Footwork

[Cib]

From what I hear footwork is very important. So I am wondering if anyone has any ideas for how to improve/train in the aria of foot work.

[xiao]

Take a basic Aikido class.

They teach you amazing stance.

Basically you'll look for a low center of balance - be able to move with your opponent. move back as they rush, advance as they retreat.

tight laced kicks with ankle support and grip make life easier

it's similar to a skateboard stance. being able to move forward and backwards with your feet in the same line.

Conditioning? Running in the forest, jump rope, consistant sparring, even basketball.

Buy a skate video and look at the pre ollie stance. thats a sweet attack leap.

[Winfang]

Boxing footwork can help you out a lot.

[XÆPLBNK]

Oh Aikido, how I hate thee....

Basically you'll look for a low center of balance - be able to move with your opponent. move back as they rush, advance as they retreat.

Move to the side as they rush, and if they retreat you likely aren't facing someone who knows what they're doing. I don't mean to knock you personally, but this is very bad advice you're giving. Especially the ollie thing....

I'm personally against the idea of using martial arts stances and such in belegarth, because they serve a different purpose (for the record, I do do martial arts myself), and should not be used for belegarth.

The simplest I can put it, is the way I learned footwork for belegarth (long before belegarth):
I used two handed sword (4 1/2')
My opponent used sword and board.

After several rounds of ouch, I started developing footwork out of necessity.
Two handed sword > Sword and board.
Two handed sword < Sword.
Two handed sword < Board.

When using sword and board, footwork is more difficult to develop because you don't NEED to move. With a red (or florentine) you need to move. Just try one of these styles for a little bit and you'll develop good footwork.

[Shratisfaction]

Take up free running downtown.

[Izareth]

I think Xiao is a phoenominal fighter, I'd listen to him if he has advice.

[To'Gur]

Move to the side as they rush, and if they retreat you likely aren't facing someone who knows what they're doing. I don't mean to knock you personally, but this is very bad advice you're giving. Especially the ollie thing....

xiao is one of the best red fighters in the sport... i would listen to him if i were you. I fight sword and board, and i fought xiao a few times at beltaine.... he owned my face, and broke part of my shield

[XÆPLBNK]

Really? I have to see to believe then, I guess. Like I said, I meant no personal disrespect, I simply wholeheartedly believe that his advice was bad. Whether this is a case of success not liking competition or a gap in comprehension between what's said and what's understood, I still do not believe it. Perhaps clarification is necessary.

[Izareth]

To be sure, I've never seen Xiao ollie or kickflip on the field. I have, however, seen him kick a lot of *. He also seems to genuinely contribute to helping others.

Thanks for the clarification though, it did seem like you might have been calling him out.

[Aegis]

while not every martial art stance may be good, anything that gives you a low center of balance and the ability to quickly move in any direction is a good thing.
I use a stance when sword and board with my shield foot facing target, back foot to the side and perpendicular, makes a strong stance that can move easily and allows for knee bending straightening to allow speedy surprise strikes.

its 100x easier to demonstrate than explain here, but i love to teach feel free to grab me at any time im not sick and ill spar and train as much as anyone can stand.

[XÆPLBNK]

Well, the answer is clear - I have to go to an even and get my * kicked in person. I don't understand from the words how it is effective, but if it has the support of this many people, it must be worth trying.

[Aegis]

here you go... a great simple video. just make your shield hand the forward hand and your good to go.

http://www.5min.com/Video/The-boxing-st ... az%2FI8%3D

[Kenneth]

Background information: I am primarily a long distance fighter. I use swords of above average length. I place a fair emphasis on shot accuracy, and defensive ability. My defensive ability is supported by my mobility and my range. This information is primarily for the individual fighter fighting one or multiple opponents on a flank attack, instead of in a line.


With regards to the usefulness of backing up:

The level of impact required to obtain sufficient force, although varying, is typically rather low in most regions. That means the loss of various factors while backing up is not as bad as it could be. I.E. The down side is not that bad.

Now, what about the advantages to backing up (in any fashion)? Backing up does cut the vast majority of attack angles away from an enemy. Quite simply, it is harder to hit somebody who is backing up more than almost any other motion. They step to your left, you back up slightly to your right. They step to your right, you back up slightly to your left. They come straight in, you move straight back.

In other words, if you own the other person in range, and keep a decent amount of mobility, you will kill the other person before he reaches a proper distance to attack you.

First, note the issue of range.
In terms of offensive ability- If I have a greater striking reach than my opponent, I am able to strike at least once before the other person approaches. If I back up, there is at least a good chance I will get a second strike in.

In terms of defensive ability- If I don't have a big shield, my legs are open unless I back up. Any other motion essentially requires me to sacrifice defensive ability up top to protect my legs, or else rely on armor which is just bad form. If I have the proper range on my opponent, and maintain my proper distance, my legs are far less vulnerable, which also means everything else is less vulnerable because I no longer have to sacrifice defensive ability to protect my legs. My sword and shield protect my upper body, my legs(and my down sword) protect my legs.

