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Guy frequently keeps this blog updated with thoughts, challenges, interviews and more!

Category: Learning Swordsmanship

Last week I checked Piermarco Terminiello’s translation of Giganti’s Second Book, published in 1608. I took issue with his translation of tirar di punte di piede fermo as “delivering a lunge”. I would render it as ‘thrust with the fixed foot”.

This sparked a very useful discussion thread on Facebook, which was far too interesting to be left there so I have the participants’ permission to post it here (I’ve edited their words slightly for clarity, and I have left out all the digressions, requests for clarifications by beginners, and statements of opinion unsupported by evidence). It began with Mike Prendergast (a long-time friend and serious rapier practitioner) writing:

Loving this already, Guy. To niggle on your niggle about ‘lunge” versus ‘thrust with the fixed foot”, I would say that that several rapier masters of this era seem to distinguish a thrust executed with a pass, from one executed with an increase of pace of the lead foot, by using the term fixed footed thrust for the latter (it's the rear foot that is fixed). So while Piermarco Terminiello has not literally translated this word-for-word, I would consider the terms functionally equivalent. This is off the top of my head.

Piermarco himself chimed in:

When I translated Alfieri in 2011, for what it's worth I translated “pie' fermo” as “firm foot” – but I've come to consider this as clunky.

I'd contend that “firm foot” is the pretty standard early 17th century term for a lunge, considering that the early Masters don't use the modern Italian term “affondo”.

This is Alfieri's definition:

“There are two principal ways of attacking: from a firm foot, or with a pass or other type of movement.

The attack from a firm foot can be accomplished in one of two ways. The first is when you strike by extending your arm and your body without moving either foot. The second method, having your weight over your left foot, is to carry the blow forward by stepping with your right.”

The same with “ferire”, in 2011 I translated it as “wound”, however since there are several examples of “ferire” being used when the action doesn't actually land, I'd contend that “attack” is an easily defensible and arguably more apt choice.

Although note that Parise uses “firm foot” to describe a simple lunge into the late 19th Century.

In his translation Chris Holzman notes (from the 1884 edition of Parise):

“he uses the term firm-footed to describe the lunge, since the rear foot remains in place, or firm on the ground.”

So at best, according to your interpretation, Capoferro would be some kind of weird outlier (in his specific usage).*

Tom Leoni in his translation of Giganti's 1606 translates piede fermo as “firm foot” however he adds the footnote:

“Firm-footed attack (ferita a pie' fermo): an attack with footwork other than a pass, i.e., a lunging attack or an attack without a motion of either foot”.

Which of course perfectly corresponds to Alfieri's very straightforward and clear description. Note that Tom also translates “ferire” as “attack” and not “wound”.

It is clear from this that Piermarco’s translation choices are defensible, whether I agree with them or not. Regarding ferire, I would say that strike is much better than attack, because it doesn’t come with the necessary condition of the strike landing (as wound does), nor with the fencing-theory baggage that “attack” does.

Regarding the strike of the fixed foot; I would say that though Piermarco has made an excellent case for “lunge” being an appropriate interpretation of Giganti’s meaning, I still do not see it as a good translation of what Giganti actually wrote. This is because we have somewhat different theories of translation; I hew very closely to the original phrasing of the source, and will only translate something using a completely different expression if it’s a case of an idiom that is simply nonsensical when translated directly, which I don't think is the case here. At the very least, a footnote would have been a good idea.

In case you are a complete beginner to academic discussion I should point out that this sort of back-and-forth is a) completely normal b) implies no disrespect and c) is the engine that drives all development. As I said in my previous post, Piermarco’s translation is excellent, well worth your time, and I have nothing but respect and admiration for his work. But translation is always at least in part a matter of judgement, and as I am a raving pedant and have a different view of the job of translator, in my considered opinion, I wish some aspects of his translation were different. Now that I have a copy of the original book I can simply use that, but also, now that I have checked to see what kind of judgement calls Piermarco makes, I can use his translation in an informed way.

And incidentally, this is exactly why, in my opinion, professional HEMA instructors (by which I mean people who do this for a living and therefore should be held to the highest standards) should only teach from sources they can read in its original language. However *good* a translation may be, it is still always, by definition, something of an interpretation.

If you find this kind of discussion interesting, you'll probably enjoy the story of how it was established beyond reasonable doubt that I was completely wrong in identifying the poison-dust-pollax ingredient

*It’s somewhat off topic here, but my rapier background is in Capoferro’s style, working from his 1610 book Gran Simulacro.

There he wrote in paragraphs 46-48 (which you can see in the image above; click on it for a high-res photo):

46: The wide measure is, when with the increase of the right foot, I can strike the adversary, and this measure is the first narrow one.

47: The fixed foot narrow measure is that in which, by only pushing my body and legs forward, I can strike the adversary.

48: The narrowest measure is when the adversary strikes at wide measure, and I can strike him in his advanced and uncovered arm, either that of the dagger or that of the sword, with my left foot back, followed by the right while striking. (In Jherek Swanger and William Wilson's CapoFerro translation (click on the link to download in pdf))

It is perfectly clear then that for Capoferro the strike of the fixed foot is not a lunge. Piermarco is right in that Capoferro is an outlier in this (as indeed he is in many other respects too), but given Capoferro’s status in the rapier world, this by itself is sufficient grounds to expect at least a footnote to explain that the original term being translated as “lunge” is “fixed foot”.

