Back in September, Kaja Sadowski posted quite an interesting question to Facebook for discussion by her friends and colleagues:
Honest question for my HEMA friends: if you consider the totality of the sources you work from, to what extent is the art you practice really “a killing art”? 100%? 75%? 50%? Less?
Follow-up: what do we gain/lose by framing it exclusively (or primarily) as such?
This is an excellent question, and I’m grateful to Kaja for posing it and giving me the opportunity to consider my thoughts. I think it is a rather important question for practitioners of any martial art (especially those with swords) to ask themselves, so that our practice is framed properly and is placed firmly within its proper context, as best we can understand it.
What follows is an edited and improved version of my original response to her question on Facebook.
This article was originally posted on Encased in Steel on 13th January 2017. It has been edited and improved for posting here.
Following on from my article about how to make techniques work in sparring, I would like to present a case study from my own training. Over a period of two or three months, I began to have more success at applying the Mutieren during sparring with the longsword.
If you are unfamiliar with this technique, it is somewhat similar to the croisé in classical and modern fencing; converting an attack to an upper opening downward to thrust into the lower openings, maintaining blade contact with the opponent’s sword for greater safety. With the longsword, because it is so easy for the opponent to lever his sword around to make another strike, it can be quite daunting to try to attempt this technique, and it is often a technique that many longsword fencers struggle to perform.
This is the process through which I have learned to apply the technique more successfully in sparring.
This article was originally posted on Encased in Steel on 20th May 2016. It has been edited and improved for posting here.
Can good fencing ever be considered “bad fencing” or “incorrect fencing” at the same time?
Sometimes people integrate actions or concepts into their sparring that could be described as “good fencing”. However, sometimes these actions or concepts might also be described as “bad fencing” or “incorrect fencing” at the same time, and I think this is an interesting paradox that is somewhat unique to historical fencing.
This article will present a few examples, and it is not the intention to say that any one skill or behaviour or idea is “bad” or “incorrect” all the time. Rather, the intention is to suggest circumstances that may lead to certain actions or concepts changing from “good” to “bad”, or vice versa, or perhaps remaining “good” but suffering from being “incorrect” according to the system. If you take from this article the inspiration to think about these notions, then I will have achieved my purpose, and hopefully more people will consider what counts as “correct fencing” in the system that they study.
This article was originally posted on Encased in Steel on 25th March 2016. It has been edited and improved for posting here.
I often hear the advice that you should train with a heavier sword, in order to improve your strength, balance, coordination, stamina, whatever. In fact, this notion is recorded as early as Vegetius, who wrote about Roman training methods.
In this article, I will argue that lighter swords are in fact more beneficial for beginners, and that people should not rush into using a heavier sword before they are ready.
This article was originally posted on Encased in Steel on 28th August 2015. It has been edited and improved for posting here.
Every so often, I find a discussion (online and in person, in roughly equal quantities) where people debate the merits and problems of including hands as a valid target area when fencing. Usually this is with regard to longsword, but sometimes with other weapons as well.
It is my firm belief that the hands are important targets when learning how to fence, but we should look after them and not take matters to extremes.
This article was originally posted on Encased in Steel on 18th September 2015. It has been edited and improved for posting here.
A common action in modern Olympic fencing is that of feinting: making it look like you intend to do one thing, when in fact this is a trick, because you actually want to do something else. If the opponent falls for your trick, then he creates an opening that you can exploit. A very common example of feinting is to perform an attack toward one opening, then when the opponent makes to parry your attack, to take your sword away and go to a different opening instead.
However, is feinting a big part of Liechtenauer’s system of unarmoured fencing with the longsword? It is common to see people utilising feints in sparring, but are these actually part of the system?
This article will examine the advice presented by Ringeck. Other sources within the tradition may well offer different advice, and I would encourage practitioners to examine the issue from these other points of view too. For the purpose of this article, and to stimulate discussion, I will argue the stance that feints should not be used as frequently as most people (myself included) tend to use them in the sparring.
This article was originally posted on Encased in Steel on 15th May 2015. It has been edited and improved for posting here.
One of the criticisms that is often levelled at modern HEMA tournaments is that the fighting seen in the bouts does not look like what is described or illustrated in our source material, and that the style of fighting is more like “sport fencing” or “playing tag” than “proper fighting”.
Many people bemoan the state of the current HEMA movement, especially with regard to the medieval weapons such as longsword, messer, and sword and buckler. However, I believe that we can see something more interesting, and much more hopeful in the general trends.
This article was originally posted on Encased in Steel on 21st February 2014. It has been edited and improved for posting here.
This article will attempt to define and explore the concept of attribute fencing, and why relying on this style of fencing can develop problems both for your own long-term development as a fencer and for the development of training partners. The points raised in this article will be equally applicable for practitioners of other martial arts.
Footwork is undoubtedly one of the most important skills to develop for any martial art, and HEMA longsword is no exception.
I have the impression that people often become quite caught up with trying to integrate their footwork into their interpretations of techniques. Instead of making the technique work better, I think this tends to lead to confusion, and I believe it also makes it more difficult to perform the technique successfully in sparring when it is tied to a particular footwork.
It is my belief that footwork and handwork can (and should) occur independently of each other, so that neither forms an intrinsic part of the other. Instead, the one can be used to support the other, in a fashion most appropriate for the any given situation, and this will increase the likelihood of success.
I believe that there is a difference between a system and a bag of tricks, where historical martial arts are concerned. Both are effective, and both are important to have in your repertoire; the greatest skill, however, the greatest skill comes with recreating a full system, and being able to incorporate a variety of tricks into that system without making it any less systematic.
HEMA is an activity that relies on sources; but what does working with a HEMA source involve? Although it may seem obvious to people who have involved in HEMA for a while, it is not the simplest process, and there are many things to consider at each stage.