Class Notes and reflections on training

Wednesday, February 8th - "The Book"

2012-02-10T09:04:00.000-08:00

Last class, we finally got around to presenting the "scholar book" aka "The Book." Not the "Good Book", nor the school book, just "The book." After the last WMAW, we found the idea of a guild book a fitting one (thank you, Rocky Mountain Sword Guild), and so on the way back, we threw some ideas out there of what we'd like it to be. It's a long drive, so there were a lot of ideas.

Naturally, this fell into Rachel's lap. She worked hard, without any direction or even semblance of help on my part, and the result is nothing short of stunning. A veritable work of art. The book contains information about the school, the virtues of the man at arms as set out by Fiore dei Liberi, and each Companion (ranked member) gets his own page with his heraldic arms displayed along with a short bio and any notable achievements they might have as relates to the school or the Art of Arms. Furthermore, there is a page chronicling the membership, whereby all members are asked to sign when they train with us - a "guest book" or sorts, so that even though some may leave for greener pastures, their passing will be marked and remembered. Every student adds to the school's character, and thus to its history, and this is as it should be.

The book is bound in tooled vegetable tanned leather bearing the school's arms, and is done in a style similar to illuminated manuscripts of the period, with hand drawn art and drop letters embellishing the introductory pages.

Pages will be added as events unfold, as it is a living document. With any luck, it will outlast me, and students of my students will still be adding their names to continue the tradition. But then again, I always did have a rather large-ish ego.

Old members were also invited back to sign their Companion pages, after which we did a quick warm-up and did some freeplay. And by freeplay, I mean freeplay. No pedagogical conditions, folks calling hits on themselves and not relying on others to judge their bouts, all done in fair play (ok, that *is* a pedagogical requirement, but still...) So, by my taking a hands-off approach, students got to learn what was and wasn't an acceptable blow, how to recognise these on themselves, and most importantly, do push-ups for double hits. 5 for the first, 10 if there was a second, 15 for the third, etc.

So, thank you Rachel, thank you Norm and Mathieu for coming out, and thanks to all the students who were there. I had a good time - I hope you did too.

Without further adieu, here are some photos for your enjoyment.

Companion Class 9/01/2012

2012-01-11T12:45:00.000-08:00

After a well-deserved holiday break, class began anew. Happy New Year to everyone, and safe training!

We continued where we'd left off - actually, that's not quite true - we reviewed and got back into the swing of things with some (many) cutting drills, concentrating on form and mechanics. We also discussed the tactical choice of a point-up or point-down parry, which essentially boils down to line. The shorter line will generally dictate what to use - i.e., if you stand in porta di ferro, you employ a point down (hanging) parry, whilst parrying from posta di donna will result in the choice of using a point-up guard (frontale).

The cutting drills employed are simple combination cutting drills, as follows:

cut mezza fendente to longa with a pass , thrust with an acressere.
moulinet and cut fendente roverso with a pass forward.
Pass and thrust punta roverso with a pass.
Strammazone and cut fendente with an acressere.
Invert the sword to thrust punta sopramano with a pass.
Using a wrist motion, cut mezani roverso.
Return to guard.

Drill 2

Cut mezza fendente to longa
Strammazone to fendente roverso
Invert the sword, cutting around to fendente mandritto down to dente di cinghiale
Cut roverso sottano falso to posta di donna
Repeat.

Drill 3

Cut fendente to centre
Moulinet fendente roverso to posta breve
Cut upwards sottani dritto to posta di finestra sinestra
Pivot sword around balance point and cut roverso sottani dritto
Repeat

Flow drill

This was followed by a couple of flow drills similar in nature, meant to practice fluidity, timing, measure and footwork while also practising the hanging parry.

Begin in porta di ferro. your partner begins in posta di donna
With a compass step left, he cuts fendente mandritto to your head.
Step to the left, performing a hanging parry.
return with a fendente roverso while compassing to your right.
Your partner will parry with a hanging parry while returning to his right.
Continue, eventually switching positions/guards.

You can make this incorporate both sides by modifying the drill so that each person does a fendente then a roverso, than parries the fendente and roverso, then attacks...etc.

Fundamentals class 30/11/2011

2011-12-02T08:13:00.001-08:00

This was the last in our series of introductory spear classes, so I took this opportunity to introduce the formal dei Liberi spear plays, of which there are few, in actuality. I was slightly pressed for time, since I wanted to get through it to allow some of our people who need to leave early a chance to bout a little bit. Owing to this, I skipped the spear poste dance, and got straight to the nitty-gritty.

Actually, we began with just a quick recap of the past weeks' classes - a couple of exercises involving inside and outside parries before moving into the canonical material.

Before going any further, let me simply say this about dei Liberi's spear material: while the plays in and of themselves are few, the rest of the method for wielding it can be amply sourced in the armoured sword and pollaxe material.

First up were the poste, of which there are three on the right: tutta porta di ferro, porta di ferro mezana and posta di finestra. The left side has dente di zenghiar, posta di vera croce and posta di finestra as well.

With this bit out of the way, we practised the scambiar di punta on the right, then on the left. Advanced students were reminded how the play from the left utilises the same principles as the universal parry - rising into a descending thrust.

Last was the counter: the butt strike. This is performed with a rising blow under the arm to displace the spear, followed by a thrust to the face with the butt. Since the goal was not so much perfection of technique, but an introduction to the tactical framework involved, I didn't harp too much on mechanics. That said, most students had serious measure issues. Rather than remaining in spear measure and using the length of the weapon in the counter, people stepped aggressively into measure and tried to butt with the four inches of butt protruding out from their hand. Aside from being a weak blow, it simply doesn't make use of the tactical advantage offered by the spear. On the bright side, it means I still have work!

In fact, measure was *the* major issue throughout the spear portion of the curriculum. For most, it was brought about by their too-wide grip on the spear, which brings them closer to their opponent due to a psychological trap. Most people seem to want to fence with their spear tips touching, or just within reach of one another. Aside from the obvious tactical implications of this that allow your opponent to gain control over your weapon before even initiating an attack, it makes you close distance, since when your grip is spaced wide, the point is more drawn back, which brings you closer to keep your tip in contact. This became clear when students were having trouble performing a thrust to one line, withdrawing, then thrusting to another line. They got "jammed" up, and couldn't change lines adequately. there were some other issues going on as well, but that was a major component - one that we will need to work on next time. Again, I didn't harp too much on this and let them discover the problems on their own, since the goal, pedagogically speaking, was to instil the mechanics of the attacks, the various parries and point control. We'll go into more depth in another round of spear in the new year.

After a quick stop for some water, we suited up for some loose play with the spear. Pedagogical goals were simple: try to put into practice what you've learned; form an introduction to controlled bouting in a limited environment; make use of the spear's length and practice point control; have fun. The rules reflected this: no butt strikes (for safety reasons more than anything else - an uncontrolled butt strike could knock someone silly with a fencing mask, and since there are quite a few newbies, this is a real risk), no grappling (stay in spear measure and control measure, practice you point placement), and first blow counts for three points in a five point bout. This last one emphasises the importance of initiative and the first blow, as well as properly defending to prevent starting down 3 points.

The bouting was spirited and fun, with again some fine displays by students. Part way through, I decided it was time to play "king of the hill", so the winner got to stay in the centre. Sébastien put on a fine display, and finally ceded his place because of exhaustion! Kudos to everyone else as well, well done.

Bouting was followed by the inevitable pub visit, where we enjoyed fine company among friends and companions in arms. I thank you all once again for your company and your confidence in me.

Spear classes - November 16 & 23

2011-11-27T14:54:00.001-08:00

The past two weeks have been focused on the spear, what Greg Mele refers to as the "common method" of Italian spear fighting, as opposed to the "dueling" method that is represented by Fiore dei Liberi's short section. This is the first time I include the spear in the novice/apprentice curriculum, and it was certainly an eye opener. I always appreciated it as a pedagogical tool for learning to deal with the thrust and point-on guards, but it's much more than that.

Using the spear as an introduction to the principles of fencing and fencing theory will now be a standard part of the curriculum. Furthermore, using the spear as an introduction to light freeplay was a resounding success. Using rubber-tipped spears and restricting grappling makes for some really clean play, and even the novices shone against some more experienced players - they actually applied what they had been taught, and to marvellous effect.

The spear is an excellent tool for illustrating the openings (L/R, H/L), lines (inside/outside), closing said lines, changing lines, developing attacks, and using feints or provocations. We went through the basic parries with the spear (inside/outside, low line parry) and the infamous entering with a butt strike when the points go wide. Several set-plays were shown and practised, and after the second week of spear training, I let them loose on one another to see what could happen. The experiment's results were a net positive, and as I said earlier in this post, I will be repeating the experience.

So, you heard it here first. Spear is now an official part of the Novice/apprentice curriculum. It will *not* be a requirement when testing for rank, but rather will be used as a pedagogical tool to bridge into longsword from the wrestling and dagger portions of the curriculum.

Stay tuned as this coming week we will be focusing on Fiore's poste and their use as it applies to the spear. I should probably get photos too!

Fundamentals class 26/10/2011

2011-11-15T09:24:00.001-08:00

Sorry if these aren't necessarily in order, but I'm going back through my notes to see which classes I've failed to note for posterity.

This week's class was a continuation of the dagger material. we had previously seen the core first remedy master plays, and will next be moving into the third master remedies. As usual, class begins with a warm up.

First drill: a simple dagger moulinet

Pass forward and attack mezani dritto
Mezani roverso with an acressere
Pass back and shift grips to a forward grip to stab from below with a pass
Pass back shifting grips again and step forward with a straight fendente.
Recover to the beginning and repeat.

I noted the "five things" to do against a dagger, mentioning that while we practise without their inclusion, strikes should be understood as forming an integral part of what we do. Incidentally, if anybody knows of a way to integrate striking into our practise without causing one another brain damage, I'm open to hearing it. Of course, wearing some tindill masks would help immensely, but for those in simple fencing masks, I guess control will have to suffice.

We then did a review of last week's techniques: Disarm, ligadura mezana, advanced students with strikes after first iterations (masks, please!)

Following this, we performed the backward takedown from dagger grab. As is my wont these days, particular focus is on the mechanics and breaking structure. Here's the breakdown:

Companion attacks mezani dritto.
Player covers, stepping in with an accressere and attacking the weapon hand close to the wrist.
Grip the wrist and bring his weapon hand back to your body, working from a position of strength rather than from an elongated position. This has the added benefit of drawing his weight further onto his front leg, unbalancing him.
As you step through behind his leg, keep him unbalanced by drawing his arm out. You want to attack the leg on which his balance resides, while preventing him from regaining it. One way to do this is by bringing your hand to your waist, which will pivot back as it turns with your step.
Break his balance with your other hand, using a wave principle (moving up, then down), use leg as fulcrum for throw. When stepping behind his leg, keep weight on toes, and plant foot when throwing to remove what's left of his resistance and balance.

The figure four lock to the inside of the elbow figured next.

Companion attacks mezani dritto
Player covers, stepping in with an accressere and attacking the weapon hand close to the wrist. The Companion present a bent elbow.
Reach behind his elbow to the inside. as you reach around to grasp your left wrist or forearm, pull his arm down and towards you. The point of his elbow should be firmly ensconced against your sternum, where you are strong.
Step through using the hips to drive the takedown.

Next was the third remedy master introduction - notably the cover and disarm using the same principle as the mandritto cover.

Companion attacks roverso with an acressere.
Cover the attack, stepping in and attacking the wrist.
Roll your hand over and grip his wrist.
Twist the arm as you draw your arm back into yourself, prying the dagger loose in the process. Make sure the dagger lies across your forearm, otherwise this doesn't work.

This segued nicely into the "canonical" disarm done with two hands:

Companion attacks roverso.
Make cover with an acressere.
Draw his arm back against you by the wrist as you step forward and into his arm. Volta stabile to your right to unbalance him.
Twist his arm, elbow up and pass your left arm over his elbow. Continue to draw his arm up into your armpit as you sink your weight by bending at the knees.
With your left hand, strip the dagger from his grip by opening it towards the little finger. Continue to apply pressure to the elbow
Encircle his arm with your left arm, holding the dagger.
Let go with your right arm - remember to keep the lock on - and transfer the dagger to your right hand.
Feed the dagger back to him.

We ended practise with the armbar against the roverso.

Cover the attack by stepping into it.
Place your left hand against his elbow.
While twisting his wrist with your right hand, strike to his elbow with your left. Careful! This is practise! Using a slight up and down motion to aid this movement helps immensely, and if it fails, brings you to the chiave forte or lower key.
Step forward and along the line formed by his feet, loading his weight onto his rear leg.
Volta stabile to your right, driving the takedown with your hips. applying pressure to his elbow, drive the point of his shoulder to the ground. Keep it tight to yourself and don't allow any "wiggle room."
Control it on the ground by continuing to apply pressure to the elbow, which in turn locks up the shoulder. Trying to roll out either direction should either place pressure on his elbow or his shoulder, depending on the direction he tries to roll.

We ended with the dagger "poste dance."

End with poste dance.
Next week: Third master review (cover and takedown), collar throw and rear takedown (ignoring dagger, gambarola), dagger grappling (from clinch).

Companion class, 14/11/2011

2011-11-15T06:04:00.001-08:00

Along with the wrestling curriculum, I've been working on upping two other aspects of our practice: tactical considerations, in particular entering, and spada a una mano. Of particular interest to me is reconstructing a single sword method for Fiore that resembles Fiore, and is more than just the universal parry we see in the relevant section. In regards to this, it means we need to look at cutting, entering (a particularly thorny issue, given the measure difference between 1h and 2h sword) and a slew of techniques derived from the largo plays. we also need to condition our troops to the 1h sword so that they don't tire out after 15 minutes and also to prevent injuries. Therefore we began with some strength-building exercises:

Strength building exercises and warm up:

Arm rotations, forearm rotations, wrist rotations, hand clenches.

Next some cutting drills, particularly fendente, for which I've decided to adopt largely Roland's mechanic, but done with a pass. It is terribly difficult to describe, but centers around dropping the hand to chest level to get the sword moving, then casting the point forward around the balance point. I find this does a few things: covers the line nicely, while covering your hand; requires very little actually force from the wrist and elbow; is fast and while less powerful than a swinging blow, is tactically superior. Yes, for those of you who've done this with me, it is a departure from before, where I was advocating more swinging blows to save your elbows and wrists, done properly, this cutting mechanic is superior - at least until I change my mind again.

Next up:

Inside and outside moulinets. (aka moulinet and strammazone or simply inside and outside tutta volte)

Solo cuttting drills:

Simple cutting drill: fendente, around balance point, claiming center, lead with sword, tighten grip, etc.

Compound cutting drill: Fendente, follow up with thrust or slice using a gathered step.

Compound cutting drill: Fendente, thrust, follow up with moulinet to roverso with a pass and recover to Porta di ferro mezana..

Rolling cut drill:

Begin in di donna on the right, cut to center
Strammazone to a roverso to longa
Raise hand, inverting sword pommel up, cutting around mandritto ending in cinghiale
Cut falso to di donna

A second cutting drill:

Di donna to center,
Moulinet to a roverso down to porta di ferro
Cut sottano dritto to left finestra
Quickly invert the sword to cut sottano roverso to finestra
Return to di donna.

A drill I skipped for time:

Poste drill -

Begin in coda lunga in back-weighted stance.
Slip the right foot offline to the right and begin cutting with a rising true edge mezzano/sottano. Follow the cut with a pass of the left foot, finishing in posta di finestra.
Drop the elbow into the vera finestra variation of posta di donna la destraza.
Rotate the hand back into posta di donna la destraza.
Pass forward with the right foot while cutting fendente mandritto, finishing in dente di zenghiaro.
Make a volta stabile backwards, and lift the sword to a left posta di donna la sinestra.
Pass forward and cut riverso fendente, finishing in porta di ferro mezzana.
Lift the sword’s point into posta breve.
Thrust into posta longa with a pass.
Volta stabile to a back weighted stance and assume coda lunga. Repeat.

Another drill I skipped for time:

Thrusting drill -

Straight thrust from di donna, recover to porta di ferro
Rising thrust to longa, recover to cinghiale
Rising thrust to longa, recover to di donna
Descending thrust to longa, recover to di donna la sinestra
Thrust roverso from di donna sinestra, recover to di donna destra.

Yet another drill skipped

Compound drill:

Thrust from di donna to longa, wind to a descending thrust, strammazone to porta di ferro
Rising thrust from PdF, volta to a roverso thrust, moulinet and retreat into cinghiale.
From cinghiale, rising thrust to center, strammazone to fendente mandritto, retreat to di donna sinestra
Thrust roverso from sinestra to longa, raise pommel and strammazone to cut mandritto, push a true edge slice, return to di donna.

I then discussed measure and entering briefly, but decided to go with the flow and continue working cuts and combinations.

Measure, points to consider.:

Methods of breaking measure: wait for him to break measure or enter under cover to provoke an attack.
Entering with a thrust to draw him wide. If he responds, bind and work from there, if not, kill him.
Enter with a cut to center line, claiming the center.

Drills we *did* do (finally!), concerned not just cutting combinations, but responses to certain attacks or defences. The first one was of course the ever-present sentimento di ferro drill.

Cut to center, continue cut and retreat.
Cut to center, parried, cut around.
Cut to center, soft parry, slice through or thrust.

the next set of drills was meant to practise blade work, specifically the voltas around the blade on both the attacker's and defender's parts while maintaining sword measure, and then by entering in a true Fiore manner. :-)

Paired drills:

Four responses (maintaining sword measure)

Fendente to opponent, opponent parries true edge inside, moulinet and tutta volta to other side
Opponent parries true edge from outside, yield and strammazone to other side
opponent parries falso inside, yield and cut to head
opponent parries falso outside, yield and cut to hand

Four responses (defending)

Against fendente mandritto, using the appropriate volta (moulinet or strammazone)

True edge parry, volta to outside
Universal parry (rising true edge), volta to inside
Falso from PdF, yield and cut to outside
Falso from cinghiale, yield and cut to inside

Four responses (entering)

Fendente to opponent, opponent parries true edge inside, moulinet and tutta volta to other side with a pass, controlling the arm.
opponent parries true edge from outside, yield and strammazone to other side, wrapping arm while entering
opponent parries falso inside, yield and cut to hand, enter and control arm (wrap and throw, disarm)
opponent parries falso outside, yield and cut to arm

Fundamentals Class 19/10/2011

2011-10-20T11:36:00.000-07:00

Class began with a warm up as usual: laps around the gym, sprints, burpees, paired push ups, animal walks. Following this, I lectured a bit about the weapon, the context of its use, period clothing, the poste and grips.

This was followed by a simple flow drill for moving between the ligadure. The focus is on flow and proper mechanics. The drill goes like this:

The Companion attacks the Player with a hammer fist, like a mandritto dagger blow.
The Player covers, applying the ligadura mezana.
The Companion taps when pressure is sufficient, followed by attempting the counter.
In response to pressure, the Player extricates his arm, controls the wrist and applies an armbar.
Again, when pressure is sufficient, the hold is reversed, and the Player transitions to a ligadura soprana.
Once the Companion taps again, move into the ligadura di sotto/chiave forte.
Repeat.

This was followed by the dagger poste dance, available here:

http://www.youtube.com/watch?v=48A7mc8Q72M

The first remedy of dagger followed. The base play for this is the cover, and it incorporates its own scholar: the disarm. Proper execution requires an acressere into the attack, breaking his structure and halting it before it has time to develop. Note that you may not have time for this, but the cover is done the same way: attack the Companion's wrist with your arm. Do not wait passively for it to arrive. First part of the exercise was focused solely on the cover and grab: a fundamental part of the remedies. Students were instructed to cover, then flip the hand and control the wrist. Second part was to have the Companion try to retrieve his dagger while you maintain control. It's important not to game the results by not committing an attack. Make strong, committed attacks and then remove the arm.

The disarm was practised next. The mechanics involved for this drill were as follows:

Make cover.
Grip wrist.
Pull the wrist back and into your hip, breaking structure.
Volta stabile, passing the hand across the centerline and bringing the dagger into your right hand. This action liberates the dagger through the applied leverage to the dagger blade, as well as giving you a bead on the outside line.
Stab him in the eye.

The ligadura mezana was practised next. What is interesting about this technique is that apart from distance (the disarm occurs at wrist distance, while the ligadura happens from a deeper cover), the mechanics are relatively the same.

Make cover
Due to the deeper cover, either because his attack was deeper or your cover was deeper, rather than circle his wrist to grip it, you will pass your arm into the crook of his elbow, while his wrist lies in your armpit or thereabouts.
To ensure good structure, pull his arm back into your body, joining his arm to your hips and torso.
Perform a volta stabile, setting the Companion up on his toes. Moving forcefully into dente di cinghiale will dislocate the arm.
Maintaining pressure with an upward torsion of the elbow, step slightly along the line formed by his legs, and drive his shoulder into the ground - effectively "folding" him onto himself. This is a bad fall to take, so do so in a controlled manner. If you don't feel comfortable, take it to unbalancing.
Apply the lock on the ground.
Stab him in the eye.
At step 4, if you perform you may also step into his knee from the side to help the takedown. Please don't do this to someone you want to continue practising with. Alternatively, performing a tutta volta will bring you alongside your partner. Step behind his knee and along the calf, effecting the takedown.

Next week will be a review and continuation of these plays before moving to the third remedy master.

Fundamentals Class 12/10/2011

2011-10-18T12:43:00.000-07:00

Warm up included paired push ups. One person lies on top of the other, head to feet. Synchronising their movements, both do a push up. The person on top is thus doing a plank in the air, simultaneously working their core. Let down, roll over, do it again. repeat across the room. This was followed by doing the simple wheelbarrow exercise with a partner.

We then played a cool game of Trollball, to everyone's delight, just to get the juices flowing. This was followed by some medicine ball grappling, whereby a medicine ball is put between two people and they must grapple over it and attempt to remove it from the others' grip.

Paired backward falling exercises ensued, after which the attributes required of a man at arms were explained along with Fiore's four virtues. We also visited his "five things" to do when going against a dagger (which I believe applies to the whole philosophy of his art): Strike, bind, break, disarm and throw.