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Many students find the (often) foreign terminology a major barrier to learning swordsmanship. I get it. I really do. In 2006 I even wrote an article explaining why I translate “meza” and “tutta” the way I do. I put a glossary in the back of most of my books, and I created a separate pdf handout for the Longsword Course that includes the essential terms for studying Fiore and Vadi. If you'd like a copy, sign up below and I'll send you one automagically.

 

 

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Are online courses ethical?

I take ethics very seriously, to the point of writing a short book on them. As you may know I have recently begun offering online courses, in addition to the free videos on my wiki, and the books that I write. When I emailed my list about the Medieval Dagger course, I got this reply:

I'm sorry Guy but this kind of breaks my heart. Having come over from EMA and seen the damage internet dojos have done there. I honestly can't believe we are doing the same thing. Nobody can learn empty hand arts via video and adding weapons into the mix is just frankly dangerous. Surely you aren't recommending people train unsupervised with weapons.

Obviously I disagree with the premise that you can’t learn martial arts from a video (or a book!), and nobody has criticised my books in the same way (at least not to my face), so I replied:

I perfectly understand your concern, which is why it’s taken me 15 years to come around to the idea. But the simple fact is that my books have gotten hundreds of people started in their training, and my online (free) videos too; I don’t see any moral difference between this kind of course and the books I write. And this way I can actually keep track of the people using my material and assist them more directly. Do you object to my youtube channel too? I learned unsupervised with weapons back in the ’90s, working from old books- how is this any different?

If HEMA is possible (the recreation of historical martial arts from historical sources), then learning it from videos must also be possible. The danger lies primarily in mistaking watching a video (or reading a book) for training- in failing to actually get up and do it in practice.

Am I missing something?

To which he replied:

Yes I do object to all forms of internet martial arts teaching. I'm fine with it as a marketing and promotional tool to spread the word about the art/club but it should never be a teaching tool for martial arts (especially weapons arts). The difference is that you are profiting from something you know is inherently unsafe. This is a very clear and moral distinction. While you may be providing a superior product it sets precedence that will allow less reputable and unscrupulous people say well if Guy Windsor does it why not me? This is exactly what happened in Eastern Martial Arts. Of course you are not breaking any laws and I expect that I will be completely ignored but I didn't want it to go unchallenged. The economic narrative of the times we live is the only one people seem to listen to these days.

I wish you well.

This is a clear and damning accusation so I thought I’d run my thinking past you, my readers, and get your take on it. I’ve already run it past a couple of my friends who I can trust to tell me if I’m wrong, and they agree with me, but casting the net a bit wider seems like a sensible idea on an issue this serious.

The assumptions I see here are:

1) that you can’t learn martial arts from video, so selling such videos is fraudulent.

2) that it’s irresponsible to communicate weapons skills except in person

3) that while I may be able to break assumptions one and two, it recklessly opens the door to ‘less reputable and unscrupulous people’ doing the same.

4) that ‘I know [that my online courses] are inherently unsafe’.

5) that it is unethical to profit from these videos, though apparently giving them away would be ok.

I reject assumption 1 “that you can’t learn martial arts from video, so selling such videos is fraudulent” because it closes the door to anything other than direct, personal transmission of martial arts. Which means that this person, as a member of a HEMA club, is being at least inconsistent, because the HEMA arts he practises are derived from books, which are harder to learn martial arts from than videos. Who wouldn’t give their non-sword-arm to watch video of their historical master performing their art? And there is just no way to recreate HEMA without at least the instructor training ‘unsupervised’ by a qualified person, because somebody must be learning from a historical source for the “H” in HEMA to make sense.

Assumption 2 “that it’s irresponsible to communicate weapons skills except in person” is based on the idea that it’s inherently safer to be taught by an instructor in person. This might be true some of the time, but I know from experience that it is not true all of the time. Most of the worst injuries I’ve ever seen have occurred during properly supervised training of one sort or another (usually tournaments). And I’ve never heard of anyone injuring themselves working from any of my books or videos- or anyone else’s  for that matter. Sure, a competent instructor will tend to run safe classes- but will also push students further out of their comfort zones too. And accidents can happen in even the best-run classes.

Assumption 3 “that while I may be able to break assumptions one and two, it recklessly opens the door to ‘less reputable and unscrupulous people’ doing the same”, makes me somehow responsible for other people’s behaviour over which I have no control. That makes no sense, and I reject that out of hand. Of course I’m obliged to set an example, but as I think the courses I create offer good training, that’s the example I think I’m setting. Am I wrong?

Assumption 4, “that I know [that my online courses] are inherently unsafe” is simply false. I do not believe for one second that my courses are unsafe. If they were, I wouldn’t do them. If we start to get injuries on the courses, I’ll change them or pull them offline. But we won’t, at least not at any greater rate, and probably at a lesser rate, than injuries would occur with no guidance. Because let’s face it: people will train these arts with or without my help, and my courses emphasise safety above all other considerations. You can check this for yourself with any of my free courses: Knee Maintenance,  Arm Maintenance, and the Beginner's Longsword class.

