I had hoped to be able to offer a session before the new year, sadly it seems that we will have to  wait... So we start back on Wednesday the 2nd, look forward to some hard work:).

Ok it’s a little late, I was having too much fun playing the half sword, but anyway. A most happy Yule to you all wherever, whoever, whatever you are, Dave

What's the Point, I.33 and long point.

One of the most common I.33 questions I get asked is why one persons interpretation of the cuts end up with each blow coming to a long point in front of the face, where as we show the cuts as passing through from ward to ward.

The answer is both simple and complex.

The potential.

At the beginning of Obsesseo I show the cuts passing from ward to ward, this is to show the potential of a full heft blow, a wide spaced blow that passes from ward to ward in an aggressive manner, the full potential of an aggressive strike, this is vital to understand if you are to use the counterwards effectively. It is also important in understanding how to move from ward to ward.

The art.

The manuscript states:

“Note, that the nucleus of all the art of fencing consists in this latter ward which is called langort. Also, all actions of the wards or of the sword are determined by it, i.e. they end in it and not in others. Therefore, do first consider well this above mentioned ward” (taken from the Freywild translation)

This is in no way at odds with what we show as our purpose in the beginning drill is not to illustrate this point. However the long point in this context requires further clarification.

What is long point.

The first long point is illustrated in several ways;

With the point towards the ground, almost in the manner of early plough/latter fool.

With the point forward straight out and in line with the shoulder.

With the point high, ending with the point higher than the opponent’s head (as if striking a blow from right to left rising slightly at the end of the blow)

These first three are all point forward but cover a line that passes from the floor to a point above the opponent’s head.

And finally the priests long point, lying across the right hip/thigh with the point aligned with the rear foot.

As you can see this gives you an a potential long-point arc of 180 degrees.

These definitions of long-point can be identified simply as the first point after the sword has left it’s area of effect. And the direct threat.

I identify the area of effect as where the cut would, if in distance, pass through the opponent, if this falls short, the blade is held at the point it left it’s effective cutting line to the left or right, above or below the opponent, but not passing fully back into ward.

In the case of the priest’s long-point, this arc is increased to account for his bind.

The direct thrust is the manner where the sword is held forward to threaten the face or breast.

How this relates to our teaching.

When cutting toward at the opponent in range, we should leave the point as far forward as possible after it leaves its area off effect, allowing the point to lie above, below to left or right of our opponent’s blade but narrow spaced, in an attitude of readiness.

This does not mean that the point will always end up in front on a direct line at the opponent as this will render attacks weaker and offer less, rather than more cover (part of the body lying uncovered to either side of the sword). But it does mean that the sword is forward and ready (in the case of priest’s special, ready). It is also important to show (and by showing understand) the potential for great ferocity and force within each blow from each ward, so as to be able to better counter them. I feel we made this point clear through the actions continuously throughout Obsesso, but wished to add clarity to this area.

 Obsesseo is available from our online store, and £10 from every sale in December will go to Shelter.

Shelter.

Shelter.
For every Tshrt or copy of Obsesseo sold in December we are going to donate a chunk to Shelter, for every copy of Obsesseo sold we will donate £10 and for every T shirt £5. So if you want to train hard and look good while making a difference. Now is your chance.
Obsesseo DVD £29.95+P&P
"Getting Medieval on your arse"/"Because one day the Bullets will run out" T's £25+P&P
Order now from londonlongsword@gmail.com

Where's Wallace?

Thanks to the chaps from the class that gave their free time to help with the National Geographic shoot.

It was quite a gruelling shoot, and the lads were most patient going through drill after drill while the crew from True North picked the best angle, lighting and lenses to make each shot work. I've worked true north once before on "The Bloody Tales from the Tower" series and (just like last time) they were calm, professional , unpretentious, and a real interest in getting an educated viewpoint across.

I can't tell you too much about the programme now (for obvious reasons we have been asked to keep silent about that), other than it's about William Wallace and is most cool.

In addition to the lads running around and stabbing each other, I also had a chat with Joe Crowley, (one of who presenters I last met on the aforementioned "Bloody Tales...") in my role as "resident sword expert" and it's amazing how good he is at getting you to burble about your favourite subject, I just hope I didn't froth at the mouth too much in "I love swords" excitement (I didn't, for once I think I sounded lucid).

