Some random thoughts coalesced...

 Greetings,

I haven't been on here in a while, most of my posts go to my Patreon site these days. However, I will share some thoughts with you which came together over the past week or so. I haven't really edited this much. It started out as thoughts for a historical fiction, or something similar, and then coalesced as a collection of thoughts about fencing and training for fencing. As I said it is a collection of thoughts which I really have not edited. So here it is, this post is also available on my Patreon site, which I recommend you go have a look at, because you are missing out on some free stuff as well.

I hope you find this interesting and useful.

Cheers,

Henry.

The blade sliced effortlessly through the air. A sharp noise rang out as the two blades intersected. The offensive action of one countered by the action of the other, placing his weapon in the right position, at the right time. The reason for their contest with weapons had melted away, it was trivial compared to the importance of skilful use of their weapons and the defence of life and limb. How long would the contest last, was the death of one required to satisfy the encounter, or was it simply a test of arms, a test of courage? Only the two combatants knew.

The scene around them seemed to have been blotted out, the only things left were the two people in the contest. It was as if a black cloth surrounded them as they moved about, concerns of the outside world were gone. Any focus on those details would detract from their focus, and any minor loss of focus could result in failure of action, due to the distraction. They were focused on one another and their weapons and nothing more.

Why were these two individuals attempting to strike the other? What is the reason for these martial skills to be employed? What is the prize, the goal, the purpose of their combat? All of these questions are questions for away from the combat, so neither combatant considers them at this moment. There are more important things to be concerned with.

A counter made from the defence of the other’s attack, there is the hissing sound of edge on edge as one weapon slides down the other with pressure. One blade dominates the other to gain the combatant an advantage over the other. To gain such dominance requires placement at the correct time, everything is bound by the concepts of Time and Distance, more about these things in action. The other blade flies off the weapon as pressure is increased to its limit.

The blade moves almost silently toward its target, like a predator in the night, seeking to strike the other’s flesh. With the blade deflected away from the counter, the combatant moves their body, clearing it from the line of the opponent’s attack. Using his body, he brings his weapon back, cutting at the other in their exposed position as they thrust.

A foot is drawn back, bringing the body and the weapon with it, the blade is lifted over the combatant’s head, deflecting the opponent’s blade away from the combatant’s arm, countering the attack again. The opponent moves again, stepping and using their body, throwing another cut. The combatant draws their weapon down impacting on the opponent’s weapon, another attack, another counter made.  

This is how the story of combats between individuals is made, an attack, a defence, a counter, a counter to the counter, maybe even another after that. The combatants withdraw as Time runs short, not pressing any perceived advantage past its limit. The two combatants are controlled in their actions; this is a contest of precision more than strength. The combatants work with their weapons, not against them. They seek the best line, the best angle, the best distance, for their actions.

These actions are a conversation between the combatants; one makes a statement, the other replies in kind a counter to the statement. There is a counter to the counter, another statement is made, another counter. This is a conversation in motion, in action, in steel. Each has his time to speak, each has his time to reply. Unlike the conversation in words, the statements and their responses are quicker, based on trained instinct.

Some actions are learnt, others are trained. This is the way of the student of the blade. Those which are trained, become instinct, informed and educated by the situation, the action of the opponent. Often the difference between victory and defeat is a mistake made by one opponent or the other, rather than a purposeful action made or action perfected. To every action there is a counter, the combatant merely has to find it.

There is no question of social status once the weapons are drawn, there is no question of race, gender, or any other difference between the combatants. They rely on their skills to succeed not some imposed identifier; the sword is the great leveller, anyone can learn enough to succeed, once weapons are in hand, one combatant facing the other, outside considerations pale in comparison to the skills of the fencers. The short can defeat the tall, just as the tall can defeat the short; it is a matter of the application of skill. The skills of the combatants are what really matters.

Some will claim there are differences due to various factors, but these differences can be countered. A longer weapon, a shorter weapon, both can be countered. The fencer needs to know their ability, their attributes, their situation and then apply it to counter the opponent’s. Some will counter with the question of luck. This is always present regardless of the skill, but it is not as reliable as skill. Luck requires certain things to be present and is random. The combatant dices with the skills of their opponents, presenting a random occurrence against the honed skill of the opponent. This is no sure way to succeed. Better that the fencer learns and trains, becomes proficient, rather than rely on luck.

Train, and train well. The path is long, and it is not easy, but for those willing to travel it, the benefits are certainly present.

Practice Targets

 Greetings,

A short note about practice targets that I noticed...

1. People's brains are obsessed with hitting the middle of a target, or target areas where delineated. Point a dot on a target and people will try and hit the dot.
2. The target needs to be identified to serve a particular purpose, or sections for particular purpose if multipurpose in design. The trainer and trainee both need to understand this purpose before they begin.
3. "Body Targets" need to account for the position of the weapon, thus Lines, or recognise that they are absent.
4. The target size needs to be proportional; a) to the skill of the combatant, b) to the target being sought, c) to the height of a "normal" thrust of the combatant.

These are just some quick points to consider when designing and using targets. They need to be considered when training students, especially when training them for a particular technique. Are you training them to strike a particular target, or use a particular technique? The target you use will affect the training that you use, and the result. Is the target you are using the most effective for the result you want? 

Cheers,

Henry.

Like this post? You will find more posts like this, and more in-depth studies of fencing, along with some of my other writings on my Patreon. 

Things You Can Do To Improve Your Fencing

Greetings,

I usually don't do the "list of things you can do to improve your fencing" thing, because I think that it is rather simplistic. I think that my time is better spent focusing on particular elements and focusing on these elements to a greater degree. However, there are some things that people should be aware of that they should keep in mind that will improve their fencing overall. I will go through these things one at a time in a kind of list form, not in order of importance, because they are all important in their own way. Indeed each is necessary for a complete methodology and learning process.

1. Practise

Let's start with the really obvious one, practise. Practise is important to improving your fencing. If you are not practising in some measure, on a regular basis, you will not improve it is as simple as that. I recommend, if you are not practising fencing, in some measure, at least three times a week you will not improve. You need one lesson to learn a technique, one lesson to work on that technique, and one lesson (at least) for that technique to become a part of your active fencing. Many people do not have access to this opportunity. So, in the main, we can examine practise in two parts: Group Classes, and Solo Training.

1.1. Group Classes

This is what most people think of when they think of as training. A most-often, structured school-type setting with a senior individual who gives lessons, which goes for a period of time. Where, hopefully, there is warm-up, lesson, bouting and cool-down periods. This may happen once or twice a week. Maybe even more, if the individual is lucky or attends different schools. This form of training is usually administered by a teacher, the student essentially only has to have the motivation to turn up and follow what the teacher says.

