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Five
Questions...
Once more the ARMA puts Five Questions
on the subject of Medieval & Renaissance combatives to a range
of practitioner-researchers from different backgrounds and experience
levels in order to profile the diversity and uniqueness of modern
exploration in historical fencing. 1. To what would
you attribute your interest in historical swords? What has been
the primary inspiration or source for your own individual study
of historical swordplay? 3. In defending against an opponent in any type of sword combat, what
would you say is, in general, a good method to employ? In other
words, what basic overall defensive principle of fencing would you
recommend? First
one should find a good teacher and work hard. These two things could
be obviously enough to make your training very good. In particular
my advice is not to focus only on the plates and illustrations studying
an historical fencing manual, but to try to look at the principles
behind them. Then everything you are studying has to be tested as realistically
as possible. My main purpose is to improve my skill as best as possible. 1.
To what would you attribute your interest in historical swords?
What has been the primary inspiration or source for your own individual
study of historical swordplay? Learn
from other people. Attend as many WMA events as you can and study
both instructional books and original treatises. But don't be afraid
to develop your own opinions and question those with more experience.
Try and keep your understanding of historical martial arts as rooted
in the reality of both combat and historical context as possible
- that means understanding how to keep the art martial and historical.
Training with a partner, or several partners is necessary, but you
can also drill in your head between classes - I think it's important
to get your brain to absorb drills, and you can 'practice' drills
in your head anywhere, any time. My long terms personal goal is
to spread the knowledge and interest in WMA in London and the UK,
to see my group continue to grow and perform well at events. As
an individual I want to see my abilities grow and to make my fight
as martial and historically valid as I can. 1. To what would
you attribute your interest in historical swords?
What has been the primary inspiration or source for your
own individual study of historical swordplay? 2. Is there a favorite
type of sword or a preferred style of historical fencing that you
focus on? What specifically makes these so appealing
for you? Like
everyone in ARMA who is starting out, I am beginning with the study
of the longsword. This is the weapon that I always had in mind anyway and it
is an awesome weapon with unbelievable capabilities. I can envision myself at an elderly age still wielding this
weapon, and learning.
As of late however, I have really become interested in fighting
with the rapier, which has been surprising for me.
I never really gave the rapier much thought, until John C.
had us try it at one of his advanced seminars.
I was surprised at the ferocity of it and how I could use
the lessons for application in my longsword study. 3. In defending
against an opponent in any type of sword combat, what would you
say is, in general, a good method to employ?
In other words what basic overall defensive principle of
fencing would you recommend? I
think anyone who centers their fighting on the defensive principle
is setting himself or herself up for failure.
On the one hand, it makes sense to construct your attacks
in such a way that you are not opening yourself for counter-attacks
but, you need to keep on the offensive to have a winning strategy.
The historical Masters talk about these principles quite a bit.
I have seen some swordsmen who take this advice too literally though,
even though you want to stay on the attack, you want to accomplish
this in such a way that you are not attacking blindly or without
timing. This is what makes our craft so interesting.
It is the heart of what we are trying to learn: when to attack,
in what way, and for how long etc…all these questions should be
foremost in our minds as we fight. Therefore, I would not concentrate on,
“how can I defend?” I think that’s asking for trouble fundamentally.
4. Do you have
any particular training advice from among your own experiences to
offer fellow sword enthusiasts for their individual sword practice? What are your personal long-term goals in your own study or
practice of this craft? Take
your art seriously! Train like you mean it, and never feel
inadequate doing so. I always think of this when planning my training
week: “If I had to fight to the death next week, how much training
would I do this week?” Know your art! I train in a busy gym
and when I first started, felt funny about it. I had a lot
of folks ask me silly questions and make snide remarks. I
noticed though, that as my skill improved and as I got more serious
I simply portrayed a different attitude. I got to know the “Official
Rhetoric” and was able to speak more intelligently about what it
is we do. I never pass an opportunity to educate and never
play down our skills and efforts in studying swordsmanship.
It’s not irrelevant, outdated or impractical. It consists
of such a complete and total fighting system; I am convinced that
when you learn to fence, you learn every other fighting skill as
well, maybe without even realizing it. 5. What major developments
do you see coming in the near future that will affect the current
revival of historical fencing?