What about the issue of attack and angles? Well, it shouldn't come as a surprise that people who move forward tend to keep moving forward, and those who move backwards tend to keep moving backwards. In actuality, your wrap shots become far more effective than your opponents if you are the one backing up. They walk into your shot, you walk away from theirs, which increases your angle of attack and decreases their angle of attack.

Further, if they are rushing you, and you have reach, you can hit them in the leg the vast majority of the time, especially if you use a wrap shot. Once they've been hit in the leg, you are no longer in danger. You were not in danger in the first place because you had greater reach. Hence, that first leg shot is a freebie shot.

If they drop their shield to protect their leg, you can go with a top side wrap shot that becomes more effective due to the other person closing in with you. Either way, the forward moving attacker is faced with a "damned if you do, damned if you don't situation". Guard your legs and get hit in the body, or guard your body and get hit in the legs, which prevents you from further advancing. It is difficult to overcome this technical advantage with anything less than greater athletic ability.

Further, had I gone straight to the side, instead of a combination of side/back or straight back, the amount of shots I have are limited due to the angle I am attacking from. Stepping to the side increases one angle of attack, but it also significantly decreases another angle of attack. A predictive aggressive fighter can take advantage of that. I love it when people step to the side instead of back because I know exactly where almost all of their shots are coming from (Unless they are completely new and follow absolutely no logic to shot selection).

At the very least, stepping backwards promotes a wider shot selection than stepping in a single direction. The cost is that each shot thrown may have a lower probability of landing, depending upon the predictive ability of your opponent.

If the other guy can back up faster than you can run forward, you're never going to hit him. On the other hand, once he has reached an appropriate location, he may cause a significant amount of damage to your team while you've done absolutely nothing but chase him. Xiao is one of those red sword fighters who have enough athletic ability to land several shots before many fighters can close to a proper attack range.

In closing, I'd like to say that stepping backwards is not inherently bad, nor is stepping to the side inherently good. They are all valid steps. You must understand the benefits and disadvantages of each individual movement and apply them individually and situationally. Combinations of backing up and moving side to side can have a tremendous effect upon battlefield ability. People who are more mobile can take greater advantage of backing up than those who are less mobile.

The proper step to use is a combination of ability, equipment, and situation. Understanding the situational advantages and disadvantages for backing up provides a far better basis for comprehension and application than categorically saying backing up is trouble. A fighter will go far if they don't view each individual "move" exclusively as good or bad. A fighter will go much farther if they don't view entire categories of motion as bad, such as moving backwards.

[Aegis]

well said kenneth.

[XÆPLBNK]

Very well said, I understand a lot better now. I must finally submit to logic. I think I might be able to finally apply said logic when I have my 6' zweihander finished, instead of using primarily a 48" bastardword, or two 24" axes.

Very well said.

[Ralimar]

Take dance classes.

[GvK]

Good posts. Kenneth and I fight very similarly (when I'm going longsword and kite shield). We had a hell of a time hitting each other when we fought at Rag 2-3 years ago but it was fun. Footwork is *far* more critical for those folks fighting with red weapons and when using two weapons. I don't fight much with two weapons so I really cannot comment on good vs. bad footwork in those situations.

I fight a lot of glaive and greatsword and backing-up is required. Sure, most fighters do too much of it and are too linear (forward-backward). If I'm on my game, when I backpeddle I do so and rotate to the left or right--often in the opposite way the fighter is coming at me. As Kenneth stated, I'll rotate and back and to the right (like a fish hook) if I'm being attacked from my front left. And vice versa. Also, and greatsword fighter worth a * should be able to throw basic shots and have their basic blocks with their off-hand leading (as in, fight lefty) when necessary. Sure, I'm not as good when fighting off-handed, but I can and do switch-up when I need to fish hook back and left.

So, in Dag and Bel combat, backpeddaling has its place. Let's not forget that backpedalling in a controlled manner can lead to a well-time stop and shield/body check when the charging fighter is off-balance and/or least expecting it.

[xiao]

Sir Kenneth is SO much better than me at explaining things through message boarding.

Like I said in the Ultimate Goal thread...what makes sense to me sounds ridiculous to others... Thanks for all the kind words Izzy and Togur.

Thank you Kenny. I love you. (not with my weiner) haha!

I'm more effective in teaching through sparring! Fight me!

[Sothopoly]

Something that may help is to envision a circle around you and your opponent. Imagine a circle that represents his range and one for you that represents your range. If your circle is bigger I.E. longer range, then you shouldnt have to step inside his circle to hit him. If your circle is smaller, then you have to step inside his circle to hit him. You basically skirt his circle, moving in and out, and side to side, you can throw shots that are within your reach while spending the least amount of time inside his reach. You start your moves outside of his range and then step in to finish the move off, that way your opponent is always on the defense.

[xiao]

Soth cometh with tha Wisdom. I know exactly what you mean.