Grips stemming from the poste were visited, with drills set up so that students gained a grip and were to use the various poste to break them. I.e. a bear hug (frontale) is broken by using porta di ferro against the hips to create space. Against a back hold (porta di ferro), use a two handed face push (frontale), and so forth. The previous plays of abrazare were presented as exemplars of longa versus boar's tooth.

Finally, a nice, relaxed rendition of the poste dance to round out the evening's work. Good work, folks.

Fundamentals Class 28/09/2011

2011-10-18T12:30:00.000-07:00

Since this is the first class of the fall semester, we began with an simple introduction to the school, its instructors and the other students. I was very happy to see a bunch of shiny, happy new faces, and bid them welcome!

I also began with a group warm up and explained that while on many occasions, there would be no group warm up per se, on some ocassions I wanted to do group warm ups and games in lien with the class. The warm up was simple, with some laps around the gym running forwards, backwards, etc., had students drag one another across the sala floor using precise mechanics to work the legs and core, and a grappling game where a baton was placed in the middle of the mats and I called out numbers assigned to each student so that they crawled as fast as possible to the center, grabbed the baton, then tried to get back to their "base" all while having the other person prevent it.

Basic footwork exercises followed, after which there was an explanation of each abrazare posta and its use. Poste were also explained in their relationship to one another and how they counter one another.

Following this, partnered falling exercises were done to ease the transition for the inexperienced and experienced alike.

We then performed some drills centred around the first four plays of abrazare and how they are lessons on pressure. Emphasis was on mechanics and controlling the partner all the way to the ground. the drills went thusly:

From wide measure, the Companion enters and grabs the Player'scollar to strike a blow.
The Player thwarts this strike with his left hand, bringing it down and towaards the right, beginning to break structure.
As this occurs, the right arm shoots up using boar's tooth to the Companion's outstretched arm. A slight acressere back might help to straighten the arm and facilitate the armbar.
Volta stabile to the left, this shifts the hips and locks the arm and shoulder. As pressure is applied, you may release the Companion's right hand with your left and bring it to bear on his elbow, adding "more strength."
Keep the elbow close to yourself, bringing it to your hips (porta di ferro) and then drive the shoulder into the ground, locking it.
Bear your weight down on the arm, keeping it locked to your body with your left hand, draw your dagger with your right and do what comes naturally.

If the Companion retreats, pulling back his arm to save it, step in with your right foot behind his left, His weight is naturally moving back.
Push him against his throat or chin, emphasising the unbalanced situation.
Pick his leg with your left hand, pulling it towards you and up while pushing his head back and into the ground. While this can be done with a pivot so as to spiral the Companion down, I preferred the more direct method, which mechanically has the back of the head driven into the ground by the Player.

If the Companion collapses measure to save his arm, wrap your arm around his waist or grip his belt (similar to an obi otoshi in Judo). "Swim" your arm over his (which is now in boar's tooth, having bent it to save it) and apply posta longa against his chin or adam's apple. Crank the neck around and back, applying pressure and compressing the neck and spinal vertebrae. You now have a spine lock.
Break him into two and drive him again into the ground head first.

Companion Class 17/10/2011

2011-10-18T12:08:00.001-07:00

Good Companion-level class last night. We examined tactical applications of Fiore's art, specifically breaking measure using cuts. We examined how target choice can affect the bind, and how to use that choice to elicit a given response from the adversary. Stepping out of Fiore canon, we used some winding (GASP!) while stepping offline to strengthen structure, then move back into stretto along a different line than what is normally used to maintain said structure.

We began by simply having our partner moving through different poste while we threw four different fendente - to the left shoulder, right shoulder, left elbow and a high fenente to the top of the head. Students were asked how each cut affected the bind. We then set up usage scenarios based on two of those cuts before running out of time.

The goal: Choose your attack so as to draw out a given response, limiting your opponent's options so that you can a) safely enter and b) plan your response based on your partner's limited choices.

Next week: more of the same, drawing out a response and seeking a bind.

2011-09-08T15:43:00.000-07:00

Hello all,

Yes, I have been remiss in posting of late. I took the summer off, and with the beginning of the school year (I'm a teacher), things are hectic. Lest we forget, WMAW is but a week away, so I'm once again preparing feverishly for that, plus the photos for my book, university work for my pedagogy degree, kids, life in general, etc. All in all, not much time for organising thoughts and posting here.

That should change after WMAW with the beginning of a new semester, new students, and fresh new ideas and outlooks on the Art. I hope to find you all back here, safe, sound, and with sword in hand. See you then!

Pas d'armes photos

2011-08-15T10:28:00.000-07:00

A few select photos of the pas d'armes are finally up, with more on the way as I find the time to wade though the numerous shots provided by students and onlookers. Aside from the usual combat shots, there are also some photos of the martial demonstrations held for the public. Thanks to all the participants and our loyal subjects, err, I mean supporters!

Gallery Page

Open House September 7th, 2011

2011-08-10T13:31:00.000-07:00

Open House September 7th, 2011

Systemic Footwork Article

2011-07-14T12:37:00.000-07:00

I have written a short article on the practice of systemic footwork patterns and their identification. This article comes from my observations of students in class and the attendant footwork of Fiore’s system. Students have no trouble putting two or three steps together in different combinations, but when pressed, this same footwork goes out the window and students are in the wrong place, with poor balance, etc. A close look at the manuscript reveals there are some base patterns of footwork we can practice to improve this, and this is where the article takes us – including a sample drill progression for the reader. It is by no means a novel or revolutionary idea, but perhaps it will help some overcome or recognise difficulties they have been having. Visit Les Maitres d'Armes website for the full article.

Fundamentals Class 22/06/11

2011-06-24T06:05:00.000-07:00

Continuing with the theme of the aggressive attacker, I decided it was now time to practice how *not* to be so aggressive. Sounds simple, right? Alot of students get (quite literally) "jumpy" in sparring, and in their haste to clobber the other guy, launch themselves straight forward and lose any sense of measure. The result: Closing at the hilts, from which they are not quite sure what to do, since that wasn't quite their intention to begin with. Couple that with the fact that they are off-balance, and you see the problem here...

So we went through a series of exercises meant to explore what happens with different stepping patterns. First in line: stepping offline to the right. This opens up a line by going around the center and forces the opponent to re-align themselves or get smacked. It also conveniently keeps you at sword distance, since you're not closing measure quite so aggressively. Fiore, of course, thought of this one, and his solution of stepping out and into the blow deals with this quite nicely.

Stepping straight in is the quickest way to get to the opponent, but it's fraught with danger. Step too deep, and you have the situation described above (unless, of course, you wanted to close outright...). I find stepping with the balls of the feet helps remedy this problem, keeping you in proper measure. Regardless, the goal of the exercise was to step straight in, claiming the centerline aggressively, but maintain proper measure with the sword.

Finally, we practiced the aggressive option once again, to give people a feel for what's going on. This exploration should help students figure out why things go so unexpectedly wrong in sparring and help cure it. Simultaneously, defenders can practice how to deal with each stepping pattern. Step into the attack, don't move, step offline against an aggressor.

We ended with one of my favorites to practice against someone closing fast - the stop thrust. It's so easy and so much fun, why not?! Seriously, though, even with masks, helmets, the whole shebang, a good stop thrust to the face will rock your head back. Careful, necks are difficult to replace.

Companion class - 13/06

2011-06-23T21:51:00.000-07:00

Tonight was a grab-bag of stuff. I began with exploring the first master of largo parry as a false-edge deflection, which in my mind seemed to take care of the angle that the swords meet, as seen in the MS. It's also consistent with the Bolognese and Fiore's own rising parry or rebatter, which should be done with the foible of the blade. It worked well consistently, but frankly, I'm still not convinced. And if I can't convince myself of my own cockamamie theories, then it's gotta be wrong...

Next up on the roster was continuing to deal with the aggressive attacker. Since this is a Companion class, we took the stretto route to dealing with it, but first - a lesson from master Fiore. In the largo section, we see our Players bound at the hilts. The scholar is bearing down and hoofing the Player in the 'nads. While this is generally interpreted as crossing at the mezza, then sliding towards the tutta as you move in for the kick, I thought it was worthy of exploration, since there is a lesson here. When bound in the manner Fiore shows, the hands go high as a general rule. Look at it. See that? Good. This enables the kick to the 'nads. What's the lesson? Simple. If the high line is closed, take the low line.

We see it in the stretto as well - Fiore pushing the hands high and sneaking under for a grapple. It's first alluded to here, though. Our exploration was centered on using the kick as a counter, rather than as a remedy scholar. When the attacker presses in, stepping deeply, raise the leg and hoof him, following up with dropping your sword on his skull. It takes some skill and timing, and sometimes even coupled with a step offline, but adheres nicely to the principle outlined above. We practiced with push-kicks for, well, the sake of our nads, but in practice you'd be aiming for his nuts. A knee also works well - also illustrated by our friend and master. Fiore dei Liberi. so, while not strictly canonical (in the sense it's used in defence rather than offence), it works quite nicely, and was done antagonistically versus the big man himself: me. A couple of those kicks hurt, actually...

Another situation we examined was closing to the hilts and the opponent grabs the sword. Taking the low line, step to the outside and check his hand/elbow. Follow up as appropriate.

Last thing we explored was the follow-up (or counter to...) the scambiar di punta. This is also the very first play of stretto, or at least similar enough to it. This play works well against an aggressive player who keeps his hands low. Can't take the low line? Go high, over the swords and check his hand as you gak him in the face. Who comes up with this poetry?!

Slated for practice, time permitting, was a return to other stretto plays: outside wrap, inside wrap, pommel strikes (single and double - single if sword is held, same principle), and disarms (high, middle, low.) We didn't get to them, but there's always next week.

Fundamentals Class 06/08

2011-06-23T21:28:00.000-07:00

We began class with a quick review of the pas d'armes. I use it every year to gauge student progress and besides being fun, it has pedagogical aims. We're not a sparring group, and do little of it (something I intend to rectify somewhat, but still not too much), so at the pas d'armes all the bugs come out under pressure.

We began class with some mulinello exercises, since I noticed some students have trouble with flow and continuity, and hold the sword in a death grip. Moulinets help rectify that, and so we did a few moulinet drills.

Wrist moulinets, to the inside and outside (left and right).
Reverse moulinets, both sides.
Basic cutting exercise, going through the path of the six basic cuts: fendente, sottani, mezani.
A slight brain and arm twister, mixing it up. Fendente, sottani, roverso, sottani roverso, repeat.
Cutting on a circle - moulinets while circling to the left and right with an accressere, solo.
Ditto, paired. Come to a bind, take a step offline, repeat.

Next, we worked the second remedy master of largo with varying footwork. Canonical technique has you step in with the left foot for the parry. This is all fine and good, but isn't always feasible. What was happening alot at the tourney was that folks were on edge, and launching at one another, considerably throwing measure out of whack and coming to bind directly at the hilts. Defending against an aggressive attacker then became the theme for the rest of class.

The basic tenet I espouse is to move offline. Students practiced stepping directly offline to the right, which doesn't significantly alter distance, but does put you in an advantageous position, and opens up their inside line to a riposte. Done well, it's almost a one-time parry and counter, done at the hilts. Since your partner is aggressive, it's difficult for him to adjust to that changing line, momentum takes him forward, and you jack in in the face.

I also had them practice something else they rarely do: backing up. Passing back offline (to the right) is a marvellous way of regaining sword measure. you come to the bind at mezza spada versus someone who is aggressive, putting you into a familiar position for any follow-ups. With any luck, they continue to barrel down and impale themselves on your point, since their momentum is taking them that way and they are often off-balance.

Lastly, an elegant way of dealing with an aggressive attacker is to simply jack them in the face using a stop-thrust. Remember to close the line and keep yourself safe, but otherwise, your opponent will walk onto your sword. A slight accressere forward will add to their discomfort., and you can do this with or without stepping offline in either direction.

The second half of class was taken up with sword and buckler actions. The principal theme was parrying with the sword, not the buckler, as the latter supports the sword, and is not generally used to parry with. All the plays were first done left hand empty so we could see the correlation of free hand to buckler, and how all the single hand plays can then be done with a buckler.

Play 1: Cut, parry, cover with buckler and volta to a downward thrust.

Play 2: Versus a rising thrust, point down cover, transfer to buckler, point online and thrust.

There were a few more, but frankly - I forget. It has been at least two weeks, after all...

Pas d'armes 2011

2011-06-07T05:40:00.000-07:00

This year's pas d'armes was an unmitigated success. I'd like to thank everybody involved, particularly Jean-François Gagné who organised the whole spiel and to Rachel Beauchamp for letting us into her home for the after-party.

The fighting was spirited, being fought before a decent crowd at Lac Leamy Park as part of the Family Festival (Fête de la Famille) organised by the city of Gatineau. There were a couple of minor injuries that marred the bouts, and the heat was probably the big winner of the day, but for the third year running, the team comprising "France" beat "England" by one point. Considered best among equals for the second year running was Maxim Zakurdaev, and our thanks and congratulations go to him. Thanks also to Jean-Marc Comeau for supplying the tabards that were used, as they helped clarify things for the assembled crowd and gave a sense of "team" to the effort.

Also on the schedule were some martial demonstrations that were largely appreciated by the crowd, showcasing drills and techniques done at speed. More than one person realised that what we practice is a serious martial art, and if nothing else that day, we accomplished this. Of course, much more was accomplished, since a great time was had by all, we managed to balance entertaining the crowd, enjoying ourselves, and showcasing the school and the Art. What more could be asked for?

Plans are already in the works for next year's event, with some minor tweaks for flow and continuity. Personally, I'd like to see some tweaks to the combat rules, and frankly, objections notwithstanding fighting to a number of "points" instead of passes kinda sucks. The former encourages folks to game the rules and win, while the latter encourages people to participate knowing they won't get knocked off after however many points are awarded, and still continue to fight to the end of their allotted passes - enjoying the experience regardless. There is some debate on this, and I'm trying to keep an open mind, but points (just as signals by judges...) smacks of combat sports. Not sure that sits well with me, but since I generally take a hands-off approach to the tourney (for which I give copious thanks...) I'm willing to let go for the sake of peace despite my misgivings. In the end, it's about the enjoyment of the Art and about forming bonds and enjoying camaraderie, and that's more important than some ruleset.

Pics will be forthcoming as soon as I manage to collate them all and prune the best ones from the bunch.

Regards,

Spada en arme class - Companion class

2011-06-03T16:53:00.000-07:00

Been awhile since I posted anything meaningful, and that's mostly since we've been working on basics and things we've already been over. Couple this with work and the upcoming pas d'armes which has strangely taken up more of my time than I thought it would, and there you have it.

There is one thing I wanted to share, however, and that is the Spada en arme (sword in armour or halfsword) poste "dance." I've tried to develop a poste dance for each of the sections of the manuscript that incorporates footwork and the poste of that section, and this is no exception. Remind me to bring a camera to class and film these.

Without further adieu, here is the sequence:

Half sword poste dance:

Breve serpentina, volta stabile to
Vera croce, grip switch & tutta volta to
Serpentina la soprana, pass to
Porta di ferro mezana, pass back to
Posta saggitaria (hand facing body), grip switch & volta stabile to
Croce bastarda, grip switch & pass back to step 1.

The next step in the development of these drills is to insert the principal actions deriving from those poste, creating more solo drills and tying it in to the manuscript. No rest for the weary.

Regards,

A convergence of random musings

2011-05-15T11:58:00.000-07:00

I'm not a religious man. I'm not particularly superstitious either. Sometimes, however, you get the impression life, God or the universe is trying to tell you something. This may be one of those times. I'm going to apologise in advance for the convoluted nature of this post, since I'm more thinking aloud than posting. Please bear with me.

As you may or may not know, the Chivalric Fighting Arts Association recently saw the light of day. This initiative, spearheaded by my good friend Christian Tobler, seeks to provide a gentlemen's club-like atmosphere of like-minded groups to share and exchange ideas about training, equipment, philosophy, etc. away from the public fora where the signal to noise ratio is relatively high. It also aims to provide a contact point for the various groups, and is a way of saying we all approve one anothers' schools.

Inevitably, this led to a discussion following the announcement on the forums as to what, precisely, chivalry meant in the name. This discussion was also held in private between members of the group. To be brief, it means different things to different people, and even within the group, we do not see it all in the same light. This is not to say we are radically different, but everybody takes from it what he needs or wants, and part of the good thing about the CFAA is that everybody else respects that.

To be honest, for myself, chivalry was a loaded word that reeked of grown men playing at being knights. I did my best to distance myself from everything that was Ren-fair-ish or LARP. I avoided wearing historical clothing outside of demonstrations where it was deemed necessary. Slowly, however, I've lightened up. Our uniforms are professional and clean, but inspired by historical designs. There is value in that, since it distinguishes us and our martial and cultural heritage, giving us a "look" or a "brand" all our own. People take notice, and it looks professional and serious. But I digress...

The fighting arts we strive to recreate were practised by men who held an ideal of chivalry. Whether or not that ideal was met or even practised is another matter. Technically speaking, it really only means "chevalerie" which of course means "horsemanship" which became associated with mounted knights. The arts were associated with a certain class of person, and manuscripts across the board warn not to teach these methods to people of low stature, criminals, etc.

This, to me is what the "chivalric" in the CFAA means, principally. They were the fighting arts of the warrior class of Europe, and thus rightly considered the "chivalric fighting arts."

Does this preclude acting in a "chivalrous" manner, as loaded as that romanticised modern concept sounds, with its association to the church and all the pejorative meaning associated with it? Good or bad, the answer is "no." As modern practitioners, we can also idealise those concepts, using them as positive beacons in an age where honour and respect seem to be sadly lacking. These chivalric virtues were many and varied, with different Orders espousing different, albeit similar virtues. In keeping with that, I think we can adopt some of those virtues for ourselves as a tool for personal development.

Strangely enough, it would seem we already have to a degree. Our mission and values statements, that have been a mainstay of the school since its inception, already espouse several of those virtues we seek to uphold.

In a separate but related matter (you'll see the relevance as I progress...), Sean Hayes posted a video of a mini-documentary on armizare and how it affects his life, etc. Of particular import to me was that his use of the martial arts, and in particular armizare as a vehicle for personal development. While true, and yes, we do use it in this manner, it has never been the focus of our training, and not much onus was placed upon that aspect. This is something I'd like to change, and have been mulling over ways to do so. We've already formalised class structure a little more, introduced uniforms, etc., but I'm sure there's more to be done.

This brings me to that other convergence I had this week. Yes, all this was trotted out before me in the space of a week. No small wonder I'm thinking out loud. Last weekend, my son did his rank test for his green belt in karate. He did splendidly, but while I'm inordinately proud of his work, it was in particular the Sensei's work that impressed me. With no less than 40 kids, many kindergartners, he manages to keep discipline and order in his ranks. He appoints team captains, senior students to accompany others and help keep order and discipline. They recite a pledge or oath, citing the benefits of karate and the spiritual nature of their art, etc. There is also a sense of tradition and ceremony that is lacking in our practice. And kata. Solo forms that practice specific movements and mechanics. At 10 years old, their mechanics and movements and balance are remarkable. Would that I were so lucky!

The first three items relate back to my thoughts on chivalry and personal development. I think instituting a Companion's pledge would be a good way to start, adding a hint of tradition and ceremony to our proceedings, and it is entirely historic in nature. Don't get me wrong, I don't want to cheese it up, nor do I want to go the eastern arts route, since western culture is distinctly different, but since we practice an art where our forebears *did* stand on ceremony, it would at least be a nod in their direction, and a fitting tribute to the Arts they so kindly left us. Appointing team captains would help order and discipline, add a sense of belonging and camaraderie to a smaller unit, and would enable senior students to help more junior ones in a more organised manner. This would also act in accordance with our own rules whereby an Apprentice is supposed to be teamed with a senior student to prepare him for his Companion rank. all of this, of course, speaks to the ideals of chivalry and of personal development.

And more solo drills.

Armizare mini-documentary

2011-05-10T08:21:00.000-07:00

Sean Hayes speaks about Armizare in this short documentary shot by U of Oregon journalism student McKenna Johnson.

WMAW 2011

2011-05-03T05:30:00.000-07:00

The instructor list has been put up for the 2011 Western Martial Arts Workshop, the premier WMA event in North America held in Racine, Wisconsin. It is a varied and interesting group, with yours truly teaching a pollaxe class during the weekend. I'm very happy to be able to contribute my research and skills to such a vaunted affair, and look forward to seeing friends both old and new.

Check out the site:
http://wmaw.us/2011/

Chivalric Fighting Arts Association

2011-04-26T20:31:00.000-07:00

I am happy to announce the launch of the CFAA, a fraternal organisation of like-minded historical martial arts schools bound by common interests and in support of one another. I have included the launch text posted to Sword Forum International below.

--

Let it Be Known to all Who Profess the Art of Arms that we send Greetings and a Declaration of Fraternity:

Wherefore, the Art of Defence has also been known as the Knightly Art, and its study has instilled the virtues of Prowess, Courage, Justice, Loyalty, Courtesy, Humility, Largesse, Franchise, and Faith in its adherents;

Wherefore we share a dedication to not only the revival of the fighting arts of the past, but to insuring their transmission to the future;

And wherefore we also hold a deep and sincere belief that the study and practice of these arts is a tool for building character and personal discipline;

We have therefore come together to form the Chivalric Fighting Arts Association (CFAA); an international organization of schools and clubs devoted to the study of historical European martial arts, particularly those practiced in a chivalric context, used in war, the tournament, and the duel.

Just as there are many different approaches to the study of Asia martial arts, over the last decade this has become true within the Western martial arts community as well. Just as classical Jujutsu, Judo and BJJ may have common roots, techniques, and even uniforms, but possess very different emphasis and training goals, so too are there now WMA scholars whose principal interest is national pride and cultural preservation, others focused on the development of a modern combat sport, and others who focus on those elements that have pragmatic application in the modern world.

As the CFAA’s name suggests, our members’ interest is in these Arts as traditional martial arts. We define “traditional” as a focus on:

• Fidelity to the historic treaties;
• Study of our Arts within their cultural context;
• Study of and respect for the ethical milieus in which the Arts were born;
• Emphasis on honorable behavior amongst and between students and teacher alike;
• A belief that, while, competition is a worthy tool that serves to refine our understanding of the Arts, the Arts are not a tool to foster modern competitions.