If you attend these, at least you will improve gradually, depending on how many classes you attend, and how regularly you attend. It will also depend somewhat on the teacher, the classes, and the other students, as this is the nature of this structured approach. Each one of these things can have a positive or negative impact on your experience, and thus your training.

1.2. Solo Training

I am not talking about having the attention of a teacher to yourself, that is personal training, specialised to your requirements, that is something else and fits in between these categories (a sort of 1.1.5). You are lucky if you can get this sort of training as it can advance your improvement a great deal if you harness it properly. This is also likely to cost you, and quite a bit, unless you are extremely lucky. 

If you are one of these lucky people who gets personal training, don't take it for granted.

In regard to solo training, I am talking about the training a person does by themselves. This must be self-motivated because you do it. You need to choose to get out and do it, but the benefits of this sort of training is that you will improve, even if you only focus on the basics. Doing footwork on a patch of grass, or practising your attacks against a target with footwork, are all a great asset; so long as you ensure that you are performing the actions properly. I am a great believer in this sort of practise as an adjunct to any sort of other training, and for maintaining skill where you cannot engage with other people.

This form of training is most important where a person cannot make it to classes for one reason or another. Maybe the student has moved away from where their regular classes are held. Maybe they have lost their regular means of transport. Maybe there is some external reason that training cannot occur. It should not stop the dedicated fencer's training. Practise footwork, practise your thrusts, parries and other actions. You can find ways around most problems, and find useful tools around you. I have written a previous post on this subject of solo training, focused on doing it all alone, you can find it here. I was in this situation before, it is hard, but very rewarding in the end.

2. Learn

Learn. Sounds simple, and sounds like a very broad statement, which it is. People improve when they learn because they are learning new things about their skills, and themselves. This is no different for fencing. If you read a book about fencing, even if it is not related to what you are actually studying, it will give you information about how the sword works. All swordsmanship is based on the same principles, regardless of the weapon, or its methodology. You must keep learning to improve your skills otherwise you will stagnate, and that is no good for your fencing.

2.1. Read

Reading was mentioned briefly above as something that you can do. Ask your teacher what texts you are using or if there are any texts which might be suitable. Have a look at a period treatise, even if you just give it a quick scan to have a look at the pictures and examine them, you will get an idea of movement patterns. Read things about duels, social aspects of the period, history of the periods in which the sword was used. You will be surprised how much is explained by small social elements, especially how the sword was used. The best thing, you can read in many places where you cannot swing a sword, or even practise simple practical aspects of fencing.

2.2. Watch

Watch other people fencing, watch how they move and how their actions are formed. You can gain a lot of information about fencing by watching two fencers bout. The internet has given us great access to visual aids to allow us to watch other people fence, YouTube has many different videos of people fencing, which you can watch and analyse. Have someone film you and watch it after, this is a great aid to assisting you improve. Repeat the process to check for improvement.

3. Listen

The Stoic philosopher Zeno of Citium is credited with the origin of the saying that we have two ears and one mouth for a reason; we should listen twice as much as we speak. It is good to sit back and listen to other fencers talk about fencing, listen to how they describe their actions, describe fencing theory. You should accept what people say, and ideas that they have about fencing, even about your fencing, with open arms. Try everything properly at least once, you never know, you might find something really useful that will improve your fencing a lot, a thought may be given to you which will enable a break-through.

4. Ask

I believe that there is no such thing as a "stupid" question. When it comes to improving your fencing, this counts double. If you have a question about something that a person has said when it comes to a technique, or a theory, ask them. Remember to phrase your question politely, but make sure you ask the question. Wait until you can ask it one-on-one, but ask the question. If you are unsure about something in your fencing, ask a teacher, ask a friend, ask the question. Asking questions is how we find answers. Sometimes we need to ask ourselves questions and find the answers ourselves, but the question still needs to be asked.

5. Accept Criticism

Where something does not work, it needs to be fixed. Some people might even offer suggestions about how you might improve aspects of your fencing, and this will come across as criticism. Accept the criticism, take it in, learn from it. It may be valid, it may not be valid. Until you examine the criticism, you won't know. If you go blindly along ignoring all criticism you will not improve, and you will miss the chance for some useful advice along the way.

There will also be those which will criticise any time they get the chance. Often these individuals also have no solutions to go with their criticism and the only reason they are presenting the criticism is because they believe they have some sort of right to be heard. Examine all criticism in the same light, examine it rationally and see whether it is based on evidence or not; where it is you can use it to your advantage and improve; where it is not, you know you can ignore it and not be concerned, understanding that there are some who are only happy when they are complaining about something.

Broad Terms, Lots Present

So, some ways to improve your fencing have been presented. Each one is important in its own way. Each one will allow you to grow as a fencer, but each will require some truthful examination and dedication on your part. Take the time, think about ways that you can improve yourself as a fencer. Plan out some ideas how you can utilise aspects which have been presented here, and others that you may come up with. I hope that this helps.

Cheers,

Henry.

"There can be only one." Monolithic training environments and the fallacy of competence

Greetings,

Before I start with the discussion of this article I would like thank Nic Harrison for his assistance with ideas and direction in this article. His ideas and formulations have been most useful in describing this subject more fully and also directing the discussion in the direction that it needed to go. This is an important subject that each student and instructor should examine for their own part in the participation in, and rejection of monolithic training approaches.

Introduction

The discussion which follows will be broken up into various parts so that the material can be discussed succinctly and with direction. This will allow the greatest and most accurate discussion of the subject. The subject itself is designed to address the subject of monolithic training environments, those which are seen as the be all and end all of the fencer's training. These structures are inward looking limiting outward and contrary views of the subject of swordsmanship.

To begin with will be a discussion of the subject of competence and what it means both in the sense of definition and also in technical sense in operation. This will lead to the discussion of the problem of monolithic training environments and give reasons why they do not work, and that they do exist, but in effect should not, especially in our information-rich contemporary society. Various influences upon this situation will be addressed to delineate the problem as it stands.

The second part will discuss the reason that taking the opportunity to learn more, especially from different systems of swordsmanship, and in different methods, will give advantages to the fencer. These advantages will be presented in contrast to the monolithic approach. Further will be given examples how the monolithic approach can be broken, but this can only be achieved with effort on the part of the participants.

These discussions will be summed up in the final part of the discussion. Monolithic structures are difficult to break down due to their nature, but it is possible. It takes people to influence them with new thoughts and ideas from external sources, and to challenge them and to demonstrate the advantages of other approaches. These challenges need to be applied with intelligence and demonstration of the advantage of the new approach to training and swordsmanship in general.

On Competence

The online dictionary (via Google) defines 'competence' as: "the ability to do something successfully or efficiently". In fencing terms this means the ability to stay personally safe fencing while not causing harm to the partner. The implication of this is to remain safe fencing anyone you cross swords with.