[Bhakdar]

That's a solid mental picture for an aggressively forward thinking fighter. Soth has it set there on distance for max ranged damage while staying safe. This will apply most heartily and helpfully to those with long reach and only to swung weapons (which Soth, Xiao, and I love to use!)

Contrasting a notion of that, is that if you know you're an elite defensive or reactionary fighter, stay in your opponents circle and at close range-- you will pressure your opponent to swing and can take advantage from him feeling pressured where you feel comfortable blocking & countering. The closer you are, the easier your counter-strike. You may see some veteran shield users employ this tactic of "assertive defence"-- examples may include Winfang, Tybalt, & Tinman.

[Winfang]

Tinman and myself will step on toes, alot.

[Ogata-Kuma]

Something that works for me is.....oh wait I'm not telling

[Winfang]

Something that works for me is.....oh wait I'm not telling

Good attitude there.

[Ogata-Kuma]

sorry... that was a JOKE

my real foot tech, is never have more weight on your front leg as your back leg,stand straight with a slight lean in for shoulder protection and don't give your opponent an inch if he moves you move, bait a little bit by extending your leg just enough for them to want to swing at it, and when they do, take the shot,

For the fighter who walks away from you, and walks side ways, count his steps watch for the front foot move to his back, and when its in the air coming down for support rush in on him his balance is gone, there for defense is gone.

stay on your toes very light like you are about to tip toe, keep the arch on your feet, you will feel your calves will feel a little pull, I got this from playing drums in hardcore bands I play heel up it helps with speed and it will make your ankles stronger, you can do that buy just tapping your feet or legs up or down your you were doing some sweet double bass groove. well thats hat works best for me hope it helps some one else

[Kyrian]

Elegantly simple...(Nut and knee shots are optional )

http://www.youtube.com/watch?v=Jse6aKkehC8

I learned some basic footwork in studying Escrima. Basically, my dad had me put the two sticks in a vee shape on the floor and had me stand at the point of the vee. He would then have me practice stepping forward at an angle to an imaginary opponent standing in the middle of the sticks. We would then flip the sticks around into a wedge shape and stand at the inside of the wedge. From there I could step back at an angle either to the right or to the left. He then showed me how to get my footwork to flow by thinking of it as a dance and integrating the steps I took along with arm movements for defense and offense.

Find me at an event and I'll be happy to show you.

[ICARUS]

take up ballroom dancing
On the real though Each person well have a differently way of moving. And I personally believe you wont move fast til you want to move fast.

[Winfang]

Here is another good video of footwork. This is from an SCA knight in Atlantia, Sir Colby.

http://www.youtube.com/watch?v=9fxaT_czR04

[Lodian Black]

bruce lee was once known as the cha cha king! you can bet that had somthing to do with it and im not **** kidding. fighting is just a dance.

[Georghiu Leonte]

I have been thinking heavily of incorporating fluid movements in my footwork. I think I might look at Capoeira as a form of inspiration. Not focusing 100% on music or beats, or any fancy moves, but just get in a grove with constantly moving my feet in an unpredictable manner.

God I wish I knew Capoeria
http://www.youtube.com/watch?v=pG0uYjcjBR8

Not sure if the music/audio is safe for work.

I really think I am going to change the stance a little and try to incorporate it in my training. And of course remove 99% of the gymnastics

[druminmychest]

I am quite new here. My friend Physic is also an active participant in our Barony here locally. (SCA) I have played a little with your discipline with Physic, and have enjoyed the experience. Physic invited me to join your forum to freely share ideas, and glean understanding. To that end, I will share four seperate lessons that pertain to footwork that I teach new fighters (SCA) perhaps it will be of some use to you. If anything is useful, that's great! If not, that's great too. I am interested in discussing what differences and similarities there are in approach between the two arts.

Unit: The Four Foundations
Chapter: The Foundation of Poise
Lesson: Balance and Center

When we talk of “poise” as a fundamental for our Martial Art, what do we mean? We certainly do not mean the adult diaper! Why don’t we just use the word ‘Stance”? well, there is a good reason we use this specific word. As with all words, they can have many meanings, but for us, a specific definition will shed some light on our art. Here is the definition: “Poise: A state of being balanced in a stable equilibrium”. It is an amalgam of things that allows us to be ready, balanced, and stable, so we may act or react depending on the situation.. It is far more than “Stance”

When many people talk of “stance” or “guard”, they talk and think of it as a static, formulaic, and relatively rigid position. This should certainly not be! Firstly, for a martial artist to be static and committed to a fixed position, he must be ready to embrace defeat, as that is usually what happens right after the adoption of such posture. For another, to engrain yourself in one very static starting position to the point that you cannot execute anything until you adopt it is very limiting.

For us, we can break down “poise” into four distinct elements. (and these aren’t necessarily just physical elements) They are…
1. Balance
2. Center
3. Stance
4. Rotation

You want to know the secret to phenomenal martial skill? It all starts with balance, and that’s exactly where we will start as well. I will tell you up front that balance is not just a reference to the physical, but also has implications through all the realms of a Martial Art. (If you have forgotten from the introduction they are the Intellectual, physical, emotional, and spiritual)

But for now, we will focus on the Physical..
Balance is the most fundamental concept of any fighting art. Power, Speed, Stamina, and skill are useless, or cannot exist without balance.