Assumption 5, “that it is unethical to profit from these videos”, though apparently giving them away would be ok, is also simply false. It is demonstrably safer to charge for the videos. It dramatically reduces the number of people using them (about 20 times as many people have signed up for my free knee maintenance course, than have paid to join any one of my other courses), and the payment selects those people for seriousness- nobody is going to pay for a course like these and then just dick around dangerously. In addition, it means I can put the safety guidelines at the very beginning, and exhort all enrollees to watch/read them. This is vastly safer in principle than the weapons training videos I’ve had up for free on the internet for the last 7 years or so (and yet, no reported accidents there either).

But this is a matter of safety, and ethics, so I’m not inclined to just take my own opinion as gospel. What do you think? I’ve put together a short survey for you to let me know. Please be honest: I will take nothing personally, and I will keep your answers 100% confidential. And please note, I'll be checking this form regularly, but I might not see your comments on social media, so if you want me to take your opinion into account, please use the form or the comments below.

And please do share this post – it's really important that I get the opinions of people outside my usual fan base.

[Update, May 30th 2017]

As you can see from the pie chart, over 93% of the 236 respondents think that online martial arts courses are or can be ethical. Of the tiny minority who said No, almost all of them had misread the question. I know this because of the 9 No responses, 6 had comments that made it clear that they were in favour of the courses (such as “The entire premise that the person sent to you is ridiculous.”). Two Nos left comments: one with the opinion that “Fencing needs to be taught in person”, and the other was clearly under the impression that I am offering online certification (I'm not). I contacted all 7 of the ambiguous Nos, and in each case they told me they were in favour of the courses. Of course, it's possible that an equal number of Yesses were intended the other way, but not one of the other comments is negative, so I doubt it.

If you ran a poll amongst plantation owners in 1820s Louisiana, I imagine that 100% would vote that slavery was ethical. So ethics are not really a matter of democracy; and readers of this blog are clearly not a representative sample. But given that my community appears to agree with my gut, I'm happy to continue offering the courses.

Thank you to everyone who has completed the survey, and have read, commented, and/or shared this post. I'll leave the survey open, to see if this changes in any meaningful way over time.

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On Monday last week I was sat in the departures hall at Vancouver airport when I got a message from my friend Samantha Swords. She suggested I attend an event in London that weekend called the Hero Round Table. She had spoken at one, and had suggested to the organiser, Matt Langdon, that he invite me along. Truthfully, I'm a bit sceptical of events based on short ‘inspiring' talks; I'm not a huge fan of TED, for instance. Sure, there's some value in some of the talks, but the whole format seems set up to be superficial and entertaining rather than truly valuable. I'm also really suspicious of any kind of hype. I was just back from a two week trip on an 8 hour time difference, so I was heavily inclined to stay home, but I talked it over with my wife, and she said I should go if I wanted to, so I did.

The day began with a talk by a schoolteacher from Norwich, Andy Fisher. Whose main hobby, other than some pretty extreme sports? Knife throwing. That's our kind of chap. He was presenting there because he's recently written a book, The Hero Forge (I haven't read it yet so can't comment on it, but his talk was excellent which bodes well). He was followed by author Marcus Alexander, who does longsword with the Schola Gladiatoria in London.

The speakers ranged from whistle-blowing accountant Wendy Addison to academic student of heroism, Prof. Ari Kohen, to author Elizabeth Svodoba, who (as the website says) “wrote the book on heroism”: What Makes a Hero?: The Surprising Science of Selflessness. (Again, not read it yet so can't comment on it, but her talk was interesting so…). They were all good, some more interesting than others, but while I enjoyed the talks, there weren't any ideas expressed that were completely new to me. But then professional swordsmen aren't anybody's target audience. And, as Derek Sivers puts it: if more information were the answer, we'd all be billionaires with perfect abs.

As is usually the case at conference-type events, the real gold is found in the spaces between the presentations. In the first place, the organiser of the event, Katherine Barton, challenged us all to introduce ourselves to five new people that day. I hate doing that. I like meeting new people, but I usually do so in cases where it's obvious who I am (like I'm teaching a seminar), or I'm introduced by a common acquaintance. Dammit, introducing yourself is so un-English. But I damn well did it, getting to six cold introductions by the end of the day. And thereby met some really interesting folk (including the organiser of an event called Sword Punk!). I introduced myself to Katherine, which seemed only fair. And she introduced me to Dan Edwardes, founder of  Parkour Generations, because he trained traditional koryu swordsmanship in Japan for years… What is it with these swordsmen cropping up everywhere? could it be that there's a connection between an interest in heroism and a desire to swing swords? There was even an ex-student of mine, Rasmus Vanagand, who came to some of my seminars in Linköping back in the early days.

Towards the end of the day, coming out of a panel discussion, I saw a chap doing burpees in a corner of the foyer. Naturally, I went over, took off my jacket, and joined in. Goddamn it he pumped those horrid things out. I was completely knackered. He finished his 300 (you read that right). I'd managed perhaps 40.

