Footwork: Movement in Fencing

Greetings, Footwork is vital in fencing and it is often overlooked in importance in comparison to the use of the sword. What must be realised in this particular situation is that it does not matter what forme of fencing is being done, footwork is of great importance. This particular edition will be focussing on footwork and its importance. It will also address the differences and advantages and disadvantages of practicing footwork both indoors and outdoors. For some they may not realise the difference, but there is a difference. Footwork is undoubtedly important. The practicing of footwork at a training session tends to be rather boring. It usually involves moving up and down the training area over and over again. This is designed to implant the footwork into the muscle memory of the fencer. Once the basic motions have been practiced and perfected, more interesting things can be done with it such as distance games of various kinds. The thing about this practice is that the fencer needs to be able to move without thinking. This means that the footwork movements need to be so familiar to the fencer that they do not have to think about them, this takes a lot of practice. Practicing and using footwork is all about the ability to move freely over the field. Now, anyone can walk or run across a field, this is undoubted as it is something which we learnt when we were small children. Footwork in fencing is about taking this particular ability and making it more efficient and also about making it effective. Footwork is also about teaching the body to be stable while moving across the field. This means that footwork enhances the ability of the fencer, and it also protects the lower limbs through this movement. Accurate footwork is about safe and efficient movement across the field. Simple things such as turning the foot in the direction of the opponent creates a biomechanical situation where the body is better protected from injury and damage. Distance is controlled by footwork. The arm of the fencer is only so long and so is their weapon. If the fencer stays stationary, the opponent only has to stay out of range of the arm and weapon. If the fencer moves with their feet they can change the distance. Footwork does the major part of moving the body of the fencer. Without the correct footwork, it is difficult for the fencer to move properly. It is also through the use of footwork that the fencer is able to control distance in the bout. Through this the fencer is then able to close or withdraw at the time and place of their choice. Through this use of distance the fencer is then able to control the bout. For the most part, the question of training and fighting indoors or outdoors is pretty much mute for the sport fencer. So this particular aspect is more directed at the Renaissance and Classical fencer whose tournament field may be indoors or outdoors. The question of where training will actually take place is usually up to the person or organisation which organises the training. This may mean that you may end up training either in a hall or outside. There are some important differences that must be realised between these two.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Newton's 3rd Law in Fencing

Greetings, This blog may be a little short, but it will be focussing on a single point in fencing which is of importance. One of the fundamental things about fencing is that there is no ultimate killing move. There is always a counter to every single attack performed. This is one of the things which is so exciting about fencing, it is about putting the bits together in order that they can work. So this blog will be focussing on action and counter.

"To every action there is an equal and opposite reaction."

With regard to many things, this particular comment has been used many times. This particular statement is as applicable to fencing as it is to human interactions as it is to physics. There is an action which can be used in response to any other action in fencing, no matter how simple it may be. This is one of the most essential points that as teachers, we must instill in our students, and as fencers, we must understand. This is one of the keys to the development of the fencing mind. So first, there is attack and defence. A scenario, a thrust is made this is a very simple attack to which there are at least three defences regardless of the form of fencing you are doing. The attack can be parried, voided or retreated from. Each one of these either displaces the body or displaces the attack. For this particular purpose the parry will be used. So, the attack is parried, this allows the parrier to mount a counter-attack, the riposte. With regard to this discussion, tempo is not going to be mentioned so bear with me. Even in a stesso tempo response there is still the element of a parry and a riposte, they are simply blended together. Of course the individual recieving the riposte can perform anyone of the three actions described in defence, the ceding parry being the most useful if blade engagement is to be maintained. From the ceding parry another counter-attack may be made. With the simple description above, it can be seen that each attack has a counter, this counter then builds to a counter-attack, and against this there is also a counter. There is no action in fencing which is performed which cannot be countered in some manner. It is up to the fencer to find this particular counter and use it against the attack. In many ways it is like the arms race. One builds a weapon, the other builds a weapon to counter it and so forth. Luckily in this competition the world is not under threat.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Why Do Renaissance Fencing?

Greetings, What a question. This is a big question that needs to be asked both of the beginner and the more experienced fencer. For those at the beginning, the answer is a reason to start and stick with the training. For those more experienced fencers, the answer is a reason to keep going with the training. This blog will bring up some of the reasons for starting fencing and also some of the reasons to continue with it. The important thing about the answer that is given to this question is that it must satisfy you more than anyone else. For some of my readers you will notice that this blog has a great deal of similarity with an article I wrote some time ago, well, to be honest, this is a re-write. The most interesting, and often most difficult question to answer, especially for the practitioner of Renaissance fencing is, why fence? What is the use of fencing? Why bother going to all the effort? In a way, points have to be conceded to this sort of questioning. For the Renaissance fencer, it is an “outdated” style of combat, which belongs to a period up to 500 or so years ago. For most fencers, there are no gold medals at the end of it, and not to mention the many confusing issues that abound with the recreation of this martial art. The original purpose of learning to fence has gone, people do not generally wander around in public with swords at their sides, and it is not likely you will be challenged to a duel either. This is a question of outsiders to the fencing community and members of the community also. The question is often best answered by each individual practitioner. But we can highlight some general points of relevance in answer to this perplexing question. There are many influences, which may cause a person to become interested in fencing, these all have an impact on the individual. The media, especially in regard to movies often influences people in this. A person may see a movie and become interested due to the flair, which is shown by the characters in the movie. With special attention to rapier combat, movies such as “The Three Musketeers”, “The Mask of Zorro” and “The Musketeer” all show rapier combat as a combat art with much skill. Unfortunately, these movies do not show the hard work that is required to develop such a level of skill. Learning how to fence and learning how to do it properly takes a great deal of time. People are also influenced by friends and family, especially those who are already involved in groups which do fence. A person may become influenced by the skills demonstrated by a relation or friend. Others may become interested because of a search for something new; these people often have a background in sport fencing and wish to explore new skills. Still others are interested in fencing because of the different styles and approaches, which are possible, and some become interested because of a level of competition that is not found in other sports. The reasons for starting to fence may actually not be the same reasons that a fencer will continue with it. This notes a change in mind-set in the fencer over time. A person’s own individual values and passions also influence a person’s interest. Values that are expressed in fencing and not so much in other combat arts. Others simply develop a passion for the arts of their own culture, and especially those from older times. It is often these passions and values, which will sustain a person through the long process of training. While oriental martial arts have a lot of mysticism associated with them, western martial arts do not. The important thing is that something deeper can be found in these martial arts and amongst the community who performs them, if only the fencer will look deeper than what is seen on the surface. Fencing not only teaches new skills but also teaches control, among other things. It also teaches a new approach on how the world should be viewed through the teaching of the social elements that are important. Though some teachers may neglect this particular aspect of fencing, it is something which should be taught. In some cases the student may have to simply go out and discover these aspects for themselves. Fencing also teaches strategy, strategy which is not only useful when fencing but also in other aspects of one’s life. These things that fencing teaches are of benefit to all, and not just those who fence.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

What Does Fencing Give the Fencer?