Ready for some physics? An object of non-uniform shape and weight (like humans) has a balance point toward the heavier end. For many men, they have a larger amount of weight higher up in their chests, so their balance point will be higher. (unless you have eaten too many swiss cake rolls like me)

We, as humans, are odd creatures, being bipedal and all. Without getting into too much physics mumbo jumbo, we distribute our weight between our feet to balance our Center of gravity with the pull of the earth. With me so far?! Good!!

Now, if you distribute your weight widely (spreading your feet wide) you are pretty stable. (or, more specifically, you are stable from the side) the problem is, you cannot move easily. If you distribute your weight narrowly (your feet close) you can move, but you are easily knocked down. Now, Imagine you are walking down the road, all fine and dandy, when suddenly your head swells to enormous size and weight! Do you think you would still be walking as easily as you were? No, of course not. The distance of your center of gravity in relation to your weight distribution affects stability. Make sense? There are a lot of physics equations that explains this, but I don’t think we need to go too far in depth in that.. So, logic would tell us that if we LOWER our C.G. (center of gravity) we will be more stable! Seems pretty logical. Keep that in mind for later.

Now, what is this C.G. of which we speak?! Ready for another physics lesson? A “center of gravity” (or mass) is the point in any object around which all of its weight is equally distributed. Notice the words “around which”. Don’t think of this is just an up and down kind of thing. Even if you are lying on the ground you still have a C.G. in reference to the pull of the earth… it is just very wide. (well, some are wider than others.(smile))

Ok! Here’s the biggest point!! Ready!? Your center is the balance point in your body. When your center does not fall within the area of your foundation you WILL lose balance, NO EXCEPTIONS! (smile) Many fighters violate this fundamental principle. The only reason they do not fall down is they “catch” themselves by splaying feet out, or lunging around wildly. Of course, if you widen and splay your feet in an attempt to not hit the dirt (ergo, you adjust your weight distribution to compensate) you drastically affect your ability to move…. If you can’t move… you will be struck.

The biggest problem for many of us is we do not understand where our Center is. (and I don’t mean emotionally or spiritually…… yet…) Understanding where your center is, and how you can manipulate it is essential to the next fundamental……. Movement. So how do you find your center? Well, in class, you will/have seen some simple exercises to help you develop your understanding of center. If not… Check out the web site. I’ll have them posted there.

Unit: The Four Foundations
Chapter: The Foundation of Poise
Lesson: Rotation and Stance

Rotation: The act of rotating as if on an Axis. This sounds pretty self explanatory. “Something” rotates in a specific way around an axis of some sort. But how does this apply to our fighting art?!

Rotation of Joints: There are basically two kinds of “joints” in our bodies, Hinge joints, and ball joints. Can you think of examples? Sure you can, your smart! If we were being trained our art by a 14th century master, we would start with grappling and wrestling. Believe me, these activities will give you a very ACUTE understanding of which joints do what, and how far you can take one or the other. But, we can’t really start with grappling, so we have to use our heads and bodies to figure this out another way.

Hinge Joints are things like our knees, and elbows. These travel a specific direction, and stop at a specific range. Here is a VITAL clue…… Ready? IF YOU USE A JOINT IN THE WRONG WAY IT WILL BECOME DAMAGED!! Seems simple enough, right? Then why do people consistently try to rotate on their KNEES!? Shame on you! Hehe.

Ball Joints are things like our hips, wrists, neck, spine, etc. They can go in multiple directions and stop at a specific range. THESE are the joints we can use to rotate upon.. well, in a specific manner that is.

Not only does the nature of our joints dictate what is safe for us to do, but it also dictates the manner of our movement. That, along with balance, and C.G. will dictate our stance… more on that in a sec.

Rotation around our C.G: Ready for another physics lesson?! How bout THREE! I knew you would be!

1. The closer a technique (rotation) is to your own C.G., the more strength you will appear to have. Here’s a good example. Hold a heavy box arms length in front of you. Tough, eh? Now, hold the box close to you. You appear to have more strength, right?! There’s lots of physics reasons for this, just trust me right now….

