AHA fencers judging at the recent Broadsword Tournament Trial Run
One of the skills that is very important for a HEMA practitioner is judging. The overall quality of a tournament will be affected by poor quality judging, and fencers will enjoy an event far less if they feel the judging was inaccurate, especially if they feel that they, or another fencer, should have won a fight which they lost, and vice versa.
It should be said that judging is difficult, and very often under-appreciated. Judges are more likely to be criticised for poor judging calls than they are to be thanked or congratulated. Additionally judges are often sacrificing their own ability to take part in tournaments by judging.
I believe therefore that criticism of judges should always be moderate, and that any criticism given directly to them should be constructive. However, this is not to say that criticisms about judging don’t have merit, as there are often valid criticisms to make. This means that all judges should try to improve their judging skills.
Even a HEMA practitioner who has never been a judge, and may not be plan on being a judge, should work on their judging skills. Some events ask fencers to act as judges, such as FightCamp, where tournament pools are entirely self judging, or the upcoming AHA Glasgow Broadsword Tournament, where the fighters will rotate through as junior referees under a consistent senior referee. Additionally, fighters should practice judging as that will help them to understand the judging process, hopefully making them more understanding of judges when they might want to give harsh criticism.
Codex icon.394a, 1467, folio 113r.
The immediate follow-up question to the title of this article would be: “Should a modern person move like a medieval or renaissance fencer?”
Since the origins of the current period of HEMA reconstruction, debates have raged about the correct way to perform footwork and whether or not we should wear historical footwear. Some people believe that using historical footwear holds the key to understanding footwork in HEMA systems, while other people believe that it is largely irrelevant. Other people hold a point of view somewhere in the middle, perhaps thinking that it is a good idea, but just not taking the plunge to begin using historical footwear themselves.
Regardless of one’s point of view on the matter, there is an interesting observation to be made about one of the difficulties inherent in using historical footwear to inform our studies of footwork in HEMA: can we actually make any sense of what historical footwear would tell us?
Today I wanted to offer a brief set of recomendations for HEMA clothing and safety gear aesthetics. Safety gear should of course be protective, and this should be the prime concern, but we should also wear safety gear that looks professional, gives a good impression of HEMA, and also fits into the established HEMA aesthetic. We want people to take us seriously, whether they are students, potential training partners, or members of the public, we want to give HEMA a good image, and I think we should attempt to look good while doing HEMA to show respect for the discipline of HEMA itself.
Someone with a clean professional look will give off a much better impression on behalf of themselves, their club and HEMA generally. This means that we should try to present a look like this, rather than, for example, wear a mismash of badly maintained psuedo-historical gear and motocross gear. Even those wearing HEMA gear could often do something to improve their look, e.g. replacing a painted mask design with a more professional one, or replace some black items with something a little more distinctive.
Me in my current set of HEMA gear. Photo copyright of Lindsey McMahon.
As a comparison, this was my previous set of gear, which was less distinctive and recognisable in terms of national and club colours, and also had a less professional mask design.
Photo coyright of Keith Farrell.
Goliath (MS Germ.Quart.2020), folio 22r
When we read a section of text from one of the historical fencing treatises, there is a wealth of information required to make the techniques work effectively. Unfortunately, much of this information is not communicated explicitly in the sources, especially in the medieval sources.
When developing an interpretation of a given passage and trying to understand how to apply the advice in practice, there are several things that must be considered. This article will try to provide some insight into the “hidden” information that we must acquire before we can make our interpretations work.
Medals and prizes from the Edgebana 2016 competitive event.
Last weekend, I attended the Edgebana 2016 competitive event, the fourth such event in Dundee. This will be a brief review of the event and my own learning points from the competitions.
There were three tournaments over the course of the weekend: open synthetic longsword, invitational Franco-Belgian, and open steel longsword. I entered all of these tournaments, and will give some brief thoughts on each.
Two activities within HEMA practice are sparring and cutting. Sparring helps us to ensure that we can actually execute techniques effectively against an uncooperative opponent, and cutting helps to ensure that those techniques would have the potential to kill or significantly injure an opponent.
