Fighting Articles

This article is intended to be an open source repository for any worthwhile information relevant to Belegarth combat.

Footwork

Kenneth

Background information: I am primarily a long distance fighter. I use swords of above average length. I place a fair emphasis on shot accuracy, and defensive ability. My defensive ability is supported by my mobility and my range. This information is primarily for the individual fighter fighting one or multiple opponents on a flank attack, instead of in a line.

With regards to the usefulness of backing up:

The level of impact required to obtain sufficient force, although varying, is typically rather low in most regions. That means the loss of various factors while backing up is not as bad as it could be. I.E. The down side is not that bad.

Now, what about the advantages to backing up (in any fashion)? Backing up does cut the vast majority of attack angles away from an enemy. Quite simply, it is harder to hit somebody who is backing up more than almost any other motion. They step to your left, you back up slightly to your right. They step to your right, you back up slightly to your left. They come straight in, you move straight back.

In other words, if you own the other person in range, and keep a decent amount of mobility, you will kill the other person before he reaches a proper distance to attack you.

First, note the issue of range. In terms of offensive ability- If I have a greater striking reach than my opponent, I am able to strike at least once before the other person approaches. If I back up, there is at least a good chance I will get a second strike in.

In terms of defensive ability- If I don't have a big shield, my legs are open unless I back up. Any other motion essentially requires me to sacrifice defensive ability up top to protect my legs, or else rely on armor which is just bad form. If I have the proper range on my opponent, and maintain my proper distance, my legs are far less vulnerable, which also means everything else is less vulnerable because I no longer have to sacrifice defensive ability to protect my legs. My sword and shield protect my upper body, my legs(and my down sword) protect my legs.

What about the issue of attack and angles? Well, it shouldn't come as a surprise that people who move forward tend to keep moving forward, and those who move backwards tend to keep moving backwards. In actuality, your wrap shots become far more effective than your opponents if you are the one backing up. They walk into your shot, you walk away from theirs, which increases your angle of attack and decreases their angle of attack.

Further, if they are rushing you, and you have reach, you can hit them in the leg the vast majority of the time, especially if you use a wrap shot. Once they've been hit in the leg, you are no longer in danger. You were not in danger in the first place because you had greater reach. Hence, that first leg shot is a freebie shot.

If they drop their shield to protect their leg, you can go with a top side wrap shot that becomes more effective due to the other person closing in with you. Either way, the forward moving attacker is faced with a "damned if you do, damned if you don't situation". Guard your legs and get hit in the body, or guard your body and get hit in the legs, which prevents you from further advancing. It is difficult to overcome this technical advantage with anything less than greater athletic ability.

Further, had I gone straight to the side, instead of a combination of side/back or straight back, the amount of shots I have are limited due to the angle I am attacking from. Stepping to the side increases one angle of attack, but it also significantly decreases another angle of attack. A predictive aggressive fighter can take advantage of that. I love it when people step to the side instead of back because I know exactly where almost all of their shots are coming from (Unless they are completely new and follow absolutely no logic to shot selection).

At the very least, stepping backwards promotes a wider shot selection than stepping in a single direction. The cost is that each shot thrown may have a lower probability of landing, depending upon the predictive ability of your opponent.

If the other guy can back up faster than you can run forward, you're never going to hit him. On the other hand, once he has reached an appropriate location, he may cause a significant amount of damage to your team while you've done absolutely nothing but chase him. Xiao is one of those red sword fighters who have enough athletic ability to land several shots before many fighters can close to a proper attack range.

In closing, I'd like to say that stepping backwards is not inherently bad, nor is stepping to the side inherently good. They are all valid steps. You must understand the benefits and disadvantages of each individual movement and apply them individually and situationally. Combinations of backing up and moving side to side can have a tremendous effect upon battlefield ability. People who are more mobile can take greater advantage of backing up than those who are less mobile.

The proper step to use is a combination of ability, equipment, and situation. Understanding the situational advantages and disadvantages for backing up provides a far better basis for comprehension and application than categorically saying backing up is trouble. A fighter will go far if they don't view each individual "move" exclusively as good or bad. A fighter will go much farther if they don't view entire categories of motion as bad, such as moving backwards.

druminmychest

Unit: The Four Foundations Chapter: The Foundation of Poise Lesson: Balance and Center

When we talk of “poise” as a fundamental for our Martial Art, what do we mean? We certainly do not mean the adult diaper! Why don’t we just use the word ‘Stance”? well, there is a good reason we use this specific word. As with all words, they can have many meanings, but for us, a specific definition will shed some light on our art. Here is the definition: “Poise: A state of being balanced in a stable equilibrium”. It is an amalgam of things that allows us to be ready, balanced, and stable, so we may act or react depending on the situation.. It is far more than “Stance”

When many people talk of “stance” or “guard”, they talk and think of it as a static, formulaic, and relatively rigid position. This should certainly not be! Firstly, for a martial artist to be static and committed to a fixed position, he must be ready to embrace defeat, as that is usually what happens right after the adoption of such posture. For another, to engrain yourself in one very static starting position to the point that you cannot execute anything until you adopt it is very limiting.

For us, we can break down “poise” into four distinct elements. (and these aren’t necessarily just physical elements) They are… 1. Balance 2. Center 3. Stance 4. Rotation

You want to know the secret to phenomenal martial skill? It all starts with balance, and that’s exactly where we will start as well. I will tell you up front that balance is not just a reference to the physical, but also has implications through all the realms of a Martial Art. (If you have forgotten from the introduction they are the Intellectual, physical, emotional, and spiritual)

But for now, we will focus on the Physical.. Balance is the most fundamental concept of any fighting art. Power, Speed, Stamina, and skill are useless, or cannot exist without balance.

Ready for some physics? An object of non-uniform shape and weight (like humans) has a balance point toward the heavier end. For many men, they have a larger amount of weight higher up in their chests, so their balance point will be higher. (unless you have eaten too many swiss cake rolls like me)

We, as humans, are odd creatures, being bipedal and all. Without getting into too much physics mumbo jumbo, we distribute our weight between our feet to balance our Center of gravity with the pull of the earth. With me so far?! Good!!

Now, if you distribute your weight widely (spreading your feet wide) you are pretty stable. (or, more specifically, you are stable from the side) the problem is, you cannot move easily. If you distribute your weight narrowly (your feet close) you can move, but you are easily knocked down. Now, Imagine you are walking down the road, all fine and dandy, when suddenly your head swells to enormous size and weight! Do you think you would still be walking as easily as you were? No, of course not. The distance of your center of gravity in relation to your weight distribution affects stability. Make sense? There are a lot of physics equations that explains this, but I don’t think we need to go too far in depth in that.. So, logic would tell us that if we LOWER our C.G. (center of gravity) we will be more stable! Seems pretty logical. Keep that in mind for later.

Now, what is this C.G. of which we speak?! Ready for another physics lesson? A “center of gravity” (or mass) is the point in any object around which all of its weight is equally distributed. Notice the words “around which”. Don’t think of this is just an up and down kind of thing. Even if you are lying on the ground you still have a C.G. in reference to the pull of the earth… it is just very wide. (well, some are wider than others.(smile))

Ok! Here’s the biggest point!! Ready!? Your center is the balance point in your body. When your center does not fall within the area of your foundation you WILL lose balance, NO EXCEPTIONS! (smile) Many fighters violate this fundamental principle. The only reason they do not fall down is they “catch” themselves by splaying feet out, or lunging around wildly. Of course, if you widen and splay your feet in an attempt to not hit the dirt (ergo, you adjust your weight distribution to compensate) you drastically affect your ability to move…. If you can’t move… you will be struck.

The biggest problem for many of us is we do not understand where our Center is. (and I don’t mean emotionally or spiritually…… yet…) Understanding where your center is, and how you can manipulate it is essential to the next fundamental……. Movement. So how do you find your center? Well, in class, you will/have seen some simple exercises to help you develop your understanding of center. If not… Check out the web site. I’ll have them posted there.

