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Midwinter Armizare 2020 Tournament Rules

CSG’s Ben Horwitz (Black) and Keith Stratten (Blue) trade blows at 2018’s MidWinter Armizare Open

 

2020 Midwinter Armizare Open

Saturday, January 25, 2020 at 10 AM – 7:30 PM

Broadway Armory Park
5917 N Broadway St, Chicago, Illinois 60660

Tournament Rules

The Midwinter Armizare Open is a public display of skill with one and two-handed swords in a relatively rules-light format meant to emphasize the tactical priorities of fighting with sharp weapons in lethal combat. Midwinter Armizare Open 2020

TOURNAMENT ONE: LONGSWORD

Combatants will be divided into pools, fought under the below conditions, with an award to the overall victor. Combatants may also carry a dagger on their belt and switch to it when coming to grips.

TOURNAMENT TWO: SINGLE-HANDED SWORD

Due to the diversity of single-handed sword styles (and scarcity of focused exponents of the same), this will be a mixed-weapon tournament with the following, permissible weapons:

  • Medieval arming-sword;
  • Messer;
  • Side-sword;
  • Rapier (max blade length 45″);

Note: Sabers, backswords, broadswords, smallswords, etc are not permitted. (We love them, too, but we’re keeping this to fencing styles c. 1600 and earlier.)

TOURNAMENT THREE: PAIRED WEAPONS
The following weapon combinations are permissible:

Armingsword, sidesword or rapier, accompanied by:

  • Dagger
  • Buckler
  • Rotella

FINAL ROUND: THE WINTER KING

As a culmination of the event, the victors of the three tournaments shall fight a mixed-weapons bout using the previously denoted scoring conventions, with the victor to be declared the winner of the overall tournament.

HOW IT WORKS

CONVENTIONS OF COMBAT

With the Sword

  • Each bout is fought to a total of five landed blows;
  • The entire body is a target;
  • For our purposes a “blow” constitutes any “fight-ending action”:
    • a solid cut with the edge, thrust, disarm or throw;
    • a pommel strike to the center of the face;
    • a thrust to the center-of-mass with the dagger.
  • Incidental blows, light touches, flicks or hits rather than cuts, punches and open-handed strikes that do not end in a throw or lock, etc will not be scored.

With the Dagger

  • Combatant may carry a dagger on their belt in the longsword tournament, and switch to its use as they see fit.
    • Daggers may only strike with the point.
    • If a dagger hit is scored, combatants must, after the halt, switch back to their sword.

Grappling

  • Grapples that end in a throw with party dominant will score a point.
  • Grapples lasting more than 5 seconds or deemed to be dangerous will be halted by the judges;
  • Grapples that go to the ground with no one dominant will be halted.

SCORING

Once a fight is concluded, the combatants will report their scores to the list-table. Fights are scored as follows:

  • Overall Victor receives 2 pts;
  • If the Victor was not struck he or she receives 1 pt additional;
  • The person who scored the first blow receives 1 pt;
  • If there were any double hits during the match, both parties lose 1 pt.
  • Therefore, in any match a combatant could score between 4 and -1 points.

These rules are not meant to be “realistic”, simply to prioritize drawing first blood and avoiding being hit and, most especially double-hits. No matter how many double hits, for the sake of simplicity, only 1 pt is lost. However, additional double hits are not refought, so if you rack up too many double-hits, the victory in that match is going to go with who scored the first blow, and your overall score is going to go down!

ADVANCEMENT: INDIVIDUAL TOURNAMENTS

There are two ways to advance to the final round of four combatants – by Score or by Accolade.

Score
After the Pool Round ends, total scores for each will be totaled, and the combatant with the highest score from each pool will move to the finals. (If two or person tie, then the person with the highest total of first blood scores will advance. If there is still a tie, the combatant with the most “never hit” scores will advance.)

Accolade
The list will be “balanced” by adding a fourth combatant chosen by the other combatants. If the list is already balanced, the Advancement by Acclaim will not be needed.

FINAL ROUND
Once the Finalist are assembled, they shall fight with the prior scoring conventions in a simple single elimination tree. (NB: In the event of a small final list (four or less), the finals may be fought as a pool at the judge’s discretion.

ADVANCEMENT: MIDWINTER KING

There are two ways to advance to the final round of four combatants – by Victory or by Accolade.

Victory

The winners of each of the three tournaments automatically advance to the Midwinter King round.

Accolade

The list will be “balanced” by adding a fourth combatant chosen by the other combatants. If the list is already balanced, the Advancement by Acclaim will not be needed.

Once the four finalists are assembled, they shall fight with the prior scoring conventions in a simple single elimination tree. Fighters will be paired randomly.

APPENDIX A: SAFETY REQUIREMENTS

 

WEAPONS

All weapons will be tempered steel, flexible in the thrust, in good repair and free of burs or rust. A list of acceptable and prohibited weapons follow, along with reasons why a weapon is not permitted.  Any weapons produced by an “unknown manufacturer” (see list) will be evaluated by the judges.

Swords with a rounded point the width of a quarter or built in button/nail do not need a blunt, otherwise they should have a standard rubber blunt of equivalent. Steel daggers must have a secured blunt; the Cold Steel rondel trainer is the preferred weapon for the tournament.

Acceptable Weapons/Manufacturers

  • Albion Arms — All Maestro Line weapons other than the messer;
  • Alchem — “Fiore” longsword;
  • Arms & Armor — Fechterspiel, Spada da Zogho, Scholar Sword, Messer;
  • Blackhorse Blades
  • CAS IBERIA — Practical Bastard Sword, Flexi-blade rondel dagger
  • Cold Steel – Rondel dagger trainer
  • Danelli Arms — All basic and custom models;
  • Darkwood Armory — All rapiers, daggers, sideswords and messers; older Scrimator and Fechtbuch longswords;
  • Ensifer — Heavy Feder, Messer
  • Malleus Martialis
  • Pavel Moc — Feders and blunt longswords/messers permitted.
  • Regenyei — Feders and blunt longswords/messers permitted.

Banned Weapons

  • CAS Hanwei Feder (too flexible and prone to breaking)
  • Ensifer Light (too light, too flexible)
  • CAS Hanwei Tinker Longsword (too narrow an edge for safety)

“I don’t see XYZ sword…”

As noted, bring it and we’ll have a look. However, keep the following in mind:

  • Minimum weight: 1450 g (longsword), 1000 g (one-handed sword);
  • Maximum length: 130 cm
  • Edge-width: 1.5mm
  • Overly-flexible weapons are just as likely to be refused as overly-stiff ones.

ARMOUR

Head

Head protection must cover the entire head and front of the throat. There should be no gaps in coverage that would allow a thrust or strike to the face. A 3-Weapon Mask with SPES-style overlay or Absolute Force HEMA mask with back of head protection, should be considered minimally acceptable protection.