Greetings, The fencer puts a great deal of effort into training, acquiring the correct equipment and various other aspects if they want to become a better fencer. How much the fencer puts into this is the measure of their dedication to the art. The question that needs to be asked is, after all of the effort put in by the fencer what do they get back from it? This blog will address some of those things that the fencer gets back from doing fencing. Some of these things will be obvious and others will not be so obvious. In our dollar-emphasised, capitalist, modern society, the question is always what do I get out of this? It is a question that is asked in the workplace and even in social situations. In the workplace it is pretty easy to see, it is perks, benefits, and a regular payday. In the social situation it can be a little blurry, and for the fencer some of the results of the effort put into their fencing can be very difficult to see. Clearly, some rewards are obvious, these are usually in the form of such things as trophies, accolades, awards and other prizes usually awarded after a tournament or a period of service to fencing. Depending on what sort of fencing and what sort of structure will depend on which apply to you. These things are nice to get but in many cases they are fleeting in nature. The question that needs to be asked is whether there is more than these physical things. There are some physical aspects that the fencer will gain without having to win any tournament whatsoever. It is these physical aspects which are the most obvious rewards for the fencer. Fencing will, over time, improve the fitness of the fencer. This is especially the case if they are doing it on a regular basis. The simple cardio-vascular activity which goes on inside the body during fencing will improve the health of the fencer. While the health aspects are some which are the most obvious results of fencing, there are some health aspects which are over-looked. Such things as improvement in self-worth due to the acknowledgement of the skills which have been learnt, and the achievement associated with this. Then there are the skills learnt while fencing. These skills have their most obvious application while fencing, but the fencer will also notice other changes due to these skills being learnt. Their movements will be more fluid and more accurate. This actually leads on to the mental aspects as well.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Pressure in Fencing

Greetings, Pressure is something that we all have to deal with in our every day lives. This blog is primarily aimed at the idea of pressure in fencing and more to the point suggestions of how it can be dealt with. In fencing pressure can build up for many different reasons and some of these are self-influenced. The result of this pressure is what happens when it actually begins to affect people. The pressure will affect people in different ways and we need to be aware of this, but more importantly is how to deal with the pressure. Pressure is exerted on people in fencing for different reasons and each one of these reasons has a particular impact on the individual. Any form of examination, whether it is verbal or physical, exerts pressure on the fencer as they are expected to perform. The success of this examination will allow them to progress further, the failure of which will restrict their progress. It is these thoughts which form a great part of the pressure. In the case of tournaments pressure is exerted because of the drive in the individual to win. Even if it is not to win the expectation of a certain level of performance is present. Expectations form one of the most pervasive forms of pressure placed on the individual. This pressure can either be an internal thing or an external thing. The pressure exerted from others may be something which is explicit or implicit. A teacher or someone else may come up and tell the individual that they expect them to do well in this particular situation, as much as this is encouragement it is also a form of pressure. The implicit pressure is merely from an expectation that the student has learnt a great deal and should do well because of this. Expectations which come from the self are actually much more pervasive than those from the outside. These exert more pressure because there is an expectation which has become a part of our own thoughts and thus while the expectations of others can be ignored to a point, the internal ones are ever-present and in our thoughts. This is also how the external pressures can become internal. There are three primary results due to pressure being exerted on the individual. Some people go to absolute pieces, some people focus harder on their task, and others do not seem to be affected at all. Obviously the people who go to pieces seem to be feeling the pressure of the situation the most out of the three, but this is not to say that presssure does not affect the other two, even subtly. The people who go to pieces, the pressure is exerted, hits a particular mark and then they go to pieces, all that they have learnt leaves their brain and sometimes they go catatonic. In this situation the pressure will move on toward panic, and the situation will get worse for them. The people who focus, tend to internalise the pressure and use it as a focus for the task which is at hand. They tend to end up so focussed that other that everything else is forgotten or just pushed to one side. The ones who do not seem to be affected actually are affected, but they have internalised it so far that it is just a normal thing for them and nothing to be thought about. The result of this is usually they end up blase about the situation, and this can lead to a lack of focus. Identifying which type of individual you are is the first step in dealing with it. Pressure exerted on the fencer can result in some specific things and some general things. For some it would seem that they have a loss of ability. They can't seem to perform the techniques which they have learnt effectively. A further stage of this is what I refer to as the "brain-melt". In this situation they have a complete loss of ability and they have no response to the actions of their opponent. This is usually one of the most catasrophic result of the exertion of pressure on a fencer. There are also physical effects that the fencer will notice in themselves. There is a large flow of adrenaline to the individual. This gives them more energy, but can result in being "twitchy" or the hands shaking. Another result of the boost of adrenaline is an increase in heart rate. Sometimes the increase in heart-rate will actually happen before the burst of adrenaline. This particular causality is the result of the human being's in-built fight or flight response. The increase blood-flow and adrenaline is so that the individual can either fight or fly. The amusing thing about this is that for a large portion of people the brain is programmed toward the flight response. This is not particularly helpful for the fencer. There are other effects that may be noticed, but these are the most common.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Building an Individual Training Program

Greetings, The individual training program is different from the group training program as it is designed to fit an individual. This means that the specific requirements of the individual must be taken into account. In order for the student to get the greatest benefit from the program it is important that it suits them. This can be somewhat trying if sufficient information is not gained from the student to start with. The teacher should not be attempting to build the training program without communication with the student. In this way the program will fit the student better and go further to achieving their aims and also keeping them interested in it. The individual training program must suit the individual and thus must be individual in nature. This will mean that the program will change dependent on the particular student. There are several different aspects that must be taken into account in order for the program to suit the student the best and these will be discussed in a little detail. In order for the program to be the best for the individual student all of the elements present in the training program must suit the student. This means that information is required from the student in order for this to happen. The first element that must be taken into account is the student's background. Do they have previous experience in any relevant areas that may assist them? Are there any elements in their background that may hamper their development due to thought processes or physical elements present? Students with experience in martial arts of any kind will already have some background in movement and bio-mechanics. Also they will also have certain movement patterns and thought processes that will have an impact on what they are to learn. This is the same for students who have previous experience in fencing. How this will affect their program and ability will be dependent on the type of fencing they have done, and to some degree the school of thought. Other sports can also have an impact on the program depending on the sport. All of these background elements will have developed a level of conditioning which can be an asset or a detriment depending on their training. The student's present ability and potential ability is important and must be taken into account. Their present level of ability is important and must be taken into account so that the skills that will be taught are appropriate to the student. This is to ensure that the program does not deal with skills which are too far out of their current ability. This is also dependent on their potential ability. A student who is currently at a lower level may be able to deal with skills at a higher level if the program allows them to build up to the higher level, but this must be present in the program to allow them to do this. If the program is to be built around a particular manual, such as a period manual especially, this must also suit their ability in order that they are able to perform the skills present. Finally in this particular element, personal issues must be taken into account. This includes such things as disabilities, fencing knowledge and also time constraints. All of these elements will affect how the program is built and what sort of program is used.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Building Co-ordination in Fencing

Greetings,

Co-ordination is important in fencing as such this blog will be discussing the development of co-ordination in its relationship to fencing. This blog will be partially written from a personal point of view as I have had some co-ordination problems myself. It is hoped that this blog will assist those with some co-ordination issues and realise it is an obstacle that can be surmounted given time and patience. The discussion proper will discuss the question of co-ordination in fencing from two points of view, the mental and the physical. Both of these are important in order to get over this particular hurdle.

Co-ordination or lack thereof can be a real problem in fencing. A lack of co-ordination can lead to elements in fencing being substantially more difficult than they otherwise would be. In the realm of the positive is the fact that it is possible to defeat this particular problem given the time and the patience applied to it. The trick is actually taking the time to figure out what is actually happening. Surprisingly enough for some, all fencing students will feel the bite of a lack of co-ordination some time in their fencing career. For some it may not last long for others it will last for a longer period of time.

