THE BOYS’ BRIGADE
FIGURE MARCHING
in No. 1 Section
PRACTICAL HINTS
FOR OFFICERS
by F. Lumley
INTRODUCTION: Through observation and feedback from Officers, it has become obvious to me that
limited practical training is not nearly enough to do more than demonstrate the most commonly used figures
for No. 1 Section Figure Marching, presuming that trainee Officers do the training offered. The finer points, if
covered at all, are lost in the sheer volume of information being imparted, and it is an educational fact that
much of what is imparted in any teaching situation, is lost within a relatively short time.
Extra help as provided in this booklet is essential if the standard of Figure Marching in our Companies is to
reach an acceptable level. Please do not read it through once and pack it away. It is meant to be consulted
constantly as you endeavour to improve your skills. Ideally, all the Officers and helpers in the Company
should have a copy - and make themselves familiar with the material contained in it.
This booklet is meant to be used in conjunction with the ‘Figure Marching Handbook’ obtainable from Boys'
Brigade Headquarters. Trying to teach Figure Marching without the reference literature is like trying to make
a Christmas Cake without a recipe - only the most experienced cook would ever try, and even then, he has
long ago mastered the basics of amounts and proportions from earlier instructions.
The danger, I suppose, lies in reading all the material through in one sitting, becoming thoroughly
disheartened by all the information you are supposed to digest, and giving up before you even get started.
Nobody expects a person to play a piano concerto after just a few lessons - it takes time and effort. I am
confident that after much less time and effort, the Officer who is serious about Figure Marching will become
proficient at teaching it. Take it one step at a time, and keep on evaluating and re-evaluating. Ask yourself,
“What worked?”, “What didn’t work?” , “How can I improve that?”,
“What can I do to help that Boy understand?”
It becomes a matter of practice and more practice, for both Officer and Boy. Warning - don’t become too
intense or perfectionist. A positive attitude and genuine enthusiasm in an Officer is contagious. Relax, enjoy
yourself, and allow the Boys to enjoy themselves. If a practice session goes wrong, stop and do something
else - trying to continue in such circumstances is extremely counter-productive.
Intrinsic Value of Figure Marching. I encourage you to incorporate Figure Marching into your program on a
regular basis during a large portion of the year for its significant value in establishing and maintaining a good
tone in the Company. A well-drilled Company is a better disciplined Company, and that drill can start in No. 1
Section with Figure Marching. What is more - it is fun! Taught in the right way by enthusiastic leaders, Figure
Marching is another activity that can be very enjoyable for all involved. Boys love a challenge, to master
something new. It encourages them to be alert, to think ahead and it builds confidence and self-esteem.
Many Boys who have not experienced a lot of success in their lives, can master this - that sense of
achievement gives them a boost in forming a healthy self-image. As well, working together in a group gives
each Boy a sense of belonging, of contributing, of making a difference, which in turn fosters a real espirit de
corps in the Section.
Why Should You Consider Figure Marching?
Figure Marching is one more tool for Officers to use in training their Boys in at least two of the elements in our
object - Obedience and Discipline, while covering at least two sides of the Achievement Scheme in fostering
physical and social skills. I would argue that self-respect and the educational side of the Achievement
Scheme are also involved.
I want to cover these generally under the heading of ‘Self Control’ with four sub - headings:(1) Co-ordination At birth, brain cells are inter-connecting at a tremendous rate, neurological pathways are
being laid down, and the baby begins to function as a new entity in his world. The speed with which this takes
place depends on sensory experiences, hence there is a crucial need to give babies and young children
continual opportunity to have new experiences with all their five senses. (While some parents err on the side
of over-stimulating their babies, many fail to capitalize on the opportunities presented by the every day routine
of the family.)
In No. 1 Section, we should be looking for as many ways as possible to encourage co-ordination at a higher
level. Figure Marching is one avenue we can use with observable results.
(2) Body - awareness With brains developing at such a phenomenal rate, young children become
increasingly more aware of their bodies as they grow and develop. They learn to identify the various
sensations they experience along with the parts that go to make up their bodies and how to use them. By the
time they reach No. 1 Section, many of the skills they need have been mastered, but Figure Marching
introduces a new set of skills, plus the need to use old ones in new ways. They have to be aware of where
they are and where they are going, especially in relation to other Boys and the space in which they are
working. They must learn to judge distances and keep spaces constant. They must learn to hear music.
(Really hearing music is a skill - like any other skill, some people have a built-in aptitude; others learn it, and
a few never acquire it. It is not something that is confined to the ears, but is worked out in a whole-body
response.)
We can encourage the development of this skill in the youngest Boys in our Company by giving lots of
musical activities. Percussion instruments can be used from the beginning of Anchor Boys, as can any of the
numerous tapes produced now for this age group by The Wiggles, Hooley Dooleys etc. etc. Moving to music
has become an increasingly more important part of ‘Kindy Culture’ - we can use it to our advantage.