Some of those people may be better, or worse than you. Some may have entirely the wrong idea and be out to 'get' you, 'beat' you or are nervous and jittery with a sword in their hand under assault. It may be a competition or social sparring. In any or all of the above cases, a competent fencer will be able to stay safe. This is not to say that only incompetent fencers get injured. We know that this is not true, but it is rare for a competent fencer to act in such a manner as to cause injury to themselves, (sometimes, but not always using their partner to do it).

Competence is developed over time through learning skills and practicing those skills. It is also developed in fencing through facing different opponents so that the fencer can develop an understanding of the different ways in which people fence. This is an element which needs to be taken into account in the consideration of competence. A competent fencer is also one who can deal with the approach and tactics of an opponent, regardless of what they might be, and regardless of the length of their weapon. The only way to gain the knowledge how to deal with different sorts of opponents is to fence them and experiment with different approaches, not limit the fencer to a single method.

The "One True Way"

Fallacy of the Single Method

There are those who believe that there is “one true way” for training in particular weapon forms of a particular style. They also believe that the weapon should only be learnt in that particular style in that particular method and that any deviance from this is a “pollution” of the style and a deviance and should be avoided. For these individuals the weapon is taught and learnt the same way without any input from outside to change any facet of the process.

The approach above may sound appropriate to a more Oriental point of view but it also has presence in some Occidental schools as well. There is a notion that if the students learn something from somewhere else then it will somehow taint what they know and by them using this knowledge it will affect all the other students who come into contact with them in a negative way. This approach to the study of swordsmanship is flawed.

The single method of training to the exclusion of all others limits ideas. It does not allow the student to experience any new ideas from other areas, nor expand their own ideas because they are limited to what is found within the school. This limitation of ideas means that the fencer, should they take their skills out of the school to a tournament, will not be prepared for different approaches to using the sword, and thus will have no way of dealing with them.

Of course there will be an answer to this and other failings.

The answer that will be given in response to questions about other approaches is that the method which is being taught is “all-encompassing” so there is no need for other methods to be examined. This response is designed to tell the student that there is no need for them to go elsewhere because the teacher at the school can teach them all that they need to know, and that the method that they are learning will deal with anything that another swordsman can throw at them. Most often this is not the case, and there will be failures.

Failures in practicing the art as described by the school, especially against other schools, will be attributed not to a failure in the art, but due to a failure in practicing by the student. The student will be instructed that if they had practiced more that particular attack would have been defeated. In this way, the blame for the failure experienced is shifted from the methodology to the student.

Worse still, in tournaments run by the school cheating may be involved to prop up the school’s method. Officials will be affiliates or members of the school and their calls will be biased toward the school. Thus through the tournament the method is “proven in combat.” Complaints about issues with officials and how the tournament was run will be put down to individual perceptions rather than any real issue.

On an individual level in single method training, once a trainee completes a training course, there is sometimes the perception that is all that there is to be learnt, that their training is now complete, because they have completed the training course. Most of the time the initial training course gives the student of swordsmanship the basic “language” of swordsmanship, thus it teaches them how; to move, to defend and how to attack. These skills are necessary so that the student can now understand the more complex elements of swordsmanship which come after.

The Trainer Influence

Trainers influence students. They must otherwise they have no ability to teach. This influence can have a positive or a negative influence on the career of the fencer, depending on what sort of influence they are and how they influence the student.

For some trainers, they guard their schools as they would have been in the Orient. In some cases this is because there has been an Eastern tradition which has had an influence on the trainer in their career. What this means is that they have an old traditional approach. The method they teach is one which they feel is a personal method which they teach to their students. This method is not to be spread among other swordsmen but kept within the school. Within these schools loyalty to the school is of great importance and to train with another school. The student should seek permission first, and to not do so is seen as a breach of faith, which is sometimes punished, if not explicitly then implicitly.

In other cases, there is no previous Eastern tradition to somewhat explain this motivation, but the same attitude is taken and many of the same elements are also adopted. This idea of the personal method can be pushed even further. Here, the trainer is seen as the only voice of reason as it is their method which they have developed over an extended period of time. Pushed far enough these become a cult of personality, with the head trainer at the top.

These monolithic training structures, both the Eastern traditional approach and the cult of personality are not healthy. These approaches heavily discourage cross-training with students of other schools for fear that the students may pick up something new that they might show the other students which deviates from the method. Further, the students may find in their cross-training that there are questions that have no answers.

One of the fears which monolithic structures have is questions which have no answers, thus a fear of the discovery of a flaw, or flaws in the method which is being taught. How can the method be one which is “all-encompassing” if it has flaws? If all the students are following the method then they are not likely to find the flaws, but if they go outside the method they are more likely to, thus cross-training training is discouraged for fear of new discovery and finding something that the method has no answer for. Of greater concern is when these ideas spread to a wider community.

Group Influence

Groups will also influence how the individual trains and whether or not they are open to outside influences. Just like the influence of the trainer this influence can be of benefit or it can be a detriment to the advancement of the individual in their training. In this regard, it is often a question of whether the group is outward looking or inward looking.

The outward looking group will seek other opportunities to learn and different points of view to enhance their view of swordsmanship, and through this gain a greater understanding of it. The inward looking group will not. The inward looking group will have a method which they stick to which suits their rule-set and it will be a method and a rule-set which they will claim is their own, and which is the only correct one.

The same group will influence the individuals within the group through its culture to feel the same way about the method and the rule-set so that they have a common belief-system, and anyone who disagrees will be more than likely ostracised. They will believe that other methods are incorrect because they are not like theirs, and because they are not taught in the same fashion as they are.

The monolithic nature of the style will be most exposed when questions are asked about the style of swordsmanship and it is vigorously defended. There is a great fear that flaws will be discovered in the method and this will be covered up with bluster about the “superior” nature of the method. The questions will even be deflected to other places and avoided.

In defence of their method and to prove that it is better than those about them tournaments will be arranged. Of course, the tournament rules and the officials will be biased toward any member of the group and find in favour of them should a dispute arise. This idea will extend even further to the scheduling of events. Events will be cross-scheduled with others to ensure that members will only attend events of their own group, to ensure that they are exposed only to the correct culture. Of course, this will be hidden behind training program requirements.

Of Weapon Forms and Historical Masters...

There are those who will claim that they do not look outside what they are doing because what is happening at a particular conference is not relevant to them because they only study rapier and only from Capo Ferro, or only do German longsword. There are issues which arise from this approach in any way that it is viewed.

Taking the point of view of those who only study rapier and only from Capo Ferro as an example, this master did not invent the weapon form. He was not even the first to present the theories which are expressed in his treatise. Even if the individual wants to look at late-Italian rapier, Giganti is a better foundation from which to move to Capo Ferro, and there are theoretical elements within Fabris which are also useful as well. Further, even investigations into Agrippa’s principles can assist as well.

