About Me

My photo
Either an author who fences, or a fencer who tends to write a lot. I found a passion for writing first, then I found fencing. I also found that the pen and the sword work very well together. The pen may be mightier than the sword but together they are much greater.
Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Sunday, May 13, 2018

Myth Debunking: Female Combat Training

Greetings,

One of the great joys that I take as a trained historian is debunking myths. One of the reasons for this is that there is nothing like a good historical argument, backed by evidence. The other real reason is that I like seeing the correct information going out into the public sphere for people to access. This would be the reason why I wrote one of the recent posts about curatorial elements of the sword. It also irritates me a little when people continue to spread myths around because they are just too lazy to get off their butts and do the research.

When we see ladies in reenactment we often see them dressed in dresses playing the part of the lady, as the public expects. Less often we see them in armour, but it is spectacular when they are dressed in armour and are fighting. Something which I support completely. There is a modern myth that ladies in the medieval period did not engage in combat and were not trained to do so. Yes, it is a myth.

The question of the shield maiden is something which has been brought up again ever since the series "Vikings" has become popular and there are arguments for and against their existence. There is some archaeological evidence for their existence and quite a bit of folklore to go along with it. For your convenience, if you click on "shield maiden" (above) you will find the Wikipedia site for it and I would use this as a launch-pad for future research.

The Elizabethan Era is one of the most well-known for swordplay due to the duel occurring and of course the plays of Shakespeare and the London Masters of Defense. What has also been documented is that Elizabeth watched the playing of several Prizes of the London Masters of Defense. A candidate would play a "Prize" to gain his next rank in the organization. A list of prizes which were played can be found here. If nothing else this shows Elizabeth's interest in swordplay. What's more, it is rumoured that she also encouraged her ladies to be trained with the sword as a sort of "last defence" bodyguard and also for their own virtue.

We live in a pictorial age and many people are driven by what they can see. So often we hear "Pictures or it didn't happen." Well, supporting this particular contention which is being presented is pictorial evidence from some French manuscripts. The first is from Bibliothèque Sainte-Geneviève  MS.1126 "Roman de la Rose"


This image clearly depicts two women crossing swords while dressed in civilian outfits. This would mean that it is most likely that they are in training rather than actually fighting. It is, however, a clear demonstration of a training scene of females being trained in combat. An image which points more toward them being engaged in actual combat follows below.

The women in this image on the left seem to be defending themselves from the group on the right. While these individuals are wearing civilian clothes, it looks less like a training scene and more like that they are defending themselves from a group of bandits. This image is also from a French manuscript of the fourteenth-century. While this image could be mistaken form some sort of training or game, the following image is less likely to.
The original manuscript in this case is from another fourteenth-century French manuscript, but can be found along with several other images of women in armour on the page Babes in Armor, which is a celebration of women in armour. That this image shows the individual in armour leaves no doubt that the individual is in a situation where she may come to harm. This would seem to break the myth that women did not put on armour and did not use weapons. The final image which I have will give those who do not think that the medieval female had training some real pause for thought.
This image is from "De Mulieribus Claris" (BNF Français 598), and clearly depicts a woman in armour and involved in the combat. That she is present on the field of combat should give one pause for thought. That she is using the weapon she is armed with and doing harm means that she is at least trained with the weapon.

We should all be careful about making large sweeping statements about things which did or did not happen in the past. It goes especially much where there is evidence for both sides of the argument present. We must all ask ourselves what influences would be making us take either side of an argument and why this is. Is the answer we are giving going to benefit or detract?

Just from the evidence presented here, I would think that some would at least consider re-evaluating their positions with regards to women in history and their positions. The female in the medieval period was obviously not barred from training in weapons, but may not have chosen to do so. Thus we must consider what position the individual was in to make this choice, if they had one at all. We should all do our best not to perpetrate, and perpetuate myths from any period of time as they muddy the history and give misdirection to our future researchers.

Cheers,

Henry.

You can view the Second Part of this discussion, with more detail and research here.

Update: 15 January 2023

There are comments below claiming that the above images are allegorical or of mythological content and that because of this possibility that this means that the women in these images were not trained in combat, and did not see combat, or were not involved, and consequently women would not and could not have been trained in combat. This I dispute quite strongly.

I am adding this here because most of the readers have not bothered to read the second part as indicated in the link above, but have decided to ignore the historical evidence and focus on the possibility that these images are allegorical or mythological. Such ideas are based in fact, allegorical or mythological as they might be. There is historical evidence, as presented in the second part and this list https://www.rejectedprincesses.com/women-in-combat for women in combat from pre-1st century all the way up to the 20th century.

