Gripping the Sword

 Greetings,

For starters, don't grip the sword hold the sword. The subject of how to hold a sword is a subject that I am back at AGAIN. It would seem that most people when they approach the subject, give little consideration to its importance, and then wonder why they are having difficulties with the more precise actions of fencing later on, or in some cases find themselves with injuries. Yes, at least one injury, or strain, can be traced back to holding the sword in an incorrect manner, as will be described below.

Hold the Sword

Let me say this again, DON'T grip the sword, hold the sword. The weapon should be placed in your hand and you should hold the sword in natural fashion. The weapon needs to become a natural extension of your body, not something that you are gripping on to for dear life. 

Hold the sword firmly so you can feel it against your fingers and hand. It is described as like holding a small bird, firmly enough that it will not escape, but not so hard that you will crush it.

The previous article was quite short, and went over some of the basic details about how to hold a sword. It indicated that it was dependent much on the weapon that was being used at the time, and this is very true. You don't hold a foil the same way that you hold a longsword, or a sabre. Each has a slightly different hilt construction which will affect the way that you wrap your fingers around the hilt.

The previous article indicated that the sword should not be held too tightly not gripped but held. It indicated that a sword that was gripped too tightly would reduce the amount of control the fencer had on it rather than increasing the amount of control the fencer had on it. Clearly if it was gripped too loosely there would be little control over the weapon. The weapon needs to be held properly, with the correct amount of pressure from the fingers on the handle of the weapon. 

The article then went to discuss holding the sword by the index finger and the thumb primarily, and then the different types of grip that could be used and some discussion of which method may be more beneficial to a fencer and for which reason. Here, there will be a little more discussion about the physical characteristics of the sword, which will affect the method of holding the weapon, more specifically the handle.

The Handle

There are many options for buying a weapon for the practice of Historical European Martial Arts, many more than I had options for when I started. There are all the options available from simply buying an "off the shelf" model all the way up to a fully-customized weapon of the fencer's choice. The fencer can often choose hilt, blade, and pommel shape. Of little concern quite often is the handle. Most often the options available are whether it is covered in leather, wire bound, plain wood (and what type of wood) or what combination of these. The handle usually comes in a standard shape, only the length is of concern. The shape of the handle is of concern, as is the size of the handle, all of these things affect how effectively the individual is able to hold the weapon.

The shape of the handle does have an effect on how effectively the fencer is able to hold the weapon. If the handle is too thick, then the individual may not be able to wrap their fingers all the way around the handle, this will result in them gripping the handle, and often too tightly. This is often for fear of losing the weapon, the result of this hard grip is discomfort and potential further issues as will be described. If the handle is too thin, the individual's fingers will overlap, resulting in discomfort similar to that of the thick handle. The correct size should enable the tips of the fingers to touch the palm comfortably. This will enable the handle to be held properly.

Further, the handle can be shaped to fit the hand of the fencer making the handle even more comfortable for them. Thinning out certain parts to add more grip, adding hatching for more grip, or simple removal of certain areas so the handle simply sits in the hand, all add to the ease of holding the handle of the weapon. 

Likewise the length of the handle should place the pommel of a single-handed weapon just below, or at, the grove at the bottom of the hand. A shorter handle can be uncomfortable, placing the pommel in the hand. Likewise longer handles can get in the way of performing actions. These physical characteristics of the handle are often forgotten, but can make a comfortable sword into an excellent sword.

Method

Did you choose your method of holding your sword, or were you told that this was the way to do it, and just followed? Have you considered why you hold your sword in this particular manner? Have you considered the effects of this method, as compared to other methods? These are questions that we should always be asking ourselves about how we hold our swords. A change in method may open new opportunities.

At the beginning of our fencing careers, we are often told how to hold the sword, and usually just follow what is said without question, because we do not know any better, and that is expected. If that method does not work for the fencer it should be expected that the individual will change their method. This is the reason that the teacher should offer options for how to hold the sword. In my previous article on the subject two options were discussed, and also some considerations of their effects. You need to consider why you are holding your sword in this manner.

Does the method give you better control of the sword? Does the method give you better strength in engagement? Does the method give you a balance of these attributes? Is the method that you are using actually comfortable? Frankly, if it the answer to the last one is not a resounding "Yes," then you need to think about seeking another option for holding your sword.

