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Viva Italia! Celebrating 600 years of Italian Martial Arts (Sept 16 – 18, 2016)

 

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Mark your calendars for September 2016, because REGISTRATION IS OPEN!

The Chicago Swordplay Guild and the DeKoven Foundation present an event celebrating the ancient & living traditions of the land that brought you Fiore, Fabris, Marozzo, Galileo, DaVinci, Casanova and … spaghetti!

Located at the picturesque DeKoven Center, home to the Western Martial Arts Workshop, the conference is a retreat with attendance limited to the 60 students that DeKoven can host. Your registration fee  includes ALL classes, meals and lodging onsite at the beautiful DeKoeven campus.

This is a unique event and a unique opportunity to train in a private environment with some of the finest modern teachers of the Art of Defense. Act now, because ttendance is limited to the 70 folks we can house on site!paces will go fast. We look forward to crossing swords with you!

DETAILS:

Dates: September 16 – 18, 2016
Instructors:

We are pleased to bring an international cast of renowned instructors including:

  • Devon Boorman, Academie Duello (Canada)
  • Bob Charrette, Forteza Historic Swordwork Guild (USA)
  • Roberto Gotti, Guardia di Croce (Italy)
  • Sean Hayes, Northwest Fencing Academy (USA)
  • Greg Mele, Chicago Swordplay Guild (USA)
  • John O’Meara, Chicago Swordplay Guild (USA)
  • Marco Quarta, Nova Scrimia (Italy/USA)
  • Robert Rutherfoord, Chicago Swordplay Guild (USA)
Class Roster:

This year we have organized classes two ways: stand alone classes on a wide variety of topics, and several themes, meant to allow either in-depth study of one topic or to show commonality throughout the breadth of Italian fighting traditions. Stick with your favorite arts or dive into a pool 600 years deep!

Series One: Control the Center
These 3 hr classes allow an in-depth exploration of both the how and why of Italian martial arts.

  • The Tactics of Bolognese Sword and Buckler Combat (Devon Boorman)
  • The Tactics of Empty-Handed Combat (Marco Quarta)
  • The  Tactics of Armizare (Greg Mele)

Series Two: So You Got Yourself Into a Duel…
As much as we imagine skilled swordsman meeting at dawn, most duelists had often never fought before, and might not even be trained combatants. In these 2hr classes, students are taught what the historical masters themselves considered the “bare bones” basics of their art, in order to fight and survive. A perfect way to try something new!

  • Dall’Aggochie’s 30 Day Recipe for Success (Robert Rutherfoord)
  • You Got into Another Duel? A Survival Guide to Italian Rapier (Devon Boorman)
  • Dueling Fin de Ceicle Style: A Short and Concise Guide to the Dueling Saber (Sean Hayes)

Series Three: In Arnis — The Art of Armoured Combat
Every year folks who participate in the armoured deed of arms talk about how much fun it was…but also who they wish they had more time to use all of that  gear they lugged across the country. Well, we listened! This third series, taught “on the green” (weather permitting) combines daily classes, coached fencing and lectures — and of course, the invitational Armoured Deed!

  • Commonalities of Spada, Lanza and Azza en Arme: Making the Cross in Armoured Combat (Bob Charrette, Forteza Historic Swordwork Guild)
  • Armour as Worn: Understanding the Practical Ramifications of Harness Choice in Modern Deeds of Arms (Bob Charrette, Sean Hayes and Greg Mele)
  • Now We Wrestle: Moments of Transition in Armoured Combat (Sean Hayes, Northwest Fencing Academy)
  • The return of Uncle Bob’s Armour Schmooze
Stand-Alone Classes

Two and three hour classes on a wide variety of topics covering the 14th – 19th centuries!

Armizare

  • Integrated Body Mechanics and Movement in the Art of Arms (Sean Hayes)
  • The “New Footwork” of Filippo Vadi: Variations on a theme in Italian Longsword (Greg Mele)

Bolognese Fencing

  • Bolognese Fencing without Tears (Robert Rutherfoord)
  • Spadone: the King of Swords (Roberto Gotti)
  • Marozzo’s Defense Against the Dagger (Roberto Gotti)

Rapier Fencing

  • Getting from Dui Tempi to Stesso Tempo in Six Easy Lessons (John O’Meara)
  • Tutta Coperta I: The Dagger Has the Rapier’s Back (John O’Meara)
  • Tutta Coperta II: The Dagger Frees the Rapier (John O’Meara)
  • Infighting and Disarms with the Rapier (Devon Boorman)

18th – 19th c Martial Arts

  • Stick-Fencing: From Gentleman’s Cane to Modern Self-Defense (Marco Quarta)
Contests-at-Arms
  • An unarmoured Accolade Tournament with Sword, Spear & Dagger
  • An invitational Armoured Deed-of-Arms;
  • A Contest-of-Arms with Sword, Rapier and their trusted companions: the Buckler and Dagger.

More details forthcoming!

Accommodations:

(Details for getting to Racine can be found on the WMAW website)

Location:
The DeKoven Center
600 21st Street
Racine, WI 53403

On campus; double and triple rooms. You will be able to request the roommate of your choice when you register, and we will make every effort to accommodate you. Lodging is from Thurs to Sat.

Nine hot meals.

Costs:

All-Inclusive price: $ 450.00

No cancellation refunds after August 1st, 2016

Registration Form:

Viva Italia Registration Form (fillable)

Viva Italia waiver

Contact Info:

Dekoven School of Arms Class Roster

ITALIAN SWORDSMANSHIP

THREE HOUR WORKSHOPS

Agrippa’s Ball, or Rolling with the Rapier: On using the whole body and its aspects in guard
Instructor: John O’Meara
Italian rapier is a linear art, but the rotational aspect of the system is often overlooked. We will look at integrating sword, body and left hand to create a fluid, “rolling” offense and defense in the style of Salvatore Fabris. (Bring your favorite companion weapon — dagger, cloak, or buckler.)

Bolognese Sprezzatura: Must-Know Fundamentals of Bolognese Sword and Buckler
Instructor: Tom Leoni
Do you really think you know the fundamentals of Bolognese sword and buckler? And even if you do, does your body? For the more experienced swordsman ambitious to firm up his basics, as well as the beginner wanting to start on the right path, this class is an intensive on what you must know to successfully tackle the actions of Manciolino and Marozzo. From precise formation of the guards to efficient, martial-looking steps; from powerful cutting and thrusting mechanics to building intent in your actions; from positive, sure parries in all lines to accurate ripostes; from entering a crossing to safely performing a take-off; from provoking tempi from the opponent to exploiting them successfully–these are the basics you will drill in this class.

In addition, you will learn how to use your off-hand weapon (the buckler) as taught by the great Bolognese masters.

The main goal of this class is to let you develop a sense of mechanical precision, outward elegance (looking like the book), and effortless sprezzatura in the style of the men who invented the word.

Gioco Largo (Wide Play) to Gioco Stretto (Narrow Play) in Bolognese Swordsmanship–with Single-hander, Longsword or Spadone
Instructor: Tom Leoni

In this class, you will have a chance to bring your favorite weapon and truly understand the concepts of gioco largo and gioco stretto. Bring your single-handed sword with or without buckler, and  your medieval longsword or spadone — you will be using them both!

We will use the universal rules taught by Manciolino and Marozzo to:

  • Understand, hands-on, the nature of either play, as well as their differences
  • Learn multiple ways to safely arrive at and enter the narrow play
  • Visualize the main decision-tree of narrow-play actions
  • Develop a feel for the type of crossing with the opponent, and to choose your action accordingly
  • Learn the fundamental actions of wrestling at the sword

As the masters say, failing to understand the narrow play may put you in the position of being chased around by the opponent, while you flee across the salle fearing what lies beyond the safe confines of wide play.

FOCUS CLASSES (90 Min)

Keeping the Sword Free (Rapier)
Instuctor: John O’Meara
It’s not enough to find and control the opponent’s sword, we also have to keep control of our own. And what if he finds us first? Here’s how to keep the advantage in the Italian rapier fight, regain it once it’s lost, and avoid the “contendere di spada” (aka the “death bind”).                                                                                                                                                                  

Rotella and Sword: With Great Cover Comes Great Responsibility (Bolognese)
Instructor: Devon Boorman
Students in this workshop will explore the tactical environment of the larger rotella and how to maximize the benefit of its cover while accommodating for the greater constraint it puts on the maneuverability of your sword.

