Does studying an historically accurate fighting style in the SCA mean that you have to abandon winning tournaments?
Alot of people I talk to have a misconception about me when it comes to SCA combat...that I don't care about whether or not I win or loose. That's not entirely true. The Don I study with put it into my head that when you're on the tournament field, you're there to do a job. Do the job, maintain honor, treat your opponent with respect. This is basic sportsmanship, and its the core of how I feel about competition.
That being said, I think I take a slightly different approach to SCA tournament fighting than other people. I go into competition with a few objectives:
1: Keep perspective. Have fun. This is the obvious one, don't you think? These are friends we're fighting. The best prize is being told you gave a good fight, and knowing that everyone acted with honor. If everyone walked out feeling good about the fight, then its a win.
2: Have an additional objective than simple victory. I participated in a tournament in which we were expected to display historical technique. The participants were concerned with how they displayed their technique, much more than they were concerned with whether they won or lost. The question wasn't so much, "What could I have done to won," as much as it was, "Did I do this right?"
3: Use each victory and defeat to help with the details. How is your timing or your distance? What details of the technique that you're using helped? Its helpful having someone you study with watching from the sidelines. Ask them what they saw. Discuss it with them. Use every defeat to hone the technique.
Although some of us practice historical swordsmanship as an art form, it is still a martial activity. The ultimate objective of the period masters is victory. In the SCA, we have the opportunity to take our time to practice every detail with intensity and passion. We aren't fettered by a seasonal tournament schedule; we can take time to grow in our technique, using every fight as a learning exercise.
Sunday, October 25, 2009
Wednesday, October 14, 2009
My handout for Known World Rapier Academy class: Intro to Studying Historical Swordfighting
Introduction to Studying Historical Swordsmanship
My objective is to make studying historical sword-fighting accessible to everyone. Techniques from the period masters can be integrated into SCA rapier with a minimum of mutation. The purpose behind this class is to give you the tools so you can start studying historical technique.
Outside of the practice of sword-fighting, what are the advantages of studying the period masters?
1: Historical technique can be used as a tool for persona development and cultural research. Take the study of Italian and English masters for example. For example, George Silver wrote his manual as a response to the proliferation of Italian masters throughout London, and the popularity of rapier fighting. How does that impact you if your persona is from Elizabethan England?
2: The period masters have something to say about our martial culture. The manuals weren't written in a vacuum; they were written in response to specific needs of fighters of the time. Who were they written for? Were they written for a particular patron, or for the public? Who would have used this fighting style?
3: Studying historical sword-fighting helps preserve obscure arts and sciences that would die out, were it not for our practice. The recent renaissance (no pun intended) in western martial arts has created a need and interest in the publication of sword-fighting manuals. Western martial arts groups, as well as the SCA, are preserving these arts. We pass these techniques onto our students, and to the public via demos, scholas, academies, and other events.
How do we begin?
First, surround yourself with like-minded individuals. Find friends who share your interest. I can't stress the importance of having a supportive group that has your back. Excitement is infectious. Its important to have a circle of students to provide different opinions and outlooks on the text. In my opinion, you should have a minimum of three people, so two may practice the technique, and one can read the manual and offer opinions from the outside.
Second, choose a master you'd be interested in looking into. How to choose a manual or a particular master is beyond the scope of this class. Choosing what kind of manual, though, is based really on what you're interested in getting out of the manual. If you're interested specifically in using a rapier, as opposed to older forms or cutting-based forms, you may be interested more in Fabris or Capo Ferro, for example. If you're interested in a for that emphasizes the mechanical aspects of time and distance, consider a Spanish technique.
Once you decide on a manual, analyze it with your study group. Look into the historical context of the manual. Don't ignore the introduction to the manual; often, it will talk about the background of the master, who he's written for, and a little about the culture he's written in. Read as much of the manual as possible before practicing techniques from the manual. Don't just read the first paragraph, for example, and try the technique described. Most often, techniques in a single section of a manual build on other material described earlier. You'll understand more of what the master is trying to describe when you see techniques described earlier and later.
I should take a moment to say a few words about looking over the plates in the manual. Obviously, the plates are just snapshots, single moments in time. Mimicking the plates is not the same as learning the technique. Think of the plates as a guide to use along with the text. If you try to just recreate the stances and motions shown in the plates, then you're not really learning anything of the technique. Don't be afraid to play with what you see in the manual, though. If you see a plate that shows a final motion (such as a killing blow), don't be afraid to play with the motions that take you from guard position to the final plate.
