Heavy and Fence: Two Gauntlets of the SCA - More Adventures in Cross-Training

Greetings,

The following is primarily aimed at my SCA (Society for Creative Anachronism) readership, but the tenets upon which it is based apply just as much to all forms of martial arts. Sometimes we are a little closed-minded about what some other method can offer us and thus it is dismissed as irrelevant or simply unrelated to what we are doing. It is simply not the case. There are elements in all sword movement arts which can be used to your benefit to improve what you do.

Nomenclature

First I will deal with a little bit of nomenclature for those who are not members of the SCA. "Heavy Combat" or "heavy" refers to the fully armoured combatants who engage in combat with rattan weapons. "Fencing" or "Rapier" refers to those who engage in unarmoured combat, thus using rapiers, primarily, and wearing attire more attuned to civilian wear. I have given the most common terms here for reference just to make sure that people know what I am referring to as this discussion proceeds.

Perspective

From my own particular perspective I have trained in both and would have continued in both except that my body just was not going to continue playing the game in heavy. This gave me a unique perspective from the point of view that I could understand what was going on from each point of view and thus learn from each perspective. It is perspective which makes a hell of a lot of difference.

For many people in the SCA they see heavy and they see fencing and they think that there can be no connection between the two. Indeed there are even practitioners of both who think that there is no connection between the two. The important thing to note is that there are connections between the two and that these connections can be an asset to any person who can grasp these connections and use them to their advantage. There are a lot of skills which can cross over from one to the other and thus gain the user a great advantage, not only doing one, but both.

When an "outsider", SCA or not, sees heavy they often see two people in armour attempting to simply beat the snot out of one another. From this perspective it is difficult to see what is actually happening. It looks like a lot of swinging and thumping with little skill.

When an "outsider", SCA or not, sees fencing they often see two people with long thing swords attempting to skewer one another. Often the actions are so quick that it is difficult to see what's happening. It looks like they just are stabbing at one another randomly until one hits.

Needless to say, sometimes it is, but in most cases it is not the case in either case.

Trained Actions

In both cases the offensive blows are not just thrown wildly or randomly. They are targeted to locations. They are practiced so that the actions are performed with skill so that the blow will land at the target at the appropriate time. The body is also taught how to move properly so it is efficient in motion. All of these things take training, and both styles of combat have them within them, it is just a matter of finding them and using the training to your advantage.

For the Fencer: 

1. Cutting

Heavy will teach cutting actions and their most efficient method. Most fencers are point-orientated, thus cutting actions from heavy are a great asset to them as it will teach them alternate ways to move the sword around and to their targets.

2. Body Movement

Heavy will teach body movement which is essential for movement in armour. While this is not necessary for fencers as they wear clothing rather than armour, it teaches the fencer to be grounded in their movements, thus teaching them where their centre of mass is and how to move their body around to stay balanced while executing actions.

3. Power Generation

Heavy will teach power generation as related to body movement. This is not necessary at the point of a rapier, or for the purposes of throwing a cut, but it is useful for the movement of the body in an efficient manner. Such power generation can be translated to the movement of the feet and the movement of other parts of the body for the purposes of speed rather than power.

For the Heavy:

1. Footwork

Fencing will teach footwork and efficient control of distance. This is one of the primary elements of all forms of combat. The footwork taught in fencing is efficient and controlled, thus will teach how to move from one position to another in the most efficient manner possible. Even the principles of fencing footwork applied to heavy will improve movement.

2. Point Control

Fencing will teach point control. Fencers are well-known to be artists with the point and this can be translated not only to the use of the sword in heavy but also pike, glaive and other arms. Additionally, extensions of the thrust such as the lunge can be effective with the use of the point, especially with the use of low-profile thrusting tips.

3. Technical Use of Weapons

Fencing will teach the technical use of weapons. Fencing has a long, documented history with period documentation to back up the actions which are performed. These techniques in many situations can be transferred, along with their technical reasoning, to weapons used in heavy combat. Experienced fencers especially will have already had access to the treatises and would be more than willing to discuss them and how they may be applied.

Just the Beginning...

You will find that the more that you open your eyes to different perspectives the more that you will find. Do not be closed to different opportunities which may be so close that you cannot see them. Just because someone is doing something which is different to you, because they are doing things with a sword and you are as well, you should pay attention. You might find something useful in what they are saying.