The programme is scheduled for next March on the National Geographic channel, I'll keep your posted as and when I know more.

Knight Shop messers.
I've spoken to the folk at the Knight Shop about these, which although a great entry point drilling tool (balance well with a steel pommel and cheep enough for a beginner) I believe are not a good sparring tool, I have made this clear on a couple of forums too. My feeling is that a lot of effort was put into aesthetic of design and not enough into putting a prototype into circulation to test... However, I'm told the plan is to produce the blades in a lighter more sparring friendly tool.
As I said earlier I think they are a great entry point drilling tool (as usual, if used with care and correct safety gear), and I am glad that the Knight Shop are committed to improving it's sparring attributes at a later date.

More soon...

Swordfish 2012

Of all the events I have attended this year, this has certainly been the best. Run by the GFHS (Gothenburg Historical Fäktskola) it had so many positive features that I wanted to share a little of what I found there. The crew.
Without exception, everyone who ran this was insanely positive, not just being professional and friendly, but also actively improving and tweaking as things as they went on.
The venue.
The entire event is held in one sports centre, with most people staying on site, and all activities clustered around the same area (all halls close to each other so no wondering where the hell you are) this means the event is weather proof and focussed.

The participants. Both the people who came to compete and those who came to take part in workshops were again very focused. The people learning really put their all into processing a lot in a very short space of time and as for the competitors... They rock! Whatever your feeling about competition In HEMA, I would suggest you go watch the one that takes place at Swordfish. Having the sportive aspect as the core and focus of the event adds something... a slow building of pressure maybe, knowing that you are going to see fighters at the top of their game, that while you are teaching and learning people are being eliminated through cruel twists, combinations of skill, luck and judgement (I don't care by the way if you thought the judges made bad calls, they always will, and if they could have seen the awesome shot you saw and they didn't, they'd have been sitting where you were and you'd be lamenting the shot they missed from another angle), something about this dual running of workshops and competition works stunningly well , it may well be that eagerness to see who is winning, who will be there for the finals invigorates the classes keeping a higher level of energy running throughout (well it could be the coffee too but I'm going with the buzz).

The Finals. You should have watched them (I will post more links to these as they come through). They need more judges, the judges they had were great and overworked, don't complain, get good at judging and offer your services. As for the fights themselves, I will let you hunt them down and judge for yourselves

If I have one complaint, it is that the atmosphere is too conducive to friendship and drinking, that if not careful you will find yourself squinting and pointing with the same hand that clutches a drink saying ''the important thing about silver is...'' to someone who really just wants to get to the cornflakes.

This event has captured something special in HEMA. I will be going again (if they will have me), make sure you do.

New Class, Clapham...

We are pleased to anounce a new class is opening at:
Clapham Leisure Centre.
Fridays 6.30-8pm.
This is a truly fantastic venue, a very new building with loads of space and excellent travel links.
Also as a bonus, anyone in the class who trains more than twice a week or more, can join this class at half price. 
If you wish to train at this venue contact me either by:
Phone  0770 9639881 
email londonlongsword@gmail.com


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a thankyou to the Wallace Colletion

Many thanks from us at The Sword, to Tobias Capwell and the Wallace Collection for donating the footwork Diagram from their excellent "Noble Art of the sword" exhibition.
I was most pleased that Toby was willing to listen and include the diagram in the exhibition, and most grateful for this (as you can see from this shot of a private lesson) immediately and immensely useful training aid.

 

We are The Sword, London.

 We have a new facebook page, http://www.facebook.com/TheSwordLondon don't forget to like us.

There will be a new website too, offering a lot more content on our academic, martial and documentary work. The unified name for all these aspects of the London Longsword Academy and Boar's Tooth Fight-School will be... The Sword, London. 

Longsword syllabus part 1.

As requested by several students of The Sword*: The first part of the longsword course.
 The syllabus uses information from several sources (amongst them, Fiore, Fabris, Liechtenauer, Meyer, Silver and Thibault), depending on which offers the best explanation of a technique or principle. I have generally (though not always) kept the terminology Liechtenauer based**.


Longsword Syllabus part 1:
4 guards. 1389 post 1389
and the geometry of those positions.

Cutting drill 1 true, cutting drill 1 false.

