WPA Odyssey Round Table Discussions
Updates:
The Schedule:
note: this schedule is on the EVENTS page of wpaodyssey.org. Included are registration links and information pages, schedules, etc.
Odyssey Round Table #4– January 7, 2025
Updates:
Q: Do you have to have sign into Google to use forms?
Odyssey Round Table #4– January 7, 2025
Updates:
Odyssey Round Table #4 - January 7, 2025
Updates:
Odyssey Round Table #4– January 7, 2025
October
January
December
November
March
February
Sample team timeframe – every team is different based on problem chosen, experience, and goals
October
January
November
March
February
Sample coordinator checklist – every situation is different
December
1. In order to compete in our Regional Tournament:
2. In order to compete in Spontaneous Fun Day:
3. When teams advance to PA State Finals:
*NOTE: It is important to identify, before Judge Training day, judges who will accompany your team to State Finals.
4. When teams advance to World Finals:
There are no volunteer or judge requirements of advancing teams or memberships related to World Finals.
5. Judge Related Penalty
Any team/membership which does not provide TRAINED & EXPERIENCED Long Term and Spontaneous Judges
to represent their team/membership at the Regional and State Tournaments could receive a penalty of
up to 25 points.
WPA Odyssey Judge/Volunteer Requirements
Below are notes from prior season RoundTables.
They will remain here for reference.
How to read and interpret the problem
Read the problem in layers
ARTchitecture: The Musical Problem No. 3: Divisions I, Il, Ill & IV
Introduction
Form or function? There's no question about it: Great works of architecture are works of art. But any architectural structure has to be more than that. It has to fulfill the need for which it was built. Brunelleschi's Dome is the crown of a cathedral; the Great Pyramid of Giza is a tomb. So, along with their beauty they fulfill a purpose. In this problem, Odyssey teams change a classic structure into ARTchitecture by incorporating their own works of art.
A. The Problem
The problem is to create and present an original performance that includes a replica of a classic architectural structure that was built between 1000 AD and 1600 AD. The performance will include three works of art that "disappear" and two characters that go on a quest to find them. When the works of art are found, they will be incorporated into the replica. The performance must also include two songs that are accompanied by choreographed movement.
The creative emphases of the problem are on the performance, how the works of art disappear and how they are incorporated into the replica, the portrayal of the two characters, the quest, and the choreographed movement that is set to music.
The Spirit of the Problem is for the team to create and present a performance that includes a replica of a classic architectural structure. The replica will include three works of art in its design. The works of art disappear somehow, and a minimum of two characters are involved in a quest to find them. When the works of art are found, they will be incorporated into the replica. The performance will also include two songs that are accompanied by choreographed movement.
B. Limitations (Italicized words/terms are defined on Page 5 in the Problem Glossary or in the 2012-2013 Odyssey of the Mind Program Guide.)
1 General Rules: Read the 2012-2013 Odyssey of the Mind Program Guide. This manual is updated each year and includes basic limitations for solving Odyssey of the Mind problems and the forms required for competition. This problem cannot be solved without referring to the Program Rules section of the guide.
2 Problem Clarifications: The Odyssey of the Mind Program Guide explains the types of questions about the rules that will be clarified and the ways to submit those questions. General problem clarifications can be accessed at www.odysseyofthemind.com/clarifications/. Problem clarifications submitted after February 15, 2013, will not be answered. CCI may find it necessary to issue clarifications after that date so continue to check for them after February 15 and before each competition.
3 The time limit for this problem is 8 minutes. This starts when the Timekeeper says, "Team begin" and includes setup, Style, and the presentation of the problem solution.
4 The cost limit for this problem is $125 (U.S.). The combined value of the materials used during the demonstration of the team's solution, including Style, cannot exceed this amount. The Odyssey of the Mind Program Guide explains the cost limit and lists items that are exempt from cost.
5 The team will create an original performance that includes:
a. a replica of a classic architectural structure that incorporates three works of art into its design.
b. three works of art that disappear.
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SAMPLE PROBLEM
a. two characters that go on a quest to find the missing works of art.
b. two songs.
c. choreographed movement.
6. The replica:
a. must be modeled after an architectural structure that was built between the years 1000 AD to 1600 AD and still exists today. The actual architectural structure may have been changed after 1600 AD.
b. may change appearance during the performance.
c. may be made in any way, of any materials, and may be any size.
d. will include the works of art after they are found. The works of art may change the replica's original appearance.
7. The three works of art:
a. may be anything and may be of any medium (sculpture, painting, photography, mosaic, tapestry, etc.).
b. must appear, then disappear, and finally reappear during the quest.
c. must be incorporated into the replica after they are found.
8. The two characters:
a. can be anything and can be portrayed in any way.
b. will be shown to embark on a quest to find the missing works of art.
9. The two songs:
a. can be any type but must be different from one another. That is, they cannot be two different verses of the same song; however, they can be two different songs of a similar style.
b. must be performed separately.
c. must have music and lyrics performed live during the performance, however, prerecorded sounds may be part of the performance.
d. must include original lyrics and/or music.