Unit: The Four Foundations Chapter: The Foundation of Poise Lesson: Rotation and Stance

Rotation: The act of rotating as if on an Axis. This sounds pretty self explanatory. “Something” rotates in a specific way around an axis of some sort. But how does this apply to our fighting art?!

Rotation of Joints: There are basically two kinds of “joints” in our bodies, Hinge joints, and ball joints. Can you think of examples? Sure you can, your smart! If we were being trained our art by a 14th century master, we would start with grappling and wrestling. Believe me, these activities will give you a very ACUTE understanding of which joints do what, and how far you can take one or the other. But, we can’t really start with grappling, so we have to use our heads and bodies to figure this out another way.

Hinge Joints are things like our knees, and elbows. These travel a specific direction, and stop at a specific range. Here is a VITAL clue…… Ready? IF YOU USE A JOINT IN THE WRONG WAY IT WILL BECOME DAMAGED!! Seems simple enough, right? Then why do people consistently try to rotate on their KNEES!? Shame on you! Hehe.

Ball Joints are things like our hips, wrists, neck, spine, etc. They can go in multiple directions and stop at a specific range. THESE are the joints we can use to rotate upon.. well, in a specific manner that is.

Not only does the nature of our joints dictate what is safe for us to do, but it also dictates the manner of our movement. That, along with balance, and C.G. will dictate our stance… more on that in a sec.

Rotation around our C.G: Ready for another physics lesson?! How bout THREE! I knew you would be!

1. The closer a technique (rotation) is to your own C.G., the more strength you will appear to have. Here’s a good example. Hold a heavy box arms length in front of you. Tough, eh? Now, hold the box close to you. You appear to have more strength, right?! There’s lots of physics reasons for this, just trust me right now….

2. The closer a technique (rotation) is to your own C.G. The faster the Acceleration.

3. The closer a technique (rotation) is to your own C.G. the greater the “perceived” speed.

Think of your C.G. as your Axis, your center of rotation. Every movement, technique, generation of power, twitch, flail, everything starts from here. (or at least should) For instance, if you use your WHOLE BODY in a movement, rotating around your C.G. you will be FAR stronger, faster, etc than if you just used your arm. (we’ll talk about that a lot later) Want to know how that Shot Putter can throw that cannon ball so far? He uses the exact same principles. How far do you think he could throw it if he tried it at arms length? How long do you think his elbow would last doing that kind of thing? Nuf’ said for now…

P.S. Don’t think of rotation around your center as just a horizontal type thing. There is also a vertical component to it. Want to triple the force of your technique? Time a slight sink of your C.G. the moment your sword contacts your opponent in a downward cut. (That’s a freebee for now. Chuckle)

Stance: A position you take physically. Finally!! We had to go through all this just so I could tell you how to stand!? No, we had to go through all this so you would understand WHY we stand the way we do. If your brain KNOWS why, and your body FEELS why, you are on the first stage to mastering technique. (that’s for another lesson though) Below, you will see four steps of progression on why we construct a stance this way. You will see this format a lot moving forward. In another lesson, I will tell you the reasons behind the form, but for now……

1. Principle: We need a physical position which reflects the landscape of our engagement.

a. Landscape?! What does that mean? The bodies we have, the rules of the game we play, the armor and weapons we use all make up the “landscape” It is the reality, the physical requirements of our art.

2. Strategy: Our stance must be capable of power generation, and stability, and must allow us to move freely in all directions.

a. Ever seen a Strip fencer? Notice his stance? The strategy behind this stance is dictated by the principle of his landscape. Ours is the same. The strategy is different, but the principle remains the same.

3. Tactic: We will use the tools of our balance, Center, and Rotation to position ourselves in such a way to achieve our strategy.

a. These things dictate the tactic we will use. We cannot use a Wuji stance, for instance, or a strip fencer stance because they do not fit into our strategy.

4. Technique: The physical stance is dictated by the principles or “landscape” of our game, The strategies required to operate in that landscape, the tactics dictated by those strategies, and the tools we can bring to bear to execute our strategy. And here is the Technique:

i. One leg is presented forward, with the toes pointing toward one’s opponent.

ii. The other leg is held back, with that foot forming an approximately 45 degree angle with the leading foot.

iii. The feet should be close to shoulder width apart, or a hair wider, depending on body type.

iv. The back and neck must be straight with the body held upright, but relaxed. The C.G. should be in your belly, evenly distributed between your legs.

v. You are always on the balls of your feet.

Now, Here’s an exercise… Each one of these components of the stance has a reason. They are grounded in the realities of balance, Center, and Rotation. Can you figure out how each component relates to these other things? Try it!

Unit: The Four Foundations Chapter: The Foundation of Movement Lesson: The manner and technique of movement

Movement is the engine of success. Without the foundation of poise, movement is lost, but without movement, Poise can give us nothing. To put it succinctly, successful fighting depends on gaining a positional advantage. Do you think you can gain a positional advantage without moving? No, of course you can’t. Many fighters tend to gracelessly lumber into weapon range, plant themselves so fixedly that they cannot move, and begin flailing away ineffectually. Believe me, I still do this. I am constantly trying to break that habit. There is a VERY GOOD reason why swordsmanship is constantly being referred to as a “Dance”. Can you dance without movement? No.

Quite Simply, if you are not moving, you are waiting to die. Does this mean we are constantly twitching about, with no purpose? Absolutely not. Weaving and bobbing about with no purpose is wasteful of energy. Now, of course, if there is a PURPOSE to bobbing about, that’s different, but we will get into that later.

So, fine, you get it. We have to move. Firstly, in what manner do we move, and secondarily, How do we move? The manner in which we move should reflect a couple things. They are…

Moving with Grace: Bruce Lee once said; “Moving, be like water. Still, be like a mirror. Respond like an Echo”. We will revisit this quote later, but the first part is important to us. Graceful movement is the byproduct of two groups of things; The proper application of the Foundation of Poise, Economy of motion, And the three aspects of Combative Conditioning (Flexibility, Endurance, Strength) We will talk about each of these in greater detail later. For us, this can all be summed up in a single Italian word. “Sprezzatura”. (yeah, yet another teaser. That single word contains a lifetime of lessons) The important point for this particular lesson though, is, when you move, do not “Throw” your weight, and Catch yourself before you fall (this is exactly how many of us walk) Rather, Think of pouring your weight from one foot to another, similar to pouring water from one glass to another. Oh, one more thing. If you are not on the balls of your feet, all the movement techniques that follow will be AWKWARD, to say the least.

Moving with purpose: A fighter without movement is like a woodworker with his tools nailed to the workbench. When we move, it should be for a purpose; to create a positional advantage, to begin an attack using a specific technique, to close or open distance, to misdirect our intent with evasive actions, etc. With so many reasons to move, for heaven’s sake, don’t just move into somebody’s attack for no purpose.

Now, we get down to HOW we move…. WOOHOO! There are basically two different techniques of movement used in swordsmanship. (lots of variations, but these are the basic techniques) Oh, Incidentally, remember when we talked about rotating your movements around your C.G (center of Gravity) in previous lessons? That’s exactly what you should do here. When you are moving, remember to concentrate on rotating the movements around your center. This will help your grace and control.

Steps: There are Four steps. • Forward (Cressere “growing larger”): Shift your center forward, (NOT leaning forward), lifting the front foot at the same time and pushing forward with the back foot. The front foot is carried forward around 12 inches. Place the foot down on the ball. Then lift the rear foot, carry it forward the same distance and place it down ball first.

• Reverse ( DeCressere “growing smaller”): Shift your center back, lifting the rear foot off the ground, pushing backwards by straightening the front leg. The foot is carried about 12 inches, and is placed down, on the ball. The front foot is then lifted and carried back the same distance.

• Passing (Passare): This is similar to walking. Shift your center forward, un-weighting your back foot. The ball of our forward foot will essentially become a pivot. Open your hip joint, allowing your back foot to pass your forward foot. Your pivot foot will wind up at an angle as it becomes the “new” back foot. Place the “new” forward foot down on the ball, and center your weight. Note: Your shoulders and upper body DO NOT change orientation. You should feel taught and ready to strike. This may feel strange to begin with, but it is very important to not allow your shoulders to rotate and change orientation. When you are done, you should feel the kinetic energy available if you rotate your center and shoulders. This step can have great tactical and positional advantage.