In Figure Marching, we direct the spontaneous movements children make in response to suitable music, into
prescribed movements. They must combine hearing the music and noticing the surroundings, with moving in
a set way - feet marching, arms swinging, good posture. And that’s not all - while concentrating on all those
things at once, they have to move in set patterns. Be aware that it is not easy, in fact it is probably more
difficult for a young Boy to learn than learning to drive a car is for a teenager, who has to remember a myriad
of things and the order in which to carry them out as well as being aware of where they are on the road, where
the other cars are, and judging speed and distance, as well as getting a ‘feel’ for the particular car they are
driving. In both cases, much of it becomes automatic after a good deal of practice. The more automatic the
basic skills, the greater the ability to concentrate on and perfect the specialized skills.
(3) Posture As co-ordination and body-awareness are inextricably bound together, so posture is tied in with
both of them.
Correct posture is a component of health - a healthy body is carried correctly, allowing every organ, every
muscle and sinew, every nerve, to function as it was meant to. However, there is much more involved than
the way a person holds his body. Much of our communication is done in non-verbal forms (up to 90%) - body
language. We communicate who we are and how we feel about ourselves by the way we stand, sit, move,
speak and make eye contact. Many employers have virtually decided on the suitability of a prospective
employee for his purposes before he opens his mouth. We are told that time and again, victims of assault are
chosen by their attackers because of clues they get through body language.
We can teach our Boys to carry themselves well, to present themselves in a positive way through attention to
posture, on parade, during Figure Marching, and by example. At all times we must be conscious of building
them up with praise and encouragement - keep criticism to a minimum, while demonstrating, teaching,
correcting, all the time.
(4) Behaviour and Discipline During the entire time a Boy is with us, we are training him to become a
responsible adult in a civilized society. Our aim is to produce a self disciplined adult, who will behave in a
responsible way, doing what is right because it is right, caring for himself in a positive way, caring for others
and their welfare individually and in a group, caring for his own and others’ belongings, and caring for the
world in which he lives. None of us can say we have made it in all (or any) of these elements of the all-round
properly developed adult, hence the need to keep on improving ourselves, and the need to begin the process
in our Boys with a view to having them take on the task on their own behalf by the time they leave us. (The
whole separate issue of Spiritual Training ties in here.)
GETTING STARTED: Use every adult at your disposal. Make sure they are familiar with requirements.
Station them at strategic points to pick up and correct faults - and to praise good work! Figure Marching
practice is a two team effort - a team of Boys being trained by a team of Officers and leaders.
Use a whistle to stop Boys, get attention, etc. They are more likely to heed an impersonal signal than
somebody’s shouted command. The whistle should be sharp and easily heard (a sports whistle). My
preference is to give two (or more) short blasts on the whistle during training. Not only should Boys stop on
the given signal, but also the music should be stopped and everybody pay attention to instructions.
Please note - in Weaving, a signal has to be given for Boys to change to marking time. One whistle blast is
easier to hear and obey than a spoken command given by a Boy. This is why I use two blasts for general
control.
Choice of Music: Figure Marching depends on music to give it greater effect, to help the Boys keep time,
and to distinguish it from the Drill of No. 2 Section. There is no rule that says Figure Marching must be done
to music, but it is flat and boring for Boys and audience alike if music is not used. The music also enhances
the value of Figure Marching in requiring the Boys to hear the beat and move in time to it, thus adding another
dimension to training in co-ordination.
When choosing music, look for something attractive to the Boys, with a strong beat. Beware of commercial
tapes that can vary a lot in tempo - it needs to be regular. Making your own tape is good if you have the
expertise available, but if you do, make sure that strong beat is emphasized - to an extreme it may not sound
musically perfect, but the Boys can hear and respond. A bass drum is good, but young Boys' ears are often
not developed to the stage of hearing deep sounds, so you need to add a high-pitched sound as well (e.g. a
triangle). Rhythm sticks clicking are good. Be adventurous - use a tape and have a few Boys on percussion
instruments accompanying it live - the whole Section can be involved.
Officers need to use their discretion with regard to the use of percussion instruments during practice standing there shaking or banging an instrument for 15 - 30 minutes is deadly boring.
In view of the intrinsic value of Figure Marching in our program, all Boys in the Section should take part in the
activity until about four or five weeks before competition when the representative squad is chosen. Some
other basic drill or Figure Marching activities can be engaged in by the remainder during practice time. These
Boys can then be introduced to the percussion instruments and given a short practice with the music until
they are familiar with what is expected. During the final “polishing” session, bring it all together.
See Appendix ‘B’ for suggestions re home made percussion instruments that are cheap and effective.
Introduce the music casually and use it for games incorporating marching with music for several weeks.
Include a game in a normal games session each week - don’t labour it, and don’t explain what you are doing.
(See Appendix ‘A’ at the end of this booklet for suggestions.)