Wrath hew at left ear:
Distance, correct usage and explanations of the times.
Footwork, extend then bend. The geometry and structure of the step.
Explanation of the omission of the step in this defence.
Wrath to left ear no stop.
wrath to left ear cut a lateral parry.

Wrath to left ear cut a lateral parry out, wind to left ox high thrust.

Explanation of reasoning for the lateral parry in this exercise.

Counter these with Running off false edge cut to four

Wrath to left ear, set aside and cut to face.

Counter setting aside with the high winding. strong to weak.
show and explain this mechanic.

Counter cut against wrath, mutate

counter cut against wrath hew, wind to left ox,  second party subject sword into a left parry and wind to Ox

Counter against wrath hew, subject, counter double.

Counter against wrath hew. crown, wind low

Counter against wrath, press wide, pulling.

Part 2 will follow shortly.
*you will notice that the London Longsword Academy page will change shortly to "The Sword" and the web address to www.theswordlondon.com stick it in your browser.
**please note the non longsword sources listed here still have much to offer, which is why I have included principles from these authors.

A hacker caught at Hampton Court

This weekend just past, I was at Hampton Court Palace, teaching a dussack workshop to a mix of long term sports fencers, Eastern martial artists and total novices.

I went in with a very set class structure, cuts followed by drills and summery, this all changed very quickly.

It became evident early on that these people needed a more rounded view of EBBMA (European blade based martial arts), than just waving the swords at each other.
So to begin with we went through the idea of memes, of choosing names for a position or technique,allow the mind to easily retain and fathom it's purpose (much like the naming systems used in kung fu styles).

This allowed us to cover the guard positions from Leichtenauer's longsword (both prior and post 1389), Lechkuchner's falchion and Meyer's dussack in short order.
The cuts were dealt with in the same way, working through Meyers, parting wrath and thwart lines, these identifying names really seemed to aid their understanding of the cuts and flows simply and quickly.

For the paired technique part of the class, I focused on Meyer's Bogen, dealing not only with the method of breaking that guard, but a

Yes I am using Fabris with a dussack, no I don't recommend it.

lso manners of entering past the point, of encouraging certain responses from an opponent, and if unable to dictate that; limiting his options to more predictable forms.

This led to some healthy debate, with the class taking breaks every 15 minutes or so , to assess the logic of entering in a certain way, offering at the viewpoints of several masters to colour and guide the students reasoning.
We spent a little time on Silver's times and definition of "the place"*; his, Thibault's and Fabris's use of distance to asses and deal with a threat as it develops (or lack thereof). From there we worked out how to use that information, advancing and retreating from the opponent in the Bogen.

The last part of the lesson was back to Talhoffer, looking again at the use of distance and visual tricks to encourage a response, tied this briefly into Fiore's sword in one hand, and childhood toy snatching (you have to take a class with me to understand this, it helps... honest).

It seems that this approach, my decision to argue from the perspective of several different masters, really helped give a varied, cross referenced overview of historical fencing styles and EBBMA. The feedback was glowing and I hope very much we get the opportunity to do something like this again soon.


*and of course the argument about thrust being faster than the cut...
Pictures courtesy of Nili S.

After FC...

First of all, a message of thanks to all involved with Fight-Camp 2012, both organizers and participants, for a great event. It left me unsure if my arms were exhausted from sword work or if it was the excessive hugging and hand shaking going on, but that is a sign of what a pleasure it was to be there. A great atmosphere, good (and increasingly varied) classes, and the fantastic attitude of all involved made this one of the best yet.

For my part I was teaching both Thibault's rapier and Leichtenaur's longsword. Rather than go through this technique/that technique; I tried to focus on methods of making a situation occur, be it as the attack instigator or the his willing victim; bringing the students attention to how subtle misplacements (not cutting at an exact angle or precise distance) in your technique can make your opponent respond in a less predictable manner.
This is a powerful training tool and can make all the difference in  how training sequences fit together.

In the regular London Longsword Academy classes:
Work continues apace for the first assessments for both longsword and dusssack , and I've been most pleased with how everyone has knuckled down, not only are you showing a lot of patience with the huge amount of detail I am subjecting them to, but also how much it is improving your freeplay (you may have noticed I am coaching you through this a little more as well).  