I found out about 10 minutes later that it was Joe de Sena. Founder of the Spartan Race. Legendary endurance athlete. Complete lunatic (in our kind of way).

He gave a copy of his latest book, Spartan Fit!, to everyone at the event. I've read it, and it's well worth your time. Short and to the point, no fluff (as is no doubt the Spartan way!) it's got me seriously considering training for an obstacle race…

The video may give the impression that I spent the whole time squatting on the floor. Blame Matt, he took this on his phone at the least flattering moment, honest. Joe signed my copy of his book, “Guy, you are a Spartan! we did 50 burpees today!” I think he exaggerates- I maybe did 40.

Perhaps there's something in this whole Hero thing?

My day's highlights were burpees with Joe, chatting to Dan, Katherine, Marcus and Andy, and getting a window into how other people approach the problem of training people to handle frightening situations.

To sum up: don't judge by appearances; when opportunities present themselves, jump at them; get outside your comfort zone; meet new people; join in.

A big thank you to Matt Langdon for inviting me, and to Samantha Swords for giving him the idea. Sam, drinks on me 🙂

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Introducing beginners to the Art of Arms is a privilege and a pleasure. Over the years I have developed a gentle approach to getting people started, based on the following principles:

  • Beginners’ courses should be funnels, not filters. They should entice people in, and seduce them to the art, not hold up artificial barriers to entry (such as the push-ups-till-you-puke approach).
  • Get them moving: movement is the foundation of swordsmanship. Good movements create good guards, good blows, and so on.
  • Start with what they can do, and then adjust that towards what you want them to do.

I have taken the first class of my new online Longsword course and put it up as a free beginners’ class. You’re welcome to take a look. This free course includes:

  • a 30 minute video
  • a safety briefing handout
  • a glossary of Italian fencing terms
  • the Course Plan for the complete Longsword Course.

Please share this with your friends! Especially anyone you know who is nervous about starting to train.

You can find the course here: http://swordschool.teachable.com/p/free-beginner-s-longsword-class

I have also introduced a new subscription plan, called “The Everything Bundle”, which gets you access to ALL the courses I have online:

Recreate Historical Swordsmanship from Historical Sources

Fundamentals: Breathing

Fundamentals: Footwork

The Medieval Dagger

The Medieval Longsword

All for just $35 per month. You can find it here: http://swordschool.teachable.com/p/the-everything-bundle

I look forward to seeing you on one or other of the courses!

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I have just created a syllabus for creating a syllabus. You read that right. The end product of my Recreate Historical Swordsmanship from Historical Sources course is a complete syllabus for the style of swordsmanship that you are researching. You can see the spiffy video intro here:

https://youtu.be/zYMBassGxJ8

I created this course because many people have difficulty approaching the academic side of HEMA; the original sources can seem daunting, and figuring out how to approach them and develop a live training system from their pages is a major challenge for anyone. The course provides the assistance that beginner researchers need to help them get  a working syllabus out of a fencing manual.

I have been creating syllabi for a long time; the seed of the current Swordschool syllabus was planted in a seminar I taught in Turku in 2001. I followed my instinct and in the course of the day, came up with five core drills. The only one of them that has survived almost intact is the current “Second Drill”. I won’t embarrass myself by describing the rest. They were state of the art in 2001, but in those days historical swordsmanship was developing faster than computer technology. We have come a long way.

While I have created many syllabi, I have never taught syllabus creation as a specific skill before so this has been mind-meltingly hard to pin down. I cracked it when I realised that I needed to define the end-point first, and then create the structure that would lead students to it. This part of the course is in three sections: Create the Cornerstone, Build the Foundation, and Construct the Syllabus. You begin by reducing the material to one key drill, then expand that to a small set of easily memorised drills, then use them as a framework for building the rest of the system. The three sections of the course should have been written in reverse order. As it happens, I began with the first section “Create the Cornerstone”. It covers how drills should be designed, what they are for, and how to figure out which elements of your system should be included in the most foundational drill in your system. But the next stage “Build the Foundation” had me stumped for a long time. I know how to do it, I’ve done it many times. But I couldn’t figure out how to explain it. Then it came to me: start with the end. So I wrote up how to create an entire syllabus (in “Construct your Syllabus”), and then worked back from there to explain how to create the foundation of that syllabus.

The course also covers choosing a source to work from, analysing its context, analysing the source, developing a basic interpretation, fencing theory, and a ton of other material.

I know some novelists who always start with the last scene of the novel, so they know where the book is going. Others who start from the first scene, and have no idea where they’re going, and yet others who plan the whole book out scene by scene and don’t write a line until they have the whole structure. I think that the students on this course will probably have the same mix of personalities as my writer friends— it strikes me as a universal human phenomenon. Clearly, when it comes to creating this course, I’m a start at the beginning, switch to the end, and then fill in the middle sort of person! I also used a completely new (to me) technique: I shot a first draft of the video, sent it off for transcription, then edited the transcription into a script for the video that ended up being published. It seems to work by  engaging parts of my mind I'd had trouble bringing to bear on the problem.