1 0. The choreographed movement:
a. must be composed of a minimum of three different components of movement that come together to create an overall choreographed impact.
b. may each be anything moving, for example, a dancer, a backdrop, a set changing, a costume change, etc.
c. must take place during the presentation of the two required songs.
d. must be visible to the judges and audience.
1 1 . The team should present the judges with documentation of its chosen work of classic architecture. This can be a photograph, an article in a publication, a printout from a website, etc., as long as it includes the appearance, location and the date of the architectural creation. There is no penalty if this is not included, but scoring may be affected if the judges are not familiar with the chosen work.
12. The team should present the Staging Area Judge with four copies of the Team's Required List Form found in the forms section of the Member's Area at www.odysseyofthemind.com/members/, or four copies of a list on one side of one or two sheets of 8 1/2" x 11" or A4 paper. This list must be hand-printed or computer generated. it is for reference only. The list must include:
a. the team's membership name and number, the problem and division.
b. the chosen architectural structure, including where and when it was created.
a. when in the performance the replica should be judged for resemblance.
b. a brief description of the three works of art to be scored.
c. a brief description of the two characters who go on a quest.
d. when in the performance the required songs will be performed.
e. a brief description of the choreographed movement and when it will take place in the performance.
f. the signal the team will use to indicate it has finished its performance.
C. Site, Setup and Competition
1 . A stage or floor area a minimum of 7' x 10' (2.1 m x 3 m) will be used, but a larger area is desirable. This will not be marked. Teams must be prepared to perform in a 7' x 10' area. If space permits, the team may perform and/or place equipment, props, etc. outside the 7' x 10' area. If a drop-off exists beyond the 7' x 10' dimensions, a caution line may be taped 30" (76.2 cm) from the edge of the drop-off. This will serve as a warning, not a boundary.
2. A three-prong electrical outlet will be available. Teams should bring their own extension cords and adapters, if needed.
3. The team members must report to the competition site with all of their props and paperwork at least 15 minutes before they are scheduled to compete.
4. It is the team's responsibility to complete its problem solution within the 8-minute time limit. When the team is finished, it must signal the judges. An overtime penalty will be assessed if the team takes more than 8 minutes, and the Timekeeper will stop the team after one minute of overtime.
5. Teams should bring cleaning utensils to clean up any mess. Should a team take an unreasonable amount of time to clean the site, or leave a mess, the judges will assess an unsportsmanlike conduct penalty. Others not on the team's roster may help the team clear the site and remove the team's props. The competition area must be left clean and dry for the next competing team.
D. Scoring
1 . Creativity of the overall performance (originality, effectiveness). .1 to 20 points
2. Quality of the performance (audibility, movement, stage presence).1 to 15 points
3. The replica.5 to 25 points
a. How closely it resembles the chosen architectural structure.3 to 10 points
b. Artistic quality of its construction ..2 to 15 points
4. The three works of art. .3 to 35 points
a. Overall artistic quality. . .1 to 15 points
b. Creativity of how they disappear.1 to 10 points
c. Creativity of how they are incorporated into the replica. .1 to 10 points
5. The two characters ..2 to 25 points
a. Creativity of their portrayal1 to 10 points
b. Effectiveness of their role in the performance.1 to 15 points
6. The quest to find the missing works of art.2 to 20 points
a. Originality of how the quest is portrayed in the performance. . .1 to 10 points
b. Creativity of how the characters find the works.1 to 10 points
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7. The two songs. .1 to 25 points
a. Are performed individually.0, 5 or 10 points
b. Effectiveness in the performance.1 to 15 points
8. The choreographed movement.2 to 35 points
a. Appears during each of the two songs. .0, 5 or 10 points
b. Includes three or more actions.0 or 5 points
c. Overall creativity. .1 to 10 points
d. Effectiveness in the performance. .1 to 10 points
Maximum possible 200 points
E. Penalties (Deducted from percentaged scores.)
1. "Spirit of the Problem" violation (each offense). -1 to -100 points
2. Unsportsmanlike conduct (each offense)-1 to -100 points
3. Incorrect or missing membership sign .-1 to -15 points
4. Outside assistance (each offense)-1 to -100 points
5. Over cost limit. -1 to -100 points
6. Overtime: -5 points for every 10 seconds or fraction thereof
over time limit (example: 27 seconds over = -15 points) maximum -30 points
7. Architectural structure was not built between 1000 A.D. and 1600 A.D. . .-1 to -50 points
8. Less than three works of art are presented
in the performance .reduced score for each area in D4
Omission of scored problem requirements carries no penalty except loss of score.