Well done guys, keep up the hard work.

Tactical Gardener, issue 1. By the Lawn's Early Light.

Just so we don't have to carry swords through the underground at peak hours over the Olympics, the London Longsword Academy is back on sickle for the next couple of weeks.

For those of you who are familiar with the FMA karambit, you really should be aware of the European sickle fighting system as shown in Paulus Hector Mair's "Opus Amplissimum de Arte Athletica" a treatise that really show's the agricultural and common place tools of Europe in a rather more...aggressive light.

The three G's
I have noticed that when most people come to train with the sickle, there are three G stages.
1: grumble...what is this for, what does it it do, why isn't it a karambit?
2: grin...as realization sinks in of what this will do to sinew and tendons.
3: giggle, as they figure out "that muscle is coming away from the bone".
I will point out here: that all the folk I teach are sensible folk, not prone to cruelty. But something in realizing your martial heritage is a little icky seems to make people happy....don't ask me why, people are strange.

It is a truly horrible tool, which is why we don't use the real thing to drill, and again we relied on the hard work of Purple Heart Armouries to supply a suitable training tool (but even with these great control and care is required to train safely).
If you want to pop in and have a look over the next two weeks contact at the usual address. I'm pretty sure you will find it most illuminating,

Makes you squint and back on buckler.

This week it's more of the basics
Longsword:

• Guards proper structure.
• master cuts, mnemonic reasoning and use against guards.

Sword and Buckler:

• long point
• angles and entrance, getting the response you want from the opponent.

Most of the sword and buckler syllabus is based around the Obsesseo training DVD. So-if you want to get a good idea of what we are doing and how the system works I'd recommend picking up a copy.

Here's a bit of blurb to help you make up your mind.

Based on the earliest known fencing manual "I.33", Obsesseo offers an unrivaled insight into medieval combat. The DVD features:

• A simple "watch and do" multi angle, instructional format which is perfect for both the beginner and advanced student.
• Each technique is clearly illustrated with an "as it happens" labeling system, explaining on screen the move used by each combatant.
• An extensive and informative voiceover, offering both tactical and in-depth theory for the more advanced student. 

As well as being a practical guide to early swordsmanship, Obsesseo is an academic work showing that common principles – often regarded as the hallmark of more "evolved" systems, such as rapier and even modern fencing – were relevant, advanced and had been documented as early as the 13th century.

Winding works

 
This week;  it's more of the arm aching longsword work,  hi rep stance and cutting drills. This seems to be helping so smile through the pain, it's doing you good.
From there it's winding against multiple cutting angles, this is good exercise not only for winding, but also for mutier, duplier and varying cuts.
Also sword and buckler, simple entry drills, against a dominance of the line.
And of course sparring.

This week it's back on heavy drilling; we are having a couple of weeks off rapier, dussack and sickle instead  focusing on longsword and sword with buckler.
the class will be broken into three main rotations.
Longsword:

• guards, engaging the muscles and core work
• Cutting drills, all five master cuts copy and do
• Krumphau, basic work to break the ox

Sword and buckler:

• All the guards with flowing cuts, allignment
• over bind left from the long point
• over bind right  from the long point

If we have time, sparring.  You will be amazed how much the guard work can hurt, look forward to making you ache. Dave

Sparring Glove Review

Me wearing said gloves

I recently received my gloves from www.sparringglove.com and initially I was very pleased, however I wanted to train in them with both steel and nylon before writing a full review. First a little background...

One of the biggest problems in the HEMA community is that of hand protection. Not only are the bones of the hand more fragile than most, a degree of dexterity is required in order to manipulate a blade properly and efficiently.
The current solution.
Lacking a credible alternative, the majority of us in the community have been using Lacrosse gloves which have varying degrees of protection and almost without exception quite nasty week spots (such as the joints of the fingers and edge of the hand.
There are also the occasional self made gloves which vary in look and success, I won't go into those here.

Why not use metal gauntlets?
This is an often asked question. In my opinion there are two main answers:

• Most production gauntlets have large spaces, are poorly riveted (in a manner that could allow a finger plate to drive into the finger) and have potential to injure the hand.

• I don't want to be punched by someone wearing a gauntlet.