It is evident from the historical record that women were trained in weapons and they did see combat. This is evident from the list presented in the link above and also the list of individuals who are presented in the second part of this discussion. So both aspects of this discussion, and argument are covered. That the images may be allegorical or mythological is beside the point, the fact is that women were trained in combat and did see combat as indicated, as is argued in this and the second part of the discussion. The foundation for such images had to come from somewhere, further, it could be claimed that some who did see combat could be inspired by such images as Oscar Wilde states, "Life imitates Art far more than Art imitates Life".

Further, the argument that Jeanne d'Arc did not see combat because she did not fight, is false logic. Or the same logic could be used that none of the generals of 18th century battles, including Napoleon or Wellington to name two, saw combat because they did not fight; or that medics such as Medal of Honour recipient Corporal Desmond Doss did not see combat, because he did not fight, or even carry a weapon. 

I will not be responding to such false arguments anymore, or those directed against such simplistic ideas, negating the idea of women in combat, due to the presented source material, when there is further evidence presented in another article indicated. That women saw combat in the Medieval and Renaissance period is an historical fact, and one that is evident across many cultures. I see no reason to respond to such false arguments, which grasp desperately at straws, and deny historical truth.

Wednesday, November 14, 2012

Art of Combat

Greetings,

Art, and what it is has been a question which has plagued theorists for many years and no doubt will continue to plague them as art changes and changes again. This blog addresses the idea about the art being found in a different place namely in the combat manuals of the medieval and Renaissance periods.

In the search for the art of the medieval and Renaissance period most people go to the typical sources, examining known artists of the period. Names such as Da Vinci, Michelangelo Giotto and Durer others are very well known for their various pieces of art, some of which have become famous and stayed as such even into our own period. What needs to be realised is that art can also be found in other sources. The manuscripts of the period are one good example, another is the combat manuals of the period, a source which is often overlooked in the search for art.

Examples of the art of which I speak can be found as early as the fifteenth century and indeed earlier an example of this can be found here http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=143459&handle=li. This is a page out of a manual from 1410 written by Fiore dei Liberi. Now many Western Martial Artists will know of this manual and will know of the art which can be found within it. However for them it is the application of the techniques which are present rather than the artwork which is more significant for them. The artwork which is present and the skill it took to present such art cannot be denied.

What is even more interesting is that well-known artists of the period even dabbled in the martial arts as well. It is well known that Benvenuto Cellini an Italian artist of some note was involved in at one significant duel in his history in which he killed a man. What is less known is that the renowned artist ...

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.

Tuesday, June 2, 2009

Fencing Mind Game - The Long Path

Greetings,

The fencing mind game is our key to a longer path in fencing. Once all of the physical aspects are put aside, fencing is a battle of minds and of wills, this is where the real battle is fought. In order that we are able to utilise this aspect of fencing various things are necessary and this blog will be addressing some of the important points about this and also examining how it is possible to seek the longer path in order that we are able to enrich our fencing experience. In this discussion I will be making particular reference to one most useful source, Maestro Nick Evangelista's book, The Inner Game of Fencing: Excellence in Form, Technique, Strategy, and Spirit the details of which will be found in a very brief bibliography at the end of the discussion.

With regard to development in fencing it is undeniable that the technical and physical aspects play an important part in the process. It is useless for us to be able to think about actions that we would like to be able to perform without the necessary skill to do so, but in this it is also important to look at the application of these techniques in practice. Fencing requires a degree of finesse and this comes about through the correct application of force in fencing, if we rely on pure force and strength this finesse can be lost. “Whatever you do, keep muscle out of your fencing game. It is the overbalancer, the killer of finesse.” (Evangelista, 2000:147). It is essential therefore that we consider what we are doing and how we are applying force in the use of technique, it is much more important to be able to perform the skill correctly, rather than substituting force for where technical skill is lacking. This is a part of the learning process and cannot be ignored. Only through the correct application of skills is it possible to see how they truly work and develop ourselves towards some sort of mastery of the art.

Mastery is an interesting word in and of itself, in some ways it is compared to perfection, though this is not the same thing. A technique can be performed perfectly but without mastery. Mastery requires us to use the skill at the right time and for the right reason in our encounter with our opponent, the perfection here is seen in the perfect performance whereas the mastery is the application of the skill to the situation. It is important that skills are practiced until they are known well in order that we are able to perform them when they are required in the situation, but this requires more than mere repetition of the skill in drills, it requires a situation in which they need to be performed and one way the sport fencing community achieves this is through the use of what are called conventionals.