We will examine two typical methods of holding the rapier, and one extreme method. Each will be examined for its advantages and what it gives the fencer. This will describe the effect holding the sword in this manner applies to the sword in a functional sense, which is the most important, rather than any other consideration. Each will be examined to see what the fencer is given by using these methods.

Single Finger

In the single finger method, the index finger is placed about the forward quillon, or ricasso. The thumb is then placed on the back of the ricasso, or placed on top of the tip of the index finger by preference. There is a different effect from both of these positions, the latter gives more strength to the edge when making parries and actions, but has the thumb activated all of the time. The former has the thumb relaxed and can be used as a counter-lever to the index finger to control the weapon.

The advantage of the single finger method is that it allows the lower fingers freedom for use to manipulate the weapon, and leaves the wrist freedom of movement for manipulation of movement of the weapon. This allows the weapon to move freely as the fencer desires. This is a very basic form of grip where the sword is essentially held between the index finger and the thumb, with the other fingers and the hand assisting in the movement of the sword, and nothing more. They can, should it be required, be used for strength actions, but most of the time, they should not. There is a lot of freedom of action in this method.

Two Finger

In this method, the index and middle fingers are placed about the ricasso. The thumb touches the tip of the middle finger. More of the handle is placed in the hand for this method, and the more of the hand is used to hold the weapon. This means that the hand is used to manipulate the weapon.

The advantage of this method is that the sword is held firmly which means it is useful especially for longer weapons. The fingers lock the handle against the hand and the hand is moved rather than the fingers to manipulate the weapon. This means that it is primarily up to the wrist and forearm to move the weapon about. This method gives the weapon strength in its engagement with others and results in no change depending on whether strength or fine actions are required. This method is more common to the later period treatises.

"Pommeling"

 "Pommeling" is an extreme form of holding a sword more common to sport fencing than it is to the rapier, but worthy of mention in this discussion. In this method, the pommel is placed in the palm of the hand and the index finger is extended so it is either just over the quillon, or just below as in a normal grip. The other fingers are placed around the grip as they are usually.

The greatest advantage of this method is that it gives the fencer the extra reach of the handle usually taken up by the hand. There are some claims that this method also gives superior leverage in the sword due to its extended position, but this is disputed. It is recommended that this method is only used by more experienced fencers as it is quite easy to lose the weapon through disarming. There is also some control lost of the weapon due to its extended position, unless the fencer has a particularly strong hand and fingers.

Different Methods

There are lots of different methods for holding a sword, and only three have been discussed as they are the most commonly used with the rapier. The first two are the most commonly taught, with the last being an extreme example given to show an extreme approach to gaining a little more advantage of reach over an opponent. Serious consideration should be given as to what method a person uses and what advantages the method gives. 

The question of comfort should not be ignored when using a particular method of holding a sword. Find something that is comfortable for you, because holding the sword is the thing that you are going to be doing the most while you are engaged in swordplay. Talk with your teacher if you are finding your current method uncomfortable. Examine each aspect of the method and see if there are any aspects that can be changed to make it more comfortable for you. The importance of a correct method of holding the weapon cannot be denied.

Importance of Correct Method of Holding

Only a correct method of holding the sword will allow you to perform actions correctly when you are engaged with an opponent, or even in drills. The feedback that you will receive through the sword is important as this will allow you to respond correctly to the stimulus that your opponent gives with their sword. Holding the sword correctly will give you the correct feeling through the sword (senso di ferro) which will allow you to anticipate the actions of the opponent.

Correct blade engagement actions, especially when engaged with an opponent relies on senso di ferro which relies on holding the sword properly. If you are gripping the sword tightly you will not be able to feel these sensations through the sword. Likewise, if you are not holding the sword tightly enough, you will not feel the sensations through the sword and you will miss your opportunity to respond to the actions of your opponent. Further the Actions on the Blade, both the Attacks on the Blade and the Takings of the Blade also require you to have such sensations and to be holding the sword properly so you can manipulate it properly so you can perform these actions correctly. So much of fencing comes down to how you hold the sword.