Partisan without Tears (Bolognese)
Instructor: Greg Mele
It was only late in the 17th century that fencing began to separate into the ars militarie and those of self-defense; the well-rounded swordsman of the 16th century was expected to have proficient with all manner of arms. This included the sword used with a variety of companion weapons, but also the two-handed sword, polearms and at least the basics of close combat.

In this short class we will look at one of the most common, useful, and for modern students – fun – polearms of the Bolognese tradition – the partisan. A massive, winged slashing spear, the partisan, whether used alone or with the rotella, was a both a common weapon of the battlefield and routinely appeared in the lists for use in a judicial duel.

In this short class we will look at the fundamental guards and defenses of the weapon, how it combines cuts and thrusts in a way similar to the sword alone, and learn several plays taken directly from the works of Antonio Manciolino and Achille Marozzo.

Please bring either a partisan or a 7 – 8′ spear, with the last 18″ (Including the point), marked to represent the cutting edge. We will have some additional weapons on hand for those traveling by plane.

Stringere: Are You Truly Constraining Your Opponent, Or Do You Just Think You Are? (Rapier)
Instructor: Devon Boorman
Many Italian practitioners are making mechanically and tactically weak choices in their positions but are not having those positions challenged in a manner that leads to the development of truly effective technique.  In this class we will explore the mechanical and tactical side of stringere, how to make positions that are truly sound and how to view and exploit positions that are weak.

 

 

IBERIAN SWORDSMANSHIP

THREE HOUR WORKSHOPS

Something Old, Something New, Destreza Common, and Destreza True (Destreza and Esgrima Comun)
Instructor: Tim Rivera and Puck Curtis

For years, Carranza has been called the father of Spanish fencing.  Recently, estranged uncle Godinho has returned to shed some light on the tales that brother Pacheco has been telling about his vulgar cousins and grandparents, and it turns out they’re a much closer family than previously thought.  The similarities and differences between the “true” destreza and the “common” destreza will be explored in order to understand the state of Spanish fencing from which Carranza created his method, as well as its possible origins.  Recognizing the relationship between these styles will lead to a broader understanding of what Spanish fencing really is.

The Spanish Sword and its Companion Arms: Shield, Buckler, and Dagger (Esgrima Comun)
Instructor: Tim Rivera
In 1599, maestro Domingo Luis Godinho wrote that although the three double arms (sword and rodela, buckler, or dagger) are distinct, their play is not.  This class will be in two parts; the first will build the necessary foundation of sword alone in the common Spanish style, and the second will integrate your companion weapon of choice: rodela, buckler, or dagger.  Bring your favorite and learn how to fight in the common Spanish style, or bring them all and learn how the use of one translates to the use of the others.

 

Tactical Showdown: Italian vs. Spanish
Instructor: Devon Boorman vs. Puck Curtis
Starting from the initial approach, to crossing safely into measure, tactically controlling the opponent, finding the right moment to strike, and concluding with a safe exit. Students will explore the fundamental flow chart of the Italian and Spanish tactical approach to the rapier at each stage and readily conclude that the Italian masters had a far better handle on what they were doing.

FOCUS CLASSES (90 Min)

Atajos: Making them, Breaking them, and the Naughty Attacks That Love Them (Destreza)
Instructor: Puck Curtis
In this class students will enjoy a crash course in the Atajo within a variety of contexts from simple to extreme.  In addition, we will examine ways to escape and reverse the atajo in order to open up a new tree of fencing actions taken from an initial position of disadvantage.  All of these actions will be coupled with a friendly dose of violence certain to delight your friends.

No experience required.  Bring mask, single-handed training sword, gloves, and a padded jacket.

Figueiredo’s Destreza sword and dagger (Destreza)
Instructor: Puck Curtis
From Portugal comes a Carranza-based form of Destreza which challenges Pacheco’s authority while also integrating beautifully with his work.  In these pages we see a simple and effective sword and dagger system to complement the existing single-sword material.  What happens when you pull out a dagger for your left hand in the streets of Madrid at midnight?  Find out here.

Montante vs. the World
Instructor: Tim Rivera
According to maestro Luis de Viedma, the montante is a weapon of little courtesy, and with it a man is forced to defend his life without having respect for anyone.  Forget fighting in narrow streets.  Forget breaking up fights.  Forget guarding a lady or your damn cloak.  This weapon is for driving your adversaries before you.  Outnumbered?  Surrounded?  Facing shields and polearms?  You’ve got a montante; time to show them what it was built for.

Trading Places: Parry-Ripostes and Counteroffense in Destreza
Instructor: Puck Curtis
The true mark of an experienced martial artist is excellent timing and La Verdadera Destreza’s method of stealing the place from your adversary is the diestro’s playground.  In this class we will use the adversary’s movements and footwork against him to develop our assaults at his expense.  This class will be particularly useful if you often fight with a reach disadvantage.

Some beginner level experience recommended.  Bring mask, single-handed training sword, gloves, and a padded jacket.

Spanish Use of Two Swords, in Rules
Instructor: Tim Rivera
The Belgian nobleman Jehan L’Hermite, during his time in Spain, learned the use of two swords from the maestro mayor Pablo de Paredes in 1599, recalling that it consisted of very beautiful turns in good order and step, with which one defends himself and offends the enemy, learned in rules.  The same year, maestro Domingo Luis Godinho wrote a manuscript containing rules for two swords which match that description.  Students will learn some of these rules and their applications against being surrounded, guarding a cloak, and others.

 

Western Martial Arts Workshop 2013 – After Action Review

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Mark your calendars for September 2014!

The Chicago Swordplay Guild and the DeKoven Foundation – the same team that have brought you WMAW for over a decade – are please to present an event for students in the Noble Art and Science of Defense: The DeKoven School of Arms. After years of attendees decrying a two-year wait between WMAW’s, in 2009 we hosted The 600: Prepare for Fiore – a celebration of the 600th anniversary of the Flower of Battle. This was followed by last year’s Armizare Academy.

In 2014, we turn to the Mediterranean Renaissance and the art of the duel! This full, three day event will feature:

  • A roster of leading instructors and experts in Renaissance Swordplay, including Devon Boorman, Puck Curtis, Tom Leoni, John O’Meara and Tim Rivera
  • Introductory and in-depth classes in early 16th century swordplay, including Iberian “Esgrima Comun” and Bolognese swordsmanship;
  • Expert instruction in the jewel in the crown of Renaissance Italian swordplay: the elegant rapier;
  • A chance for extensive training in the mysteries of LaVerdadera Destreza;
  • Lectures and demonstrations;
  • A Contest of Arms with sword, rapier and their trusted companions, the buckler and dagger.

Located at the picturesque DeKoven Center, home to the Western Martial Arts Workshop, the conference is a retreat with attendance limited to the 60 students that DeKoven can host. Your registration fee  includes entry, lodging and all nine, hot meals.

This is a unique event and a unique opportunity to train in a private environment with some of the finest modern teachers of the Art of Defense. Act now, because spaces will go fast. We look forward to crossing swords with you!

DETAILS:

Dates: September 19 – 21, 2014

Location:

The DeKoven Center
600 21st Street
Racine, WI 53403

(Details for getting to Racine can be found on the WMAW website)

Accommodations:

On campus; all rooms have two single beds. You will be able to request the roommate of your choice when you register, and we will make every effort to accommodate you. Lodging is from Thurs to Sat.

Nine hot meals.

Costs:

$300.00 inclusive before March 1st; $375 thereafter. (Almost a 25% savings for early registration!) No cancellation refunds after July 1st, 2014

Registration Contact Info:

 

The Dulelists at Dawn. A few were surprised to find out that we really meant dawn....
The Dulelists at Dawn. A few were surprised to find out that we really meant dawn….

Whew! As is a decade-old tradition, eight days after it began, Sean Hayes was the last to board the plane, officially turning out the lights and locking the door on the Western Martial Arts Workshop.