2. The closer a technique (rotation) is to your own C.G. The faster the Acceleration.

3. The closer a technique (rotation) is to your own C.G. the greater the “perceived” speed.

Think of your C.G. as your Axis, your center of rotation. Every movement, technique, generation of power, twitch, flail, everything starts from here. (or at least should) For instance, if you use your WHOLE BODY in a movement, rotating around your C.G. you will be FAR stronger, faster, etc than if you just used your arm. (we’ll talk about that a lot later) Want to know how that Shot Putter can throw that cannon ball so far? He uses the exact same principles. How far do you think he could throw it if he tried it at arms length? How long do you think his elbow would last doing that kind of thing? Nuf’ said for now…

P.S. Don’t think of rotation around your center as just a horizontal type thing. There is also a vertical component to it. Want to triple the force of your technique? Time a slight sink of your C.G. the moment your sword contacts your opponent in a downward cut. (That’s a freebee for now. Chuckle)

Stance: A position you take physically.
Finally!! We had to go through all this just so I could tell you how to stand!? No, we had to go through all this so you would understand WHY we stand the way we do. If your brain KNOWS why, and your body FEELS why, you are on the first stage to mastering technique. (that’s for another lesson though) Below, you will see four steps of progression on why we construct a stance this way. You will see this format a lot moving forward. In another lesson, I will tell you the reasons behind the form, but for now……

1. Principle: We need a physical position which reflects the landscape of our engagement.

a. Landscape?! What does that mean? The bodies we have, the rules of the game we play, the armor and weapons we use all make up the “landscape” It is the reality, the physical requirements of our art.

2. Strategy: Our stance must be capable of power generation, and stability, and must allow us to move freely in all directions.

a. Ever seen a Strip fencer? Notice his stance? The strategy behind this stance is dictated by the principle of his landscape. Ours is the same. The strategy is different, but the principle remains the same.

3. Tactic: We will use the tools of our balance, Center, and Rotation to position ourselves in such a way to achieve our strategy.

a. These things dictate the tactic we will use. We cannot use a Wuji stance, for instance, or a strip fencer stance because they do not fit into our strategy.

4. Technique: The physical stance is dictated by the principles or “landscape” of our game, The strategies required to operate in that landscape, the tactics dictated by those strategies, and the tools we can bring to bear to execute our strategy. And here is the Technique:

i. One leg is presented forward, with the toes pointing toward one’s opponent.

ii. The other leg is held back, with that foot forming an approximately 45 degree angle with the leading foot.

iii. The feet should be close to shoulder width apart, or a hair wider, depending on body type.

iv. The back and neck must be straight with the body held upright, but relaxed. The C.G. should be in your belly, evenly distributed between your legs.

v. You are always on the balls of your feet.

Now, Here’s an exercise… Each one of these components of the stance has a reason. They are grounded in the realities of balance, Center, and Rotation. Can you figure out how each component relates to these other things? Try it!


Unit: The Four Foundations
Chapter: The Foundation of Movement
Lesson: The manner and technique of movement

Movement is the engine of success. Without the foundation of poise, movement is lost, but without movement, Poise can give us nothing. To put it succinctly, successful fighting depends on gaining a positional advantage. Do you think you can gain a positional advantage without moving? No, of course you can’t. Many fighters tend to gracelessly lumber into weapon range, plant themselves so fixedly that they cannot move, and begin flailing away ineffectually. Believe me, I still do this. I am constantly trying to break that habit. There is a VERY GOOD reason why swordsmanship is constantly being referred to as a “Dance”. Can you dance without movement? No.

Quite Simply, if you are not moving, you are waiting to die. Does this mean we are constantly twitching about, with no purpose? Absolutely not. Weaving and bobbing about with no purpose is wasteful of energy. Now, of course, if there is a PURPOSE to bobbing about, that’s different, but we will get into that later.

So, fine, you get it. We have to move. Firstly, in what manner do we move, and secondarily, How do we move? The manner in which we move should reflect a couple things. They are…

Moving with Grace: Bruce Lee once said; “Moving, be like water. Still, be like a mirror. Respond like an Echo”. We will revisit this quote later, but the first part is important to us. Graceful movement is the byproduct of two groups of things; The proper application of the Foundation of Poise, Economy of motion, And the three aspects of Combative Conditioning (Flexibility, Endurance, Strength) We will talk about each of these in greater detail later. For us, this can all be summed up in a single Italian word. “Sprezzatura”. (yeah, yet another teaser. That single word contains a lifetime of lessons) The important point for this particular lesson though, is, when you move, do not “Throw” your weight, and Catch yourself before you fall (this is exactly how many of us walk) Rather, Think of pouring your weight from one foot to another, similar to pouring water from one glass to another. Oh, one more thing. If you are not on the balls of your feet, all the movement techniques that follow will be AWKWARD, to say the least.

Moving with purpose:
A fighter without movement is like a woodworker with his tools nailed to the workbench. When we move, it should be for a purpose; to create a positional advantage, to begin an attack using a specific technique, to close or open distance, to misdirect our intent with evasive actions, etc. With so many reasons to move, for heaven’s sake, don’t just move into somebody’s attack for no purpose.

Now, we get down to HOW we move…. WOOHOO! There are basically two different techniques of movement used in swordsmanship. (lots of variations, but these are the basic techniques) Oh, Incidentally, remember when we talked about rotating your movements around your C.G (center of Gravity) in previous lessons? That’s exactly what you should do here. When you are moving, remember to concentrate on rotating the movements around your center. This will help your grace and control.