You can see the course curriculum here (scroll down); a lot of it is free to access, so take a look!

 

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Just yesterday Louise Mann, a student on my Knee Maintenance course, sent me a review she had written. It blew me away, so I'm sharing it here, with her permission.

Part 1: A gentle warm up.

Excellent safety advice regarding not following along slavishly, but actually knowing and understanding your own physical limitations and acting appropriately.

Great explanation of where the hips are located, and thus where the movement should be localised. Memorable description of how far you should be looking to squat!

Part 2: Mindful stepping, and balance practice.

The mindful stepping exercise was most instructive. I go barefoot, or wear thin-soled shoes as much of the time as possible, but even then (as I rarely walk around blindfolded) I don’t think that much about what my feet are doing. Having to concentrate on receiving feedback from my feet whilst walking about felt quite strange to begin with, but the longer I did the exercise, the more normal this became. Definitely something to continue with and improve.

Balancing on one leg was easy to begin with – then came level 2 with eyes closed. Absolutely hopeless to begin with and was just glad that no-one was observing my efforts! As with the mindful stepping, this simple exercise showed how easy it is to lose concentration and therefore body awareness.

The ‘book reading’ exercise is probably not one I’ll be using at my local bookshop any time soon as I find squatting more comfortable. However, it certainly is a good strengthening exercise, as well as have some flexibility component as well.

Part 3: Training your knees to move correctly.

This is the best explanation I have ever seen regarding how a knee should track over the foot. The information about ankle and hip mobility is crucial.

Part 4: How to massage your knees.

Invaluable. For myself, the best part of the course. The point about checking as to whether the massaged leg feels better than the unmassaged one is so obvious, yet probably overlooked by most people.

Concluding thoughts.

Clearly shot video with excellent sound throughout. Instruction clear and to the point. Caveats used where appropriate (particularly with regard to warm up).

The quality and depth of this course has led me to the conclusion that I will have to buy some (perhaps all) of your other online offerings! Many thanks for making this course freely available to all.

Louise Mann 08-12-2016

Interested? You can find the course here. If you've already taken it, I'd be glad to hear what you thought of it.

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“If you haven’t got your health, you haven’t got anything!”

Truer words were never spoken, certainly not by Count Rugen anyway.*

Way back in the dawn of time when I began training martial arts, I was enraptured by the idea of martial arts training being a balance between breaking people and fixing them, by the notion of the martial artist as a healer as well as a warrior. This is one of the reasons I was drawn to T’ai Chi; it is usually associated with healthy practice. And it’s why I was so taken by Tai Shin Mun kung fu (you can read more about that here). I literally owe my career to the not-so-tender ministrations of their instructor, Num, who fixed my wrists for me back in 2000.

This is the background behind my obsession with mechanics and correct movement. Not so much for martial efficiency, though it certainly does that, but more because I want to be able to train until I die (sometime in my early 100s). I am blessed with a crap skeleton, which creaks and breaks and sends lances of agony up my spine if I fail to keep up my practice, or if I practice just a little bit wrong. Blessed because it has forced me to learn absolutely correct movement, which has in turn allowed me to share that knowledge with my students, freeing many of them from long-term pain, and undoing, or at least halting, the damage caused by poor mechanics.

I cannot abide the idea of anyone who needs this knowledge not having free access to it, certainly not for such a poor reason as lack of funds, so I have extracted the essentials from my footwork course, shot some extra footage, and put together a short ‘keep my knees working forever’ course. The course is 100% free and without strings attached. I want you to be healthy. Go, be healthy.

http://swordschool.teachable.com/p/free-course-knee-maintenance

I am also planning a weapons-handling course, which will include forearm conditioning and maintenance. I’ll release the essential health component of that course free too, so you can keep your arms working properly despite the depredations of computers and couches.

It was my birthday yesterday, and I intended to launch this then (I approve of the Hobbit custom of giving presents on your birthday), but I was sadly too busy opening presents, drinking wine, and generally having fun, so it's an early Christmas present instead.

*if you don't know who Count Rugen is, you very badly need to drop what you're doing and watch the Princess Bride. See here:

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Zoe Chandler kicks Miika in the nuts: for The Swordsman's Companion.
Zoe kicks Miika in the nuts: for The Swordsman's Companion.

I get asked this question rather often. Here is my answer, and my reasons for it.

YES!

The underlying assumptions behind the question (which like many assumptions are gross over-simplifications and largely wrong) are that women are physically weaker than men, and less aggressive. Either one of those is apparently a disadvantage in a fight, so might cap your performance at a level so low it makes participation a waste of time.

Let me be absolutely clear: the WHOLE POINT of martial arts is that skill beats muscle. Only when skill is equal (or you are unskilled) does brawn make a difference.

The WHOLE POINT of swords is that they are labour saving devices. It takes very little strength or power to kill someone with a sword.

And the WHOLE POINT of training is that IT WORKS. The weak get stronger, the timid become more bold. The rash learn caution, and those that have relied on their strength learn other ways to win against the day when their strength will fail them.