This gets them used to the sound and rhythm of the music and those with a reasonable sense of rhythm will
fall naturally into time with the music. Most of the others can be taught to listen to the music and respond
appropriately. Unfortunately, there are some who just can’t hear it.
MOVING ON: After several weeks, introduce a marching segment of about 15 minutes into the nightly
program. (It is still a good idea to finish each practice session with a game involving the music - preferably as
a reward for effort, for some weeks.)
Begin formal training by teaching good marching without the added stress of remembering a routine, but don’t
labour it. Boys get bored with the same old thing over and over, especially marching round and round
aimlessly, so make sure you introduce new features each session, while consolidating previous instruction.
Left - Right Many No. 1 Section Boys have not developed the concept of left and right, even eleven year
olds who may be able to tell you which is which if given time to think, but it does not come instantaneously for
them. Parades and games lend themselves to casual training in the concept if the Officer is alert to the
opportunity and incorporates the need to distinguish left and right in every appropriate activity. For example,
Boys must run on the left of a file or an object, hop on their right foot, hold something in their left hand etc.
There is almost unlimited potential if we grasp the opportunities, however, we get lazy. Learning concepts is
a long process and we must persevere..
Marching - Marching is just walking smartened up. It is a case of “march, don’t mooch!” You may need to
explain “mooch”, which does not seem to be a word used any more, but any sloppy uncontrolled walking can
be described that way. This includes not lifting the feet properly, and subsequent sliding, however small, of
the foot on the floor; poor posture; uncontrolled flopping about of the arms as if they are just useless
appendages hanging off the shoulders - and anything else that fits the description. Do not demonstrate
undesirable movements, nor call particular attention to them unless you must - instead demonstrate the
correct procedure and encourage Boys to copy. Use the words “proud” and “taking pride in”. Encourage
them to take pride in themselves, their Company and their uniform, and to march proudly. In Christian circles,
we have become used to considering all pride as sin and something to be shunned. Talk about good pride
and bad pride - good pride is essentially the self-respect spoken of in our Object - doing and being the very
best we can because we are worth it, and because that is what God wants for us. Bad pride is to do with
selfishness, thinking you are better than anyone else, and most of all thinking you can live your life without
God. All marching should be done smoothly and comfortably - without stiffness or unnatural movements (or
bouncing - stop any Boy doing this as soon as you notice it - it is a hard habit to break and ruins future
marching in No. 2 Section.)
Actual marching is the responsibility of the individual Boy - don’t allow them to correct each other (only an
adult may do that.) However, the figures are a co-operative effort - not only are they responsible for their own
performance, but they are responsible for helping other Boys do it right by not crowding them, by adjusting
spaces (marching in time precludes going faster or slower but lengthening or shortening the pace taken gets
the desired result), by being thoughtful and by remembering not only what you have to do, but also what those
about you have to do. Don’t allow the more able (and less tolerant) to pick on the slower Boys. Comments
from the Boys are not welcome at all during practice or performance.
Basic Movements
(a) Start in step. Make sure commands are given clearly. Make sure the Boys can mark time in step before
allowing them to move off. Have an Officer stand beside a persistent offender and tap him on the left leg
till he gets it right.
(b) Stay in step. Give ‘left’, ‘right’ commands (but don’t let the Boys take it up as a chorus as it can get out of
hand and the music gets lost.)
(c) Some Boys will still manage to get out of step - so teach them how to change step early - two (2) paces on
one beat (avoid using L, R terminology - can be described as “a little skip”.) Some Boys need a lot of one
to one help with this. Note - with so much emphasis on the LEFT, Boys can develop a habit of bringing
the left foot down more heavily than the right - stop it the minute it starts - tell them we do not want
lop-sided marching.
(d) Good Posture - head up - eyes straight ahead (not on the feet of the next Boy), shoulders back, but not
stiff.
(e) Take control of arms. Swing to waist height, fingers curled up, thumbs resting on forefingers - thumbs
leading, elbows comfortably straight, swinging from the shoulders. Arms swing at sides, not across front
of the body. Do not allow them to pump arms like the drive rods of a steam engine - a movement they can
pick up from someone who does power walking.
Important: Correct wrong practice before it becomes a habit. Habits once formed are hard to break, so
make sure the habits that are formed are good ones.
Making Use of the Space Available.
Clear furniture etc. right out of your hall, or at least stack it in as small a space as possible. If you have a
paved car-park (or tennis court) that is well enough lit, you could mark out a suitable area either permanently
with paint or buy some “witches hats” (cheapest from Franklin's Big Fresh). Music can be played on a car
stereo - leave doors open and volume is no problem. Get them imagining lines on the floor, up the centre of
the hall, across the ends and down the sides - they MUST march on those lines, unless the figure involves
curves, when the lead Boy will lead them in a rounded formation. Boys do not naturally march in a straight
line - a lot of coaching has to be done to get all Boys tracking exactly behind those in front. Pick up offenders
consistently till they comply. Stop them if necessary and point out problem areas. Boys seem to have an
instinctive need to see where they are going - to see beyond the Boy in front, so they move out to the side.