Throat

A covering to protect the throat. A solid, vs. foam gorget is strongly recommended, as is

Torso

Clothing should be puncture resistant, or three layers and completely cover the torso and arms completely. Padded jackets are strongly recommended for longsword fencing. Rigid chest protection, such as a modern fencing chest guard, is strongly recommended for female fencers.

Groin

A hard cup for all male combatants, which must not be visible while fencing. (Honestly, no one wants to see your cup and jock strap.)

Elbow and Forearm

Hard plastic, leather or steel elbow protection that protects the back and sides of the joint. Forearms should be protected by additional heavy padding, plastic, leather, etc.

Hands

Sturdy gloves or gauntlets must be used to protect the hands and wrists. Gloves must include protection on the sides and tips of the fingers sufficient to resist hard strikes from steel. An unsupplemented lacrosse glove is not sufficient. Most HEMA-dedicated synthetic gloves or gauntlets, such as Sparring Gloves and Black Lance or steel gauntlets are acceptable.

Feet

Shoes must be worn.

Announcing a Play of the Prize for the Grades of Provost and Free-Scholar

We are pleased to announce there will be a playing of the prize for the grade of Laureato d’Armizare (Free Scholar of the Art of Arms) and Rettore d’Armizare (Provost), this upcoming Saturday (February 10, 2018), at the Sala d’Arme Forteza, in Chicago.

This will mark a huge occasion for the Chicago Swordplay Guild as this will also mark the creation of both our first Armizare Provost, and the first to be created under the auspices and procedures set out by the International Armizare Society. The candidate, Jesse Kulla, has also been with us since virtually the beginning, and over the years has developed quite a reputation in the local, regional and national HEMA community. (We will be posting a full overview of the process, with video from the various examinations and Prize, in the next week or so.)

In addition, the day marks our third Armizare Free Scholar Prize since the Guild’s inception, the candidates are long-time Guilders. Nicole Allen of Revival Clothing and Historica fame, has been with the Guild since shortly after its founding in 1999, and Jacques Marcotte has been one of our Taster Class instructors for nearly a decade.


Please join us in wishing Jesse, Nicole and Jacques the best of luck in the upcoming ordeal!

On Playing the Prize

This past weekend, the Guild held a scholar’s prize in both longsword and rapier. We are pleased to admit Andrew White, Vlad Hintaut and Robert Salud as new Scholars. You can see their bouts here.

(Video courtesy of Evan Laney)

A right of passage in the Guild, we are often asked what a Prize is and how it works. Free Scholar, Jesse Kulla provides a great, insider’s look at how the CSG uses Prize-Playing.

http://redwolfswordsmanship.blogspot.com/2016/10/playing-prize-leveling-up-at-chicago.html

 

 

Our First Renaissance Free Scholar and first-ever Provost!

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This past Saturday saw a momentous occasion for the Chicago Swordplay Guild: our second Free Scholar’s Prize and our first-ever in Renaissance Swordsmanship. The Prize is not a play, a tournament or an exam, though it has elements of them all. It is a right of passage whose origins extend back over half a millennia, and is the most ceremonial event we have in the Guild, as well as the most personally meaningful to the student being tested.

[For more information on Prizes as they were historically and used in the CSG, see What is a “Playing of the Prize”?

To qualify to play the prize for Free Scholar, students have completed at least five to seven years training in the weapons for the curriculum being tested; in this case the Bolognese side sword, the rapier, rapier & dagger, wrestling (abrazare) and unarmed defense against the dagger. Physical exams in these disciplines amounted to about four hours of testing, and there was also a written exam for each. Additionally, each student is required to submit a written, research paper; here is Robert Rotherfoord’s paper on the Universal Parry and Great Blow in Bolognese fencing. Once the exams have been passed and the final paper accepted, then the Prize can be held.

Going back to our first Prize in 2001, it has been the CSG’s tradition to never inaugurate a new rank without bringing in outside teachers and swordsmen to stand as challengers, specifically to avoid nepotism and developing a salle art rather than a truly martial one where students learn how to defeat students in their school, and their school alone. As Dean, I felt it crucial I find three of the best Renaissance swordsmen in North America to stand as Challengers, and fortunately, my first choices all said yes. Thus, John and Rob found themselves standing across the list from:

All of these men are long-time practitioners and teachers of the Art of Defense; Devon and Bill run two of the largest HEMA programs in the world. In addition, while Devon practices the same arts we do in the CSG, the other Challengers brought surprises of their own to the table. Bill Grandy is also a longtime student of Salvator Fabris’ rapier method, and is familiar with Bolognese side sword, but his cutting-sword focus is in the German messer and longsword. Puck is one of the world’s premier exponents of La Verdadera Destreza, a system that rivaled the Italian tradition and uses a different set of strategies and tactics to achieve the same goal: pointy end into the other man. I had made these choices by design, as the idea was to make the Prizors not only display their ability to fight a like style, but to use their art against a foreign one.

The format of the Prize is similar to that played for Scholar, only with three weapons: each Prizor faces three Challengers in a three minute round of combat, for nine rounds of combat in total. They then hold the field in matches of three good blows against all Scholars who wish to challenge with either the sidesword or rapier. Challenges at are fought under a set of rules somewhat more “permissive” than those of the 16th century, in large part because of access to additional safety gear:

  • The entire body is a target;
  • Strikes may be made with the point, edge or pommel of the sword;
  • Disarms, grapples, leg sweeps and throws are permitted, but combat will stop once both parties are unarmed, or one is thrown to the ground.
  • Combatants acknowledge their own blows, and the Judge intervenes only to part combatants with his baton for safety reasons or because a throw or disarm has occurred.

The First Passage: Side Sword

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Robert Rotherfoord excepts a challenge in side sword from Guild Scholar Davis Vader

The candidates had asked to fight the weapons in chronological order: sword, rapier & dagger and then rapier alone. It was determined that the order of challenges would be Puck third, Devon second and the honor of the first blow would go to Bill. Well before their arrival in Chicago, I had been in contact with the Challengers and discussed John and Rob’s particular fencing quirks, strengths and weaknesses, so each was not only going into the list to fight them, but to test specific things, most particularly, their weak points.

The first round was dedicated to the sword alone, which is  Robert Rotherfoord specialty. As you watch the fights you will see that he and John use the art somewhat differently: as a rapier specialist, John gravitates towards the later style advocated by Angelo Viggiani, including the powerful use of a rising parry transforming into the punta sopramano/imbroccata (overhand thrust) made on a short lunge, or the use of the same thrust as a provocation to set-up follow on actions.

John O’Meara vs. Bill Grandy

John O’Meara vs. Devon Boorman

John O’Meara vs. Puck CurtisRob, who favors Manciolino and Dall’Aggochie, uses shorter thrusts and more cuts made with steps off-line.