Which do you think will be among the most important? The
interpretations of the historical manuscripts will continue to improve.
As this happens, the understanding and implementation of the skills
will also grow and improve. The quantity and quality of the people
engaged in practicing and studying the art will also improve.
Commercially more companies will strive to make better products
to serve this customer base. We will have better information,
with more people practicing with better tools. This is an
ever-evolving process, which in the long term will attract more
interest, and even probably effect the way it is portrayed in movies
and the historical record. I think we are just at the beginning
of this phase and some of its results can already be observed. The
most important aspect is the greater interest of more quality people.
If no one cares, or if no one is engaged in studying, interpreting,
purchasing, then the rest will also fall away. So, in the
end it’s the people that make the difference. Bartlomiej Walczak I got involved
by accident, first into the role-playing games, then through reenactment,
and finally into ARMA. I do not have a lot of interest in swords
themselves, it is rather the effectiveness of the art itself that
caught my attention. And the fact that there is so much to be done
yet, and almost everything is like an unknown land emerging from
the mists. 2. Is there a favorite type of sword or a preferred style of historical fencing that you focus on? What specifically makes these so appealing for you? 4. Do you have any particular training advice from among your own experiences to offer fellow sword enthusiasts for their individual sword practice? What are your personal long-term goals in your own study or practice of this craft? 5. What major developments do you see
coming in the near future that will affect the current revival of
historical fencing? Which do you think will be among the most important?
2. Is there a favorite type of sword or a preferred style of historical fencing that you focus on? What specifically makes these so appealing for you? I'm
not sure I have a specialty really. I very much enjoy training with
a wide variety of weapons, and a lack thereof, though
I focus more on the late Medieval knightly plethora (the
sword, spear, dagger, poll-axe and wrestling) in and out of harness. Those weapons
appeal to me because were I there, I would want to be the noble
man at arms- the elite warrior aristocracy. They are the figures
I most admire. I intend to study the mounted combat arts at
some point as well, but I haven't had the means thus far. I have
wondered if a lack of specialization may hold my skills back, but
I get a little bored if I don't widen my focus. Specialization
to the point of little or no skill with other weapons would be frowned
upon historically. I dislike the trend that Renaissance martial arts are becoming
synonymous with weapons (the Longsword in particular) though there
are quite a few people out there breaking the mold. I think
we need to go out of our way to demonstrate the variety and sophistication
of all aspects of these arts to help shake off some of the modern
stigma and increase interest. 4. Do you have any particular training advice from among your own experiences
to offer fellow sword enthusiasts for their individual sword practice?
What are your personal long-term goals in your own study or practice
of this craft? The
basic growth of this craft is steadily creating changes across the
board, and I'm not sure one aspect will be more important than another.
More manuals are being published or otherwise made available.
More books on the subject are being written. More people are
starting to study it, so more people are in turn being exposed to
it, and demanding more products related to it, and more accurate,
better quality products at that. More schools are opening,
and more teachers are appearing. It's slowly creeping into the movies here and there. It's being seen in regular martial arts
tournaments on occasion as well, and slowly being separated from
the stigmas of sport and role-play in the public view.
More groups and web sites are appearing, and even videos
on the subject are being improved upon and produced. The most
important part of all this is what started it and what drives it:
the dedicated martial arts practitioners and organizations who will
continue to make these things happen. 1. To what would
you attribute your interest in historical swords?What has been the
primary inspiration or source for your own individual study of historical
swordplay? I
wouldn't know where to start.... but just by saying that swords,
as interesting as they are, were not what attracted me to this subject.
What I really wanted was to learn how to properly use them. I practiced
kendo before coming to the USA. While in New Mexico I bought a katana
and tried to find somebody to teach me kenjutsu. That is when I
met ARMA associate Murray Moore, who opened the doors to the wonderful
world of Renaissance Martial Arts. Murray offered a class through
University of New Mexico. The class brochure recommended "Medieval
Swordsmanship" of John Clements as one of the textbooks.I had
bought the book in late 1999 (which I really liked) and decided
to checkout Murray's class, since there was no kenjutsu sensei around
and my wife insisted that it maybe a good alternative to Japanese
sword arts.I think that one of the things that made this extremely
attractive, was that I had to read, study and then practice. Once
a few basics were learned, I was able to jump deeper into the books
and gradually interpret and learn new movements and techniques!