Corners Teach corners early. It is a good idea at first to put a masking tape cross at every point where a
corner has to be performed (usually at the centre each end as well as the corners of the hall) - in trying to use
all the space available, make sure you allow comfortable latitude between walls etc. and the marching area.
Caution - the crosses must mark a true “rectangle” - it is easy to get them out of square.
When making a corner, the Boy must march up to the spot, drop hands to the side and mark time on the spot
while turning (2 beats for a right-angle, 3 for an acute “triangular” turn), then march off. It is not uncommon for
Boys to eye off the masking tape cross and circle around it - tell them if they think it will bite them, the best
thing they can do is stomp on it! Practise turning precisely on the corners till they achieve some sort of
proficiency. Don’t let them crowd each other - if they are spacing well, it should not be a problem.
Emphasize - sharp corners
.
Give practice up and down the hall, corner to corner, in all directions. Eventually, of course, they have to do
it without the corner markers. They then tend to cut the corners short - every Boy must corner on the spot
where the lead Boy did it.
Figure Marching is all to do with timing and spacing - a consciousness of where you are in relation to
everyone else in the squad, at any given time; using the space you should use; and letting the others in the
squad have the space to do what they should be doing. Everyone in the squad is on the same side,
co-operating and helping each other. There are no brownie points for forcing someone else in the squad to
do something wrong.
Curves
In executing curves, again Boys must track exactly behind the Boy in front. The lead Boy determines where
they go and everyone must follow exactly. You might practise this by having an adult lead them in a series of
curves etc. Pick up and correct any tendency to make curves shallower (which they will). Keep on
encouraging and praising individual Boys all the time. Boys are far more likely to emulate another Boy who
gains praise than to respond to an Officer nagging them about their faults. On the other hand, they are
sometimes oblivious to the way they are marching, and you have to correct them, but avoid the danger of
getting so bogged down in correcting the bad that you never see the good.
If you have over twelve Boys and a second space available (and staff to do it), divide the Boys into two groups
for those sessions during which basic marching, turning skills and changing step are taught - this facilitates
individual attention.
Marching in Pairs This does not come naturally - Boys must learn to do it. Their natural inclination is to go
ahead and do their own thing without reference to their partner. They have to learn that when they are
marching with a partner, they form a unit that moves as one. They must be conscious of their partner at all
times with some sort of invisible connection with them (they can imagine a wooden rod joining their shoulder
to that of their partner.) The imaginary lines on the floor are important. Pairs of Boys march with that
imaginary line between them. For cornering in pairs, they march to a point one pace from the right-angle line,
the inside Boy does a mark time turn, while the outside Boy wheels (makes an arc) around the corner point.
When the full right angle has been described, they march off together.
Figures Essentially, figures are prescribed patterns. Introduce figures gradually - insist on good marching
while they are learning the figure, as they tend to concentrate so hard on executing the figure that all the
correct marching techniques get forgotten. So nag if necessary, but insist on proper marching, straight lines
and sharp corners.
Pull them up as often as necessary to explain correct techniques, and repeat until improvement is achieved.
Without putting anybody down, give the individual attention needed by individual Boys - consistently. But don’t forget the praise - be lavish whenever the Boys do well, acknowledge those who are trying.
Teach the easiest figures first. If preparing for a competition, combining the figures in the correct order
according to the prescribed routine can be done after they have been taught. Unless moving from one
circular configuration to another, all figures should start and finish in a straight single file up the centre of the
hall.
(1) Circle Maze This is the easiest figure for the Boys to learn and gives a quick feeling of satisfaction and
accomplishment. The lead Boy describes a large circle as big as the space allows. (If only one maze is
required, this should be in the middle of the hall, if two are required, one is done closer to one end, the other
closer to the other end.) He continues on an inwardly spiraling path till he reaches a centre point, when he
turns about and makes his way out between the closing spirals.
The lead Boy should ensure that the spirals are not too tight - there needs to be room laterally for the
emerging line to march between them, and he needs to judge the turning point carefully - if he gets into the
centre too tightly, he won’t be able to make his way out without a lot of congestion. He should finish with a
circle about the same size as the one he started with. Boys tend to cut out of the figure too early.
The Boys following should all turn about on the spot where the leader turned. The tendency is to turn earlier
and earlier, or turn in an arc instead of on the spot, till the spiral unravels from the inside.
At the end of the figure the lead Boy should not turn out of the spiral abruptly or on an angle, but let it flow
naturally into the next figure.
The Crossover This is deceptively difficult. A single crossover should be executed by marching up the hall
in a single file, dividing into two files at the top, marching down the sides and at the bottom, turning to march
diagonally to the top corners. The two files crossing diagonally across the hall cut through each other, each
Boy passing through the gap in the opposite file that should open up in front of him if spacing and timing is
correct.