Let's leave aside the simple facts that a third of my students over the last 15 years have been women, that many of the class leaders and instructors I have trained are women, that the only instructor I've ever invited to teach medieval wrestling at my school is a woman, and that I can think of at least a few women who could soundly kick my arse in wrestling, or unarmed combat, or with a range of weapons from dagger to sword to bow to gun. These women by themselves prove beyond reasonable doubt that women can be excellent martial artists and swordfighters.

However, the question is not, is never, “can I be as good as that person?”. It is “can I be better than the person I am today?” Yes, obviously. I've never known the answer to this question to be “no”.

In asking that question, we can then ask “will swordsmanship training make me a better swordfighter?” The answer to that is invariably “yes”, assuming a decent teacher or group or school.

And the question after that is “will becoming a better swordfighter make me a better person?” That can only be answered by the whisperings of your own heart. If I didn't believe that the answer is often “yes”, I wouldn't teach swordsmanship for a living.

I extend the exact same logic to anyone and everyone, regardless of size, age, (dis)ability, or any other thing. And it makes me furious beyond reason to think how the assumptions of the question, and the frequency with which it's asked, imply that women are so generally assumed to be ‘weak', ‘incapable', or in some critical way inferior.

I've taught a few people to shoot pistols, including my sister and my best friend. My best friend is an experienced martial artist, stuntman, bodybuilder and all that. My sister is a copywriter, with no weapons training or combat training of any kind. My best friend is the only person I've ever seen who actually managed to hit both the floor and the ceiling of the range in the same session. My sister got every shot onto the paper at 25 metres, first with a .22, then a 9mm, and then we had some fun with bigger calibres.

The difference? My friend has seen just about every action movie ever made, and couldn't help acting the shooting. My sister just did everything exactly how I told her to do it, as best she could. Guess which one I'd rather have show up to a sword class?

You might also find these posts on these related topics interesting:

Women's Class (regarding gender-segregated classes)

Swords do not discriminate. Neither should swordsmen. (regarding trans swordspeople)

Gay marriage in Finland? About bloody time. (regarding, you guessed it, gay marriage in Finland)

 

 

 

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Safety Guidelines for the Practice of Swordsmanship

These safety guidelines come from my Recreate Historical Swordsmanship from Historical Sources Course and have been adapted from The Duellist's Companion, The Swordsman's Companion, and The Swordsman's Quick Guide part 1: The Seven Principles of Mastery. All of those books are included as downloadable pdfs in the additional course material.

Climb if you will, but remember that courage and strength are nothing without prudence, and that a momentary negligence may destroy the happiness of a lifetime. Do nothing in haste; look well to each step; and from the beginning think what may be the end.

Edward Whymper’s admonition, from Scrambles amongst the Alps, elegantly encapsulates the correct attitude to all potentially lethal activities. Substitute “practice swordsmanship” for “climb”, and there is the correct mindset for any swordsman, beginner or expert. Take it to heart before you start training with a partner.

When training with weapons you hold your partner's life in your hands. This is a sacred trust and must not be abused.

Disclaimer: I accept no responsibility of any kind for injuries you sustain while you are not under my direct personal supervision. During this course you will be taught how to create safe training drills, and I am certain that if you follow the instructions there is a very low likelihood of injury. But if I am not there in person to create and sustain a safe training environment, I cannot be held responsible for any accidents that may occur.

Principles

The basic principles of safe training are:

  1. Respect: for the Art, your training partners, the weapons, and yourself.
  2. Caution: assume everything is dangerous unless you have reason to believe otherwise.
  3. Know your limits. Just because it’s safe for somebody else, does not necessarily mean it’s safe for you. Never train or fence when you are tired, angry, or in any state of mind or body that makes accidents and injuries more likely.

Most groups that keep going for more than a year have a pretty good set of safety guidelines in place. Make sure you know what they are, and follow them.

My senior students routinely train with sharp swords, often with no protection. That’s not as dangerous as it sounds, when you remember that they have been training usually for 5+ years at that point, under my supervision.

Safety first: you cannot afford time off training for stupid injuries. Life’s too short. Whatever training you are doing must must must leave you healthier than you started it. You will not win Olympic gold medals this way, but you won’t end up a cripple either. The path to sporting glory is littered with the shattered bodies and minds of the unlucky many who broke themselves on the way. Don’t join them.

Every time I find myself teaching a group I don’t know, I tell them that the class will be successful from my point of view if everyone finishes class healthier than they started it. Most injuries in training occur either during tournament (highly competitive) freeplay, or are self-inflicted during things like warm-ups. In my school (and other classes) we have a zero tolerance policy on macho bullshit. If any exercise doesn’t suit you, for any reason, you can sit it out, or do some other exercise. If you are sitting it out, a good instructor will ask you why, and help you develop alternatives or work up to the exercise in easy stages, but will never pressure you to do something that might injure you.

This is also true of work-related injuries, like forearm problems from typing, or the ghastly effects of sitting all day. By avoiding the things that will hurt you, you will naturally seek out the things that are good for you. Hungry? Avoid sugar, avoid processed foods, and lo! there’s a fresh salmon salad. Tired? Sleep is better than barbiturates, no?