• Backward Passing (Tornare): Essentially the same as the passing step, using the same body manipulations merely moving backward.

Turns: (Volta): There are Three Turns. In Italian, Volta may also mean time. As we have touched on in other lessons, Time, distance, poise and movement are inseparably intertwined. These turns take different amounts of time to complete. They are arranged from the fastest to the slowest. • Stable Turn (Volta Stabile): The Key to power Generation. Note this ONLY works if you are on the balls of your feet. It also allows you to fight in multiple directions, as is necessary in melee, etc. Simply rotate around your center, pivoting on both balls of your feet. You will wind up facing a different direction. It is this rotation that powers your strikes. This is actually what is happening when you are admonished to “rotate with your hips” Note: if you are NOT on the balls of your feet, you are twisting your knees, this is damaging, and not efficient.

• Half Turn (Mezzo Volta): Essentially the same as a passing step, but you are allowing your center to rotate with your feet. You wind up turned in a different direction. This is usually used in conjunction with a strike, but not always.

• Full Turn (Tutta Volta): move your C.G. onto your back foot, and pivot on the ball. Rotate your center, and place your front foot in the direction you desire. This is used if you are “crossing” your opponent’s attack. It is the slowest turn.

Note: Now, How about direction of movement?! This will be discussed a lot later, but for now, remember there are basically eight directions you can move. Think of your front foot being on a clock face. You can move to 12:00, 2:00, 6:00….. You get the idea. every step and every turn can move toward, or terminate in all eight directions. Try to remember that the rule of thumb is to move the foot closest to your desired direction/intent first.

Footwork Drills by druminmychest

When one speaks of drills, I try to organize my thoughts against the idea that there are (at least) two different kinds of drills, and developing a well rounded fighter requires multiple kinds of drills encompassing the area you are working on.

Now, the drills, of course, are dictated by the landscape of the art, so the drills below might have to be tweaked for the specific needs of Belegarth fighting, but I shall add some stuff as an example, or at least as material we can talk through.

In my opinion, there are Technical, and Tactical drills.

Technical: Execution of specific techniques, basic or otherwise, such as body mechanics, footwork, bladework, etc.

Tactical: The application of Technical skills in an integrated situation.

I believe the technical drills come first. If you don’t know how a saw operates, you cannot use it to build a cabinet. Technical drills should be created so that they not only reflect an individual physical technique, but the principle behind it as well. Put in another way, Maestro Sean Hayes (A very astute guy and classical fencing master) once wrote…..

“If the student has not developed a thorough understanding of the basic theory and principles, he or she really can’t use those principles to observe and assess the adversary, and develop a plan of attack--- a strategy”.

Technical drills should be multi-layered, such as the Kata below: (note: I am not sure this would work with Belegarth as it stands, as there are no attacks to the head allowed, and lower targets are viable in your System, but you get the idea. The framework could still be used, as well as the progression) _________________________________________________________________ Kishido S&S Kata Ver 1.3

Performance Note: Perform this slowly, focusing on perfection of movement and efficiency of activated muscles. Relax all muscles but the ones engaged in the movement. Breathe in or out with each discrete movement.

Salute the Crown: focus on clearing and relaxing your body. Allow the tension to drain from your head to your toes and out into the ground.

Salute your inspiration: Clear and relax your mind. Let your concerns and external thoughts drain from you. Bring your focus to the NOW.

Salute your Compagnio: No mind. Your mental focus should be wholly on the now, ready to react, and free of pre-conceived clutter. Invite your imaginary compagnio to the dance. Bring yourself to your ready and receptive stance, your center aligned to 12 O’clock

Visualization A: Imagine with as much detail as you can, your compagnio standing ready in front of you. The clearer the visualization, the better the exercise. See the armor, feel the pressure of his presence. Watch as he steps into B range, and becomes vulnerable to your attack.

Form 1: Breathe In. Breathe out as you mezzo Volta right (right passing step), Cutting from right shoulder ward to your compagnio’s right temple (opening 2), Your Center should end facing 11’Oclock as you recover to underarm.

Form 2: Breathe In. Breathe out as you Cressire (left slope step) toward 9’Oclock, Mezza Volta slightly as you Cut from Underarm to your Compagnio’s left leg (opening 3) Your Center should end facing 2’Oclock as you recover to Porta de Ferro

Form 3: Breathe IN. Breathe out as you Mezzo Volta left, (left passing step) (pivoting on your lead foot), performing a low vector wrap from Porta de Ferro to your Compagnio’s right leg (opening 4) your Center should end facing 11’Oclock as you Recover to reverse crutch guard.

Form 4: Breathe In. Breathe out as you Mezzo Volta right(right passing step) ,(pivoting on your trailing foot), performing a Mulinet Cut from reverse crutch guard to your Compagnio’s left temple (opening 1) your Center should end facing 2’Oclock as you recover to Porto de Ferro (attack to upper left opening)

Visualization B: Having been cut many times, your Compagnio retires. You sense a new Compagnio to your right. You feel the pressure of his intent over your shoulder.

Form 5: Breathe In. Breathe out as you perform a Tutta volta. (complete turn) Your center should end facing 3 O’clock as you move your sword to tail guard.

Form 6: Breathe In. Breathe out as you Volta Stabile, (stable turne) while cutting to your compagnio’s right leg (opening 4) Let your wrist break after contact, moving your sword hilt past your face, in front of your left shoulder, sword trailing. Your center should end facing 1 O’clock

Form 7: Breathe In. Breathe out as you Cressire (slope step) toward 6 O’clock, performing a backhand cut to your compagnio’s left temple (opening 1) Your Center should be facing 3 O’clock as you recover to right window guard.

Form 8: Breathe In. Breathe out as you thrust to your opponent’s head, performing a Tornare. (reverse gathering step) (opening 2) Your Center should be facing 2 O’clock as you recover to Underarm.

Form 9: Breathe In. Breathe out as you thrust to your opponent’s left chest, performing a Cressere (slope step) toward 2 O’Clock. (opening 1) Your center should be facing 2 O’Clock.

Visualization C: Being defeated by your flurry, your Compagnio retires. You sense a new Compagnio behind you. You feel the pressure of his intent upon your back. As you turn, he rushes in.

Form 10: Breathe in. Breathe out performing a Volta Stabile. (complete turn) Your center should end facing 9 O’Clock as you move your sword to right shoulder ward.

Form 11: Breathe in. Breathe out as you cut a rising backhand to your Compagnio’s left temple, (opening 1) performing a volta stabile. (stable turn) Your center should be facing 10 O’Clock, performing a teardrop return through tail guard.

Form 12: Breathe in. Breathe out as you Cut a low wrap to your Compagnio’s back leg, (opening 4) performing a mezzo volta. (reverse left passing step) Your center should be facing 8 O’clock, performing a return through underarm.

Form 13: Breathe in. Breathe out as you cut a low false edge cut to your compagnio’s left leg (opening 3) performing a mezzo volta. (right passing step) Your center should be facing 11 O’clock, performing a low teardrop return.

Form 14: Breathe in. breathe out as you extend the teardrop return through to a sinking thrust to your compagnio’s head (opening 2), performing a mezzo volta. (left passing step) Your center should be facing 8 O’clock, performing a return to underarm.

Visualization D: Being defeated, the third Compagnio retires. You sense another to your left. You feel the pressure of his intent. As you turn, he attacks.

Form 15: Perform a tutta volta (complete turn) to face 6 O’clock Remain in underarm.

Form 16: Breathe in. breathe out as you turn the point over to thrust into you compagnio’s lower belly. (opening 3), performing a passare to 3 O’clock. Your center should be facing 7 O’clock.

Form 17: Breathe in. Breathe out as you mullinet through underarm into a cut to your Compagnio’s right temple (opening 2) performing a cressere toward 3 O’clock. Your center should be facing 6 O’Clock.