Robert Rotherfoord vs. Bill Grandy

Robert Rotherfoord vs. Devon Boorman

Robert Rotherfoord vs. Puck Curtis
The fights were vigorous and also great fun to watch; the audience loved the dynamic elegance of the Bolognese system’s flowing, looping cuts and powerful thrusts.

The Second Passage: Rapier & Dagger

John and Bill square off with Rapier and Dagger
John and Bill square off with Rapier and Dagger

The second round was with the rapier & dagger, the newest part of the Renaissance scholar curriculum, and a very demanding one, as it requires constant changes of initiative while wielding two dissimilar weapons both in conjunction and separately. It can be very fast and exciting to watch, and as I personally had not seen Destreza’s version of the system, it was personally interesting to watch how it played against the “Salvatoran Art”.

John O’Meara vs. Bill Grandy

John O’Meara vs. Devon Boorman

John O’Meara vs. Puck Curtis

Rob Rotherfoord vs. Bill Grandy

Rob Rotherfoord vs. Devon Boorman

Rob Rotherfoord vs. Puck Curtis

The Third Passage: Rapier Alone

John's quick variation of the passata sotto catches Bill Grandy in mid-lunge
John’s quick variation of the passata sotto catches Bill Grandy in mid-lunge

The rapier used alone is the first weapon taught in the Renaissance curriculum and goes back to the very first year of the Guild’s history. It is an easy weapon to understand, but a difficult one to master. Although we draw material from a variety of c.1600 sources, far and way the core of our curriculum comes from the monumental text  by Master Salvator Fabris.

However, as the third weapon fought, you can see the fatigue starting to kick in and the Prizors periodically retreat or come to grips just to catch their breaths, rather like “the clinch” in modern boxing.

John O’Meara vs. Bill Grandy

John O’Meara vs. Devon Boorman

John O’Meara vs. Puck Curtis

Robert Rotherfoord vs. Bill Grandy

Robert Rotherfoord vs. Devon Boorman

Robert Rotherfoord vs. Puck Curtis

Final Passage: “The Ordeal”

Scholar Jacques Marcotte challenges Rob to three blows of the side sword
Scholar Jacques Marcotte challenges Rob to three blows of the side sword

In times past it was the custom that Prizors must fight no less than three Challengers of the grade sought, before the Prize would be considered won, but that he must stand against any and all challengers who might come forth to test him. Likewise, having faced three challenges in each of the three weapons of the Free Scholar, the candidates then stood against any Scholar would would challenge them to a match of three good blows with the rapier or sidesword.

John Runs the Gauntlet

Rob’s Gauntlet
You can see both fatigue and the effect of earlier cuts to the sword arm taking their toll in these bouts, as Rob drops his sword twice because his hand is getting numb.

(You may also hear me asking David Farrell if he is wearing his long underwear. As it turns out, yes, yes he was. Don’t ask.)

The Investiture

Robert Rotherfoord and John O'Meara -- the Guild's first Free Scholar and Provost of Renaissance Swordsmanship, respectively.
Robert Rotherfoord and John O’Meara — the Guild’s first Free Scholar and Provost of Renaissance Swordsmanship, respectively.

Historically, once all the bouts were over, if the Prizor was judged victorious by the four Masters, he would be declared “a well-tryd and sufficient man with divers weapons”. He would then (after collecting the change littering the stage)  swear his oath of obligation, and be escorted by his new peers back to the school and from there off to do much drinking.  Fortunately, our guests felt that the John and Rob easily fulfilled the requirements of their new rank, leading to the ceremony of Investiture.

Our modern Guild’s Scholar’s oath is adapted directly from that of the Elizabethan London Company of Masters, requiring the student to treat those above and below him or her with respect, to train diligently and with pride, but not vanity, to be sure that their actions and deeds in the list or the classroom bring renown, not shame, to their fellows and teachers, and to be a good citizen.

Robert Rotherfoord's Free Scholar license.
Robert Rotherfoord’s Free Scholar license.

Kneeling and reaffirming  this oath on the hilt of a sword, the gentlemen received their new licenses and their green garters were replaced with gold ones.  As stated in the ceremony itself:

Gold was considered the noblest of metals, exceeding all others in value, purity and finesse. It represents the light of the sun, and the nobility of princes. It is also associated with excellence and achievement, and its bearer surpasses all others in valor. As such, the golden garter is a fitting symbol of a Free Scholar of the Art of Arms.

As John was Rob’s teacher in rapier and rapier & dagger, it only seemed appropriate they he bestow the garter himself. However, as this would normally be the provenance of a Provost…

We caught John off-guard and informed him that such he was about to be!

This decision was not made lightly by myself or the three Challengers. John joined the Guild in the year of its founding (1999) and has spear-headed the Rapier curriculum since 2002. Over that time, there have been many ups and downs — a steadily evolving curriculum that went through a few reboots, a seeming curse where every time new Scholars were made, life took the away from both the Guild and the Art, significant, side-lining injuries with long recovery time and more. Thus, it is some how particularly appropriate that John received his rank of Provost at a time when our Renaissance swordplay program is larger and more robust than ever before.

John O'Meara's Provost license, just prior to its signing.
John O’Meara’s Provost license, just prior to its signing.

Some of Mr. O’Meara’s accomplishments leading to his award of Provost:

  • Led the Guild rapier program since the year Two-Thousand & Two;
  • Created and refined the Novice and Companion Curriculums now used within this Guild for wielding the Single Rapier, and written a substantial, illustrated manual for the same;
  • Created and refined the Scholar curriculum now used within this Guild for wielding the Rapier, both alone, and paired with its ancient companion, the Dagger;
  • Instructed and successfully elevated Thirteen Students to the rank of Scholar;
  • Successfully elevated two Students to the rank of Free Scholar;
  • Instructed students from outside the Guild at diverse, international Workshops;

Thus, it was my particular honor as the Guild’s founder and Dean to elevate Mr.John O’Meara as the CSG’s first Rettore di Schermo Rinascimento (Provost of the Art of Renaissance Swordsmanship).

Besides the gold garter, as a Provost John was given a ceremonial chain of office; its links representing the long line of teachers who have preceded us. The chain is not whole, just as our lineage was broken long ago, but instead is closed by a pendant of St. George the Dragonslayer, paragon of chivalry, for this is a chivalric art, and it is through its values that what was broken is again made whole. In this sense, the chain becomes a fitting symbol uniting past to present, and present to future.

This was a truly special day — the culmination of a decade and a half of hard work as well as the inauguration of the next phase in the Guild’s history, particularly in the field of Renaissance swordsmanship. My thanks to Maestri Boorman and Curtis and Coach Grandy for attending and helping bestow the Provost rank, and to John and Rob….words cannot express my pride.