This can be as simple as something that just does not work for some inexplicable reason. It is something that can be fought against and that can be defeated. While I do not tend to get very personal in these blogs, for this particular subject I think it is important that I explain some things about myself and the reason why I believe that this problem can be beaten. I am actually naturally uncoordinated. I have a history of being exceptionally clumsy and accident prone, and believe me when I say that I have the hospital records and scars to prove it. In my earlier years as a child I was clumsy enough that it was important enough for my parents to send me along to physiotherapy to get some physical therapy to help the problem. This is something that has plagued my whole life and still does to a point. The important thing here is that with time and patience it is something that you can overcome in fencing, it may just take a little more effort than other people.

There are two different aspects that need to be taken into account when considering the nature of being uncoordinated. The first is the mental side of things and the the second is the physical side of things. Both of these aspects need to be acknowledged in order for the process of dealing with the problem can start. The correct physical processes will train the body how to move. The correct thought processes will train the brain how to think about what is going on and what to do about it. It is the two working in combination that allows a person to master the problem presented.

The mental process of dealing with this particular problem is of great importance. The process, the way that I see things, has four elements or parts which are all important to the process. The first is acknowledgement. You need to acknowledge that there is a problem with what is going on. For some this can be an issue as they don't want to acknowledge that they have a problem. Without this particular step it is impossible to move on to solving the problem. Of course at the other end of the scale is those who obsess about the particular problem and this is equally unhelpful. This moves on to the second part of the mental process.

The second part of the mental process is a positive outlook. You must be able to see the light at the end of the tunnel so to speak. It is not enough to believe that you can do it, you need to know that you can. This is the way that you fight frustration. You acknowledge each little victory. Take one step at a time and keep looking at where you are going. Without the positive mental outlook there is no point in starting the process as it is this that will enable you to keep going through the processes required. Of course, beating up on yourself won't help either.

The next part of the mental process is to start dealing with those negative thoughts that you may have about the process and your ability. You should only be thinking positive things about yourself in this process. Words like clumsy should not be used to describe yourself. These negative thoughts can poison the whole process of development of the skills required to beat the problem. It is actually quite difficult to stay positive about yourself the entire time. Yes, mistakes need to be acknowledged, but they also need to be turned around and used. Mistakes are just another way of not achieving the goal, and thus are a learning process. The reason why which is behind it is more important. This requires concentration, and this is something that is required.

Most of the time in life we do not particularly concentrate on what we are doing. This is because we already know what we are supposed to be doing and how the body is supposed to move. This is because these particular things have been learnt and practiced to the point that we don't have to think about them anymore. In order to defeat uncoordinated feelings, it is important that the focus needs to be on what you are trying to do. Each part of the action needs to be focused upon in order for it to all come together. Often when mistakes are made it is because the concentration has drifted somewhere else for a brief period of time. It is important for the learning process that the brain is trained to concentrate on what is happening. Distractions in this process can lead to problems with the action and also frustrations. In order to achieve the end desired we must be focused on the action being performed.

Once the elements of the mental process are dealt with, it is then possible to look at the physical. What is important is that the aspects of the mental process will reappear in the physical process. These two sets of concepts must work together in order for the end to be achieved. The physical aspects are about training the body in order that it can do what it is supposed to when it is supposed to. The important thing about this is that the actions have to be mentally set in the mind. You need to think about the action and focus upon it. Then the physical side of the action can be dealt with.

In the case of any action in fencing, or any action for that matter, you need to learn the action. In this particular process you need to be focusing on the movements that are being made. For some it will require listening to the description of what is required, and for others it will require watching the action closely. In this process it is important to pay attention to the small movements being made as well as the large ones. This focus will place the action into your mind before you attempt the action. The first time you attempt the action, do it slowly and have someone watch you doing it. Once you get the action correctly then it is time to practice and drill. At first it is best to practice the action alone so that you can train your muscles and tendons exactly what they are supposed to be doing. At the same time you should be going through the description of the action in your mind and making sure it matches up with what your body is doing. Practice the action slowly over and over until you are comfortable with it. Once you can do it comfortably alone you should be able to move on to doing the same action with a partner. Drill the action slowly with a partner to see how your action relates to theirs and how your movement relates to theirs. Once you are performing the correct response at slow speed you should begin to speed up. You should be remaining focused on the action that you are doing. Responses to this action and counters will come later. Remember it is all parts of the action that need to be thought about, the small actions and the large actions. Each element of the action needs to be learnt, practiced and drilled.

In the process of learning an action it is important to think about what you are doing and focus on this. All the elements of the action are important and you need to be able to feel how you are moving. In order to get these movements right you need to be focused on these actions rather than anything else. Find a partner who is willing to allow you to drill slowly so that you can feel the response of the opponent's blade as well. Be approaching the fencing action in this way you will be training both your mind and your body simultaneously. This will make it much easier to learn the action and get over any awkwardness in the action.

The unity of hands and feet in fencing is important they should be moved together and this may take some time for you to get your head around this concept, and get your body to do this. It takes some practice to get them to work together and if you only focus on one element the other will be left behind. In training a skill it is important that you get one movement completed first and then work on the other. In general while the hand should always move before the foot, training the feet first has its advantages. Work on the foot movement of the technique so that you are comfortable moving in this manner. Then once you are comfortable with this move on to the hand movement, first alone and then in combination with the foot movement. This division of an action into single movements is a great advantage when learning and this process can be applied to all actions in fencing.

All fencing actions can be divided into separate movements. This goes for the simplest as well as the most complex. For example, the thrust is actually the combination of the movement of the shoulder and the movement of the wrist. The shoulder moves the arm and the wrist moves the point to the appropriate target. In this way the movement can be practiced as two actions and then worked together to form a single motion. Movements in fencing should be stacked like bricks one building on the other, in this way you can focus on a single movement which will add to another and another until the technique is completed as a complete movement. This takes more time than attempting to do the whole technique as a single action, but it is better for the assimilation of the movement into a fencing routine. During this process it is important to accept the achievement of getting the technique right. This praise is useful as it motivates you to move on to more complex actions.

Being uncoordinated in fencing can be extremely frustrating as this may result in taking much more time in order to learn an action. The important thing is that with work it is not an insurmountable obstacle. It is important that you get your mind in the right place first and also your body. Work on the actions from a mental as well as a physical point of view. Work on the actions in simple terms, dividing a technique into individual actions and this will assist your process to learning them greatly. Take the time needed to learn the action before moving on to other things. There are people who can help you with this and who will be willing to take the time required, all you need to do is be able to find them, and also be strong enough in yourself to be able to ask for help in the learning of the actions.

Cheers,

Henry.