What should we keep in mind when we practice?
Play. Don't be afraid to play. Don't be afraid to experiment. Have a great sense of humor about what you're doing. While you're trying something new, expect to loose a lot of bouts. You'll be learning new things about your stance, distance, timing, guards, etc. Get used to dealing with a new learning curve.
Like I'd said earlier, I find that working in groups of at least three works best. One person reads the manual, while the other two practice. The one observer serves the role as director. Rotate the roles among each other. Listen to each other, and share your observations.
Here are a few other tips:
Make sure that your study group stays focused. Its easy to drift off while studying a manual. There may be movements or terminology you may not be familiar with; resist the temptation to try to mutate the techniques in the manual to fit your personal style. The further away you take yourself from the intention of the master, the less effective the techniques you're trying to learn become.
That shouldn't keep you from playing with the techniques, though. There's a difference between playing with the form and drifting too far from the goal.
While reading through the manual, try to find the agenda that the master is trying to put forth. Most manuals follow a particular theme, technique, or even political agenda. If you're able to discover the “agenda,” then you have tool to help you get through roadblocks in the manual. For example, if you know that one particular master advocates attacks in single-time, then if you are at a roadblock in a particular part of a manual and it is ambiguous as to how an attack should be delivered, you'll at least know that it is likely that the attack should be delivered in single time. Its one more tool at your disposal to help you understand the manuals a little more deeply.
Consider your sword. Is the technique you're studying going to work with that weapon? Different masters advocate weapons of different styles or lengths. For example, Silver will not work with a long rapier, Capo Ferro will not work with a curved blade. I wouldn't use epees or foils for Italian rapier techniques (the techniques just don't work). Again, determining the correct weapon length for all different masters is beyond the scope of this class. In some cases, the master may assume you know the length or type of weapon to be used (that's where its helpful to know the historical context in which the manual was written). Others may specify the length by your height, the length of your lunge, etc.
Remember your fundamentals. Things like footwork, distance, accuracy, and timing are universal. Though some things may work differently, the basics of how to fight aren't necessarily going to change. Some masters may want slightly different stances, or recommend you move a particular way, but they won't likely be too different from what you first learned.
Drill. Stretch. Work out. I've found that reproducing some techniques straight from the plates is a little like yoga. There may not be a lot of impact, but its still a workout.
When you practice, practice with intent. The best way to determine if something works is to practice as if you are really fighting. For the longest time, I couldn't see any value in Capo Ferro's first guard. One day, we practiced cutting attacks against someone who is just first drawing his sword out of the scabbard. That was when we found its value. We could never really see how effective it was when doing slow-work., or just trying to reproduce moves from the plates and from other practitioners' pictures.
Practice everywhere. Take what you've learned into tournaments. Yeah, you may loose at first...a lot. But be okay with that. One way to stay encouraged is to look for different objectives when you enter tournaments. Instead of, “victory” as your ultimate objective, why not focus on insuring that your technique is as clean as possible. The more you perfect your style, the closer to victory you'll ultimately become. That may sound obvious, but you're likely to be moving out of a particular comfort zone. Its important to have something to hold onto, to help keep encouraged.
My objective is to make studying historical sword-fighting accessible to everyone. Techniques from the period masters can be integrated into SCA rapier with a minimum of mutation. The purpose behind this class is to give you the tools so you can start studying historical technique.
Outside of the practice of sword-fighting, what are the advantages of studying the period masters?
1: Historical technique can be used as a tool for persona development and cultural research. Take the study of Italian and English masters for example. For example, George Silver wrote his manual as a response to the proliferation of Italian masters throughout London, and the popularity of rapier fighting. How does that impact you if your persona is from Elizabethan England?
2: The period masters have something to say about our martial culture. The manuals weren't written in a vacuum; they were written in response to specific needs of fighters of the time. Who were they written for? Were they written for a particular patron, or for the public? Who would have used this fighting style?
3: Studying historical sword-fighting helps preserve obscure arts and sciences that would die out, were it not for our practice. The recent renaissance (no pun intended) in western martial arts has created a need and interest in the publication of sword-fighting manuals. Western martial arts groups, as well as the SCA, are preserving these arts. We pass these techniques onto our students, and to the public via demos, scholas, academies, and other events.