Gregory D. Mele
Founder, Dean and Guildmaster
Chicago Swordplay Guild

[You can find a great many more photos of the event both in our Gallery and on the CSG Facebook Page]

Using Angelo Viggiani’s Three Advantages to understand initiative  in 16th century, Italian Swordplay

by Robert Rutherfoord  (c)2015

In Lo Schermo (c. 1550, published 1575) Angelo Viggiani dal Montone defines three “advantages”,  the Guard,  Step and Strike, as the most basic means to gain a more favorable position over your opponent.  Viggiani, and his contemporaries, though their reasons differ, prefer the thrust to the cut.  As a result, guards that naturally delivered a thrust were also preferred.  Thus, the importance of placing oneself in a guard with the point in presence – a guardia perfetta – while denying the same to the opponent is defined as the Advantage of the Guard.

Viggiani gives us three methods to gain and maintain the Advantage of the Guard.  The first is to make half cuts in order to displace your opponent’s blade while keeping your own in presence.  The second is to make feints, or sfalsata, in order to thwart your opponent’s attempts at gaining the centerline in the same way.  The third is to step offline to reposition the center more favorably to your advantage.

The last method of gaining the Advantage of the Guard should also be understood alongside the second advantage, the Advantage of the Step, which is to place the non-dominant foot (the left foot for us righties) in a position that enables a long and powerful extension of the dominant foot during the attack.  Viggiani states this happens when the rear foot is gathered forward to the front foot.  With the understanding that stepping offline is a method of gaining Advantage of the Guard, however; one could satisfy both action in a single step.  By taking a step with one’s rear foot both offline and somewhat forward, one can reposition the center in his favor while also gaining Advantage of the Step.

If you step into measure while you have Advantage of the Step, you also have Advantage of the Strike. This final advantage is the ability to launch an attack in a single tempo.  If you have already established the first two advantages, while also stepping into measure with the rear foot, then a single step on the dominant foot can be made to bring the body and sword forward safely.

The three advantages are Viggiani’s general guidelines on how to proceed safely against an opponent.  But any proactive motion takes time, and while one attempts to make a motion — a tempo — to gain one of the advantages, that tempo can be exploited by his opponent.  Viggani tells us that each of these advantages can actually become disadvantages if the opponent decides to act within the tempi of each action.  Here’s how it works.

Gaining any Advantage requires one to make a tempo.  Delivering a half cut requires one to move from one guard to another, falsing requires the point to leave presence, and stepping offline requires the entire body to move.  Each one of these movements (and especially any combination of them) is a perfect opportunity for the opponent to strike.  Because the one attempting to gain the advantage is required to leave the safety of his guard and move into another, he is momentarily susceptible to an attack, which is what an opponent should look for when making a strike.

With the Advantage of the Step, especially into a narrow pace of the feet, the same issue exists with the side step.  The Agent — the one gaining the advantage — must move a foot to do so, a long tempo that creates substantial opportunity to be struck. Conversely, if he remains with his feet together, he is less apt to receive a blow.  The same is also true with the advantage of the strike.  To strike one must commit sword and body (with a step) and “be the first to leave the safety of his guard.”

The contemporary master, Giovanni dall’Agocchie breaks these “disadvantages” down into five categories detailing when it is best to attack:

  1. You parry the attack of your opponent.
  2. An attack at you traverses outside of your presence.
  3. Your opponent raises his sword to attack you.
  4. Your opponent injudiciously changes guard, before he settles in the new guard.
  5. Your opponent, standing still in guard, raises or moves his foot to change his pace or to move towards you.

Of these, the best time to attack your opponent is when he moves (gives you a tempo).  Conversely, a fencer should expect to be attacked if he makes one of these five actions.  However, to gain the advantages, one must first move.  The advantages come with their liabilities, and may not seem like advantages at all if they are also perfect opportunities for the opponent to strike. The key, however, is that one should expect to be struck at  while moving to take advantage.  Thus, they are invitations for an opponent to strike.  By making a half cut to gain the Advantage of Guard, and a half step to gain the Advantage of the Step, one can entice his opponent to make a full blow, and this large tempo can be exploited in turn with a parry and counter in a single, shorter tempo.

In Lo Schermo, which is written as a dialogue, Viggiani is asked by the hypothetical student why it is not prudent to be the first to attack, knowing that the defender will be forced to deal with the oncoming blow.  His response is that this would be true if it were not for the fact that a parry can be made in a single tempo; by using a counterattack a fencer can parry and strike in the very moment the first mover meant to land his blow.  However, to make a parry succeed in both diverting the blow and striking in a single tempo, one needs to note when and where that blow is meant to be delivered. Rather than simply striking to force a response, seeking to gain the Advantages puts the fencer in a stronger mechanical and tactical position with both sword and body by closing and opening the lines of his choosing, thereby limiting where he can be struck.  For example, if the fencer closes the inside line when gaining the Advantage of the Guard, in that instant he is only vulnerable to outside.  Having this foresight enables him to reduce his opponent’s decision tree: there is one place he can strike, which means that the fencer only has to worry about closing one open line during the parry, thus dramatically increasing his chance to respond with a single-time parry-counter.

With this, we can say that Viggiani’s Three Advantages are also a form of provocation, forcing an attack by our opponent to a specific line in a specific tempo that we will be ready to close and respond to in that instant. The ability to force the actions of the opponent when and where a fencer wants is how you control the initiative in fencing, and control of initiative is at the center of how you excel as a swordsman.

Longpoint and Missing the Point

It has been a strange week in HEMA-land; at least from my little corner of the world. On the one hand, it has been a great week for getting the word out into the mainstream that there is something called Historical European Martial Arts; on the other, what should have been a fascinating attempt at a deed of arms bridging practitioners of two different martial traditions turned into an unnecessarily violent attempt at a “smackdown” and much of our community has responded to this by showing a profound ignorance of what the event was about,  combined with putting the blame almost squarely on the injured party; largely, I suspect, because he’s the outsider.

ANY PRESS IS GOOD PRESS, BUT GOOD PRESS IS BETTER

Folks in the HEMA-Sport world are rightly a-glow with the positive New York Times Article on the popular Longpoint event, and justly so: it was a well-done article that nicely portrayed the international efforts to create a modern combat sport focused on unarmoured longsword fencing — only in modern safety gear — deriving from late medieval German martial arts; in essence, European kendo, complete with a standardized look, rigorous and complex judging, resets after every blow (but not fought to a single blow, as a real match with sharp steel would likely transpire) and a set number of points to win the match. Indeed, much like kendo, points are even conveyed by the judges using colored flags  or batons in semaphore-like actions. Unlike post-WWII kendo, but much like its predecessor, limited degrees of grappling and unarmed striking are also allowed. The article did a nice job of covering this, and showing that this is a serious attempt at creating a new sport by normal folks, not a bunch of Highlander-meets-Game of Thrones rejects. (Well, the original article did; MTV and some of the other less “newsy” outlets had to work GoT in there somehow.)