Form 18: Breathe in. Breathe out as you perform a rising backhand to your compagnio’s left upper breast (opening 1) performing a mezza volta. Your center should be facing 7 O’clock, low teardrop return to tail guard.

Form 19: Breathe in. Breathe out as you cut a rising wrap to the back of your compagnio’s upper right leg (opening 4) performing a mezza volta toward 8 O’clock

Form 20: Perform a volta stabile to 12 O’clock, completing a return to right shoulder.

Visualization E: If you wish to end. Perform the salutes again. If you wish to continue. Imagine your original compagnio reappearing in front of you, and begin the sequence again. _________________________________________________________________

Tactical drills should allow the student to demonstrate integrated techniques, and give them time to work through things intelligently, so they will eventually do these same tasks instinctively, such as this small and simple drill…. _________________________________________________________________ Kishido Turn based Engagement drill Ver 1.2

Primary purpose: To practice proper footwork and attack/counter progressions

Secondary purpose: To practice identifying targets resulting from movement/angle

Required Equipment: primary weapon system only, armor not necessary

Setup: Two companions will set up in C range, ready to attack. One will be designated to initiate the attack.

Rules of engagement: using a slow pace, Each companion will take turns acting upon the other’s movements or action. During a turn, the active partner may take one step, and pause. He will then execute the proper body mechanic, touching each open target he identifies. When he has exhausted his possible targets, his action is over. He will stay in the position he ended up in at the end of his action. His partner then counters in the same manner. This continues until one combatant is either unable to effectively attack due to footwork, or completely out of position due to incorrect action.

Further Execution note: Each attack and counter action should be executed using good, and realistic form. For instance, when identifying a target by touching it with your weapon, Slowly perform the proper body mechanic and technique. When countering, Execute the proper technique using good and realistic form.

Goal: The companions should be able to execute a composition of four attacks/counters, while maintaining good footwork and identifying each target that presents itself due to their action. If each companion can attack/counter four actions, and remove themselves from range in the end using good footwork and technique, they have succeeded.

Conclusion: After each sequence is finished, the group (if it is observing) or the companions (if no group is present) will seek to identify “where they went astray”, if one or the other failed.

Measure, or range by druminmychest

Unit: The Four Foundations Chapter: The Foundation of Measure Lesson: The Four primary measures

Master Johannes Leichtenauer, the shadowy, legendary father of German swordsmanship once wrote the words “All arts have length and measure”. These simple words allude to a whole world of insight into our art. His ideas were further refined in the 14th century by the great Master Fiore de’ Liberi. Master Fiore created a simple and elegant diagram known as the “Signo” (literally, the Signpost) which contains the totality of principles in his Martial art. Later we will discuss this in great detail, but for now, suffice it to say that the ability to “measure” and “perceive” are expressed in the attributes of an animal, the “lynx”. Fiore tells us that to be master swordsmen, we must have the attributes of the lynx. (Among other things) So let’s get to it!

Measure of Distance: The ability to estimate distance is a paramount skill in our art. Specifically, the ability to swiftly recognize the first target that comes into range is the greatest application of that skill. If you can recognize the MOMENT a target is in range, and act upon it, you are effectively measuring distance and range. But that’s not really the only distance we have to deal with… Master Leichtenauer would tell us there were only two kinds or ranges; “outside”, and “war work”, but frankly, our art is a little different in that we have limited grappling, and have certain rules of engagement that alter the situation. Many years ago Duke Gyrth Oldcastle (God rest his noble soul) devised a method for expressing the different kind of ranges in our art. It is an expressive and useful tool. There are essentially four ranges, they are; A Range: Your opponent and you are very close, generally there will be some physical contact in this range; shields touching, pressing, etc. B Range: You are able to strike your opponent with your weapon. C Range: It is required you take a step to strike your opponent with your weapon. D Range: It is required you take more than one step to strike your opponent with your weapon.

Now, it should be noted that YOUR range is different than your OPPONENT’S range.. this is due to several factors which will be discussed later. For now, I want you to focus on internalizing the axiom below. It is a key which unlocks many doors.

Axiom: NEVER begin an engagement inside your opponent’s range. If you do, the one who twitches first usually wins, and there will ALWAYS be people faster than you!

Now, each of these four ranges have specific tactics and techniques that allow one to excel when in that position. In future lessons we discuss each in length, but we need to speak briefly on manipulation of range. It doesn’t really matter what range you are in, there are two methods of manipulation. They are;

Manipulate your opponent to manage distance: Manipulating your opponent to do what you wish him to do will be a recurring theme. The technique relies on principles not introduced yet, but the first key to this is cause and effect. Later in this lesson we will discuss this. At this point, suffice it to say manipulating your opponent to step where you want when you want is an extremely valuable skill.

Deceptive movement to manipulate your distance: Changing which foot is forward, Inching forward slowly, deceptively shifting your center so range changes, changing the length of your weapon by what grip you employ, these are all examples of this. There are many specific techniques to do this, and no doubt you will come up with your own. Later we will have a lesson on just these techniques, but what is important now is introducing you to the tactic.

Measuring ourselves: Obviously, the ability to measure range, distance, and ultimately their manipulation requires that we understand our own measure. This is affected by several different facets: Body Type: Understanding how your body moves in relation to itself is important to understanding these principles of measure. Do you have long arms? Is your chest so broad you cannot rotate your arms past a certain point? Are you short with proportionately long legs? All these things have a factor on your measure, how far you can effectively use a weapon, your power generation, etc. Some of these things are gender specific, and we will not delve too much into this now, but it is vital you begin to understand yourself and your physical “sphere” (a key concept we will talk about in a second) Technique: Specific techniques change range. For instance, the “thumb leader” can, for some, “create” an extra three or four inches of range on their swords. This is due to geometry, and your specific biomechanics. Also, Techniques which attack your opponent’s upper body have more range than those that attack the lower body. This, again, is a function of your stature, length of arms, etc. This is also why a “backhand” attack has less range than a “forehand” attack. Proper rotation of center: If you properly rotate your center, your shoulder line will move toward your opponent’s center line, thus increasing your range. Along that same line, there are also some harmful techniques which artificially increase this effect, but we will never use them, as they are damaging to our bodies.

Measuring our Opponents: This skill is, of course, vital to our measuring of the different ranges, and is dictated by the same kind of things as our own measure. Body Type: The same things apply. How tall is your opponent? How will that change the distance necessary to hit your body? Long arms? Long legs? Broad shoulders? Sum up your opponent’s physical attributes BEFORE the fight, and use this as a baseline for measuring his range. Technique: Again, is he using good technique? Do the markings on his sword tell you he throws a lot of thumb leaders? Are his weapons very long? What weapon is he using? Proper rotation of center: Is he not properly centering? Is he leaning his shoulders into the shot? Is he doing foolish things like hyper extending his joints, or throwing his shoulder out to get that extra inch or so? If he is, note it, and don’t be caught with such tricks. Rather, use the inherent problems of your opponent’s compromised balance, etc, to exploit the situation.

Measure of Cause and Effect: Once we know our own measure, and that of our opponent’s, we can begin understanding Cause and Effect. We, like our opponent, use our bodies in certain ways to achieve our martial goals. There are certain things we can measure that allows us to predict effect. If me move our foot in a certain way, we are forced to move our center. If our sword cuts down, our arm must move through that arc to bring our weapon to bear again. If we shift our center on our back foot, we must shift it forward again to move forward. If we go up, we must go down, if we go right, we must go left, etc. We can use this measure to identify where our opponent (or target) will be at specific times. If we know this, we can act upon that information accordingly. The ability to measure the cause and effect of our opponent’s actions give us insight into where and when to attack. It can also give us valuable clues on how to effectively evade or deflect an attack that results from our own movement. If done right, it is almost like we are “telling the future”. Knowing what part of our opponent’s body will come in range of our weapon, where it will be at that time, and exactly what time it will be there gives us a tremendous advantage. We can tell this by measuring the effects their actions have on their bodies.