Steps: There are Four steps.
• Forward (Cressere “growing larger”): Shift your center forward, (NOT leaning forward), lifting the front foot at the same time and pushing forward with the back foot. The front foot is carried forward around 12 inches. Place the foot down on the ball. Then lift the rear foot, carry it forward the same distance and place it down ball first.

• Reverse ( DeCressere “growing smaller”): Shift your center back, lifting the rear foot off the ground, pushing backwards by straightening the front leg. The foot is carried about 12 inches, and is placed down, on the ball. The front foot is then lifted and carried back the same distance.


• Passing (Passare): This is similar to walking. Shift your center forward, un-weighting your back foot. The ball of our forward foot will essentially become a pivot. Open your hip joint, allowing your back foot to pass your forward foot. Your pivot foot will wind up at an angle as it becomes the “new” back foot. Place the “new” forward foot down on the ball, and center your weight. Note: Your shoulders and upper body DO NOT change orientation. You should feel taught and ready to strike. This may feel strange to begin with, but it is very important to not allow your shoulders to rotate and change orientation. When you are done, you should feel the kinetic energy available if you rotate your center and shoulders. This step can have great tactical and positional advantage.

• Backward Passing (Tornare): Essentially the same as the passing step, using the same body manipulations merely moving backward.


Turns: (Volta): There are Three Turns. In Italian, Volta may also mean time. As we have touched on in other lessons, Time, distance, poise and movement are inseparably intertwined. These turns take different amounts of time to complete. They are arranged from the fastest to the slowest.
• Stable Turn (Volta Stabile): The Key to power Generation. Note this ONLY works if you are on the balls of your feet. It also allows you to fight in multiple directions, as is necessary in melee, etc. Simply rotate around your center, pivoting on both balls of your feet. You will wind up facing a different direction. It is this rotation that powers your strikes. This is actually what is happening when you are admonished to “rotate with your hips” Note: if you are NOT on the balls of your feet, you are twisting your knees, this is damaging, and not efficient.

• Half Turn (Mezzo Volta): Essentially the same as a passing step, but you are allowing your center to rotate with your feet. You wind up turned in a different direction. This is usually used in conjunction with a strike, but not always.

• Full Turn (Tutta Volta): move your C.G. onto your back foot, and pivot on the ball. Rotate your center, and place your front foot in the direction you desire. This is used if you are “crossing” your opponent’s attack. It is the slowest turn.

Note: Now, How about direction of movement?! This will be discussed a lot later, but for now, remember there are basically eight directions you can move. Think of your front foot being on a clock face. You can move to 12:00, 2:00, 6:00….. You get the idea. every step and every turn can move toward, or terminate in all eight directions. Try to remember that the rule of thumb is to move the foot closest to your desired direction/intent first.


Unfortunately, some of the format is a little off from cutting and pasting. I hope it is not too annoying.

Thank you!
Rob

[xiao]

Nice!

Sprezzatura is my favorite word ever.

[Big King Jimmy]

What is this an excerpt from? I'd like to read the whole book.

[Winfang]

Did you write this? I've never came across such a good primer for footwork before that's fun to read.

[xiao]

The most important aspect of sprezzatura is its two-layered nature: it involves a conscious effort which is disguised by a concealing act. Things which require effort are to be performed casually.


Anthony Blunt interprets it this way: "It will vanish if a man takes too much pains to attain it, or if he shows any effort to attain it. Nothing but complete ease can produce it. The only effort which should be expended in attaining it is an effort to conceal the skill on which it is based; and it is from sprezzatura, or recklessness, that grace springs."

(http://wso.williams.edu/~espence/sprezzmeaning.html)

Sprezzatura, an Italian term, is the art of making the difficult look easy. (from the wiki)

[druminmychest]

I wrote this material. It is part of an effort to quantify a structured training regimen for fighters. If you see merit in these kinds of things, I would be happy to post more on other topics for discussion. I hope it is useful. (smile)

Sprezzatura is a word with a great number of connotations when applied to the Sword arts, and as such, is famously hard to encompass with a definition... Almost like a Zen koan, in some ways.

one definition I enjoy pondering is that Sprezzatura is the art of artlessness.

yours
Rob

[Kyrian]

It's definitely useful and please do continue posting.

In Wolfpack, we're trying to implement a 6-session basic skills training plan for our new fighters starting in the fall semester and we can use any information you can provide. Also, do you have drills that you use specific to attack/defense integration and attack/defense/footwork integration?

Thanks.

[druminmychest]

When one speaks of drills, I try to organize my thoughts against the idea that there are (at least) two different kinds of drills, and developing a well rounded fighter requires multiple kinds of drills encompassing the area you are working on.

Now, the drills, of course, are dictated by the landscape of the art, so the drills below might have to be tweaked for the specific needs of Belegarth fighting, but I shall add some stuff as an example, or at least as material we can talk through.

In my opinion, there are Technical, and Tactical drills.

Technical: Execution of specific techniques, basic or otherwise, such as body mechanics, footwork, bladework, etc.

Tactical: The application of Technical skills in an integrated situation.