In an even broader context, there is the important element to note that all forms of swordsmanship are united by the same two primary principles of Time and Distance regardless of the sword’s form. So even by studying the longsword, there are elements which one can learn about the rapier, and vice versa. Indeed di Grassi approaches the use of his two-handed sword with the same principles as he does with his single sword. So approaching the examination of swordsmanship focusing on only one weapon also denies all the associative learning which occurs.

Further there it is historically inaccurate. There is evidence through the treatises of the theorists and masters themselves that they did not learn their arts from a single individual but learnt it from several. They learnt it from whoever would teach them something which would be of use to them. This is the same approach that all should approach swordsmanship in our current age.

Then there is the argument, “I’m only starting, I need to understand [insert weapon form] properly before doing something new." This is a false argument as only by learning something new will it be possible to understand what is being studied, and possibly not even then. The issue here is that in the beginning it is difficult to understand what the possibilities really are and also the theory involved. Only through even an examination of some other weapon or approach to the same weapon is it possible to have a glimpse of other possibilities and theory.

Unknowingly Guilty

Of course when a person decides to learn a skill, or train in a weapon form, or pursue a course of study, in swordsmanship, there are the best of intentions. The same can be said when a person takes it upon themselves to train others in the same. From the outset the intention is to approach the subject to gain the greatest understanding of the material, this is not always the result.

People start with open eyes and as they become involved in various aspects of training they become more closed to opportunities and approaches, due to various reasons. The issue becomes when these avenues which are closed are closed for no good reason at all. The issue is further increased when these avenues cannot be opened because some sort of conviction has been formed that these avenues were closed and should not be opened, even when good reasons are presented. This is where the monolithic training structures are formed along with the concept of the “one true way”. Validation should always be sought and re-sought for every approach.

“The only sure knowledge is that I know nothing.” Plato

While Plato’s statement is somewhat disingenuous, in that even the beginner after their first lesson has some knowledge, it is an approach that can be taken and is a healthy one when examining outside ideas. This approach allows us to examine new ideas with the perspective of the benefit of new knowledge that will always benefit our knowledge of swordplay, regardless of whether it is the same form of weapon or not.

When the opportunity is presented to learn something new, or even learn something which is familiar from a different point of view, the opportunity should be taken with both hands. This will broaden your experience and your horizons. Only through learning new things and re-examining what we already know will we really understand what is possible.

Swordplay Universals

The essential fact is that even with a different type of sword, there are elements which are related. This is because all swordplay is related. It is related because the human body can only move in a certain set of particular ways, and because all swords carry similar characteristics which cannot be divorced from one another.

Clearly, all swords have a handle. All swords have two edges, regardless of whether one is blunt or not. All swords have a pommel of some description to hold the rest of the sword together, in most cases this also acts as a counter-balance to the blade. The balance point of a good sword is somewhere just beyond the extent of the hilt of the weapon. All of these characteristics of the weapon mean that there is commonality in the method of their use.

Masters’ Words

The masters’ treatises have a bad habit of not explaining everything. This is for two main reasons. The first is assumed knowledge, things that a student of the period the treatise would know. The second is concealment, things that the master would conceal so that the student would have to come to him for an explanation, thus pay him to teach him. This second one is found especially in the works of earlier period masters. The concealment was so people had to come and get lessons and also so only students of the master could use the treatise alone to train. In regard to the first reason there are simple concepts which were assumed knowledge because this is what was taught as a part of the education during that period. Some of this has been left behind in our modern education system so these elements need some explanation.

Learning another system adds to experience and knowledge of swordplay and this can only enhance the ability of the fencer. This experience and knowledge can be used to extend and enhance the performance of other weapons due to the common foundations and also to enhance similar weapons due to the greater understanding. There is also a prime tactical reason for learning another system.

Learning another system allows a person to examine it from the inside. To take it apart and see how it works. To discover what the essential elements are. So then the same system can be defeated through this knowledge. This means that the person who learns more systems knows better how to defeat other systems because they have a greater understanding of them.

Further the understanding of other systems can assist in understanding the development and history of the system which is the primary study of the individual. While they are not directly linked, there is evidence for foundation elements found in earlier works that is also found in later works. Similarities in formation of action and movement which are too close to be coincidence, especially when geographical considerations are taken into account. The history, while some find it unnecessary, explains why weapons and styles developed the way that they did.

Study for Understanding

Through the study of material which binds your interest in terms of time and geography can aid in understanding of the overall teaching method which a person studies under. Study is an essential part of learning, and while the beginner’s study is primarily mechanical in the beginning, they should have intellectual elements to their study as well. The more experienced student should be studying treatises and other theoretical elements to better understand what they are being taught.

There must be a reason why the instructor is teaching. There must be some sort of foundation from which they have built themselves to a position where they are able to teach and some experience and knowledge. The reason needs to be established for a person’s ability to teach and the reason that they are teaching. This reason needs to be examined, especially if the reasons seem spurious.

The clever student of the sword will learn from everyone. The teacher will learn from their students as much as the students will learn from their teacher. Everyone has something to teach, even if they do not realise it themselves. The important thing with regard to this is the approach: for the student it is learning better ways to learn; for the teacher it is learning better ways to teach.

Giving Back

The new teacher should bring something new to the school at which they are supposed to teach. A new teacher should always be adding to the curriculum not just repeating the old curriculum as it has been previously presented. Even a different perspective taken on the old curriculum is better than simply teaching it the same way. Updating the curriculum with the latest knowledge is always a good thing.

In those schools which have a ranking system similar to that of the London Masters of Defence, i.e. Scholar, Free Scholar, Provost and Master, the rank of Free Scholar should mean something. It should not be just another rank. This rank should mean that the student is “free” to learn new things. There should be an expectation of new learning and exploration placed upon individuals of this rank. This is to encourage them to find new things to study, to find different perspectives. This is a way to enhance a school and to prevent it from stagnating.

Moral of the story? Don’t make mountains, there are enough mole hills already.

The monolithic training structure is difficult to break down due to its nature. It is one solid block and those who are within it often do not see what is without it. They also do not see any issue with their approach. The nature of the structure is that the students have been taught that there is a single way to do things and it is by the structure that they have been taught. The teachers have been taught the same from their teachers, and it is in this fashion that the structure gains and maintains its rigidity. It is because the people are so invested in the structure that it is so hard to break down.

The influence to change needs to come from within the structure, but external sources need to show the flaws in the structure to elements within it for this to occur. This is where there are always issues. The external sources are external so they have little impact upon the structure unless they can influence those on the inside. Once individuals on the inside have been influenced, they need to exert influence on the inside from the inside to achieve change.

