echo; business cycles, etc.). The
strength of local music programs is more pertinent. When school programs are cut, kids need
additional opportunities such as corps -- recruitment is easier. Also, to compete with the
Joneses, it is much easier to recruit music majors from out of town than to develop a kid off the
street. But then, the corps has lost the local support and infrastructure in needs to survive the
lean years (financially or competitively). Yet, none of these factors "explain" why Cincinnati
has not had a drum corps in over a decade. Other youth activities have flourished in
communities across the country under the same conditions. Rather, a series of decisions by the
entire drum corps community is responsible.
The entire drum corps community suffers when poor decisions are made. But it is not
enough to criticize post-mortem: they are not entertaining, they should (not) have gone on tour,
they should have more community appearances, this show was poorly promoted, why is that city
on (not on) the schedule, how could they afford new ______, they need new ______, there isn't a
corps/show in our area, we have unfavorable bingo laws, etc. Do you, as a fan, deserve a corps
or show in your community? Do you deserve entertaining shows? Did your favorite corps fail
due to lack of supporters? We each have time, talents and skills that can strengthen the
resources and inputs to achieve superior results. I implore each fan to make a commitment:
small amounts add up if each and every fan contributes. You could provide that extra resource
that makes a difference; or you could provide that inside connection to solicit a potential
corporate sponsor. The following is an article from the Glory Days Gazette:
"Simple Ways YOU Can Help Corps
With little effort, drum corps fans everywhere can do many things to help the
drum corps community.
First, let your employer know how important drum corps is to you and the youth
that participate. Send a memo to your CEO, Charitable Contributions Administrator, and
Advertising and/or Sponsorship Manager. If you don't care, they won't either. Corps
have not been competitive in grants and sponsorships from foundations and corporations.
Second, don't overlook in-kind services as an alternative to cash contributions.
Corps need everything from office equipment to cooking utensils.
Third, a little more commitment will go a long way. Volunteer your time and
services to a corps near you. An alternative is to get involved with your local band
program. Your efforts will be highly satisfying and very rewarding.
Finally, invite a friend to a drum corps show; lend a young adult a tape of DCI
Championships; and invite your business associates and friends to support drum corps.
Drum corps shouldn't be a secret. Spread the word. Drum corps is a great
activity."
4a. Economic realities of corps vs. current proposals allowing
autonomy.
Old corps and start-up corps alike have limited resources. Maintaining an operating
surplus has been difficult; obtaining capital has been even more difficult. Below, several
proposals are listed. As you read, consider the following questions: would more kids be
involved? would the quality of programs increase? would attendance increase? would the
financial stability of drum corps be improved? would the door open for many grass-root efforts?
would weekend and limited-touring corps flourish again? and, what does a corps' mission
statement imply?
Recall your thoughts, on "What is Drum Corps?". I hope your answer focused on people:
members, volunteers and fans. Glory exists for the youth in our community. However, we
cannot exist without the support of our community. Therefore, it is in our best interest to
enhance the quality of life of our supporters through entertaining and artistic performances that
attain high standards of excellence.
In general, the following areas affect corps' autonomy and responsibility to supporters.
The list is by no means comprehensive or original. As an example, several areas are examined
in more detail. The line of reasoning is also applicable to other areas. Some of these issues are
being addressed by DCI's long range plan. However, many are considered to be outside their
scope.
1. Reduce barriers to entry and barriers to grow
a. Allow Bell Front Brass Instrumentation of Any Key.
b. Allow Amplification Of Pit Equipment, Specifically, Xylophones, Marimbas And
Vibes.
c. Restructure Performance Fees.
2. Base decisions on economic and other rational criteria.
a. Tour Scheduling
b. Show Sites, esp. Championships.
3. Eliminate birthrights and inheritances, i.e., the "we always do it this way" syndrome.
4. Share resources: create economies of scale, reduce duplicative efforts, create synergy.
a. Common Music Library including Warm-ups, Etudes, Seasonal Pieces, and
Literature
b. Rehearsal Methodologies
c. Athletic Conditioning: Techniques and Concerns
d. Health Issues
e. Nutrition
f. Promotional Materials: Print and Video
g. Data and Information on Sponsoring Shows
h. Budget Surveys
i. Legal Regulations and Forms
j. Accounting Systems and Ledgers
k. Technical Services
l. Communication Services
m. Foundation
5. Strengthen relationships with schools, educators, amateur and professional art groups.
Below is a closer look at 3 issues:
1.a. Allow bell front brass instrumentation of any key.