SparringGlove.
Although I have heard great things of these gloves I have only recently had the opportunity to buy some for my own use. I assumed that they are supposed to be worn over a glove but initially tried them without to feel the difference...
Wear them over a glove they work much better.


Construction.
The gloves are made of hard flexible plates of (I believe) sturdy shoe sole rubber, joined with calf skin and cordura, each pair is tailor made to each customers individual sizing.

Dexterity.
Initially they feel awkward, as the fingers are inside a mitten form, but this is only a passing phase (if you are familiar with the blackout sensation that comes with unfamiliarity to wearing a fencing mask you will know what I mean, give it a little while you won't even notice.
I've had a few sessions with them and found that the clever construction of the thumb really allows you to manipulate very well.
Wrist wise there is no noticeable stiffness with a lot of mobility.
For long sword they feel fantastic, for single sword it will take a little more getting used to but it is not causing any major issues.

So for Longsword I would give them an 9/10 (everything else I've tried coming in at max around 5/10)
For single sword I would give them 8/10 (the only way that could be better is individual fingers and that would cost a lot).

Sensation.
This is quite surprising, one of my concerns with over armouring is the potential to not feel therefore not learn from blows received.  In fact when you get hit wearing these you still feel it, just enough while feeling safe (I now feel like I'm marketing condoms).

Overall impression.
First of all I think the term glove is a little misleading, they are really an over gauntlet, sparring glove is much more cool sounding though.
There is an awful lot of work that goes into these and I have to say there is nothing else remotely as good. A friend of mine said that he's surprised that these aren't being marketed to Kendoka and agree, them and stick fighters too. They are well designed and put together with a lot of attention and thought.

People flinch at the price tag (200 Euro) but given the amount of work involved and the quality of the materials it's a no brainer, if you love your fingers and want to train with intent; buy them.

May, meetings and madrigals...

May...


You may have noticed an absence of updates for a couple of weeks, this is due to a series of events which I could not have foreseen and seem strange even in recollection.
A few Fridays ago I was contacted by Katerina Antonenko on behalf of the Guildhall School of Music and Drama. "We have a problem", she said, and I knowing that we share a training hall with them assumed a problem with the venue... It was not that kind of problem... .
Without going into great detail, they were arranging a madrigal for The Noble Art of the Sword exhibition at the Wallace collection, and due to unforeseen circumstances were without a fight choreographer/sword master. 
And that is where I, a martial artist and swordsman, with no previous knowledge of fight choreography came in.

There was a very brief email exchange between the director of the piece Andrew Lawrence king and myself, in which went something like this...
Andrew: "thanks for getting involved, I have translated the piece for you so you can see what you are choreographing", from which I offer you a snippet...

"No disengaging, no parrying, no avoiding:
that’s not wanted: this is no place for subtlety.
They don’t use feints, small or weak attacks:
darkness and fury prevent the use of the Art.
Listen to the swords clashing horribly
steel on steel! Their feet don’t leave the spot.
Feet always fixed, hands always in motion,
no cut descends in vain, no point misses the target"

Me: "There is no way I can equate that with a fight scene involving, subtlety, art, feints and footwork Andrew!"

Andrew: "I have an answer to this, trust me..."

He then vanished for several days, with me "trusting" him dubiously.

The meeting.
 
The following Thursday I got to meet the crew, Katerina (the closest you will ever come to a human Swiss army knife - all pictures are courtesy of her), a group of actors working in a basement, two sets of Tancredi, Clorinda and Tasso and Andrew L.K... going through the motions. I watched them for a few minutes before Andrew explained his vision of the piece:
"Everything that the text says they did none of, we illustrate to the audience"
"so, there was no parrying-like this"
"no feinting-like so"
"and definitely no stepping-like this".

SOLD! Though why he couldn't have said that by email ;)... Truth be told I'm glad he waited, as that 30 minute intro allowed us to prattle off ideas insanely quickly, and we had the first part of the fight sorted in short order.

"Right" said Andrew, "I have to go" and into the deep end I was thrown... Mind you, I imagine the feeling amongst the actors as I walked in grinning was more of a non verbal Rorshach quote; "None of you seem to understand. I'm not locked in here with you. You're locked in here with me..."