Even the performance of offensive actions in the correct manner result from the correct manner of holding the sword. A thrust made with a hand that is gripping the sword tightly will likely strike hard each time, almost regardless if the opponent is even at correct Distance. A thrust made with a hand that is holding the sword correctly will likely strike the opponent with just enough force that they will feel it sufficiently, especially if they are at correct Distance. If they are too close, for some reason, there is flexibility in the hand to compensate for some of this.

A cut made correctly with a rapier should impact and then slide along the target allowing the edge of the weapon to do the intended damage. The cut should not strike and bounce off. Test-cutting experiments that I have performed have demonstrated that a cut which is delivered where the edge is driven into the target, will simply bounce off, doing little damage. While a cut which is performed so the edge strikes and then the edge is drawn through the target does damage to the target, quite a bit in fact. The difference often lies not only in the method, but in how the sword is held.

A cut which is made where the sword is gripped in the hand hard, is likely to result in the cut bouncing off the target with little effect. A cut which is made where the sword is held properly with a more firm, but relaxed hand will impact and then slice through the target with great effect. A lot of cutting correctly with the rapier comes down to how the sword is held. Further, holding the sword tightly while cutting can result in damage to the fencer.

Injury from Cutting

A fencer who persistently cuts with a had grip on their sword can eventually damage themselves if they are not particularly careful. If the fencer is not careful when they are careful the stress from the impact of cutting can be transferred through the hand, through the wrist, to the elbow, resulting in damage to the elbow. This damage also results from the full extension of the arm in both cutting and thrusting.

The damage that can result from cutting with a stiff grip is damage to the tendons of the elbow, this is known as Tennis Elbow or Golfer's Elbow, depending on which tendon it damages. The damage results because the hand is locked and the impact has to go somewhere, often it travels through the hand to the wrist, this may take some of the impact out. Often it travels further to the elbow resulting in the two conditions mentioned. This is especially the case where the arm is fully extended. The same can result where the arm is fully extended in a thrust. A way to stop some of this damage is to not fully extend the arm in either the thrust or the cut, however a proper method of holding the sword is also effective. It is best if both of these methods are used.

Hold the Sword

Holding the sword is one of the beginner lessons that is taught at the beginning of most swordsmanship courses. A method is often told by the teacher how the sword will be held and the student follows the instructions, in the worst case, the lesson is skipped, or is absent and the student is left to figure it out for themselves. It is often the case that the lesson is never revisited by the teacher or the student.

The lesson should be revisited, especially if the student is having trouble with their lessons. It could be as simple as the student is having trouble with holding the sword, or they might have a handle which is the wrong shape, or too big. In this case a simple solution can change the fencer's ability to progress. The student should be aware from the beginning of their lessons that if something is not comfortable, their grip included, that they should check in with their teacher about the issue.

The effect of the method of holding the sword should not be underestimated as it does effect senso di ferro and as a result if effects all the skills that rely upon this important aspect of swordsmanship. If the student's hand or arm is tiring quickly during lessons, the sword may not be too heavy, it may simply be that they are gripping the sword, rather than holding it. There is a difference between these two, it is subtle, but there is a difference. 

If you grip the sword and cut, especially with your arm fully extended, you are likely not going to make an effective cut. Further you are headed down a road toward damage of your elbow and a lifetime of issues with that joint. Simple correction at the early stages can prevent this issue. Holding the sword and cutting with an arm which is not completely extended will result in a much more effective cut, and also reduce the damage to the elbow. The same applies to the thrust. This is something that both students and teachers should pay attention to all the way through the fencing career.

Remember to hold the sword correctly, and revisit your method of holding the sword, especially if you begin to feel it to be uncomfortable, or you feel actions to be more difficult than they should be. The method of holding the sword is simple, but essential do not just push it aside and forget it.

Cheers,

Henry.

Define: Martial Art

Greetings,

The definition of what a martial art is has been debated somewhat and I have made mention of the concept in previous articles in this blog. The following article is designed to examine this concept a little more closely using a definition taken from one source and then examining various elements from what is considered a martial art. It is hoped that the main points of examination presented will give places where practitioners can examine their own practice to see how their own practice compares to these points.