Time and Distance

Greetings, This blog is about time and distance as will be noted by the title. This will be a discussion about these concepts and will examine the various elements involved in each of them. First the importance of these concepts to fencing will be discussed. Along with an important realisation about them that must be highlighted in order to understand them properly. Following this will be a discussion of each one of the concepts in some detail in order that each one of the parts of time and distance can be understood. Time and Distance are key concepts in fencing and indeed all martial arts. Any form of martial arts which involves the engagement of two combatants with one another will involve elements of time and distance. They are so important that they should be included in some way in every lesson that is taught in fencing. They are also important to the development of the fencer as with out them their understanding of what they are doing will be severely limited. Only with a complete understanding of these concepts and how they apply to fencing will the fencer be able to excel. One of the most important realisations of these concepts is that they are relative and not concrete. This means that they cannot be measured in increments of seconds for time or metres or feet and inches for distance. Time is also known as tempo, in many ways these two terms are interchangeable, so when one is spoken about so is the other. Tempo is about the relative movements of the individual and the opponent. This is important as often time is discussed only with the movement of the individual. It is important that the moevements of the opponent must also be taken into account in order to understand this principle completely. It was stated by Di Grassi that every movement is accomplished in time. What he is stating is that each movement takes time. This is a basic understanding of the concept, but it in some way fails to bring to light that it is not only movement that must be taken into account but stillness as well. A motion of stillness, or the lack of movement is also a tempo. Thus when counting the tempos it is important that an action must be completed and there is a stillness there. For example, the parry and riposte is counted as such, there is one tempo for the start of the movement, a stillness. There is a tempo involved in the action of the parry, a movement. There is a tempo in the completion of the parry a stillness. There is a tempo involved in the movement of the riposte, and finally a tempo in the completion of the parry, a stillness. In this there will be counted five tempos used. Time is a concept, timing is the action performed in relation to an opponent. In this it must be noted that while time describes all actions in fencing, timing discusses the actions of fencing in relation to an opponent's actions. It is important that both of these are understood. Time is the overall concept but, timing is also important as it describes the movements in action against an opponent who is also moving. With regard to this time must be understood as a concept, while timing must be felt while fencing against an opponent. There are some important elements that must be understood with regard to time in order for it to be completely understood. In general for the starting student most of their actions as described by the teacher will be completed in dui tempo, or double time. This means that they will be encouraged to make a solid defence before attempting to make any sort of counter against their opponent. This ensures that the combatant is safe from their opponent's attack before any counter is made. Stesso tempo, often called single time, literally means self time. This is an action which combines the action of defence and counter-attack in a single motion, hence being referred to as single time. This motion is often developed from the smooth motion of a fencer who knows dui tempo well and is able to combine the two actions into a single one. What is important with regard to this concept is that there is a defence made, but it is done in combination with the counter-offensive action. Contra-tempo, means against time. This means that an attack is launched when the fencer should be parrying the opponent's attack. What is important in this particular concept is that the attack is not launched without any concept of defence, the defence is usually ensured by displacement of the body or the blade engagement witht the opponent. Without this defence in place it would be highly likely that both fencers will be struck. Mezzo tempo, or half time, is one of the more difficult concepts to understand. What it means is that an action is performed in the middle of the opponent's action in order to counter it. This is often confused with contra-tempo. The most common action performed in mezzo tempo is an attack to the opponent's hand or arm as it is moved forward in the attack, a stop hit to this part of the body. This effectively counters the opponent's attack before it is completed. This is the primary goal of the mezzo tempo action, to counter the action of the opponent before it is completed. The slowest form of time is dui tempo as more tempos are spent in its action, but it is also the safest from the straight attack. Stesso tempo is highly effective when used and very fast as it uses very few tempos in its execution. The same could be said of contra-tempo as a similar action is often being performed when compared to stesso tempo. Of the times mezzo tempo is actually the fastest as it counters the opponent's action before it is allowed to be completed, this in half time. What needs to be taken into account with regard to these concepts is how they affect fencing and how each of them use time to their advantage, and what each advantage gains the opponent. This is one of the keys to developing timing.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Building Self-Confidence

Greetings, Going by the title of this particular blog one could assume that this is going to be some sort of "make people happy" discussion. Actually, that is not the point of view that will be the focus of this one. In this particular case the subject of self-confidence will be addressed from two points of view. Firstly it will be examined from the student's point of view and then from the teacher's point of view. The purpose of this blog is to address the idea of how both the teacher and the student can build self-confidence in the student. This is an important process that both the student and the teacher need to be aware of in order for the student to excell. From the student's point of view, there are three main points that will be raised. Firstly that training is a learning process and mistakes will be made. Secondly, the importance of practice and how it builds skill and thus confidence, and finally being comfortable in what you are doing. Each one of these particular points is important and needs to be addressed in order for the student to build confidence in themselves. Fencing and training is a learning process, in this there will be mistakes made by the student in what they are doing. What is important about this is that the student needs to learn from these mistakes, in this way the mistake made is not a failure but a chance for the student to learn and improve what they are doing. The learning process takes time. This is important as the student must realise that it will take time for them to learn skill-sets and be able to use them effectively in fencing. Fencing is a long road if it is approached from the correct point of view and they will never stop learning. When something is done well it should be celebrated. The student should take pride in all of their achievements, no matter how small they might be, but this must be in proportion to the level of the achievement, and also through this not become over-confident. This achievement should spur them on to want to do more. It is practice that builds skill, and skill that builds confidence. Needless to say, practice is required for all of the skills in fencing so that they can be called upon and used at anytime that the student requires them. In this practice the student needs to be practicing the correct action in order that the correct action is learnt. In this the teacher should be correcting them in order tha this is possible, and to a point the student should also be correcting themselves. The action performed must be completed. Where the drill involves a parry and riposte, both actions need to be completed in order for the student to learn the correct thing. Where the parry is missed, the student should correct the parry, and then make the appropriate riposte. This is the same for all actions. It is this sort of repetition that builds muscle memory and allows a student to perform an action without thinking about it. Much in these blogs has already been said about practice, but it is something which is vital for the student to keep progressing. Being comfortable in what a person is doing is about several things. Firstly it is necessary for them to understand what they are doing and what it is suppose to achieve. Next it is important to understand the effect of the action and the parts that are involved in the action. This understanding will enable the student to have a better grasp of what they are doing and thus be more comfortable with it. Once the mind is prepared it is important for the body to be able to feel what is happening. Performing an action slowly will allow the student to feel the activation of muscles and other parts of their body. This will enable them to perform the action properly at faster speeds once they can feel what their body is doing during the performance of the action. Each student will find things that feel more comfortable for them. In some cases there may be some modification in the action required for the action to work for them, and this is fine. It is important for the student to discover what works for them and thus enable them to develop a level of comfort for themselves in their actions. Of course, the development of this level of comfort in an action will take time, especially for a new action. It is important that the teacher allows the student to take the time that they need in order for them to become comfortable with an action. An action which is comfortable for the student will more readily be used by them. From the teacher's point of view, there are also three main points that will be raised. The teacher's purpose in training is an important factor in building self-confidence in the student. Next is encouragement and how it can be effective in building self-confidence through building the student. Lastly is the idea of relaxation on the part of the student in order that they can more freely learn what needs to be learnt. Rather than specific points of reference for the teacher, it will be a general discussion focussed on the particular sub-topics presented.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Bio-mechanics and the Effect of Body Shape

Greetings,

Bio-mechanics is something that as fencers is often ignored. What is important is that there are many elements of bio-mechanics which can be very useful to the fencer if they are understood. Being that fencing is the actions performed by the body and this is affected by bio-mechanics. This blog will be addressing some of the elements of bio-mechanics from a very basic point of view which affect the fencer. It is more designed to encourage the fencer to consider bio-mechanics and their effect.

Bio-mechanics is something which most fencers will not take into account in their fencing, but it is something that really cannot be ignored. This particular element effects all of the actions on fencing and needs to be considered, even if it is only to examine in from a personal point of view about how the individual moves. For the teacher, bio-mechanics becomes more important especially in dealing with students of different body shapes. It is important to realise that a brief study in the elements of bio-mechanics can greatly assist in fencing, and also the teaching of fencing. The awareness of bio-mechanics and how it can affect your fencing will greatly enhance the fencer's ability to perform.