It was great to be able to discuss things with Murray, as equals.
I believe that the "you-teach-me while I-teach-you" attitude
was great. Far from my previous experiences in judo and kendo.
Initially I started with the Pissani-Dosi
version of Fiore. Detailed study of the text was performed while
translating the text into spanish (www.msu.edu/~uriberom/manuales.html).
Unfortunately this particular version of Fiore is not rich in concepts
and theoretical background, which are needed for a deeper comprehension
and advancement in the study of fencing. At this point, my study
was mainly the mechanical repetition of depicted techniques as a
collection of separate entities. The glue to put everything together,
the theoretical frame, was still missing. Then I started studying
Lindholm's Sigmund Ringeck book. This work provided theoretical
foundations that I was missing, allowing me to take a peek at a
cohesive combat system. From there I jumped into Philippo Vadi's
work, which was much easier to digest when studied through Ringeck's
framework. As
a beginner, I haven't studied a wide range of weapons. I started
with the longsword because that is what Murray taught to me, is
the weapon for what ARMA offers most of its instructional material.
I have stuck to it mainly because, being a graduate student and
study group leader, I do not have enough free time to explore other
weapons. I like to compare Italian and German traditions of longsword
fighting. 3. In defending against an opponent in any type of sword combat, what
would you say is, in general, a good method to employ? In other
words, what basic overall defensive principle of fencing would you
recommend? In this regard,
my experience is very limited. I would say... to break his intention,
to impose your own game. Force them to a defensive position. Take
them to a place that they are not comfortable. Most of the people
I know (also beginners) tend to fight in a linear and predictable
fashion. So they do not expect movements as traversing or the use
of the false edge. Another thing that I have found work very well
is to close in during an attack and do simple grabs, throws or disarms
using the left arm. Extremely disconcerting to most people, even
to the point of considering it "unworthy of a knight".
I firmly believe that the "I-know-nothing" fencing level,
ends when you start applying these in free play. 4. Do you have any particular training advice from among your own experiences to offer fellow sword enthusiasts for their individual sword practice? What are your personal long-term goals in your own study or practice of this craft? Footwork,
footwork, footwork and more footwork. Learning how to move and evade
is extremely important. Striking a foe down, with a tool as efficient
as a sword, is comparatively easy to know how to properly move.
Get training partners. There is not much that can be learned, swinging
at the air, compared to a moving target that is ready to strike
back. Drill your techniques over and over. It’s the only way to
properly perform them during sparring. If training alone, spend
much more time in front of a pell than some invisible partner, but
do not neglect floryshing.
My goal is to become a proficient instructor according to
ARMA standards, learn several weapons and be good at teaching how
to use them. I know a lot of people who are sincerely interested
in this craft, but had only had access to poor or false instruction.
I'd like to be able to spread and share the knowledge of our western
martial heritage. I
believe that we are in the brink of seeing this activity sprout
in Latin America. Over the past 4 years I've seen several groups
appear, with more or less success. They are just a part of a renewed
interest in Medieval and Renaissance culture, which is currently
going on across Latin America. I'm currently offering support to
one of these groups in my own country. People are being exposed
to information and materials that they did not know existed. The
wealth of knowledge in Websites such as ARMA's, offer a window to
a new world that is extremely appealing and captivating. Unfortunately
the language is still a barrier to reach a large number of people.
I think we will see more and more fencing related websites into Spanish.
Some quality books about fencing (translations, interpretations)
have been published in English these past few years. One development
that I would personally love to see is the publication of those
same materials Spanish. Thousands may benefit from it. I have always had an
interest in different varieties of weapons and similar implements.
The more specialized interest of historical (European) swords that
I harbor these days came about when I found ARMA actually. The historical
sword is something with an, in my opinion, unequalled attraction
among all the types of weapons that have come and gone during the
course of our history. I am attracted to and interested in historical
swords not because of their aesthetic beauty –but because
they are perfectly designed tools with one sole purpose: the demise
of your “enemies”. I think there is something rooted deep within
all of us that automatically attributes swords with characteristics
such as power and discipline. Many military insignias, for instance,
still today bear depiction of swords with their general design.
