So You Want to be a Swordsman?

A Beginner's Guide to the Art of Weapons

by Ken Mondschein

Flashing swords, lantern-lit duels, and battles against impossible odds have been an integral part of literary and cinematic derring-do since before Alexandre Dumas wrote The Three Musketeers. What image of the heroic adventurer, from Sir Lancelot to John Carter of Mars, would be complete without a trusty blade at his side? And what fan of such writing hasn't imagined themselves taking steel and destiny in hand to sally forth against the world? m Still, no matter how many times one watches Highlander, dreaming will not make one into a master swordsman. Though the glory days of the sword have since passed, the skills and traditions of its use have been kept alive. For those who wish to put in the time and effort, studying the sword can be greatly rewarding, both physically and spiritually.

Traditional Fencing
Traditional fencing offers three weapons to study: the foil, the epee, and the sabre. The foil originally evolved as a training tool for the epee, a 19th-century style of duelling sword descended from the earlier "small sword." Although the foil is slightly lighter and more flexible than the epee and has a more limited target area, both are thrusting weapons, only scoring touches with the tip. In contrast, the sabre, descended from the cavalry sabre, is much lighter and, although primarily a slashing or cutting weapon, it can score with both the point and the edge.

All three of these sanctioned weapons are regulated by the United States Fencing Association (USFA) which governs both the physical characteristics of the weapon and the legal techniques that may be used. A USFA-style fencing bout takes place on a long rectangular strip, on which the fencers may not step off (thus, side-stepping attacks are not possible) and touches are recorded by an electronic scoring device.

A common complaint by modern fencers is that the formalized, sporting nature of the art that has led to a widespread use of techniques that would not work in a real duel, much like a whipping "flick" with the flexible point of a foil. For all of this, however, there is no doubt that there is still a great deal of value left in the techniques of traditional fencing.

The Art of Classical Fencing
For those who wish to explore Western swordsmanship as a martial art, classical fencing is the art to study. There are several different academies from which to choose, mainly on the East Coast. The training is as rigorous as in USFA sport-style fencing, but the emphasis is placed not upon scoring points but upon safety within a duel with sharp weapons. For instance, sparring takes place "in the round," as opposed to on a strip. Many classical fencing masters also have degrees in physical education and Eastern martial arts.

Classical fencing uses the small sword, the rapier and dagger, and the duelling sabre. The rapier is primarily used for the thrust but is also capable of delivering an edge blow (Renaissance schools of fencing often taught rapier use in conjunction with a parrying dagger, cloak, or various sorts of buckler). In contrast, the small sword is a smaller, lighter version of the rapier that evolved to suit the increasingly refined tastes of the 18th-century aristocrat. Like the epee, it is intended for the thrust and has a similar trefoil blade.

The history behind these weapons and their use is fascinating. Traditionally, the sword was the emblem of the aristocratic, knightly warrior. With the rise of the bourgeoisie, however, the old symbols of the aristocrat were adopted by the new mercantile class. Gradually, wearing the sword began to be seen as the prerogative of the gentleman. Schools of fence began to emerge, teaching the use of the sword to defend one's country and personal honor. As a record of this tuition, a lavish handbook was usually commissioned, and these fencing manuals helped to provide a basis for research and re-creation of historical styles.

Western Martial Arts
Western influence is also visible in some Eastern arts such as the Philippine martial arts of Arnis, Kali, and Escrima, which come from native styles influenced by Spanish fencing during the time of the Spanish conquest and occupation of the Philippines. Many of the strikes and thrusts are the same as can be found in Renaissance European fencing manuals, which is due, in part, to their having been disguised in local folk dances in order to circumvent the Spanish ban on their teaching. Likewise, many of the terms used are Spanish in origin. Arnis, for instance, comes from arnis de mano, or "harness of the hands."

Though the three styles have different names, in practice they are quite similar. Various weapons are taught in the Philipine martial arts tradition, including single stick (which uses the same techniques as the sword), double stick, knife, and espada y daga (Spanish for "sword and dagger"). The result is a potent combination, both for swordsmanship and for general self-defense. The only disadvantage is that outside of a large city, finding a school that teaches these rare forms can present a challenge.

The Japanese Sword Arts
The weapons skills of the Japanese samurai class were well preserved through the modernization of the 19th century. Today, Kendo is a popular sport in Japan and is gaining a growing following in North America. Kendo, or the "Way of the sword," uses bamboo swords called shinai to fight competitive matches. There are four legal targets: the head, flank, wrist, and neck. Two shinai, or a glaive-like weapon called a naginata (primarily used by women), can also be used. Finding a naginata-do teacher outside of Japan may be difficult, however.