Measure of our sphere of control: Welcome to the Esoteric! You will soon discover that, as we go on, we will use mental techniques such as the “sphere” to speak on and study the four realms of our martial art. (Remember them? Physical, emotional, intellectual, and spiritual) These are merely tools to allow us to understand and explore these principles, nothing more. However, as you explore them, you may find personal insights that mean much to you. This is normal, and happens in all martial arts. Sphere of control: Imagine a sphere emanating from your center. (remember, all things rotate around and come from our center) Grow this sphere around you until it encompasses the area you have control in. If it helps you, imagine your sphere is a transparent color. For starters, grow your sphere to the range of your weapon. (regardless of what that weapon is… sword, polearm, hands… it’s all the same) Inside this sphere, you have control. As you move your center, the sphere moves around you. If anything comes in contact with your sphere, say, your opponent’s weapon, (or another opponent in a melee) you do not need to see it, you can feel it. As you fight, concentrate on controlling and identifying everything inside your sphere. You know where an opponent’s strike is coming from, because you can feel it brush into your sphere before it hits your body, thus giving you time to react. There is no question you can control your opponent’s weapon if it is inside your sphere, you just do it. (Remember, this is a mental technique that helps us understand. As with all techniques it needs to be practiced to be effective) Now comes the fun stuff….

Increasing our sphere of control: Days-weeks-months-years have gone by, and we have practiced our sphere of control.. Now, let’s expand it. Expand your sphere out past your physical weapon range. Push your sphere to encompass your opponent, who stands just outside your weapon range. Now he is in your sphere of control. Now you feel what he is doing, the arc of his weapon, the tensing of muscles before an attack, the nervous shifting of his center. Now his center is inside your sphere, and you can manipulate it, control it, move it where you wish, with physical, mental, emotional, or spiritual pressure. (remember, spiritual does not mean religious) What I am describing here is the ultimate in manipulation of measure. It is documented that great fighters begin counters before their opponents begin the physical aspects of an attack. This is because their opponents are in their sphere of control. Again, this is only a mental tool for us to understand these principles.

Cyric on Achieving Your Goals

I'm a firm believer that all this sport takes is practice. If you fight enough times, you will get better. experience counts for a lot.

The best thing you can do as a fighter, no matter what your skill level, is to fight quality opponents. If all you do is n00b hunt, you're not going to get any better. Even if you get owned 90% of the time, you'll still be a better fighter in the end.

Treat this game like a real sport. Eat right, do cardio training and maybe some weight training. Don't spend too much time doing nothing on the sidelines. be out there for every fight.

Don't rely on your equipment too much. I see too many people fight with an ultra long light flail and a huge shield, and their development stalls out. They rely too much on their gear, and not enough on sound fundamentals, like footwork and accuracy.

Changing your style is very important as well, especially if you've plateaued with one style. I have tried to fight with everything out there. I will just bring that weapon and leave all my others at home to practice, so i won't be tempted to quit when i really suck. Learn to use everything, and you'll be a much better fighter.

Finally, don't ignore the mental aspect of the game. Study film on other fighters. Battlefield awareness will keep you alive longer than armor or a huge shield. be aware of tactics and the flow of battle.

Battlefield Tips for Beginners

Kenneth

There are shots that are extremely accurate but give up speed or power. There are shots that are fast, but give up accuracy or speed. There are shots that are fast, but give up accuracy or power. Each particular "style", so to speak, has advantages and disadvantages. It is not necessarily a bad thing to mix and match as you go. Certainly there are some monstrous speed fighters.

I think a key difference may be in viewing where "speed" comes from. In my view, speed has several components. One is literally how fast you are, or how long it takes you to go from A to B. Beyond a certain reasonable fitness level, everybody is not that different in terms of pure speed. The difference is probably in .1's of a second from the time it takes a reasonably in shape person to swing from A to C, and an athlete to swing from A to C. Obviously some people are going to be slower, but in reality, people are swinging a foam stick. The level of health required to swing one is not that high.

On the other hand, what Vets really have over "base fighters" in my mind is technique. Instead of swinging from A to C, they swing from A to B. They don't pull their swords behind their backs before taking a shot, they redirect momentum and they also telegraph their shots less. They have better swing mechanics, and don't just "stiff arm" swing.

In other words, a veteran may be somewhat faster in absolute speed, but their speed relative to a base fighter is tremendously faster. That's why you get relatively out of shape vets who demolish newer fighters. Instead of just moving their shield faster, they may just move their shield more efficiently.

Obviously you can compensate for this by athletic training. However, I argue that getting rid of the "inefficiencies" such as pulling your sword too far back or not moving your shield all the way down to your feet will provide far easier short and long term gains than any form of purely physical training. Hence, my broad "technique" suggestion.

I'm not saying each new guy has to focus on uber tricksy feints, spins, counter-swings, and combos first. Just focus on the very basics. Where to hold your sword, where to hold your shield, how to stand. How to do basic shield blocks, or basic sword swings that don't telegraph your shot too badly.

Once you get basic technique down, then you can work on speed, accuracy, power, or even better technique such as feints. Until then, you fight a seriously uphill battle if you just rely on how fast or strong you are. How many fighters do we see on the field who still swing while their sword is sitting on their shoulders way behind their head, or starting from behind their body? How many fighters drop their shield so low to a feint that it is nearly impossible to recover in time?

Mekoot Davit

1. 1. When at an event, go fight people you are having a hard time with, NOT WITH THE PEOPLE YOU FIGHT EVERY WEEK AT PRATICE. I know that it’s hard to break out of your shell sometimes, but if you fight the same people you practice with you are going to learn very little that is new. Ask that guy over there that’s been pummeling you and 15 other people to spar, it will do you good in the long run and the worst they can say is no. Every event I see new people fight new people from their realm and it makes me sad, you get very little benefit out of it, and no benefit out it that you couldn’t get at your home field.

1. 2. This goes with #1, if you are sparing someone and they are doing something you are having trouble with ASK THEM ABOUT IT, more than likely if they are willing to spend time sparing with you they are willing to spend time showing you how to get better.

1. 3. Enjoy yourself, if you are getting frustrated take a damned break. Nothing keeps you from learning more than getting to the point where you can’t think well and it makes you look like a jerk.

1. 4. Be willing to help out with both fighting and non fighting stuff at events. I know it probably isn’t your event and sometimes people will tell you that no they have things under control, but they will remember you, and often take some extra time out to help you with something you need/want in the future.

1. 5. Tell your friends!!! It will do you no good to keep all of this to yourself. If you learn something help others learn something when you get back to all those guys you fight with every week. Because if the people you fight every week get better most likely so will you.

1. 6. Last but not least, do not be offended if someone tells you no. Most likely they just want to get to fighting, or are going to need to do something shortly and want to enjoy themselves for a bit, THIS IS A GAME. Very few of us get paid to help people learn how to swing stick, and it is not anyone’s duty to make you happy by doing so.

Kyrian on Archery Tips/Training Techniques

Shoot. Shoot some more. Just when you thought you've shot enough, keep shooting. I've found that the more shooting that I do, the more consistent I am. When I've had the opportunity to do regular target shooting outside of practices, I've noticed that my accuracy increases significantly.

If you've seen "The Patriot" with Mel Gibson, you'll recognize this quote: "Aim small. Miss small." Just like Olos said.

I'm not fond of shooting people in the head if I don't have to. I feel more comfortable shooting someone in the leg which can be more challenging since it's generally 1/2 the width of a head and is often moving. If you can target and hit a leg consistently, then the head really isn't that hard of a shot.

Get the best equipment you can afford or scrounge, both bow-wise and arrow-wise. A good bow can be expensive but a bow at or close to 35 lbs. will increase your range as an archer. Graphite arrows can be expensive; you can skimp but cheap arrows, from what I've seen, are more prone to breakage.

Build your own arrows and practice with them as much as possible. Learn how your arrows fly. Don't rely on others' arrows all the time. If you pick up an unknown arrow on the field, you're not necessarily going to know its flight capabilities.

Put a nock ring on your string. When properly attached, your arrows will always nock perpendicular to the riser in the same spot increasing your consistency.