How do we begin?
First, surround yourself with like-minded individuals. Find friends who share your interest. I can't stress the importance of having a supportive group that has your back. Excitement is infectious. Its important to have a circle of students to provide different opinions and outlooks on the text. In my opinion, you should have a minimum of three people, so two may practice the technique, and one can read the manual and offer opinions from the outside.
Second, choose a master you'd be interested in looking into. How to choose a manual or a particular master is beyond the scope of this class. Choosing what kind of manual, though, is based really on what you're interested in getting out of the manual. If you're interested specifically in using a rapier, as opposed to older forms or cutting-based forms, you may be interested more in Fabris or Capo Ferro, for example. If you're interested in a for that emphasizes the mechanical aspects of time and distance, consider a Spanish technique.
Once you decide on a manual, analyze it with your study group. Look into the historical context of the manual. Don't ignore the introduction to the manual; often, it will talk about the background of the master, who he's written for, and a little about the culture he's written in. Read as much of the manual as possible before practicing techniques from the manual. Don't just read the first paragraph, for example, and try the technique described. Most often, techniques in a single section of a manual build on other material described earlier. You'll understand more of what the master is trying to describe when you see techniques described earlier and later.
I should take a moment to say a few words about looking over the plates in the manual. Obviously, the plates are just snapshots, single moments in time. Mimicking the plates is not the same as learning the technique. Think of the plates as a guide to use along with the text. If you try to just recreate the stances and motions shown in the plates, then you're not really learning anything of the technique. Don't be afraid to play with what you see in the manual, though. If you see a plate that shows a final motion (such as a killing blow), don't be afraid to play with the motions that take you from guard position to the final plate.
What should we keep in mind when we practice?
Play. Don't be afraid to play. Don't be afraid to experiment. Have a great sense of humor about what you're doing. While you're trying something new, expect to loose a lot of bouts. You'll be learning new things about your stance, distance, timing, guards, etc. Get used to dealing with a new learning curve.
Like I'd said earlier, I find that working in groups of at least three works best. One person reads the manual, while the other two practice. The one observer serves the role as director. Rotate the roles among each other. Listen to each other, and share your observations.
Here are a few other tips:
Make sure that your study group stays focused. Its easy to drift off while studying a manual. There may be movements or terminology you may not be familiar with; resist the temptation to try to mutate the techniques in the manual to fit your personal style. The further away you take yourself from the intention of the master, the less effective the techniques you're trying to learn become.
That shouldn't keep you from playing with the techniques, though. There's a difference between playing with the form and drifting too far from the goal.
While reading through the manual, try to find the agenda that the master is trying to put forth. Most manuals follow a particular theme, technique, or even political agenda. If you're able to discover the “agenda,” then you have tool to help you get through roadblocks in the manual. For example, if you know that one particular master advocates attacks in single-time, then if you are at a roadblock in a particular part of a manual and it is ambiguous as to how an attack should be delivered, you'll at least know that it is likely that the attack should be delivered in single time. Its one more tool at your disposal to help you understand the manuals a little more deeply.
Consider your sword. Is the technique you're studying going to work with that weapon? Different masters advocate weapons of different styles or lengths. For example, Silver will not work with a long rapier, Capo Ferro will not work with a curved blade. I wouldn't use epees or foils for Italian rapier techniques (the techniques just don't work). Again, determining the correct weapon length for all different masters is beyond the scope of this class. In some cases, the master may assume you know the length or type of weapon to be used (that's where its helpful to know the historical context in which the manual was written). Others may specify the length by your height, the length of your lunge, etc.
Remember your fundamentals. Things like footwork, distance, accuracy, and timing are universal. Though some things may work differently, the basics of how to fight aren't necessarily going to change. Some masters may want slightly different stances, or recommend you move a particular way, but they won't likely be too different from what you first learned.
Drill. Stretch. Work out. I've found that reproducing some techniques straight from the plates is a little like yoga. There may not be a lot of impact, but its still a workout.
When you practice, practice with intent. The best way to determine if something works is to practice as if you are really fighting. For the longest time, I couldn't see any value in Capo Ferro's first guard. One day, we practiced cutting attacks against someone who is just first drawing his sword out of the scabbard. That was when we found its value. We could never really see how effective it was when doing slow-work., or just trying to reproduce moves from the plates and from other practitioners' pictures.