Previous Articles

The previous articles which I will refer to which I have written are: "Martial Art vs Martial Sport" (https://afencersramblings.blogspot.com/2014/02/martial-art-versus-martial-sport.html) in which comparisons are made between martial arts and those which have been directed toward more sport applications, thus moving away from their martial backgrounds; and "Are You Teaching a System?" (https://afencersramblings.blogspot.com/2016/05/are-you-using-or-teaching-system.html) in which it is asked whether the teacher is teaching their students a system of techniques, or merely a series of "tips and tricks" which have less foundation in fencing principles found in martial arts systems. Each of these articles addresses the concept of martial arts from a different perspective but add to the following discussion, and will be referred to in the discussion.

A Definition

The Wikipedia gives the following definition of martial arts:

Martial arts are codified systems and traditions of combat practiced for a number of reasons such as self-defense; military and law enforcement applications; competition; physical, mental and spiritual development; and entertainment or the preservation of a nation's intangible cultural heritage.

Although the term martial art has become associated with the fighting arts of East Asia, it originally referred to the combat systems of Europe as early as the 1550s. The term is derived from Latin and means "arts of Mars", the Roman god of war.^[1] Some authors have argued that fighting arts or fighting systems would be more appropriate on the basis that many martial arts were never "martial" in the sense of being used or created by professional warriors. (https://en.wikipedia.org/wiki/Martial_arts)

From the simplest point of view, martial arts can be defined by the first paragraph, as supplied by the Wikipedia, above. However, the following paragraph adds an increased completeness to the definition of the term allowing for a broader perspective of the subject. There are some important elements which arise from this definition: codified systems and traditions; combat practiced for a number of reasons; association with fighting arts of East Asia; and from Latin "arts of Mars". Each of these need to be discussed to see how they apply to various arts.

East Asian Focus

When the term "martial arts" is used most lay-people think of those arts practiced by those of the Orient. This is often due to the martial arts movies of the 1970s and 1980s which popularised martial arts and presented them in such a fashion that they were found to be interesting. The result if this was that there was a boom period of various Oriental martial arts schools, which continues today. The media has focused the attention of the public toward the Orient with regard to the term "martial arts". The long lineages of many of these Oriental martial arts only furthers to cement these ideas.

In comparison, Western Martial Arts (WMA) or Historical European Martial Arts (HEMA) is relatively new and relatively unknown in comparison. Interest in these forms only is created through the media when popularise films and series come out. Schools and clubs supplying this form of fighting style are relatively new and few in number in comparison to Oriental martial arts.

The Arts of Mars

That the term "martial arts" is an Occidental (Western) one based on the Latin and is applied to  Oriental and Occidental arts simultaneously is most interesting and demonstrates common ground between these two physical forms. Here, it is commonality which can be found rather than difference. Even more interesting is that it originally referred more to the Occidental arts of the Renaissance rather than those of the Orient is most interesting.

The same theories which apply to Occidental fighting forms can also be applied, and should, to Oriental fighting forms. The discussion which is presented here to discuss martial arts is not only to discuss Occidental fighting forms, though it tends to be my focus, but to discuss all forms and can apply the same criteria to them. This is only possible due to the commonality and the same levels of expectation of them.

The evaluation of a fighting art can, as such, be evaluated using the same criteria regardless of whether it is Oriental or Occidental as they should both carry the same characteristics to qualify as a martial art. To evaluate one by one set of criteria and the other by another has no justification as there is a commonality between them which has been presented previously in their common label. What will be found is that some of the assumptions made of both Occidental and Oriental fighting arts are not necessarily true.

Codified Systems

To be a martial art the fighting art must have a codified system. This is most likely based on a long tradition of the fighting art, but in the case of many Occidental arts, they are being rediscovered so the tradition is not present. The tradition is preferable as it establishes the system, but this can also be abused. Some of this was discussed in the article "Are You Teaching a System?" The essential part is a codified system.

The fighting art's system needs defined theory which can be explained by its instructors to the students to demonstrate how this theory applies to the physical practice. There must be this link between the theory and practice; the goal for any martial artist should be to make the theory and practice to become one, thus the science and the art of fencing, for example to become one. While theory may not be explained to beginner students it must underlie each technique and technical sequence which is taught.

Further, to be a martial art, it needs to be a complete system. A complete system means that an experienced practitioner of that particular art can deal with any attack at any distance, and thus, not be limited by type of attack or distance at which the attack is made, also the practitioner should respond in kind to such attacks. Those fighting arts which limit themselves to a particular distance, and do not take into account other distances are not complete systems. Further, an art which is limited by the attack which it delivers can defend against is not a complete system. Clearly, there is some limitation when it comes to projectile weapons.