To me that is evidence of how deeply rooted in our own culture the
sword has become. Even though it has long since been abandoned as
a tool of war. There is just something that fascinates me with how
far we humans are prepared to go when it comes to designing implements
to kill our own kind with. Without getting too
hazy and diffuse I must say that the main inspiration for my own
study has comes from a subconscious level. At least that is where
it began when I first found and joined the ARMA. Historical swordplay
and renaissance martial arts is something I have searched for my
entire life –without even knowing what I was looking for in
the first place! It wasn’t until my very first training seminar
that it dawned on me: this is what I have been looking for all along,
I have been stuck ever since. A great source of inspiration for
me have been John C. and Hans Jornlind (of ARMA Falun, Sweden).
The first time I saw them perform their arts I was taken aback by
their sheer skill and the fluidity, speed, power and competence
of their techniques. I remember thinking something along the lines
of “that’s where I want to go. Other than that I have to say that
one of my main inspirational sources is the plain fact that I want
to be able to properly defend myself and subdue –and eliminate
if need be- potential aggressors. In the same way as my ancestors
did. It is important to me that we do not let our martial (and cultural)
heritage disappear into the mists of time. 2. Is there
a favorite type of sword or a preferred style of historical fencing
that you focus on? What specifically makes these so appealing
for you? Oh, that is a tough
one. Right now I would have to say longsword and messer. Barring
the visual differences of the two weapons –the techniques
are of course very similar. It is the sheer, brutal lethal efficiency
that makes them so appealing. The longsword and the messer are quick,
nasty and very readily deadly weapons. The fluidity and the integrated
aspects of all the techniques that actually makes up one very basic
system of moves, maneuvers and techniques is appealing beyond description
to me. The roundel dagger has always been a favorite of mine too.
3. In defending
against an opponent in any type of sword combat, what would you
say is, in general, a good method to employ? In other words, what
basic overall defensive principle of fencing would you recommend? 4. Do you
have any particular training advice from among your own experiences
to offer fellow sword enthusiasts for their individual sword practice?
What are your personal long-term goals in your own study or practice
of this craft? First of all: practice
with the mindset that this is for real. Imagine you have
a duel in two months that you have to prepare for. Focus on the
basics of, for instance Doebringer; four guards, five strikes, and
the Drei Wunder. Do lots of solo as well as partner drills and never,
ever slack off when it comes to the physical side of things. You
need to be fit in order to fight really well. And when training
with a partner, try to take a few minutes each session where you
focus on training to always threaten your opponent with the tip
of your sword. I guess that is the all the tips I can think of right
now. 5. What major developments do you see coming in the
near future that will affect the current revival of historical fencing?
Which do you think will be among the most important? If the current trend
is here to stay I think we will see more and more practitioners
drawn to our art. I do see a shift in the types of practitioners though. At least here in Sweden and at least in ARMA. I
think more combative and “budo-type”, and less and less uhm. I-wanna-be-like-Aragorn-type
persons will be drawn to renaissance martial arts within a foreseeable
future. That is one major development I see happening. At least
internally within ARMA Sweden. I bear no ill will against re-enactor
and LARPers though. But I think that some of them have entered renaissance
martial arts with a slightly off perspective and pre-conceived notions
that did not match what awaited them. Other than that I have observed
that more and more manuals and fight-books, as well as serious training
DVDs, are being released to the general public. This will, of course,
help us make people realize and understand that our own renaissance
martial arts are as serious and real and dedicated as anything that
come out of the East or the rest of the world for that matter. We
also have the more practical side of things: the tools themselves.
The work Peter Johnsson is currently doing with Albion have done
our community a tremendous service. In that department I have also
noticed that there is always someone out there trying to improve
and perfect the wasters we use. Which is a really, really good thing.