Practice everywhere. Take what you've learned into tournaments. Yeah, you may loose at first...a lot. But be okay with that. One way to stay encouraged is to look for different objectives when you enter tournaments. Instead of, “victory” as your ultimate objective, why not focus on insuring that your technique is as clean as possible. The more you perfect your style, the closer to victory you'll ultimately become. That may sound obvious, but you're likely to be moving out of a particular comfort zone. Its important to have something to hold onto, to help keep encouraged.
Saturday, August 29, 2009
Fabris: the first guard, and posture
We practiced the postures of the first guard. Fabris' postures are unusual; the head and the shoulders are forward, while the trunk of the body is tucked back. Balance is maintained partially because the posterior is stuck back. My first problem, honestly, stemmed from being fat. My balance is thrown off, and its difficult to put myself into the appropriate posture. I don't want to modify my stance too much, because I'm afraid of loosing the core of the style.
Does that make sense?
If I modify things from the beginning, then I'm not really doing the style properly. On the other hand, I have to modify things just slightly so I can compensate for my weight/balance.
We were told that most of your weight should be distributed to the back foot. So every time I'd take a step, I have to make sure that my weight is properly distributed. The trouble was that I ended up shifting my weight before settling. This would throw off my timing, and of course would throw off my balance.
So my practice now involves getting my stance correct, adjusting for balance and proper distribution of my weight.
Does that make sense?
If I modify things from the beginning, then I'm not really doing the style properly. On the other hand, I have to modify things just slightly so I can compensate for my weight/balance.
We were told that most of your weight should be distributed to the back foot. So every time I'd take a step, I have to make sure that my weight is properly distributed. The trouble was that I ended up shifting my weight before settling. This would throw off my timing, and of course would throw off my balance.
So my practice now involves getting my stance correct, adjusting for balance and proper distribution of my weight.
Saturday, August 22, 2009
Question about the first guard in Fabris
Had our first question about how to approach some of the interpretations of the plates:
My partner asked:
ok, first question for you.
p. 35 (first paragraph) "in this manner your opponent will not be able to come in above your sword; and that part being the weakest, it should be the most strongly defended".....my question... why is this part the weakest.
I thought about it, and read over some of the manual:
Just looking at the formation of the sentence, "that part" seems to refer to the target area you'd be defending. If someone is attacking above your sword while you are in this guard, they're attacking the head, and possibly the arm (he mentions earlier the possibility of the arm being the target). Looking at the plates, where exactly is the forte really protecting? He mentions the guard helping protect the body more efficiently, too.
Check out page 25, where he talks about why to hold the sword extended: "If your opponent simply places his forte to your debole and goes for the attack, he will find it difficult to succeed by virtue of the small opening that is one of the properties of the manner of holding the sword." Also, check page 28, talking about posture: "If a person could make himself so small as to be able to cover his entire body with the forte of the sword, it would be ideal. But since this is not normally possible, you should at least make an effort to cover as much of it as you can, so you can enjoy more safety."
Does that make sense? I don't think he comes right out and says what the weak part is, but he's already said this is an effective guard against cuts, and it appears the primary cut someone would attempt would be from up to down, near the head or shoulder.
My partner asked:
ok, first question for you.
p. 35 (first paragraph) "in this manner your opponent will not be able to come in above your sword; and that part being the weakest, it should be the most strongly defended".....my question... why is this part the weakest.
I thought about it, and read over some of the manual:
Just looking at the formation of the sentence, "that part" seems to refer to the target area you'd be defending. If someone is attacking above your sword while you are in this guard, they're attacking the head, and possibly the arm (he mentions earlier the possibility of the arm being the target). Looking at the plates, where exactly is the forte really protecting? He mentions the guard helping protect the body more efficiently, too.
Check out page 25, where he talks about why to hold the sword extended: "If your opponent simply places his forte to your debole and goes for the attack, he will find it difficult to succeed by virtue of the small opening that is one of the properties of the manner of holding the sword." Also, check page 28, talking about posture: "If a person could make himself so small as to be able to cover his entire body with the forte of the sword, it would be ideal. But since this is not normally possible, you should at least make an effort to cover as much of it as you can, so you can enjoy more safety."
Does that make sense? I don't think he comes right out and says what the weak part is, but he's already said this is an effective guard against cuts, and it appears the primary cut someone would attempt would be from up to down, near the head or shoulder.