We see ourselves as caretakers of an ancient heritage, and therefore the texts are the single most relevant and authoritative word on the arts we strive to reconstruct. Therefore, member schools are encouraged to apply themselves to these books with a high level of philological passion--a passion that has, in the space of a few short decades, brought to light so much reliable information about how our ancestors fought.

Equally as important is the respect for the spirit of chivalry and honorable behavior that were part of the ethical milieu in which our arts blossomed. All ethical systems, from Stoicism to Daoism, Zen to Chivalry always exist in idealized forms, but we believe that the importance lies is in the striving for these ideals. This includes favoring the scientific process of scholarship over the stubbornness of ego, healthy emulation to petty rivalry, acknowledgment of your instructor over teaching his labor as your own, and frankness and openness over squabbling and needless politicking.

We respect all other serious approaches to the study of historical martial arts, but it is our belief that this emphasis on tradition, culture and ethics is what separates a martial art from simply being a combat sport or self-defense. Those disciplines are worthy in their own right, and find a place amongst us, but the common philosophy of our member schools centers on fidelity to the arts as they were originally wielded and recorded, the spirit of chivalry in which those treatises were conceived, and the keeping these ideals alive in the study of our arts - qualities that we believe can be of benefit to the modern world as much as they were for the ancient one.

Therefore, in service to the Art of Arms and in respect to our Forbearers, we are –

Christian Henry Tobler, Selohaar Fechtschule
Devon Boorman, Academie Duello
Stefan Dieke, Alte Kampfkunst
Gregory Mele, Chicago Swordplay Guild
Terry Brown, The Company of Maisters
Mark Lancaster, The Exiles
Bob Charrette, Forteza Historical Swordwork Guild
Dierk Hagedorn & Roland Warzecha, Hammaborg
Bob Brooks, Hotspur School of Defence
Claus Sørensen, Laurentiusgildet
Jason Smith, Les Maître D'armes
Sean Hayes, Northwest Fencing Academy
Tom Leoni, Order of the Seven Hearts
Puck Curtis, Mary Dill Curtis, Kevin Murakoshi & Eric Myers, Sacramento Sword School
Guy Windsor, School of European Swordsmanship
Scott Wilson, Southern Academy of Swordsmanship
Bill Grandy, Virginia Academy of Fencing (Historical Swordsmanship Division)

Christian Henry Tobler

Reading list

2011-04-17T15:05:00.000-07:00

This post is going to be somewhat offbeat, having nothing whatsoever to do with WMA or the school, at least on the surface. It is tangentially related, since in my research for the Jeu de la Hache book, I came across a wealth of period sources that I read only to extract the essentials of what I was looking for as it related to the book.

Now that's over, I'm going to enrich my mind by going back to read the ensemble of French Chronicles from the fourteenth and fifteenth centuries. Beginning the Jehan le Bel, moving to Jehan Froissart (who copied portions of le Bel's chronicle verbatim - a common practice of the period) and ending with Enguerrand de Monstrelet who is widely regarded as the successor to Froissart. Rounding out this trio is Mathieu d'Escouchy who continued the work of Monstrelet. This gives us a timeline stretching from the 1320's into the 1460's, a 140 year stretch of time, and no small feat to read in Middle French.

Rounding out this series of chronicles, I'll delve into the works of Jehan Le Fèvre de St. Rémy, chronicler to the Duke of Burgundy (much of whose work is copied from Monstrelet), as well as the works of Georges de Chastellain, disputed co-author of the Livre des faits de Jaques de Lalain.

Added to these sources will be the memoirs of Jaques du Clercq, son of an advisor to Phillip the Good. His memoirs chronicle daily life in Arras, as well as the retaking of Normandy and the fall of Constantinople. Also on the reading list is the history of René d'Anjou, the chronicles of the good knight Gilles de Chin, the memoirs of Olivier de la Marche, the memoirs of Phillip de Commines and finally the memoirs of the travels of Bertrandon de Broquières, who travelled to Outremer and wrote of the customs and politics there at the behest of Phillip the Good.

This is a goodly piece of reading, not the least because it is in medieval french. Why undertake such a huge reading list?

Because I can.

The wealth of knowledge and the depth of understanding of the lives of the men who formed Europe as we know it today is irresistible to me. Tales of jousts and pas d'armes of all types, day to day life, all these things will give me a greater understanding of how the Art I try to revive was practised in context by these, our forefathers. No movie can give you that kind of understanding, no matter how entertaining, and no history course can fill your mind with the images evoked in the pages of these chronicles.

I figure I've got for the better part of six months to a year's reading to do, so I may as well get to it. I'll get back to you on how it went...

Fundamentals Class 06/04/11

2011-04-08T10:00:00.000-07:00

This week, we stepped away from the sword for a bit. We've (or rather, I've) been focusing very much on longsword of late, and thought it would make a refreshing change to do some basic grappling and revisit some fundamental principles. It turned out to be one of the best classes ever, in terms of flow and structure. And my classes are *all* good, so that's sayin' somethin'! For the humour impaired, yes, I'm being facetious.

We began class with our basic abrazare poste drill to warm up our collective footwork. Next, we did some combined footwork drills. Before I get into those drills, let me just address the "why's."

Every training session allows us to work on certain aspects and improve them. During these training sessions, there are individual problems that we work on, and there are problems that are more widespread. This more often than not provides me with material for a later class, unless i stop on the spot and address it immediately - which is more rare, since it interrupts the flow of class, and I prefer to leave it until a later class; unless, of course, it is so fundamentally wrong that they are training in bad habits, then yes, of course, I correct it then and there.

One of the problems that I find arises frequently is a lack of balanced and measured footwork. First step is fine, second step is fine, drills are generally fine, but when we speed up ever so slightly, or go at full speed, footwork goes out the window. Simultaneously, it emerged in my mind that the manuscript is laden with footwork patterns. The same steps recur over and over again, and mastering some basic footwork patterns at speed would help solve the problem by ingraining a series of steps that should become innate. Most of these patterns are no more than four or five steps long, and so easily remembered. Finally, one of the criteria was that they be symmetrical, and so sometimes a last step in inserted into the drill to ensure this symmetry.

So with this in mind, I set about developing some drills incorporating the footwork patterns of the different remedies of the manuscript. No, not every play, just certain "bookmarks", if you will in the plays. These are the remedy master of abrazare, the first remedy of dagger, the first remedy of the single sword, the attack with the longsword, the second master of largo, and the master of stretto.

We then practiced the remedy of abrazare and the remedy of dagger footwork. The drills follow:

Begin right foot forward.
Shift back slightly with an acressere.
Pivot the trailing (left) foot back, and perform a volta stabile.
Pass forward.
Pass forward. You should now be left foot forward.
Repeat.

Begin left foot forward.
Make an acressere forward and slightly along the diagonal.
Pass forward.
Volta stabile back.
Pass forward. You should now be right foot forward.
Repeat.

These simple drills were done first on a count. Then they were done as fluidly as possible, connecting the motions and trying to keep all interruptions in movement to a minimum. They were then repeated at speed, and finally at speed with the onus on fluidity. It went surprisingly well, and they performed the drills well. Good job!

After this, we continued with some basic grappling and the application of principles. As a practical matter, we usually practice the ligadure from the dagger plays, with an attacker entering and offering the appropriate opening to perform said keys. I wanted to examine how these could be applied from a grappling standpoint. for this to happen, we needed to go back to basics.

By basics, I mean something as simple as breaking a grip. The first few minutes were taken up by a simple exercise to break a grip on the wrist. Grip the partner's wrist as hard as possible, and by simply raising his hand along the diagonal to his opposite shoulder, he can lever the grip away.

Continuing along this line, I then had students reverse grips from the inside. Same basic principle: Grip the wrist, begin to raise the hand along the diagonal, but then "snake" it over in a circular manner, reversing the grip and gripping his wrist. Do this first one-handed, then with both hands.

We then practised reversing grips to the outside. Once again, the same basic principle is at work, just in reverse. With your wrist gripped, drive your hand down along the diagonal and to the outside. Circle around the arm, rising into boar's tooth and grip the partner's wrist, thumb to the inside, effectively reversing the grip.

These three basic drills formed the basis for the rest of the class, where we practiced the ensemble of locks and keys.

Beginning on the outside, I had them perform a reversal, but by trapping the partner's hand to our wrist with the off-hand, we have the makings of a wrist lock. Drive your hand back and the same time, making his elbow bend somewhat. The arm should begin to form a "z" shape. Ensuring that the partner's hand is perpendicular to the ground, pinky finger pointing up, continue the rotational movement or your hand over the wrist and back down. This is a painful lock that will send your partner to the ground with a grimace. Go easy, folks. Wrists are hard to replace.

Say you attempt the same manoeuvre, but measure is off, you pull back slightly, or you over-rotate the arm as you perform the technique. Never fear. Simply slide your hand off the partner's wrist (your other hand keeps his hand trapped) to his elbow, and perform an arm bar. Step through and take them down. If he tries to remove his arm by bending his elbow, take him into the lower key.

We then moved to plays from the inside. The first was a wrist lock from the inside (notice, we're playing with links in the chain, progressively going up the chain, from the wrist to the shoulder. Start at the weakest available link in the chain to enable techniques.) Begin the grip reversal, bring your gripped hand palm up and into boar's tooth from the inside. Trap your partner's hand to your arm, and move towards the outside diagonal. His arm should be in a boar's tooth position, with torsion on the wrist. Complete the takedown by pressing back and down while continuing to apply torsion.

Next was the ligadura soprana. Once again, raise your hand, palm up into a boar's tooth position. As his elbow comes up, grip it with your off hand, continuing the upward motion. At this point, his grip should be next to nil, and so simply reverse the grip, gripping his wrist from underneath now, and continue the takedown either by torqueing the shoulder out to the side and up, or in a more gentle manner by simply continuing the upward motion, which will turn into a downward motion, taking the partner to the ground.

The ligadura mezana figured next, and is similar in nature to the rest of the inside breaks. Bring your hand palm up, but not too far. The partner's arm should now be bending somewhat, collapsing to the body, with the wrist bending towards the inside. This may require a slight shift forward and out to get the proper angle. From here, simply drive forward and out towards the partner's bicep, as though you would punch it. Once past the elbow, hook over and rise into boar's tooth, completing the takedown.

Finally, the ligadura di sotto was applied from a a wrist grab. Utilising the same mechanic as above, bring the palm face up. Rather than shoot to the outside along a diagonal, shoot directly in and between the elbow and body. Rise into boar's tooth to effect the key, then down into porta di ferro to complete the takedown.

Next week will see these applied more antagonistically, and we will complete the takedowns on the mats (for those capable of making the falls.) Then we'll progress up the chain and apply techniques from the clinch (collar and elbow hold, or even an over/under hold), collar/lapel grip, etc. Further, we'll see how we can enter for a reverse takedown or a gambarola utilising these principles. Then into breaking holds using poste, and... ok. Enough for now.

Companion class 28/03/11

2011-04-04T20:12:00.000-07:00

Continuing our focus on the stretto plays, we moved away from the "pommel" plays, and practised the various grapples that the manuscript details.

The first play is obviously the first scholar of stretto. This play is the same setup as the follow-up (or counter to, depending on your particular interpretation) to the scambiar di punta. From the bind, reach over your sword and either place your point in his face, or as is my preference, compass out to the left and strip if from him as you put your point online. Fiore tells us this can be done from either an overhand or underhand crossing, so we practised the play form the roverso as a rising parry versus a fendente mandritto. The attacker, sensing what's going down, turns his mandritto into a roverso, binding down on the sword. Yielding to the pressure, step through and do the play as advertised.

The next play we did was the 6th play of stretto, where you instead pass your left hand under the sword. This frees up your blade, allowing you to suppress his hands and/or wrap his arms while you put the point in his face. The follow-up and alternative to this is the wonderful sword wrap/hilt grab. The difference? Measure.

This was followed with what should be a familiar concept by now, the 14th play of stretto - based off the dagger first master remedy bind and disarm. Slip your hand between the companion's hands and twist sharply to the left, bringing your hand back to your body and neatly slicing his face and putting your point in his face. See a recurring theme here?

The counters to this are several. The manuscript shows two - ostensibly based on the companion's pressure. If he presses in with the ligadura mezana, flow with it, pivot and put him into a ligadura chiave, using your sword as leverage in a half-sword grip. It's good form to use your guard to hook his neck and aid the takedown.

The second counter has you stepping in agressively, or him fleeing,or both. Placing your leading right leg to his outside, Fiore says to slice his throat. Place your blade to his neck pommel up, point down - again in a half sword grip to strengthen the action. Slice from left to right, inverting the position of the sword as you do so and effectively breaking the companion's structure. Either step through or step back to complete the takedown.

I assume Fiore doesn't show the counter to the disarm, simply because he has shown it previously. Why does he show us the same ligadura counter then? Ostensibly since we're using a longer lever to effect the play, slightly changing the mechanics.

We briefly repeated the high, low and middle disarms from the right, and glossed over the sword grab and kick (technically a grapple of the sword, I guess.)

The pommel hook over the sword coupled with a hand suppression/control from the PD was our next play, although we only practised it briefly given its relative simplicity and familiarity. Yes, I know it's a pommel play - I just forgot it last time around and wanted to include it for completeness.

Last were the plays from the roverso cover. The first is the cover followed by a yield and arm wrap. We initially did it from dente di zenghiar, but it is equally doable from any roverso cover. Its counter, which we did not practice, is a chiave forte - the regular counter to a ligadura mezana.

Finally, I wanted to see the dagger disarm from a roverso cover in the PD. Following the cover, reach between the companion's hands with your left (always keep your dominant hand on the sword) and torque it clockwise. While this is the canonical version of the play, and is reminiscent of the third remedy of dagger (at least in terms of being versus a roverso attack, with the caveat that the dominant hand remains on the sword, and so adjusted accordingly), it is meant to illustrate a principle - the disarms can be done from the reverse, keeping your point inline. This is made possible since you're on the outside of the blade with your sword, and so there is no need to volta with the pommel. We can thus perform the high, middle and low disarms from the roverso cover by grabbing the pommel, handle and wrapping the arms as the opportunity arises.

Next week will be an amalgam of the past weeks, using pressure and measure to build decision making drills. If the Companion is hard, soft or neutral in the bind, different options become available - pommel, grapple, disarm, sword wrap, etc. Fun fun fun...

Spada a una mano class 30/03/11

2011-03-31T19:58:00.000-07:00

Tonight's class was a grab-bag of disparate techniques that don't fit into any neat category like the universal parry or rising parries from right and left.

To begin, students practised the stop-thrust, firstly to the face with a void offline. This depends largely on timing and the void right to keep you safe, since it's done without opposition. Despite initial misgivings, the students warmed to it when they realised that two factors helped: a committed attack by the adversary makes this work, since it's hard for him to track you and adjust, and on the other hand, a feeling for self-preservation by the opponent which makes any sane man want to parry rather than kill you as his face is impaled.

The second variant, I had them aim for the weapon-side shoulder, stopping them dead in their tracks as they impale themselves on your sword. Sweet.

Third variant, we dealt with the opponent that binds your sword. Simple - perform a mezza volta behind the blade, step to your left and gack him in the face. Focus on this one was on point control.

Lastly, I borrowed from the Bolognese somewhat and had students parry with opposition using what would be guardia alicorno. Folks felt much safer with a sword between them and their opponent!

This segued into the second master of largo parries with the single sword. Measure plays a role here, or rather the length of the weapon. The first master is difficult at best to achieve given the lack of length of the weapon, but the second master works quite well with a nice frontale parry, giving you good structure. Cut to the hand, return with a rising blow to the head. This can be done with and without a pass.

Finally, some hanging parry goodness for good measure. The key is really engaging the opponent's blade as it comes in. Many people have a tendency to place the blade horizontal and parallel to the line of the shoulders, when in fact the sword should be held obliquely forward to protect the hand and guide the blade away. We did this to the left and right against roversi and mandritti.

Fundamentals Class 30/03/11

2011-03-31T19:31:00.000-07:00

Some very simple drills tonight - a return to basics.

Class began with the usual warmup, followed by some cutting drills. Actually, *a* cutting drill, done at various speeds.

From posta di donna, back weighted, transfer weight forward while bringing sword off shoulder
Bring sword to just in front of the body, frontale-like.
Step with a pass, extending the cut into posta longa.
Recover to dente di zenghiar.

The first iteration, I had the students do cuts in steps, as outlined above.

Next iteration, one count, but at slooooow speed. Focus on mechanics and balance.

Next iteration, half speed, again focusing on fluidity and posture/mechanics.

Last iteration, done as fast as possible while maintaining structure, balance and form. This speed will vary depending on the student.

Next set of drills focused on one defence: the second master parry versus three cuts: fendente, mezani and sottani. There had been some question as to how to parry these latter blows, since we focus very little on them. Part of that reason is the poor tactical choice both mezani and sottani make as opening attacks, and thus my concerted effort to discourage their use in this manner. Second, well... since we often focus on manuscript plays, and there are no specific parries for these for the most part, I simply glossed them over. Mea culpa. Hopefully, the theme for the evening addressed these concerns.

Guides

2011-03-24T11:24:00.000-07:00

While waiting for the snow to melt so that I can finally get around to shooting photos for the Jeu de la Hache book, I thought I'd get around to finally finishing up the curriculum guides for the school.

There are three basic guides for the Apprentices, the abrazare, daga and spada longa guides, respectively. Each one is focused on the respective portions of Fiore's art that (and this part is important) I think are fundamental knowledge. Following in Fiore's method, I build on each successive guide. Therefore the grappling guide comes first, followed by the dagger and sword guides. Spada una mano, lanza and azza guides are also in the works, and possibly a spada en arme guide if ever there is enough interest by the student body (which seems unlikely, given the prohibitive cost of armour). I think maybe a stretto guide would be a good addition as well. Damn. More projects. There is a Companion rank guide in the works, but it's such a huge undertaking, it won't be done in my lifetime.

This brings me to an interesting set of observations. These guides have been in the works for literally years. I'm sick of seeing the files on my hard drive! But that's not really what I observed. What I observed is the evolution of the school and its curriculum through the various iterations of the guides. It began as one huge guide, then got splintered. I went from trying to put all relevant information into it to simply putting what was necessary as a memory aid, with the rest being fleshed out in class. I went from trying to replicate an entire grappling system from Fiore's principles to simply including a few techniques and principles. I went from a bunch of techniques to simply using set play and flow drills that build on each other. 4 or 5 set play drills should showcase the entire core of the system.

So am I watering down my teaching? Perhaps, but I don't think so. Am I simplifying it? Hell yes. The Companion rank is supposed to act as two things: a formal admittance into the ranks of the school members as well as an acknowledgement of having met certain basic requirements. For me, it means I know that people know what an acressere is and what a gambarola is. It means that they can adopt posta di donna when I ask them to. Does it make them fearsome warriors? Not in the least. Does it mean they can even fight? Not really. Ultimately, of course, the goal is the capability of fighting, but that's not the be-all and end all of what we do. We train for the art's sake in itself. The very practice of the Art is a physical, mental and spiritual exercise in which we should revel. Kicking butt just adds to the fun.

Returning to the question at hand, which was basically: did I devalue the curriculum and/or the ranks? Definitely not. Many different groups have many different methods of training, and I simply evolved from one to another. Instead of having students perform "play one" then "play two" etc., now we can string them together in series of plays, building up the drill. Different methodologies, not better nor worse. As an example, I had a student not long ago tell me we used to do much more footwork than we do now. I thought it was an interesting comment, since I disagreed, but decided to ponder it some. The answer isn't that we do less footwork, we arguably do more, it's just that it takes a different form. Rather than do dedicated footwork drills (as in put one foot in front of the other for fifteen minutes), I integrated footwork into other drills. Poste dances, dagger drills, etc. The footwork is implicit, rather than explicit. Sometimes the weapon serves as a distraction, other times a reinforcement. Different, not better nor worse.

In fact, I could systematically replace every drill in the curriculum with new ones that respect the mechanics of the system, but embracing a new training paradigm and the results would be largely similar.

So as I sit here, grasping my head in pain from the massive undertaking of once again going through the curriculum guides to update them and hopefully finally get them out, I can console myself in the fact that I continue to progress and change, rather than stagnate. The day I stop thinking about what we're doing and the best ways to achieve those goals is the day I should put down my sword and go home. So while yes, we are in a constant state of flux, the core material hasn't changed, only the manner in which we train it. That diversity is our strength, and should be embraced.

Now that I've put up this blatantly self-congratulatory post, I'll go back to stroking my ego over the keyboard as I comb the guides for the umpteenth time.

Oh, and by the way, more dedicated footwork drills will be forthcoming, dear students. Patterns of footwork. You asked, I answered...

Spada a una mano class 09/03/11

2011-03-15T06:10:00.000-07:00

Tonight we worked the low guards as defences, using the duo of dente di cinghiale and porta di ferro to complement one another, since they are at least tactically, the mirror of one another. I'm writing from memory here, so forgive me if I muddle some of the details.

The first three drills from dente di cinghiale went as follows, all three against fendente mandritto:

Without stepping, set aside the attack from below and cut to the Companion's hand.
Taking a slight acressere with the right foot, parry the blow from below and directly attack the head with a mandritto.
First stepping fora di strada, parry the blow, then pass with the left foot, control the Companion's hand, and move into posta di finestra for the thrust.

We then followed with plays from porta di ferro, left foot forward, using the falso filo.

Against a mandritto, step fora di strada, parrying from below and sideways in a "windshield wiper"-like motion. Attack the hand.
Against a roverso, parry from below from the inside using the same mechanic, attack the head.
Against a roverso, parry below from the outside, passing to the right. Attack the arm or close and press the hand.

Finally, we did the plays with the dritto filo from porta di ferro.

Against a mandritto, cut up into posta frontale, deflecting the blow. Drop the sword to the hands then thrust to the chest or cut sottani to the face.

Ummm... there was another one, I'm sure, but I forget it off-hand, and I left my written notes back at the sala, so they're gone forever. Regardless, this should do insofar as memory-aids go.