It shows that we are really going forward with our craft (as opposed
to just treading water). And who knows? Maybe we will see specialized
business that focus on training and sparring equipment for the renaissance
martial artist in a not too distant future. I also see John C.’s
opening of his own fencing school as a big leap forward. He has
opened the door and others will definitely follow. 1. To what would you attribute your interest
in historical swords? What has been the primary inspiration or source
for your own individual study of historical swordplay? Like
many others will tell you, it's been an interest that has just sort
of hung with me through the years. When I was younger tales of Robin
Hood and King Arthur enthralled me. As I got a little older I took
an interest in the Japanese sword due primarily to hearing the many
misconceptions about it. But
over time my knowledge grew and I began to see European swords,
and the longsword in particular, in a whole new light. From both aesthetic viewpoint and as one of
the most remarkable melee weapons ever conceived. I would say my
primary inspiration for my style of swordplay comes from my instructor
Jake Norwood [ARMA deputy director]. He always brought such a high
level of intensity to free-play that sparring actually felt like a fight, and
I think that's something that everyone in the ARMA (and indeed,
in the martial arts community at large) should strive for if we
hope to really understand these arts in earnest. 2. Is there a favorite type of sword or a preferred style of historical fencing that you focus on? What specifically makes these so appealing for you? I strongly favor the Liechtenauer longsword tradition. The way that it emphasizes aggression and not giving your opponent time to react appeals to me, and in fact has become a key part not only of my fencing but in my kickboxing and Mixed Martial Arts fighting as well. I think the longsword in particular speaks to me due to the extreme versatility of the weapon, especially when we bring the short edge into play. The utilitarian simplicity of its overall design coupled with the deceptively complex style of its use is what makes it so remarkable and appealing as a weapon. 3.
In defending against an opponent in any type of sword combat, what
would you say is, in general, a good method to employ? In other
words, what basic overall defensive principle of fencing would you
recommend? The most important thing in any type of fight is taking them "out of their game". If you're against a truly skilled aggressive fighter then you need to be more aggressive then they are and force them into the role of defender. They will be unused to being forced on the defensive and thus more likely to make a mistake. With timid, defensive fighters I think that drawing them out to make the first attack works very well, being that they are normally defensive they tend to make their strikes from out of range and it becomes an easy matter to void and counter cut, or counter in various other ways. I also think an often overlooked strategy is a rapid close to "ringen am schwert" range. If you put a weapon in most peoples hands they will hang back and try to using timing and distancing skills to attack or counter attack you from the maximum range of the weapon . Most people will be taken by surprise when rapidly closed on and will freeze up (even if only for a moment) giving you a split second opportunity to defeat them. There are two comfortable ranges, too far for them to hit me, and too close. If both parties remain with-en each-others range for very long then it's very mutually dangerous. The most important thing is to not hesitate when the opportunity presents itself. If you're going to close the range, do it, if you're going to void and counter cut, do it, to many times people will second guess themselves causing a moments hesitation that gets them hit. It's important to reach that "unthinking" state where all of your actions and reactions come on an instinctual level. 4. Do you have any particular training advice from among your own experiences to offer fellow sword enthusiasts for their individual sword practice? What are your personal long-term goals in your own study or practice of this craft? The best advice I can think of is to take your training, and especially your sparring seriously. Remember that we're doing this to learn a MARTIAL art, not to play "tag" with sword simulators. If your hardest level of sparring doesn't look like two people fighting for their life then you're missing something. Also, spar often and spar hard. I can’t emphasize its importance enough. Only through frequent, intense sparring will you develop the timing, perception, and distancing skills required to reach the previously mentioned state of acting on instinct and make your fencing work in earnest. 5.
What major developments do you see coming in the near future
that will affect the current revival of historical fencing? Which do you think will be among the most
important? I can't tell you what the future holds but I can tell you that
I am looking forward to more and more source material becoming available.
There are so many texts out there with no widespread translations
that it's a real shame. Having all this information at our
fingertips but nearly, if not completely unreadable is extremely
frustrating for the student of Historical European Martial Arts. I especially hope to see more serious
work being done with Ringen. Since it still has some modern day
relevance, it could help legitimize our western martial heritage
in the eyes of the public more so then even the most skillful longsword
bouting. I also see a lot of youths taking interest in western swordsmanship.
Whether their interest is something that will stick with them long-term
is something that remains to be seen, but the more kids that get
started younger the more skillful they will become and raise the
"bell curve" even higher. I hope to see more study groups accepting
and training younger members. After all, who among us does not wish we had gotten started
at the age of 13 or even younger?