The most important thing is that this influence and challenge must be achieved through the use of demonstration and intelligence. Intelligence needs to be demonstrated in the alternative approaches along with demonstration of the use of these alternative approaches otherwise there will be no effect. Battering away at the monolith with one or the other singly will have no effect, they must be performed together. Persuasive arguments will be fended off by blunt statements without demonstration; demonstration will be fended off without intelligent argument.

Monolithic training structures believe that they have the one true path toward achievement of the way of swordsmanship. Unfortunately there are quite a few of these structures out there, even worse is that many of them can’t even identify themselves as such. There needs to be flexibility for a school or other organisation to grow with the knowledge which is being made available, this allows the organisation to remain healthy. Healthy interaction with other groups can only assist with this and can only benefit swordplay overall.

Cheers,

Henry.

Of the Use of the Foil

Greetings,

The foil is a much misunderstood weapon. From the point of view of many historical fencers it is much maligned, and even from modern fencers it is misunderstood due to the rules which are associated with it. The following discussion attempts to shed some light on the use of the foil not only to the modern fencer, but to fencers in general as it can be a most useful tool when it is approached from the correct perspective.

The original purpose of the foil was as a training weapon for the smallsword. It was a lighter version created so that the weapon could be held for an extended period of time so more training could be done. Clearly it was blunted so that it could be used in training. The "right of way" rules which are associated and also its target area, limited to the torso, were both designed to protect the individuals who were practicing with it to prevent injury to them.

When the foil was first introduced, masks were not being used so removing the head from target was an effort to prevent damage to the vulnerable face. The "right of way" rules encouraged fencers to ensure that they had a defence presented before they launched an attack at their opponent, thus preventing two fencers from impaling one another and losing control of where the points of the weapons went. This training tool encouraged the fencer to prepare a proper defence, and penalised the fencer who did not defend themselves before attacking.

The foil's prime current use is in modern fencing where it is recognised as one of the three weapons used. This is the weapon which every beginner should start with as it teaches all of the basic fencing actions with the point and teaches the fencer form in these actions. Further, with the "right of way" rule, as it was previously stated, teaches the fencer to defend themselves before attacking. The foundation of a good modern fencing career starts with the foil. All of the actions of the foil transfer to the epee, and the "right of way" rules are used in sabre, with the addition of cuts.

The historical fencer can use the foil for its original purpose, as indicated, for practicing smallsword, but this is not the only purpose that the foil can serve. The nature of the weapon means that actions need to be performed with precision for them to work, so it encourages the individual who practices with the foil to increase their accuracy in their technique. This weapon has utility in practicing for rapier actions as well.

If the foil is used for practicing rapier actions one will find that accuracy in technique is required. There is no weight in the weapon to compensate for sloppy technique. Blade engagement actions need to be made accurately and so do actions on the blade. This is only accentuated where the foil is used for practice against a partner using a rapier, but if the actions are accurate in their performance then the actions will succeed. It is not recommended that the foil be taken against the rapier in any sort of antagonistic scenario as the foil is simply much too light physically to stand against the rapier and has a higher chance of breaking dangerously in this sort of scenario.

The foil is especially useful for those times when a person is restricted due to some illness or injury. The foil is much lighter than most other weapons and thus can still be carried and used for practice. I have done this myself when I was not able to use a rapier due to an injury and found that using the foil, I was able to participate in training exercises. I further found that such participation was useful because it made me perform the actions properly, due to the nature of the weapon that was being used.

To understand the use of a weapon means that a person must understand the weapon. This requires looking into the purpose of the weapon. The foil is a practice weapon and should be used as such. It is an often forgotten, and often maligned weapon that can be most useful to all sorts of fencers, should it be examined from the correct perspective. Take another look, have another go, the foil is more useful than you realise.

Cheers,

Henry.

Those Who Can't, Teach?

Greetings,

There is this idea going around that if a person is an instructor or trainer or master of a particular school then they should also be some sort of high-level competitor, able to dish out the hard stuff to others in competitions.  On the other hand there is this idea that those who cannot dish it out in competitions allow others to do so, and thus teach instead, hence "those who can't, teach". Both of these notions are fallacious in their own ways. Both need to be addressed so that we do not get the wrong idea and wrong expectations of our teachers.

Trainers cannot, in general, maintain the position as high-level competitors for a simple reason. A competitor's focus is on themselves: making sure that their skills are honed, making sure that their timing is in focus; and making sure that they are fit enough to compete in competitions. A person who truly takes on the position of the trainer does not have this focus. Their focus is on the individuals that they are training; focusing to make sure that the skills that they are teaching are up to date with the latest research; making sure that the method of delivery is understood by the students; making sure that the students can excel; the trainer's focus is outward rather than inward. Usually on more than one student.

Trainers spend much more time on others than they do on themselves. This is the reason why their skills may not be as sharp as the high-level competitors, because they have someone to think about other than themselves. Their students are their focus, not the next tournament win, not making themselves better through improving their fighting skills, but making themselves better through their teaching skills. This is another place where this idea of "those who can't, teach" is a misnomer.

A person who competes demonstrates their skill by performing it against an opponent. They can even sometimes give you all the technical information about the skills that they were using. Often, they cannot teach those skills. The trainer can. Not only does the trainer need to know how to perform the actions that the competitor does, but the trainer also needs to know how to teach those skills to others.

There are some great competitors who have striven to the height of their particular chosen pursuit, but they cannot teach. Just because you know the skills does not mean that you automatically know how to teach the skills. This is an additional level of learning which is involved. It is a process which the trainer goes through to learn how to teach, often the students learn through this process.

To teach a skill. The teacher has to know how the skill works. The teacher also needs to know why the skill works. For fencing, the teacher also needs to know when and where to apply the skill to a situation for it to work. These must be real understandings of how the skill works not just surface/physical understanding, but intellectual understanding of how the skill works. It is only through this level of knowledge that the teacher can explain to the student how to perform the skill properly.

If you see a trainer or teacher, and you see them fencing, examine what they are doing. You will notice that their fencing is more technical than athletic, because they are focused on getting things right. They may not keep up with the high-level competitors but fencing them will always be worth your while. They have a different focus, a focus which is toward the education of others in swordsmanship rather than seeking the heights of fame. It is an extremely important role as if there were no person willing to teach, there would be a lot less people to compete with.

"Those who cant, teach" is a misnomer.

Those who are teaching are doing, all of the time.

They may not be representative on the tournament honour's list. They may not be present on the world rankings. They are present in the school every week teaching people from beginners all the way up, spending their time on others. Without their technical knowledge and technical skill swordplay would not be what it is today. It is these people who do most of the study to ensure that what is being taught and thus what is being learnt makes sense, and works. Thank your teachers and trainers, they are a great asset.

Cheers,

Henry.

Drills are Not Combat

Greetings,

Have you ever been in a class performing a drill and a person states that they could counter the action that you are doing with another? How about, that the drill that they are doing is artificial and does not relate to combat? What has happened here is that the person who has made these statements is probably true on the first, and is definitely true on the second, and it is because drills are not combat.