Three different skills have been presented for each heavy and fencing, but there are more which I have not presented here. These are the primary three which will strike you as soon as your learning process begins. There is no need to even complete the training and engage in the form of combat, merely to attend training and see what is said and investigate to see what you can use. Talk to those who do the other form of combat and see what they are up to. Give your point of view and see what they think. Hopefully you will get some useful feedback that you can use. The worst thing that can happen is that by taking up another method of sword-use is that you learn another method of using a sword, and that can never be a bad thing.

On Practice

Greetings,

Practice is important. It is something which we hear and something which we are told again and again. This post is going to examine some of the details with regard to practice, how it is performed and why it is performed. Many will just skip over this one, but I suggest that you do not, as practice really is that important.

1. Importance
Everyone needs to practice. It does not matter if you are the newest swordsman or the most aged practitioner. Skills decay if you do not use them and thus practice is important. This also means that you should also practice everything. When you do not use a skill, it will decay and will not be as sharp the next time you try to use it.

2. Regularity
A post has already done a blog on this one, so why are we back here again? Simply because it relates to the subject at hand. More to the point it is important. You should practice every day, an hour is best, 30 minutes if it is all you can squeeze in. It does not have to be anything complex merely using some footwork and making some attacks will do.

3. Muscle Memory
There is a thing called "muscle memory". When you practice something enough, you will get to a stage where you can do the action without thinking about it, naturally this is a great advantage in any form of swordplay. It takes about 500 repetitions of an action to put it into your muscle memory, but you must practice it accurately. Any mistake you make in the action will also be practiced into muscle memory as well and it will take 50,000 repetitions to remove a mistake from muscle memory, so it is best to do it right the first time.

4. What to Practice
In a word everything. This being said some elements need more focus than others. Foundation elements ...

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.

How Many Times This Week? A Question of Practice

Greetings,

Practice is something which has been mentioned time and again to us all in many different activities. I have no doubt that if you were to go back through the posts that I have made on this blog that I will have mentioned it many times. For the most part these articles have been focused more upon how a persons should practice and what they should practice. This post will focus on a different point of view on the same subject, frequency.

Frequency
The first thing that must be said about the frequency of practice is that regular practice is great. It gets your body and mind into a pattern that it can work with and work to. This enables the body and the mind to prepare for the practice and thus be prepared to learn and enhance skills which have already been attained. However regularity is not the only key, there is the question of frequency.

Regularity
Regularity of practice is only the first step, frequency is also important. Some will decide that only one session a week is all that they can do. This will result in a truly slow rate of progression unless they are doing some substantial work at home. In reality three sessions are required to really improve, more sessions after that are only improving on that. For the most part, many schools run two sessions a week which students are expected to attend. One of these will focus on the learning aspects while the other will focus on the more practical aspects. The third session, the students are expected to make up in solo drills on their own at home.

What you will find is that if you attend one session a week and do no work at home, you will often have to do repeats of skills to truly learn them. If you do one session a week and then go home and do some sort of solo practice on the new skill this will establish this new skill in a rudimentary form in your skill-set. To really establish a skill you will need three sessions and one of these being drills with a responsive partner to find action and reaction. If your school does not have the sessions in the week to do this then it is up to you do make the time.

Homework
We all get homework from school and other learning institutions, this is to encourage us to practice what we have learnt so that it will make connections in our brains. Fencing is no different. You need to ...

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.

Giacomo di Grassi - The Essentials

Greetings,

Each system proposed by a theorist or practitioner is founded on some basic principles. The understanding of these principles is what the system is founded upon. Aside from the typical theoretical elements such as time and distance, there are also some foundation practical elements which are the keys to understanding the system which is being presented. These practical elements will appear and reappear throughout the system which is being presented. In the case of Giacomo di Grassi and His True Art of Defense (1594), these foundation practical elements are found in his wards and his footwork.

Of Wards

In di Grassi’s opinion the ward is a position in which a person may withstand the attack of the opponent, or may perform a simple action from them in order to defend himself. Its second purpose is a place form which to launch an attack against the opponent. This action should be simple enough to cover all parts of the body from the correct ward, and a large action means an inefficient ward. Thus the ward must be formed properly. The ward is a place to settle after an action in order to consider his next action, or in expectation of the opponent’s action against him.

The foundation weapon for di Grassi's system is the single sword, as is found in many manuals. He uses the single sword in order to depict all of the basic forms which will be presented throughout the following forms. For the single sword there are three wards. Neither in di Grassi’s opinion need there be any more, “for that one onlie ſtraight line, which is the ſword, maie not couer, defend and eaſilie offend after anie other maner.” The three wards of which di Grassi speaks are the High Ward, Broad Ward and Low Ward. These are the positions from which the fencer will start and therefore are the foundation from which things are learnt. 