It is usually performed at least twice, so at the top, they head back down the sides and do it again. When the
required number have been repeated, head back to the bottom and form a single file up the centre.
Difficulties - the Boys are so anxious about getting through “their” gap that they move out of line to pass
through the other file (sometimes ridiculously far out!) They MUST stay in a straight line. Each Boy needs to
be aware that another Boy will cross in front of him and allow him the space to do so (at times, they seem
determined to prevent it at all costs, forgetting the need to co-operate.)
During practice for crossover figures, any instructor standing in the centre of the hall should be careful he
does not obscure the view of the two leaders, who need to be able to directly line up the corner to which they
are marching the instant they turn on the bottom corner. If they do this, they will march in a straight line, and
all the Boys coming behind have to do is follow exactly behind them with correct spacing of about 2 to 3
paces.
If you have persistent offenders, who will get out of line, stop the Boys and show them where they are and
where they should be. A masking tape cross in the dead centre (so long as it is dead centre!) that they must
pass over, can help. As with all markers, remove it before they become totally reliant on it.
Double Crossover (or Diamond, whichever way you see it) The two files march to a centre point on the
opposite side of the hall, then back to the top corner, completing two crossovers, and describing a diamond in
the middle. Strangely, they usually have less trouble doing this well than the single.
Figure of 8 This is really a variation of the crossover, but so much more difficult to perform that teaching it
should be deferred till they are proficient in most if not all of the other figures. (Weaving is on a par with this
figure in difficulty.)
This is a fluid, flowing figure, which must take up the whole of the configuration of a figure of “eight”. It is not
just a file of Boys marching in the shape of an eight. The leading Boy brings his squad around and cuts
through the file at the centre point, joining up to the last Boy to complete the figure.
In practice, this usually doesn’t happen on the first attempt, and he will end up cutting through closer to the
end of the file. He then needs to diminish the size of the top rounded segment of the 8 so that he can cut
through the centre on the next time round.
Boys then move through the pattern of the 8 with careful spacing, which allows one Boy (and only one)
through each space as it opens up before him. The difficulty is that they keep on reducing the spaces so that
the figure begins to look more like
. You have to keep on insisting they round it out.
Actually marking out the 8 on the floor is valuable at first till they get used to the feel of it. An adult in the
centre of each portion directing can be a help. Usually, a few more able Boys can be relied on to get the idea
eventually, and they will keep on rounding it out for others to follow. The lead Boy needs to be encouraged to
complete the configuration as rapidly as possible, and when it is working, (but not before), he should move
through at least two complete eight's (i.e. he passes through the centre four times.) A maximum of four
figures (i.e. eight times through the centre) should be set, as the more times they do it, the more room there is
for error. For the Figure of eight, the smaller the number of Boys, the more difficult it is to do. Six Boys would
be a minimum, 12 to 16 a good number. Obviously, with only three Boys on each half at any one time, spaces
need to be much bigger, need to be maintained carefully, and Boys must not reduce the size and roundness
of the segment. The complete ‘8’ must still be formed, regardless of numbers.
This is a figure in which going where you are supposed to go is not enough. Being aware of the other
members of the squad is vital, making the correct spaces, passing through your own space and not someone
else’s, and allowing the other Boy to pass through his space are difficult skills, which require a lot from all the
Boys, especially the younger ones.
Snowball Begins and ends in single file. Boys come up the centre of the hall in single file and divide into two
files at the top, go down the sides and come up in 2’s which divide at the top to make two double files
proceeding down the hall to meet up in the centre at the bottom of the hall and move up in 4’s. The procedure
is reversed, till all the Boys are again in single file.
This is a figure comprised of straight lines and sharp corners. Insist on correct cornering in pairs throughout.
When pairs are proceeding down the sides of the hall to form 4’s, they should be level with the corresponding
pair on the other side. If the older Boys are in the lead, they tend to stride out and leave the smaller Boys
behind, resulting in ugly big gaps. Have them shorten their paces so the spaces can be a maximum of three
paces. The pairs on the opposite sides of the hall should reach the bottom corner together - turn and march
towards each other. Special training needs to be given to judge exactly where in the centre they should
corner to form 4’s without crowding or jostling (keeping in mind that the imaginary line should be exactly
between the middle Boys when they march up the hall in 4’s.)
Breaking down into 2’s again requires particular attention - it is again all about spacing and turning. Proceed
as before in pairs to the bottom of the hall. After turning the corner, the leading pair should slightly lengthen
their pace, the second pair shorten theirs so that the first pair reach the turning point first, complete their turn
and proceed up the hall while the second pair complete their turn, etc. Boys tend to crowd each other, cut
corners, and generally spoil the effect at this point in the figure. Teach it without music at first, add the music,
and practise again and again. Adults stationed at each corner and the centre, at that end of the hall are useful
to direct the Boys.