WMAW 2013 was our most packed event ever, not just in terms of classes, but with an armoured Deed of Arms (actually, a Deed within a Deed – more on that later), an on-going Challenge Tournament, an early-morning Duel at Dawn and more lectures than we have ever had before. Based on early feedback, I think it all worked, or mostly worked, but the downside was that many of the special events required special planning meetings on site, so as part of the event staff, I saw less of the actual classes than I normally do.

 

NEW INSTRUCTORS

Roger Norling teaching Meyer's longsword. (c) Ed Toton
Roger Norling teaching Meyer’s longsword. (c) Ed Toton

We try to change out about 1/5 of the instructor roster each WMAW, bringing in new folks from both the US and abroad. This year our new faces included Tim Rivera (Esgrima Comun, USA), Roger Norling (All-Meyer-All-the-Time, Sweden), Mishael Lopes Cordoza (German longsword, Holland) and Roberto Laura (Traditional Italian Stick and Knife, Germany).

Despite by best efforts, it proved impossible for me to get to Tim’s Spada e Rodella (sword and round shield) class, although it received rave reviews from my students, as did Lopes’ Dutch dagger fighting class, which one my students dubbed: just like Fiore, only meaner and more vindictive. Fortunately, I *was* able to take most of Lopes’ longsword cutting patterns class and to audit Roger’s short staff class.  Neither disappointed. “Techno-Viking” moniker aside, Lopes is an articulate instructor with fantastic body-mechanics who was able to relate why the patterns he was teaching were not just mechanically efficient, but tactically preferable in terms of tempo and line. It was a great class, even if I got pulled out to go deal with some administrative issues about 2/3 of the way through.

Roger Norling and I share a love of polearms, so when I invited him to come, I of course insisted he teach a class on Meyer’s staff. This three hour workshop was a real highlight, not just because I think Meyer has left us a brilliant, elegant and powerful system of staff-fighting, but because Roger’s pedagogy was equally brilliant. Ably assisted by new friend, fellow Illinoisan and brother-at-arms Chris Vanslambrouk of the Meyer Freifechter, from the moment he began his warm-up, everything Roger taught was designed to initiate students in the body mechanics and broad motions of the art. The Gothenburg Historical Fencing Society is known for its physicality and conditioning, and Roger brought this to his teaching: the first hour of the class would have been a fantastic stand-alone class in relating warm-ups and conditioning to your martial arts practice. Fortunately, there was two more hours of solo and paired work and people got a great work out, exposure to an art most of them had never seen before and I suspect an eye-opener as to the power of the humble staff….

Speaking of sticks and staves, I have already talked at length about my teacher Roberto Laura’s dedication and mastery of the traditional staff and knife arts of Italy, but I was eager to share his knowledge with the larger HEMA community. For those who do not know Roberto Laura, after many years in traditional Asian arts, he has spent the last twelve years traveling back and forth from Germany to Italy to research, document and train in traditional Italian arts. At WMAW, he presented a class on the shepherd’s staff from the Scuola Fiorata of Sicily, and a 3 hr workshop on the dueling knife both the Fiorata and Calvieri d’Umilita schools. These were some of the first classes to fill up in registration, and I don’t think anyone was disappointed. I think they also learned what I mean when I say that Roberto demonstrates what “sprezzatura” looks like in action. I suspect these old folk arts may gain some new students here, thousands of miles from their home…

As a side note, I will add that my good friend Jorg Bellinghausen has told me to invite three people to WMAW over the years: Roland Warzecha, Christian Eckert and Roberto Laura, and his recommendations have always become event favorites. Moral of the story – listen to Jorg. Well, maybe not after hours, after a few beers and smokes, but otherwise…

 

THE USUAL SUSPECTS

CSG's John O'Meara teaching Italian rapier in the style of Salvatore Fabris
CSG’s John O’Meara teaching Italian rapier in the style of Salvatore Fabris

Speaking of Jorg, he also taught a brilliant class toward the end of the weekend (what the instructors named “the Graveyard Shift”) called “The Sword Comes from the Messer”, that demonstrated adaptations of messer play to longsword, rather than the other way around. This became was one of tidiest, most concise lessons I have seen, equally useful for experienced practitioners as well as a short immersion course for newcomers to the German tradition.

Dr. Les Moore has become synonymous at WMAW with American Catch Wrestling (the colonial inheritor of English Catch-as-Catch Can), and he did not disappoint this year. But he also told me early on that he wanted to focus on beautifully illustrated, but slender self-defense work by Nicholas Petter. I confess I was a bit skeptical – not in Dr. Les, but in whether or not there was enough there for the class he was proposing, but since I hadn’t looked at the text either seriously or in over a decade, I said OK. Apparently, that was a good move! I could. I could tell you my thoughts on the class, but I’ll instead quote Jesscia Finley, herself no stranger to grappling: “I think I am in love with Dr. Les. Holy Crap that was good!” There you have it.

Jessica herself taught both a class on how to “spar” with historical wrestling and a 3-hour workshop on the work of Ott and Von Auserwald which also included a significant component on how to actually enter into wrestling: an area that many HEMA folks without prior knowledge of grappling, judo, etc are usually fairly weak. I only got to audit about half of the class, but I loved what I saw and my selfish solution will be to have her here for a private workshop.

Roland Warzecha has long been an advocate of slow-motion, free-form training, and this year he refrained from participating in coached fencing to instead teach an evening mini-class in his methods and principles. I cannot express how much the attendees loved this: I was cornered by almost every attendee and told “why can’t we have him do an entire 3-hr workshop on this?” OK, OK, I get it – I’ll talk to Roland… or at least, his alter-ego, The Dimicator.

"I'm not Tom Leoni, but I can still stick you in the head with a spear!" (c) Ed Toton
“I’m not Tom Leoni, but I can still stick you in the head with a spear!” (c) Ed Toton

Unfortunately, my dear friend Tom Leoni took ill and had to drop out of the event, and combined with Devon Boorman’s induction into the Dolorous Order of the Dislocated Digit (see below), I suddenly found myself picking up an extra 4.5 hours of teaching duty. I certainly didn’t mind – it meant an excuse to play with polearms! – but it did sadly happen to coincide with exactly the remaining class slots I had left myself the freedom to attend. Damn! It also means that I was suddenly teaching first period Sunday morning – double damn! But I went to bed early(ish) like a good boy, and I hope that everyone enjoyed the workshop, which built off a pair of classes on Italian spear, and sword vs spear that I had co-taught with Devon One-Arm the day before. (How does a one-armed man teach spear? Through a body-double, of course, in this case Roland Cooper.)

I know there were other classes, and I know a lot of them were great: “Wow, Sons of Hauptgames was even better than the first! That was a really great rapier mechanics class! The Sneaky Stuff class really was…sneaky.” But I didn’t get to see them. (How *does* one get to be a guest at his own event?) I *did*get to see some of the lectures, from Elizabethan Sea Dogs to Spada da Popolo (the history of the Italian knife arts) and an intriguing lecture by Ben Roberts on the English longsword tradition. Mark Lancaster began the event with a lecture on A Hidden Tradition – a rumination of the “common art” of the Middle Ages which the various masters were improving upon or countering; essentially “what did most combatants know”? It was well-received and Mark is still working on the topic, so hopefully I’ll see version 2.0 someday.

 

THE CHALLENGE TOURNAMENT

That's gotta hurt! A near-miss by Roland Cooper ends in his beheading by Mishael Lopes Cordoza during the longsword finals.
That’s gotta hurt! A near-miss by Roland Cooper ends in his beheading by Mishael Lopes Cordoza during the longsword finals.

There has long been a great deal of discussion, interest and debate in the virtues and methods of competition in refining and testing martial arts skill, and a strong divide between traditional martial arts and combat sports. In recent years, this same interest, debate and specialization has become a part of  the Historical European Martial Arts community, with various sub-communities ascribing different levels of importance, emphasis and virtue to formalized competition.