I haven’t been to Longpoint, but colleagues have, and I have had a lot of talks with Ben Michels, one of the organizers, and think that they have tried  very, very hard to take their sport and keep it reasonably well-tied to the source art by creating an event where the specialists can compete in their thing (forms, cutting, sparring), just like in most martial arts tournaments, while there is also a more pentathalon approach. Basically, it combines what in Asian martial arts would be completely separate combat sports (kendo, batto, judo, etc) and goes them one better, combining them into an omnibus event that is something like an Olympic pentathlon. In a nod to the diversity of HEMA, Longpoint even featured demo bouts of areas outside tournament interest, such as armoured combat and Polish saber.

So the story is getting a lot of play which is great news and I cheerily shared it; to the perplexity of some of my more traditional-minded friends (those who know myself or the Guild will know that I’m a fan of competition but not formal combat sports, for reasons I’ve articulated elsewhere at length). It’s been a weird conversation, that can be summarized like this:

THEM:  “Why would you think this is a good thing? Doesn’t the article just point to the idea that there is this modern tournament sport?”

ME: “Yes, that was definitely the point of the piece: to cover a tournament that is promoting a new sword sport.”

THEM: “But what about the more holistic look at the art? Not just besides longsword, but actually training in techniques that don’t show up in tournaments?” (By which they mean things like the German *schnitt* or *Abschneiden*, polearms, dagger combat, armoured combat — all the stuff that makes the “knightly art” a composite art.)

ME: “That wasn’t the point of the story, nor is it the point of Longpoint or the HEMA Tournament folks — it is to have a competition derived from historical material with mostly longswords and some dabbling in other swords and wrestling.  The article makes that clear, and I am not sure how many times Jake, et al had to use the word “sport”, “competition” or “tournament”, or refer to “clubs” (vs. schools) or “coaches” (vs. instructors) to get that across.”

THEM: “Well, yeah, but that isn’t what we do.”

ME: “Nope”

THEM: “So what makes that good for us?”

ME: “Truth? Not much, except that people want to learn to “swordfight”; whatever that means to them. So if you see this story and type in “medieval swordfighting Chicago” you get the CSG. If you show up and find out that some of our folks go to tournaments, but we don’t all dress in black Absolute Force gear, use feders and focus on judged tournament fighting and that is a turn-off, no harm done.”

THEM: “Yeah, but….”

ME: “Look, two of my friends [Jake Norwood and Ben Michels] have worked their asses off for several years to build this thing and their community. Can’t I give them an attaboy?”

THEM: “I guess….”

And so on. Stupid, right? If this were some kendo buddies or sport fencers whose event got notice and I plugged it, no one would care. But this is “HEMA” (whatever that means to each reader) and we have to pretend that:

a) it is a singular, monolithic “thing”;

b) we are all training for or trying to do the same singular, monolithic thing,

c) if you don’t do it my way you are either a lily-livered wimp OR just a sport fencer who wouldn’t know a medieval manuscript from a piece of old toilet paper.

The truth, of course, is rather different:

a) as an activity that covers the research, reconstruction and on-going interpretation of martial arts from Europe and her colonies over a 600 year time period, even if we all had the exact same methods and goals, “HEMA” would hardly be a singular thing;

b) when you train to compete in a sport, you learn how to train to maximize your performance, which leads to some very effective competition techniques [see Axel Peterson’s victory described in the NYT video slow mo at 3:19] that simply do not show up in historical sources, or are even directly advised against, but make perfectly good sense in a bout where as soon as the hit is made a judge throws a flag and the fight either halts (no need to worry if your fight killed him), or an “after blow” scores and potentially negates the low hit. Thus it is no surprise that this same strategy is common in modern kendo and has a specific name: nuki do, often done dropping to one knee.

c) the truth is that some folks both compete and study the holistic art, but we all have to choose where our focus is. If it is competition, then you are going to need to pare down what you do to the weapons and rules that will work best in that environment — you *must* if you wish to be competitive — and if it is the latter, you train broadly and try to adapt what you know to the given ruleset and equipment you are presented with.  The problem only comes when you start believing that a tournament is a measure of real combat effectiveness anymore than is doing partnered drills or politely fencing with your mates in the salle. This is as true of is HEMA as it is to mistake boxing or MMA for Combatives and urban defense.

So congrats to Jake, Ben and all of the other xKDF folks for landing their 15 min of fame: while we have different focus and interests in the larger HEMA-umbrella, you worked hard, it’s paying off and more people know that there even were historical arts to learn in the first place. Good on you!

MISSING THE POINT

Sadly, what one hand giveth, the other taketh away. Remember that last point of mistaking what you do for being “real” or indicative of “the way?”  Because combat sports are by nature meant to be large, unifying endeavors, they are particularly bad at this, and many practitioners, immersed in their sport’s culture, quickly forget that not all similar activities are meant to be a new take on their sport, and are not done for “competitive” reasons.

This takes us to the second part of this weird week, which was the video, reports and discussions on my friend Dr. Manoucher Khorasani’s 100 Man Fight in Prague this past weekend. Firstly, Manoucher is not a HEMA person at all, but rather has taken a parallel path in reviving Persian martial arts, which he has written upon extensively and maintains a large Youtube library of videos of his work. What’s this have to do with modern HEMA? Read on…

As Dr. Khorasani writes:

Persian sources talk about the legendary hero of one thousand man “Hezarmard” a hero who survived one thousand fights.  In the same spirit japanese kendo has tachikiri/tachigiri no seigan as a test of courage, endurance and stamina.  As a former Kyokushinkai and an admirer of Soke Mas Oyama I have been admiring the one-hundred man fight kyokushin test. Only few blackbelts worldwide have passed the test. Many tried but failed.  Everyone who knows fullcontact knows how hard the Kyokushin as a bare knuckle fight is.  Although one hundred man fight is very hard and fullcontact its goal is not to destroy the candidate and to knock him out as it is done in the Kyokushinkai world championships or selection tournaments.  Moreover one wants to test the courage, stamina, determination and willingness of the candidate.  

As a researcher I wanted to see how a person can handle that type of fighting with unsharpened training swords and weapons.  My team and I trusted Mr. Herbert Heissler, the head of the Czech Stuntsfighter association with choosing the opponents and weapons.  

It Probably Seemed Like a Good Idea at the Time

This should also hardly be a new concept to people who have been in the martial arts world for any appreciable time. As Dr. Khorasani mentions, this contest exists in the Kyokushinkai and is quite famous. It also exists in kendo, in the form of tachigiri and in more contemporary martial arts in the “Beastings” of the famous Dog Brothers. This latter is described as:

The “Beasting” is an initiation tradition taken from the UK Training Groups. If a Dog Brother Tribe member wishes to become a DBMA Group Leader he/she has the choice to undertake a “Beasting”.  The initiate has to fight continuously for 8-12 mins, every minute facing a different (and fresh) Dog Brother (aka ‘a Beast’).  The Beasting is totally voluntary, and is not required to become a GL, but is done by those who want the Kudos…

You don’t go into a Beasting to win, but to survive. The ‘Beast line’ should be composed of fighter who are your peers or better. Any one of them has the capacity to end your day. The purpose is to push rather than break, after 3 or 4 minutes the initiate is usually exhausted and battered. At this point it’s all about balls and determination.