1. To what would you attribute your interest in historical swords? What has been the primary inspiration or source for your own
individual study of historical swordplay? My
personal addiction to blades is a large factor. I have been collecting
knives for nearly 20 years. My interest in history and martial arts
are my personal reasons to study HEMA. The seminar with John Clements
in Munich has been a “kick off” for me. 2. Is there a favorite type of sword or a preferred style of historical fencing that you focus on? What specifically makes these so appealing for you? My
favourite types are the Langes Messer and the Langes Schwert, especially
the Liechtenauer tradition. The first reason is that I can read
German. The next is that a lot of the historical fencing manuals
are written in a southern Bavarian dialect, the book of Paulus Kal
has even been written in the castle of my hometown of Landshut.
Last but not least, the German system of Liechtenauer is a “KISS”
system and this fits me too. 3. In defending against an opponent in any type of sword combat, what
would you say is, in general, a good method to employ? In other
words, what basic overall defensive principle of fencing would you
recommend? Move
in and carry the fight to him. (This is for me the essence of the
Liechtenauer system.) 4. Do you have any particular training advice from among your own experiences
to offer fellow sword enthusiasts for their individual sword practice?
What are your personal long term goals in your own study or practice
of this craft? 5. What major developments do you see coming in the near future that will
affect the current revival of historical fencing?
Which do you think will be among the most important?
1. To what would you attribute your interest in historical swords? What has been the primary inspiration or source for your own
individual study of historical swordplay? I
have always been interested in history. I would make a point to
see movies that had knights/swords in them. I did not play with
swords a great deal as a child. However, the movie Star Wars made
a lasting impression on my choice of entertaining activites. Thereafter,
my brother and I started playing with swords. My inspiration for
my study of the sword is the sword itself. It fascinates me. The
study of Renaissance Martial Arts is a reward in, and of itself
to me. The idea of learning just like they did in the Renaissance
age, and putting it to practical use when we spar is exhilarating.
2. Is there a favorite type of sword or a preferred style of historical fencing that you focus on? What specifically makes these so appealing for you? Right
now I prefer using the Long Sword. Since you can take what you learn
with it and use it with other types of swords, it is the ideal learning
tool. Other swords that interest me are the Scottish Broad Sword
and the Zweihander. I like the Zweihander because there is very
little detailed information on how it was used. So you must work
with it in order to find the spefic function for its form. It is
intriguing to examine what will work, and what will not work when
you use it. 3. In defending against an opponent in any type of sword combat, what
would you say is, in general, a good method to employ? In other
words, what basic overall defensive principle of fencing would you
recommend? Keep
a good guard for one. When a cut is made toward you, you must anticipate
it. The key is to not be present [there] when that cut strikes its targeted
area. At nearly the same moment, be prepared to make your own cut
toward the opponent. Cut at your opponent and follow through with
your cut. Keep moving all the time; if you do stop, make sure you
go back to a good guard. 4. Do you have any particular training advice from among your own experiences
to offer fellow sword enthusiasts for their individual sword practice?
What are your personal long term goals in your own study or practice
of this craft? Practice,
Practice, Practice. Train with all the guards, cuts and counter
cuts. Doing cutting practice on the pell, also sparring as much
as you can. Also, I recommend using blunt steel not just a waster.
Edge placement is so important, and sparring with blunt steel helps
with this focus. In order to fully understand the force and function
of your sword, test cutting should be done as regularly as possible.
Cutting through something will open your eyes on edge placement,
as well as the importance of good follow through. My first goal
is to become a Senior Free Scholar; to read and study as many manuals
as I can and put them to use with my training of the sword; to bring
more people into ARMA, and help make ARMA grow; to keep teaching
in our study group, and have lots of fun while doing it. 5. What major developments do you see coming in the near future that will
affect the current revival of historical fencing?
Which do you think will be among the most important? 1. To what
would you attribute your interest in historical swords? What has
been the primary inspiration or source for your own individual study
of historical swordplay? My interest in
historical fencing developed primarily from my interest in medieval
and renaissance history. I
had also had some training in Asian martial arts and as I began
to realize that the Europeans had also developed and taught sophisticated,
comprehensive systems of combat, I was fascinated and wanted to
learn more. 2. Is there a favorite type of sword or a preferred style of
historical fencing that you focus on?