My own views on the subject are similar to those eloquently expressed by new WMAW instructor Roger Norling in “The Wreath or the Cash” at his HROARR website: http://www.hroarr.com/the-wreath-or-the-cash-on-tournament-fighting/  and the WMAW Challenge Tournament, derived from a proposal by Maryland KdF member Ben Michels, was an attempt to put some of these ideas in practice. The tournament has  been developed with the following precepts in mind:

  1. Competition should be a good test of physical skill as well as character; If combatants don’t have a chance to fail both physically and personally in a match, you do not have a martial arts competition, you have a sports competition.
  2. Judged combat can lead to awarding technically better fencing, but it also reduces the character test on combatants, as they are absolved from calling hits and learn to “sell” points. Fencing is the Art of Defense, and we see far too many double-hits in sparring;
  3. The current emphasis on the After Blow in all fights, rather than the original “king of the hill format” has actually encouraged double-hits as people game the After Blow to negate an attack.
  4. No one likes to be eliminated in “sudden death”, one-hit fits, but that is the reality of a lethal fight with sharp swords. As Fiore dei Liberi wrote: “in one missed parry lies death”.
  5. Most fencing tends to be like vs like weapons, whereas the various masters all assert that their art works in all manners of combat, against all weapons.
  6. No set of rules can accurately reflect real combat, only reward realistic tactics and deemphasize unrealistic ones.

With these rules in mind, Ben and I conceived the WMAW Challenge Tournament.  Here is how it worked.

The tournament was fought in two rounds – an open Challenge and invitational Finals. The Challenge Round was open to all attendees with the requisite equipment, began during Thursday night free-fencing and ran all through Friday classes, concluding with Friday night free fencing. Fights were conducted privately and judged on the honor system, based on the stated Scoring Conventions (see below).

  • Overall Victor received 2 pts;
  • The person who scored the first blow received 1 pt;
  • If there were any double hits during the match, both parties lost 1 pt.
  • Therefore, in any match a combatant could score between 3  and -1 points.

These rules were not meant to be “realistic”, simply to prioritize drawing first blood and avoiding double-hits. No matter how many double hits, for the sake of simplicity, only 1 pt was lost.

Finally, Combatants could choose to fight in any of the following categories (and could participate in as many as they like): Longsword, Cut and Thrust Sword (inclusive of sword alone, sword and buckler, or sword and dagger), Thrusting Sword (Inclusive of rapier, rapier and dagger, rapier and cloak or smallsword). What defined which category you were fighting in is what you are armed with, not your opponent. Thus, if two combatants wish to meet in the field with longsword vs. rapier and dagger, they are welcome to do so – with one person receiving a score in the Longsword category and the other in the Thrusting Sword category.

After the Challenge Round ended, total scores for each combatant in each Weapon Category were totaled, and the top two combatants for each round moved to the finals, to be fought as an exhibition during Sunday’ s lunch period. The Finals were a formally judged match, based on the rules designed by Sean Hayes for VISS. You can find those rules at http://chivalricfighting.wordpress.com/2013/08/14/tournament-rules/

The finalists in each round were:

  • Longsword: Mishael Lopes Cordosa and Roland Cooper (victory to Lopes)
  • Cut & Thrust: Bill Grandy and Doug Bahnick  (victory to Bill)
  • Thrusting Sword: Kathleen Gormanshaw and Nat Ward (victory to Kathleen)

So Did it Work?
Good question! The answer is: parts did and parts didn’t.

The scoring conventions and open format of the Challenge round worked very well, not least of which because combatants were sometimes annoyed or frustrated by the results. “What do you mean I got zero points? I WON!” Yes, but you got hit first and double-hit. Look at it this way, your opponent got nothing, too! What was interesting was that in some cases, he who fought most and won most clearly dominated – Lopes had more points in longsword than the second and third place finish combined – at other times the two finalists had not fought that many bouts, but had managed to win, score first blood and avoid double-hits, as happened in the Cut & Thrust round.

The honor system worked just fine, but in part because we put in a caveat: if you couldn’t agree on the results of the bout you went to the recorder and were forced to play Rock, Paper, Scissors. The victor in the Rock, Paper, Scissors was to be announced at Saturday’s dinner. Act like a child, get treated like one. The RPS Solution was never invoked.

Now, a few people gamed round one – both parties scored poorly and decided not to report their results – and that’s probably no better or worse than any other problem in tournaments, from poor or biased judging to gaming the After Blow. In this case it really didn’t matter, because there was no prize to be won – as we made clear at the start, this was just an experiment to try various scoring and judging conventions with a heterogeneous audience.

The finals, IMO, and even within my own school it seems I was a minority, were a mixed bag. I appreciate what both the Longpoint rules and Sean Hayes’ modifications to them seek to achieve, and I think they work well to train fighters, but within a tournament I think they take too long to score, make the action too staccato and make it hard for the audience to understand what they are seeing. I think that the idea of the system, including priority, which worked well, is good and can be refined and perhaps slimmed down for actual competition. In any event, you can see the system at work here, in the well-fought messer finals:

The major flaw with the tournament was that participation was lighter than anticipated and as I asked people why they weren’t trying their luck, I heard a common refrain, even from those who like to compete: it was hard to move back and forth from a competitive mindset to a free-play mindset, from focusing on trying new things or being highly-technical to relying on “what worked”. I hadn’t really considered that, but in retrospect it makes good sense. I *was* happy to see that a number of folks did try mixed weapons, and that added some diversity and variety to the fighting.

At its core, WMAW is a teaching, research and networking event, not a tournament event, of which there are a growing number. I don’t know that we’ll do much with refining the model at WMAW itself, but those lessons will plug in to what we do with our off-year events. I will say that if I were to carry the experiment further forward, I would make phase one of the tournament focused on a single, three-hour evening block, probably advance the top four to the second phase, and perhaps have the two highest-scoring finalists of whatever weapon bout for the overall victory. But it was fun to try and it did reinforce my feeling that if your goal is to use competition as an adjunct to training, rather as a focus for a particular event, the rules can be quite minimalistic, and a lot is gained by not placing all responsibility in the hands of the judges. I look forward to chatting more with Ben, Jake and Sean about refinements in the days to come.

 

THE ARMOURED DEED OF ARMS

Our numbers grow...the 2013 combatants in the Armoured Deed of Arms
Our numbers grow…the 2013 combatants in the Armoured Deed of Arms

In the last few years a reconstruction of an Armoured Deed of Arms has become one part martial exercise, one part extended exhibition match. It is not meant to be a “reenactment” (although I certainly caught a few snickers about that), but rather an homage: if you are going to go the trouble of wearing $3 – 10K of armour and reconstruct armoured combat the best way to pressure test that is the same way as the people who did so originally. My model for this has been the modern jousting movement, where the competitors are in historical kit, using a modernized set of historical rules (generally for safety), with a ground crew in historical kit, but with no pretensions by the competitors or announcers that it is an historical event, anymore than dressage, fox hunt or rodeo riders pretend it is the 19th century, despite wearing a traditional ‘costume’.

We must be doing something right, because from a meager handful of guys at the first Deed, there were nearly combatants this year, most in full, homogenous harness! Among the new faces were Christian Cameron, Marc Auger and Dr. Ken Mondschein.

Nicole Allen has long been the sole representative of the “armoured ladies who kick ass” contingent in these Deeds, but this year she was joined by Jessica Finley of the Old Dominion Fechtschule.  In fact, Jessica was chosen First Among Equals and invited to join the Companions of the Seven Swords. You can watch Jessica hand me my ass here:

Although I was disappointed with some of this year’s Free Fencing (including the handful of pick-up bouts I managed to get in myself), I think we saw some of our best armoured combat matches, with everything from dagger to poleaxe. Judging of a good kit was a bit uneven – I generally required a more solid blow than Devon did – but we’ll work that out, and I believe that all of the combatants felt “well-satisfied”.

The Deed also had a second Deed with in! Last year, Bob Charrette, a founding member of the Seven Swords and a participant in all of the Deed we have hosted, asked if there might be a time and place to allow him to do a feat of arms in honor of his 60th birthday: to fight in harness for one minute for each year of his life. How could we possibly say no to that?