This requires good risk-assessment skills (I recommend Against the Gods, the Remarkable Story of Risk, by Peter Bernstein) and the courage to take risks that truly serve your overall aims. A safe life is not worth living, but foolish risk-taking will not make your life meaningful.

Try adopting these key habits:

  • Before any new activity, do a risk/reward calculation. How risky is it, and how
    rewarding?
  • Practice saying no to training suggestions: even safe ones. Most people do stupidly
    risky things due to peer pressure. Being able to say no to your peers is perhaps the most important skill in reducing injury rates. If this is hard, make it a habit to decline at least one suggestion every session, until it’s easy.

Equipment

Without doubt the single most important bit of safety equipment is good common sense. Fence according to the limits of your equipment, exercise control and respect the weapon at all times, and you will never have a serious injury. Minor bumps and bruises come with the territory.

There were some masters who believed that the safest course is to fence with sharp weapons and no protection. This is how it was often done in the past until the invention of fencing masks (though there are tournament records and declarations as early as the 14th century that record the use of blunt practice weapons; King Rene d’Anjou’s treatise of 1470 is perhaps the best source). Such masters are right in theory, in that freeplay with sharps is the best way for students to learn absolute respect for the weapon, and the importance of absolute control. There are a few contemporary masters with whom I will fence like this, and there is nothing like it for generating a perfect fencing approach. But try explaining that to the insurance companies, or in the event of a slip, the police or coroner. It was often said in the eighteenth century that you could tell a fencing master from his eye-patch and missing teeth. Never forget that even a blunt blade can break bones. When free fencing, or when practicing drills at speed, it is essential that you wear appropriate safety gear. You do this not for your own sake, though self-preservation does come into it, but for the bene t of your training partner. Your protection allows him to hit you safely.

Choosing protection is a very controversial subject. Too little, and you can end up badly hurt (even in practice). Too much, and you can’t fence properly. Firstly, it is important to establish what style of fencing you will be doing. If you are practising armoured combat, then buy the best fitting, best made armour that you can from an armourer who knows how you intend to use it and has seen what you want to do. This is the hardest style of fencing to appropriately regulate, because accurate technique requires you to go for the least armoured spots (throat, eyes, armpits, joints), but safety requirements obviously prohibit that.

As a general guideline, I recommend the following for most weapons.

  1. An FIE standard fencing mask. This allows you to thrust at the face (a very common target), and generally attack the head. This does have three major caveats. Firstly, it leaves the back of the head open, and you must be very careful not to strike at this target. An added apron of thick leather affords some protection. Secondly, it does not protect the head and neck from the wrenching force of over-vigorous blows. It is vital that you and your opponent learn control before engaging in freeplay. Thirdly it is designed to protect the face from high-speed, light, flexible weapons, not slower, heavier, rigid ones. So continually check them for wear, and make absolutely sure that your weapons are properly bated.
  2. A steel or leather gorget, or stiff collar, to protect the throat. Points can slip under the bib of a mask and crush the larynx.
  3. (For women) a rigid plastic chest guard.
  4. A point-resistant fencing jacket rated at least 500 newtons. Sturdy, preferably padded and/or armoured gauntlets, which should extend at least four inches past the jacket cuff to prevent points sliding up your sleeve. I have twice had fingers broken through unpadded mail gloves, and now use a pair of fingered gauntlets from Jiri Krondak, which cost about 150€.
  5. A padded gambeson, or a plastron. If you are making one yourself, bear in mind that it should be thick enough to take the worst out of the impact of the blows, and prevent penetration from a thrust. All openings should be covered. The collar should be high enough that thrusts coming under the bib of the mask do not make contact with your throat. A plastron must wrap around the ribs, and properly cover the collar bones and shoulders. I usually wear a fencing jacket and plastron (as pictured).
  6. A box for men (called a “cup” in the US). You only forget this once.
  7. Rigid plastic protectors for the knees and
  8. For the elbows, of the sort worn by in-line skaters (worn under the
    clothes for that period look if you prefer), will save a lot of pain, and some injury.
  9. Footwear: on the matter of footwear, few practitioners agree. In the longsword treatises, there are no heavy boots, and certainly no built-up heels.  For a completely historical style, it is necessary to wear completely accurate period clothing at least occasionally, because it can affect the way you move. It does not matter much what you wear on your feet provided that you understand grounding, body-mechanics and footwork, but attaining that understanding is much easier barefoot or in very thin flat soles. Excessively grippy soles can lead to joint injury as you may stop too suddenly, or get stuck when you should be turning (particularly in falls at close quarters). The dangers of wearing too slippery soles are obvious. In the salle I usually wear medieval shoes or ‘barefoot’ shoes (aka five-fingers, or ‘toe shoes’), and recommend a thin, flat sole regardless.

The Sword

Training swords come in three main types. Authentic sharp reproductions, which are used for cutting practice and some pair work with advanced students, blunt swords that try to reproduce the handling characteristics of the sharps, and fencing swords that are designed to make fencing safer. These all have their pros and cons, and you should use the sword that’s right for your style and the kind of practice you will be doing.