Get a volunteer, er, sucker, to be your target. Have the person form a "T", i.e., arms held up parallel to the ground with their back towards you. Have the person specify a certain body part for you to hit. Once you can consistently do that, have the person be more specific, such as "left elbow", "right knee", "left kidney", "center of spine", "right forearm", etc. Have the person pick up the shield and then practice trying to hit any exposed areas. I would recommend having the target wear some type of head protection. Keep an eye out for what's normally exposed such as the sword arm, the leg, the head, etc. Target those areas. Once you're consistently hitting the person, have the target take five more steps and then start the process all over again. Unfortunately, as the range increases, the inconsistencies between the arrows such as the amount of tape glue used, the number of fletchings, etc., really start to have an impact on accuracy.

Have your volunteer start moving. The main directions will either be towards/away from you and moving from left to right and vice versa. Practice applying lead, i.e., shooting where you think your target will be once the arrow and moving target have traveled a particular distance.

When supporting a line, know where the enemy archers are at. Don't always attempt to hit the fighters directly in front of you. They're most likely to see you targeting them and can take appropriate action. Fire on the oblique. There are often more openings and the fighters on the line are less likely to see you since they're often focused on what's in front of them.

Watch for openings created by your fighters, things like spear thrusts that turn shields or attacks that cause the person to shift the shield and create openings.

If you're skirmishing, take responsibility for your own protection. You've got to have your head on a swivel watching for any enemy who are getting too close. Move back a few steps if you need to and get some of your fighters to slow down or stop anybody charging you.

Priority of targets. I tend to look for the things that can cause my side the most harm. Those would be:

a) Enemy leaders b) Enemy archers c) Enemy spears and red weapons d) Power fighters--the ones who can literally turn the tide of battle if given the opportunity. e) Other targets as they present themselves

If you get a chance, take a gun marksmanship course. I find myself constantly applying the principles I've learned in my BRM (basic rifle marksmanship) course from basic training every time I'm arching.

Use a leather gauntlet or archery-specific glove. This will take a lot of the pressure off your finger joints especially when you're firing a higher-poundage bow.

I carry a shield on my back and a backup short sword on my belt when I'm arching. If you do this instead of using a buckler, practice "turtle style" where you have to spin and block attacks with your shield. You will often not have enough time to get that shield in the proper position on your arm before you get attacked.

Volunteer to be a shooter for arrow testing. This will allow you to warm up and practice your shot placement. When I'm an arrow testing shooter, I will often aim at a different spot on the back with each shot. I may do shoulder blade for a shot, then lung, then spine. This is also good because if you keep hitting the arrow tester in the same spot, after a while every shot is going to feel bad.

...

Drawing a bow is primarily an upper-body exercise with your shoulder and back muscles doing a lot of the work. I actually read that if you're to the point where you chest muscles are being used, then you're drawing too far. Work your arms, in particular your shoulders, and your lat muscles (the ones you use when doing pull-ups). Drawing a bow also has a lot to do with technique. A lot of the new archers that I train automatically assume that it's only the arm drawing the string back that's doing all the work. And they will often struggle with trying to draw the string all the way back. However, if you push out with the arm holding the bow while pulling the string with the other, you distribute the effort between your arms better. It's much easier to explain in person.

...

Just to add a little bit to what Twitch (Hi, Twitch!) said, if you find yourself hitting a person consistently, point that out to the person and go into how and why you shot him. It will increase his awareness about archers on the field and will give you more of a challenge in looking for openings. Like anything else, you're not going to get better by choosing the easy shots all the time. Try for the moving target. Try hitting a moving target while you're moving. Try going for the small opening or the extreme long range shot. Whether you hit or miss what you're aiming for, take a little bit of time to figure out why the shot hit or missed. I've found that self-feedback has been one of the most effective ways for me to get better as an archer.

Mekoot Bhakdar on Spins

Aye, the best media demo I know for spins is right there.

The first spin I learned to do in Belegarth (and is more contact oriented) is as follows:

1) Post your shield into your opponents weapon-hand 2) Swing low for the most convenient leg 3) Spin inwards towards your posted shield arm, taking your torso away from the opponent and shield following back towards your opponent.

I'd be glad to show you in person sometime. It's a solid move that has surprise, effectiveness, and ability to distance away from or close in and through an opponent. With practice and timing, you can even pull this off spinning through the middle of two spaced opponents.

...

Spins are effective if you've practiced them with control and patience. Most any technique that has some effective merit can be optimized thorough practice. Ultimately, spins will often function better as surprise counters rather than offensive manuevers. If you lead (take the first swing) with a spin, the enemy will see it coming a mile a way. No one on our fields expects you to block, rotate 180-360º, then blast them in the leg or the chest though. Amtgard elite tier-- perhaps a different story.

Spinning will inherently create a gap in your defense. You compensate by moving faster.

Optimal spin moves put you striking on-the-go and setting your range or position for your next opponent.

Mekoot Bhakdar on Newbie Flailicide

Attempting to solve the arrogance of suicide for anti-vet pride may involve taking the fighter aside at a time when you're both level headed and chill, and say:

"Hey, I've noticed that you focus on fast flurry attacks to make strikes on veterans. In the short term this may land you a hit, but I can help you keep better stance and guard composure which will make your fighting more consistent."

Then start teaching them about keeping their back straight, keeping their head from ducking into shots, and paying attention to where they place a swing before they swing there. Perhaps try to get them excited about using quick fakes instead of full flurries, which are a generally optimal florentine tactic anyway.

Aim to convince the fighter that faking (by throwing a short jab but not extending or snapping their elbow or wrist to swing) to a target location on an enemy can throw the enemy's guard off without having to swing all over the place and leave themselves open. Furthermore, fakes keep your guard close to your body and allow you more availability to swing once openings come. If you can show them that its a wiser tactic to feint instead of flurry and they can be faster, more effective, and more guarded by altering this habit, they'll probably catch on and use it in the long run.

You also don't have to feel so bad about getting hit by a newb. If you get sold on a good fake and whopped... well, you got sold on a good fake and were wopped for it. They've improved their offense and you have to work on keeping a stable guard that doesn't move for fakes.

...

There's no more dangerous enemy than a newbie florentiner. You have no idea what they're going to do. They are far more scary than other top tier fighters that you've trained with and sparred against-- you have a feel for their rhythm and can beat them if you're on top of your game. Newbie florentiners will own you from your hips to your head.

If they're trying to scissor you, here's a few more notions:

1) Soth's suggestion of backing up is key. If they're on the charge, jump, or dead-leg-lunge, you can practice your timing of backup so they lunge to scissor and clap air. You then whop them high as they've overexerted forward.

2) For low claps, hop both feet back and punch your shield low for a second (you're using a punch, ya?) They'll strike both shield edges and you hop right back into place whopping them. You're moving your body further behind your shield more than blocking, and it's a timing practice for your footwork. (You can watch Bran fight with a punch shield to feel out this style more)

3) For high claps, work on an "A Frame" Guard. That is, roll your shield out over your outside ribs/shoulder and pull your weapon guard outwards turning your wrist out. As you turn your wrist out and let your weapon tip angle towards your head, you create a wall parallel to the inside of your body. Your guard looks like a subtle capital A. You can stand right in front of them, weapon blocking one side and shield blocking outward on the other. Your center is wide open for a short second, but that's OK-- you're stopping the clap (heh heh...). They'll scissor into blocks on both sides, be stunned by their own foolishness, and be wide open. Feel free to punch their weapons with your shield after blocking (to keep them from swinging again) and whop them in the gut or the leg.