A martial art has combat application. This means that the practitioner could use the art that they are being taught to defend their life. If they were put into an antagonistic scenario, they could defend themselves and do sufficient damage to an opponent to end an encounter successfully. Here is where the question of its "martial" application is applied. There will be further discussion of this aspect further along. While this may not be the primary purpose of the art, this must be present.

Transmission of the fighting art is from teacher to student. The teacher teaches the lessons and the student learns the lessons. The person who teaches the student may not be the head teacher of the organisation, but they have been selected because they have the knowledge to teach the student the lesson they are being taught.

Reasons for Practice

The Wikipedia definition lists various reasons for the practice of martial arts: "self-defense; military and law enforcement applications; competition; physical, mental and spiritual development; and entertainment or the preservation of a nation's intangible cultural heritage". Each of these will have a different impact on how the fighting art is practiced, and this needs to be noted.

The different reason for practicing the fighting art will affect how the martial art is practiced and also affect its final outcome. A martial art which is practiced for the purpose of self-defense, will have a different outcome to a martial art which is practiced for the purpose of competition. This was discussed in the article "Martial Art vs Martial Sport". The focus and the application of the skills will be different. This will change again if it is for personal development or for the preservation of cultural heritage. Each choice of direction affects how the end result will turn out.

Each choice of direction can also have an effect and change the nature of the fighting art. While the sportification of some martial arts has allowed them to become more mainstream it has also lead to the degradation in many of their principles, and even in their codified systems. They have become focused on the sport rather than the martial art, focused on what rules conventions determine competitions or tournaments rather than the origins of the martial arts. This has led them away from their original content.

Further, some arts, due to their nature, cannot be practiced as they once were, due to modern society's safety requirements, so the systems have been truncated. Often these techniques are not even examined to see how they work, they are simply not allowed. This denies avenues of understanding of the fighting art and can lead to reduction in understanding of the overall art. The complete system still needs to be examined, even if it is not used, so it can be understood and appreciated for the art it is.

Martial Art or Not?

In the examination of any claim by a fighting art to be a martial art, a close examination is required. The system that is presented needs to be examined for various points of validity as a martial art. A complete codified system is the most important element that is required. This needs to be presented with established theory which can be presented by instructors and demonstrated as relevant during the training. There needs some sort of application of this system to a "real world" situation where the art would be effective, based upon the system and theories which are presented. Further, it needs to be demonstrated that the transmission of the information is from teacher to student as this connection is essential for correction of technique and to ensure that the information is passed on correctly.

The list is quite long, and quite impressive and there are many fighting arts, which call themselves martial arts, which really do not stack up. There are many fighting arts which are present which are simply fighting arts and they should be appreciated for what they are. They should be noted both for their achievements and also their failings. We should also note that the sportification of a martial art can force it away from its origins too far and result in it no longer being a martial art. Then only suitable for sporting purposes. It is not meant to denigrate any fighting art or practice which any participant partakes in, more to ensure that the relevant questions are asked, so the relevant information is sought and found.

Cheers,

Henry.

On Holding the Sword

Greetings,

The action of holding the sword is one of the most fundamental of fencing, and yet it is one which seems to be passed over in preference for other subjects such as how the rest of the body should be placed. It would seem that holding the sword, or the grip would be a simple action, but there are mistakes that can easily be made which will affect how the sword is used.

Gripping the sword seems simple enough but there are often mistakes made. The sword is sometimes held too tightly or too loosely. The sword is sometimes held by the wrong fingers, or with the pressure of the wrong fingers. Each one of these elements can impact how the sword is used by the fencer. Of course it also depends on which sword is being spoken about, so some specificity is necessary before proceeding any further.

Weapon

The reason that the sword needs to be spoken about is that the hilt shape and construction will be important to how the sword will be correctly held. Holding a foil with a French grip will be different to holding a sabre, which will be different to holding a rapier. Due to it being the weapon which I have most familiarity with, the rapier will be the focus of the discussion. To this, the weapon will be taken to have a straight handle, quillons, and a ricasso as the essential elements which will be required.