This is important because a hit with a sharp sword is not guaranteed to cause enough harm to an opponent to make them stop fighting. Even if a hit is done with some force, this is still no guarantee that it will stop a fight. Strikes with a sword must be done with good cutting mechanics, i.e. they must be done with good edge alignment and sufficient follow through, the strike should land with the centre of percussion, not just with the tip of the sword, and the cut should be directed at a high value target. For example, a well formed cleaving cut to the head has much more potential to end a fight than a shallow cut to the forearm.
For a display of this, please see this video released last month by Holmgang Hamburg. The video is not safe for work, and shows blood and people being injured, so viewer discretion is advised. Please also note that we do not condone the actions shown in the video, and we would strongly recommend against this type of practice as it is very unsafe. Nonetheless, videos like this can give us interesting insights.
NEU Holmgang Hamburg – Scharfe Zweihänder Teil 2 – fighting with sharp swords
While searching for something else, I came across an interesting small article about broadsword author Thomas Page, published in The European Magazine and London Review in July, 1782. The article was very short and concise, and my transcription is as follows:
This week’s guest article is courtesy of Tea Kew, from the Cambridge HEMA club.
One of the most common questions on HEMA forums and Facebook groups, perhaps the most common after “Where’s my nearest club?” and “What sword should I get?”, is some variation of “What protective gear should I get?” or “Is this piece of equipment worthwhile?”. Normally this is asked by new fencers, who are looking for the best balance of cost and effectiveness to equip themselves for safe training.
The general answer is always basically the same: buy the de-facto standard HEMA gear, from reputable HEMA-specific manufacturers.
In this article, we’ll look at some general principles to use when buying gear, that help explain why to buy the standard kit instead of alternatives. Depending on your local situation, some of this standard equipment might be difficult to obtain, but understanding these principles means you can make much more informed decisions about how to select replacements if necessary.
Image of Kendo c.1920. The fencer on the right is in chudan-no-kamae. Image taken from Wikipedia.
Is it useful to take a similar position or technique from another martial art, adopt into our HEMA practice?
This is a question that does come up every so often when someone with non-HEMA experience discusses the idea of setting up a HEMA club. Of course it seems like quite a reasonable idea to continue teaching the non-HEMA material with which you are familiar, and there are probably techniques from your previous training that would be useful in various situations in HEMA sparring.
I worked through this process myself, several years ago, when I started looking at HEMA after spending around fourteen years studying karate. I had achieved my 3rd dan black belt in karate, and I thought that importing some karate techniques and concepts would help to shore up any of the many deficiencies I perceived in the HEMA systems I was trying to learn.
However, with more experience of HEMA now, I can see quite clearly that the biggest and most important deficiency was my own lack of skill at the systems I was trying to learn! Now I know that these systems can deal with almost any problem (within the appropriate context) if I apply the techniques and concepts properly – and if I need to solve a problem in a different context, I just use a different (and more appropriate) system.
One practice that is quite common within HEMA is painting fencing masks. The fencing mask is the most common item of safety kit that a HEMAist can own, and so many HEMAists will personalise their masks. There are many possible reasons why a HEMA practitioner might paint their own mask: it may be so they can find their own mask quicker if a group of masks are left together, or it could be so that they can identify themselves in photos more easily, or so that others in the HEMA community will recognise them more easily, or simply because they think the idea of a painted mask might look cool.
For quite some time, I wore a painted mask. Most recently, I wore a mask painted with a skull, and before that, I was borrowing a friend’s mask with a zombie/Jason design. When I got my mask back, freshly painted with a skull, I was very happy with it. The painting had been done well, it was very distinctive, and a few of the newer students said that the mask made it more intimidating to spar with me, which was very satisfying. After this I acquired a new mask, which hasn’t yet been painted. Taking time to think about exactly what I wanted to be painted on my new mask made me think about the entire practice of painting masks, and especially the problems associated with it. I was very happy with both of the painted masks I have used, but I have been thinking recently that the issue might be a little more complicated than simply having your mask painted because it looks cool, which was the only real consideration I ever had personally with regard to having a painted mask before.
Me, in my old mask painted with a skull.
Photo copyright of Daniil Lapko.