Even within this foundation there is another foundation element to be found, and that is the basic form of the wards. Each has the right foot forward, the body straight, knees bent and left arm extended toward the opponent. The feet are shoulder-width apart and the left side tends to be more toward the enemy in order to reduce the profile. What should be noted is that there is also an option available for the right foot to the rear rather than forward.

The High Ward

The High ward is formed from the drawing of the sword from the scabbard, just like Agrippa's first ward. It is also called the first ward as in Agrippa. In di Grassi's opinion this only just qualifies as a ward due to its open position, however used correctly it can defend the whole person. In order to achieve this, the point of the weapon must be turned downward toward the opponent. Thus the ward is formed with the arm high from the shoulder with the knuckles of the sword hand high in first position, however the point of the weapon is not parallel to the ground nor horizontal, it is obliquely positioned, pointed downward toward the opponent. 

From this position he states that the fencer should gather his hind foot to his forefoot, and make a thrust "above hand" or as an imbroccata, with the hand in first position at the enemy. In this as in all the other wards a line should be drawn from the point of the weapon toward the enemy, this may be bent in order to strike another part, but the point should follow this line directly against the opponent. The point must be pointed downward at the enemy, lest he pass beneath it and strike the fencer before it descends, however it should also not be too low, or it may be beaten off by the opponent's sword. From this position the fencer may also beat off the opponent's weapon downward using the force and create an opportunity to strike.

The Broad Ward

The Broad Ward is the second ward, it is called "broad" because the arm is stretched wide from the ...

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.

"Hot" Drills

Greetings,

The article which follows is about drills, more accurately it is about "Hot" drills and getting the most out of your drills. Most people do not like drills as they feel monotonous and unfulfilling, however they do fulfil and important part of the training process in order that skills are learnt properly in a practical manner. The problem is that most drills which are performed, while they are effective, they are not as effective as they could be.

Most drills are performed at slow speeds, and for beginning drills this is important. The slow drill allows the body to understand the movement in a slow and controlled fashion. The slow drill also allows the teacher to correct any issues in the performance of the action before it causes any issues for the fencer. Once a drill is learnt then the drill is sped up, not much but it is. These drills are done at a comfortable speed often without armour and with out intensity. These will teach the individuals participating in the drills the mechanics of the action but it lacks something in the execution.

"Hot" drills are about taking the essential drills and adding an element of intensity to them in order that the drill can be performed under conditions which are closer to the performance of the action in a combative situation. This is designed to discover what the students performing the drill have actually learnt and what actually rests in their muscle memory.

First point, armour is essential for these drills as there is too high a chance that the face or another part of the body may be struck with weapon moving at a high speed. Second point, these drills should only really be performed with those students who are in a condition where they are ready to face an opponent in full-speed bouting. Third point, the focus of these drills is what the student has actually learnt rather than the perfection of form demonstrated. Fourth point, the drills must be kept simple in order that the participants still have suitable control remaining in order to perform the actions associated. Fifth point, the drills must be performed at combat speed to be true "Hot" drills and to be effective.

The best drill to start with involves simple footwork movements and the retention of distance. One fencer advances while the other retreats. The idea here is that the fencer who is retreating must not allow the fencer who is advancing to catch them, but should be doing their best to maintain good ...

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.

No Footwork Fencing Or Fencing From a Chair

Greetings,

The first thing that is going to be said by my regular readers is "Didn't you not so long ago write a blog about the importance of footwork?" The answer to this is "Yes." Am I going to deny the importance of footwork to normal modes of fencing, not at all. This blog is more a reinforcing of a much earlier blog about disability and fencing.

The question arises, just because you cannot walk for some reason, either permanent or temporary, does that mean that you should stop fencing, or fencing training for you is not possible? Not at all. There are ways around this. From the point of this particular blog so long as you can sit up and hold a sword you can still fence in a form.

Leg Replacement
The first part of the process is replacing the bits of the body that don't work. In this particular case it is replacing the legs that are not working. To this point the chair is used. This has some advantages over legs actually. The chair is more stable as it has four legs and is thus less likely to fall over. Your legs do not have to be used and thus any injured joints do not have stress placed on them. Finally sitting in the chair means that footwork in its normal form is not possible.