As an aside, I'm really thinking of setting up a tripod and filming the demos of the drills and techniques we do, for posterity and future reference. Having a bank of these things on video would be immensely helpful, I'm sure. I just need to find a way without making it unduly time-consuming in terms of setting up, etc. If it's a pain in the ass, it ain't gonna happen.

Fundamentals Class (Apprentice) 9/02/11

2011-03-15T05:53:00.000-07:00

Tonight was our last night working on the volte of the sword. We had another guest in class, and I'd like to thank him for coming out and joining the group for the evening - you know who you are!

Essentially, these drills were repetitions of last week's plays, done at a good clip, from out of measure and coming to the bind with a cut.

Volta stabile drill, where pressure is directed towards the Player.
Mezza volta drill, where pressure is directed sideways, allowing the Player to cut behind the sword.
Tutta volta drill, where pressure is directed down and out, enabling the Player to cut fully around with a tutta volta, in the same manner as the colpi di villano.

A couple of drills were then done to illustrate the tactical nature of each volta, whereby they successively out-time one another.

The first drill had the Companion cut to the Player and push a thrust to his face. The Player would then perform a "bad parry" by simply setting aside the thrust using frontale without following up immediately. In response to sideways pressure, the Companion performs a mezza volta, which is countered by having the Player raise their hands with a volta stabile, putting the point into the center of mass.

The second drill, much like the first, had the Player cut to the Companion with a fendente. The Companion, feeling the pressure exerted, performs a tutta volta, which is countered by the Player who simply strikes fendente roverso, effectively out-timing the Companion.

After this, I used these to work sensitivity in the bind. The first drill gave the attacker two options: forward or sideways pressure, and the Player was to choose between the volta stabile or the mezza volta. The next drill gave the Player the choice between reacting to sideways pressure or downward pressure, performing a mezza volta or tutta volta. Finally, all three were combined, and the Player had to choose the proper technique based on the pressure that the Companion fed him.

Companion class 07/03/2011

2011-03-07T20:23:00.000-08:00

Tonight's class was aimed squarely at the zogho stretto of Fiore's manuscripts - specifically, what I called "pommel play." We looked at all the plays using the pommel, and while I was tempted to include the disarms, thought that would be too ambitious - which it would have been. In my defence, I did include some disarms, but using the pommel, so it's ok. We will do an entire class on the canonical disarms as well in a future class, but next week will be repetition of tonight, to ingrain the techniques and principles.

We began with a basic overview of stretto vs largo and the tactical situations each addresses, with the defining characteristics being: measure and positioning. Doing the stretto plays with the right foot forward allows you to step forward aggresively to the outside, isolating the companion's weak side.

The first drill was the third play of stretto: the pommel strike with one hand, controlling with the left hand. Remember to control the hand to prevent any return action, and compress it down to the body. This play also includes the option to move out of range and strike fendente, which we also practiced.

The next drill was the fourth play of stretto, aka the two-hand pommel strike. It also has a variant or follow-up in which you throw the sword around the companion's neck and take him down.

Next on the plate was the 7th play, or sword wrap and hilt grab. Fiore tells us it counters all disarms and grapples. He is also explicit in telling us to be quick. This is a pre-emptive move from the bind, where because of positioning (right foot forward), we can employ the same principle as the sword grab, but instead follow through and wrap the sword entirely. This, in itself, traps the blade against the body, and coupled with the subsequent hilt grab, effectively shuts down any grapples or pommel strikes. While not a pommel play in itself, it purportedly counters all the grapples, so is included here.

The 8th and 9th plays followed, whereby the pommel (more properly the handle or grip) is used to set aside the companion's sword and remove the point from presence, forcing it high. This is the same principle as the elbow push from the outside, and we use the long lever of the companion's arm against him, except from the inside. Once the point is out of the way, transition by passing your left hand under your sword and over the companion's arms, wrapping them to bring your point online while slicing the arms. Fiore tells us to continue striking until, well... you get it.

Finally for the stretto, I did the last four plays (actually, I skipped the last one). All four are for all intents and purposes the same play, but Fiore is giving us a lesson on mechanics. The first is the high disarm, whereby you threaten with the pommel, but rather than strike, you step in and wrap his arms from above. Use your pommel to set aside the blade, turning it down while you pivot back. This will disarm the Companion of his sword.

The next two plays work using the same principle - the middle disarm grasps the handle between the hands, while the lower grips the companion's pommel. Use your pommel in all three cases to set aside the blade and strip the weapon. The manuscript has us step deeply and behind the Companion, but if you step in front, you can turn this into a nasty throw at the same time. Just sayin'.

I mentioned the play that occurs only in the PD, which hooks with the pommel between the hands and uses the hand-press with the off hand to further control and disarm the Companion. We did not practice this, since I wanted to move into the mounted plays with the pommel - specifically the play that Fiore contends counters all the plays before and after. No shit. Oh, except for its counter, of course...

There are basically two types of pommel plays in the mounted section - from a bind, you hook the pommel to the inside, and instruct your horse to canter off, pulling the unfortunate Companion of his horse or removing his sword. An astute student noted that this is possible, since you're in armour and thus not overly worried about slicing the inside of your arm. Precisely.

For the second, I first addressed the issue of the switching horses in the Getty - for the initial pommel strike, they find one another on the left, but for the counter, they are on the right. Now, either this is Fiore's way of saying the counter works against both inside and outside threats, or the MS is just messed up, since the PD does not have this discrepancy.

So, with the sword in one hand (this will work with both hands, btw...) cut to a bind, step through to stretto, and move in for the pommel strike. Nothing new here, really, in terms of principles. The counter (9th play) is specific, however: use the handle to block the incoming pommel strike. Why? The answer lies in the fact that the reins are held with the other hand. Normally, you could control with an elbow push, but in this case, it isn't available. Keeping the sword vertical prevents the hook, and keeps you in a mechanically strong position, whereas your Companion is giving you his outside, in a weak position. Once set aside, either enter with a pommel strike of your own, or perform a riverso, which is Fiore's first option. This riverso, if done with a bit of oomph may simultaneously disarm him as well.

That's it for now. More later...

Fundamentals Class (Apprentice) 02/02/11

2011-03-04T15:58:00.000-08:00

Tonight we went through the rest of the volte of the sword as a continuation of last week's work. We began by reviewing last week's volta stabile briefly, then moved into more familiar territory: the mezza volta and the tutta volta.

At the risk of repeating myself, the volte successively out-time one another, with the volta stabile being the fastest, the mezza volta the next fastest, and so forth. This means that the counter to one of the volteis often the faster volta.

For an example of this, take a look at the play of the punta curta. The Player attacks with a mezani, provoking a defence by the Companion. In response, the Player performs a tutta volta around the sword to attack from the other side. The counter in the next play is an application of the mezza volta, which out-times the Player.

Drill 1:
Begin from the bind.
One Player provides sideways pressure, moving the point offline.
The Scholar changes the orientation of his hand, cutting a roverso behind the Player's sword. Yes, this is very duplieren-like.

Drill 2:
Same as above, but begin out of measure, cutting to the bind.

Tutta volta
This is a cut all the way around the Companion's blade in response to pressure. The colpi di villano is a prime example of this volta.

Drill 1:
Begin in the bind
In response to downwards pressure, break your wrist to the right and yield to the pressure.
Moulinet the sword quickly around and cut to the other side.

Drill 2:
As above, but cut to the bind from out of measure.

Coming next week: tactical decision making using the volte in response to pressure (sentimento di ferro) and countering the volte by out-timing them.

Oh, and Rachel's new uniforms rock. :-)

Fundamentals Class (Apprentice) 23/02/11

2011-02-23T20:55:00.000-08:00

Tonight was a pretty ambitious class. I had wanted to go through what I call the "three volte" of the sword, the volta stabile, mezza volta and tutta volta. Apparently, it was too ambitious, since I only got through the first volta, the volta stabile.

Class began with a discussion on tempo, and how the volte successively out-time one another. With this foundation laid, we progressed directly into the drills, realising I would not have enough time.

In short, it's my pet theory that the volta stabile is the winden am schwert of the German systems. Following this theory, we practiced the windings.

Drill 1:

From the bind at mezza spada, simply transition into posta di finestra on the left, regaining leverage with your forte against his debole.
Repeat.

Drill 2:

Now that the students know what the proper measure is, have them begin out of distance, and come to a bind with a fendente cut.
The Companion applies forward pressure, so you wind up to posta di finestra sinestra. (BTW, I messed this one up in practice - I had them put sideways pressure... mea culpa.)

Drill 3:

From out of measure, cut to a bind at mezza spada.
The Companion applies sideways pressure in response to a thrust by the Player.
The Player then does the winding on the other side (errm, the volta...) and moves into posta di finestra destra, stepping around the center with his left foot and voiding the Companion's point.

You now have the basis for two of the volte - one outside and one inside. The inside one works because of pressure, and the fact that the Companion is not threatening you - basically, he's a chump.

Drill 4:

From the bind, have the Companion thrust at you.
Wind up to posta di finestra sinestra, displacing the point and regaining leverage.
The Companion, feeling threatened and realising he's about to die, applies sideways pressure.
Wind to the opposite side and into posta di finestra destra.

This was then repeated from out of measure, cutting to reach the bind. It was then repeated once again, this time at about three quarters speed to see if they could pull it off at speed.

A few caveats:

Always thrust to the center of mass - it's a far easier target and harder to defend.

Always keep the point online - the tip of the sword is the tip of the pendulum's arc. At the very leasy, keep it within the outline of the Companion's body.

The volta stabile out-times the other two volte, just like the step does.

Oh, and for those looking for proof that the windings exist in Fiore: take a look at the scambiar di punta and its follow-on play. The scambiar is, for all intents and purposes, a low winding, and the following play is simply a winding to the other side. The collapsing measure allows you to control the hand, but it is otherwise almost identical to the 5th and 6th windings of the Liechtenauerian system. And no, I'm not of the "one art" school, I just find there are more similarities than differences, and I have a hard time believing that the same weapon was used in radically different manners in the same time frame in the same general location.

Next week, as promised, the rest of the volte.

Oh, and one more thing: while I'm well aware that these aren't part of the formal canon of Fiore, there is some pedagogical value to this. First off, they will eventually meet some Liechtenauerians, so they may as well be prepared. Second, the windings... er., volte serve to teach important lessons about leverage and tempo. So there.

Lastly, I went through some notes Bernard took about the Guy Windsor seminar last weekend. It's good to see many interpretations and methods concur. Pat on the back to me. They were well received by their hosts in Toronto, and we will definitely be inviting them down to play soon. I was somewhat disheartened I couldn't make it, but to repeat what my friend, the aforementioned Guy told me a couple of years ago - "last thing I need is to attend another Fiore seminar..." It's much more fruitful to just compare notes between instructors after hours.

Cheers!

Companion class 14/02/11

2011-02-18T13:14:00.000-08:00

Tonight, as promised, I adressed breaking the guards. The problem with this whole concept is that for it to be truly effective, there's a whole lot of theoretical baggage that needs to be downloaded by the students first, so I plunged into that headlong, with the hopes that they would have a better tactical understanding of the guards, their uses, and how to use them to good effect, rather than simply using them haphazardly.

There are twelve canonical guards illustrated by Fiore, with relationships defined between them. Despite this number, there are actually several more, since many of them are symmetrical. Posta di finestra, for instance, is only shown on the right - although it can be used to good effect on the left as well. If we only count the twelve poste, and assume that each one can conceivably oppose any other, this leaves us with at least 144 combinations, symmetry notwithstanding. Understanding then the tactical use of each guard, and how it can be used to oppose or break the others' guard is half the battle.

To begin, try and group them by purpose or tactical similarity. This lowers the number of options you have to deal with. Point-on guards all have similar tactical uses, so we can safely group finestra, longa, porta di ferro mezana, bicorno and breve together. All threaten with the point, forcing the opponent to deal with it. Porta di ferro mezana is essentially posta longa with the point low, keeping it refused and out of engagement range.
The pulsativa guards, tutta porta di ferro and posta di donna are, for all intents and purposes the same guard. What?! you say? Yup. Both can do everything the other can, and oppose one another handily.

This leaves us pretty much posta frontale, which really is a transitional position, and is used defensively.
First: similar guards oppose one another. Posta di donna opposes posta di donna, tutta porta di ferro opposes itself, and so forth. This is tempered by the length of the sword (another way to express reach) when it comes to the point-on guards, where we are told the longest reach offends first.

Taking what Fiore then says: Posta di donna breaks all the guards. Since it is functionally similar, so does tutta porta di ferro.

So, if we believe Fiore and most fencing masters since, "breaking" a guard is simply a way of saying you should assume a guard that gives you an advantageous position in relation to your opponent, forcing him to move out of it or remain vulnerable. Right posta di donna versus left is an example. The person on the defensive often feels at a marked disadvantage, although you might assume this guard on purpose to seek a strategic advantage.

There is, however, another way to break a guard, and that is by initiating an attack or feint that forces the opponent to move out of the guard to meet the perceived threat. If you attack someone threatening you from posta di finestra, for instance, to the head on the left side of their head, he will be forced to move out of his guard, and you can now work to attack the opening line instead. *You must be prepared* for this, knowingly opening the line as a first-intention action, then moving to another second-intention action in response. Be prepared for your opponent's response, and remember to reduce your choices by figuring out what his most likely response will be.

Finally, a note on longa and breaking guards: Longa is a special case, in that it is the onbly guard that actively occupies the centerline. You have no choice but to deal with the point to enter. Otherwise, he will track you and stab you. With finestra, you can attack an opening. Ditto for porta di ferro mezana and breve. Longa has no such vulnerability. You may, however, engage the point to get passed it, which is its weakness. In short, you can't use an attack to create an opening versus longa - you have to physically displace the guard.
Since it seems I'm waxing on and on about breaking guards, but having trouble putting coherent thoughts together on a page, I'll just move on to the exercises we did.

Player assumes a guard, companion assumes a guard he thinks will counter it. 5 minutes.
Player assumes a guard, companion assumes a guard he thinks will counter it. The focus is on quick, smooth transitions. If the Player sees any hesitation, he is to attack, given the tempo to do so.
Player assumes a guard, Companion assumes a guard he thinks will counter it. Again, if there is hesitation, smack him. Once the guards have been assumed, the Player attacks, testing each of their positions in terms of tactical viability and looking for the strengths and weaknesses of each guard.
The Player assumes a guard, the Companion attempts to break the guard using an offensive action, forcing them out of their guard and emplying a second-intention action.

In the end, you need to be comfortable from all the guards, and know the inherent weaknesses of each versus other guards. Because in truth, you will get caught out of an advantageous position, and that's when the opponent will strike. You can't always break their guard, nor oppose it favorably, but knowing the guards will help you be a better fencer, and allow you to make better tactical choices.

Fundamentals Class (Apprentice) 16/02/11

2011-02-16T20:41:00.000-08:00

Tonight's class was focused largely on dagger, specifically the first remedy master, versus a mezani dritto. We began with some basic footwork drills to warm up, segued into some footwork drills with sword in hand, then rolled out the mats.

We began with the first play, the disarm. I lined everyone up in two facing rows, had one row attack on my signal, and the other row would perform the cover and disarm. They would then all shift right by one, and those on the end would switch rows. This kept everybody moving at a brisk pace, and let everybody work with everybody.

After that, we worked the takedown, which for all intents and purposes is the gambarola with the dagger. I classify this as a backward takedown using posta longa. I then demonstrated changing grips, around the chest, held by the belt on the far side, etc.

We moved into a backward takedown from poste frontale on the same side as the dagger. By grapping the near shoulder or lapel, the Player can effect what is pretty much the same takedown - a backward takedown using the leg, but by using the shoulder as a handle.

For fun, I decided to more or less combine the two previous version, and have students grip on the near shoulder, but collapse their arm, striking the Companion in the chin with an elbow as they enter, offering a "softening up" blow that simultaneously forces the chin up and back, helping to further break structure.

I also demonstrated how by stepping closer to the Companion, many of these rear leg takedowns become hip throws. Since we don't practice high-amplitude falls much, I decided to forgo this exercise, but it's on a to-do list for later.

Finally, I took the play's principle one step further and turned the play into a forward shoulder throw. If, for whatever reason, you don't push into the attack, like Fiore seems to prefer, you can step across, effectively performing a tutta volta. Keeping in front of him, drop your hips beneath his while tugging on the arm to break structure. lock it to your body with dente di zenghiar, pop the hips, and the Companion is loaded onto your hips for a shoulder throw. Just roll them off your back.

If you step too deep, you and up behind their leg, and this becomes a really nasty rear hip/shoulder throw. If, for some reason, you can't get in front of their lead leg with your step, and step between their feet, the play still works as advertised, the pivot point just changes, and you take out their rear leg.

The second half of class was devoted to some controlled/directed freeplay. I had them fight using certain constraints - obliged to open with a thrust. Designated attacker and defender. Designated beginning poste, etc.

We ended with a bit of free form play to cap off a good night. Well done, folks. Let's do it again!

Companion class 07/02/2011

2011-02-07T20:28:00.000-08:00

Tonight's class was focused exclusively on posta di finestra and fighting from and against it.

In our group, posta di finestra (PF) is very underutilised. This is partly because of its nature and partly because I personally don't really like to fight from it. I decided to address that, however, and not put my preferences ahead of good pedagogy by showing the inherent tactical uses of the guard.

In short, it is a point-on guard, with the same inherent properties as posta longa. Like its cousin, it is an instabile guard. It cannot withstand a bind or much pressure, but rather than being a weakness, we can harness this. It provides a threat that the opponent must deal with, precisely as longa does. Its problem is its un-intuitive nature and the difficulty people have transitioning to and from it, either by cutting or thrusting.

First drill: Cut from PF into longa from a back-weighted stance. Remember to uncoil the hips first and propel the weapon before stepping into measure.

2. Cut from a rear stance, volta stabile with a half-cut into posta breve, then thrust with an acressere, returning to a back-weighted stance.

3. Same drill as above, but retreating. Sequence of movements is slightly changed. Close the hip while stepping back, all while transitioning to posta breve. Thrust.

4. Partners face one another in posta finestra, back weighted. One cuts fendente while the other covers before counter-thrusting, first master style.

5. Partners face one another. Companion thrusts from porta di ferro mezana and the Player covers from finestra, using the scambiar di punta.

6. Same as above, but using the rompere di punta.

7. Repeat drills 4-6 above, but stepping back.

8. Using finestra as a provocation, Companion must try to move point aside. Like longa, drop point underneath incoming attack and counter by:

covering the sword and thrusting, scambiar style.
Covering the sword, transporting to the ground, rompere style.
Void the sword and cut to the hands.
Void the sword and cut to the head.
Void and thrust directly behind the attack from finestra.

The drill was done going from right finestra to left side, then was repeated as a free-form drill as an exploration. The results are in: The cover a la scambiar works poorly on the right, due to the crossed hands and poor structure - perfectly in keeping with the principles of the system. Cool how that works out.

Last bit was an explanation of how to break the guard through positioning (adoption of a counter guard) and tactics (attempt to bind the blade down, step wide and cut to the hands, avoid closing distance without having dealt with the point and of course, forcing the opponent to move out of the guard, thereby "breaking" it.)

Ended with a little colpi di villano drill from a bind against finestra with the Companion providing pressure. This is what happens if you fail to decieve his attack by voiding the point.

Next week: breaking the guards.

Spada a una mano class 19/01/11

2011-01-20T07:36:00.000-08:00

Class breakdown for the sword in one hand.

Poste drill. Reminder of the tactical uses of the poste : left hand guards are defensive, right side guards offensive.
Exposé on attacking and cuts in general: cuts with the 1H sword are even more tied to the guards - cut and flow from guard to guard, arm well extended. Positioning plays a large role when attacking, keeping behind the sword and either seeking to draw out the opponent's defense or seek a bind from which to work.
Cutting angles and flow drill - cutting all six cuts and the thrust from posta di coda longa: From CL, rise over the head into PdD, cut mandritto, circle up to PdDS, cut down roverso, from PdFm, cut up sottano with the dritto filo , circle around to CL and cut sottano to posta di finestra, cut mezano dritto, reverse blade and cut mezano roverso, end with a punta and return to CL.
Review of universal parry, exercise with and without step. Remember to keep hand close to chest, control hand or elbow when stepping in.
Drill versus fendente roversi using the universal parry.
Drilled the universal parry from all the left-side poste.
Drill for the one-time parry versus a roverso, cutting fendente roverso into the cut, targeting the advance trarget (hand)
Added into the drill attacking the advance target - cutting off the hand from the universal parry versus mandritti and roversi cuts.
Universal parry versus the thrust
Exposé on how I will use the una mano section to bridge the gap to giocco stretto and get students comfortable with closing; how the sections are related.
Demonstrated the universal parry versus all types of cuts: sottani, mezani, fendente. Will pick up here next week and develop this further.

Before lighting off into the formal set plays, I want to lay the foundation for a one-hand system, beginning with all the major parries, plays of the two-hand sword that can be carried over, etc. Then go with the formal plays. This should get students up and running and reasonably competent in a relatively short time, while permitting further development down the line. In short, I'm somewhat extraploating a one-hand system from the little information that is available in the manuscript - remember, I think this section is in addition to what we already know about the longsword.

Fundamentals Class (Apprentice) 19/01/11

2011-01-20T07:03:00.000-08:00

Tonight's class was the culmination of our 3-week series on grappling fundamentals, in particular unbalancing using the Companion's movement by extending their steps along the line formed by their feet (along the "T" if you will)

Warm up
Footwork exercise - focus on fluidity and speed (mezza volta)
Poste dance
Falling practice - leap frog rolls
Review of the past week's classes
Expose on the methods of breaking structure
Gambarola exercise (leg tripping takedown) - focus on using movement to effect the unbalancing/breaking structure which is then accentuated by the hands. Gambarola moving backward, forward and to the side, on both sides.
Segue into a shoulder throw. Illustrate how the gambarola is a backward takedown, while the shoulder throw/takedown is a result of different relative positioning, making the Companion fall forward rather than back. Free form drill where students experiment with different pivot points for the throw: full hip, half hip, over the leg, etc.

Last week, we practiced largely the same thing, but focused on different grips for the gambarola: lapel grip (frontale), arm grip (frontale to one side), longa (neck and elbow hold), porta di ferro (belt hold) and zenghiaro (underhook to the body). Examination of how different grips can affect distance and fulcrum.