So far so good, and really this should not be considered “weird” to a HEMA person: after all, Playing the Prize; which was how the historical guilds in many countries bestowed rank, and has been used by many modern HEMA schools was just such an event. Although 100 men exceeds the numbers recorded by 16th century Guilds such as the London Masters of Defence, those prizes were also played without any real safety gear besides blunted weapons, and some basic safety rules: no pommel strikes or grapples, no hits below the belt, no thrusts to the face (sometimes no thrusts, period).  Likewise, staking out a location for a set time to fight all comers did not originate with the Guilds — it was an aping of a tradition already established by knightly combatants in the 14th century — nor did it end with them; such activities continued with English “stage gladiators” until well into the 18th century was the origin of modern prize fighting.

Unfortunately, things didn’t go very well.  As Dr. Khorasani reports, from the moment he arrived the rules changed, making him underequipped and his opponents with a very vague notion of what “full contact” meant:

He assured us that all weapons were aluminum besides Fechtfeders which were made of steel.  We were assured that they were light Feders as used in longsword championships.  My main instructor Mr. Heiko Grosse pointed out to me that I should make sure that they should be flexible enough as our armor was light for steel weapons. I have always admired longsword fighters as they are very technical.  We figured my light armor which was meant to absorb the shock of fullcontact aluminium sparring weapons could also do the same with very flexible steel feders.  We agreed that the fights would be fullcontact and contnuous.  In spite of the fullcontact nature of the bouts, the event was to test my stamina and willingness to fight.  We asked couple of times to change the date from Thursday September 11 to a weekend so that both my staff members could accompany me at least and even some other team members from Razmafzar.  However we were reassured by Mr. Heissler couple of times that was the only day where all participants including fighters, doctors and organizers could come…. I was relaxed and not nervous but to my surprise I realized that some of the participants were nervous and were speaking loudly to Herbert in Czech.  I  did not understand anything but I figured they were discussing the rules.  I did not care about the rules as my intention was not to score neither count points.  My biggest challenge and enemy there were not my opponents as I looked at them as my helpers.  My biggest challenge and enemy were my stamina and dehydration.

He was clearly wrong about that, since:

There were a professional surgeon and a medic there who advised that after ten rounds the fights should be stopped as they had to check me and my possible injuries and I had to drink due to the danger of dehydration in armor.  That meant stoppage after twenty minutes of continuous fighting. I agreed with them.  At this stage I would like to thank both gentlemen for their professionalism and their help during the entire event. 

Although Dr. Khorasani was polite in his analysis of the fight, he makes it clear that the feders were not the lighter flexible feders he was familiar with, nor where his opponents really trying to “press him”, they were trying to break him. Which they did, with four broken ribs, two cracked ones and several broken fingers, one requiring surgery.

Now, as you can see in the report of the event from one group of challengers, they feel they did nothing wrong and “were fighting as they always do”. Indeed, they state expressly:

Members of Digladior did not fight brutally. Conversely they tried not to attack stronger than was necessary in acute situation. The aim was not to knockout dr. Khorasani but to fight him for 3 hours and 20 minutes. (Most illustrative is video of the 8th fight – dr. Khorasani and Vladimír Nerandži? of Digladior. Dr. Khorasani has already no energy to defend himself and V. N. is attacking and hitting him but without speed and power.)

Maybe so, and from the video, I would agree about the 8th fight. But it didn’t start that way. I don’t know a single member of Digladior, but I can at least compare the video of the challenge fight with the videos they post of them fighting amongst themselves. As a good example, look at the end of the second fight and the transition into the third. I understand that the rules were “full contact”, by which I would assume that it was meant with sufficient force to deal with an unarmoured foe with sharp blades — no playing tag. Those hits, while fairly typical of many tournament hits for sure, were far harder than necessary to the task. More so, the mad rush to attack Dr. Khorasani by the sword and dagger man, without so much as a salute or even a pause for him to catch his breath, was just coarse and set the tone for the entire fight which was wild and brutal. To be blunt, those weren’t sword cuts, they were stick fighting strikes with a blunt, steel stick. The sixth and seventh fights weren’t much prettier than the third, but at least most opponents offered a salute and moment to catch your breath.

I can’t comment on the idea of letting a guy with an axe and shield fight, and I won’t dignify a number of the non-Digladior fights with the term “HEMA”, other than the gentleman with the dussack and buckler, who seemed to the only guy actually trying to use technique and fence, rather than “beat down the foreigner”. Since it happened in Europe, and it was martial (that is what you call it when someone is trying to beat your head in), so maybe we can just call it EM.

HEMA-tic Naval-Gazing (Or, Not All Feats of Arms are Sporting Events)

Of course, folks on the Internet will never miss a chance to pass judgment, even when they continue to miss the point. So, we have a group of HEMA folks, mostly European, who are quite content to lambast Dr. Khorasani. Here are a few:

1) This is what happens when a Battle of the Nations guy decides he is going to play in light gear with HEMA people.

2) This is such an embarrassment for our sport, and misses the entire point of why we do this.

3) This is why you have referees calling hits!

4) The event itself was a chest thumping exercise coupled to an ego trip the result of which is something akin to a pissing contest. I have little or no respect for that kind of event or the self serving nature that really underpins it … it reflects poorly on the wider community and is nothing I would ever want any part of. My two sous …

Unfortunately, these comments are myopic. Perhaps, just perhaps, this entire martial challenge had nothing to do with a) HEMA or b) a sporting event? Just taking these four comments, look at the logical rebuttals:

1) Dr. Khorasani recently taught some Persian wrestling to a BotN team; he is not a Battle of the Nations fighter. (For those not in the know, Battle of the Nations is another type of “medieval combat sport” — essentially submission fighting with steel weapons in full armour. It is very rough fighting, although as the rules expressly ban thrusting, it negates the principle historical method of combating armour, and consequently most BotN fighters have little interest in the historical arts themselves.) He *does* own a full suit of Persian armour, just as I own two suits of European harness. However, most HEMA folks — especially those focused on tournaments — have no interest in armour or armoured combat and consider it “dress up” or “reenactment”. An odd position for folks studying ‘the knightly art’ perhaps, and not true — there was even an armoured demo at Longpoint — but the larger point here is that the poster clearly didn’t read either the challengers or challenged description of what the event was, and just assumed that Dr. Khorasani must be engaged in “that other sport”, one that has no love lost with the HEMA tournament scene.