Thursday, August 20, 2009
Universal truth at fencing practice
My partner and I started talking at practice last night about how to start with studying Fabris' manual. We went through a good part of the first section of the book, going over what we took away from each section, and discovering what common theme ran underneath everything.
There were a few things that weren't necessarily surprises to either of us: the importance of performing motions in a single tempo, the basics of measure, and patience.
Throughout the book, a common theme is that one does not perform an aggressive action until the stars are right. Don't be the aggressor at the risk of loosing tempo. Be wary of moving into measure with someone who is in a static guard, waiting for your move.
Be patient. Wait. Back up.
Chill out.
Be still.
...
So next week, we'll begin working on the plates. The first, of course, being the first position.
There were a few things that weren't necessarily surprises to either of us: the importance of performing motions in a single tempo, the basics of measure, and patience.
Throughout the book, a common theme is that one does not perform an aggressive action until the stars are right. Don't be the aggressor at the risk of loosing tempo. Be wary of moving into measure with someone who is in a static guard, waiting for your move.
Be patient. Wait. Back up.
Chill out.
Be still.
...
So next week, we'll begin working on the plates. The first, of course, being the first position.
Monday, August 17, 2009
Fabris: trusting the source
"My advice is this: follow the book, and trust its contents blindly."
How many students ever want to hear that from an instructor? Haven't we all been taught to be critical thinkers, to test everything we read, everything we learn? Double check the sources. Consider the translator. Look back over the language. Confer with colleagues about potential other meanings.
But that runs counter to Leoni's advice in his introduction to The Art of Dueling. We're asked to trust the source. Consider Fabris' mastery. We're asked to invoke a type of papal infallibility when it comes to Fabris' teaching. He's the master, we are the students. If we want to know how to fight like Fabris wants us to, then trust Fabris.
To do this, we have to forget how to be 21st century students. We have to trust the source. For the sake of learning this technique, this style of fighting, then we have to work in a pure manner. Fully immerse ourselves in his technique, and trust his work implicitly.
So, for the sake of this technique, I'm willing to take the translator's advice and to trust the author completely. I think back to what I wrote yesterday, about wanting to put away old notions and start new.
On to the technique: Guards and measure.
My plan is to just jot down some notes on what I've read or practiced each day. I'd like to at least write out whatever I've taken away from the text that day.
The manual starts with the four guards, and the division of the sword. I'm familiar with the guards, but there are some strong reminders about the importance of the guards in technique. "It must be clear that nothing is done that does not proceed from the essence of one of these guards (emphasis mine)." There's a flexibility implied, because of the motion the hand goes through between guards. Motions may go from the transitional state between guards (what he calls "bastard" guards). Here, we're immediately hit with an important part of the foundation: your sword motions aren't going to be executed from static positions. Shortly, Fabris will describe the dangers of fighting in dui tempi.
The divisions of the sword are mentioned. He divides the sword into a defensive portion, nearer the hand (which he divides into two), and the debile (half closer to the tip) is divided into two portions, as well. Any fencing student is already familiar with the strong and the weak parts of the blade. Strong for defense, weak for attack.
When taking posture is discussed, it can't be discussed without discussing measure and tempo. The two measures, misura larga (where one may attack by moving a foot), and misura stretta (one may attack by just moving the body forward) are described.
Tomorrow, on "flinging the sword," and "on cuts."
How many students ever want to hear that from an instructor? Haven't we all been taught to be critical thinkers, to test everything we read, everything we learn? Double check the sources. Consider the translator. Look back over the language. Confer with colleagues about potential other meanings.
But that runs counter to Leoni's advice in his introduction to The Art of Dueling. We're asked to trust the source. Consider Fabris' mastery. We're asked to invoke a type of papal infallibility when it comes to Fabris' teaching. He's the master, we are the students. If we want to know how to fight like Fabris wants us to, then trust Fabris.
To do this, we have to forget how to be 21st century students. We have to trust the source. For the sake of learning this technique, this style of fighting, then we have to work in a pure manner. Fully immerse ourselves in his technique, and trust his work implicitly.
So, for the sake of this technique, I'm willing to take the translator's advice and to trust the author completely. I think back to what I wrote yesterday, about wanting to put away old notions and start new.
On to the technique: Guards and measure.
My plan is to just jot down some notes on what I've read or practiced each day. I'd like to at least write out whatever I've taken away from the text that day.