I believe the technical drills come first. If you don’t know how a saw operates, you cannot use it to build a cabinet. Technical drills should be created so that they not only reflect an individual physical technique, but the principle behind it as well. Put in another way, Maestro Sean Hayes (A very astute guy and classical fencing master) once wrote…..

“If the student has not developed a thorough understanding of the basic theory and principles, he or she really can’t use those principles to observe and assess the adversary, and develop a plan of attack--- a strategy”.

Technical drills should be multi-layered, such as the Kata below: (note: I am not sure this would work with Belegarth as it stands, as there are no attacks to the head allowed, and lower targets are viable in your System, but you get the idea. The framework could still be used, as well as the progression)
_________________________________________________________________
Kishido S&S Kata Ver 1.3

Performance Note: Perform this slowly, focusing on perfection of movement and efficiency of activated muscles. Relax all muscles but the ones engaged in the movement. Breathe in or out with each discrete movement.


Salute the Crown: focus on clearing and relaxing your body. Allow the tension to drain from your head to your toes and out into the ground.

Salute your inspiration: Clear and relax your mind. Let your concerns and external thoughts drain from you. Bring your focus to the NOW.

Salute your Compagnio: No mind. Your mental focus should be wholly on the now, ready to react, and free of pre-conceived clutter. Invite your imaginary compagnio to the dance. Bring yourself to your ready and receptive stance, your center aligned to 12 O’clock

Visualization A: Imagine with as much detail as you can, your compagnio standing ready in front of you. The clearer the visualization, the better the exercise. See the armor, feel the pressure of his presence. Watch as he steps into B range, and becomes vulnerable to your attack.

Form 1: Breathe In. Breathe out as you mezzo Volta right (right passing step), Cutting from right shoulder ward to your compagnio’s right temple (opening 2), Your Center should end facing 11’Oclock as you recover to underarm.

Form 2: Breathe In. Breathe out as you Cressire (left slope step) toward 9’Oclock, Mezza Volta slightly as you Cut from Underarm to your Compagnio’s left leg (opening 3) Your Center should end facing 2’Oclock as you recover to Porta de Ferro

Form 3: Breathe IN. Breathe out as you Mezzo Volta left, (left passing step) (pivoting on your lead foot), performing a low vector wrap from Porta de Ferro to your Compagnio’s right leg (opening 4) your Center should end facing 11’Oclock as you Recover to reverse crutch guard.

Form 4: Breathe In. Breathe out as you Mezzo Volta right(right passing step) ,(pivoting on your trailing foot), performing a Mulinet Cut from reverse crutch guard to your Compagnio’s left temple (opening 1) your Center should end facing 2’Oclock as you recover to Porto de Ferro (attack to upper left opening)

Visualization B: Having been cut many times, your Compagnio retires. You sense a new Compagnio to your right. You feel the pressure of his intent over your shoulder.

Form 5: Breathe In. Breathe out as you perform a Tutta volta. (complete turn) Your center should end facing 3 O’clock as you move your sword to tail guard.

Form 6: Breathe In. Breathe out as you Volta Stabile, (stable turne) while cutting to your compagnio’s right leg (opening 4) Let your wrist break after contact, moving your sword hilt past your face, in front of your left shoulder, sword trailing. Your center should end facing 1 O’clock

Form 7: Breathe In. Breathe out as you Cressire (slope step) toward 6 O’clock, performing a backhand cut to your compagnio’s left temple (opening 1) Your Center should be facing 3 O’clock as you recover to right window guard.

Form 8: Breathe In. Breathe out as you thrust to your opponent’s head, performing a Tornare. (reverse gathering step) (opening 2) Your Center should be facing 2 O’clock as you recover to Underarm.

Form 9: Breathe In. Breathe out as you thrust to your opponent’s left chest, performing a Cressere (slope step) toward 2 O’Clock. (opening 1) Your center should be facing 2 O’Clock.

Visualization C: Being defeated by your flurry, your Compagnio retires. You sense a new Compagnio behind you. You feel the pressure of his intent upon your back. As you turn, he rushes in.

Form 10: Breathe in. Breathe out performing a Volta Stabile. (complete turn) Your center should end facing 9 O’Clock as you move your sword to right shoulder ward.

Form 11: Breathe in. Breathe out as you cut a rising backhand to your Compagnio’s left temple, (opening 1) performing a volta stabile. (stable turn) Your center should be facing 10 O’Clock, performing a teardrop return through tail guard.

Form 12: Breathe in. Breathe out as you Cut a low wrap to your Compagnio’s back leg, (opening 4) performing a mezzo volta. (reverse left passing step) Your center should be facing 8 O’clock, performing a return through underarm.

Form 13: Breathe in. Breathe out as you cut a low false edge cut to your compagnio’s left leg (opening 3) performing a mezzo volta. (right passing step) Your center should be facing 11 O’clock, performing a low teardrop return.

Form 14: Breathe in. breathe out as you extend the teardrop return through to a sinking thrust to your compagnio’s head (opening 2), performing a mezzo volta. (left passing step) Your center should be facing 8 O’clock, performing a return to underarm.