Of course there are some disadvantages as well. With the increased stability also comes the lack of footwork and thus the inability to move as far as you otherwise might. This means that you are a stationary target for the most part, though as will be explained, there are some options available for the sitting fencer. The final disadvantage is the possible increased luggage when you travel, but this is more of a side note.

Choosing a Chair
Choosing the chair needs to be done carefully, just any chair will not actually do. While your favourite laid-back chair may be awesomely comfortable, it may not be the most appropriate for fencing from. The first thing is that the chair must allow you to sit up straight in the chair's normal mode of operation. This means that it should have a straight back or none at all.

The second thing is that the chair must be stable when you are sitting on it. For this particular purpose, four-legged chairs are the best option. Remember for those Renaissance fencers you are not always on concrete or otherwise stable surfaces, so the potential for the chair to sink in needs to be considered as well. The next thing, is arms. Arms on the chair will limit your movement so it is better to have them be able to fold away, or not at all.

Height is also an important consideration. For the most part it is better to have the chair too low than too high. A chair which sits high will not necessarily be the most stable and stability is a vital concern. The other thing is that it is best that the lower limbs are able to be placed upon the ground comfortably and flat footed.

From the above ideas you should get the impression of a relatively low-sitting chair or stool with four legs. For some a back on the chair will be a help and for others it will be a hinderance. For some the worry of falling off backward will be more of a consideration thant the advantage of the back not being a distraction or annoyance.

The Sitting Wards
Now that your chair has been selected it is time to start the process of learning to fence from it. As with all forms of fencing the ward is important to the fencer. For the sitting fencer, the position of the lower limbs is just as important as if they were standing. Your legs should be lined up with the front legs of the chair. Make sure you have the chair turned so your dominant shoulder is closer toward your opponent. This will profile your body to them slightly. The top half of the body should assume the normal position for your ward of choice.

In selecting a ward when sitting in a chair you should consider your position and what you have to protect. Selecting a high ward may place the blade across the line of the opponent, but it will also allow them easy access to it. This is beside the fact that it will be tiring. A low ward is much preferable as the arm can relax more and the blade is withdrawn more. This means that the engagement can be chosen by you at the correct time. The other thing is that a low ward may lure your opponent into easy striking distance.

Sitting "Footwork"
What? How can you do footwork when sitting down? When sitting, remember it is possible for you to lean your body forward, backward and sideways. The forward and backward will serve for your advance and retreat. The sideways movement will serve for voids. In this way you can actually change your distance, however so slightly that you do. Sit in your chair, see how far you can lean in each direction.

With this in mind, it is actually possible to do a lunge from a chair. It works the same way as it would if you were standing. Extend your point toward your target and lean with your body. Just as with the standing version the hand should always lead the body. Especially when performing this action from a chair, you should lift your hilt in to protect yourself.

Other Fencing Actions
For the most part, the other actions in fencing work much the same as they do when you are standing up. Parries are the same for the upper part of the body. Parries for the lower parts, if used, will just have to be a little more shallow than when you are standing. As stated you can lean your body to the left, right and rear in order to void, though this will clearly demonstrate the advantage of going perpendicular to the opponent's attack.

Actions using the blade of the weapon will work the same as they have previously. This is because the hand actions are not changed. You just have to remember that you don't have to go so low with many of them and if you do you may run into problems.

Tactics for the Seated Fencer
Where the two fencers are seated in chairs, they should be placed an extension and a lean away from one another. This allows for some movement and use of distance. Where there is the normal situation of a seated fencer against a standing one. The standing one has the advantage of movement and a much greater use of distance and height. The seated fencer has the advantage of having a set distance so has one thing less to worry about.

The only way that the seated fencer can get the advantage in distance is to lure their opponent in so an attack may be made. This is the primary method that the seated fencer has to use. This can be achieved by body position, arm positon, sword position or all of them. Blade engagement is one way in which this can be achieved.

Conclusion
Fencing without footwork is possible, not advised for the individual who has the option of movement, but for the fencer without that option, it is. Fencing from a chair is an option for those individuals with a mobility impairment. In this way they can participate, and quite effectively, in fencing. This idea is not actually new, as can be seen by the wheelchair fencing at the paralympics, as has been mentioned in a previous blog. For the Renaissance fencer a suitable period-looking chair is even an option. Fencing is something which many can participate in, with the right attitude and approach. This has been a rather short guide to fencing from a chair, but it should give some ideas about where to approach this particular problem from.

Cheers,

Henry.

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.

....

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.