There are some supposed advantages and disadvantages in body shape when fencing is considered. The tall fencer with the long arms, in general, is supposed to have an advantage over the shorter individual with shorter arms. This is due to the range that the tall individual has and their ability to move because of their long limbs. Even with this taken into account it does not mean that the shorter individual has no hope of excelling in fencing, actually quite the opposite. While the longer limbed individual has an advantage at range this can be taken away, thus both the advantages and the disadvantages must be taken into account when considering body shape and its effect on bio-mechanics. Each fencer needs to be able to use their body shape to their advantage, and needs to consider how bio-mechanics can enhance their advantages while compensating for some of the disadvantages.

It has already been stated that bio-mechanics will have an effect on all the movement elements of fencing, but it also needs to be realise that it will have an effect even on the individual's on guard position. In the on guard position, especially for Renaissance fencers, there are choices to be made with regard to the on guard position. Even when considering the basic on guard position with the weapon held in the natural on guard position of third or terza, there are elements which can come into effect which will affect the way the fencer moves. The first choice is with regard to the feet, sword foot forward or off-hand foot forward. This will affect the body position in the on guard position and change the options available, and affect those options which are available. The refused stance promotes the off-hand for use in defence. The forward stance promotes the sword. The refused stance withdraws the body, the forward pushes it more forward along with the weapon. Next is the consideration of whether the weapon is extended or more withdrawn, this will affect the way the weapon will be used and also the timing of the actions. All of these elements, even in the on guard stance, are affected by bio-mechanics.

Bio-mechanics also has an effect on the actions of fencing. This is because all of the actions are the result of the movement of the body and therefore are reliant on bio-mechanics for their effect. If a person understands how bio-mechanics affects their actions they can learn how to do them better, and one of the keys to this is flowing through the action. The action performed needs to be moved through and completed in a fluid motion. Some fencers will attempt to use their strength in the performance of the action, it is important that where the action is performed fluidly and accurately there is very little strength required for the action to be effective. This is a perfect example of how bio-mechanics affects the performance of an action, and how it is the body movement of the fencer that really needs to be considered in the action. This needs to relate to the fencer and how they move naturally.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Fencing Movies - Problems with Getting it Right

Greetings, Movies with fencing in them are there for the entertainment of the people who view them. All fencers enjoy a good fencing movie. All remember the fencing scene at the top of the cliff in "The Princess Bride". The problem is that quite frequently experienced fencers will look at these movies and see holes in the technique and the actions of the combatants. This blog is a brief investigation into the problems with getting such things right, and also continuing to make them saleable for the general public, as unfortunately the educated fencing community seems to be rather small for budgeting an entire movie around. Various aspects will be addressed and considered. The first problem that is encountered in the making of a fencing movie is the approach. It is a question of choreography versus combat. The purpose of the combat in a movie is to enhance the scene and develop dramatic elements between the combatants involved in the action. The purpose of an encounter between two fencers is a test of skill which is the focus of the encounter, considerations of their relationship to one another is usually not considered. Thus the big difference here is that one set of action is an attempt to tell a story while the other is a martial engagement between two individuals for the purpose of the encounter, rather than for developing a storyline. This particular situation leads to other elements of great importance to this particular topic. Fencers are trained to strike their opponents with their weapons. Admittedly there is a level of control behind this striking, but the intention is to strike the opponent before he strikes you. For the actor involved in a dramatic situation, the last thing they want to do is to actually strike their opponent. Stringent safety precautions are laid into the training in order that the actors do not strike one another. Anytime that one actor happens to hit the other is usually the result of a lapse in judgement or a break from a set routine. This is a fundamental difference that must be taken into account. Intent is important and the intent of an action more so. Fencers use tactical considerations for the actions that they will use against their opponent. They will use the most efficient method of striking their opponent while at the same time ensuring that they are not struck. This differs greatly from the actor. The actor has a set of choreographed actions which were developed by the fight director of the movie for the actor to perform in order to portray the action required by the director. There are no real tactical considerations here in the hands of the actor at all. The actions are controlled not by the person holding the weapon but by someone else, thus the actor is not free to change an action in order to be more efficient or in order to avoid an action which will result in defeat. Their fate, or the fate of their character has already been determined by the director and writer. This is obviously not the case for the fencer, who is in control of their own actions and responses to their opponent's actions. Both actors and fencers are involved in training in order that they are prepared for the encounter with their opponent, but the training is different for the two and also the length is also different. While a fencer will spend months and years perfecting their technique in order to improve themselves, the actor has a much shorter period of time. On average the actor has about six weeks in order to learn all that they need to in order to perform the actions that are set by the fight director and the director of the movie. This truncates the training of the individual quite markedly. This is not to say that there are not actors who are also fencers, this is simply not the case as Basil Rathbone clearly proves. The thing is that the actions learn by the actor are set moves which are performed for the movie. While there is a basic introduction to what the actor is supposed to be doing the main focus is on those actions as determined by the director and the fight director. It is only this set of moves which is the focus for the actor. If the fencer limits themselves to a predetermined set of actions this would limit them a great deal and would not make a very effective fencer. The image presented in movies is quite different from the actual nature of fencing. The image depicted by the movie is dependent on many factors and what sort of story the director wants to portray in the movie. This is of great importance. "By the Sword" depicts some elements of sport fencing in it. Some of the training is addressed, but the main focus in this is to depict the actions of the fencers as having speed and elegance once trained properly. This is reflected by their actions before and after training has been done. Still, though the actions are limited by what was required for the movie. Swashbuckling movie such as "Pirates of the Caribbean" and "The Three Musketeers" want to portray something different and thus the actions are different. The most important thing in this respect is that movies tend to focus on the flash and the bash. The sound of steel on steel and the large flowing actions of the characters in the movie. The use of the weapon is dependent on the character being depicted. Certain actions will be used by some characters and not by others, this enables some character development through physical actions. This is all quite different from actual fencing where economy of action is the focus and being the most effective against the opponents being the prime objective.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Brutal Fencing - A Discussion of Aggression

Greetings, Aggression is an element which must be taken into account in all forms of fencing. It is also something that can lead to brutal play where there is the high chance that a fencer may injure their opponent. Obviously this is something that we need to avoid for many reasons. This blog will be a discussion of aggression and how it can be related to this important subject.

“One problem in fencing is brutal play that leads to injury. This is neither good for the individuals injured, nor good for fencing when fencing’s image becomes that of a dangerous activity.” (Evangelista, 2000:71)

In the question of aggression there is the question of the use of aggression and also overt aggression. The nature of attacking an opponent implies a level of aggression that is required, if the fencer is totally passive they will not attack their opponent at all and as such from this point of view there is a level of aggression that is required. The problem here is that sometimes a fencer may get taken away by their aggressive state and this can lead to problems. It is this being taken away by the aggression that can lead to overt aggression that needs to be avoided, and this is the case for both on and off the fencing arena. Overt aggression is a situation where the fencer cannot control their aggressive tendencies and this can lead to bad habits forming and also other problems. This form of aggression can lead to brutal play which is something that all fencers should avoid. In this idea of brutal play there are some areas which are undefined. There are some inherently brutal styles of combat, but even these need to be tempered with a level of control in order that the opponent is not injured in the execution of such a style.