2) It can’t be good or bad for “our sport” because a) “HEMA” does not unilaterally equal “tournament fighting”, b) Dr. Khorasani does not study HEMA, and not all of the participants were “HEMA” people, c) wait for it….this was not a sporting event, but a martial arts test, as was made clear from the get-go. Why a man studying Persian martial arts is now responsible for the reputation of HEMA tournament combat is beyond me.

3) Referees defeat the entire purpose of a test of character and endurance. Indeed, part of the reason for referees in competition is an inherent suspicion that the fighters will not be honest in calling blows. Further, many forms of HEMA competition today do indeed have people call their own hits, or at least refuse points for blows they think they improperly landed. This is simply purged from the competitive tournament circuit because it “puts too much pressure on the combatants”. That right there is the difference between a martial art as a test of character and a combat sport as a way to win some sort of trophy. Both are correct in their own place and time, but the post shows a complete ignorance as what this event was.

4) If any chance to hold the field is just arrogant chest-beating, I would presume that this poster would frown on things like this:

Willyam Pascall shalle stand againste all Maisters with the following weapons, vis Axe, Pyke, Long Sword, Backesworde, Two Hande sworde and Rapyr & Dagger

or this:

Robert Grene and William Browne shall play against all alyens and strangers beinge borne Without the king’s Dominions in Axe, Pike, Rapyr, Dagger and Rapier and Targait.

Which are only two of the many challenge matches fought by members of the London Masters purely as a public test of arms, and have clear analogs throughout the 14th and 16th centuries, throughout Europe. Likewise, I am sure that modern challenges such as Guy Windsor’s two-hour holding of the field at WMAW 2009, or Bob Charrette’s celebration of his 60th birthday by fighting 60 minutes in full harness at WMAW 2013 are just marks of hubris, rather than a personal test?

I don’t know that last poster even by name, so I confess that it is a bit unfair to make him a strawman in an argument, but it speaks to what discussion on social medial regarding the 100 Man Fight has really left me feeling appalled by: the length to which the self-referential nature of HEMA Sport fighting has made it impossible for so many students of western sword arts to even “get it” when confronted by something that doesn’t involve referees, flags and points — items that our ancestors would themselves have been largely bewildered by.

Take this comment, by one of my colleagues and a respected, “up and coming” teacher of European swordsmanship, who has a very detailed and active blog:

There is very little in this event for the HEMA tournament organizers to learn from in my opinion, but it does enforce what is already common knowledge. As a singular event there may be something to learn from this — mostly what not to do — and the main point I wish to emphasize is that for a swordsman, or a fencer, it is a requirement to be brave and tough, but doing something like this is not necessary nor is it beneficial for anyone. This should be true to those who were part of it too, as it seems that no one had intended for the event to finish this way.

That would be reasonable if only a) this sort of thing had *anything to do with tournament fighting in the first place* — as Dr. Khorasani had stated repeatedly, and as the Digladior report makes clear they also understood, at least in theory, b) what the test was meant to be and what happened are not the same thing — again as made clear, c) these sorts of tests of character already occur in many martial arts, and indeed in HEMA groups — almost any that use Prize Playing.

Again, from the same poster:

there is no glory in getting bruised by a sword. There is some, but very little being tough. Each one of those bruises probably stands for a lost limb and a fatal injury. Also there already exists decades of testing of protective equipment, and riot vests and hockey gloves have been seen as inadequate years ago. It saddens me too someone walk the path of broken fingers just because of ignorance.

While I agree with the statement in general, I would point out this is comment is somewhat disingenuous as the specialty HEMA gloves worn by tournament fighters did not stop not one, not two, not three, but four broken fingers at WMAW, one of our own members from getting a broken hand in the tournament at CombatCon, and on-going complaints after every tournament about broken fingers or hands. Further, as Dr. Khorasani states, he went there expecting to use aluminum swords and light feders, and that is not what he was greeted with. Events like the Dog Brother Beastings demonstrate quite clearly that one can fight in very, very little gear very hard and not get overly injured if everyone understands what they are trying to do.

I would really like to write the challengers a pass and say that they didn’t understand, their own words state that they knew why they were there.

This same poster goes on to post:

These things have been discussed before, but the notion of full-contact swordfighting is strange. Due to the paradoxically impotent but dangerous nature of the blunt weapons leads to an emphasis in effectiveness of unarmed close quarters techniques and at times overly hard hits with the weapon. The latter is due to the need to get physical effect on the opponent with the weapon that is essentially deprived of its capability of causing this effect: the sharp bits. In the video the fights were not stopped on hits, which is exactly the things that leads to escalation unless the fighters have a proper mutual understanding and good communication during the fight. Again something that has been established during the years in various tournaments, hence leading to rules where maximally one “after-blow” or follow-up strike after initial hit is allowed.

Again, what seems reasonable at first, makes sweeping assumptions about how fencing occurs throughout the HEMA-verse and assumes that tournaments have been designed to address this “problem”. They have not. Not least of which being the one-hit and stop, reset, nature of HEMA tournaments is highly artificial. As a great deal of forensics data, not to mention historical accounts of swordfights and the advice of the masters themselves, unless the head or hands come off, very little in a swordfight is guaranteed to be an instant fight-ender. Having a judge call HALT does not simulate this in any way — nor was it thought to do so historically; the “afterblow” as used in modern tournaments is entirely anachronistic from its use in the 16th century fencing Guilds and is at best based on a very liberal read of a very short passage on fencing competitions by the Bolognese swordsman Antonio Manciolino. Indeed, German Fechtshule seemed to have been much more like knightly deeds, consisting of counted blows, where the fight just continued until the set number of blows had been thrown.

While some folks complained  that there was “too much grappling” (again, assuming that any one hit is guaranteed instant incapacitation) on Khorasani’s part, they ignore that the hard blows were being delivered by the guys in the HEMA gear. Which, of course, is another myth: that HEMA tournament fighting is “unarmoured combat”. Sure, the same way kendo is — fought in modern armour. When the tournament circuit was first beginning, mostly with nylon swords, many of us were criticized for being overly armoured by wearing helmets, gambesons, gauntlets and forearm guards. But now that steel is in play, the average tournament fighter now wears a functionally heavier set of equipment:

  • A heavily padded jacket, a gambeson by another name, which is designed to incorporate plastic armour plates on the inside should the wearer choose;
  • Heavy plastic/foam gauntlets or lacrosse gloves of varying design;
  • Hard joint protection for the elbows
  • Forearm guards
  • hard knee and shin guards
  • throat protection
  • And a number of them wear additional protection under their jacket or trouser.