The manual starts with the four guards, and the division of the sword. I'm familiar with the guards, but there are some strong reminders about the importance of the guards in technique. "It must be clear that nothing is done that does not proceed from the essence of one of these guards (emphasis mine)." There's a flexibility implied, because of the motion the hand goes through between guards. Motions may go from the transitional state between guards (what he calls "bastard" guards). Here, we're immediately hit with an important part of the foundation: your sword motions aren't going to be executed from static positions. Shortly, Fabris will describe the dangers of fighting in dui tempi.
The divisions of the sword are mentioned. He divides the sword into a defensive portion, nearer the hand (which he divides into two), and the debile (half closer to the tip) is divided into two portions, as well. Any fencing student is already familiar with the strong and the weak parts of the blade. Strong for defense, weak for attack.
When taking posture is discussed, it can't be discussed without discussing measure and tempo. The two measures, misura larga (where one may attack by moving a foot), and misura stretta (one may attack by just moving the body forward) are described.
Tomorrow, on "flinging the sword," and "on cuts."
Sunday, August 16, 2009
Studying Fabris: Day 1
This past Pennsic, I was inspired by a few classes on Italian fencing master, Salvator Fabris. Some of the stuff I'd learned was familiar to me (thanks to the work I've done on Capo Ferro for the last couple of years), while others were totally alien to me. The postures take a little work for me, but that's the simplest thing to get over for me, probably.
I'm working together with a friend on Fabris' manual. We're using the Tomasso Leoni translation, Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606 (available through Chivalry Bookshelf). We're taking time from our local fencing practice to work on the manual every week. I'm using this blog to keep track of my own work (and I may publish my journal for review, after a while).
I've gone into the manual today, looking to take out something to help focus. Even the preface and introductions have helped in that regard. Regarding this translation, Maestro Sean Hayes says in the preface, "It allows us to reconsider previous interpretations..." That's exactly what I need out of this kind of study: I want to reconsider what I've learned up to now. I want my previous notions of Italian swordfighting shaken up.
And away we go.
I'm working together with a friend on Fabris' manual. We're using the Tomasso Leoni translation, Art of Dueling: Salvator Fabris' Rapier Fencing Treatise of 1606 (available through Chivalry Bookshelf). We're taking time from our local fencing practice to work on the manual every week. I'm using this blog to keep track of my own work (and I may publish my journal for review, after a while).
I've gone into the manual today, looking to take out something to help focus. Even the preface and introductions have helped in that regard. Regarding this translation, Maestro Sean Hayes says in the preface, "It allows us to reconsider previous interpretations..." That's exactly what I need out of this kind of study: I want to reconsider what I've learned up to now. I want my previous notions of Italian swordfighting shaken up.
And away we go.
Tuesday, March 3, 2009
I sent this letter to the East Kingdom League of Rapier Academies mailing list
Hi,
Here are my ideas, on how to start transition the League into a group encouraging historical swordsmanship.
I: Encourage members on how to focus their studies. Does the fighter want to study a particular master (such as Capo Ferro, Silver, or Di Grassi [not the show about Canadian high-school students])? Does the fighter want to study the swordfighting of a particular culture (like the English, Italians, Spanish or, maybe something more exotic or specific, like the Sea Dogs or the a military longsword style)? How about studying a particular time period, or clothing style, or mannerisms of a particular class of fighting, or a specific type of fighter (member of the London Masters, perhaps, or mercenary). How about studying other aspects of swordfighting culture, like dueling, or how masters made their livings in different places?
The idea here is to make the thought of transitioning into studying historical swordfighting less intimidating for those people who just don't have the interest into looking into manual work. There are plenty of ways of furthering the study of historical swordfighting than just studying manuals.
II: Encourage mentoring. If you've discovered something new and cool, then tell everyone . Use the Yahoo-group to spread information. Announce that you'd like to show off what you've learned at practice. We can use the League as a kind of storehouse for information. And pass it on to other members of the League. Post bibliographies, videos, pictures...whatever encourages and inspires further study and practice.
III: Demonstrate what you know. Show off at demonstrations. ENCOURAGE PRIZE-FIGHTS. Do prize-fights at demonstrations and big events. Invite local Barons and Baronesses to witness the displays. Encourage competitions with duels. Show off what you can do! demonstrate longsword vs. rapier! Demonstrate curved blades vs. some other stuff! Cut versus thrust! Italian vs. Spanish! Use our competitive natures to encourage inter-academy competition! This is high drama, people!