What specifically makes these so appealing for you? I love longsword fencing. It’s a very versatile weapon, it can be
used effectively armored or unarmored, against similar or different
weapons, and the techniques are much more subtle and refined than
many people realize. 3. In defending
against an opponent in any type of sword combat, what would you
say is, in general, a good method to employ? In other words, what
basic overall defensive principle of fencing would you recommend? I think the best
way to defend your self is to attack effectively. If I can strike at you in range and on
target, I force you to deal with my attack, setting up my follow-on
techniques. If done
well, this seizes and maintains the initiative in a fight, something
many of the historical masters emphasize. 4. Do you have
any particular training advice from among your own experiences to
offer fellow sword enthusiasts for their individual sword practice? Practice the fundamental
basics! Flourish, work
at the pell, drill your footwork, strikes, counters, etc. Do it over and over till you don’t have
to think about it and you can do it with speed and power and control. Effective, realistic free-play is also
essential. Spar like
you are using real, sharp weapons.
Keep the idea in your head that you must hit without being
hit, or as Fiore Dei Liberi said of fighting unarmored with sharp
weapons, “failing just one cover gives him death”. 5. What major developments do you see coming in the near future that will
affect the current revival of historical fencing?
Which do you think will be among the most important? No doubt more and more “experts” and
self-proclaimed “masters” will start to emerge, eager to teach and
write about the subject. This
is actually happening already, with various practitioners trying
to equate their experience in stage fighting or reenactment style
“combat” to earnest study of historical martial arts. The challenge,
for those of us who are passionate about the honest exploration
of these arts, will be to work to maintain the realistic, no-nonsense
approach that the ARMA has always embraced. 1. To what would you attribute your interest in historical swords? What has been the primary inspiration or source for your own individual study of historical swordplay? First, I truly feel that there is an innate attraction for all
boys and men to sharp steel. Who among us didn't spend countless
hours in our youth pretending to be our favorite movie swashbuckler
as we engaged our friends in a bit of free play with old boards
torn from the neighbors picket fence? There's just something about
the mystique of the sword that fascinates us all. I was no exception. I like many, have had a lifelong obsession
with martial arts in general, yet I had been raised to believe that
only in the orient were "real" martial arts to be found.
I did well, but I never really liked the short blades and unrealistic
manner in which I was being taught the use of the Asian sword. It
was all too formalized, too antiseptic. The rugged grittiness and
vitality weren’t in it for me. Something was wrong but I didn’t
know what yet. The next step in my evolution came when I stumbled
upon various forums online wherein men were talking about something
called "WMA" I made contact with them and the appointed
day shortly arrived. I was astonished when Matt and Joel were able
to not only systematically explain the foundations of what they
were trying to accomplish, but they further introduced me to the
source-texts themselves. I was bested by men that had not
only told me earlier in the session what they could do...They were
able to do it on demand, at speed and with martial intent. These
guys really carried the mail. I was hooked at that moment and have
been so ever since! ARMA
and the WMA had something I NEEDED. They still do. The sense of
discovery that comes with researching the nearly lost martial arts
of my own culture, and the ability to perform on demand in a competent
and martially efficient manner with no BS. 2. Is there a favorite type of sword or a preferred style of historical fencing that you focus on? What specifically makes these so appealing for you? I'm an uncommonly tall guy and I prefer weapons to match.
I most prefer the longsword as the symmetry of attack and defense
that it offers is both elegantly efficient and brutally final in
action. The subtle art of the longsword is simply unsurpassed in
my opinion. It is easy to understand in principle on the instant,
yet I am convinced it would take a lifetime of sweat and research to
fully perfect its use. I also study other forms such as sword and
buckler and sword and shield, and I've recently taken a strong bent
towards the rapier in spite of what George Silver tells me. Yet,
my passion remains with the longsword. To me, any form of conflict should conform to a pair
of very simple concepts if you wish to bring it to a successful
conclusion. The first rule of winning is to simply not get
hit. This sounds like a given but I can't tell you how many people
I've seen that are so intent on landing a blow of their own that
they give no heed to their own defense. Often both men are struck.
That is not acceptable if you're training as if your life depended
upon your skill! Before
anything else, attack only where you can do so in relative safety
whether by distance or a sure cover. Do not attack if you do not
have your opponents weapon neutralized by any of the several means
at you disposal. This can be as fancy as a flurry of twitching blows
from the bind or as simple as counter-cutting as his blade passes.