The end result of heavy kit is that people aren’t terribly afraid of getting hit and throw themselves into fights. Anyone who wants to say that HEMA tournaments avoid “full contact hitting” because it really isn’t necessary to hit that hard with a sharp weapon (a point on which I agree), or that allowing takedowns on a hard surface is unusual just need watch the messer finals from Longpoint to see that clubbing-masquerading-as-swordsmanship is hardly something that was invented for the 100 Man Fight.

The idea of calling a halt at each hit ignores that continuous, flowing fights is common in many schools, particularly during Prize Playing, and yet injuries, escalation and other problems are rare. Why? Because the challengers aren’t there to win, only to give a good, clean fight. But as this sort of engagement is not a part of his own sparring culture, nor does he have any background in martial arts that have these sorts of initiatic challenges, he assumes it cannot be done and that a style of combat sport that has been invented over the last decade must provide the one, true, working model for testing oneself with swords.

This post ends with the sage advice that seems to run through many of the discussions on social media:

Likewise, if a full contact armored fighter wants to study – or compete in – a historical sword art simulating unarmored duel with sharp swords, he has to somewhat adjust his mentality and equipment.

And it should not require anyone getting beaten half-dead to realize the above.

Again, the only terms I can use are myopic, because the assumptions on this post, and others, is that they are in a position to sit in judgment on the “outsider” who was messing with their sport, and thus any problems must have been almost entirely Dr. Khorasani’s. Over and over the discussion since last week has circled around the following:

  1. There is an assumption that Dr. Khorasani was a BotN fighter, when a simple read of his webpage and watching his videos (also at least one of the posters was just at a seminar with the man), would make it clear that what he meant by full-contact, and that the gear he stated he would fight with is what he does most of his bouting in. You don’t have to know the man at all, you just need to go to Youtube. Persian Martial Arts are just like their European counterparts of the period — meant to be used in and out of armour, and originally developed for warfare. The fact that so many modern HEMA people want to study a 15th c art while ignoring a major part of the context, does not mean those who do differently are engaged in “crash and bash” fighting.
  2. There is a hypocritical contradiction here, where Dr. Khorasani must be a BotN guy looking to duke it out in heavy gear, but then he is held to task for being the guy too lightly armed and armoured. Now, whether or not he should have trusted the organizer to communicate this is another matter, but then again so is the question of why his opponents felt a need to come after him with kicks thrown while wearing plate armour, an axe or throwing blows that frankly were way harder than necessary for a friendly challenge, particularly one where there was nothing to win.
  3. No one was “beaten half-dead” — although the injuries are far more than they should have been, broken fingers and hands are quite common in HEMA circles, and broken ribs, etc not terribly uncommon in many other martial arts. The fact that one poster feels “the reason we fight with swords is because we don’t particularly like black eyes” may be true for him, but has little to do with martial arts in general.
  4. Nor was the intention to try and prevent being “beaten half dead”. As stated clearly:  In the same spirit japanese kendo has tachikiri/tachigiri no seigan as a test of courage, endurance and stamina. What he got was a group of more heavily geared guys who, whatever their claims, were quite clearly batting for the fences.
  5. This was not a tournament, it was not meant to inspire tournaments. Dr. Khorasani wished to test himself in a type of deed of arms that is part and parcel of both our historical, European tradition, and his Persian one, and which has been part and parcel of a number of armed and unarmed combat arts, as already stated. This was a personal test, and the challengers are meant to push and test, not try to crush — which is far too easy to do as they are fresh and the challenged grows progressively wearier.
  6. Nor was it a HEMA event. If one of us wished to do this — as has been done in a variety of ways — it would be quite simple; there are now HEMA events all over the world. Dr. Khorasani and his small team represent the sum total of Persian swordplay researchers. So, rightly or wrongly, he  trusted someone he knew to help him arrange such a test vis a vis the help of swordsmen he felt shared a similar interest in reconstructing their traditional martial arts. I would assume he came that conclusion based on the HEMA events in Italy, Malta and Germany he had participated in. He was clearly wrong.

I want to be very clear. I think Dr. Khorasani was ill-advised to do this. The reason is that all of these other challenges, from Guild Prize Playings to Dog Brother beat-downs, occur “in house” — within one’s tradition, with fellows on the same path. Because he does not have other folks in his tradition to do this, he of necessity had to go outside his tradition. But in that case, he would have been better-served working more closely with a group of HEMA folks he knew well, perhaps at one of their events, where he could have had more control over the events. When the organizer would not move the date, and it was clear that the standards of weapons and gear were wildly different, it was late in the game to back out.

I also look at the recommendations made by both Khorasani and Digladior for moving forward and agree that the matches should have been shorter (a set number of blows, IMO), the exact specific gear noted and required and mass weapons banned on less the fighting was to be done in armour. Those things were poor choices on everyone’s part.

But having said that, as HEMA person, what I find depressing is not the “effect on HEMA” of this event, but the sure inability of people to understand that fights like this can and should be conducted in a tough, but friendly manner, and that while a safety marshal is necessary, fighting shouldn’t need a referee to constantly call hits: the ability to fight with control and to acknowledge hits ought to be well-within the means of anyone who calls himself a “martial artist”. The constant discussion about sports conventions, refereeing, a need to stop after every hit and so forth points to the largest problem when combat sports and martial arts collide: one finds worth in collecting points, trophies and medals, one through challenging oneself. One relies on external factors and people for control, one is about controlling oneself. One is concerned with knowing the rules and playing to those rules; one is concerned with understanding the spirit of the rules and what they are meant to challenge. Neither is “right”; they exist in a context, and both differ dramatically from combat, which is about, as Fiore dei Liberi said, “fighting without rules to the bitter end.”

I fully expect and accept that as HEMA has grown, specialization has occurred, not just by art, by what aspects of that art to practice and in what environment. We can agree or disagree on various points as to the virtues and flaws of our particular approaches, we can even agree to disagree. What we cannot do as serious researchers, teachers and students of HISTORICAL EUROPEAN MARTIAL ARTS is to ignore these differences, or insist that it is impossible or undesirable to move from one modality to another. Doing so already destroyed the diversity of fencing, and exterminated the first HEMA Renaissance in the early 20th century, in the push for standardized rules and focusing on referred competition as the “measure of the man” comes the real problem of dismissing any who are interested in something different as aberrant; it also rapidly removes us from the martial ethos of our ancestors, and makes this the pursuit of creating just another contact sport like rugby or football.

I wish Dr. Khorasani the very best in his recovery and hope the 100 Man quest will someday see light again, just more carefully planned, with folks who get its purpose and in an environment that will be respective of what all deeds of arms in chivalric cultures were meant to do — to assert one’s willingness to put themselves out on the line and test themselves in public to their utmost.

 

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.

 

Dekoeven School of Arms Date Change

 

28

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

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:

Please note that the Dekoeven School of Arms event has moved two weeks earlier to September 5 – 7, 2014. Watch this space for event details!

Western Martial Arts Workshop 2013 – After Action Review

28

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.