There are just a few thoughts that have been popping around in my mind since the weekend. More later.
Lorenzo Gorla. CSC. QHD. AOA. Silver Gauntlet (Iron Bog)
Bhakail Champion of Fence. Captain: LoRA.
Co-Founder: Hawkwood Academy of Arms
Scapegoat: Tadcaster Militia.
Here are my ideas, on how to start transition the League into a group encouraging historical swordsmanship.
I: Encourage members on how to focus their studies. Does the fighter want to study a particular master (such as Capo Ferro, Silver, or Di Grassi [not the show about Canadian high-school students])? Does the fighter want to study the swordfighting of a particular culture (like the English, Italians, Spanish or, maybe something more exotic or specific, like the Sea Dogs or the a military longsword style)? How about studying a particular time period, or clothing style, or mannerisms of a particular class of fighting, or a specific type of fighter (member of the London Masters, perhaps, or mercenary). How about studying other aspects of swordfighting culture, like dueling, or how masters made their livings in different places?
The idea here is to make the thought of transitioning into studying historical swordfighting less intimidating for those people who just don't have the interest into looking into manual work. There are plenty of ways of furthering the study of historical swordfighting than just studying manuals.
II: Encourage mentoring. If you've discovered something new and cool, then tell everyone . Use the Yahoo-group to spread information. Announce that you'd like to show off what you've learned at practice. We can use the League as a kind of storehouse for information. And pass it on to other members of the League. Post bibliographies, videos, pictures...whatever encourages and inspires further study and practice.
III: Demonstrate what you know. Show off at demonstrations. ENCOURAGE PRIZE-FIGHTS. Do prize-fights at demonstrations and big events. Invite local Barons and Baronesses to witness the displays. Encourage competitions with duels. Show off what you can do! demonstrate longsword vs. rapier! Demonstrate curved blades vs. some other stuff! Cut versus thrust! Italian vs. Spanish! Use our competitive natures to encourage inter-academy competition! This is high drama, people!
There are just a few thoughts that have been popping around in my mind since the weekend. More later.
Lorenzo Gorla. CSC. QHD. AOA. Silver Gauntlet (Iron Bog)
Bhakail Champion of Fence. Captain: LoRA.
Co-Founder: Hawkwood Academy of Arms
Scapegoat: Tadcaster Militia.
Sunday, February 22, 2009
What we learn
Lets talk about studying history for a minute or two.
I've picked up a book recently that makes me re-think why I enjoy studying history as a hobby. It's a biography of Sir Francis Drake by E.F. Benson (Harper & Brothers, 1927). Initially, I picked it up as part of my SCA research, but I've pulled a little more out of it.
The Drake biography is keeping me hooked. There's a portion of the book talking about Drake and Queen Elizabeth's involvement in the slave trade.
When did you learn about that in school?
Okay, to be honest, you probably didn't learn much about Drake in school. I didn't. I didn't take any interest in it until I started studying the Sea Dogs, and piracy in Elizabethan times. It never occurred to me to look at Elizabeth's involvement. But why not?
I remind myself that studying history is harsh and painful sometimes. Strip away the myth from your heroes, and see what's there.
I've picked up a book recently that makes me re-think why I enjoy studying history as a hobby. It's a biography of Sir Francis Drake by E.F. Benson (Harper & Brothers, 1927). Initially, I picked it up as part of my SCA research, but I've pulled a little more out of it.
The Drake biography is keeping me hooked. There's a portion of the book talking about Drake and Queen Elizabeth's involvement in the slave trade.
When did you learn about that in school?
Okay, to be honest, you probably didn't learn much about Drake in school. I didn't. I didn't take any interest in it until I started studying the Sea Dogs, and piracy in Elizabethan times. It never occurred to me to look at Elizabeth's involvement. But why not?
I remind myself that studying history is harsh and painful sometimes. Strip away the myth from your heroes, and see what's there.
Sunday, January 18, 2009
New Year, new games
I've never been a big fan of boardgames. I never really enjoyed that they just existed in one particular point-in-time. There was no backstory, and the game itself just seemed too much like like a futile distraction of dice-rolling, space-occupying, and time-killing. I'd based this opinion of games from my childhood...the types of things we've all played over and over (Monopoly and the like). I enjoyed tactical wargames much more, because they existed in some kind of world (like either the real-world of WW II, like my old Avalon Hill wargames, or fictional settings like Car Wars or Battletech). Those never felt like boargames. My friends and I were playing scenarios that could have been part of a larger experience. Our experiences could connect to something bigger, and it made us feel like what we did mattered a little more.