All in all, good classes with students really starting to grasp how the unbalancing functions. While not necessarily able to consistently do the technique, due to varying conditions, the understanding is there. More work with the dagger next week.

Start of year musings...

2011-01-13T08:20:00.000-08:00

If you read my titles, it would seem that all I ever do is endlessly muse over things. While that is true, ocassionally I do actually perform an action or two. The beginning of the year has been no exception.

First off, I'll take a few moments to welcome our newer students. Five at last count, counting three youths. Not bad. We've also semi-officially moved away from a 'semester'-based program to a progressive entry, where people can join at any time and we will be able to integrate them. This has been largely because of some reorganisation of the class structure, which while mostly transparent to the students, has been quite good on my end. In essence, the first part of our Wednesday class has become "fundamentals" where we work on fundamental aspects of Fiore's art - stance, footwork, mechanics, poste, basic grappling, basic dagger and set-plays, basic longsword and set plays, etc.

After this first portion, the second half of class is for slightly more advanced work, alternatively being sword in one hand (I'll get to that in a moment), free training (where there is supervised training of whatever students want and/or need), study groups (for Bolognese, for instance) and light freeplay. That last part is something we have not focused on, since it is my feeling (and mine alone) that sparring introduces artifacts and deforms technique to the point of unrecognisability. The fact that our students are appreciated wherever they go and make a fine showing of themselves is testament to the fact that training works. It may be slower, it is definitely more methodical, but it works while still preserving form. I'm happy with the way we do things, but feel that a bit more play is necessary from time to time to pressure test technique and form and for students to get a feel for how they perform outside of a drill. And note that by freeplay, I include controlled dills at speed with decision-making, etc. It doesn't always have to be a fight.

These past two weeks have been once again a return to grappling basics. Grappling is, at least for me, a very very complex subject, and one I find hard to build a solid curriculum for. There are so many things to contemplate, that it boggles the mind. Do I focus on only Fiore's techniques? Do I introduce a full grappling system filled with frog DNA from other systems (western wrestling, greco-roman and even judo and aikido come to mind)? Questions questions, always questions.

My answer is to well, wing it. Yes, you heard me. I think everybody needs a solid foundation in the basics - breaking structure, balance etc. This is what we practiced. We also integrated those principles into some throws and takedowns. Fiore's grappling has the added complexity of being done at different measures. It's not always about the clinch and the pummeling. Takedowns occur at several different measures, for instance the canonical gambarola takes place from close body contact, but the first master of dagger has a gambarola that is done from the cover. A reverse takedown (or diving throw ) is done from differing measures and using different weapons. So when approaching grappling, there is alot of ground to cover. fortunately, we have years and years to practice all this. But I digress. I wing it. Every time we practice, I try to identify a weakness in our fundamentals and work on it. This means that we practice less the canonical plays than we likely should, but it also means that students will have a better grasp of the concepts once we do. Everything is a trade-off.

So with that in mind, I borrowed a kuzushi drill from judo, basically paired walking. The aim is to create an unbalanced situation by following the movement of our partner. We then add to the drill by putting hands on (did I mention we did this with our partners holding us only?) and accentuating the unbalance. This alone can sometimes lead to a fall. To complete the exercise, we then moved on to variations of the gambarola, whereby you can do it moving back, sideways and forewards on both sides, always in response to your partner's movement. We then did it again using variations on grip: double collar grip (posta frontale), belt and elbow grip (porta di ferro), and then a neck and elbow grip (posta longa). And I must admit, it went marvellously well. I think they're getting it!

Last week, we did something similar, but with a shoulder throw. I wanted to go in a slightly different direction with what is essentially the same drill as above. Instead of varying grip, I had students vary foot placement in relation to the Companion. Placing your feet in between the Companion's legs yields one throw, while placing it deep to the outside yields another. Finally, placing one foot in between the feet and the other to the close outside yields more of a takedown than a throw, more a "half hip" shoulder takedown. Foot placement invariably leads to positioning vis-a-vis our partner, and so takedowns and throws of different amplitudes result, as well as different directions. Instructive all around, I think.

Finally, we began our sword in one hand curriculum in the second half of class. Since most of them already have a good grounding, it went well. Initial things like poste were easy to get through, as well as their tactical usage and the differences from their 2 handed counterparts. Basic mechanics for attacks were covered, both thrusts and cuts, which we will revisit later. I mostly wanted to get into the meat of the subject: the universal parry.

We worked the parry versus a fendente mandritto, both with and without a pass and both to the inside and outside of the sword in response to pressure and/or positioning. We then incorporated the same precise parry versus a roverso. I illustrated the descending roverso versus the fendente roverso, but preferred they continue to practice the rising sottano-mezano cut as a parry, placing the point in their partners' face while controlling the hand or elbow. The beauty of the roverso is that he gives you his outside at the outset. Dumbass. In short, the defense versus a mandritto finds you underbound, and transporting his blade to an overbind, whereas the defense versus a roverso generally should result in an overbind from which you work. If he's really hard in the bind, and tries to set you aside, you can still yield to pressure and go to the inside line. The key to much of the sword in one hand (as in the sword and buckler of I.33, as my understanding goes) is the control of the weapon hand, either with your own hand or with the buckler.

Next week, I think we'll continue with the universal parry against all manner of cuts and thrusts, as well as do it from all the poste on the left. This should get most of the students functionally capable of defending themselves versus all manner of attacks in short order. Then the real work will being - the rest of the material, and there is much of it. I am of the firm belief that the spada a una mano section is simply what you can do in addition to what you already know about the sword in two hands. And let's not forget the equestrian section, folks.

More later. Happy New year.

End of year musings

2010-12-22T09:27:00.000-08:00

Well, it's been a hell of a year.

We began the year with some new ideas and concepts - not so much revolutionary, but at least new to us - concerning class discipline and having a professional demeanour at least to the outside looking in. This brought some simple guidelines for class structure, saluting and of course, the uniforms. These changes were brought about by circumstance, which aside from necessity, is the mother of invention. Alot of class time was spent getting people to line up and ordered in drills, etc. This is partly due to my relaxed teaching style, but also to people just puttering around between drills and taking their sweet time. Some kind of decorum was needed. So, salutes, a bit of discipline, and all is well. I was initially worried that I would have a revolt on my hands, but all seem to have taken to it quite well, and in all it has been very positive. Students get more bang for their buck, training time is maximised, and everybody recognises this, so all is well. I now find myself in a position where I have to be careful not to slip back into old, relaxed habits. Such is life.

The uniforms came about with two objectives: provide suitable training clothing for grappling, and to provide a unified professional look for the students and the school. Armizare has come a long way in the years we've been doing it, and we need to reflect that. I've busted my hump trying to get people to understand it's a martial art, and not grown-ups playing at sword. Part of that process, imo, is uniforms. Japanese arts all have a traditional training uniform, as do most other arts, and while I didn't want to go with something "costumey," it need to have at least a vague medieval feel to it. It is, for all intents and purposes, a medieval "gi" but it looks European, and that's why I'm happy with it.

Another factor is the unifying effect it has. At Chivalric weekend, our students were readily discernible all over Todd's wonderful plot of land, and were appreciated by all the instructors present. They comported themselves like the martial artists and good people that they are, and made me proud. I got many compliments on both them and the uniforms - folks mentioning how they could see our "blueberries" everywhere. Good work, folks. Keep it up! It was also, of course, good to see old friends - Christian, Greg, Jess, Aron, Jesse, Jörg, Bill, The Teague - and to meet some familiar folks whom I had only discoursed with online - Roger Siggs and Eric Slyter come to mind. Roger, next year, try not to break Pete, okay? ;-)

Incidentally, I owe Todd a debt of gratitude. I was initially very leery of a public display of arms such as the Martial Challenge. I considered them silly affairs of breast-beating. Frankly, I was scared. Not of losing, mind you, but of sucking. Of being exposed as a fraud, an incompetent, whatever fearful flights of fancy took me. Despite my apparently extroverted nature, I prefer not to be in the spotlight. Well, I pulled that one out of my ass and apparently performed admirably, so all is well that ends well. It was not done in the spirit of competition, but of friendship and I better understand what it's about - at least with those in my circle of friends. It also led to me defending the honour of the Commonwealth beside and against some great people I call friends and whom are models of what good teachers and good people are. More on that later.

And then there was 600. What can I say? I felt among family, and the venue is nothing short of breathtaking. Sharing the space with Guy Windsor (thanks for egging on Greg about my pollaxe book, btw...), Greg Mele, Jesse Kulla, Sean Hayes, Mark Lancaster, some of my students and friends, and everyone else that was there (yes, you too Alex...) was one of the greatest experiences of my life, and I shan't forget it. The martial challenges were nothing short of awesome, some great displays of fencing, and I can die a happy man knowing I got first blood on Maestro Sean Hayes. I could have lost that bout, but frankly, I accomplished what I set out to do - not suck. And of course, everybody involved are such good people, one cannot help but be in awe. Thank you, thank you, thank you. Let's do it again sometime.

Then there's The Book. It was pretty much done. Really, I swear. Some excellent suggestions by Greg however have put it off somewhat, since I've got more writing to do (and mostly research). Of course, life gets in the way of my hobbies and my writing comes after work and kids, so of late there is little time for even the latter, since I've been slammed with the former. Things are looking to slow down after January, however, and I promise I'll do my damndest to get this done by spring. Really. Really, really.
So, what do we have planned for the New Year?

Well, we recently received our group order of single swords (yes, Tinkers again) for our foray into the one-handed sword. Initially a study group I wanted to set up, everybody is pretty much on-board, so now I have to come up with actual classes. I guess I must be doing something right. Such is the price of success I suppose. Thankfully, I have some wonderful friends in the community, and have a curriculum all fleshed out and ready to go in the New Year. This should prove to be interesting!

Aside from that, I finally need to get to a doctor to treat an ongoing problem with my shoulders that is radiating out and affecting my elbows, since I'm compensating. I'm thinking impingement syndrome (in both shoulders, dammit), but I'll let the docs sort it out. I really want to get back to training as well as teaching (the former of which I did zilch this past year, given the pain) so I've finally resolved to see a doctor. This is really not going away on its own.

Finally, I'd just like to say thanks to everyone - both friends in the community and students. You make me a better person for having known you. Happy Holidays and see you in the New Year.

Class notes - 27/10/2010

2010-11-03T08:53:00.000-07:00

Continuing with my exploration of unbalancing as a method of breaking structure, we did some drills with the dagger. From a start position, both Players facing one another, the Companion attacks the Player using a mezani dritto. The Player, covering using the first master remedy, brings his second hand to bear and flows with the Companion, forcing him off-balance. This is accomplished by stepping backwards, into or in a circular fashion. What is important is not so much footwork, but the understanding of the mechanics involved in accentuating the Companion's commitment to an attack.

We also played with the disarm of the first remedy master, as well as the third master. Finally, we implemented the drills I had asked my Companion-level students to come up with in a previous Companion class. See the relevant post for those drills.

class notes - 13/10/2010

2010-11-03T08:44:00.000-07:00

Poste exercise
Footwork exercises: move through the Salle quickly using varying footwork and high-five everybody. Stance stepping exercise. Everything done on the toes, or ball of the foot (heel lifted high off the ground) to accentuate the movement.
Unbalancing exercise - changed somewhat from before. The Companion is holding on to the Player's lapel or shoulder, and the Player steps slightly wide to unbalance, moving both forward and back. Remember: crowd him slightly when he is moving backward, overstep slightly when he is moving forwards. This accentuates the unbalancing along the line between the feet.
Unbalancing exercise : Changing timing somewhat, as he steps forward, crowd him towards his (now) back leg, creating an unbalance.
As he steps forward, step across his T towards him, creating an unbalance.
The chiave flow drill : overhand hamer fist to first master remedy (ligadura mezana). The Companion tries to reverse this, prompting the Player to move into the arm bar. Trying to retreat from the armbar, the Player applies the ligadura soprana. Finally, in an attempt to save his arm, the Companion reverses the ligadura soprana and the Companion applies the chiave forte.
Abrazare flow drill 1. Steps follow below.

Companion steps in for a throw using posta longa. Conceivably, this could be a grab or even a punch.
the Player locks down the Companion's hand and applies the first play - move into an arm bar.
The Companion, in an attempt to save his arm, collapses distance to employ the second play - the spine lock (interestingly, this is done in reaction to the first play, not as an option of the first master dependent on pressure, although the same lessons apply.)
Deploying the elbow push, the Player displaces the Companion and applies a collar throw.

Class notes 06/10/2010

2010-11-03T08:00:00.000-07:00

A stance balance exercise - move from one stance to the other sloooowwwwwlllllyyyy, as Guy would call it "treacle speed." I had to look up treacle, by the way. We'll just call it molasses speed. This works wonders for balance and strength training.
Engaging the hip exercise - by moving from one posta to the other using a mezza volta and first extending the arm to engage the hip. Thank you again, Sean. This not only engages the hips, but helps teach the proper sequence of actions - extend, engage, pass. Wish I'd thought of it.
Stance stepping. Moving from a back weighted to a forward weighted stance, passing and back to a rear-weighted stance.
Dynamic balance exercise - both people stepping to accentuate unbalance.
Punch to unbalance both inside and outside. the first moves you along the diagonal formed by the feet, the other across it in an effort to unbalance the Companion, compromising his structure.
Forward and backward falling exercises.
An explanation of the 1st three plays of abrazare and how they are a lesson on distance and pressure that is applied universally throughout the MS.

Class notes 29/09/2010

2010-11-03T07:53:00.000-07:00

After a hiatus, I'm going to try and catch up and post the class outlines for the past few weeks. Slammed with work and life in general.

We began with a simple lesson on stance and some practice - forward, back weighted, neutral.

Footwork - engaging the hip (exercise stolen from Sean Hayes - thank, friend!)
Balance - an explanation of what balance is, how we maintain it dynamically and how to break it. Essentially, pushing or pulling either along the diagonal formed by the line between the legs, or across it ("Crossing the T") after which we can exploit either the resulting off-balance or the attempt by our opponent to rectify the unbalance by "helping" them.
We did some static balance exercises (mostly similar to happo no kuzushi, of Judo fame) as an introduction.
Dynamic balance exercises followed, with both partners moving. Essentially, simply trying to accentuate the movement offline (along the diagonal) when the opponent steps forward or backward.
Poste (abrazare) and their application, both conceptually and physically.
The poste dance.
An application of the poste - against a punch by the Companion, block to the inside and bring your offhand to bear, accentuating the unbalanced condition his commitment gives. This is basically a hand throw.

Class notes September 28th 2010

2010-09-29T21:10:00.000-07:00

Hey folks, been awhile.

I took the summer off, ostensibly to recharge my batteries, but also to nurse a nagging shoulder injury that pains me to no end. I thought some rest would fix the problem, but it'S not getting better and simply lifting my arms pains my shoulders. Time to see a doc...

Now that my whining is done, let's look at today's class.

We had some newcomers, so I went back to basics (always a good idea anyways) with some abrazare poste and footwork. Specifically the poste dance, and a drill for the passare that forces the student to engage his hips by moving through posta longa.

We examined the uses for the poste and how they conceptualise movement and position in the system.

Then we began some poste applications with the intent to bridge into something else. The drill was simple:

One player attacks using posta longa (punch or open hand strike) to the face.
The other defends using boar's tooth (cinghiale), either inside or to the outside, maintaining measure.

This practices footwork, measure and the application of the poste.

Next, we examined balance and its components. Essentially, moving the hips out from under the shoulders or vice-versa creates an unbalanced condition - structure is broken. We can also compromise balance in several direction, but all obeying the same basic tenet: you either move across the line between the feet (crossing the "T") or parallel to it. This does one of two things: compromises balance by moving to the balance point or shifts weight onto one leg so that it may be attacked or prior to moving to the balance point.

The next drill worked with this principle, specifically moving parallel to the line formed by the feet.

Players hold each other in a reciprocal over-under arm hold.
Players step forward and back, pulling to one of the diagonals as the Player shift his weight to that foot. For instance, if the Companion is moving forward onto his left foot, pull forward and to his left (back and you your right).

We then merged the drills thusly:

Companion attacks with posta longa to the face
The Player covers using dente di cinghiale
Controlling the arm, the Player pulls along the line formed by the Companion's feet, unbalancing him and bringing a hand to bear in posta longa to aid in the technique (double up as it were).
Repeat

This works nicely as a drill along the lines of the feet, so we did the same thing and crossed the line.

The Companion attacks using posta longa
The player covers using boar's tooth
The Player controls the arm, pulling along the line, then shifts by pushing on the opposite shoulder across the "T" and to the balance point. Voila, instant takedown, Stepping through yields a beautiful throw, removing support as the cherry on the sundae (not part of the drill, but worth mentioning here)

More work next week as we repeat this as well as look at new and inventive ways to unbalance someone.

Les Maitres D'armes School of Armizare

2010-07-05T15:24:00.000-07:00

LMA Pas D'armes

2010-06-13T18:54:00.000-07:00

A select few shots from our recent pas d'armes.

lma tournoi

2010-06-09T20:57:00.000-07:00

2010-06-09T20:55:00.000-07:00

Longsword set play drill

2010-06-08T18:28:00.000-07:00

Longsword drill

2010-06-08T18:12:00.000-07:00

Thrusting set play drill

2010-06-08T17:54:00.000-07:00

Alright. I admit it. I stole this drill wholesale from Guy's school. Sue me. The original can be found at www.swordschool.com. I've posted this here as a memory aid for out group.

Poste drill (corrected)

2010-06-08T17:31:00.000-07:00

This is the updated poste drill. There was an error with the last one whereby posta frontale was executed wrong foot forward.

Dagger poste drill

2010-06-01T20:28:00.000-07:00

Companion class 31/05/2010

2010-05-31T20:10:00.000-07:00

As promised, I cleaned things up slightly. I was very happy with tonight's class, and in fact if all classes went that well I would have no reason to gripe. Ever.

We began with our regular circuit-training warm-up. After recovering, I set them to a drill derived from the second master of giocco largo. The goals were several, not the least of which was maintaining distance and not collapsing. It became obvious in free play that folks were attacking directly in rather than attempting to move around the centerline to an open or opening line. When both players attack simultaneously in this manner (which happens relatively often), distance is collapsed rapidly and the players get all bound up, moving directly to giocco stretto. The problem with that is simply not using the weapon's length to its fullest advantage.

So, to remedy, the drill had two focii: maintain distance and use proper leverage against the opposing sword - i.e. forte versus foible to gain a mechanical advantage (aka leverage). The Players had to step through the drill, repeating each step several times before moving to the next step, taking care that form was alright. Once assimilated, speed it up to almost full speed (about 3/4) so that you can pull this off in freeplay.

For posterity's sake, here it is:

Both cut fendente mandritto simultaneously, passing out and diagonally to the right. The result is a crossing at mezza spada, since Player and Companion are pretty much back to square one, in a bind, but *right foot forward*, unlike the canonical play. This could technically be a giocco stretto crossing, but the measure is off.
The Player performs the second master of giocco largo and captures the weak(er) part of the Companion's sword, thrusting through to the face or chest and/or slicing along the hands in the process. use an acressere to do this, keeping the right foot forward.
Whether or not the Companion parries the thrust, perform a tutta volta of the sword and cut to the head fendente roverso. The next part of the drill calls for the Companion to at least try to move the point aside. Of course a proper response would be an exchange of the thrust or a breaking, but we're working off of an "oh shit" premise here.
In response to the fendente roverso, the Companion performs a rebatter, setting aside the roverso cut and returns with his own cut, fendente mandritto using a traverse with the left foot to the left, again maintaining distance. Remember to always adopt a guard as you exit measure.
Lastly, the Player raises his hands into posta di finestra destra, covering against the incoming blow. Follow up by uncrossing the blades, doing a meza volta of the blade behind the Companion's and strike fendente mandritto of your own before retreating out of distance.

We ran out of time to film, so I'll try and do that wednesday.

After this, we had again our "guest judges" come to practice for the pas d'armes on Saturday. We did some "a plaisance" freeplay, including thrusts this time and some limited grappling (to control, not takedown). controlled pommel strikes are also allowed.

It went well, and I saw a better level of fencing with people being careful and actually trying to make techniques work. The hits were cleaner, defence was omnipresent, and I'm satisfied with the progression for now.

See. It ain't always bad...!

Solutions

2010-05-31T09:55:00.000-07:00

Alright. Rather than gripe and moan about the problems (perceived or otherwise) the school (being myself, in the main...) are having, I figured I'd take my own advice when faced with students who are unhappy about something and come up with solutions rather than complaints. Let's be positive!

So, yes - growing pains. How to deal with it? Well, there is no easy solution to this, except that I will have to adapt to the differing needs of 4-5 students versus 20. It is after all a happy problem. Certainly, many of the solutions presented below will help here as well.

More and better drilling. I need to change the method of drilling, and be less lax about how it is done. Some people tend to go outside the drill, and while I don't mind so much with senior students, the newer ones need to stick to it. Furthermore, there will be more structure to them - counting out repetitions, etc. Less free-form drilling, if you were. In fact, even paired drills will at first be done solo, or at least out of distance so the partner can respond and get the form right.
Bridging the gap better. Gear drills to segue and flow into limited freeplay and "choice" techniques, where the student is presented with different options. More flow drills. In fact, while on the subject of drills, I will on occasion take an entire class to do one drill - a pedagogical tool taken from friend and respected instructor Maestro Sean Hayes of the Northwest Academy of Arms.
Slow speed free-play, and more limited freeplay where students are restricted to a certain subset of techniques. Role playing is good too, where they get to sound out each technique - "if you do this, I do this, and then you do this, and then..." Then we can see if it fits the system or is a known technique from the system.
More discipline. In general. It seems like they need it, and with the influx of students, things quickly get out of hand. No more screwing around, and I will not tolerate people talking while I am explaining techniques or simply doing their own D&D conversations in the back while the rest of the class is moving on. You want to talk D&D, fine. Do it after class.
Speaking of discipline - I have been generous in lending out things so people can play and whatnot. The school has formal equipment requirements for doing drills and for doing freeplay. I will enforce these. No equipment. No play. Period. For those of you wondering what those are - here it is. Quite simple, in fact:

For drilling, after the first semester (12 weeks): steel waster (Tinker blunts are the school's "official" training weapon - we can provide blunt tips for them, which are required) and fencing masks. School uniform. Gloves are a definite good idea. Cost, all told: about $350
For freeplay and advanced contact drilling at speed: back of head protection of some kind (Negrini has some in rubber for $25$ or so). Hand protection in the form of gauntlets or a minimum of lacrosse gloves with joint overlap. A gambeson or other padded garment. Rigid elbow protection is not required, but is a good idea. If it`s not historical, hide it under your gambeson. This requires more investment, obviously, but is necessary for freeplay. We will no longer lend out things for freeplay. Get your own! While this may at first seem harsh, it imparts responsibility to the student for his own protection. Those motivated enough to get with it will buy the necessary equipment and progress.
I will put together starter kits and freeplay kits with the required basic level of equipment. Feel free to get your own, if need be.