So in between each bout, Bob met a challenger with their their choice of dagger, sword, axe, short spear and long spear. Bob fulfilled his Deed and could have stood a few challenges more (although I suspect he was content not to have to do so) – an inspiring model for all of us to emulate! At the end of the Deed, he awarded each person he fought with a token: a figurine of the Master of the Segno, carved by his own hand. In turn, and to his great embarrassment, the Companions of the Seven Swords awarded him with a token of our own: a tournament sword in the style of Rene d’Anjou, made by Companion Scott Wilson of Darkwood Armoury, and inscribed with both Fiore’s four virtues and a crowned 60. A fine end, to a fine deed!

The day could not have come to completion with the Dawn Stiers and her “squire team” who where indispensable in the running of the deed. Dawn is a master of organization who stepped in last year with my student Cooper Braun-Enos to whip the flow of the event into shape. This year, she and her crew made things move so smoothly that we finished half an hour early! A huge thanks to all of the team, especially Erin Fitzgerald, who was always on hand to help me with my armour, hand me water and make sure I knew where I was going and what I was doing.

 

SATURDAY NIGHT FIGHTS

Welcome to the Party! A rogues gallery, courtesy of Ed Toton.
Welcome to the Party! A rogues gallery, courtesy of Ed Toton.


Saturday night’s feast – an old-school pig roast – has become a tradition at WMAW. Every year we’ve had a different theme. One year was a costume party “celebrating 600 years of Western martial arts”, another year was medieval, and last year was Victorian, in keeping with the entertainment: a reconstruction of a 19th c Assault of Arms, such as might have been seen at the Bartitsu Club. This year was modern formal.  Every year, Dr. Bill Ernoehazy, as master of ceremonies, takes on the persona of the theme and weaves that into his presentation style. But what do you do with modern formal?

Why, you do a 1940s-style Night at the Fights, of course! There might not have been quite enough sweat or cigarette smoke, but we did have a bell! (Some remarked that it looked suspiciously like the dinner bell Dekoven rings. I can only say that while it did have a certain resemblance, all I know is that I told Spark that “we need a bell” and a) a bell appeared and b) the dinner bell was in place at breakfast the next morning. What happened in between is a mystery.) We also had what was, beyond a doubt, some of the best demo bouts we have ever hosted, of which the one that must take special note was the messer bout, wearing only mensur-style googles and gloves, fought by Roland Warzecha and Jake Norwood:

This was one of the cleanest and finest martial displays I have *ever* had the privilege to watch. It also revealed Roland and Jake’s alter-egos, as can also be seen from the photo at the bottom of this article…..

Standing in for both an injured Devon Boorman and John O’Meara, CSG’s Rob Rutherfoord met Bill Grandy in an Italian rapier bout that was, bar none, the most technically clean we’ve ever had, while also being quite athletic. I don’t think Rob needs to ever worry about being the “stand in” again!

Finally, the Demo Bouts have always featured swords, but this year we also had knives. Roberto Laura opened the demonstration with one of the elegant solo forms of the Italian knife schools, and there was a bout with American Bowie knives; a spirited display by Keith Jennings (CSG) and Thayne Alexander (RMSG). I think next time we need to chalk their blades….

All-in-all it was a great night of food, fencing and merriment, and a great capstone to the event.

 

THE DOLOROUS ORDER OF DISLOCATED DIGIT
Every event has its flaws. Although there were notable, and inspired exceptions (Jake Norwood and Keith Jennings, I am thinking of part two of your bout!), the freeplay quality was lower this year than at last WMAW. But the decided downside was an increased number of injuries, particularly to thumbs and fingers.  The two worst injuries were Sean Hayes’s little fingers, broken by a pollaxe during the armoured Deed of Arms, and Mishael Lopes Cordoza’s thumb, which we thought suffered a bad jam during the Challenge Tournament, but which in reality has a complex fracture (damn, damn and triple damn).

We’ve tried to look at the injuries that were recorded, what the combatants were fighting with and what, if anything could have been done to prevent the injury. Here’s a little after action review:

Injury
Sean’s finger was broken in a pollaxe bout with a new pollaxe  design. The weapon behaves really nicely – indeed, just like a pollaxe, which was the problem. The axe head was likely too narrow to distribute force, particularly against someone wearing finger gauntlets.

Solution
The solution is two-fold: 1) the weapons need to be redesigned and 2)combatants can consider wearing mitten gauntlets or additional finger bucklers when fighting  with the axe. Other than this, there isn’t much to be done – the weapon is a mass weapon and the hands will always be vulnerable; just as was discussed historically;

Injury
Devon Boorman shoulder was injured during a throw, also during the Deed of Arms, which rendered him out of combat for the weekend and a lefty for teaching purposes for the next two days. At first I thought he might have dislocated the shoulder, but it proved to be just deep tissue bruising.

Solution
There really isn’t one.  Grappling is inherently dangerous, and in harness the higher center-of gravity and lack of sensitivity often takes both people to the ground. In reviewing video, no one really did anything wrong, nor was the throw particularly dangerous – one combatant simply landed hard on the other. This injury probably falls into the realm of “things will happen in full-contact sports”.

Injury
Lopes’s thumb was broken at the middle joint during the first round of the Challenge Tournament. Of course, Lopes being Lopes, this in no way stopped him from fighting and winning the longsword finals, so I doubt most people realized how complete the fracture was until he got home and posted x-rays to Facebook.

Solution
During the particular bout where the injury happened, Lopes had complained about his opponent hacking needlessly hard. This may have been a matter of too much blow force (it is a sword, not a mace, people), and in a judged tournament the judges might have been there to step in, but in addition to this, I think this sort of injury is in turn a combination of training and culture issues and combatants being willing to say “Dude, quit hitting so damn hard.”

Injury
We had three other notable hand injuries that I know about: a thumb that had its nail pulled back, a severely jammed thumb, a dislocated finger and a broken thumb. In talking to the combatants about how they happened, when, what they were fighting with, etc, here is what we were able to determine:

  • All of the injuries happened in longsword bouting;
  • All of the injuries noted above happened to practitioners of German longsword;
  • None of the combatants were wearing plate gauntlets, but what they *were* wearing varied from the custom gloves at Sparringglove.com, the cheap Absolute Force knock-offs and lacrosse gloves.
  • There was no consistency in the swords used in the injuries, but they included an Atrim I-beam sword, a Regenyei  feder, and an Albion Meyer.

Solution
We discussed this a lot with the instructors who stayed afterwards at the event, and I don’t        really have one, in part because I don’t think the injuries were because of a singular issue, but         rather a “perfect storm” of a variety of issues.

  • Swords – I can’t say anything for certain, but I will note that each of our last three events someone has gotten a part of their hand mashed by the Atrim I-beam swords. I love Gus, but I really think he’s recreated a crowbar, not a sword, with these weapons, and I think the use of this weapon in inter-group fencing and competition needs to be evaluated.
  • Blow force – I will say that I saw people hitting harder and relying on far more safety gear than in previous years. This was particularly true of those who come from a tournament-focus. More gear, more force, and while higher level combatants were good at modulating their power, lower level fighters emulating them clearly were relying on the armour to get the job done. The end result was that I saw a lot of what was familiar from my SCA days – a reliance on safety gear over control, and a lot of *hitting* with swords, as opposed to cutting – with the same sorts of injuries.
  • Safety-Gear: the problem clearly went beyond safety gear, but I do think that in some cases that exacerbated the problem. As I said in my review when the Absolute Force gloves came out, they do not have the shaping, dexterity or strength of the Fechtschule Gdansk gloves they knocked off. I particularly noted that the thumbs were flimsy, particularly at the joint, and the way they fold over the glove, instead of to tucking in (as seen in historical mitten gauntlets) made thumb injuries likely. I was told by the manufacturer “oh, everyone loves them”.  Maybe so (although I think what they love is the price-point), but between WMAW and Armizare Academy I have now seen five significant thumb injuries to people wearing these gloves, and as blow force goes up, I suspect more will follow. If you have $120 hands, by all means wear $120 gloves, I guess.
  • Style: All of the thumb injuries happened to people who practice German arts. I don’t think that is a critique of the style, but I do think that since it uses slipping in and out of the thumb grip, it is worth investigating how people are using that grip under adrenaline pressure, and with different sorts of hand protection, to determine if they are over extending or hyper-flexing their thumbs, making them more susceptible to being hit.