Florentine

Kyrian

Just a little background: I prefer fighting with two longswords, usually around 32" to 33" in blade length. I've been fighting two-sword pretty much since I started fighting about 16 years ago. I started with short swords (about 18" to 24" blade length) but during the 3 years I spent fighting in Amtgard, I learned how to fight with longswords. Here are a few things I've picked up along the way:

1. Invest time in learning how to fight with other weapon styles, especially weapon and shield, spear, and red. These are probably the weapon styles you will most encounter in Belegarth. You don't necessarily have to become expert at any of these. It's mainly for you to gain experience in the basic attacks and defenses of each style. Once you understand how those other styles work, you can better attack and defend against them. 2. This is my personal preference but it’s up to you to determine if it works: Build the longest swords you can wield effectively. This may be a process of trial and error. While short two-sword is an extremely fast style, it requires you to get "up close and personal" with your opponent. Whenever possible, I prefer engaging an opponent outside his or her effective attack range. 3. When building weapons for the two-weapon style, I always build them in pairs. I've found that I have a better chance of building similarly weighted and balanced swords. 4. Use the same length of weapon for each hand. This is, again, a personal preference. Using a shorter weapon is faster for blocking or attacking. However, your effective attack range for using both weapons is defined by the shorter weapon. 5. Use both weapons with the swords held normally. Some fighters prefer fighting in the two-weapon style with their off-hand weapon held pommel up. While this can be effective for blocking, it can limit the types of attacks you can use. Wrist-snap stabs (where you snap the wrist up as you bring the sword tip forward) aren't effective against armor. I've also found that I don't have good control or give good, solid hits when executing draw/slicing cuts. Also, since there often isn’t a definitive thump during a draw/slicing cut, a person is less likely to take the shot. 6. It helps to get a buckler or back shield to defend against missile weapons. Know where the archers are on the field. Florentiners, along with reds, are often arrow magnets. 7. You have two weapons. Both can be used for attack or defense. Many people I've seen transitioning to two-sword from shield and weapon often use the off-hand (where their shield used to be) as a shield only. Using both weapons for attacking allows you to engage your opponent from multiple angles. Against a person wielding a shield and weapon, you can use multiple attacks to force him or her to move the shield in a certain direction and create an opening. 8. Practice! Practice! Practice! You have to develop muscle memory for each arm for both attack and defense. Constant repetition and patience are critical especially in developing your off-hand. A couple of techniques I've used for practice are the heavy bag and visualization/shadow boxing. I would practice hitting a heavy bag using different combinations and moving around the bag while constantly striking. In visualization/shadow boxing, I would imagine the different possible attacks/defenses (See #1) that a fighter might use and imagine how I would respond to them. Then I would execute the movements. 9. Study the Filipino martial arts. It's basically stickfighting. The philosophy is that you learn how to fight with rattan sticks and then you can transfer that experience to unarmed combat or to any other weapon you might use. The drills are great for learning different two-weapon patterns and for developing your coordination. Their drills also help you to effectively integrate your attacks, defenses, and footwork. In particular, there are patterns called sinawali that can be practiced with a partner. Here are a few links with some general information:

http://alliancemartialarts.com/sinawalimap.htm

http://alliancemartialarts.com/sinawalicombat.htm

http://www.geocities.com/kalipages/Sinawali.html

Here’s a video actually showing a sinawali pattern:

http://www.modern-arnis.de/video/sinawali.mpg

and a web page with additional Filipino martial arts videos:

http://www.martialartsresource.com/abass/_videos.html

10. Combos. Use multiple attacks when fighting with two weapons. Single attacks while fighting two-weapon really don’t utilize one of the style’s strengths, namely the ability to attack from several different angles within a short span of time. 11. Wear arm and leg armor. Your extremities are much more vulnerable when fighting with two weapons. While mobility is one of your key assets, arm and leg armor are also helpful especially in large melees. 12. When wielding two weapons, try to avoid swinging both on the same level. If one is swinging towards the upper body of your opponent, your other weapon should be held low. This reduces the possibility of both weapons being pinned or trapped by a shield or other weapon. 13. Avoid holding both weapons at the same height above the ground. If you have both weapons at the same level, a single swipe across both weapons can knock them aside just enough for your opponent to follow up. 14. Footwork. You can't rely on a shield to block blows. In addition to using your swords for blocking, you have to recognize how good footwork can keep you from getting hit. 15. A couple of combos:

a. 3-shot combo (tends to be more effective against rounds than other shield types) 1. RH (right hand) cross to opponent’s right shoulder. The normal reflex action is to move the shield towards the right to block the shot. 2. Follow immediately with LH (left hand) attack to opponent’s lower right leg. Your opponent’s shield will normally drop or else he’ll be hit in the leg. 3. RH is brought back to attack opponent’s lower left leg.

b. Counter-swing combo 1. Opponent swings down towards your left shoulder. 2. Block with LH. Immediately swing with RH towards forearm of opponent’s sword arm. 3. Follow-up with RH or LH attack to legs.

Kenneth

I am of the complete opposite mentality. I trained substantially with single blue left hand after single blue right hand. That allowed me to focus on doing each side correctly. Then I put both hands together.

When I stand, I stand left foot forward against a right handed swordsman. When I fight a left handed swordsman, I stand right foot forward. I block and counter-swing primarily with whatever foot I have forward.

I've found the greatest weakness of most florentine fighters is that they neither block nor swing with their off hand. Lack of blocking tends to get them killed more often than lack of swinging.

Reasoning: (I'm fighting a righty) Standing right foot forward and blocking with my right hand has the unfortunate effect of putting both my swords on the same side, or else forcing my arms to cross. Neither of which is a very good thing.

Generally speaking, there is a limit to how low an opponents crossover shot can be. Hence, the amount of angles an opponent can attack from is also limited, so the side blocking a crossover shot tends to require a little less defense. Further, a crossover shot automatically increases the distance an opponent has to swing, which allows you to get away with crossing your own a little bit in order to block a crossover shot.

Therefore, it only makes sense to block shots that come from the right with the right, and shots that come from the left with the left.

Why left foot forward against righties: I fight left foot forward simply because if I only had a sword in my left hand, it would be awkward to stand with my right foot forward.

If my left hand blocks my left and my right hand blocks my right, I would far prefer that the side with stronger defense blocks the side my opponent has the least distance to swing, namely a shot to my left side. If I stand right foot forward and block left swings with my left hand, my left hand is crossing half the distance of my body to block a shot, which automatically slows the speed I can block. I would rather avoid having the shot that requires the least distance for my opponent to throw require the most distance for me to block.

Just my thoughts.

SCA Spear Fighting By Pellinor of Shadowed Stars

The spearman can at times look like the most glorious of killers in a melee. He is highly visible and can rack up a lot of kills. New fighters may say, “I want to do that. Look at all the people he killed.” What they do not know is that almost anyone can learn to be safe and authorize with a spear but it takes a lot more work to be a really good spearman. This article will be about my own spear fighting views and techniques. What is written here is by no means all there is to know about spear fighting. Remember, these are guidelines; there are always contradictions to the rules when the fight is on. Like all other weapon styles, try new things. If it works for you, use it. If not, there is no harm in trying. I have been lucky enough to be able learn from two of the best spearmen out there, Sir Gerwulf af Dokktungle and Duke Sir Brannos O'Irongardail, among other great spearmen. To learn how to use a spear well in melee you have to fight with spear in melee. Over the last five years I have been able to fight spear year round. Our indoor practice site is large and we get a good turnout of fighters to enable some very good melees. In this practice setting we can discuss what is working and what is not. We can try tactics and methods that we wouldn’t have time to study in an event setting. Most fighters only use spear during the summer at events. I believe this is due to lack of available large practice sites and having enough fighters for a good melee workout.

Armor In general, any armor that allows unrestricted movement will work. I prefer light flexible armor. If I am able to move and twist in any direction then I will have an easier time avoiding or glancing a blow that would have otherwise hit me. I like an open face helm for greater visibility. Wear sturdy gauntlets. No hockey gloves. Your hands are going to get hit so want good hand protection. Inspect your gauntlets for good repair at the end of the day. It’s no fun having fingers sticking out when you could have fixed it the night before. Be sure to have good armor for your torso also. The body is the highest percentage target so it is where you will be hit the most by other spears.