Visualization D: Being defeated, the third Compagnio retires. You sense another to your left. You feel the pressure of his intent. As you turn, he attacks.

Form 15: Perform a tutta volta (complete turn) to face 6 O’clock Remain in underarm.

Form 16: Breathe in. breathe out as you turn the point over to thrust into you compagnio’s lower belly. (opening 3), performing a passare to 3 O’clock. Your center should be facing 7 O’clock.

Form 17: Breathe in. Breathe out as you mullinet through underarm into a cut to your Compagnio’s right temple (opening 2) performing a cressere toward 3 O’clock. Your center should be facing 6 O’Clock.

Form 18: Breathe in. Breathe out as you perform a rising backhand to your compagnio’s left upper breast (opening 1) performing a mezza volta. Your center should be facing 7 O’clock, low teardrop return to tail guard.

Form 19: Breathe in. Breathe out as you cut a rising wrap to the back of your compagnio’s upper right leg (opening 4) performing a mezza volta toward 8 O’clock

Form 20: Perform a volta stabile to 12 O’clock, completing a return to right shoulder.


Visualization E: If you wish to end. Perform the salutes again. If you wish to continue. Imagine your original compagnio reappearing in front of you, and begin the sequence again.
_________________________________________________________________

Tactical drills should allow the student to demonstrate integrated techniques, and give them time to work through things intelligently, so they will eventually do these same tasks instinctively, such as this small and simple drill….
_________________________________________________________________
Kishido
Turn based Engagement drill
Ver 1.2


Primary purpose: To practice proper footwork and attack/counter progressions

Secondary purpose: To practice identifying targets resulting from movement/angle

Required Equipment: primary weapon system only, armor not necessary


Setup: Two companions will set up in C range, ready to attack. One will be designated to initiate the attack.

Rules of engagement: using a slow pace, Each companion will take turns acting upon the other’s movements or action. During a turn, the active partner may take one step, and pause. He will then execute the proper body mechanic, touching each open target he identifies. When he has exhausted his possible targets, his action is over. He will stay in the position he ended up in at the end of his action. His partner then counters in the same manner. This continues until one combatant is either unable to effectively attack due to footwork, or completely out of position due to incorrect action.

Further Execution note: Each attack and counter action should be executed using good, and realistic form. For instance, when identifying a target by touching it with your weapon, Slowly perform the proper body mechanic and technique. When countering, Execute the proper technique using good and realistic form.

Goal: The companions should be able to execute a composition of four attacks/counters, while maintaining good footwork and identifying each target that presents itself due to their action. If each companion can attack/counter four actions, and remove themselves from range in the end using good footwork and technique, they have succeeded.

Conclusion: After each sequence is finished, the group (if it is observing) or the companions (if no group is present) will seek to identify “where they went astray”, if one or the other failed.


These would be examples of the two different kind of drills…

Hope this helps!
yours
Rob

[xiao]

i'm in to it.

[falcon]

The most improtant aspects of stance and footwork are balance and you should feel cofortable or that it is natural.don't train over some habits. with most you should just modify them. it is much easyer.

[Magpie Saegar]

I've always wanted to try playing a normal game of soccer, except that people have belegarth equipment and if you die, you count to ten in place and then respawn.

I haven't tried it yet, but I'm guessing that would really help your footwork.

[Davit]

Excellent job druminmychest, this information is great. I also think a lot of it can be translated to Belegarth rather smoothly. I know through some of my stage combat experiance (2 semesters awesome stuff btw, just not much application to bel) that you can take forms and kata's and such and change them, although with some difficulty to try and keep the fluidity of such things, but it would be of tremendous value to the sport as a whole.

Thanks again for these posts.

[PeterBB]

I happen to take Aikido (and ballroom dance... this thread is kinda spooky) and the Aikido stance is exactly what you are all describing. So while say a Tae-Kwon-Do stance (designed for ease of kicking) is probably not a good idea, saying as a blanket rule that you shouldn't use a martial arts stance is incorrect.

[Big King Jimmy]

The idea of a Belegarth specific kata had never occured to me. It would be a fantastic tool.

[Aegis]

I've always wanted to try playing a normal game of soccer, except that people have belegarth equipment and if you die, you count to ten in place and then respawn.

I haven't tried it yet, but I'm guessing that would really help your footwork.

im totally in for foam combat soccer.(aka . FULL CONTACT SOCCER)

[druminmychest]

PeterBB, your right. the poise that fits the required fundamentals, strategies, tactics, and techniques of the art is an appropriate one. Your right, Aikido stance is very similar to what I describe. But the poise should be adopted because it logically fits into the reality of the art, and not because it is duplicated from another art. As I'm sure you well know, as you are actively studying, there are certain fundamental principles that all martial art must deal with, and have a strategy for.

There is a reason why certain Kenjitsu stances and cuts look very similar to some stances and cuts from Fiore's flower of battles.

Fun stuff!!!

yours
Rob