Some claim drum corps wouldn't be drum corps without G bugles; drum corps would
lose its uniqueness, traditional heritage, and many fans. I am not immune to the emotional
attachment to G bugles. From 2 valves to 3 valves to vocals to the tick system to the pit to flag
presentation to ..., drum corps has changed. I was a marching member when B-flat was
proposed, I shuttered. Since that time, dozens of Division I and II corps have folded. Now, I
must take a more practical perspective. Put yourself in Glory's shoes during interviews with
Foundation Boards covering capital needs, and try to explain why we have to use G bugles.
Many perceive that it would cause financial strain on corps, i.e., corps would go broke to
keep up competitively with the Joneses. This may be so since the Blue Devils and Cadets are
strong supporters. However, the exact opposite is true. All corps benefit, especially the smaller
corps.
G bugles are preventing more kids from becoming involved. Instrument costs are a
substantial portion of start up costs. The economic realities are harsh. There is very little
demand for new G bugles and very few manufacturers. There are fewer corps and sales volume
has decreased. Manufacturers will not be able to justify their investment in this market. Prices
will skyrocket from already high prices. A very real possibility is that in ten years, there will be
no manufacturers of G bugles. Thus, drum corps "would stop being drum corps." Also, the used
market is extremely small and very inefficient.
Very few new corps are evolving. Many geographical regions are devoid of drum corps.
Allowing B-flat instruments would open the door for many grass-root efforts: members could
use their own instruments. Weekend corps and limited-touring corps would again flourish;
smaller ensembles could also be supported. Furthermore, partnerships with local high schools
could be forged. Marching instruments could be borrowed or leased. There are more
manufacturers; the market place is much larger, especially for buying and reselling used
instruments.
Many fans' objections are based on their emotions and fears of what might happen. We
must educate fans as to why and reassure fans as to the impact. More resources could be
devoted to "developing" kids. A higher quality product would be produced. Thus, fans would
also benefit.
In summary, we should allow individual corps to choose which
instrumentation is appropriate. Right now, for Glory, the B-flat market is much more attractive.
However, Star's former 2 valve bugles were, in my opinion, a superior "bargain". B-flat
instruments may not even result in an "advantage". Some instructors feel that G bugles are
designed better than comparable B-flats for out door performance.
1.b. Allow amplification of pit equipment, specifically, xylophones, marimbas and vibes.
Most of the analysis regarding B-flats is applicable. Pit instruments are a substantial
portion of start up and maintenance costs. The wear and tear is tremendous. Note, this proposal
does not include synthesizers, drum machines, etc. I would recommend an Oversight Committee
make show specific determinations, such as allowing a synthesized church bell. I would not
advocate removing required performance skills from the performer. I also would not advocate
keyboard synthesizers, etc.
Some would claim drum corps was meant to be live music performed by people, not
machines. Bela Bartok wrote an excellent essay titled "Mechanical Music". It can be found in
"Bela Bartok Essays selected and edited by Benjamin Suchoff, University of Nebraska Press,
Lincoln and London, 1992." Here are some interesting excerpts:
"... What actually is mechanized music?
It is apparent that we should define mechanical music -- in the wider sense of the
term -- as music in whose creation not only the human body but also some kind of
machine is involved. We are accustomed to define the machine, in the everyday sense of
the term, as a rather complex construction which serves the purpose of energy transfer.
But in the course of our high school studies in physics we have met with simple
machines too, such as levers and pulleys. Therefore, if a lever is a machine, then any
music is also mechanized music if its origin derives from the use of levers in conjunction
with the human body. Having made that statement, of which instruments are we
reminded? Undoubtedly the piano, since man's finger on that instrument makes use of a
series of levers for energy transfer.
The final source of any sound, including musical tone, is some vibrating body. A
vibrating body serving as a source of musical tone might be, for instance, an air column,
a taut string or hide, or, finally, any object capable of vibrating at a constant frequency
within certain limits. We take for granted that the less foreign objects are interposed
between the human body and the vibrating one, the more direct -- we might almost say
the more human -- the produced tone will be. The same assumption applies, moreover,
the longer the human body has control of the vibration. In this connection the closest
relationship is the singing voice: the singer's vocal chords are the vibrating body and the
chest is the vibration intensifier. In other words, in this case the vibrating body itself is
also a part of the human body which implements production of the musical tone. The
relationship is less direct with wind and string instruments. The column of air and the
contrivance enclosing it are separate from the human body. The same is true of string
instruments in regard to the vibrating string and the vibration-intensifying body. There is
even a foreign object interposed when string instruments are performed: the bow.