So - simply enforcing our own rules and making people responsible for themselves should go a long way to easing my frustration. I will, of course, need some help in this regard. I will call upon the senior students to help me with this, if nothing else by setting the example. Yes, we have changed alot over the past year or so. This requires some adjustment - I think for the better. But as the captain on this boat, I need to steer it safely to shore.

Is there a timeline for all this? Well, yes and no. I will implement the disciplinary part immediately, of course, since safety and school decorum rely on it. As for the rest, well, creating good drills is time-consuming, as is sourcing equipment and suppliers. This is a goal I'll set for September, when classes begin anew after our summer break. In this, I include revised objectives for the Companion test, since the last ones were transitional in nature between our old "regime" if you will and the new. The test will be slightly more demanding, and be largely drill-based, where students will need to learn a series of drills - both solo and paired along with some light freeplay. I need to develop those drills as well, and frankly, I don't expect any student to gain Companion rank in under 2 years of training when this is done. There will always be adjustments, of course, and this is one of them. Our last set of criteria was good, but I'm going to make them slightly more stringent and "standardised". At least, that's the hope.

Cheers,

The Long Road

2010-05-30T17:03:00.000-07:00

Since this blog is more to collect my thoughts, random musings and to record class outlines than to actually present any useful information, it's fitting that I use it to do so here.

Last week, in preparation for our annual pas d'armes (okay - second annual, but still!), we did some freeplay using what we call "a plaisance" rules. Basically, the only valid targets are the head and torso. This is meant as a friendly bout in the interest of showing one's prowess, since it's exceedingly difficult to hit those targets against someone actively defending them. It also levels the playing field between more experienced fencers and newbies, or so the thought went. Oh, and thrusts were disallowed, making the whole thing a rather difficult exercise.

A few things came to light. One, we don't do much sparring. It shows. Mea culpa. Of course, this is by design, and I want to limit sparring for students until I feel they've got control, for safety's sake, and to make sure they have the proper form in the interest of limiting that spastic flailing so common to freeplay bouts all over the place. The latter is a limited success, if I might say so myself. Technique seems to go out the window when faced with someone intent on hitting you, and the focus turns from defending to hitting the other person (which *is* half the battle, after all, pun intended).

Two, there were some people sparring who shouldn't have been. WTF? I'm the instructor, after all! How did this slip by?! Because I'm a dumbass, is why... Ok, maybe I'm being a bit hard on myself. Well, ok, not really, but still. Anyhow, one of our newbies stepped up to spar, and he lacked so much control I thought he was going to brain someone as he swung that thing like a baseball bat. Damn. Nobody got hurt, but someone could have, and it would have been entirely my fault. My brain was in low gear, and it just didn't click until I saw him go for it.

There are several reasons for this, not the least of which is I'm once again lax in my disciplinary measures. Things were going well, and then I slack off, and things go to hell. I could use a little more support from my senior students, and I need to get them involved more. That's one option.

Secondly, in the interest of getting people involved and letting them have some fun, I backed off somewhat on my usual hard-ass nature (despite my laughing exterior, I do try to get shit done.) Bad idea.

Another reason this occurred is that I simply need a break. My day job is teaching, my night job is teaching, and then there's life and family. It's a good thing we're taking the summer off from classes, because I can use the vacation.

Lastly, it's the biggest group we've ever had, and I'm experiencing some growing pains. Success is nice, but I need to adjust my methods, and again - get the senior students more involved.

So what are the solutions? There are several. First, no more freeplay for newbies. Period. Sorry kids. I like you and all, but you ain't ready.

Second, I need to bridge the gap better between drilling and freeplay. Make it more progressive. I also need to introduce more solo drills. Or rather, perform both parts of a paired drill solo, slowly, building up speed, then put them together, slowly, then build up speed, then introduce variants to the drills, etc. These are things we already do, I just need to do it more effectively.

Third, go back to being a hard ass, especially about safety equipment. People keep borrowing my fucking gauntlets, and they are getting used and abused. Buy your fucking own, or don't play. "Tough titty said the kitty, but the milk's still good."

Anyhow, all this segues nicely into a reflection on myself. Yeah, I've been in a funk. My passion turned into a job, and it needs to go back to being a passion. This is no secret, but I have obligations to the people I train, so I keep it up despite my lack of motivation. The summer off should cure this, at least that's the plan.

A very astute student gave me her impressions of my fencing the other day, and since I've not much ego, I'll share them with you. In short, her words were "when you show techniques, it's beautiful and you move so well, but when you spar, you just use brute force without technique." Ouch. Harsh. In retrospect, I suppose she's right. Analysing my own play, I distinctly recall forgoing the use of measure and just barreling in. In the absence of thrusting and grappling, I was somewhat at a loss as to how to overcome my foe. Damn her when she's right. Why is this? The reasons aren't as simple as she may think, but are generally of the "I don't train anymore" variety.

My funk and workload keep me from training much, and while that is no excuse, it's at least a reason. Injuries over the past years have made me leery as well, but again, no excuse. Solutions? Well, duh - train. But it's also about mindset. Instead of using all the tools at my disposal and the panoply of techniques and principles of measure and voiding etc., I just went gung-ho and tried to batter my partner into submission. Lesson learned. I will be more mindful and both attack and defend with forethought. And train.

I should have called this blog "the random musings of a chronic procrastinator." Ah well, it bodes well for my good friend Todd Sullivan this summer. He can wipe the floor with me, and I'll have to keep him in beer all weekend. Wait... that's not all bad...

Anyhow, not looking for sympathy or a shoulder to cry on - I just need to lay things out for myself. It helps me organise my thoughts and sound out ideas. Apologies to those who actually read this! I should be back to my normal self by summer's end, and at least I can sit back and enjoy the tourney next weekend. I'll post pics next week.

Cheers!

P.S.: After reading this, I figure I sound like some whiney little girl-man, constantly griping, if not about his writer's block, it's about how tired or unmotivated he is. Sorry. I suppose, like most, it's just easier to write and gripe and bitch about the bad things than the good. In all, it ain't that bad. For real and for true.

Companion class 17/05/2010

2010-05-17T21:07:00.000-07:00

Tonight was a preparatory class for the June 5th pas d'armes. We began by performing cuts and thrusts from posta di finestra (I know, I'm a pain in the ass with that, but seriously folks - you need work, and frankly, I dislike fighting from finestra and so never put any emphasis on it. That said, my shortcoming or failings should not be yours, therefore you will learn to work from this posta...)

After the warm-up, I went lazy and had the class do a "pre-packaged" drill: Guy Windsor's "first drill." You can search for the video online or just check www.swordschool.com to look it up. For posterity, here are the steps:

Cut fendente to the Companion's head.
Companion sets aside this thrust using frontale and an acressere to the left, counterthrusting with a step to move to the open line.
Counter this thrust by inverting the sword, pommel forward and closing distance to pommel the Companion.
The Companion applies the first remedy of dagger to counter the pommel strike, moving his point online for the thrust. Use the appropriate dagger play as necessary, depending on measure.

After that, we had some guests that are volunteering to be judges at the pas d'armes. We did some light freeplay so that they could "wet their feet" as it were, and get a feel for what they will be doing. They quickly understood that judging blows in a "continuous flow" fight context is not easy, even less so for dagger.

And oops, I bent my Darkwood training dagger on JF's chest. I thought it would have more spring... Oops.

Apprentice Class 12/05/10

2010-05-17T20:54:00.000-07:00

We begun class with a few cutting drills. Cuts from various poste to posta longa. Full cuts through posta longa to its opposite posta. We also specifically worked with posta di finestra again, working fendente, mezani and sottani from this guard, followed by thrusts in an alternating and descending drill. posta di finestra both sides, posta breve, tutta porta di ferro and finally dente di cinghiale.

This was followed by a simple drill using a countercut versus fendente using a fendente while voiding off line to the right. A countercut using mezani followed, illustrating the principle of the parry as a crossing of the swords.

After the break, we moved inside and worked with thrusts, since our space was limited to swing swords around. The first drill involved thrusting from porta di ferro mezana to which a frontale parry was used, giving it a slight tap to set it aside. Not quite the exchange of the thrust, but not far - the point is held more vertical in this case. Follow up with a thrust of your own. The next step involved setting aside the counterthrust with rebatter to the left, returning with a thrust of your own. The focus was on clean, tight blade actions and not large, gross motions.

The next set of drills involved the breaking of the thrust, cutting up "under the beard" as Fiore advises. To counter this, perform an inverted parry to which the attacker responds by closing to half sword, putting pressure on the hands to control them and thrusting to the opponent. To avoid this (and timing is everything), close to strike with the pommel, regaining initiative. The drill ends with the first remedy master of dagger to counter the pommel strike.

An alternate counter to the half-sword thrust was then introduced into the set-play drill. This counter works using the principles of the punta corta whereby the defender counters the punta corta by moving into half-sword himself using a mezza volta, out-timing the adversary's tutta volta of the blade. When the Player closes to half-sword, release the grip with your dominant (right) hand after the inverted parry and grasp the blade, moving to half-sword. From this position, as the opponent closes, carry his sword over to your left, thrusting at the half-sword as you do so, remembering to apply pressure to control his arms and prevent a counter.

Companion class 10/05/2010

2010-05-10T20:51:00.000-07:00

Continuing in my madness to visit each of the poste in turn and examine both the offensive and defensive, we worked from posta di finestra for the entirety of the class. To this end, we began in guard and cut a variety of cuts - fendente, mezani, sottani and thrusts from posta di finestra. Many people have trouble cutting from this posta, and the Companions are no exception. I noted many of them cutting flat, edge alignment was off. Some of them cut far too wide, leaving themselves wide open as the sword goes behind them to power the cut. We need to work more on this - and we will! :)

From there, we worked with moving into finestra from posta breve on the opposite side, forcing them to adjust their positioning and distance to effect the cover and put the point online for the thrust. This was followed by having the partner react by binding hard and down upon realising he was about to become a shish-kebab. In reaction to this, perform a tutta volta of the sword, cutting fendente to the opposite side. This is functionally the same as the colpi di villano.

After this, I went experimental a bit with an interpretation. I have long held that techniques from the German system have analogous techniques in Fiore. For this class, we practiced an Italian zwerchau. This is essentially a redoubled colpi mezani. This comes from my reading of the PD manuscript where he says the mezani cuts are redoubled to wound. I had previously interpreted this as a mezani from the right followed by a mezani from the left with the false edge. This generally assumes you've missed, which is not the usual occurrence. If the partner covers and binds, you cannot initiate a cut from the other side. Using this premise, when the partner binds against your first mezani and applies pressure, (which essentially puts you into finestra on the left), leave the bind and whip it around to the opposite side, cutting with the false edge. This places you into finestra on the right, hands crossed (and Fiore tells us mezani from the left are falsi cuts, so it works with the text.) Shazam! Italian zwerchau. The counter to this is a transition into finestra by the defender, covering the head and either undercutting or placing the point online. This also works if you cover using finestra and he binds hard to the side.

Next week, we'll continue this train of thought, work with finestra some more, but rather than move into it, we'll begin from it and see what offensive and defensive options open up (rompere, scambiar, attacks covers...). We'll also work more from the bind, and work with a counter to the German propensity to use a krumphau to the hands or point when in finestra, just for shits and giggles.

Companion Rank challenge

2010-05-06T20:33:00.000-07:00

Last night we had three candidates challenge for the rank of Companion. FYI, our rank of Companion is analogous to other groups' scholar rank in the scholar -> free scholar -> provost, etc. hierarchy, but we use it for linguistic purposes, since the English names sound like crap in French.

We put the candidates through their paces for 2 hours, and in fact cut it slightly short since the Salle we rent was closing. The candidates performed admirably throughout the test, showing their skills in footwork, wrestling, dagger and sword, including 1 dagger bout and two longsword bouts where the onus was not on winning, but on displaying good technique, proper attack from behind cover, timing, structure, footwork and proper defensive maneuvers (aka coolness under pressure.)

So, without further adieu, I would like to welcome Rachel Beauchamp, Maxim Zakurdaev and Christian Comeau to the rank of Companion, having successfully completed their challenge. Our school is proud to have them, and we are the better for having them in our midst. Congratulations, and may your journey continue to be as fruitful!

Apprentice class - 05/05/2010

2010-05-06T20:11:00.000-07:00

Last night we began with a simple exercise - unbalancing the opponent prior to a takedown. In previous sessions, it has become obvious that people have trouble with this most very basic notion of breaking structure. To make the point, I asked them to grasp their partner by the shoulders. Then, they were asked to unbalance their partner in the 8 basic directions of movement - front, back, side to side and along the diagonals. This was to be accomplished by taking a slight step in the direction they wished the Companion to move, simultaneously using the shoulders as levers against the spine and breaking structure. The result: unbalanced partner.

Keeping with the notion of breaking structure, I played with using locks/keys to unbalance in a specific direction, in this case diagonally back and right. We began by applying a simple wrist lock, forcing the partner back and to the right. Taking this to its logical conclusion results in a takedown.

Collapsing distance ever so slightly, we can then apply a "two-handed" ligadura mezana, cupping the elbow and forcing the partner back and to the right (your right, not his).

Once again collapsing distance, the ligadura mezana is applied, once again unbalancing the partner back and right. Stepping yet closer yields the ligadura soprana, figure four lock - and yes, you guessed it, we go back and right.

The class ended slightly early on this note to pave the way for the Companion Challenge - more on that in the next post...

Companion class 03/05/2010

2010-05-05T07:04:00.000-07:00

Last week there way quite a few absentees, so I decided to go a little off the beaten track and do some plays from the sword in one hand section (spada a una mano). We went through the basic action (the cover from posta di coda longa) against different cuts - fendente mandritto and roverso as well as thrusts, performing the rompere to the right. We also looked at the spada a dui mano plays from the perspective of the sword in one hand - stop thrusts, covers using fendente and frontale, rising falso parries form the inside and outside, etc. We then worked with varying distances (where you end up either by design or circumstance - I'm a firm believer that you generally don't choose your play, the play chooses you, and you need to be prepared for all eventualities) and tried to present our options when entering into close play (giocco stretto) since the one-hand plays invariably end up controlling the Companion's hand or elbow in some manner to gain a strike. It went something like this:

Cover, rising into finestra and thrust in if you have displaced the blade. (PD manuscript)
Cover, reach in and control the hand, thrusting as you do so (or at least threatening to do so)
Cover, Reach in and disarm the sword.
Cover, collapsing measure slightly more and performing the ligadura mezana
Cover, remaining to the outside and control the elbow, thrusting as he turns.
Cover, control the elbow and throw the sword to his neck.

That pretty much covers last week's class, and it becomes obvious that the spada a una mano plays are an exercise in isolating the Companion's side as well as working from differing measures depending on intent and/or circumstances.

This week's class was a repetition of the previous week's class, working actions (primarily defensive this time) from porta di ferro mezana. It went well, with the onus being on remaining covered, using measure and avoidance, and proper use of the parts of the sword (foible for false-edge work, mezza spada generally for true-edge work).

This was followed by a brief (~20 minutes) yet intense light sparring session. I wanted to put folks through their paces in preparation for their Companion rank test on Wednesday. The onus was on control, proper defensive actions, and attacking while covered - all the while using good structure and form, proper poste and footwork. no small task. I think they did well, but since sparring is not the primary focus of our group and we do little of it, much goes out the window in a fight. We'll have to work hard to bridge that gap between drilling and fighting. More on that later.

One final note on the sparring - it has come to my attention, and it was painfully obvious - that folks do not acknowledge hits against them, and continue despite a solid thrust to the chest or cut to the head. Under our current rules, these would count as double kills. I'm not sure that should be the case, since completely ignoring a strike to hit someone back seems specious at best. That being said, i also believe that if attacking or counter-attacking, I should do so while covered. However, when my point is firmly planted in your chest, going around it to strike to the other side while I'm advancing with it seems odd to me. Should ignoring hits like that lead to double-kills? Is there a solution? It sounds like Mike Edelson's "suicidal fencer" debate, and I can see where he's coming from. There's no easy solution. Penalise the fencer who ignored the strike? Would that strike have been debilitating or lethal? Who knows... It is somewhat of a conundrum for me, and I suspect others as well.

Class notes - 19/04/2010 - Porta di ferro mezana

2010-04-19T20:18:00.000-07:00

I'm back.

After a lengthy hiatus from writing my notes, I've finally gotten back to it. I really mean to keep up, I do, but life gets in the way of my hobbies, and something's gotta take a back seat. Ah well.

After the recent tempest in a teapot on SFI on the usefulness (or lack thereof) of the guard Alber, I decided to follow Roger Sigg's idea and do an entire class on Porta di Ferro mezana. It went so well, and there are so many actions that flow logically from that posta that it took an entire 2 hour class, and we skipped a bit of material!

So, it should be fairly obvious to anyone who practices swordsmanship of any kind that guards are not actions. So yes, alber or porta di ferro mezana are useless in and of themselves. What's important are the actions between the poste. Transitions from one posta to another are either covers or cuts in the form of attacks. Using this simple principle, we can define several actions arising from porta di ferro mezana. Fiore specifically tells us it can thrust and beat aside attacks, and transitions to finestra and frontale form more actions.

So without further adieu, here is the rundown of what we did tonight. I divided it into both defensive actions and offensive actions from porta di ferro mezana.

Defensive actions

Stop thrust against an incoming attack
False edge deflection from the inside - careful, this offers less cover.
True edge deflection from the inside - effectively a deflection using posta frontale. Those of you with Guy's book would recognise it as an "impulse"
True edge collection from the inside - catch it using frontale. Then grab the blade or riposte, depending on how the Companion reacts.
False edge deflection (rebatter) from outside - same action as from dente di cinghiale, beating from under the attack.
True edge collection with opposition by transition into posta di finestra, point online from the inside.
True edge collection with opposition using posta di finestra to the outside (ending in posta di finestra dritta)
Attacking the forward target (hands) while voiding offline.
The colpi di villano.

Offensive Actions

The obvious: thrust.
Thrust, and in reaction to his setting aside the blade, perform a tutta volta of the sword (moulinet) to change line in response to his pressure.
Thrust, and in reaction to his setting aside your blade, retract and thrust to the other side.
Thrust, retract (disengage in response to his setting aside your thrust) and cut to the head or arms.
Thrust, the companion tries to perform the scambiar di punta, perform the counter (essentially a scambiar di punta in response)
Thrust, the companion tries to perform the scambiar di punta, close quickly and reverse the pommel to strike.
Thrust, companion tries to perform the scambiar di punta, transition into a lateral posta di finestra, performing a tutta volta of the blade and cut around (colpi di villano style)

The last several actions make use of second-intention actions, since the Companion is likely waiting for the most likely attack - a thrust.

There are other viable combinations, and in fact we didn't get to all the above combinations, but I thought it well to list the ones above for future reference. Forgive me if I've missed some obvious ones.

**Edit: Note to self! Students began from too close and were able to thrust from porta di ferro mezana using only a slight acressere. While it is up to the defender to manage this distance to give himself time to defend, for drilling purposes it would be best if the thrust were delivered with a pass, thus increasing distance and giving time to react.

Class notes 10/02/2010

2010-02-11T12:16:00.000-08:00

Been awhile since I posted - I've been somewhat overwhelmed with work and frankly, just chilling. Sometimes, you gotta prioritise.

We have been bereft of Monday night training for some time now, before the holidays the Centre was filled up with the H1N1 scare, and since mid-January, the Centre had other bookings. Wednesdays have been all we've had, so I tried to make the best of it.

After having done much wrestling and dagger work, especially since our regular Salle was unavailable, I felt it was time for a change. Since the group order of swords we bought are still stuck in Customs (the less said, the better), I figured spear would be a welcome change.

Now, to be frank - last week I dropped the ball. I simply started off showing Fiore's spear plays, neglecting to show them basic things like how to hold the weapon, basic gaurd positions, footwork, etc. Oops. I was definitely off my game, and it showed in the performances the students were turning in.

Fully aware that it was my fault, I figured I'd rectify the situation with some basic spear. So, without further adieu, here's what we did:

Posta/attack drills using gathered footwork from posta breve, a high guard and the "bastard" high guard illustrated in Vadi (per Greg Mele's interpretation). We did this on both sides.
Simple attack / parry drills versus from posta breve to the inside line, on both sides.
Same drill, adding in the counterthrust by the defender.
Same drill, introducing the principle of winding high into a high guard to set aside the counterthrust and then attacking with a counterthrust of one's own.
A focus on maintaining proper distance.
Same drill, but to an outside line - attack, parry, counterthrust.
Introduction of the principle of "twitching" per the German system - pull out after the counter and thrust home to the inside.
Addition of the counter to the counter, going full circle back to the first drill, defending from the inside line.
Attack from posta breve and defence from the bastard high guard, counterthrusting.
Attack from posta breve and defence from a high guard, then counterthrust.

The whole session went really quite well, and with the realisation that I had dropped the ball last week, I think I made it up to them. Everybody performed admirably, and we ended on a high note.

Note: I also began class with reminding them of the levels of intensity required for drilling. Some folks were going to far, too hard, too fast - especially since for many it was their first experience with a spear. Form and footwork went out the window. See my earlier post on this subject, if yer interest...

Hitting a wall

2010-01-07T18:16:00.000-08:00

I think I'm in trouble.