Drills are related to combat in that they will teach you the skills that you will use in combat. They will teach you the individual skills not how they should be used in combat. If you approach your combats the same way as you approach your drill expecting that your opponent is going to give you the cues and exact attacks given in a drill, you are going to be sadly mistaken.

A thrust and parry drill teaches one partner how to thrust properly, and one partner how to parry properly. It teaches the each partner the bare mechanics of one action and the timing of the action of the parry. Nothing more. Then they swap and they get to drill the other action and learn it. This is not combat.

Even when the drills become more complex, it is still not combat. In the drill: one thrusts; the other parries, binds, steps in and cuts and then moves off to a safe position on guard. There are several actions in this drill. It is not combat because the opponent does not respond to the bind, nor the stepping in, nor the cut. Even when the counter is added to the drill, it is still not combat. It is a drill with a responsive element. It teaches the student how to close and cut, and also how to respond to an opponent who does the same.

Drills are artificial and they often do not relate to combat because they take skills in isolation and focus on them so the students can learn them. Drills are designed to take a skill or a set of skills and work on these particular skills without the involvement of others in particular, or at all in some cases. There are drills which do not use footwork, something which is mostly essential in combat for the fencer to survive. There are drills in which one partner only defends, something that is not likely to happen in combat. Drills are artificial and they are supposed to be, they are skill-focussed.

The next time that you are drilling remember to focus on what's being worked on at that point in time. There is no point in worrying about how it relates to other things, your trainer will get around to showing you how it all fits together. Drills are designed to put a particular skill or skills in a situation where they can be focussed on and used over and over. This is so that the skill can be learnt. This is the purpose of drills, for learning. Combat is a different thing altogether.

Cheers,

Henry.

Move Slow, Learn Fast: Another Look - Part III

Greetings,

The following is the third and final part of this subject. I will apologise to my dear reader as this and is preceding parts are quite long. This was the only way for the appropriate information to be included in the document as a whole, and to not drag it out into more parts. This is a subject that has been spoken about previously; it is presented with more detail and new evidence.

Cheers,

Henry.

Speed in Fencing

          In fencing there are a lot of comments made about the speed of fencers; how fast they move, how fast their actions are, and so forth. The problem is that this becomes the focus and speed becomes overestimated in its worth to the fencer. Speed is only one attribute that a fencer would find an advantage possessing, but it is not the ultimate.

“While many fencers believe that speed is the most significant factor in a fencer’s makeup, this is not the case. To be sure, speed can be useful, but it is, in fact, subordinate to both timing and distance. ... A fencer who has taken the time to develop both timing and distance can easily take a “fast” fencer apart.” (Evangelista, 1996:165)

           Speed is tertiary to the ability to control Time and Distance, and accuracy. If you cannot control the Time or timing of the bout, then the opponent will not allow you the time to strike them; if you cannot control the Distance of the bout, you will always be too close or too to strike the opponent; if you are not accurate, you will not strike your opponent even if you have the opportunity to. Develop the essential principles and how they apply and accuracy not only of your point and edge, but also in your actions as they will affect the principles by which all fencing is governed. 

“A fencer who has been fencing for a longer period of time has practiced his actions a lot more than a newer one, thus they are closer to being locked in thus they are more automatic. Thus the more experienced fencer will seem faster when using these skills which have been practiced.” (Walker, 2019:281)

           The experienced fencer has practiced more, thus they have more of their skills as neural pathways, thus they have to think less about what they are doing, thus they have time to plan what they are doing, and not just worry about what is in front of them. True speed in fencing comes from efficiency of motion. An experienced fencer has had the time to refine their skills and remove excess motions so their actions are more efficient. While some are also more physically adept, and developed due to fencing, this is not always the case. Simply adding muscle, power, strength and speed will not help.

“When people do that — add speed to mediocre technique — they just get more mediocre results. It's like the sign that says, "Drink coffee ... make more mistakes faster and with more energy!"” (Ox, 2016)

           Accuracy of technique is always more important than speed. This should always be the focus of training. The fencer should always focus on getting their skills accurate and developing form before ever worrying about speed or strength. Adding these in too early will develop bad form. Speed in training may hide issues, but these same issues will cause the student problems later on. Caile (2017) addresses the same problem with regard to the Oriental martial arts.

“Fast, however, also can hide a lot of problems – especially bad technique. ... Too often, there are poor biomechanics ... things that can dramatically reduce power and efficiency.” (Caile, 2017)

           Poor biomechanics are a real issue as they can not only lead to ineffectiveness in technique but this can also lead to strain on muscles and joints and future injury. Slow practice allows for the correction of issues thus the chance to prevent some possible future issues. Such correction should always been seen as adding rather than subtracting from the experience. Speed in training used to cover bad habits is not an ally.

Slow Training

“Fencing for the most part is a quick, energetic form of combat or sport, depending on what your weapon is. This means that the actions are quick and precise, and responses to actions are likewise. With this in mind, for some, it will be difficult to understand how practicing actions slowly will help them progress when in the end they are going to have to perform the same actions at speed. This is something which you will find will come from the greener students for the most part, but some advanced students as well.” (Walker, 2019:278)

           The above appears as the second paragraph of my previous article on the subject of slow training, which can be found in A Fencer’s Ramblings (2019). That discussion was much shorter and designed to introduce people to the idea of learning through slow movement training, and all that can be learnt. This investigation is obviously much more in-depth, but the same issues still apply. There are those who do not understand the advantages of slow training and who believe that once a skill is learnt, then slow training is no longer required. This is evidently not the case as such slow training is used by high-level athletes in their regular training; it is a faster way to high-level skill presentation.

The Faster Way

“One of the most powerful training techniques for building high-quality speed was "slow training." It still works for Olympians, and it has been proven incredibly effective for martial arts (think Bruce Lee) and firearms training as well.” (Ox, 2016)

           With such a lot of high-level athletes supporting the idea of slow training, it is surprising that there is so little knowledge about it and support for it in the swordplay communities. The broad spectrum of activities should be noted which were mentioned which use this method for training. In these situations, the development of perfect form and functions of skills is of great importance. Ox (2016) further describes the process in which such slow training was used.

“They developed and perfected their form at a much slower pace, and then speed came naturally. Ideally, they practiced at a speed that allowed them to do the same motion with perfect efficiency and form — exactly the same way, every time — until it became automatic and required no conscious thought to do.” (Ox, 2016)

           When an action, or a series of actions is practiced at a slow pace, corrections can be made easily so the action can be corrected, thus less practice is wasted practicing the wrong thing. The athlete can then more easily practice the correct actions with accuracy knowing all of the elements involved, so every time that they practice the neural pathways are built more quickly and stronger than if they had been performed at speed. Fencing actions are no different.