"Aggressive: adj. having or showing determination and energetic pursuit of your ends" (wordnetweb.princeton.edu/perl/webwn)

The purpose of facing an opponent in fencing is to match their skills against them. In this the fencer will be striving for victory over their opponent. In the current day and age it is not the purpose to utterly defeat our opponent and totally put them out. This particular aspect ceased as soon as the sword was not used in combat. It is an important consideration that needs to be in the back of the fencer's mind whenever they take to the field. The way that an opponent is defeated will project an image of the fencer to others who are watching, and also the opponent. This image is important as it will be attached to the fencer's reputation as a fencer regardless of the form of fencing that the fencer is doing. In this the method used to gain victory must be considered, and must be considered to be important to the fencer. A clean victory against the opponent where it is reliant on pure technique should be the goal of the fencer regardless of the form of fencing and regardless of the opponent. This form of victory will lead to a greater level of respect and renown for the fencer. If the fencer relies upon being purely aggressive in their fencing this will be noted by other fencers can result in notoriety rather than respect for the fencer. This form of fencing is less clean, and if the fencer is focussed on the win and nothing more it is what can result out of the encounter. The overt use of aggression in an encounter will be noted by the opponent and the other fencers who are watching the encounter. This also relates to the use of force as related to the use of technique. The fencer has a choice of using force or technique in an attack and depending on what they choose will decide the result. An attack which uses force to force its way through the opponent's defence is using the muscles of the fencer in order to overcome the defence of the opponent. An attack which uses technique in order to defeat the opponent's attack uses the founding principles upon which fencing is based in order to strike the opponent. In the former, the muscles are tensed and are used to a great degree. This form of attack uses a great deal of energy and due to the overt use of muscle and force will tend to be less accurate than the attack which uses technique. It is also the case that often this form of attack will also be delivered against the target with more force and thus a higher likelihood of resulting in injury. In an attack which is delivered using technique, the muscles and the fencer are much more relaxed. The fencer relies on their control of the weapon and the principles of fencing in order to deliver the attack. This attack is more likely to be more accurate, and will also be delivered against the opponent with less force and thus less chance of injury to the opponent. The attack with technique relies upon the discipline and control of the fencer. Discipline and control are related very much so. In order to have control this takes a great deal of discipline as this control is developed through practice and application of technique. From another point of view control is also necessary for discipline as the fencer needs to be able to control their actions enough in order to be able to develop discipline in their actions. These two aspects are directly related to the idea of aggression and the results of it. Where the fencer is able to control their aggression, they can apply the aggressive tendencies to the performance of a controlled action, which is more likely to succeed. This means that even though they are being aggressive, it is controlled in the application of the technique, still, however the fencer needs to be careful that the result of the technique will not injure their opponent. Where control is lost and aggression rules, there will be little consideration of technique and the fencer will use anything at their disposal in order to strike their opponent. It is important that discipline and control are applied to the aggressive tendencies in order that control is maintained over the weapon. 

 Bibliography Evangelista, N. (2000) The Inner Game of Fencing: Excellence in Form, Technique, Strategy, and Spirit, Masters Press, Illinois, USA

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Psychology of Fencing: Things to Consider

Greetings, There are many psychological factors which have a great influence on your fencing. These need to be considered when you are fencing. Before the bout there are aspects which you should take into account, but there are also factors which will impact during the bout. It is important that these things are considered. This blog is more of an introduction to the idea of the psychology of fencing and will introduce some of the aspects that should be considered. It is important to realise that not all of the aspects will be considered here, but it will touch on some important points for consideration. Before a bout there are various things that should be considered. The preparation before a bout with an opponent is important and there are advantages that can be gained before a person steps out on to the field. Some of these things are quite simple and are often overlooked by fencers. The usual thing is that people tend to throw their armour on and then go onto the field. For the more experienced fencers, these other aspects may come normally, but for others, they may not be so natural and thus must be considered as to what needs to be done, rather than just appearing on the field in a state of semi-readiness. Information can be gained about the opponent before the bout which can be of great use. Observe the opponent in previous bouts if you are able to, the skills that they use will tell you something about them. Do they rely on the same techniques each time? Is there any restriction that they have placed upon themselves due to this preference? What gaps does this leave? The handedness of the opponent is also important as this will change how the opponent should be apporached. Are they left-handed or right-handed? This is one that is often forgotten. A left-handed opponent may be able to close certain lines less easily than a right-handed opponent and will approach the opponent differently to a right-handed opponent. The weapons that the opponent chooses to take upon the field is important as this will give you some ideas about the options that they have. This needs to be considered in relation to the weapons that you have chosen to take out on the field. It is not necessary to change your choice in order to match them. This is especially the case if their combination is less comfortable with you. You should take the weapons that you are most comfortable with. What are they wearing? Will their clothing slow them down? What about footwear? Will it restrict their foot movement? Boots will tend to restrict a person's footwork, where as shoes will tend to leave them more free to be able to move about. What does their clothing tell you about them? Does it look well-fitting? This will affect how they will be able to move. The condition of their equipment can also tell you somethings about your opponent. Listen to the announcement of your opponent, are there any titles or positions that have been announced? This can give you some idea of their skill level, and sometimes how to approach the opponent. You should not be frightened if the opponent has impressive titles as everyone has the ability to beat any opponent as long as they use their skills properly. Purely physical aspects of the opponent can also tell you things about them. How tall are they? How long are their limbs? How is this in proportion to their weapon? You should go an introduce yourself to your opponent. The simple handshake can tell you something about their strength, and can also allow you to compare yourself to them physically. Warming up is useful, fencers will stretch and warm their muscles up before the bout. In some instances this is all that they will do, but this leaves a great deal that is not done. Warming up on the physical side should also be the movement of the weapons allowing you to see how they will move and how to follow from one action to another. You should also be considering how you will respond to the actions of the opponent. Pushing all of this to the forebrain will allow you much easier access to it during the bout. The movement of the weapons around will also assist in the mental preparation for the bout, which is also important. The bout before you are supposed to take the field, you should take some time to yourself in order to be able to prepare properly. This is important in order that you are able to relax and prepare properly. Relaxing in fencing has a great benefits that can be attained through its use. This particular aspect covers various things which have already been discussed, but also adds some more into the discussion. Having the ability to relax will allow you to move more freely and do a great deal more. It is important that you consider this both before you take the field and also while you are on the field and engaged with your opponent. ....

The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Displacement as Effective Defence

Greetings, One of the simplest defences in fencing is not to be where the attack of the opponent is delivered, as such this blog will be about the use of voids and other forms of displacement as a form of defence. Performed effectively the use of displacement of the fencer can be an extremely effective form of defence and can also set up for a counter-attack while the void is being executed. There are various considerations that need to be made when using this form of defence and these aspects will be discussed in this blog. Voids or displacements can be used effectively both as a form of defence and also to set yourself up for an effective counter-attack. Voids can be extremely simple or quite complex in their execution, and various forms of displacement will be discussed. The simplest form of void is the retreat, in this the distance is increased between the combatant and their opponent so that the attack is avoided by a simple increase in range. This is one of the basic forms of footwork that is taught in the early stages of learning how to fence, but surprisingly enough, it is often forgotten as a simple form of defence against the opponent's attack. All of the tools available to the fencer should be used in order to be effective. Displacements can be very simple, as in the retreat, or quite complex as in the form of the inquartata or volte as it is called in French. A simple movement of the body can be used in order to avoid an attack, or this can be combined with the use of the feet in combination with the body movement. It is important that both forms of avoidance are considered for their effectiveness and how they can be most effective in their execution. Each element must be considered in order or them to be efffective. As in all parts of fencing, timing and distance are of great importance, and this also applies to the use of the void. If one of these elements has been percieved badly then problems can occur. With regard to distance it is important that in the use of the retreat, for example, that the distance is increased enough that the opponent's attack does not still strike its intended target. Distance is also important that the correct part of the body is moved a sufficient distance out of the way of the attack. Timing is also of equal importance in this situation. The combatant must use the correct timing in order for the void to be effective when it is used. The fencer must wait for the attack to come and only move at the last minute to ensure that the defence is effective. This is the same with all forms of defence. Particular to the void, an early movement can allow the opponent to change their direction and still strike the fencer with the same attack. Without the awareness of these particular principles and how they apply to the use of the void, the void will be substantially less effective.
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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Saviolo: Part II: Practical Elements