Recently, though, I've been spending more of my afternoons at Natural 20 in Westmont (my favorite game store...go there and check it out). I've been swept into a few different games that have gotten me to appreciate boardgames a little differently. There are better reviewers out there who can give better descriptions of how these games are supposed to be played, =but I want to give my personal opinions about a few of them.
Battlestar Galactica. If you haven't played this yet, get to a game store on their boardgame night and try it out. Players work to get humanity's fleet to Earth, but Cylon's hidden in the players' ranks try to sabotage the effort. Times I've played, most people spend alot of time yelling, "You're a fracking toaster!" at each other. Great fun.
Neuroshima Hex: A tactical game from Poland. I enjoy it, but am horrible at playing it. Last night, the owner of Natural 20 told me that he spent three days yelling about how horrible I play. His words: "Its a great game, unless Goodman's playing. Then you get angry."
A couple of recent acquisitions: Call of Cthulhu: The Card Game, and Red November (the game of a sinking gnomish submarine). I would absolutely love to play either of these much more. Also got Munchkin Quest as a Christmas present from my Don. I'm still waiting for a chance to break that open.
Roleplaying games: I'm surprised at how much I like all of the stuff coming out for Star Wars Saga Edition. The core rulebook was nothign special, but every suppliment that's come out has been spectacular. My favorites recently have been Scum & Villany (playing scoundrels, smugglers, and the like), The Force Unleashed companion book (which includes a great deal of information on how to run a Dark Times game, set between episodes 3 and 4), and Starships of the Galaxy (which include further information on playing pilots and more starship combat rules). More setting books are coming out soon (The Clone Wars, this Tuesday, and the rebellion Era, a few months from now). I'm eagerly anticipating both.
I've been collecting and reading material for the Dark Heresy RPG (the Warhammer 40K RPG). I enjoy it. Although I have no idea where or when I'll get the chance to use the material, I eagerly await whenever the next set of books will come out. There's a great deal of setting information in them, and I enjoy what I read more and more. Its inspiring me more and more to work on my Space Marine army, too.
Recently, though, I've been spending more of my afternoons at Natural 20 in Westmont (my favorite game store...go there and check it out). I've been swept into a few different games that have gotten me to appreciate boardgames a little differently. There are better reviewers out there who can give better descriptions of how these games are supposed to be played, =but I want to give my personal opinions about a few of them.
Battlestar Galactica. If you haven't played this yet, get to a game store on their boardgame night and try it out. Players work to get humanity's fleet to Earth, but Cylon's hidden in the players' ranks try to sabotage the effort. Times I've played, most people spend alot of time yelling, "You're a fracking toaster!" at each other. Great fun.
Neuroshima Hex: A tactical game from Poland. I enjoy it, but am horrible at playing it. Last night, the owner of Natural 20 told me that he spent three days yelling about how horrible I play. His words: "Its a great game, unless Goodman's playing. Then you get angry."
A couple of recent acquisitions: Call of Cthulhu: The Card Game, and Red November (the game of a sinking gnomish submarine). I would absolutely love to play either of these much more. Also got Munchkin Quest as a Christmas present from my Don. I'm still waiting for a chance to break that open.
Roleplaying games: I'm surprised at how much I like all of the stuff coming out for Star Wars Saga Edition. The core rulebook was nothign special, but every suppliment that's come out has been spectacular. My favorites recently have been Scum & Villany (playing scoundrels, smugglers, and the like), The Force Unleashed companion book (which includes a great deal of information on how to run a Dark Times game, set between episodes 3 and 4), and Starships of the Galaxy (which include further information on playing pilots and more starship combat rules). More setting books are coming out soon (The Clone Wars, this Tuesday, and the rebellion Era, a few months from now). I'm eagerly anticipating both.
I've been collecting and reading material for the Dark Heresy RPG (the Warhammer 40K RPG). I enjoy it. Although I have no idea where or when I'll get the chance to use the material, I eagerly await whenever the next set of books will come out. There's a great deal of setting information in them, and I enjoy what I read more and more. Its inspiring me more and more to work on my Space Marine army, too.
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