“Conventionals have a way of illuminating the modus operandi of fencing. … conventionals were designed to provide the fencer with an analytical atmosphere, as opposed to a competitive one.” (Evanglista, 2000:8).

Conventionals provide particular situations that arise in fencing where the skill being learnt or practiced is applied to the situation. These need to be performed where both participants know their roles in the situation in order that the skill can be applied correctly and thus learnt in the fencing context. The use of such simulations allow us to see how the skill functions in a situation in fencing without the opponent directly opposing the skill. A great deal of practice is required for these to be useful, and even more experience is required in order that the same skill can be performed in a more antagonistic scenario, it is in this that mastery lies, but it needs to be not over a single skill but all of the skills learnt in fencing. Such pure technical skill developed in fencing, is of great use but it is the mind that also needs to be harnessed in order that we can seek to achieve mastery of the art.

The skills that are learnt and perfected in practice give us the technical tools that we use in order to defeat our opponent through their application in the encounter with them. This is only one part of the picture and it is important to realise this in order to truly progress and develop in fencing, we must also cultivate the skills of the mind in order that we can apply such skills correctly to the situation.

“no matter how good a fencer’s technical skill is, if he doesn’t know how to apply it effectively and efficiently, he’ll never evolve beyond a simple poker. The mind of the fencer is his most important tool,” (Evangelista, 2000:xviii).

It is the cultivation of the mind of the fencer that truly opens the options for research, investigation and development of the fencer. This is beyond the mere physical aspects of the game and delves into the mental side of the game which is how fencing can develop further than just the physical side of the game. While the physical side of fencing is important, it is the mere bare bones of it without the mental side.

The title of this blog implies that the fencing mind game is a long path, and truly it is. The physical side will supply some of what the fencer needs but in order to truly develop and become the best that they can be it is important that the mind is also developed. This is the long path that the true fencer will eventually seek and it exists far beyond the simple application of the skills to a particular situation. Unfortunately it is true that it is a long path that is not easy and will not eventuate with a great deal of work, this is what Evangelista refers to as the inner game.

“For those who find the inner game, only death interrupts the connection. Unfortunately the truths of fencing do not come quickly nor without much work.” (Evangelista, 2000:xix).

Development of the physical and technical skills of fencing merely consists of learning and practicing these skills and in some part learning how they are applied to particular situations. The development of the mind is not so simple. The development of the mind takes self-analysis, investigation and an attempt to find out the thought processes that are involved in fencing in order that they are better understood. It is about connecting with the mind of the opponent and using the information which is found there in order not only to defeat them but in some part to understand them in order to achieve this goal. While this is seen in the application of the physical skills, it is the process of fencing rather than the result which is the most fascinating,

"the process is what gives fencing depth, personality, and life. It is what makes fencing more than just racking up points. If you think this is true, you will end up finding a game in fencing that will take you to the end of your days and will never cease to fascinate you.” (Evanglista, 2000:88)

This is a long and slow process that will not come about without a great deal of work. This is the path that a true student of the blade will seek and follow in order not only to improve their skill but also themselves as an entire fencer rather than merely a physical one. The situation in the modern world is that people will seek instant gratification from the effort that they put in and few are willing to seek the longer term goal. This is mostly seen in dedicated intellectuals who spend a lifetime trying to understand particular aspects in their own fields, it is rarely seen in the more physical pursuits. “It is the rare individual who chooses some distant reward over instant results. Instant results are very seductive.” (Evanglista, 2000:109). This is unfortunately the same for most fencers, it is the win that they are after. The result at the end of the bout which is the goal, and not some far flung goal that so often seems so out of reach. There are no real trophies at the end of this path, and no tangible rewards in most instances. The only benefit that is truly gained through this process is a person's own development as a fencer and also as a human being. The long path will not only affect the fencer's fencing, but will reveal itself subtly in other aspects of the person's life. This is the path of the true student of the blade and in order to do this you must open your mind to the possibilities available to you.

It is important that we examine our art not through a single view. You need to open your mind to different possibilites in order to truly grasp what the real truths are in fencing. This means taking yourself out of your comfort zone and going out and challenging yourself and your beliefs. The answers that you will find will not always be what you are looking for and they may not always fit. This does not mean that they should be cast aside. This involves digging deep and researching the more theoretical aspects of the game and finding deeper meaning in the process of fencing.

“The teacher or student who hasn’t the time or inclination to delve beneath the surface of his game has robbed himself of something valuable to his fencing and his life.” (Evangelista, 2000:XiX).

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

....

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.