Weapons In the Middle Kingdom we are allowed up to twelve-foot spears. I would suggest using a nine-foot spear vs. longer spears. Practicing and fighting with a spear longer than nine feet will throw off your targeting when fighting with the shorter spear at events that have a nine-foot maximum spear length, such as Pennsic. The longer spears also add weight requiring more control to keep them from hitting too hard. The heavier spear will also wear out a person faster. I like a lighter weight tip. It helps with speed and control. More speed allows quicker attacks on openings that show briefly. Better control gives the opportunity to hit the smallest of openings. The pipe cap on the head end of the spear is required. I also like to add one to the butt end for something to hang on to at full extension. Add some type of grip tape to the butt end and you are all set. I do not use a hook on my spear. I am a smaller fighter and if I have an aggressive hook then larger stronger fighters may pull me around. With a small hook I still have to be working with another spear. I have found that when teaming with another spear I can work just as well without the hook. Every spearman should have a backup weapon. It doesn’t matter what type but it should be able to be employed almost instantly. This takes practice and trial and error until the right weapon and holding method is found for the individual. I personally like a dangle mace that is attached to my wrist in such a way that when I drop my arm straight down the mace naturally drops into my grip. Swing the arm up from behind my back and the opponent rarely sees it coming. Short swords or daggers work well also. Scabbards can be attached to belly, back or hip. The important concept to remember is having a secondary weapon that is easy to draw without taking your eyes off of your opponent.

Stance What the spearman wants in a stance is a good center of gravity and balance. If I am able to keep my center of gravity balanced I am then able to twist or move if an opposing spear is trying to hit me even when I am throwing a shot. Good balance also allows for quicker recovery and second shot. Feet should be about shoulder width apart with the knees slightly bent. Keep your back straight even when throwing a shot. This will shorten your range some. The trade off is that you will have better balance and live longer. Your opponent will not know your true maximum range. Then use the long leaning shot to catch your opponent off guard. There are several ways to hold a spear. High guard, low guard, right hand back, left hand back are some of the common descriptions for spear stance. Left or right hand indicates which hand is at the butt of the spear. In high guard the spear is held above the head. Both hands are above the head with palms face away from the body. I use the high guard to reach over the top of a shield wall or during a press. In low guard the spear is held about mid body. The hand on the butt of the spear is placed palm facing in and the front hand about shoulder width forward palm facing up. I use low guard when in a shield wall or in the open field. In general I will use low guard left hand back. Fighting left hand back allows me the angle into the open side of a right hand shield man’s body. In a shield wall left hand is easier to use on the left end just as right hand is better used from the right end of the line. When fighting against a right-handed spear my spear is between my opponent’s spear and my body giving me a better defense. A good spearman will be able to use a variety of guards and be able to use right or left hand back. As opportunities surface you must adapt and use the correct tool for the job, so be flexible.

Offense I use the pool cue method of throwing a shot. The rear hand pushes and the spear slides through the forehand. The forehand guides the spear to the target. I start by rocking forward slightly then rotating the hips and throw. Rocking forward starts the motion and will give a little extra reach. Rotating the hips puts body momentum into the shot. It is quicker to target and gives a nice pop to the body. Throw your shot quickly and recover quickly so that you can defend yourself or throw another shot. The two-hand thrust can also be used. Neither hand slides just push forward with both hands. This method is good for a short thrust that you need to put some body weight into the shot. Be careful when throwing a longer shot with two hands. The spear will tend to drift up at the end of the shot. Then an intended body shot could hit the neck or face. The face and body will be the main targets. Legs are harder to land a solid shot. The curved surfaces and movement tend to make a spear glance off. A spearman needs to develop “battlefield awareness”. Battlefield awareness is being able to know what is going on all around you. A lot of fighters in a melee will get focused on the man in front of them and may forget about the reach of a spear two bodies down the line. If the spearman expands his awareness he can take advantage of this. Work at being able to see four, five or even six fighters at a time in the opposing line and be able recognize when openings occur on any of them. With the wider field of view you will also be able recognize what your own team members are doing and be able to capitalize on their efforts.

Defense The best defense for a spearman is a shield wall. Lacking that here are a few things to try. If facing a spear, block his shots with just enough movement to make him miss. You will have a shorter distance to recover and keeps your own weapon in line for a return stroke. If you can keep your spear in a tighter circle than your opponent and still defend yourself then you will be able control the fight. If recoiling from a shot and spears/poles are attacking, bring your rear hand up to the top of the head and let the spear tip rest on the ground ahead of you. Move the butt of the spear to either side of the head to block strikes. This technique works well for getting back into a line in a short distance. When caught in the open field facing a lone fighter the best thing to do is run. Find friends and form up with them. If you have a backup weapon try this. Take a quick shot with the spear. If you miss shift the spear upright in your left hand so that it is a skinny shield. With your backup weapon in hand, step into their charge and to the right. Throw a rap to the back or legs. Usually they will raise the shield so the legs open up. Stepping into the charge disrupts the opponents timing. Many fighters do not check to see if the man they are running down has a back up weapon. So many are surprised when they get hit.

Communication A good spearman can stand in any line and be deadly. To be truly devastating the spearman should be an integral part of a melee unit, working with the pole support, the shield wall and other spears. It takes good communication for all of these people to work together well. In a line I stand between two shields with the shields about 18”-24” apart. Open enough for me to work between them but close enough that they can still defend each other and me when needed. I talk to the shield men to let them know what I am doing and what I need them to do. They talk to me, pointing out openings, telling me when they can’t defend me and giving warnings of threats. Talk to the spears and poles in the line with you to set up shots for them or you. Warnings of an impending column charge goes to everyone. Another form of communication, one that is harder for the other side to pick up on, is non-verbal. The dip of a spear tip, a slight nod, a certain look, these can tell your teammate what you intend to do without tipping off your opponent. This is a form of communication that only comes with continuous fighting with the same group of people over and aver again.

Limited Front Battle At the beginning of a limited front battle such as a bridge allow the shields and poles to establish a stable skirmish line. As soon as the line settles replace a poleman in the line. When stepping into the line try to line up diagonally from an opposing spear. Line up spear, shield, spear with the shield directly in front of the opposing spear. This causes the opposing spear to watch a wider field of view and gives the spear partners a better chance of a shot opening. This works even better when your shield man can menace the opposing spear to get his attention. Watch for cross shots. Usually the angles offer better shot openings. Have a pole man behind and to one side of you. When the opposing side charges raise your spear straight up and rotate places with the pole man. With the spear up there is less chance of someone tripping on it or getting it trapped. Pull out your back up weapon in the event that an opponent comes squirting through the line. Remember to give the poles room to work. Just like the spears, polemen need room behind them also. When the press of the charge has passed move back into the line and back to work.

Open field When your line is advancing into a field battle the spearman should stand behind the shield wall with the wall 3/4 of the distance up the spear. Take a position far enough in from either end of the line so that a flank attack cannot kill you quickly. At the first clash you will be back far enough that you will not get caught in a crush. Any closer and you will be backing up trying to keep your spear from getting trapped. At the ¾ spear distance the tip of the spear will be in the right place to take advantage of any openings the shield wall creates for you. When the press of first contact fades move into a space in the line and work from there. During the field battle is when a spearman has to be the most alert. At any time a line could fold or the unit could be flanked. Do not get caught on the end of the line or in a crush. You will either be run down or not have enough room to be effective.

I hope that new spearmen will be able to take this information and start a little farther ahead in the game than I did when I started fighting spear. I have touched on several aspects of this weapon style. There is more to learn that is easier to demonstrate than to write. So, go out, watch the better spear fighters and ask the questions “How did you…?” “Why did you…?”. More than likely they won’t mind talking about it and you will learn something. That is how I did it.

Brennon EH on Sword and Board vs. Red

Killing heavy/range weapons is all about footwork. You need to be able to understand and manage their range, and then close distance swiftly when the time is right. Try standing at their maximum range and stutter-stepping just into their 'sweet spot' range. Once they throw quickly shift back out and rush in as they swing or stab past. Those blades tend to have a long recoil time, and that's to your great advantage. As you're stepping in you want to push towards their weapon, not around around it. Your goal is to keep control of their weapon with your sword or shield on the shaft of their weapon and utilize continuos pressure against it. This works because people are mentally conditioned to resist an opponents movement rather than continue in the direction of force. This means they will essentially focus on pushing on your sword rather than trying to do anything useful (like hit you). Once you get up on them life should be simple. The important thing to get down is how to control them through the manipulation of their range.