Weaving: Check the manual for general principles.
An effective variation - the lead Boy takes the squad in a curve around the hall - spaces of three paces is
important. (Boys have difficulty judging spaces - keep on stopping them and moving them, then try to get
them to maintain spaces.) See that they curve well in from corners, and a suitable distance from the side.
Because the lead Boy cannot see his squad he can only guess when they are ready to perform this figure. I
recommend that a whistle be given to the last Boy, who needs to be a child with some common sense and
who can judge when the Boys in the squad are well- spaced and suitably positioned. A single blast on the
whistle by him signals the Boys in the squad to change to the mark-time mode required for the figure.
Upon hearing the whistle, the Boys take two more paces, using these to adjust the spaces if necessary, drop
their hands to the side, and mark time (on the spot - many Boys move around when they are supposed to be
marking time. Pay attention to the arms while marking time - they stay still.)
Then the last Boy begins to march, weaving in and out of the file. He is followed by each of the other Boys in
turn. When the last Boy reaches the head of the file, he takes three paces and marks time. Each Boy repeats
the procedure till the lead Boy is again at the front, and he leads the file off. Make sure they round out the
corners, as they complete the figure.
The required effect is of a wave of Boys moving together - all on the inside of the file together, and all on the
outside of the file together. For this to happen, every Boy must start out on the same side of the file. It seems
to work best if that is on the inside of the arc as then they can see what the Boy in front of them has done. You
may need to explain that an arc is a part of a circle, and if you imagine the whole circle, the inside is easy to
decide, otherwise terms like “inside”, and “outside” mean little to many of them. (Avoid “left and right” - it just
gets confusing.)
Please Note: The last Boy (No, 12 in the diagram) becomes the leader when he begins to weave. He is very
important as he sets the pattern. Try to put an older more aware Boy in this position. He needs to march well,
with shorter paces (so the small Boys don’t get left behind.) He must not cut too close to the Boys in the file
or he will get ahead of those following (they cannot stay “in synch” with him.) When he has gone round the
inside of the next Boy (No. 11), through the file (between 11 and 10), round the outside of No. 10, and back
through the file (between 10 and 9) the Boy now last in the file (No. 11) takes up the pattern, following exactly
the path and pattern set by the first Boy, No. 12. So as No. 12 passes through the file to the outside between
9 and 8, No. 11 is passing through to the outside between 10 and 9 and so on till the lead boy is again at the
front.
Sometimes it is helpful to work through it without the music. If at any time, a Boy starts on the wrong side,
stop them and start over. If they get out of synch, stop them, move them to where they should be and start
them again.
Some Boys get ahead of where they should be, usually because their pace is too long, or they are going too
close to the Boys in the file (the most common error). Some get behind - these sometimes just can’t stride out
any more than they are already, so get all the bigger Boys to shorten their stride, but usually, they are not
going close enough to the Boys in the file. Being aware of where they are in relation to everyone else is a skill
to be developed with practice. This is a difficult figure. You will need to give a lot of concentrated effort to it.
COMPETITIONS: Battalions hold Figure Marching competitions to encourage Boys (and Officers) to reach
for the highest standard possible, to display their skills and to come together in friendly rivalry as part of the
wider family of The Boys' Brigade. Preparing for and competing in a competition helps the Boys put that extra
polish on their performance that will result in a feeling of satisfaction in a job well done.
Officers should recognize the value of incorporating Figure Marching in their program for its intrinsic value to
their Company and to the Boys themselves, but the Boys need the extra incentive provided by a competition.
A healthy competitive spirit is to be encouraged - and a sense of good sportsmanship engendered.
When preparing for a competition, find out as early as possible the date and work back from then to determine
when your formal training should start. You will need to set aside a number of longer sessions as the
competition date draws close, to polish the performance. All the figures and routine should have been taught
before that date.
If you can arrange at least one extra practice, (45 to 60 minutes) perhaps on a night other than Company
night, just before the competition, it is very valuable. Two are better.
Usually, not all of the figures are included in a competition routine - the following guidelines will help you to
plan practices. (Informal marching, games etc. should have been part of the program for some weeks before
formal practice begins.)
Allow one session to concentrate on marching and corners as individuals, one session for the circle maze,
one session for the crossover. If these two appear on the routine, combine them at this stage.
Allow two sessions for the snowball. The first needs to concentrate on working in pairs, especially in
cornering. You can work up to fours in their first session and use the second to learn to break it down again.
Again, if the figures already learnt are in the routine, put them all together in order at this stage.
Allow two sessions for weaving and/or two sessions for the figure of 8. Run through the previous figures first,
then concentrate on teaching whichever figure appears next.
Obviously, they won’t be proficient after one or two practices. Keep on teaching techniques and correcting
mistakes in all figures every time they go through them. If you use any markings as helps, remove them
before the last several practices. They have to get used to performing without them.