“You might be thinking combat skills are different. They're not. In fact, the faster you intend to execute a given skill and the more stress you think you might be under when you execute it, the more critical it is that you practice slowly.” (Ox, 2016)

           Each extra element which is heaped upon the skill adds a level of interference. The faster the skill is required, the faster the muscles are going to be pushed, the more accurate the skill must be practiced. When there is more stress in the situation there is going to be more pressure to perform the skill at exactly the right moment, which will affect how the skill is performed. All of these factors will affect the skill. Only a skill which has been practiced properly will achieve its goal.

          While it would seem the opposite, slow training is the way to get faster, as frustrating as it is. “I know slow practice is frustrating and tortuous, but it really is the fastest way to get to a high level.” (Icasas, 2015). Slow training trains for precision in the skill and eventually that skill will have been practiced so that conscious effort is not required, it will just happen in response to stimulus. Pushing for speed rather than slowing down and being accurate will allow inaccuracies into your skills, “but slow training will help you get to the level of performance you want to achieve faster than always trying to push your speed.” (Ox, 2016). Simply because slow training is precise, slow training is practice for perfect, and perfect practice makes perfect.

“When learning new physical skills the mind works to automatically integrate them into a learned vocabulary of automated body movements. But if you learn technique too fast, the technique will likely be sloppy and imperfect. If you practice very slowly, you can concentrate, breaking each technique down into its individual parts.” (Caile, 2017)

           Many try to cover bad form with speed. This is not just the case with fencing and swordplay, but also the same for other activities. Bad form means bad technique and this usually comes from practicing the technique too fast in its initial stage when the skill has not been learnt properly. Slowing down allows the skill to be learnt properly and practiced properly. Speed is a product of efficiency and proper form, thus it is something that will come later with practice.

Form First, Speed Second

“In the beginning, an aspiring fencer should focus on form rather than quickness. To try fencing with the alacrity of D’Artagnan before you are ready for it only confuses matters. When you have a solid grasp of what you are doing, when you can get your blade to go where you want it to go, then, and only then, add speed.” (Evangelista, 1996:165)

           There is little point having speed if you cannot hit what you want to hit. Accuracy is always more important than speed. Accuracy comes from having proper form as it is form which places the body in the correct position to allow accuracy to occur. This is expressed in the variation in foot position and its effect on the thrust. Slowing down allows you to focus on getting things right so that you are in control of the actions. Focus on the skills that you are practicing.

“That’s why “slow” should be part of every practice. What this means is that you should practice various techniques very, very slowly, while intensely focusing on what and how you are doing it, paying attention to correct biomechanics, balance and form to try to eliminate any errors of technique.” (Caile, 2017)

           Practicing slowly allows you to feel every movement of your body and to feel what the technique feels like. If you are wobbly in your technique, then it is likely that your feet or body are not in the correct position. Check the position of your hand; this will affect the position of the blade, by extension check the position of your arm and shoulder. These things can all be achieved at slow speed because you have the time to feel it. Work on one technique at a time.

“Master each technique slowly and carefully, without rushing or being rushed, and you’ll be fine. If your instructor, director and/or partner try to rush you, and you are not ready to move on, say “No!” and stay at slow motion until you are secure. You will be happier in the long run for doing that, and possibly healthier too.” (Girard, 1997:5)

           Girard (1997) is discussing in the context of actors and techniques for stage choreography and choreographed fights. The same applies. Do not move on to moving more quickly with your practice of a technique until you are comfortable with it. Ensure that you can perform the technique properly and with the minimum of errors possible, stay at slow speed until you can. Only then should you speed up, “With slow training, the focus is on how many perfect reps you can do in a row, not how quickly you speed up.” (Ox, 2016). Precision in action is the aim of practice as there is no point in practicing something which is not accurate, as it will just have to be repeated with the correct action later on.

“Always start slowly, correctly and precisely. Ensure that your fundamentals are correct before worrying about speed and power. If you follow this advice, you will have a higher chance of developing correct historical fencing technique without injuring yourself.” (Farrell, 2014:278)

The Advantages

          Some of the advantages of slow training have already been indicated above in the discussion. So that these advantages can be more clearly stated, they will be discussed in more detail. These advantages can be stated in different ways but in the end they mean the same thing. The idea is to bring some clarity to what the advantages are.

Diagnostic Tool

“The use of slow work allows us to see the body and weapon moving. This is something which is much more difficult to see at full-speed when bouting. What this means is that the combatant and any observer can see how the combatant is moving his or her weapon and body. This can allow a person to see where a possible change in footwork, body movement, or hand movement can make a difference to their technique. As a diagnostic tool, slow speed performance of technique is very useful.” (Walker, 2019:279)

           Slow training has one of its greatest advantages in diagnosing problems. In the initial training stage, a teacher can easily pick up issues with a student’s technique and correct them before it becomes a bad habit. Slow bouting as a technique used in training, a student can see how to respond to an action and respond properly ingraining the proper response. Likewise repeating actions is possible as they are easier to remember and other options can then be found.

2    Muscle Memory

“Doing it slowly gives your body time to adjust to and memorize all those disparate movements. Repeating it slowly is like carving it into your muscle memory, creating a lasting impression that it can draw on at a moment’s notice, once you’ve practiced it enough.” (Icasas, 2015)

           Each action in slow training is made deliberately from one position through to another. The body has the time to remember not just the first and the last, but each position through the process, meaning that the body is likely to remember the technique that is being practiced more effectively. The slow movements connect to one another to form a picture of a technique rather than a set of individual movements which do not seem that well connected. Such connections make the learning process faster.

3    Faster, More Efficient Technique

“If you incorporate “slow” into your practice, your technique will improve, unnecessary movements will be eliminated, and you will learn to better keep your balance through progressions of movement. Thus your technique will improve and you will become stronger and faster, the very thing you were aiming for in the first place.” (Caile, 2017)

           Giacomo di Grassi, in His True Art of Defence (1594), states that every movement is accomplished in time. If a movement has excess movements made during it, the movement becomes inefficient. This is not good for a fencing technique. Slow training allows you to eliminate unnecessary movements from techniques, thus increasing the efficiency of techniques, thus increasing the overall speed of the techniques. This is because you can focus on the technique that is being performed more accurately than you can if it was practiced at speed.

4     Performance Under Stress

“But the benefits of slow practice goes beyond just eliminating wasted movement and getting faster. It also helps you perform better under stress.” (Ox, 2016)

           When a person is under stress, their brain is flooded with various chemicals designed to deal with the situation. These put the brain on high alert. They unfortunately do not do anything for the performance of skills in a cold, calculating way. Too much adrenaline makes the hands shake for starters. Slow practice has made the technique which is being performed a normal action which is performed in response to a set of stimuli, nothing more. This is when the neural pathways have been built and are solid. This skill remains unaffected by these racing chemicals and their reactions within the body. The slow training of the technique also means that the relaxed situation in which it was practiced is transferred to the situation and the technique is still performed with the same deliberate actions, because that is what the brain and body have been told to do.