F. Style (Elaboration of the problem solution; use the Style Form from the Odyssey of the Mind Program Guide.)
5. Overall effect of the four Style elements in the performance ..1 to 10 points
1 | Creativity of a prop encountered or used during the quest | .1 to 10 points |
2. | Artistic quality of something that is worn by a team member at some time during the performance |
|
3 | (Free choice of team) | . .1 to 10 points |
4. | (Free choice of team) | . .1 to 10 points |
| | .1 to 10 points |
E. Tournament Director Will Provide*:
1. A 7' x 10' (2.1m x 3m) presentation area (larger, if possible).
2. A three-prong electrical outlet.
3. A judging team and materials necessary to judge this problem.
*NOTE: Contact your Tournament Director regarding competition site specifications such as actual dimensions, registration procedures, floor surface, etc. Do not submit a clarification request for this information.
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F. The Team Must Provide:
1. Four copies of its Style Form, one Cost Form, one Outside Assistance Form, and all team-specific clarifications.
2. Four copies of its list as stated in B12. This list is to assist the judges. If the team fails to provide the list, there will be no penalty.
3. Documentation of the chosen architectural structure.
4. Any necessary extension cords or outlet adapters.
5. Cleanup materials as needed.
I. Problem Glossary
architectural structure — a man-made construction.
choreographed movement — anything that moves in a rhythmic, structured, methodical manner.
disappear— to be hidden from view after being able to be seen.
effectiveness — the ability to provide an impact to others; impressiveness.
quest— a search for something that has gone missing.
Creative Competitions, Inc., its licensees, and the problem authors assume no responsibility for damage or injury incurred as a result of attempting to solve this problem.
Problem by Dr. C. Samuel Micklus and Samuel W. Micklus
O Copyright 2012 — Creative Competitions, Inc.
@ Odyssey of the Mind, OotM, and the Odyssey of the Mind logo, and OMER are federally registered trademarks of
Creative Competitions, Inc.
Updates:
Odyssey Round Table #3– December 10, 2024
Current Updates:
Submitted Questions:
How to coach without Outside Assistance - great examples of what is & isn’t OA
OA: https://www.wpaodyssey.org/_files/ugd/e49dee_8b5f32f5de6544a78b69a5afcfb96b49.pdf
OA: https://www.wpaodyssey.org/_files/ugd/e49dee_416fe15a54ad49f2ab8253959770764b.pdf
Updates:
Odyssey Round Table #2– November 11, 2024
Getting Started:
Odyssey Round Table #1– October 7, 2024
Link to Emily’s presentation where she discusses developmental stages and lots of tips and activities to get the most out of your team.
Notes from prior season RoundTables - #1
Notes from prior seasons Round Tables - #2
How do you put kids on teams?
How do you get adults to be coaches?
Is it advisable to allow Primary kids to do non-primary problems?
Do we charge families to be on a team?
Notes from prior seasons Round Tables - #3
Does WPA require specifics on volunteers having clearances?
Notes from prior seasons Round Tables - #4
Creative Competitions, Inc – Newell, NJ
WPA Region Problem Captains, Board, & Regional Directors,
Angela Melton & Susan Rosati wpaodyssey.org
PA Board & State Problem Captains
Led by David Palermo, Interim Association Director
Creativity Unlimited in PA paodyssey.com
YOU: School, SD Coordinator, Coach, Judges, Volunteers, Students, Parents
Odyssey HQ odysseyofthemind.com
Sammy & Cheryl Micklus, Board & International Problem Captains (IPC)
Six regions in PA = PA State Association
Associations: States/Countries
LOCAL
REGION
STATE
HQ
WORLD
FINALS
COACHING PRIMARY: TIPS & EXPECTATIONS from Primary PC, MJ Gula
I did like to have a routine with practice for primary- we didn’t do a lot of excursion type things with primary, but is great if can get help to corral the kids. Let them know if there will be a change to routine.
Even watching short videos on topics, supervised internet browsing, actually looking in real books or bringing in people with certain Knowledge is helpful. But, that’s all not necessary to do - but, some may help to break up the day.
In primary, there really is a difference in ability to be on a team, work together, focus etc. Many times parents put their primary kid on a team with hopes that they will do great not really knowing for sure. It’s okay in primary to let some kids focus and produce, and other kids be in the background until they are ready. Just make sure you regroup the kids so they can all have a chance to give input and learn how to produce.
One boy only wanted to work on a claw machine- he would tell the team about it, but that’s all he wanted to do until he was satisfied with it- if we made him work on something else, it would have been a battle and he would have been miserable. He shared his idea with the team and was good with everyone talking about how to incorporate it and giving ideas, but I didn’t see the need to force him into participating in everything else with everyone else.
On older teams, you want to make sure kids aren’t pigeonholed too early (as the writer or artist) as you want to give all kids the confidence that they can do it.
Coaching Primary - p1
Expectations: don’t set them too high
Definitely stay positive- getting the kids to the competition is an achievement in itself and one year of watching other teams - especially some older ones- will really help the learning curve.
Coaching Primary - p2
Tips: get creative and they won’t realize they are working
Coaching Primary - p3