Greetings, This is part II of my blog on the subject of Vincentio Saviolo. With the background set, and the principles in place, it is now possible to delve more deeply into the system which was developed by Saviolo. It is important that the principles are laid out first and understood in order to understand the practical side of the system. There will be elements that will be left out of this discussion as they serve no purpose in going into them in detail in the discovery of Saviolo's method of fence. Thus it will be those elements which are essential to his system that the detail will be centered upon. Externally Saviolo's system is simple, but when you examine it in more detail, the hidden complexities emerge. As with the previous part it is important to start with the principles, or in this case the basic elements before moving on to the more complex aspects of the system. First is starting with Saviolo's wards. The first ward the Saviolo teaches is a teaching ward, simple as that. It is designed to place the student in the correct position in order that they have all the elements in place. This is important as it places the student in the correct position for applying the techniques that follow.

“I come therefore to the point and say, that when the teacher will enter his scholler, he shal cause him to stand upon this ward, which is very good to bee taught for framing the foote, the hand, and the body:”

Without teaching this ward the student will be unprepared to perform the following wards and to understand how they are used. Once the student is able to place himself in the correct position, it is then possible to move on to the combat ward which Saviolo advises for use in combat. Once again, it is important to stress that the first ward is purely a teaching ward and designed to teach the student the correct position for their body.

The second ward is Saviolo's combat ward. This is the one that he advises for use in combat against an opponent. It should be noted that this ward carries through many of the same elements as found in the teaching ward, thus it can be seen that one is based upon the other. If we examine Saviolo's description of his second ward, these elements can easily be seen.

“Therefore if the maister desire to make a good scholler, let him begin in this sorte, causing his scholar to place his right legge formoste, a little bending the knee, so that the heele of his right foote stand just against the midst of his left foote, holding his swoord hand close on the outside of his right knee, with his swoorde helde in shorte, least his adversarye should gaine the same, ever keeping the poynte directlye on the face or bellye of his enemye, and the maister shall dispose of him selfe in the same manner, as well with his foote as with his poynt.”

As in the first ward the right, or sword side leg is placed forward, with the knee bent slightly. This is the same as the teaching ward. This is the same with the position of the feet and demonstrates how the first ward teaches the student where to place themselves. The hand position with the weapon held in close and the off-hand extended means that it is the off-hand that will be used for the primary defence against the opponent rather than the use of the sword. The withdrawal of the weapon also denies the opponent blade engagement from the out-set. As with many of the masters, the point is directed against the opponent in order to threaten them and also to place in in a posiiton to attack. This is Saviolo's primary combat ward.

The third ward has two purposes, and it is important to realise them in order to be able to use the ward properly. The primary reason for the third ward is in order that the combatant is easily able to perform a lunge, or stoccata at length as Saviolo calls it. From this position, the combatant is also prepared to perform a punta riversa. This is a ward in the truest sense as it is a position from which an attack is made rather than a static defence. In many ways this position should not be adopted but moved through.

“I will not faile in anie part to make you understand the excellencie of this third warde, which notwithstanding is quite contrarie to the other two. Because that in this you must stand with your feet even together, as if you were readie to sit down, and your rapier hand must bee within your knee, and your point against the face of your enemie: and if your enemie put himselfe upon the same ward, you may give a stoccata at length betweene his rapier and his arme, which shall bee best performed & reach farthest, if you shift with your foot on the right side.”

This ward differs in its foot position from the other two as they are quite close together. The hand position is very similar to the previous two wards as it is withdrawn in order to deny blade engagement from the enemy. The position of the feet clearly demonstrate that it is a preparation for the use of the back foot to push the combatant forward in the performance of an attack. Saviolo's "stoccata" at length" will be discussed in more depth in a later section of this part.

Saviolo's system is entirely based on the use of the sword in conjunction with the off-hand. All of his techniques are based on the premise that the hand is the primary defence against thrusts, and the sword is more of an offensive object rather than defensive. This particular idea transfers and follows through to his rapier and dagger which follow the same principles, using the dagger in the off-hand as defensive and the sword as offensive in most situations. The entire system revolves around the use of the off-hand parry, void with movement off-line and the stoccata in offence against the opponent. Clearly the only difference in the use of rapier and dagger is that there is a dagger in the off-hand. This results in a system which, from the outside, is extremely simple. This simplicity of purpose is demonstrated in the forms of attack also.

Bibliography Saviolo, V. (1595) His Practice in Two Books

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

There is also a future book in the works devoted to Saviolo's First Book, detailing his described actions detailed, interpreted and presented as usable drills. Stay posted for more information to come, here or on the author, or publisher's Facebook page.

Saviolo Part I: Principles

Greetings, First, I must offer an apology to all my modern and classical fencing readers as this particular blog is more aimed at the Renaissance fencer in the readership. Saviolo is a master of particular interest to myself as his method appealed to me. I will be presenting in this blog some of the research that I have made on Saviolo giving some information about his method and how it was applied. Various points will be made about this particular system which will be of interest to various people, and I hope that the information present will be of interest to my various readers. All of the references in this blog come straight from Saviolo's treatise. Vincentio Saviolo is a master of the Renaissance period, more specifically he is one of the Elizabethan period. He taught in London and held a school at Blackfriars, which is on the south bank of the River Thames. Of especial note is that the same region held a theatre which was sold to William Shakespeare. Of particular interest to me is that the chap who sold the property to Shakespeare was a chap named Henry Walker. Saviolo published his own Treatise "His Practice in Two Bookes" in 1595, and his name is present in the works of George Silver who was a contemporary of Saviolo. Saviolo's treatise is a composite treatise encompassing principles from three different schools of thought brought together to form a single system. This in and of itself makes Saviolo's technique interesting and of note to the Renaissance fencer. The treatise and the information contained within is presented as a discussion between a master and his student. In this particular case it is Saviolo talking with his student Luke. Unlike many manuals the principles are not presented singularly but are presented within the text as a practical representation of what a person should do against their opponent. There are some which are elicidated simply, but for the most part they are within the discussion between the master and the student. The three schools of thought from which Saviolo draws his information are the Italian, Spanish and German. Each one of these is used for a particular application and then are combined together to form the overall system. The Italian school is present in Saviolo's use of the thrust, and more to the point, the dominance of the thrust over the cut in the use of the rapier. The footwork is primarily circular in order to gain an advantage over the opponent due to the angle of one opponent to another, thus presenting principles present in the Spanish school. Finally, the method of cutting presented by Saviolo is designed to defeat the opponent while defending at the same time and also before the opponent has time to respond, thus presenting elements from the German school. This makes for what should be a very complex system. Externally the system is quite simple, but internally once deeper reading is made of it, the hidden complexity within the system is exposed. In order to understand both the simplicity and complexity of the system presented by Saviolo, it is first important to examine the general principles upon which the system is based. The first of these principles is about entropy and emotional control. Entropy is using only the amount of energy that is required in order to achieve an objective, in this particular case it is to defeat the opponent.