Sword Methodology

With the weapon and hilt discussed, the gripping of the weapon can be returned to. The rapier may be gripped in several different ways, depending on what the fencer intends to do with the weapon, and how the fencer wishes to fence with it or what style they wish to use. Again, some specificity is required because often the grip will change to suit the the methodology of using the sword. For the purposes of this discussion the fencer will be assumed to be using an Italian or Elizabethan methodology, thus using both cut and thrust, but primarily thrust.

Effects

A sword which is held too tightly is difficult to move because the muscles are already constrained. It is also difficult to practice fine movements because of the constraint on the muscles. Further, feeling through the blade (senso di ferro or sentiment du fer) is more difficult to access if the weapon is held too tightly. If the weapon is used to cut, the weapon will more likely smack into the target and bounce off rather than slicing into the target. Finally, holding the sword tightly uses energy which will tire the hand quickly which means the fencer will tire quickly.

A sword which is held too loosely is difficult to control, and is thus difficult to practice accurate fine movements due to the lack of control. The weapon is more easily controlled by the opponent. The weapon will be easily beaten and the fencer is more likely to be disarmed. If the weapon is held too loosely it will not be able to apply the pressure that is required to transmit a proper cut, and the looseness of the blade will likely make it bounce off rather than slicing the target.

The rapier should be held by the index and the thumb primarily, assisted by the other fingers. If it is held by the middle, ring and little finger, there will be less control over the point. There will also be a higher likelihood of the fencer being disarmed due to the lack of pressure around the ricasso. Pressure from the lower fingers should only be used to move the point about, these are manipulators.

The Grips

In every method, the sword should be gripped as if holding a small bird. Firm enough so that it will not fly away, but not so tightly that you will crush it. Another way to think of this is how you would hold the hand of your significant other, tight enough to let them know that you are there, but not so tight that you will crack their knuckles. The grip should be firm not tight.

The first method of gripping the rapier is the single finger grip in which the index finger alone is wrapped around the ricasso, around the true edge. The thumb should fold over and either sit on the quillon block or on top of the index finger, or on the false edge of the ricasso. The other three fingers should be then wrapped around the handle. This is the method that I prefer.

The second method of gripping the rapier is the two-finger grip in which the index and middle fingers are wrapped about the ricasso. They are both placed about the true edge side of the ricasso. The thumb is then placed against the index finger or against the false edge of the ricasso. The ring finger and little finger are then wrapped about the handle.

Other methods of gripping the sword are modifications of one of these two methods. The only method which I strongly discourage is one in which the index finger is wrapped around the quillon on the false edge side of the ricasso and the middle finger is wrapped around the quillon on the true edge side of the ricasso. This method results in a "punch-grip" on the sword, which often results in a lack of control and also striking much harder than is required for this weapon.

Which Method?

Which method should you use? The one which is most comfortable for you. So long as you follow the guidelines which have been presented here, and then find the method which is most comfortable for you and provides you with the easiest method of movement of the sword, then you should be fine.

If you have any questions about this, feel free to ask. Ask your trainer, ask your class-mates, everyone will (or should) have an idea of the reason why they hold the sword in the way that they do. Different ideas about how to hold the sword can only be of benefit.

The correct method of holding the sword is essential for using the sword properly. Actions can only be performed accurately and properly if the sword is held properly. Often the root-cause of a fencer's issue with a particular technique is that they are simply holding the sword incorrectly, or at least with some issues. The most fundamental elements have the greatest effect on your fencing, the way that you grip your sword is one of these.

Cheers,

Henry.

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.

Females and Fencing (Part 1)

Greetings,

The following post is based on a lesson I delivered this year at a "local" event and I use the word "local" very loosely as it is becoming recognised as a national one. That event was Swordplay '15. Essentially it was designed to get all of the female combatants together and have a chat about Historical European Martial Arts (HEMA), tournaments and the whole gambit of things and the simple thing that they are not alone and that they needed to talk more to one another to share their experiences, more on this later.

While at the event in the position of Safety Marshal I was in a great position to see a lot of fighting at the event and see how everybody was doing. One of the things that I noticed was that the female combatants were attempting to fight like the male ones, with some achievement it has to be said. The obvious problems associated related directly and indirectly to the method and approach to the fighting is what sparked the idea for the lesson.