No, not "the long arm of the law" trouble. And no, not the wife and kids packing up and leaving type either. I mean I may have bit off more than I can chew.

This is, of course, my normal modus operandi. Like many others, I'm swamped with work, not to mention a bunch of projects of my own making. Armour projects. Training Guides. Syllabi. Class outlines. Interpretations. New drills. Methods of approaching specific training problems for particular students. Le Jeu de la Hache translation. And that's just for my hobby!

So what did I do now? Well, I'm preparing a conceptual approach to Fiore's plays for Chivalric Weekend in Sandy Creek in July. I need to get it started now so I can guinea-pig it on my students in a couple of months, giving me time to work out the kinks for CW. Except I'm stumped. I've got an idea., a concept, and alot of understanding. I just haven't the foggiest idea how to approach the material, or rather, how to structure the seminar. I start writing and stop. Possessed by some sudden flash of genius, I start again only to realise it was a neuron misfiring.

What's worse? When the concept came to me and flowered in my mind, it was all clear. In a moment of clarity unlike any other I have since experienced, I saw exactly every single bit of the seminar and how the pieces fell together - what to show, how to explain it, the concepts involved, and then BAM! Gone. Didn't write it down fast enough.

And now I'm in trouble. I hit that wall.

Hopefully my writer's block will disappear in short order. I'm going to stop obsessing over it for a few days, and let the cobwebs in my mind clear. I think putting it on the back-burner for a few weeks will help it become clear once again.

At least that's the plan.

Class Notes 6/01/2010

2010-01-07T17:57:00.000-08:00

The new year brought some changes to LMA. Last year we introduced uniforms for the school, graciously designed and made for us by one of our students, Rachel. I've posted about this before, so I won't say anymore about it now except that after several months working with them, they still rock.

The changes were a little more drastic. Well, drastic may be a strong word. Sweeping, perhaps. We felt that with the influx of new students we've been getting, and to curb some of the goofing off during class we should add a little discipline to the class with some etiquette and conduct guidelines. We didn't want to go all Asian-style, and we didn't want to alienate our current student base, so it was an agonising decision, and one we didn't take lightly. In the end, it was decided that for the sake of class flow and safety (among other things) that it should be done.

So - what did we do? Salutes. Before and after each class, in a group. Nothing new here, really. Many groups do it, and we did sometimes, but now it's mandatory. This helps the students' mindset go from ok, I'm loafing to ok, I'm training and back again.

Salutes. Before and after each exercise and/or partner switch. Followed by a handshake to prevent or soothe ruffled feathers that somtimes happen when you take a shot a little harder than you thought you should.

Salutes. By the instructors to one another when giving demos. Set the example.

The salute is simple. Raise the weapon to eye level, lower the eyes for a moment, then assume whatever position is expected of you. When unarmed, simply clasp your hands together and raise them to your eyes. Those are your weapons. It's amazing what this simple thing did for class structure and respect.

Forming up in rank. When instruction is being given, students form up in a "V" formation, ranking students on the right down to newest novices. Everybody gets a clear view of demos or the instructors, and everybody is within earshot. Worked amazingly well. On receiving instruction, students or groups should respond with a resounding and clear "Yes." There was much dilly-dallying and halfheartedness or silence in the past. Just doing this seems to psychologically uplift the class and inspire them.

Transitions. Transition between exercises or partners swiftly. No more foot dragging. Strangely enough, it seems to uplift the class rather than tire them out.

Address. Address the instructors as "sir" or "Mr. xx." Somebody has to be the boss. I was afraid this would be weird at first, but it was well received and everybody was on board.

All in all, the changes are positive in a way I didn't expect. I expected some weirdness, and there was none. The changes were well received, and in the end, we got more done. I feel good about these changes, and what's best is it gives it a more martial and professional flavour without going all Asian (not that that is bad in any way, it just isn't the heritage we are trying to recreate).

Happy New Year!

Apprentice Class 4/11/09

2009-11-06T20:42:00.000-08:00

We began class with a warmup, of course, followed by a simple sensitivity and spatial awareness drill. In short, partners stand facing one another, touching each others' hands held out in front of them, palms down. One partner closes his eyes, and the other steps in a random direction, "leading" the other. Using sensitivity through the hand, the Player follows the partners lead.

We then reviewed last weeks class and the abrazare poste dance, focusing first on mechanics then on fluidity. This was followed by a return on last weeks class and the abrazare drills. I gave "the speech" and most people grokked it, so that was good. I'll refrain from commenting on a specific case...

Dagger work came next, beginning with the dagger poste dance, and then the onus was simply on the block of the first master of dagger done from different measures and using different footwork: acressere in to the attack, remain stationary, and stepping offline to the right. This was done not only to reinforce footwork and mechanics, but to underline the point that you can never predict where an attack will come from, so it's best to practice from different positions.

The disarm was then integrated into the drill from these same different measures. Students were instructed to perform the same mechanic regadless of measure, giving us the ligadura mezana from close measure and a disarm from longer measure. We did not visit collapsed measure and the takedown, as we will visit this option next week. More advanced students were instructed to close the measure and perform a strike and takedown in closing.

Class ended on a positive note, and I'd like to end by welcoming Adam and Richard, who were officially invited to join the school and the ranks of the Apprentices.

For reference, here is the daga poste dance drill (video will likely follow):

Begin in porta di ferro sempia, left foot forward
Strike mezani mandritto with a passare
Reverse and strike mezani roverso, without stepping or with a slight acressere
Grasp blade in posta frontale dopia incrosada
Pass back to porta di ferro dopia incrosada, ending left foot forward
Grip switch and attack sottani with a pass
Grasp blade and raise into posta frontale dopia with a traverse pass left
Volta stabile into posta longa, switching grips
Attack fendente with a volta stabile and return to porta di ferro sempia

Abrazare Drills

2009-11-06T12:15:00.000-08:00

I've been working alot on the abrazare material lately. Not having any actual wrestling or Judo background, nay not any grappling background whatsoever, it's been a challenge for me.

That said, it's also been a path to discovery. While a Judoka could likely tear me apart in seconds, it's useful to remember Fiore's Art is a means to an end - not wrestling for its own sake, but rather as a way to get to a dominant position to hit the opponent with something hard and/or pointy. In that light, I'm fairly comfortable with what we've been developing.

One problem with Fiore's abrazare, with his whole Art in fact, is it leaves alot for granted. No mention is made of how to enter, from which holds, what throws are being deployed, etc. It shows a buncch of counters and some guards that conceptualise the various body positions and arm configurations. This is good, since using the principles outlined in the manuscript, we can do anything. It's also alot of work trying to reconstruct something of worth. I'll give the German systems that much, it's pretty much "martial arts for dummies." Put this foot here, that arm there... Wish I had that luxury. Hats off to our German friends for their thoroughness!

How then, do we reconstruct a system? Well, we look at the plays and try to see what holds and takedowns are implied in the plays. Note I said takedowns. Since this is a unified martial art, and trying to throw someone is harness is likely a bad idea, then we use takedowns. The difference? Takedowns take you down to the ground, throws send you flying through the air.

So, looking at the plays, and without getting into a huge discussion of where I got all this from, I found several key, core takedowns. Some of them are universal in their application across different martial arts. Others not so much. All of them utilise basic mechanical principles and fundamental teachings of Fiore's manuscript. I have classified them according to the relative body position vis-a-vis your opponent (heretofore called the "companion").

Using this, we get: a rear leg takedown (a la gambarola) or tripping, an inside takedown (leading leg inside the Companion's leading leg), an outside takedown (leading leg outside the Companion's leading leg), a reverse takedown (both Companion and Player facing in the same direction, leg behind the Companion), a hip throw or cross-buttock throw/takedown and a shoulder takedown. Add to these the four ligadura: upper, lower, middle and armbar takedowns and we have a core system for training apprentices and for building upon. These are the building blocks for our core curriculum.

Add to these methods for breaking grips, holds derived from the poste (neck and elbow/wrist, over/under arm, double neck, double collar, etc.) and methods for entering from out of measure (strikes, pulling, pushing) and from within measure or from the grips (breaking structure, using the poste and ligadura to gain an entry) and the all-important admonition to exploit the movement of the Companion and not try to throw a well-planted, sationary individual, and we have a system. It's taken some time for me to get here, but I'm finally happy with what we've got.

At least until somebody shows me something cooler.

Here are a few drills to play with. Video should be forthcoming.

Set Play Flow Drills

The following drills form part of the syllabus core, and demonstrate principles and techniques typical of Fiore’s system. If practised in the proper manner, they teach technique, balance, and fluidity as well as techniques and counters. These drills should be practised in discreet steps – first perform step 1 several times (we recommend 5), then do step 2 several times, then step 3, etc.

Abrazare drill #1

The Player steps in to perform gambarola (rear leg takedown) from out of measure or from a hold (dente di zenghiar).
The Companion steps back, checks arm and applies 1st-2nd master of abrazare, applying an arm bar takedown (counter to posta longa using dente di zenghiar to porta di ferro).
The Player collapses measure to save his arm, moving in for a body hold and an outside takedown (counter to dente di zenghiar using posta frontale).
The Companion applies the fourth play of abrazare – neck crank/spine lock/belt lock (using a combination of porta di ferro and posta longa in the extension of the arm).

From step 4 above, the Player could use an elbow push against the neck crank, step through and go for a gambarola again, resetting the action to step #1.

Abrazare Drill #2

The Player steps in to apply gambarola from out of measure or from a hold. (dente di zenghiar)
The Companion counters the gambarola with a gambarola of his own (following the advice given in the play).
The Player reverses his grip, repositioning his feet (almost as if the first gambarola were a feint), picks up the Companion’s left leg and reverses the throw, deploying posta longa along the Companion’s throat/chest (third play of abrazare.)
Companion applies remedy master of abrazare to the outstretched arm, gaining an arm bar takedown (dente di zenghiar counter to posta longa).

If we want to take this drill further, from step #4, we find ourselves in position for step #3 of drill #1, and can continue our play from this point, extending the exercise.

Drilling, training and levels of cooperation

2009-11-04T10:03:00.001-08:00

I know, I know – been awhile. Things have been relatively quiet, training wise, and aside from completing my Jeu de la Hache primer notes for CW 2010, I’ve been taking it easy.

Too easy.

Recently, I realised I have been lax in some regards. This is ok, some things are cyclical and we focus on some things more than others only to return to them later. This time, however, it relates directly to our training methods. Lax in what regard? Keeping folks in line.

Why did this come about? Frustration. This frustration stems from observing things in training such as partners going far too fast or hard than the drill intends, resulting in the entire point of the exercise being lost. Some drills are meant to perfect form, others technique, speed, balance, whatever. If you’re not doing it as the instructor asks, you’re missing the point entirely and worse – you’re not helping your partner in the least. Other things are people going off on a tangent with the “but what if I do this?” training paradigm. Again – not helping anyone, and you’re not doing the drill – as such, you ain’t learnin’ what I’m teachin’. In the end, I guess I'm just frustrated with myself for not correcting this sooner, and by the realisation it's my own bloody fault.

Is this a reflection on me? Possibly. Either I’m not addressing the skill levels of my students properly, or I’m not being strict enough or clear enough in my instructions. If it’s the former, well, even advanced students need to go back to basics every once in a while, and if I ask you to do something simple at a slow even pace focusing on fluidity and structure, it’s ‘cause I think you all need it. Some more than others, granted, but nobody loses from this type of drill.

If it’s the latter, then I need to pull on the choke chain a little harder and/or be clearer in my instructions and desires. I thought I was, but ah, well. Perceptions are flawed.

So, we come to the crux of this: drilling, being a good training partner, and levels of cooperation.
Being a good training partner requires sensitivity. No, not the cry-baby-let-me-know-what-you’re-thinking-share-your-feelings type, but a certain feeling for the skill and comfort levels of your partner. Is he comfortable falling? Are you resisting too much? Are you helping him understand the technique? And of course, at no time should you be trying to “win” the drill, because then you both lose.

There are several types of drills: slow speed (Guy Windsor defines one a level even lower - “treacle speed,” or “molasses speed” for us Canucks), and full speed. Slow speed drills can be 1/4 speed, 1/2 speed or almost full speed. Slow speed drills focus on technique, form, balance and other foundational elements. Half speed drills are on the road to performing techniques at speed while still having time to see and correct mistakes. Almost full speed drills allow techniques to be used at something approaching full execution speed, but safely, since full speed techniques can be dangerous for the uninitiated (or even the most advanced practitioner.)

Do the drills at the required speed! I still see advanced students trying to go faster when I see their footwork going out the window. Concentrate!

We can further refine our drills with levels of cooperation. This is where being a good training partner comes into play. We can pretty much divide this into three levels. There is the compliant training partner, who simply allows techniques to be applied, acting as a training dummy. Again, this is where form and proper technique are practised. We then move into resistive training, whereby the partner offers resistance. Let me repeat: resistance. Static resistance, without trying to actively counter. So, be a good training dummy, just don’t let me move you as easily. This is where we tweak execution and verify technique is being used rather than just strength, or that the partner’s compliance isn’t facilitating the technique too much. Finally, we have uncooperative drilling, where the partner is actively trying to counter your attempts with movement or prescribed counters. This is still a form of drill (no, not free-play), and the instructor may want to prescribe a set of techniques and counters. Some call this “loose play.”

Finally, there is free play. Even free play can be limited to a certain subset of techniques, depending on the skill set the instructor wishes to emphasise. Force and speed are limited only by safety concerns and common sense in free play. The other person is your friend and training partner, after all.

So, tonight, I give “the speech.” I have to. I have become too lax in my approach, and now I must be the bad guy. Some people will likely recognise themselves, accept it and adjust accordingly. Others may not, and I will have to correct them. And still others to whom this doesn’t really apply may feel set upon unfairly.

Oh well, as long as everybody just does the drill…

Apologia and miscellanea

2009-09-25T18:13:00.000-07:00

I realise it's been some time since I really posted anything of substance, so I thought I'd just write something. Of substance? No, God forbid! Just some musings and reflections.

First off, those new uniforms are great! Wore them to WMAW and they were well received and got quite a few compliments on them. Go Rach!

As for WMAW, well, that was a heady experience. I couldn't help but feel a little overwhelmed, what with all the people I admire and respect present. I got to trade notes and chat somewhat with Sean Hayes, Greg Mele, Guy Windsor, Jörg Bellinghausen, Steve Hick, Jessica Finley, Christian Tobler, Tom Leoni, Paul Wagner, Mark Lancaster and Rob Lovett (go Commonwealth!) and so many more fine people I shouldn't list them individually just so nobody gets left out. I was feeling small and in awe, and really didn't come out of my shell until - well, until it was too late. Alas, such is the life of a sword groupie. I promise I'll shake off that stupor next go-round. In all, WMAW was a heady experience, and I came away much better for it - not so much in what I learned in class, but what I learned from talking to others, from sharing pedagogical methods, and really just observing. I came away with alot of training methodologies, drills, and just plain good stuff that I will definitely incorporate into our training, and have already in fact!

Which brings me to my next point: the never-ending cycle. I make a syllabus, create or rip off drills, incorporate them into our training regimen, make a class outline and schedule, and Bam! I discover something new or shift our training paradigm somewhat, changing gears, and it's all to start over again. This is of course in light of my recent trip to Racine, but it got me thinking about our rank requirements and related stuff that I haven't updated in quite some time. In fact, it's pretty out of date, even by our latest standards. Oops. Back to the drawing board. I don't have a problem with that, except it's all so time-consuming, and all this for a hobby.

Anybody got a course outline they can lend me?!

Ah, well. It's a labour of love, after all.

Cheers,

Free training 2/09/09

2009-09-05T19:11:00.000-07:00

With the new uniforms, we of course did some wrestling.

First off, we looked at the methods and directions in which we can unbalance an opponent. Coincidentally, there are 8 basic directions to unbalance your opponent - front and back, side to side and along the four diagonals. Having assumed a fighting stance, we can eliminate two of those - the directions along the line between the feet. the best line being the one towards where the support is lacking - perpendicular to the line between the legs and towards what we term the triangle point.

Unbalancing the opponent is a matter of breaking his alignment. What to we mean by this?

The hips should be in line with the shoulders, spine straight. get these elements out of line, and we have an unbalanced position. There are two ways of going about this - get the shoulders out from over the hips or move the hips out from under the shoulders. Additionally, removing the support (leg) helps the whole deal go down much smoother. Simply taking out the leg alone will often not accomplish this, but remove the leg while pushing, pulling or otherwise breaking the opponent's structure and you have a takedown.

We first played with grabbing the opponent to make him move. You can do this either by reaching across the body (exposing his outside if you pull) or reaching directly and pushing or pulling. We neglected the leg lift at this time.

All this theory is simple enough to execute against a compliant opponent, but it gets far more difficult against a resisting opponent. Entering and performing the takedown is the difficult part. In this light, we then practiced trying to get to the outside to do a gambarola type takedown. Part of the exercise was to get the opponent moving in some fashion, either by pulling or pushing or by exercising patience and waiting for the moment when the opponent steps to interrupt him mid-stride, occupying his space and breaking his balance.

After some of this, well, let's be honest. It degenerated. We started to play. Drill turned to wrestling freeplay. I usually frown upon this sort of thing, but hell - it was fun. All work and no play make Jason a dull boy, after all...

So hopefully, next week we'll actually do something of worth, and I'll have something to blab about other than us playing at wrestling.

Nix that. I'll be in WMAW getting my ass handed to me next week.

Yay!

Uniforms!

2009-09-04T05:19:00.000-07:00

Well, it's been some time since I posted anything. Vacation, return to work, all that has just taken up enormous chunks of time, and frankly, I had nothing substantial to say.

Until now.

One of my students and friends, Rachel, has been working on uniforms for the school. We had come to the realisation some time ago that we wanted uniforms. That realisation got pushed into the realm of a WMA (or more precisely medieval martial arts) Gi-type garment for doing our unarmed and dagger work. It's quite clear that Fiore's (and even Liechtenauer's, Talhoffer's, Von Auerswald's, etc...) is what we would term "shirt wrestling." In an attempt to bring ourselves closer to the reality of Fiore's wrestling, I was hung up on getting some kind of wrestling jacket for our uses.

Of course, many already know that I'd been hounding Nicole of revivalclothing.com for her to make us a wrestling jacket, but when it finally came the price point was just too high for us to justify making it mandatory for everyone. Another solution needed to be found.

In comes Rachel. She designed the whole thing, sewed them up, and kept its lines clean and the design simple. The whole upper portion, sleeves and all are made from one piece of cloth (12 ounce cotton canvas). Seriously, they rock - and... just in time for WMAW. We will look spiffy indeed.

As soon as we got these things out of the box, we were keen to try them out. So guess what we did - Wrestling! They stood up well to the rigours of some pretty spirited freeplay without a hitch, and we worked the stiffness out of them pretty quickly.

Sweet.

So, thank you to Rachel and thank you to a great group of students whom I am proud to call my own and push me to continue to better myself and the school.

I am a lucky man indeed.

A couple of pics follow:

Queue de la Hache

2009-08-12T20:52:00.000-07:00

Yes, that's a play on words.

Been working feverishly on the Jeu de la Hache translation. It's pretty much complete, but there are some technical aspects of the interpretation that need finessing.

Like the plays using the queue.

Sometimes it's high.

Sometimes it's low.

The authour tells us to never keep the head lower than the tail. So we follow his advice. Wha' happens? We come to plays where the tail is clearly held higher than the head. The text makes it clear, and in practice, trying the other way around just don't work. Crap. Back to the drawing board.

Maybe the queue is just slightly higher - yeah, that's it...

Problem is, this position is almost horizontal. Seems against incoming attacks, you want to cross it a little more.

So, scratch that.

The head really low position just is soooo wrong, scratch that out right now, at least as a starting guard.

Ah, so can we use it as a cover? Is that what this is? Sure, seems to work.

Except this position is reallly hard on the wrist. Seriously. Not very comfortable, and seemingly contrary to the basic mechanics of the system as we understand it.

Damn.

So what gives?

Using Occam's razor, which states: "when you have two competing theories that make exactly the same predictions, the simpler one is the better," we'll work back through the plays individually. Problem is, neither theory is necessarily simpler, but in general terms we can weed out the "wrong" interpretation by keeping the one that seems simplest. Grand! This also happens to be in keeping with the tenets of the system, which I call "poleaxe for dummies."

Except the only dummy here seems to be me.

So, from a bind at the croix, I can bring up the queue and strike aside the croix. Does this use an up/down motion or a slightly sideways motion? Does it end in the croix higher or lower than the queue?

Question, questions... always questions. I think either will work, but I favour keeping the croix relatively high in this scenario.

When he comes the queue devant, is the croix high or low? According to the authour, it should be higher than the croix, but then we get plays that assume otherwise. So are we fighting the so-called "bad fencer?" Not enough information to decide for certain.

And then there's the bind at the croix. How do you come to this? Likely from a bind at the croix, invert the axes, boom! Bind. It would seem from the text that the croix is lower in this instance as well. Is this acceptable because there's no or little threat to the palm? I believe so, since attacking the palm requires two separate actions rather than just thrusting to the palm.

Where does that leave us?

Here are my thoughts:

From a bind at the croix, or to set aside a tour de bras as the first three plays do, keep the croix high, strike with the queue.

Advance queue devant: I'll need to comb the manual for references to this. Do the plays work either way? Queue high or low? This is not necessarily described as a guard, but rather an attack or entry attempt.

Defending a queue: lower the head somewhat to achieve a better cross. Otherwise you end up with a very shallow crossing of the queues, and you may quite simply just miss. Better safe than sorry, and after the bind, you can always readjust your stance.

What think you?

Companion class notes 10/08/09

2009-08-12T20:37:00.000-07:00

I've bee remiss in posting of late. Of course, summer's here, training is lax, and so is attendance. Such is life.

I've been wanting to get back to basics - seems I'm always about the basics - and take a look at basic parries. Crossing the blade. And this from different angles. Seems folks have trouble with mezani and sottani blows. I figured we'd work on those for a bit.

So, fendente, cross at mezza spada - depending on angle of incidence, we get a nice deflection or a bind. Next.

Mezani, cross at mezza spada, keep hands low, point higher. Try to not let the point stray too far outside the Companion's silhouette. A hard bind.