However, since the entire duration of the vibration is controlled by the human with the
aid of the bow, use of the foreign object here strengthens rather than weakens the
interconnection of the two factors.
There is no control of the sound of plucked instruments other than the moment
when the vibration is initiated. The same is true of string instruments with lever, such as
the piano. ... The piano string, moreover, is vibrated by means of mechanically produced
energy transfer. In reality, therefore, we could designate piano music as a more or less
mechanized music. ...[Bartok goes on to discuss organs, musical clocks and barrel
organs.] It is noteworthy that not even Mozart spurned these music machines, for he
composed some smaller works for them.
Two things become evident from what has been said above. First of all, there is
no definite point of demarcation between mechanized music and non-mechanized music:
.... [He discusses pianola-type constructions]. About 1920, ... some famous composers
(Stravinsky, for instance) wrote compositions specifically for the pianola, .... The intent,
however, was not to achieve superior performance but to restrict to an absolute minimum
the intervention of the performer's personality. Whether or not this principle is correct is
an entirely different matter. [He goes on to enumerate categories: 1. fixing for future
times the music performed by man. 2. radiates music performed by man at the moment
of performance and only into the air. 3. origination of the sound is not and was not
produced by human force, whether at the moment of sounding or previously; describes
phonola-type, phonograph, and gramophone devices and then discusses advantages and
disadvantages; creation of artificial tones; and then imagining perfectly reproduced
music recordings, compares live music with recordings.]
... the gramophone record has the same relation to the original music out of which
it was made as canned fruit to fresh fruit; one does not contain any vitamins, the other
does. Mechanical music is a manufacturing industry; live music is an individual
handicraft. ... That which lives changes from moment to moment. ... the composer
himself, ... does not always perform his work in exactly the same way. Why? Because
he lives; ... Because it would cover the composition with boredom.
..., only that mechanized music cannot be a substitute for live music; just as a
photograph, no matter how artistic, cannot be a substitute for a painting nor a movie for
the stage....
Trouble would begin, however, if mechanical music were to flood the world to
the detriment of live music, just as manufactured products have done to the detriment of
handicraft."
4.m. Foundation.
A Foundation would provide one stop shopping for fan support of drum corps, much like
the United Way. Each summer, fans would be solicited via a Fundraising Campaign
highlighting the benefits to the youth participating in drum corps. Thus, rather than a program
guide informing us members practice 1.35627498 hours per 1 second of show, we could learn
how drum corps changed/ is changing a member's life.
Operating deficits would not be funded. Besides awarding money, foundations typically
ask tough questions regarding your business plan, strategic plan, funding, programs -- developing
answers helps applicants. Various support categories could be established; grants could be in
the form of matching grants; and low interest loans for capital purchases could be provided.
There are many possibilities.
5. A case study: Cincinnati Glory Drum and Bugle Corps.
At our first organizational meeting on August 24, 1994, we discussed many issues: the
current state of drum corps, missions, visions, finances, the attrition in corps, that at least 8 corps
used to be in Cincinnati, the lack of "entertainment", and poor attendance. Several were fed up
with drum corps and were on the verge of giving up drum corps.
Over the next few months, we gathered as much information on budgets, promotional
materials, etc. as we could; made a study of best and worst practices; and we continually
worked on our mission and vision of where we wanted to go. In discussing whether we would
call ourselves a drum and bugle corps, and how that would relate to the many other educational
programs that we wanted to sponsor: winter guard, percussion, brass ensembles, indoor
marching shows, we decided that we could define "drum corps" to be inclusive of all of these.
We had no desire to try to explain any "differences" to the sponsors we hoped to solicit.
We read DCI's promotional material and grant proposals by DCI member corps and even
another start-up. The facts that jumped right off the page were: the cost was $3,000 per
participant, success was measured by competitive finish at DCI, etc. If you read carefully, you
might infer it was a youth activity. However, you would think it was just another marching band
and would not be sure why or how corps was better than any of the other organizations applying
for a grant. In fact, many other corps directors told us not to bother applying for grants. An
important criterion for foundations is "how many do you serve?" The cold hard reality was that
130 kids could not compete for grants with groups serving a thousand kids.