Shameless Personal Editorial: When the debates over historical gear vs. non-historical gear went through the community, one complaint was that the gambeson, gauntlets and helmets that some of us favored were “too bulky and too heavy” for unarmoured combat.  Indeed, that was the rationale behind many of the nylon swords, such as the Rawlings line. That argument may or may not be true, but the overall amount of kit that I saw the modernists wearing – full shin, knee and instep guards,  full arm guards over an Axel Petterson jacket (a gambeson by any other name), reinforcing gear *under* the jacket, sometimes black, plastic reinforcing gear (shaped, I might add, like medieval armour) the arms of the jacket, compression pants with protective plates, and so forth, was astounding. It also actually weighs notably more (and in the case of the hand protection, clearly protects less) then what I was told was too heavy to simulate “unarmoured combat”. I think the virtue is it’s modern and black. In any case, I think too much armour + blunt swords comes to less fear of closing and more percussive use of the weapon, making it more like stick-fighting than swordfighting. YMMV.

 

IN CLOSING
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This was our most ambitious WMAW and I think our most successful; not just because the event was sold-out, but because attendees had a vast choice of activities, there was plenty of friendly blade-crossing, and I think the overall spirit and nature of the event was the most upbeat, warm and positive I have seen. WMAW was designed as a way to showcase research, try new things and build bridges, and I hope that was achieved with some of this year’s new faces.

Of course the event only happens because of the tireless work of the WMAW event staff: Nicole Allen, John O’Meara, Jacques  Marcotte and Christina Bailey, and the hair-pulling efforts at ride coordination and equipment transportation by Davis Vader, whose job I would not do at gun-point.  Our staff’s efforts only get us to the day of the event; after that it is the legion of Blue Shirt volunteers and drivers who make us pull the event off. Thank you, each and every one. And thanks to all of the students who make this worth doing time and again.

You can find additional WMAW reviews from Jake Norwood on the HEMA Alliance forum and a variety of instructors and attendees at the WMAW Facebook page.

Here is a rare collector's post card from the early days of HEMA superhero geekdom, showing the Dimicator and Captain America. At the time, critics were still undecided if the Dimicator was to become a superhero or supervillain.
Here is a rare collector’s post card from the early days of HEMA superhero geekdom, showing the Dimicator and Captain America. At the time, critics were still holding out hope that the Dimicator would become a superhero.

The DeKoven School of Arms: A Weekend of Renaissance Swordsmanship

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Mark your calendars for September 2014!

The Chicago Swordplay Guild and the DeKoven Foundation – the same team that have brought you WMAW for over a decade – are please to present an event for students in the Noble Art and Science of Defense: The DeKoven School of Arms. After years of attendees decrying a two-year wait between WMAW’s, in 2009 we hosted The 600: Prepare for Fiore – a celebration of the 600th anniversary of the Flower of Battle. This was followed by last year’s Armizare Academy.

In 2014, we turn to the Mediterranean Renaissance and the art of the duel! This full, three day event will feature:

  • A roster of leading instructors and experts in Renaissance Swordplay, including Devon Boorman, Puck Curtis, Tom Leoni, John O’Meara and Tim Rivera
  • Introductory and in-depth classes in early 16th century swordplay, including Iberian “Esgrima Comun” and Bolognese swordsmanship;
  • Expert instruction in the jewel in the crown of Renaissance Italian swordplay: the elegant rapier;
  • A chance for extensive training in the mysteries of LaVerdadera Destreza;
  • Lectures and demonstrations;
  • A Contest of Arms with sword, rapier and their trusted companions, the buckler and dagger.

Located at the picturesque DeKoven Center, home to the Western Martial Arts Workshop, the conference is a retreat with attendance limited to the 60 students that DeKoven can host. Your registration fee  includes entry, lodging and all nine, hot meals.

This is a unique event and a unique opportunity to train in a private environment with some of the finest modern teachers of the Art of Defense. Act now, because spaces will go fast. We look forward to crossing swords with you!

DETAILS:

Dates: September 5 – 7, 2014

Class Roster:
Download the  Class Roster

Location:
The DeKoven Center
600 21st Street
Racine, WI 53403

(Details for getting to Racine can be found on the WMAW website)

Accommodations:
On campus; all rooms have two single beds. You will be able to request the roommate of your choice when you register, and we will make every effort to accommodate you. Lodging is from Thurs to Sat.

Nine hot meals.

Costs:
$300.00 inclusive before March 1st; $375 thereafter. (Almost a 25% savings for early registration!) No cancellation refunds after July 1st, 2014

Registration Form:

DKSoA registration form

Contact Info:

Review: Traditional Italian Knife and Stick Seminar

 

Greg Mele and Jesse Kulla training in traditional Italian knife dueling.

This past weekend (actually, for the last five days), Forteza had the privilege of hosting Roberto Laura for an immersion in the world of Italian folk arts. For those who do not know Maestro Laura, after many years in traditional Asian arts, he has spent the last twelve years traveling back and forth from Germany to Italy to research, document and train in traditional Italian arts. I first became aware of his work from some internet forum posts by Tony Wolf, and then, about two years later was introduced by our mutual friend, Jorg Bellinghausen. Since Jorg was also responsible for recommending Roland Warzecha and Christian Eckert, I’ve learned to instinctually trust his opinions on what makes for a good martial artist.

This rather long review will give readers some sense of the arts themselves (I hope), as well as how they feel to a long-time student of Italian medieval and Renaissance martial arts.

PROLOGUE
From my first discussions with Roberto, he was friendly and open, explaining the nature and history of his arts, including that while many of them have traditional histories that are said to go back to the Middle Ages, as peasant traditions, none can truly be documented before about 1700, and all have obviously added, refined or adapted their curriculum over the years (for example, the introduction of boxing strikes in some lineages during the ’20s, or the introduction of more Asian style kicks in the ’70s). I was extremely impressed by Roberto’s dedication to a) preserving these arts, some of which only have one or two living teachers, b) documenting both their legendary and verifiable history and c)his dedication to track the alterations and evolutions of the art, and to faithfully transmit the art as his teachers have given it to him, but also to maintain knowledge of the traditional elements that may have been changed.

Sadly, there are many people who learn of a dead or dying martial art and graft its history and a few of its moves to a related Asian art they already know and “presto” they are a Spanish, Italian, Native American, even an Atlantean martial artist. Sometimes, this is painfully obvious (anyone ever seen Stav?), but other times a good fighter and salesman with just enough of something new can be successful selling snake oil. So, I am always cautions and skeptical, without being cynical.

Then I saw video of what Roberto taught. This sure as hell was *not* Filipino martial arts, nor even savate and la canne with Italian names. It was something else, and the guards, movements and sensibilities of the knife work had a “feeling” that was reminiscent of Bolognese swordsmanship, the stick was uncannily like a left-handed version of Fiore dei Liberi’s two-handed sword. NOT identical, but related in movement, tactics and footwork – much like you might think of how unarmoured sword might influence unarmoured staff; or more to the point, how the same *culture* might think about using such a weapon.

Roberto does not teach martial arts for a living, nor does he intend to do so, so he is fairly conservative about how often he travels abroad to teach. Fortunately, Jorg told him that we weren’t nutters, so when I asked him to come teach, he not only agreed to do so, but agreed to come early so that the Forteza instructors could really try to get down the basics of the system.

DAYS ONE AND TWO – PRIVATE TRAINING

“Il Castello Nicoletta”

Nicole Allen opened her magnificent Victorian home with its private sala d’arme to be Roberto’s home in Chicago, where he was joined by our dear friend Sean Hayes from the Northwest Fencing Academy. Nicole’s sala was where we all gathered to begin training. Roberto told us that we would start with the Scuola Cavalieri d`Umiltà or the Knights of Humility. This school derives from Manfredonia, Apulia (by tradition, from the 15th century). It is a highly elegant fighting system with the knife, shepherd’s staff and the razor. The footwork is circular and precise, using both an open and closed body position. (Armizare students – to understand the closed position, just think Fiore’s sword in one hand – it is identical.). The instruction includes two solo forms – one for each direction you walk the circle, and a series of partner training exercises, as well as a variety of specialized tactical instruction. Training begins with “la scuola”, which focuses on the use of the knife in the formal duel and then “la strada” – fighting in all contexts.