Sottani, cross at mezza spada. Ouch - these are harder on the edges. Try to keep the blade aligned towards the Companion, point up - it'll soften the blow, but still. Such is life.

Then some sentimento di ferro drills.

There are a few types of pressure in the bind:

Slightly to the side - reaction: mezza volta and hit him in the side of the head.
Far to the side and/or downward - reaction: tutta volta and hit him from the other side
Towards you (the proper response) - reaction: volta stabile into posta di finestra and take the foible, thrusting to his face or chest.
Weak - reaction: cut or thrust through the bind.
Up, Companion moving into posta frontale - reaction: slip the point out and under, thrusting at the Companion.

Practice this in pairs for awhile, then do it again with the eyes closed. That last part was really cool, and takes the visual aspect out of it. You no longer use visual cues for stimuli, but have to actual "feel" what's going on. Everybody did quite well, actually.

Some days I think I may be doing something right...

Pair forms

2009-07-08T20:09:00.000-07:00

This is my last one for tonight, I promise. I guess I'm feeling prosaic...

It has come to my attention that there is a tool missing in our shed. Aside from solo forms (which I have developed and will now become part of our grading requirements) I think pair drills or rather forms should be incorporated into our training.

Let me be clearer as to what I mean. We already have several "flow drills" and cooperative drills work fine for certain things, but I think a kata-like set of movements to memorize might be another bridge in students' understanding. Something with a definite beginning and end and interwoven movements where both Players respond in a predefined way to the others' movements and cycle through the base movements of the system, preferably reversing roles at the end of the cycle.

One example of this is of course the abrazare drill mentioned in a previous post that I will shamelessly rip off, but I think I need to develop something similar for the dagger, single sword and longsword. Knowing myself, I'll probably make one for the abrazare as well... Another project...

It almost seems like this will never end, like its a lifetime of study, like... but wait... that's exactly what it is.

Cheers!

Uniforms

2009-07-08T20:02:00.000-07:00

Seems I'm on a roll - may as well continue.

One of our students has taken up the challenge and designed a uniform for the school. This is a daunting task, since our requirements are several:

Must at least "look" historical, i.e. pourpoint/cotte/cotehardie style
Must resist wrestling techniques without being destroyed. Fiore's fighting is "shirt wrestling" and we find our techniques have been compromised by the lack of appropriate clothing.
Must be relatively cheap (i.e. $70 range) so as to not become a barrier for entry.
Must be relatively easy to produce, since we'll be making these things ourselves and if we outsource them, well, it needs to be dummy proof.

I have to say Rachel outdid herself. The design she came up with more than fulfills all those requirements, and I'm glad to say we have adopted them as our uniforms.

Hurdles yet to be overcome: finding affordable fabric n the right color. Blue canvas ain't easy to come by...

A uniform of some type must also be made for the youth classes, although our requirements aren't as stringent. For the youth class, we want to incorporate some kind of decorum to keep the young 'uns in line. Our last class went well, but there was a general lack of discipline and it showed. Something to rectify in the future without, of course, going "boot camp" on them.

Companion Class notes 29/06/09 & 06/07/09

2009-07-08T19:41:00.001-07:00

I've been remiss in posting - sorry. Free time is at a premium of late...

These two classes we varied things a bit and practised our single sword (or rather sword in one hand) interpretations, from the bottom up. I've been working on the primer, trying to incorporate spada a una mano work into our curriculum, and wanted to pressure test some of the stuff.

I've been using Fiore as a base, but filling in holes (and there are many, IMO) with some Bolognese wisdom. I use Fiore's principles and nomenclature, and adapt some of what is done in the many varied and sundry Bolognese manuscripts for good measure. Most of it comes from Manciolino and Viggiani (whose system is remarkably similar to Fiore's with its use of the "universal parry").

So, without further ado:

We practiced basic cuts and forms - first using passing footwork, then lead-foot, lead-hand. Tramazzone cuts followed as well as moulinet drills.

This was followed by working the covers:

Falso cover under the sword (i.e. from dente di zenghiar under a fendente mandritto), it is noted that if timing and measure aren't exactly right, you pull the sword into your own face.
Transverse falso cover - from porta di ferro to posta di donna (actually more posta frontale, to avoid opening yourself up too much) versus fendente mandritto and roverso.
True edge cover - using posta breve to cover using the forte.
Pivoting drill. Stand in posta breve, stay behind the sword simply by pivoting left or right on the front foot while the Companion cuts fendente to the Player.
Parrying from posta di coda longa senestra - covers versus all the cuts.
Parry and follow-up (carry over to an overbind on the right)
Parry and control the hand.

There was also the solo form, a series of movements incorporating the key cuts guards and footwork of the system. After about three run-throughs, it came naturally to most and they needed no more prompting. Good job guys!

Next week we will practice more entry techniques and look more specifically at Fiore's plays of the sword in one hand.

Varia

2009-06-18T12:46:00.001-07:00

I've been thinking alot lately about bridging the gap between drill and free play. Many of my students can do the drills quite well. Very few are actually fighters. Technique goes out the window when under pressure. Things go all tippy-tappy, people try to hit from out of measure, defences and plays go to shite... not pretty.

How do we deal with this?

Well, I've a few thoughts, none of them particularly revolutionary, but I thought I'd lay it out here for posterity. Some things we can do:

Gradually increase the number of options available in a drill, until it becomes a form of structured loose play. (Decision-making drills)
Do some free play, but with limited options: i.e. you can only cut fendente, or you can only thrust, etc. Introduce more options to increase difficulty.
Slow free play. Yes, you heard me. Slow it down to 1/4 speed. While not a realistic fight, it gives one the chance to think about their next option - something you don't have time to do at speed, but until these things become ingrained, it's an option. These fine chaps: http://overninewaves.blogspot.com/2009/06/non-stop-quarter-speed.html, whom I've had the pleasure of discoursing with some, seem to be experiencing exactly the same problems we are in this regard. And I mean exactly. I could have written that post. So thanks, we know we're not alone! :)
Flow drills. and then more flow drills.
I'm also going to use the Drills Guy Windsor has developed for his school and so kindly put on youtube and his site for the community to use. I think they're well structured and teach the principles and techniques quite well. Wish I'd've thought of it. ;)

As my last post likely demonstrated, we need some work in the wrestling arena as well. Well, I'm going to shamelessly rip off something else from our friends above, in this drill: http://overninewaves.blogspot.com/2009/05/abrazare-flow-drill.html

And one last thing that is of major import to the Fiore community: Tomasso Leoni will be publishing in the next few days a full English translation of the Getty manuscript. It has been reviewed by Greg Mele and Sean Hayes, and will be available shortly on the Seven Hearts website. While it will definitely be useful for us, it will be invaluable to the community as a whole, and will allow greater access to the material for other groups not lucky enough to have a Latin-based mother tongue! In short, thank you Tom, Greg and Sean. The community is once again indebted to you.

Companion Class 15/06/09

2009-06-18T12:38:00.001-07:00

We worked Fiore’s abrazare tonight. We warmed up using breakfalls and rolls before moving on to specifics.

Mechanics of the hip throw
Hip throw drill, using Fiorean mechanics (stance is wider than judo, for instance)
Balance and unbalancing drills – partners face one another, flat footed, and attempt to unbalance one another. First one to step “dies.” Following this, we add in one step, from a proper stance. Aside from teaching balance, it makes you think tactically. since you have but one step allotted, do you use it for attack or defence? Kind of a “pushing hands” drill.
Took a look at Fiore’s 5th master of daga and how the collar grabs are countered, as well as how this pertains to abrazare. Will work on these next week.
Also want to work on strikes and covers, entering.

It quickly becomes clear that the wrestling portion is not our strong suit. We need to go back to basics and work up from there. We can all do the throws and binds shown in the Fiore manuscript, but we can’t really wrestle. Fiore assumes some knowledge of basics that we don’t possess, and it shows in our practice.

Things we need to fix:

Falling from a height. It’s scary.
Incorporating strikes and their covers
Entering techniques
Sensitivity – when the companion shifts his balance, take advantage of that shift in weight to take him down.

Ciao.

Companion Class notes 09/06/09

2009-06-09T16:38:00.000-07:00

Frankly, we didn't do too much. After this last weekend's tournament, we viewed photos and reviewed video of the fights. Lots of good things going on, just as many things to correct - footwork, attacking out of measure, attacking without regard for closing the line, etc. Still, a good time was had by all, and that's what really counts.

After that, we did some sword work - specifically drills meant to correct some of the above. First drill is a "closing the line" drill while attacking. Companion stands in posta breve, the Player must attack fendente while closing the line or risk getting stabbed. The thrust happens as soon as the Companion sees the Player move, so not closing the line is bad mojo...

Second drill was to practice protecting the hands. Mostly the same drill as above, but the hands become the target. The Player must make a committed attack, and when the Companion tries to strike his hands, prevent that by covering.

Third drill kind of mixes up the above two. Player and Companion stand before one another, the latter in posta longa or breve. The Player must attack fendente mandritto. The Companion can choose among several options:

Thrust when the attack commences, forcing the Player to cover
Snipe the hands, forcing the Player to withdraw his hands and cover
Change through under the sword to attack fromthe other side, forcing the Player to cover against the changing line.

All these things are meant to do mostly one thing: get the sword to move first, and don't enter measure until the sword covers you.

Incidentally, everyone did quite well.

Companion Class notes 02/06/09

2009-06-02T19:25:00.000-07:00

Continuing with sword work from last week, we did some drills - first for sentimento di ferro then for flow and fluidity.

Sentimento di ferro drill from posta longa, blades in contact. Companion applies pressure, or takes off. Companion must react accordingly.
Progression from above drill - both practitioners from posta di donna. Companion cuts, player must cover. Depending on pressure, Player must react accordingly.
Variant: Companion cuts, Player covers. Companion must then react according to drill. For those not paying attention, the defender reacts in the first drill whereas the attacker reacts in the second...
Chaining attacks drill: Player and Companion face each other in guard. The Player must make three successive attacks, which the Companion must cover. On the third attack, the Companion must counter and regain initiative.
Variant on the drill: This time, after the third attack, the attacker must follow through depending on pressure.
Colpi mezani covers - countercut using a mezani dritto versus a fendente roverso. Important to void with a step offline. Mezani countercut versus fendente mandritto. Remember to keep hands high to cover your head. Principle involved - take the opponent's flat when it is presented to you. Mechanics involved: stepping offline, voiding with distance, keep hands high so gemoetry keeps you safe...

Companion Class notes 26/05/09

2009-05-25T21:25:00.000-07:00

Tonight's class focused largely on tactical considerations, namely sentimento de ferro and working from the bind.

Poste dance (a kata-like series of movements integrating footwork and guards)
Discussion on the bind and types of binds - neutral, hard or soft - as well as type of pressure applied - sideways pressure, downward pressure or forward pressure and the appropriate responses. Exercise followed to practice this.
True times exercise. Cutting behind cover and in true time. Player stands on posta di donna, Companion in posta breve. When Player initiates his attack, the Companion thrusts. If the Player is cutting in true time *and* covering as he attacks, he is safe. Otherwise, thrust lands. Careful with the thrust - Player is moving into it...
Sentimento di ferro exercise. Players begin in posta longa and in response to the Companion's pressure (or lack thereof), the Player must either push through with a thrust or cut over tutta volta.
Sentimento de ferro exercise. Players must try to displace the others' point while keeping their own on-line.
Feint/second-intention exercise: Attacker cuts fendente mandritto to the Companion. The Companion covers. Or not. The Player must commit his attack if the cover does not occur, and change the line otherwise without making blade contact.
Cover exercise. Coming to the bind at mezza spada from different measures and actions. Focus on the mezza spada. Discussion involving the importance of the bind at the half-sword versus the tip or the forte.

Practice was vigourous and we were glad to have Norman back. Continued next week.

Youth Class 20/05/09

2009-05-22T16:14:00.000-07:00

Youth Class:

Warm up
Trollball
Cutting exercises - fendente to longa, fendente to dente di zenghiar and return cut, fendente roverso to tutta porta di ferro and return sottani
Cover using frontale versus fendente
Application of inside wrist locks

Youth Class 13/05/09

2009-05-18T12:37:00.000-07:00

Stretching
Trollball
Review of guards
Drill - Fendente cuts
Drill - Mezani cuts
Drill - Sotani cuts
Drill - Fendente-sotani combo
Drill - Control exercise
Drill - Collection Parry with Posta Frontale (di Corona)
Theoretical: Progression of medieval warrior garb and armament

Companion Class notes 11/05/09

2009-05-12T06:03:00.000-07:00

Once again we worked on the first remedy master plays, focusing on the first plays - disarm, ligadura mezana, the two-hand ligadura mezana (keep forgetting to work the variant - the leg lift!) and the figure-4 ligadura soprana. We also practiced the backward throw from the Getty version (seventh play of the first remedey master).

All this was done at at least 3/4 speed with the focus on fluidity and completing the play (takedown and control once on the ground). It is interesting to note that one of the best methods of controlling once on the ground is to apply the knee to the head or neck of the Companion, much like in modern police and military combatives. Just goes to show there's nothing new under the sun.

Of course, if the plays are applied forcefully and with speed and intent to injure, there is often little chance of the Companion resisting, but it is safe and sure practice nonetheless.

We sequed briefly into the third remedy master to treat with a Companion who feints and tries to fake us out, or in the event he applies the remedy to the first play. Either way, he ends up in the mezani roverso position and all the plays of the third remedy master apply, assuming you're not already stuck like a pig.

We finished with some looseplay incorporating only the plays practiced in the past weeks. It was interesting to note the progression, and it is encouraging to find that our proposed method of training 3/3/3 (three weeks wrestling, dagger then longsword) is showing definite results.

The one thing we need to practice more diligently is to not stop when we think we've "got him." but to complete the plays as prescribed. This sort of stop and wait mentality could get you maimed. Since we try to practice this as diligently as possible within the realm of safety, it is unwise to enact the sporting mentality of "did I score a hit?" We'll work on that, I promise...

BTW, forgot my camera. Some of the plays were really well executed.

Youth class 29/04/09

2009-05-11T11:50:00.000-07:00

Sorry - playing catch up. I suck at this blog thing...

- Warm up and stretching
- Warm-up game: Flag of Liège
- Tutta Volta
- Dagger drill
- Dagger - 1st remedy, boken down into 'block', 'grab', 'disarm'.
- Demonstration of importance of control, dangers of practicing this art

Youth class May 6th

2009-05-11T11:46:00.000-07:00

- Stretching
- warm-up
- Flag of Liège.
- Reviewed basic stance
- dagger moulinet
- block against a mezzani dritto
- Learned block against sottani and disarm
- Learned how to put on armor

Companion Class notes 04/05/09

2009-05-05T11:32:00.000-07:00

Hmmm...

Video. I'm liking video. It's fast becoming a staple tool in our training. We reviewed the video from last week's training to see where there was improvement to be made. Notably, Bernard's footwork - the lead foot has a small tell, moving before the attack or defence. We'll work on that... His cover is slightly too high and outside, rather than driving back to break the attack. Good stuff. Mind you, none of these are criticisms aimed at Bernard himself, but rather lessons to be learned for all. We discussed some adjustments to Sebastien's techniques as well. Incidentally, thanks to those that left comments and others who emailed me. I appreciated your comments, and for the most part agree. We tweaked some aspects with regards to those comments as well.

This week, we continued our work on the first remedy master - indeed the same plays as last week. This time we focused on fluidity and completing the play. We have a tendency to not follow through, and this affects our application of the techniques in sparring. So - follow through all the way to the ground. Disarm, strike, throw. Ligadura mezana, strike, takedown, control on the ground. As for fluidity, the plays were executed at about 1/2-3/4 speed, but the focus was on not pausing between actions.

Note on some plays: for reasons that should be obvious, plays such as the ligadura mezana were not brought to their full conclusion (i.e. popping the shoulder out of its socket prior to the final takedown). The Companion was locked up, then taken down with all due diligence for safety. We like our people, after all... And FYI: fluidity does not equal speed. Speed can be a result of fluidity, but there is not necessarily a direct correlation. Therefore, the emphasis was on not pausing between chained techniques and not on doing the plays at blinding speed. That'll come later. :)

Got some video that I'll post later - no time to edit for now

Companion Class notes 28/04/09

2009-04-28T06:58:00.000-07:00

We continued work on the dagger plays, specifically the first remedy master of dagger. I took the opportunity to record some of the plays in training. NOTE: These aren't picture-perfect interpretations, but rather videos of students practising the plays.

The basic premise is to work through the first remedy plays and counters. We did this from various positions and distances: moving into the attack across the centerline, stationary, moving back and passing or pivoting offline to the right.

We then integrated the disarm and strike. The strike, whether it lands or not, will force the Companion to react and more often than not flinch, helping to break his balance and deploy the techniques.

It soon became obvious to the students that different plays work from different distances, but that the main action of Fiore's daga plays is to attack the weapon arm, breaking the attack.

Some variants I didn't capture, notably the two-hand ligadura mezana turning into a ligadura soprana and a backward throw - the camera had run out of memory, and I was dutifully transferring to my laptop while folks practised. Sorry.

Without further distraction, here are the videos. Take them for what they're worth.

Companion Class – Monday, April 20th

2009-04-20T19:58:00.001-07:00

This class I decided to take some time and explain in-depth the structure of the manuscript, using the dagger section of the manuscript as a jumping-off point. Therefore we saw the “First masters of Battle” that illustrate the principles germane to that section. These are followed by the Remedy Masters, Counter-Remedy Masters and in rare cases the Contra-Counter Remedy. We visited the scholars or Players of each Master as well as the devices used to denote each one – crown, garter, crown and garter, etc.

I then tied all this into Fiore’s explanation of this in the prologue, and how he tells us it applies to all the other sections of the manuscript – daga, spada, azza, etc…

The significance of the Daga Masters was then discussed – the “First Masters of Battle”. They depict takings, breaks, binds and takedowns.

We then discussed how Fiore makes forward and backward references in his manuscript, and how this affects our interpretations. Similarly, the counter-remedies, while depicted as counters to specific techniques, can be applied regardless of the technique to be countered, as long as the situation allows it. Therefore – all the counter remedies can be used against all the plays of the first remedy master.

So far, lots of blah blah, but necessary and worthwhile to the understanding of the manuscript as a whole.

We followed this with a simple drill – the first master remedy from different positions, alternating with the counter-remedy to the first play.

Progressing along this line, we integrated the disarm.

Further progression integrated strikes with the offhand to accompany the first remedy. It was noted that accompanying the cover and/or disarm with a strike made the actual disarm easier as well as negating the possible counter-remedy since he’s got something else to worry about. Furthermore, the integration of the strike with the offhand greatly increases the odds of success in other techniques of the first remedy master (or any master, for that matter) as well as poising it for a takedown, lock or other follow-on technique.

It was also noted that the first counter-remedy master takes you into a mezani roverso attack – a set up for the third remedy master of daga. We will continue this progression next week.

Youth Class - April 8th and 15th

2009-04-17T19:01:00.000-07:00

We began youth classes today - quite a success, if I do say so. The kids were enthusiastic, well behaved and took to training with vigour. Here are the notes on what we did those two classes. Thanks to JF for taking these for me.

April 8th

Basic overview

Basic stance

Walking forward and back

Falling from a crouch

Falling from standing

Long sword - guards

Long sword - fendente cuts

Sword parts

April 15th

Stance review

Walking forward and back

Volta Stabile

Falling from a crouch

Falling from standing

Long sword - guards review

Long sword - fendente cuts

Long sword - moulinets (to longa and fenestra, left and right)

Long sword - fendente followed by moulinet

BTW, Monday's Companion class was cancelled - Easter long weekend.

Companion Class Notes - Monday, April 6

2009-04-06T19:50:00.001-07:00

Companion Class notes

We continued work on the previous weeks' principles, focusing on technique and flow.

Warm up
Falling exercise – progression from week before. Assisted falling backwards.
Hip Throw exercise – lifting exercise
Unbalancing exercise – without use of hands, enter space and remove platform.
Same exercise as above, the Companion provides resistance without using hands. Essentially, both parties attempt to take down each other.
Progress using arm to unbalance, use of the wave and spiral principle – no use of hands/grips. Your arm simply assists the throw.
Wristlock exercise – inside wristlock done statically, then at speed against an incoming punch.

Companion Class notes 17/03/09 - 24/03/09

2009-03-29T05:29:00.000-07:00

Class notes

Monday, march 17 2009

· Warm up
· Falling exercise – backward static falls progressively from sitting, squatting then standing position.
· Unbalancing exercise – Hands behind the back, we attempted to unbalance our Companion by entering and occupying space while removing the platform (leg).
· Throw exercise – hip throw exercise. We attempted to enter statically, lowering the hips beneath our Companion’s while turning. Going no further than the lift, maintain balance and return to the ground.
· Wristlock exercise – we did outside wristlocks. While there are no demonstrable wristlocks in Fiore’s manuscript, we practiced these techniques as an introduction to the 5th master of dagger and to illustrate the principles of joint control. Controlling three joints controls the Companion and allows him to be taken down. Done from the same side to the outside, first statically then at moderate speed then as a counter to a grab followed by a punch. Retreating with a volta stabile throws the Companion off balance.

Monday, march 24 2009

· Warm up
· Falling exercise – similar to week before. Added in assisted falling backwards – just a gentle push to get the body moving back.
· Throw exercise – hip throws. Get hips under, lift. Progresses to a more dynamic lift, with movement, taking one step forward, one back while pivoting to get into position.
· Wristlock exercise – outside wristlocks. Done statically, then more at speed.
· Inside wristlock – avoiding the temptation to turn it into an arm bar, followed by a controlled takedown.
· Armbar from collar grip – second play of abrazare
· Examination of plays of the 5th master of dagger from a wrestling point of view.

Welcome

2009-03-28T12:58:00.000-07:00

Well, this is my first blog post - ever. I've resisted the trend for years, discounted it, and finally succumbed to it. Of course, I haven't completely given up my aversion - I vow to use it only as a tool to further our training in Les Maîtres D'Armes school of armizare. I will post training notes, reflections on training mehtodologies, and other sundry thoughts on the medieval martial arts.

I hope this will be of use to someone other than myself...