In Kendo, half of the challenge of learning the art is not physical but mental, for Kendo is intimately bound up with the zen tradition. A strike that hits the target is not counted unless accompanied by a proper kiai, or shout, and zanshin, loosely interpreted as "awareness." To advance in levels, kendoka must also master kata, or dance-like motions that serve as textbooks to record sword techniques.

Many who study the Japanese sword choose Kenjitsu, thought to be closer to the original art of the samurai and much less sporting. Kenjitsu places more emphasis on kata and less on bouting. The "jistu" in the name of the art emphasizes its more functional origins and outlook although Zen and discipline are also a major element of the art. Part of the value and justification in practicing these ancient arts is not only to develop martially but also spiritually and personally.

Iado is the art of drawing the sword. It is entirely kata-based and also has a heavy foundation in zen. Students begin with a blunted or wooden sword, moving up to using real, sharp katana. Properly done, iado is graceful, lightning-quick, and deadly. From a seated position, the practitioner draws his weapon, springs up, cuts down his attacker, cleans off the "blood," and then returns the sword to its sheath. Other exercises include meditation and test cutting on bamboo or straw.

Several other Japanese arts such as Ninjitsu and some Jujitsu schools also teach weapons use. The traditional weapons of the samurai, besides the long and short swords (katana and wakizashi), include the glaive (naginata), knife, staves of various lengths, the bow, and even the gun (before its use was abolished by the Tokugawa shogunate).

In Okinawa, the Japanese colonial government outlawed all traditional weapons on the island. Thus, schools of karate descended from the Okinawan tradition teach how to use weapons derived from agricultural implements. The tonfa, for instance, was originally a mill handle, the nunchucku a threshing flail, and the bo staff a walking stick or yoke for carrying buckets of water.

Chinese systems such as Kung Fu and Wushu (both of which encompass many other styles) also teach weapons use. The philosophy here, as in many Asian martial arts, is that the use of weapons follows naturally after learning empty-handed techniques, as the principles and concepts are the same.

However, considering the eclectic and wide range of these artsas well as the number of schoolsmore specific information can (and has) filled volumes. The types of weapons used vary widely, including several types of sword, pole weapons, staves, and more exotic hook-swords and chains. Tai Chi, which has been embraced recently by Western culture as a key to holistic health, also teaches the use of the sword.

SCA and Re-Creational Fighting
For those who wish to learn the skills of the medieval armored knight, many historical reenactment or re-creationist groups teach sword fighting. The largest and best-known of these is the Society for Creative Anachronism (SCA). (See issue #3 of Renaissance Magazine for a comprehensive article on the SCA.)

SCA combat forms evolved independently of any other tradition, though many early innovators were experienced in such diverse areas as sabre fencing and Judo. The idea for using rattan for practice weapons, for instance, came from Thai stick-fighting.

This eclectic mix has contributed to the SCA's own unique styles. The majority of training is usually hands-on, in armor, with an emphasis on sparring. Safety conventions, such as limited target areas and a ban on grapplingas well as the fact that one becomes the King or Queen of the various kingdoms by winning a tournamenthave helped to evolve the SCA fighting arts. The frequent lack of drill work and the emphasis placed on competitive tournaments have led to complaints of sloppiness, lack of understanding of fundamentals, slow development of skills, and a bar-brawling approach to combat. In response, detractors are calmly and succinctly told that the SCA is, after all, only a game.

If a good teacher is available, however, it is possible to learn a great deal of solid fighting skills. The SCA also provides a large base of like-minded people in which to make contacts and explore mutual interests. Many SCA fighters have begun to grow increasingly interested in researching and practicing historical forms and techniques. Rattan combat offers a safe and effective laboratory in which to test these skills as well as a fun outlet in which to indulge one's "knight-in-shining- armor" fantasies. In the interests of greater authenticity, tournament companies have sprung up in several kingdoms and hold elegant and thoroughly researched tournaments several times a year.

The SCA also offers period fencing, which is very much like classical fencing. Though regular or double-wide epees are most often used to simulate rapiers, heavier blades known as schlagers are also coming into experimental use. Like classical fencing, combat takes place in the round and makes use of the off-hand and parrying weapons. However, the quality of instruction again varies widely, and, like most activities in the SCA, fencing comes packaged in a large and sometimes capricious pseudo-medieval organization.

Other smaller, historical re-creational groups exist alongside the SCA. Some use similar rattan systems while others use steel weapons and tightly regulated sparring techniques. And still others use blunted steel weapons and real armor, relying upon their skill and equipment to prevent injury in tournament.

None of the schools discussed here teach the sword as an end to itself but rather as one facet of the human endeavor. The way is not to know how to take life but how to live each day as if it were the last.