Issues

          Unfortunately, slow training is not all good news; it does have its issues. Luckily most of these have more to do with the trainee rather than the method. “I do have to admit that it has downsides. Most of these are a result of coming into it with the wrong mindset.” (Icasas, 2015). Mindset is an important factor in any sort of training and must be taken into account. In examining the issues, some of the mindset that accompanies these will also be examined.

Difficult

“I don’t have any stats to back it up, but after having taught martial arts courses and enrolled in a dozen more - plus learning musical instruments, rally driving, and others—I feel confident in asserting that this is where many newbies fall off the wagon.” (Icasas, 2015)

           Slow training is not easy. It takes time and it takes control. The trainee has to be willing to take the time to slow down and look at exactly what they are doing and how they are doing it, and be willing to be corrected. Control itself takes time to develop and this is the key to staying slow, because in our high-speed, fast-car world, we are obsessed with how fast things go. The student needs to understand that the slow training is the best way, and is of the greatest benefit to them. Here is the mindset which is required: for great reward, there needs to be great effort.

     Bad Habits

“Different bad habits. In practicing slow, you may develop a whole different set of bad habits.” (Icasas, 2015)

           If you do not focus on what you are doing you can develop a whole new set of bad habits which is the reason why focus is important when performing the actions in slow training. It is vital that you pay attention to the accuracy of your technique and not short-cut any of the techniques, but move through all of the movements correctly and accurately. The trainer should always be paying attention to the students’ actions, but the students should also be paying attention to their own actions.

Stuck

“Stuck on “slow.” There’s a saying that goes, “you play as you practice.” This applies to slow practice in both positive and negative ways. Perform slow practice too often, or with the wrong mindset, and you risk performing slowly even when you’re trying to perform fast.” (Icasas, 2015)

           Being stuck on slow is a matter of mindset. In training slow the focus is performing techniques to get them correct so they can be performed with speed and accuracy. If there is no progression toward increased speed then there is the possibility of getting stuck only doing slow training and thus when increased speed is required, there will be a problem. Branching training toward increased speed should always be included, but only once the technique is correct. Remember the reason for the slow training.

Needs to be Done Right

          To be effective, “All it means is that slow practice needs to be done right in order to be truly effective.” (Icasas, 2015). The student and the teacher both need the correct mindset toward the slow training in the beginning for the slow training for it to be performed correctly. The focus is on getting techniques correct and then moving this technique on toward normal speed. This element always needs to be present in the mind of both student and teacher.

“Be mindful. Keep track of everything that you do. Notice any bad tendencies you may have and work hard to iron those out during your slow practice. Do an action at the regular speed, figure out where your stumbling blocks are, and use your slow practice to overcome them.” (Icasas, 2015)

           The technique needs to be performed at speed once the technique is correct. Only then will you find out how you will actually perform it under some pressure. If there are issues found, then slow speed training can be used to eliminate these issues. This backwards and forwards play between normal speed and slow speed should form a part of your normal training to eliminate any of the errors that you might have in any of your techniques. Efficiency of technique is the key to improving speed.

“Don’t forget to push. Remember the original purpose of your slow practice: to improve your high-speed performance as fast as possible. Challenge yourself to increase your pace while still maintaining proper form and technique. Don’t stay frozen at the slow pace forever.” (Icasas, 2015)

           Slow training is used for the increase of accuracy in technique. Once accuracy is gained in the technique, then it should be pushed a little for speed. Accuracy needs to be maintained. If accuracy begins to wane, then the speed should be brought back a little until the technique can cope with the speed, then it can be increased again. This method allows for an increase in speed while maintaining accuracy, but accuracy should always be the prime goal. The speed should be developed on the basis of efficient movement rather than simple raw power of the muscles.

Conclusion

          In this investigation is a discussion of slow training and the theoretical elements which are related to it. The investigation has covered many different areas including neuroplasticity and other subjects in the area of neuroscience, but also areas of physical pursuits as well. Such areas are related because they all are focussed upon the same goal, the learning and retention of motor skills.

          Initially, for the fencer, some of these subject areas would have seemed somewhat out of place, hence there was a discussion of the sources at the beginning of this investigation. Drawing sources from far afield enriched the discussion and demonstrated that the idea of slow training is not one that is new or is without foundation. Such evidence brought to bear means that the idea of slow training even for such an energetic and quick pursuit such as fencing is based in firm foundation.

          To understand how slow training is of benefit meant that it was necessary to understand somewhat of how the human body and mind learns motor skills. This is where discussions of neuroscience where necessary. It was vital that these discussions did not delve too deeply so as to confuse the audience, but sufficiently enough to present sufficient evidence. There were presented various phases of learning and it was presented that slow training, when used during these phases is of great benefit as it reinforces the skill being learnt by the individual. Further this illustrated the important connection between the body and mind which often goes overlooked.

          With the subject of motor skill learning established, the subject of muscle memory, or neural pathways, was addressed. This was directly related to the previous as it is through slow training that neural pathways can be better established in the trainees mind, and thus a greater connection to the body may be made. These neural pathways take time to develop and this is enhanced through the use of slow training because the focus is on the technique and the elimination of excess movements from the technique, thus to become more efficient. Repetition is the key to building neural pathways, but it is of greatest importance to repeat the correct thing.

          The last sections of discussion were made with regard to speed and slow training. Speed was demonstrated to be only one attribute, and one which is not as important as other more elementary attributes which the fencer should cultivate. With this established then slow training was directly addressed. With all of the information previously presented such presentation is well-founded. This allowed a more practical approach, while keeping a theoretical basis to the discussion. The subject of slow training itself was discussed and how it was advantageous for the development of form, and the development of efficiency of movement which is the true key to speed. Practicing slow allows the body to remember better and corrections are more easily made. Such training must be made with mindfulness of what the goal of such training is and what the student is participating in.

          The concept of slow movement to enhance learning is not one which is new. It is a concept which has been present in the Oriental martial arts and is demonstrated most clearly in Tai Chi, though it is also present in other disciplines. Western practitioners of martial arts and other activities also use slow training to enhance their skills due to the advantages which have been presented; such advantages can be embraced by the fencer if only they will put their mind to it. The most imperative element with regard to slow training is that the fencer must commit to the slow training, and be mindful of what they are doing for it to have its greatest benefit.

Bibliography

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If you are interested in obtaining a pdf-version of the entire document for ease of reading and research. Please feel free to contact me at henry_the_fox@hotmail.com, with the subject line "Slow Training - Another Look"