It’s perfectly all right to use a wooden waster or something similar to start with, but do not imagine that there is any such thing as a safe training sword. Even modern sport fencing blades engineered for fencing sometimes break and puncture people, and anything heavy enough to reproduce the handling of a medieval or renaissance sidearm is going to be able to do damage.

For specific details on choosing a sword, please see Choosing a Sword, which is included in the additional material on this course.

Looking after your weapon is largely a matter of keeping it dry, clean, and free of stress risers (a stress riser is a weak point, usually a deep nick, which encourages the blade to fold at that point).

Occasional rubdowns with a moisture repellent oil and steel wool or scouring pad, followed by a coat of microcrystalline wax, should keep the blade and hilt clean (follow manufacturer’s recommendations if you have a gilt, blued or otherwise ornamented weapon). Do not be afraid to file down any large nicks, and file off any burrs: this is important from a safety perspective, as the blade is most likely to break at a nick, and burrs can be very sharp. The edges of a blunt weapon should always be kept smooth enough that you can run your bare hand hard up the edge and not get scratches or splinters. Even the toughest and most cherished sword will not survive repeated abuse: the best guarantor of longevity for your sword (and yourself) is correct technique.

Rules of Engagement

Once you have agreed to fence with someone, it is important to agree on rules of engagement. This is partly to ensure safety, and partly to create an environment in which you can learn. The two most simple rules are these:

  1. Confine permitted actionss to the safety limits of your protective gear
  2. Confine permitted actions to the technical range of the least trained combatant. In other words, do not allow face-thrusts when wearing open helms, or throws when one of you is not trained to fall safely. The rules can be adapted further to develop specifi aspects of technique: for instance, you may not allow any close quarters work at all, or even restrict allowable hits to one small target. The idea is to come to a clear, common -sense agreement before facing off. You are only ready for no-holds-barred, totally “authentic” fight simulation, when you can enter such a fight with your judgement unimpaired.

Following the rules of engagement will not make you soft, nor will it dull your edge if it comes to the real thing; rather it it will develop self-control.

These rules apply to all fencing:

  1. Agree on a mutually acceptable level of safety.
  2. Wear at least the minimum amount of safety gear commensurate with rule 1. Confine allowable technique to those within the limits of your equipment.
  3. Confine allowable technique to the technical ability of the least trained
    combatant.
  4. Appoint either an experienced student or one of the combatants to
    preside over the bout.
  5. Agree on allowable targets.
  6. Agree on what constitutes a “hit”.
  7. Agree on priority or scoring convention in the event of simultaneous hits. Usually it is better
    to allow a fatal blow before a minor wound, but simultaneous hits should be avoided whenever possible.
  8. Agree on the duration of the bout either in terms of hits, such as first to five, or in real time.
  9. Acknowledge all hits against yourself. This can be done by raising the left arm, or by stopping the bout with a salute, or by calling “Halt!” and telling your opponent where and how you think she hit you.
  10. Maintain self-command at all times.

Safe Training

In my experience most injuries are self-inflicted. It is far more common for students to hurt themselves by doing something they shouldn’t, than to hurt their training partners. Here are a few simple guidelines for joint safety, which should be followed during all training. I am using the lunge as an example of a stressful action, but these principles apply to any physical action.

  1. The knee must always bend in the line of the foot. Knees are hinges, with usually a little under 180° range of movement. The do not respond well to torque (power in rotation). So whenever you bend your knees, in any style for any reason, ensure that the line of your foot, the line of movement of your knee, and the line of movement of your weight, are parallel. This prevents twisting and thus injuries. This one simple rule, carefully followed, eliminates all knee problems other than those arising from impact or genetic disadvantage.
  2. Whenever performing any strenuous task (such as lunging, or lifting heavy objects), tighten your pelvic floor muscles (imagine you need to go to the bathroom, but are stuck in a queue). This supports the base of your spine, and helps with hip alignment.
  3. Joints have two forms of support: active and passive. Passive support refers mainly to the ligaments, which bind the joint capsule together. This is basically set, and can’t be trained. When training your joint strength, with exercises or stretching, avoid any action that strains the joint capsule. Any action that causes pain in the joint itself should be modified or avoided, as it may damage the soft tissues (ligaments, tendons, cartilage). These tissues have a very poor blood supply and hence heal very slowly.
  4. Active support refers to the muscles around the joint, and these can be strengthened by carefully straining the joint with small weights and rotations. To strengthen a joint you must stress these muscles, without endangering the ligaments. Any competent physiotherapist can show you a range of exercises for building up the active support around your knees, wrists and elbows, where we need it most.
  5. Rest is part of training. Your body needs time to recover, and is stimulated by the stress of exercise to grow stronger. However, the body is efficient, and will withdraw support from any muscle group that is not used, even if for only a few weeks. So regular training is absolutely crucial.

If you can’t lunge without warming up, don’t lunge except in carefully controlled drills. Warming up is essential before pushing the boundaries of what your body can do.

 

If you find this advice sensible and useful, please feel free to share it as widely as you like!

If you would like these guidelines as a handy PDF, then drop your email in the box below and I'll send it to you.

 

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