We spent a great deal of time learning the first form and its partnered applications. I can’t really explain in words how elegant the movement is – when you see video it seems florid, with hops or jumps that seem “dancey”. Then you see how they are used, and how they are meant to counteract the limitations of a knife – as Silver said, it cannot form sure wards. A knife is even worse than a dagger, as it has no guard, so you have to learn how to manage distance carefully, as well as how to thrust without running your own hand on the blade.

Officially, we were learning the first form and the basics of its application, both “la scuola” and “la strada”. In reality, we were learning how to move and how to *think* like an Italian knife-fighter.

Take away lesson of day one – fighting a knife duel with an 18″ knife is scary as hell. Second lesson – compared to Roberto, I move like a drunken baboon.

An Italian folding knife in the 18th century style. This long, elegant weapon is the sort of knife wielded in the Calvieri school.

On Day Two, we brought Roberto to Forteza, and showed off our little sala like proud papas. Then we got to work. First we reviewed Day One and then Roberto began to show us a new system: Scuola Fiorata- The Flowery School, from Calatabiano, Sicily. The weapons taught within this traditional dueling art are the shepherd stick and the knife. This lesson also gives a great insight into how living traditions evolve and change, because the Fiorata is technically a modern school, yet in many ways it is a return to older sensibilities. The school comes from a very old – and still living – tradition called the Scuola Rutatu (Circling School), but after WWII some masters of the system were concerned with the loss of close-fighting techniques and a transition to fast, but smaller, less powerful actions. They worked to create a new school that would counter Rutatu, producing a system which combines the elements of open and closed guards, dynamic assaults and unites the knife with the stick – the guards, blows, etc are *identical*.

We ended formal training on Day Two with Roberto giving us an historical discussion on the traditions: how the Flowery School was born and showing a comparison between it and the old school; explaining weapons and techniques that are known to have existed but which have been lost, and then discussing the traditions of knife dueling in southern Italy. The Cavalieri school was taught by both common people and the Camora, and he showed how the Camora used the dueling system in a series of multi-level initiations, which were like a combination of English Prize Play and Masonic initiation (except Masons didn’t sometimes use their ceremonies as a way to “whack” the candidate!).

Exhausted and happy, we did what we do best at the CSG – headed off to a favorite pub, to initiate Roberto and Sean in the mysteries of bacon-popcorn.

Take away lesson of day two – there is vast amount of martial culture and history that is still alive in southern Italy, but fading, and it is crucial not to let it be forgotten. Second lesson – compared to Roberto, I move like a drunken baboon.

DAYS THREE AND FOUR – SEMINAR
We had about seventeen people for the actual seminar, including three of my students from the Rocky Mountain Swordplay Guild. Sean, Keith, Trey, Jesse and I were tapped to be “teaching assistants” for Roberto, although it just reminded us of how green we really were.

Sean Hayes assists Maestro Laura in demonstrating techniques of the elegant Fiorata school.

The first day was Fiorata knife, a beautiful style (truly flowery), that also is clearly “fencing”. As I had noted with the Cavalieri school, this style uses what we think of as “classical” Renaissance Italian footwork: passes, inquartate, intagliate, girate, etc. It also has certain tactical sensibilities that are identical to advise of the Bolognese masters – such as playing from the left in what we might call guardia porta di ferro e stretta. Not to sound like Inigo Montoya, but if you have studied your Agrippa, Fabris or Manciolino, in the Fiorata school are not just the same *types* of actions, but the very same, if we consider a knife versus a sword.

To end the day’s training, Roberto introduced us to la Scuola Cielo e Meraviglia (the School of Heaven and Its Marvels) which also comes from Apulia, and is about two-hundred years old. This is a close-quarter fighting system which uses grips, joint locks, throws. As very old traditions these schools use a wide variety of daggers and folding knives, including cloak and dagger techniques and improvised weapons. Roberto made it clear that he is only a student of this tradition, and that he was introducing us to his current understanding of the system a passed to him by his teacher.

Although a younger tradition than either the Calvieri school or the roots of the Fiorata tradition, for historical martial artists, this tradition “feels” more like what we see in the medieval traditions: a direct, no-nonsense system of self-defense that also uses a variety of close-combat techniques and finishing moves. It is absolutely fascinating. Here is a short video clip that will give you some small feel for the tradition:

Finally, Roberto took mercy on all of us, and we adjourned to the Fountainhead for wonderful food and drink, and we fed our teacher polenta ala americana. His San Remo sensibilities were actually very impressed with the mix of crab and polenta, so I breathed a sigh of relief. I drove everyone back to Il Castello di Nicoletta and we had a little gelato to end the night at about 10 PM….but then Roberto had a few more things he wanted to show Sean and I…..

An amazing meal ala Americana – Belgian and German beer, crabmeat polenta, frites ala francaise, and good ol’ Yankee burgers! Best of all, good friends. (Little do Greg and Sean realize that they are not done training that night.)

I came away from day three with a much deeper understanding of how the Italian knife masters conceptualize the fight – things that seem like gymnastics for gymnastics sake, flowery purely for the sake of elegance, or restrictive because of the rules of “la scuola” – the first level of the training – all have sound martial, pedagogical or biomechanical principles. It also is some of the most beautiful “poetry in motion” I have ever seen, like a mixture of flamenco, tarantella and classical fencing. Second lesson – compared to Roberto, I move like a drunken baboon.

Day Four
Our fourth and final day was the Fiorata stick, and I truly am in love with this weapon. It is fast, powerful and although it has some resemblance to French baton, to me it is much more like a relative of the Japanese jo, the Italian longsword and the English and German staff (although as a shorter weapon, it lacks the ferocious power of the quarterstaff, which I still think may be one of Europe’s deadliest weapons in the hands of a master).

Roberto says that he is not as adept at the bastone as he is the knife, and if this is the case, then a master who specializes in the bastone must be a sight to behold! The weapon is not very heavy (although there is another school, the Royal School, who uses a weapon as thick as a man’s wrist!), which means it be wielded with great speed and, like a sword, swiftly change from one line to another. As the Fiorata school sees knife and stick as one art, the training on day three made day four much easier as we worked on the first form – an extremely long form, and only one of four.

I can’t begin to describe how much the stick feels like longsword done by a lefty. There are obvious differences – like using positions that have the arm has a shield for the head so that if you miss a defense, your weak arm takes the blow – something you can’t do against a sword. Likewise the stick strikes are the knee, hand or head only – against, because a stick is not a sword, nor is there a guard to defend the hands.

But having said that, the similarities are profound: the use of volta stabile and tutta volta, not just in principle, but in form; the use of a left leg lead while striking from the right side to create a bind; etc. Also, the guards are familiar: posta di finestra, posta di donna on both sides, but also posta di donna la soprana (used for more power, and to fight against multiple opponents), tutta porta di ferro and coda longa. When transitioning to fight close, the positions are primarily posta di vera croce, posta sagitarria and posta serpente lo soprano. Of course, there are only so many ways to wield a lever arm, but then you look at the tactics – like throwing thrusts from what we would call posta di donna (by “lifting the arms over the head”, and not the way most Fioreists think Fiore means that – Roberto’s way works much better).

The southern schools also all claim that their arts began in Spain, and here is where the pedagogy gets interesting. Although the long solo forms, or assalti, are modern, they are comprised of shorter tactical forms called “lines” or “rules”. One begins from the salute – done by starting with the staff point down, as if holding an armpit height sword with its point on the ground – and kicking it into guard, just as is done with the Iberian montante. Some of these rules include: fighting in a narrow corridor, fighting in a very narrow passage, fighting multiple opponents in an open place and fighting where four streets meet. Anyone who is familiar with Iberian swordplay recognizes at least three of those scenarios. The techniques aren’t quite identical, but they are very, very close. So close I started slipping into the wrong system a few times…

Tired but happy students of the Bastone Fiorata. A school of incredible fluidity, elegance and power – we all fell in love with the Sicilian stick!