CONCLUSION
The aim in preparing this booklet has been to provide a tool for Officers to use - for the inexperienced, to get
them started; for the experienced, to polish their skills; and for both, to set down in black and white the
standards to aim for. If it results in increased Company participation, and a higher standard of performance
overall, it will have fulfilled its purposes.
I wish to acknowledge the help rendered by Mr Bruce Young in the production of this booklet - for his
computer expertise and the many hours he has devoted to the project. It could not have happened without
his assistance.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12
13.
14.
15.
16.
17.
18.
19.
20.
Appendix A
FIGURE MARCHING GAMES
1. Musical Clumps: Boys march around the room. Stop the music and call a number - Boys form groups of
that number. Those left over are out. In all elimination games, mark the path to be marched in some way
e.g. witches’ hats.
2. Nursery Rhyme Forfeit: Boys march round room, stepping over a mark on the floor (chalk line, masking
tape). When music stops, Boy immediately behind the mark has to say a nursery rhyme (can become
tedious - accept a line or two). If they say one that has been used, or can’t think of one that has not, attach
some penalty (e.g. D for Donkey). Can be marched in pairs teaching them to be conscious of a partner
with the added bonus of being able to consult with each other.
3. Object Grab: Divide Boys into three teams, then number Boys in each team. Teams form a single circle
and march round hall. Stop music and call a number. Boys with that number try to retrieve an object from
the centre of the circle. Use three objects, large medium and small worth 1, 2 or 3 points respectively.
Keep the scores of the teams till all have had a go (or two if there is time).
4. Animal Farm: According to the number of players, choose four or five different animals with distinctive
sounds, and write the name of each animal on a number of slips of paper so that there is a piece of paper
for each Boy - e.g. 4 X cow, 4 X cat, 4 X rooster, 4 X dog = 16 players. Scatter animals names face down
at random in a couple of different locations in the hall (away from where the Boys will be marching). Boys
march. When the music stops, they all pick up a piece of paper, note what animal appears on it and put it
in a receptacle close by. Then they attempt to find the others who picked up that animal by making the
sound only. When they have found all the members of that species, they go to a designated spot and sit in
a line, quietly. First team sitting (and quiet) wins. Some animals with distinctive sounds - cow, dog, cat,
rooster, donkey, turkey, duck, crow.
5. Tunnel Ball Variation: Choose a number of teams according to players and space available. Choose a
captain for each team and line them up where the game is to be played. Place a ball for each team at the
other end of the hall. Boys then mix up, form a circle round the hall and march. When the music stops,
teams form up, captain gets a ball, and they play a normal game of tunnel ball. The game is finished when
the captain replaces the ball where he got it from and stands at attention behind (or beside it.) Can be
played with the other variations of overhead ball, under and over - almost any team game can be adapted
to begin in this way.
6. Island Hopping: Boys form two files - stand beside a partner (and note who the partner is). One file turns
Left and the other Right and march round the hall in concentric circles moving in opposite directions. Mats
numbering one less than the number of pairs are scattered around the hall, inside the circle. When the
music stops, partners find each other and claim an “island” by each placing one foot on the mat. Only pairs
can claim an “island” - a single Boy cannot put a foot on a mat and call his partner over (leads to disputes
and pushing and shoving). The first pair to have one foot each on the mat owns the “island”. Pair missing
out are eliminated. Can be sped up by removing two mats each time it is repeated.
7. Bean Bag Shuffle: (Marching with bean bags balanced on their heads improves the Boys' marching
significantly). Choose teams depending on number of Boys and space available. Establish a leader and
the order in which they must stand by lining them up behind a line at one end of the hall. Mark a circle
about 50cm diameter at a distance from the line. Boys mix up, then march around the hall with a bean bag
on their heads. When the music stops, the Boys move to their team position and take it in turns to toss the
bean bag into the circle, going to the end of the line as they have their turn. Repeat several times and tally
scores.
8.Team Marching: Divide into teams of 5 or 6 (4 if numbers are small). Teams should be given a name
(animal, bird etc.). Each leader is given a piece of paper with his team name on both sides. Boys march at
random taking care not to touch another Boy at any time. On a signal (whistle) all continue to march - leaders
hold up the team name and the team members march to fall in behind their leaders, then the leaders lead
them anywhere in the hall, cutting through other teams if desired. Good marching to be maintained
throughout without touching other Boys. Give another signal to change to random marching. No competition
- teaches Boys to be aware of where they are in relation to other Boys and gives opportunity to try out Boys
as leaders.
Appendix B
MUSICAL ACTIVITIES
Introduction: Musical Activities can add a new dimension to the program in both Anchor Boys and No.1
Section. Please don’t just dismiss the possibility of including this aspect of a Boy's physical and social
development because it isn’t “your thing”. The most effective leaders with the most vibrant programs are
those who are prepared to stretch themselves beyond their comfort zone and do something innovative. It just
takes a little courage to step out and get started!