“this I would advise you, when you would make these passages, or put your weapon under your enemies, that you doe them not in vaine nor without some advauntage.”

This passage states that the combatant should not perform actions without gaining some advantage over the opponent. The energy of the combatant is thus maintained and not used for actions which would not gain him some advantage. In achieving this particular principle, the combatant will have a larger store of energy and thus will be able to last longer against the opponent than if he used energy to perform actions which did not achieve something. One place where this can be present is in the use of fury in order to defeat the opponent, thus Saviolo warns against this.

“Wherefore as well in this ward as in the other, take heede that you suffer not your selfe to bee blinded and carried awaie with rage and furie.”

 Bibliography Saviolo, V. (1595) His Practice in Two Books

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

On Handedness - The Left-Handed Fencer

Greetings,

The left-handed fencer is always tricky. This is the case for both fighting against them, and also teaching them. Due to the dominant presence of right-handed fencers, the left-handed fencer is one that we will only run into on relatively rare occasions. For those groups who have left-handed fencers present, you have an advantage over those who don't as you will become used to facing them. From the teacher's point of view teaching the left-handed this presents some issues in their teaching. This blog will be a discussion of the issues associated in both teaching and combat against the left-hander.

Teaching a left-handed fencer while you are right-handed is always a tricky situation. It requires a switching over in your mind about how to teach the fencer. For some of the demonstration you may have to switch hands in order to demonstrate the technique so that they can understand what is happening. This will also assist you in learning about fighting with the left hand yourself, which is to your advantage. The best way to do this is to think of the left-hander as a mirror image in all cases.

The lines are opposite, but also the same. The outside line is still to the outside of the weapon, in the case of the right-hander this is to the right, in the case of the left-hander this is to the left of the sword. Obviously the inside line is the opposite side also, but the same principles apply. When teaching a right-hander it is sometimes more effective to stand next to the student in order to show them the technique, in the case of the left-hander it may actually be more effective to stand opposite them and thus use the mirror effect of the position. In the case of companion weapons in rapier combat the companion weapon will be on the "wrong side" this will require some adjustment for their effective use. It may require the crossing of the hands and devices in order to be able to use them effectively. Another method for achieving this is to change the on guard position and movement in order to promote the off-hand, this will take a great deal of practice in order to achieve effectiveness.

The combat against the left-hander is an interesting prospect, just as with teaching the left-hander the combat against the left-hander takes a change in perspective. For some it makes no perceivable difference to them. In most cases there is a difference but the change for them is subtle enough that they do not consciously notice it. There are differences that should be made especial note of in how to deal with a left-handed opponent. These changes will assist you to deal with the change in perspective.

To start with you need to change your on guard position slightly. You need to stand more profiled in stance, this involves moving the feet slightly. This position should remove the inside line away from the opponent. The guard should be pused more toward the outside line due to the position of the left-handed opponent. Further importance of the outside line with regard to the left-handed opponent.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.

Sword Parry and Its Execution

Greetings,

The sword parry is one of the primary defences of the fencer in all forms of fencing, be it rapier, sport fencing, or even the katana. This is a technique which is taught in the earlier parts of a person's fencing career and it is important that the parry is done properly in order for it to be effective. This blog will be discussing the execution of the parry and some points about such. For the first time this blog will be including some diagrams in order to assist the discussion.

A sword parry is a defensive use of the weapon in order to stop or deflect an opponent's incoming attack. This technique can be used effectively against both thrusts and cuts. The technique in principle is relatively easy. It involves placing your blade in a position where you will intercept your opponent's weapon before it strikes you in order to stop or deflect their attack. The principle is relatively easy, the execution of the thrust can be somewhat more complex.

Much of the purpose of the parry has been discussed above, but we must look at it a little deeper. The primary purpose of the parry is to defend against an opponent's attack. This must be realised in its execution, that our safety against the opponent's attack is the primary purpose of the parry. The setting up for a riposte or following action needs to be a secondary consideration in comparison to the defence that the parry supplies. This needs to be realised and will affect the execution of the parry depending on what your considered primary purpose is. This will be revealed in a later part of the discussion on this particular subject.

With regard to sword parries there are many different kinds. This blog will be focussing on the simple, or standard parries. There are other parries available to us, such as hanging parries. These work on very much the same principles as the standard ones, but due to their different execution, they will not be addressed in any sort of detail. The standard parries will also be the focus due to their commonality with the various forms of fencing which are available to the fencer.

There are four lines which need to be covered, and two parries per line, one with the true edge and one with the false edge. In all cases the parry must cover the line, in order to be effective as a parry, and this relies upon proper execution of the parry. In all cases it is important to examine the position of the hand in relation to that of the parry. In the case of true edge parries the knuckles of the fingers should be facing the opponent's blade. In a false edge parry it should be the knuckle of the thumb which is facing the opponent's blade. This will ensure that you have an edge to the opponent's blade. The hand position in the parry is vital and must be considered. There is the question about whether a parry needs to be done with the edge or whether it can be done with the flat of the blade. The edge of the sword is much stronger than that of the flat, and thus makes a more secure parry. This being said, there are parries which when done with the flat are quite effective, but as a rule it is better that the parry is done with the edge.

The next question that comes up is whether the parry should be done as a beat or with opposition. Both of the methods have their advantages and disadvantages, and these will be discussed. The principle of the beat parry is that the edge of the blade is struck against the opponent's moving it away by the impact of one blade against the other. This is an effective technique because it forces the opponent's blade off-line by the shock allowing the fencer to make a counter-attack against the opponent. The disadvantage of this technique is because the blades do not remain in contact, knowledge of the location of the opponent's blade through the use of senso di ferro is lost. It is also relatively easy for the opponent to use the impact to roll the blade back on line. The parry with opposition contacts and prevents the opponent's blade from contacting its target by placing a wall against the attack, also forcing the opponent's blade off-line. The advantage of this technique is that due to remaining in contact with the opponent's blade it is easy to know exactly where the opponent's blade is. This also allows for the use of techniques which rely upon blade engagement. The greatest disadvantage of this particular technique is that it can allow for a slower riposte, and also gives the opponent some senso di ferro by the contact between the weapons. In general, while the beat parry is easier to execute and learn, the parry with opposition tends to lead to more advantages and more options for the fencer. This being said, both techniques can be used effectively.

In the execution of the parry, it is important to keep the parry small. The opponent's blade only needs to be deflected enough, and just enough to avoid striking the fencer. The blade does not have to be forced particularly far in order to be forced away from its intended target. This means that in execution the parry needs to be minimalist in its execution. There are a couple of reasons for this. The first reason is one of entropy. A smaller parry takes less energy to perform, this allows the fencer to conserve energy for future actions which require more energy. Another reason for keeping the parry small is that it will take less time to execute, thus giving the fencer more time in order to perform other actions against the opponent. The final reason that will be discussed has a great deal to do with the action that follows the parry once it is performed. If a parry is kept small, it is much easier to keep your point on line against the opponent, and thus make any counter-offensive action faster and more effective. With these reasons in place it is clearly advantageous for the parry to be made as small as possible.

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The rest of this article can be found in Un-Blogged: A Fencer's Ramblings by Henry Walker, which is available in paperback from:

Amazon: https://www.amazon.com/Blogged-Ramblings-Henry-Leigh-Walker/dp/098764470X
Booktopia: https://www.booktopia.com.au/un-blogged-henry-leigh-walker/book/9780987644701.html
Among other places...

It is also available in electronic format (pdf) from: https://buy.stripe.com/fZecP419c7CB9VKeUV

... or direct from the author.