FINAL THOUGHTS
Roberto was born in Italy but grew up in Germany, which means that he teaches with a German work-ethic; ie: we trained until we had to either eat or fall over, ate, and then trained until dinner, had a leisurely dinner where we wrote down terminology and took notes, then often did a little light training when we got home until it was time to collapse into bed so we could train again. It was mind-blowing, exciting, and exhausting, and between my notes and a dozen hours of video I hope I can keep it all straight. When everyone left on Sunday, Roberto asked that we not go out, but order dinner in, so the core students could train more – he wanted to make sure that he was leaving us with enough understanding to train on our own. So, after introducing him to Chicago-style pizza we took to the floor for a final two hours, as he assigned us to which schools he thought we should each focus on first. In the end, we really only stopped because the students simply could no longer differentiate a quacciatura from a calamari.

This seems like a long review, but it is only a touching of the surface. If it seems like I am gushing, it is because I am. This was the best martial arts training I have had …. possibly ever.

First lesson – there is a wealth, no, a treasure hoard of knowledge in these folk arts for anyone who calls himself an historical Italian martial artist, so much so that I will from now on think of my work with Armizare and Bolognese swordplay as BR and AR – before I met Roberto, and after I met Roberto. Put another way, if you study Armizare or Renaissance swordsmanship and do NOT take the opportunity to see what these traditions hold, and the oral teachings that a living tradition can provide about stance, body movement, etc, you are doing yourself a serious disservice. Just as there are a handful of old boxers and Catch wrestlers who are custodians of a wealth of knowledge for English martial artists, the rural and often “backward” nature of southern Italy has allowed it to keep alive arts that I am truly convinced come from the same family as the more patrician arts we seek to recreate.

Second lesson – compared to Roberto, I move like a drunken baboon.

Final lesson – even if that first lesson was not true, the Cavalieri and Fiorata schools are traditional martial arts of such great beauty, elegance and sophistication, deeply tied to the land and culture of their birth, that I will take every opportunity to study them, not just to help my HEMA studies, but to make sure that they continue into the next generation.

Armizare Academy and Forteza review

Ed – Reblogged from Devon Boorman’s Academie Duello blog. Devon was one of AA’s instructors and is also the founder and chief instructor of Academie Duello – the largest WMA school in the world. Stay tuned for photo and video updates from Armizare Academy over the next week.

Event and School Review: Armizare Academy and Forteza Fitness

I have just returned home from Armizare Academy in Racine, Wisconsin and must report that it was an excellent event all the way around with great classes, opportunities for collaboration, and sparring.

For those who are unfamiliar with the event, this is it’s second occurrence – the first time being in 2009 under the name The 600th Anniversary of Fiore dei Liberi or “The 600” for short – it is an event hosted by the Chicago Swordplay Guild (CSG) on alternating years to their other excellent event the Western Martial Arts Workshops (WMAW). Unlike WMAW, Armizare Academy focuses almost exclusively on the Italian martial arts tradition of Fiore dei Liberi, generally known as Armizare. Classes focused on wrestling, dagger, longsword, and sword in one hand.

This year’s instructor roster included me, Greg Mele (CSG), Sean Hayes (Northwest Academy of Arms), Bob Cherette (Forteza), and Christian Tobler who delivered classes on parallels to Fiore from the German tradition including an excellent comparative lecture with Greg Mele.

A particular highlight of the weekend was a keynote by Tom Leoni at dinner on Saturday night, done in the style of a renaissance university address. It was a discourse on the work of Fiore dei Liberi that both argued for the use of the art itself and advised students on its study. A video of this address and transcript should be available soon.

I was very impressed with the quality of all the workshops that I attended and came away with much food for thought. I particularly enjoyed Christian’s class on German counter-dagger techniques.

For my workshops, I felt that they went off excellently well with attentive and focused students. I delivered classes on applied combatives, exchanging the thrust with the longsword, modern knife, and combative strategy (co-delivered with Sean Hayes). I will be making videos and course notes available this week for those who attended (or didn’t) and want to have a reminder of what they learned (or missed).

The pinnacle of the event for me was most likely the Deed of Arms. This is an event I participated in the previous year at WMAW that features a medievally inspired fully armoured tournament with a certain amount of pomp and circumstance. I played a multi-faceted role as head marshal, herald, and as a combatant. I had two fights at spear and at poleaxe, both of which saw me victorious. The fight at spear with Greg Mele was particularly challenging and featured the longest continual series of actions in the tournament (nearly one minute long). I have to admit after the Deed completed I was only wanting more!

Forteza Fitness

Following the event I had the opportunity to visit Forteza Fitness, the new home of the Chicago Swordplay Guild. Forteza is a full fledged Western Martial Arts school in a funky suburb of Chicago (pretty close to downtown) that opened its doors about 6 months ago. Greg Mele and his team have done a tremendous job of getting things off to a great start. The space is about 5000 square feet, close to the dimensions of Duello but arranged a bit differently. Classic turn of the century physical fitness equipment surrounds the space, including an antique rowing machine, india clubs, and other apparatuses. The brick and beam construction along with the old world aesthetic give it a great feeling and though it certainly has taken some inspiration from Duello it has a cool vibe all its own.

Myself, and Duello senior students and instructors Clint and Roland, took the opportunity while we were there to partake in longsword and rapier focus classes. Both were very well run and content that was delivered was well thought out and presented. In the rapier class (which I attended) John O’Meira and Treyson Ptak delivered a very succinct lesson on pressing the attack. They are both particularly good at delivering just the right amount of content for students to retain and make meaningful improvement in their fencing.

Though I already had a very high opinion of Greg and his other instructors, I can certainly vouch for them even more heartily now having taken a lesson from them in their new home.

Following the classes we fenced for about 3 and a half hours with the instructors and students till we were all suitably exhausted. I had the opportunity to do passes at rapier, rapier and dagger, spear, sword and buckler, and longsword. It was a real pleasure and all the fighters presented great challenges.

Hospitality in Chicago

My visit wrapped up last night in the personal fencing salle of Nicole Allen (yes she has a fencing studio in her house — jealous!) where Greg, Sean, Bob, Nicole and myself shared technical ideas, and collaborated on some new Fiore interpretations (some exciting discoveries here — more on this later).

Overall a fantastic weekend with fantastic people.  If you ever have the chance to visit Chicago, I recommend you pop in on Forteza. If you are looking for a great conference, keep an eye out for the next instalment of Armizare Academy in 2014 and certainly for WMAW in 2012.

For those looking to take classes from many of these same instructors at a locale a little closer to Vancouver, most of them will be teaching at the Vancouver International Swordplay Symposium in February of 2013. Look for classes and tracks delivered by Tom Leoni, Greg Mele, Sean Hayes, Christian Tobler, and of course me.

You can learn more about Forteza Fitness in Chicago on their website atwww.fortezafitness.com

New Workshop: The Swords of Shakespeare: Romeo & Juliet

The Chicago Swordplay Guild is pleased to host this invitational,
three day event in honor of Maestro Fiore dei Liberi and his Art.

In 1410, Fiore dei Liberi, an aging condottiero and master-at-arms to some of Italy’s most renowned warriors, presented a book to the bellicose Niccolò III d’Este, Marchese of Ferrara (1383-1441) containing the sum of four decades of knowledge won in the training hall, siege, battle and  five duels with rival masters. He named this work Il Fior di Battaglia, the Flower of Battle, composed so that the “art might not be forgotten”.

Six hundred years later, a small circle of martial artists gathered from around the world to prove him right! This event, affectionately called “The 600: Prepare for Fiore!”, was such a success with attendees, that we decided to make it a recurring workshop! Since “The 602? seemed to be missing some flair, the event has been renamed Armizare Academy. Each Academy session will have a central theme, but will also include a renowned instructor from a similar, outside tradition, to help put our art in context. This year’s outside focus will compare Arimzare to the German Kunst des Fechtens of the Liechtenauer tradition.

You can find out more here:

http://chicagoswordplayguild.com/armizare-academy-a-celebration-of-the-knightly-arts
This is something new that two of the Guild’s instructors are developing in conjunction with our friends at R&D Choreography. A new look at Elizabethan swordplay and stagecraft, for the fighter, actor, and actor-combatant alike!

http://fortezafitness.wordpress.com/2012/06/20/swordplay-of-romeo-juliet-broadsword-and-rapier-in-elizabethan-england/