Music is such a hugh part of our culture, and so much enjoyed by our Boys that we need to take its inclusion
in our program very seriously, in fact, it should not be a matter of “will we incorporate it?” but of “how will we
incorporate it?” Singing one or two choruses during devotions is a start, but there is so much more that can
be done. Figure Marching is a highly specialized extension of the musical side of your program. Some
training in general musical awareness and enjoyment before or concurrently with Figure Marching is highly
recommended not only because the Figure Marching will improve appreciably as Boys become aware of the
other styles and rhythms, but because it is a worthwhile exercise in its own right.
You don’t have to play an instrument - a few children’s tapes and some percussion instruments are all you
need to get started. Incorporate movement in some way.
CHOICE OF MUSIC:
Be very careful when choosing music for children that you do not impose your own taste on them. Be guided
by successful children’s bands, and composers/singers of Children’s Christian music. Some of the music
loved by the kids does not fall too kindly on the ears of an older generation, but we should cater to their taste
by choosing something they like that we can at least tolerate!
SIMPLE PERCUSSION BAND
The simplest percussion band is one in which all the Boys play their instruments together, in time with the
music. This is probably all you can expect from Anchor Boys.
Before you start, work out some basic rules for using percussion instruments to prevent an uncontrolled
racket - e.g. instruments on the floor before use, pick up when needed, try to make no sound at all during
pauses and breaks, etc. You will find a lot of Boys cannot keep time with the beat of the music when you first
start - instruction and demonstration is the way to go, followed by practice. A musical activity using
percussion instruments can be made into a great Display item for Anchor Boys. As the Boys gain expertise,
you may like to progress to the next level where different groups of instruments are played separately for
different passages of the music.
HOME MADE PERCUSSION INSTRUMENTS
Shakers: Collect plastic Barbeque Sauce bottles from the Boys' families, wash thoroughly and allow to dry
completely. Add rice, soya beans, lima beans etc. to about one third full. The differing size and weight of the
filling materials give different sounds when the instrument is shaken. Screw the lid on firmly and seal with
insulation tape (discourages small hands from removing the lid to see what is inside).
Bell Shakers: Cut broomsticks into suitable lengths. Attach a number of jingle bells loosely to the top third.
Jingle bells can be bought in any craft outlet. The different sizes have different sounds.
Tapping Sticks: Cut thick dowel into suitable lengths. Two per player.
Chimes: Cut narrow pipe into different lengths (the steel pipe has the clearest sound - check with your
hardware store.) Drill holes either side at the top and thread with wire to allow it to be held in a way that the
pipe swings freely. Use small steel tent peg as a tapper. (Old wind chimes can be dismantled for a lovely bell
sound.)
Lagerphone: Use a piece of timber for the upright long enough for a boy to tap comfortably on the floor while
standing. A shorter piece is joined close to the top to form a crosspiece. Sand to a suitable smoothness
before joining.
Bottle tops ( available from the home - brewing section of the supermarket) are attached loosely to the cross
piece in pairs, back to back. First make holes in the bottle tops with a nail of a larger diameter than the fixing
nails. Choose fixing nails with flat tops which can be hammered in securely while leaving enough protruding
to allow the bottle tops to move freely when the instrument is tapped on the floor.
Tambourine: Round biscuit tins with jingle bells attached.
Note: Your imagination will probably come up with other ideas. All instruments can be made more attractive
with suitable decorations (stickers, ribbons etc.). Do not decorate any part of an instrument that is struck in
any way - it can spoil the sound, and soon becomes damaged.
If you can afford it, a few commercially made instruments from a Kindergarten supplier add variety to the
sounds you can incorporate.
This is an activity that cannot happen overnight. Start in a small way and build your supply of instruments as
you go. The most difficult part is to get started!
21.
22.
23.
24.
INDEX
Basic Movements.......................................................................
Behaviour and Discipline............................................................
Body Awareness........................................................................
Choice of Music .........................................................................
Circle Maze................................................................................
Competitions..............................................................................
Conclusion.................................................................................
Co-ordination.............................................................................
Corners......................................................................................
Curves .....................................................................................
Double Crossover......................................................................
Figure Marching Games.............................................................
Figure of Eight (8)......................................................................
Figures .....................................................................................
Getting Started...........................................................................
Home Made Percussion Instruments..........................................
Intrinsic Value of Figure Marching..............................................
Introduction................................................................................Left Right.................................................................................
Making Use of Space Available ...............................................
Marching....................................................................................
Marching in Pairs.......................................................................
Musical Activities.......................................................................
Posture .....................................................................................
Simple Percussion Band ............................................................
Snowball....................................................................................
The Crossover .........................................................................
Weaving.....................................................................................
Why Should You Consider Figure Marching...............................
25.
26.
8
4
3
5 & 23
12
19
20
2
9
10
14
21
14
11
5
24
2
1
7
9
7
11
23
4
24
16
13
17
2
27.