Category Archives: Applied armizare

Metaphysiks of Armizare

The Metaphysiks of Armizare; Theory to Doctrine, Doctrine to Practice

By Christian Cameron, IAS

This article is not founded on my belief that I am a particularly gifted swordsperson.  Rather, it is founded on the observation that too many swords people with solid training and principles in the art don’t seem to be aware of ways to think about their art or put together various essentials of training which they fully understand into a single, coherent ideal of a system, which they can thus translate into performance (and then practice).  Put simply; they know a lot, and yet, they do not fight well.

Let me add that I don’t think I’m going to tell any experienced swordsperson anything they have not heard before.  I’m just going to try to codify some things, like a philosopher or theologian. Hence that threatening word, ‘Metaphysiks.’

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Spada Instructional Video: First Master of Zhogo Largo

Instructional video showing the execution of the First Remedy of Largo and the binary choice that results from this particular crossing.

Here begins the play of two-handed sword, in wide play. This Master has crossed his sword at the point with this opponent, and says: when I am crossed at the points, I quickly turn my sword and strike the opponent on the other side with a fendente to the head and arms; or I thrust to his face, as you will see next.

I have given you a thrust to the face, as the Master before me had said. I could have also performed the other action he mentioned: attack right after crossing swords to the right, i.e. turn a fendente to the left side, to the head and arms of the opponent, as my master before me said. – MS Ludwig XV 13, translation © Tom Leoni

The first play deals with a critical situation: the crossing of the swords near the points, and the immediate tactical choice that presents itself depending on the quality of the incrosada – the pressure placed on the Remedy Master’s sword but the Player’s sword.  For additional context, please refer to:

SWORDSMANSHIP IN THE ART OF ARMS, PART 6: ORDERING THE PLAYS OF ZOGHO LARGO

If the Remedy Master crosses – i.e. parries – and finds the line open, he will make a direct point thrust to the Player.  If he finds the line closed – i.e. the Player’s cut has pushed his sword to the right – he will quickly cut over to the other side of the sword, striking head or arms with a fendente.

It’s important to remember that the text and image shown for any given play is not a prescriptive injunction that this play can only happen exactly as shown, but rather a descriptive example of principles to be applied in any similar situation.  Therefore the same crossing – weak to weak – is also demonstrated from actions in Posta Longa and Posta di Finestra. As Fiore says:

These plays are all linked, and have remedies and counters both from the mandritto and riverso side, counter-thrusts and counter-cuts to each action, with breaks, parries, strikes and binds—all things that can be understood very, very easily. – MS Ludwig XV 13, translation © Tom Leoni

For additional information on the variable nature of applying Fiore’s martial principles, please refer to

Stable, Striking and Mutable: Fighting from the Guards of L’Arte dell’Armizare

In the demonstrations I perform the actions of the Remedy Master from a “refused” or back stance position, using a volta stabile di corpo (stable turn of the body) to add strength and structure to the defensive cut.   This mechanic is covered in further detail here:

Fundamental Mechanics: Executing a Correct Fendente

Additionally, several of the demonstrations use sharps, because the qualities of the bind with sharps are much more noticeable than with blunts – sharps “stick” momentarily, blunts don’t.  PLEASE NOTE: the blades we are using are sharp on the edges but dull at the points, that we are wearing safety gear, and that we are both well-trained.  Don’t try this at home.

The plays could also be performed from a forward stance with a step of the left foot off the line to the left.  The volta and the step could also be combined.   Though not demonstrated here, these variations are taught at Northwest Fencing Academy and in the IAS.

Measuring Success: the Role of Freeplay & Competition in Training

Freeplay

IAS Schools employs a variety of models for freeplay (sparring).  The bridge between strict drills and complete freeplay is in the form of exercises with certain parameters in which actions are limited to specific techniques.  Such exercises can more or less limit the scope of possibilities, and are designed to focus the student’s attention on specific aspects of the art as applied in the fight.  Since any limitation introduced necessarily distorts the reality of the art’s application, conditions in these drills are usually changed frequently from more limitations to fewer, consistent with the student’s level of ability.

Sean Hayes (r) fighting Axel Petterson (l)
The author (right) fighting Axel Petterson at Longpoint 2014. Axel took 1st in the tournament.

It is important to understand that even freeplay has limitations placed on it.  The most obvious limitations are that we use blunt weapons and protective equipment, we play so as to minimize the possibility of injury, and our intent is not lethal – quite the opposite!  Safety is always our first priority.  The effect of all this is to remove the very natural fear one would have with sharp weapons and lethal intent, to remove the caution that fear would inspire, and to encourage behavior that is not consistent with a real fight.

Because of these considerations, students must: Continue reading Measuring Success: the Role of Freeplay & Competition in Training

Applied Armizare – Fiore’s Five Throws

Introduction

Fiore dei Liberi is known as the founder of a fully-functional, holistic system of combat, used with and without weapons, that he named l’arte dell’armizare — the Art of Arms. Grappling without weapons forms the introductory section of at least two manuscripts, and is known by practitioners as abrazare, or “the art of embracing.”

Dei Liberi is often referred to by modern practitioners (erroneously, but that is a subject for a separate article) as a“wrestling master” when comparisons are made with his Germanic contemporaries . In point of fact, there is precious little in the way of wrestling instruction in the corpus of works attributed to Maestro dei Liberi, and what is present is predominantly a repetition of techniques across a variety of weapons. A portion of this is undoubtedly due to his focus on a holistic style of combat. For this reason, not only is much of the underlying structure for a wrestling system found integrated into the dagger remedies, but also throughout dei Liberi’s self-referential work.

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