The New York Historical Fencing Association is a school of Historical European Martial Arts (HEMA). Our studies are based on the teachings of the 14th century German fencing master Johannes Liechtenauer. Although we focus primarily on the longsword, our curriculum includes wrestling, dagger, sword and buckler, spear and poleaxe. NYHFA is a member of the HEMA Alliance.

New Location!

NYHFA Longsword Curriculum is now being offered in Manhattan, through Sword Class NYC, taught by NYHFA Instructor Tristan Zukowski. Please visit SwordClassNYC.com for all information pertaining to class schedule, class fees, etc.

Sunday, April 1, 2012

My Approach to Martial Swordsmanship

A lot of people assume that my views on what makes a weapon art martial or not martial are based on Japanese swordsmanship.  Actually, this is not the case at all.  I have an internal litmus test for what makes a martial art and I developed it, without knowing I was doing it, in the army, while learning how to kill people with rifles, grenades, rockets and tanks.

When, later on in life, I started learning to use a sword, the first thing I needed, naturally, was a sword.  Not a simulator or toy, but the actual sword I was learning to use.  How could I learn to use something I didn’t own or understand?  And how can you understand something like a sword without picking it up and using it?  I learned this in the army, where the first thing you learn that applies to combat (besides discipline) is how to work the rifle and your other weapons...not a toy rifle, the real one.  Then you learn to use the rifle on targets, so the next thing I needed to learn was how to apply my sword, that is, to use it against targets effectively .  When the army taught us to shoot, they explained the conditions we would be under when we fired on the enemy and what steps to take to survive them long enough to prevail.  They also showed us what parts of the target represented what, and where we should try to hit if we had a chance.  At first it was center mass because it maximizes the chance of a hit, but later on in my brief but interesting "career," I learned about anatomy and how to kill better by understanding where to shoot or stab.  This direct application of weapon to test target seemed so natural and so necessary that when I learned about cutting it was just a simple extension of that same principle.  To me, when someone claims to be practicing a sword art but doesn't practice cutting or doesn't understand how that practice applies to the use of the real weapon, that seems very strange, like a soldier who never shoots his rifle.  I’m not saying it’s wrong, just that I don’t get it.

In the army, once we knew how to work our rifles, how to apply them to targets and how to do so under difficult conditions, they started teaching us how to do so against an uncooperative opponent who shoots back.  In swordsmanship, this is where free fencing (sparring, bouting, whatever) comes in.  But what is free fencing if you don’t know how to work and apply your weapon?  If you start you training with some plastic rifle simulator and shoot yellow plastic pellets and soda cans, then what you learn when it comes time for force on force training is made suspect by your lack of understanding of what is actually happening when you point it at someone and squeeze the trigger.  I believe the same applies to swordsmanship.

To summarize, first, you start with the real weapon you are learning to use.  Then you learn to apply that weapon, then you practice what you learned in a dynamic environment.  This is my approach to swordsmanship.  I’m not going to pretend it’s the only way to learn, particularly the order I have chosen, but I do have a hard time understanding other approaches (assuming martial swordsmanship is the goal).  I understand that there are lots of games involving sword like objects, and some of them can even teach me some of want I want to learn, but they are still not "learning to use a sword,” at least as far as I’m concerned.

Sunday, October 2, 2011

Top Shot

You can learn a lot about the martial approach to KDF from watching History Channel’s Top Shot. I started watching season 2 and wondered about the generally lackluster performance from competition champions (with a few notable exceptions, JJ, Cliff, etc.). Even someone like JJ Racaza (world champion pistol shooter) doesn’t perform nearly as well as you would expect when you watch him shoot in competitions. You would expect him to completely dominate by a wide, wide margin, but he doesn’t, his skill is only marginally better than that of others unless the competition is his specialty, and even then the gap is not as wide as you'd think. I wondered why that was, until I saw the episode in season 2 when they brought JJ and Blake (another champion pistol shooter) back as experts to show off a particular competition skill. They were using tricked out competition guns, and their performance was amazing. That’s when it hit me. Tricked out competition guns.

Now, of course, it all makes sense. Many of the competition shooters on the show get eliminated early on because they shoot like crap. Some of them have a harder time hitting targets than military shooters or hunters who have never competed. Seeing JJ and Blake blaze away with their tricked out guns explained it all. Competition shooters train with specialty weapons made for competitions, that’s what they’re used to competing with. Red dot sights, compensators, balance weights, special barrels, etc. Their skill is calibrated for this weapon, and for most of them, when you give them a real weapon, their skills don’t shine through (the very best like JJ are always the exception, with the above mentioned caveats).