The Challenge.
If you look at Tancredi e Clorinda online, you will find several versions of the piece, often beautifully sung, but somewhat lacking in focus with regards to the combative element. Andrew wanted to move away from this for two very good reasons.
Monteverdi, the composer of the piece, was an avid fencer and owned his own copy of CapoFerro, so it was likely he knew his stuff. Plus, Andrew is a student of the sword (studying with Guy Windsor) and likes things stabby to be accurate.
So we wanted to steer clear of things like aiming off, and needless, out of distance clanging together of weapons.
However, we had certain demands and constraints:
We wanted the piece to be historically accurate.
None of the actors had any experience of swordsmanship. 
The piece is very structured and timed.
No face or body protection was to be used.

On the first and last points I didn't need to worry, we used a principle from Girard Thibault "arresting with courtesy" which means stopping the point before it touches your partner. This relies on two things: a great deal of trust in your partner and watching them in case you have to move the weapon.
In this regard it the reality of the training method could have made things a lot more dangerous, had either of the groups trained with anything less than total focus and commitment. Had they not displayed both I would not have let them perform; as it was, they excelled.
 

 

For historical technique Andrew was very keen to remain within the realms of Capoferro and Agrippa, however I snuck some Thibault in as well, as he has some very nice pieces that involve a spin which looks pretty and is practical; although the particular attack is not of great use against a shield, which again as the attack is meant to fail in the instance used, was perfect.

Tasso (the Narrator) also had some Thibault to run through, this was party due to Thibault's upright stance being easier for someone unfamiliar with the art and also because the Wallace Collection's exhibition has an almost full sized walking circle, and I didn't want the chance for the audience to see how it was used to be wasted.

So the fight scene became a melange of styles, but very much in keeping with the text of the piece.
Of course it was still stylised; it was necessary to keep the tempo in time with the music, and to have it match its meter and very specific narration.

On the day.
We had had such a short time to get the actors ready, and we had tried to not push them too hard (one of Andrew's great strengths in this event I feel, was his trust that once someone was asked to do something, they would do so and nothing more would be said). Which meant all the real effort had to come from the actors themselves. I saw them practising when they were meant to be on break, I saw them and I know, they trained hard to build their rapport.
There were two shows prior to the big ticketed events, these were free and in the upper gallery. However, to the main event...
The orchestra would play the beginning of the piece, nonchalant and pretty, but though skilled, deliberatively unimpressive and subdued.
During this time I was supposed to wander around and teach passers by and members of the orchestra in waiting to wave swords at each other (for which I'd bought a bundle of purpleheart dussacks without forewarning anyone), but as it happened (as it does when my enthusiasm mounts and I find two students of mine sitting right next to me), I went into auto shout, dragging them to the centre of the Wallace Collection courtyard and forcing them, along with the actors for the following performance to go through some Talhoffer and Meyer techniques....this stunned the diners in the courtyard into attentive silence,which set the scene wonderfully.

Again I wandered through Thibault's circle walking spinning and thrusting and enjoying myself far too much. before the main piece started.

This is where I must profess a little admiration. Andrew throughout was quietly enthusiastic, taking the punters through baroque gestures and concepts. But when he put his head down to play, he was lost, drowned in focus, and that was a thing to behold, as was the sound the orchestra presented...I now have to admit to being a little bit hooked on madrigals purely due to their efforts.

The players


Bearing in mind that the main man in this scene comes riding in on a chair, you would imagine it would be hard to take them seriously; even the music implies jaunty trotting. However it's a testament to the the piece, to the manner it was played - and ultimately to the actors - that I found myself slowly sucked in (as it seems did the audience). Gradually I lost my critical eye, "was the step in the right place, was the thrust delivered correctly" and got carried up in the mood of it all. The actors performed fantastically, and the last faltering notes of Clorinda's death song....I am most likely on camera sniffing like a fool... they were superb and my only regret is we couldn't have done it for longer.

The Exhibition:
The Wallace Collection have pulled off something amazing here: manuals from I.33 through to Thibault line the cases along with some of the nicest swords you will ever see. They have Thibault's circle for you to walk on (this was my idea). It's superbly presented and well thought out. If you are a fan of historical fencing, you have no excuse not to go. the exhibition is running until Sunday the 16th of September, make sure you go.

If you made it this far...
Because it is bank holiday, we will only be doing sickle and dussack this evening. Back to normal Wednesday.