In developing our marketing materials and grant proposal, we focused on the opportunity
that existed for the youth in our community and how both the youth and community would
benefit. In comparison with other youth activities, drum corps has unique competitive
advantages. The dedication, hard work, and degree of involvement in drum corps suggested that
"number served" was a poor measure. It does not differentiate between programs serving an
individual for 1 hour per year and 10 hours per day 300 days a year. Instead, a more important
measure is the number of "kid days" per year. That is, each kid we serve for one day counts as a
one "kid day". We estimated the number of "kid days" our initial capital investment would
provide -- 340,000!! Instead of costing $3,000 per member each year, operating costs for all our
programs (corps, cadets, winter guard, percussion and brass ensembles) would be less than $8
per "kid day". Other youth activities are hard pressed to match that, illustrating the strength of
drum corps volunteers.
Cincinnati Glory has started a $500,000 Capital Fund Drive to procure the necessary
capital to implement our programs. So far, we have a challenge grant from the Greater
Cincinnati Foundation to raise $180,000 by March 1. Our goal is to compete in DCI in 1997.
This winter, our goal is to sponsor brass ensembles and to field competitive guard and
percussion units in WGI and MEPA. We are also sponsoring a cadet corps for youth ages 10 to
15. We already have 40 members as a result of our merger with the Greater Cincinnati Youth
Group that has been the Shriner's drum corps in Cincinnati. Our goal next spring and summer is
to sponsor a _drum corps_ that will perform indoor marching field shows on B-flats. Cincinnati
Glory does not refer to G bugles in our mission statement. I am not aware of any corps whose
mission is dependent upon whether G or B-flat brass instruments are used. By the way, our
instructional staff first objected to the idea of using B-flats, even though we will not be
competing, hence not subject to DCI rules. Some still object, but they have all accepted the fact
that it is the most practical decision for Glory.
We are still developing our educational programs and syllabus. It will include music
appreciation and education in addition to performance. However, performances will not be
limited to merely the competitive show. Each ensemble will explore a diverse repertoire and a
wide range of music and dance styles. We will not have "auditions" in the traditional sense. Our
mandate is to develop every kid that is willing to work hard and has the desire to participate in
our programs. Although every ensemble may not compete or tour, but all ensembles will share
in the same desire to excel and grow artistically.
We are inviting fans and supporters to participate. You can buy "shares" in Cincinnati
Glory by donating money or by volunteering time. Our goal is to have 2,000 shareholders within
one year -- 500 pledging $50 and 500 pledging $100 or more. Shareholders will vote on
corporate affairs and other issues concerning our programs. Thus, our supporters provide
valuable input. Just like a public company, Glory will fully disclose evaluations of it programs,
financial status, business plans, and voting results. Thus, supporters know what their
contributions are or are not accomplishing and will hold Glory accountable.
Finally, I close by giving our mission statement and evaluation criteria.
Our mission is to provide music education and diverse social
experiences to young people ages 14 to 21.
We will achieve this mission by:
* Striving for excellence in the musical, visual and performing arts, with
emphasis in (1) the arena of competitive drum and bugle corps and (2)
brass ensembles.
* Fostering a diverse, interactive environment that recruits, trains and
motivates young people from all backgrounds.
* Encouraging personal development by providing an atmosphere for
learning teamwork, individual responsibility, leadership and pride in
achievement and for building self-esteem.
* Enriching the lives of performers and audiences with programs that are
artistic, challenging, educational and entertaining.
* Representing the hope, opportunity and achievement possible in our community.
Our corporate measures are:
I. Mission:
A. Quantitative:
1. # of kid days broken down into # of kids and involvement (# of days)
2. demographic and geographic profile
3. # of volunteers
4. # of community events
5. # in audience
6. # attending workshops and clinics
B. Qualitative
1. Members character growth
2. Community quality of life
3. Member evaluations
4. Volunteer evaluations
5. Instructor evaluations
6. Shareholder evaluations
7. Accountability
II. Financial:
A. Operating surplus
B. Capital growth
C. Amount self-generated
D. Accountability
Has Glory been successful? Only time will tell. We hope that our success will inspire
future growth in the drum corps community: new corps, weekend corps, large corps, members,
volunteers and fans.
Thank you for giving me the opportunity to share my views. If you have any questions,
please feel free to contact me.