Strike only when you can do so in safety! It took me a long time
to accept this simple fact. A cool head not testosterone wins at
the swords turn. 4. Do you have any particular training advice from among your own experiences to offer fellow sword enthusiasts for their individual sword practice? If you want to learn to fence...FENCE! Drills and exercises
are important, but the crossing of swords is where the wheat and
chaff are separated. This is where our silly misconceptions will
be beaten out of us. No one learns to drive a car competently solely by
reading the drivers education manual for a good reason. Research
and skills development are not one and the same. You must roll up
your sleeves and gain experience in the field in which you wish
to excel. Research is critical to historical accuracy and must not
be over-looked, but ours is ultimately a field of cutting and
thrusting other determined individuals before they can do it to
us. No more, no less else you be deceived. Find competent and determined
Swordsmen and go to school at the end of the hilt! 5. What major developments do you see coming in the near future that will affect the current revival of historical fencing? Which do you think will be among the most important? The greatest development in the technical sense is the increased
availability of good, quality replica weapons with which we can
ply our craft. Poor swords and poor Swordsmen go together in my
experience. 1. To what would
you attribute your interest in historical swords? What has been
the primary inspiration or source for your own individual study
of historical swordplay? I have always been drawn to swords
and marital arts. I started studying MA when I was thirteen after
7 years of trying to convince my parents that it was a good idea.
I read a lot of fantasy novels and used to daydream about being
able to fight with swords. To be perfectly honest I have grown into
a true love of swords over a long period of time. I started wishing
for better movie fights when I was in high school and imagined that
I could stage them. Eventually I developed a true appreciation for
pure martial theory. Plus, if the world really does ever collapse,
you don't have to reload a blade. I actually am at a place in life
where it is possible I might be able to scrape out some sort of
financial income from what I do. I am starting a consulting company
to attempt to raise the level of awareness regarding Renaissance
Martial Arts to communities that often miss tragically in their
attempt to portray such to the public. Having said all that, I have
worked extensively through the MS I.33 and plan to publish an interpretation
with my colleague, Brian Hunt. I have read through much of Meyer,
and Silver, and anything that is available and directly quotes Liechtenauer.
I have also dabbled with Fiore and Vadi, but found very little new
information from those sources after studying the German sources.
I love the longsword. I have a weakness
for weapons that I am proficient with. I love the versatility of
this weapon. It can do so much more than so many other types of
sword with the ease with which one can change edges, redirect strikes,
overpower, out-speed, and generally out-perform most other weapons.
I am also particularly fond of Sword and Buckler for the same reasons.
This combination is nimble, deceptive, fast on offense and defense,
and generally embodies all of the attributes that make RMA so cool. Range and Timing. If you know the range
better than your opponent you will win. If you can time your strikes
better than your opponent you will win. If there is a disparity
between your reach and your opponent's you need to be aware of the
exact reach of both yourself and your opponent and control the range
of the fight. As for timing, you've got to know when to rush in,
when to leap out, when to change direction, when to beat, when to
strike, when to thrust, etc. The best place to start is to get some
instruction from an ARMA certified instructor. After that, you should
pound everything that you can remember into your head so hard and
so long that it becomes second nature. Then fight, fight, fight.
I hope to certify as Senior Free Scholar in Sword and Buckler, and
in Rapier in the not so distant future. I also want to pick up more
Staff and Dagger techniques and well as continue my unarmed combat
education. I hope to some day own a Fechtschule/sound stage where
I can train people to make fights suck less in the movies, and even
film some of my own independent projects. Recognition by the general martial arts
community of the vitality and efficacy of RMA. Continued improvements
in training tool construction—i.e. gloves that don't let your
hands break but let you feel impact, sparring weapons that don't
explode when I hit someone with them, wasters that simulate steel
and are still stout enough to hold up to the severe punishment that
is an ARMA training session, sword makers continuing the uphill
battle of accurate sword reproduction. Increasing numbers of available
and translated manuscripts .Of these I believe that the improvements
in training implements will have the most impact. We have a lot
of source material available that needs to be tested. The training
tools are exigent for that testing. If our tools are inaccurate
or flawed then our tools will taint our research. |
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