What does this have to do with KDF? Training with your ultra light plastic sword, or even your specialty made steel blunt, has about as much in common with training with a real sword as training with a tricked out biathlon rifle has in common with learning to use an M4 carbine. This is why so many seasoned KDF practitioners who take my cutting class have more difficulty cutting tatami than people who have never used a sword before. Yes, that’s right…I have an easier time teaching people off the street to cut than experienced KDF fighters (and women tend to be easier to teach than men). Why? Because they have spent so much time training to use plastic wasters and steel blunts with no real world feedback other than “I hit my opponent” that simulator oriented body mechanics and simulator oriented weapon control become deeply ingrained. Of course the best of the best do well, talent is talent, but think of how much better they’d be with actual training in the use of a real sword.

So what can we learn from Top Shot? Aside from all the lessons learned about performance in competition, which apply the same way to us as they do to them, there is the lesson of what to practice with. Hopefully by now you all know the value of solo practice. What you need to understand is the value of solo practice with the weapon you’re actually training to use. In NYHFA’s case, that is not the plastic sword, nor the padded one, nor the steel blunt. That is the real sword. If you don’t own one and you don’t practice with it, your technique is going to suffer for it...your real sword technique. In competition shooting, practicing with normal weapons is of little benefit since everyone else competes with specialty guns. The same is true for us. It’s hard to focus on an obsolete weapon when most others train to use light weight simulators in competitions, but that’s what we do in NYHFA. We train as true to the original intent of the art as we can. That means we compete, but we don’t train for competition. Learn from Top Shot, and don’t develop a skill that has little application to the martial art we practice.

Sunday, August 21, 2011

Do your part

Sang Kim senis wrote a post on doing your part that you all should read.

Extra Training

Especially now that NYHFA NYC is on hiatus. It is not the time to slack off and wait, it is the time to step up your game and train as hard as you can on your own. Get together with fellow students and fight, drill, etc. When we get back into it, I want to see people who are better than when I left them, not rustier.

Friday, August 12, 2011

Fluidity at the pell

Because I have a pell in my backyard, every once in a while I'll come up with a new idea on how to practice with it. The other night, I was whacking away but it was hot, I was tired after work, blah blah blah. Short story: I did want to get some practice in, but not completely exhaust myself physically with rapid-fire work or mentally with approach/non-telegraph-attack work. So I just stood in front of the thing and cut at it, half-speed or slower. Yes, this is a drill born out of relative laziness but as I continued doing it, I realize that there was more than enough to work on. Here's what I was doing, specifically:

- Stand at striking distance from the pell.
- Strike a 1-2 combination of Oberhau and/or Unterhau.* For example, Oberhau from right then Unterhau from left ; or Unterhau from left then Unterhau from right; or Oberhau from left then Unterhau from left. You get the point. Pick a pair and repeat, repeat, repeat for a while before you pick another pair.
- Focus on fluidity of movement, connection between sword and hips.
- Focus on efficiency of movement, i.e. not letting the sword go on unnecessarily large arcs; but be honest with yourself—you probably can't effect a "real" cut with just a flick of the wrists (I know I can't).
- Focus on the entirety of your upper body: are you turning so much that your shoulder is exposed? is your elbow sticking out? are you cutting to your center? etc.

* Yes, I know there are other cuts to be practiced too. Zwerch and Krump I left out specifically because I didn't feel like adding any footwork into the mix. Also consider the fact that you can do combinations of 3, 4, or no combination but a 'random' assault. But by restricting and focusing on less, it's actually easier to pay better attention to the nitty-gritty details.

Also, since Mike hasn't said it himself in a while: "Slow is smooth; smooth is fast."


EDIT: Another thing to think about is grip (looser until point of impact); this however is a bit artificial, since you have to release sooner (because the sword is not passing through the pell). Test-cutting is obviously a better method of refining this, but it still bears keeping in mind.

Thursday, August 4, 2011

Sang Kim's Philosophy on building technique

It's a short blurb, so I'm just going to cut-and-paste from the original blog post. Annotated a bit for the HEMA ppl:

There are 4 steps to building technique which is commonly shared in kendo.

1st one is Dai or big. Learn how to do all the waza
[techniques] big. Whether it's a cutting techinque, a swing, or kata [form, solo drill, etc.]. Learn how to do everything big first.

2nd is Kyo or strong. Learn how to have weight behind the movements. The power that you learn how to generate in doing things big, you should cement on how that is achieved.

3rd is Soku or speed. As you realize what aspects make the technique work and strengthen it, you chip away at all the excess motions. This builds speed.

4th is Kei or smoothness. As you chip away parts to build speed, you must work on making things smooth.