Before I go into much detail there are a couple of things that I have to say. Firstly, I apologise to those people who have been waiting since the event for this post to come out, part of this has been slackness and part of this is other factors. Secondly, I know that this post is possibly going to cause some issues that I am talking about females in fencing and I am a male, but this is all from my point of view and based upon my training and my experiences training females. I hope that this post will help rather than hinder women in HEMA. Thirdly, I know it is a little arrogant to be speaking on the subject, but please bear with me. Finally, this is probably going to be a pretty hefty sort of post so get ready for a solid sort of a read.

So we have the situation that women most often taught by men and men most often do not know how women work physically and mentally. This is simply because most of the more experienced members of the community are male. This presents problems in training for the women who are participating in the training and, for the most part, these problems are kept to themselves. I would like to highlight these "problems" and demonstrate them not as "problems" but as "differences" and differences which trainers need to take into account. The following will be divided up into various sections so that areas can be highlighted for discussion.

Physical

So men and women are different physically. Well done, Captain Obvious! Tell us something we don't know. This simple fact is something we need to take into account when training. It is something which I have indicated before in a previous post (http://afencersramblings.blogspot.com.au/2009/10/bio-mechanics-and-effect-of-body-shape.html). This post was mostly indicated at different body shapes as in short versus tall, broad versus thin and so forth, for this discussion we need to go more deeply into the discussion and examine how the male and female form differ and how they move differently.

To start with we need to examine hip shape, the hips control the centre of mass and also control the legs which makes them essential for movement. If you do not have free movement through this you are bound to have problems. Well, males and females are markedly different here, especially the way that the legs join up with the hips. The way that the leg joints are positioned in men and women are different and this can be seen in the on guard position. Let us take the generic terza (third) guard.

The right foot is forward the left is to the rear, many guards in HEMA will begin like this. Many will actually be a little more broad with the rear foot a little further outward and a little more forward. This will immediately put the hips in a diagonal position if this position is adopted, which for a male suits them perfectly, due to the way their leg joints are shaped. For the female she will have all sorts of trouble keeping her front foot pointing at the opponent, this is because her hips do not want to do this. So what we need to do here is make a change in position to make it more comfortable and more moveable for the female. It is not radical it is a change in position from diagonal to horizontal, from the male position to the female position.

In the case of the image above it is from the lower image to the upper image. In the first instance you do this you may need to physically move your hip into this position. In the case of a trainer you may need to move the student's hip into the correct position, make sure you ask permission to do so first. The change in position may require a broadening of the stance, and a slight withdrawal of the foot, that is fine. The ease of movement will have its own reward.

While we are on movement, we might as well stay there for a while. The female combatant will also move differently from the male combatant. This you will see in their actions with the weapon, but also in their movement across the ground. The woman can also access a lot more mobility in their hips and waist than the male can for the movement of their body for voiding and other actions than most men will be able to and this is a great advantage, and one that should be used.

As a female, in general, you will simply not be able to compete with the raw power of the male, so you should not try to. However there are different ways to approach the combat through movement and being lighter on your feet. Against the stronger opponent use their strength against them, slip off their attacks, redirect their power to other directions. Use the lightness that you have to simply avoid the power that your opponent possesses, and with the extra movement indicated already, this will be even easier.

Now we come to one final attribute of the female form which most trainers often forget to take into account in their training, the female breast. The Parry of Fourth, the Parry to the High Inside Line, any time your arms have to cross your body close they get in the road, and the trainer often will not take it into account because he doesn't have them.

Parry of 4th

Breast protection just doesn't help the situation, in fact it even often makes it worse. How do I know? First, I listen. Second, I wear a chest plate myself. How do we get around this particular problem? We look at the assets again and see what we can use to our advantage. Once again it comes down to the hips and waist. In the case of the Parry of Fourth, or High Inside Line, turn your body at the same time you make the parry. This will give you some more clearance for the parry and also some more room. In fact, as far as this "problem" goes this is the primary way around it, use the other attributes of mobility to get around it.

So, this is the end of Part 1, if I have not insulted or bored you too much, Part 2 will start with a look at some of the psychological aspects which have to be dealt with and go from there, depending on how things go and how deep it gets will see how long it goes for.

Cheers,

Henry.

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.