Channel 13 visits the school

Filed as General with 1 reply

A reporter from the local CBS station visited our school and created this natural sound piece.

Using Classical Phrasing to Teach the Spanish Attacks

Filed as Classical Fencing, Destreza (Spanish swordplay), Fencing, General, Historical Fencing with 3 replies

When a classical instructor from my tradition introduces new techniques each fencing action is taught individually with a focus on form, distance, and timing.  Too much emphasis on individual actions can create fencers without depth or the ability to react tactically within the moment.

One of the teaching methods used later in the process is the building of extended phrases of actions to challenge the student.   The instructor continually pushes the student with progressively more difficult actions executed in situations more like actual fencing.

By creating an extended sequence, the student is asked to perform at a higher level.  Form, Distance, and Timing are still critical and actions executed in extended phrases help to prepare the student for the rigors of the bout.

The 5 Spanish Attacks

1. Thrust
2. Half Cut
3. Half Reverse
4. Circular Cut
5. Circular Reverse

(For more on the Spanish Attacks read Mary’s Ettenhard Translation )

Our students have been working on these attacks in different situations for the past 9 weeks.  At times a focus on technique can feel scripted.  While important, technique building work (like repeated lunges in the Italian tradition) may not reflect the action-reaction dynamic that occurs in actual fencing.

By developing a sequence of actions, we provided the students with a glimpse of how a fight could progress and gave some sword-in-hand insight into different choices that could be made in the phrase based on the adversary’s action.

“If he does this, you can respond with this.”

“If he does this instead, consider this response.“

Asking your fencers to consider different tactical options and to think critically about fencing theory in actual practice will create better fencers.  Learning to read and adapt to your adversary is one skill that requires attention and practice.  There is no substitute in a sword fight for good problem solving skills!

Creating an Extended Phrase

My goal was to include each Spanish attack once during the different mutations of the phrase.

A Guide to My Fencing Notation

Each action is notated once in sentence form as I would call it in a lesson.  Then I briefly notate the action again by Movements which is a more Spanish approach.  The Spanish notation provides us information about time as well.

Example:

“X. Sentence describing some fencing action…”

• Movement 1 - do this
• Movement 2 - do that

HINT: Count the Movements and you are also counting the tempo.  Spanish notation is fairly sophisticated in its ability to simultaneously describe an action and the timing.  In Pacheco’s work he often notates an Italian action and then breaks down his tactical responses movement-by-movement.   Compare this method to the Bolognese example of notating from starting guard through motion to final guard and you will see a similar idea.

If the notation or jargon looks intimidating, consider peeking at my previous articles to help decode the action.

• Article on Movements
• Article on Footwork

If there is some interest in this particular phrase, I will do what I can to post a series of videos showing how they can be executed.

The Lesson

Note: All lessons begin and end with a formal salute.

This lesson was performed by pairs of students alternating roles.  As the sequence progresses the instructor (the fencer receiving the touch) either invites to initiate the action or responds to the student’s invitation.

Understand the difference between skill-building and fencing

This lesson includes some unrealistic actions.  The most heinous example is the initial invitation that removes the point from the line of the diameter.  This would be expressly condemned in the Spanish texts because the movement serves no purpose but to create an avenue for the adversary’s attack.

As an instructor, I might use this offline motion as an in-time cue (a motion cue) intended to immediately provoke the student’s attack.

Example: Thrust executed in time

In time as the instructor invites on the outside line, thrust to the chest with a transverse step to the left.

• Movement 1 - Instructor invites with an offline movement left (fingernails up).  Student thrusts with a transverse step left.

As the instructor, I certainly want my student to capitalize on a movement of this kind.  In this case, we are using the 1-movement thrust.  In the lesson below, I use the 2-movement half reverse instead.

On the student’s side it is perfectly reasonable to assume that at some point during a bout, the adversary might deviate your weapon from the line of the diameter (perhaps with a beat).   Knowing how to respond when your point has been deviated from the line is valid training and creating this initial disadvantage provides us with a key training opportunity for placing an atajo over the incoming attack.

I should also point out that the thrust has fewer movements (1) than the other attacks (2-3).  In the sequence below, there are numerous instances when a thrust would be a faster response than the various cuts.  Again, the intention is to force the student to execute certain technical actions like the cutting attacks and placing an atajo under stress.

Thrust (Line in Cross)

1. From the student’s atajo on the outside line, thrust along the diametric to the chest with a curved step right.

• Movement 1 - Student executes a thrust with a forward movement and a curved step right.

Half Reverse

2. From the instructor’s invitation on the outside line, half reverse to the outside cheek with a curved step to the right.

• Movement 1 - Instructor invites with an offline movement left (fingernails up).  Student chambers the half reverse with an offline movement left.
• Movement 2 - Student delivers the half reverse with an aligning movement and a curved step right.

Half Reverse & Thrust (Line in Cross)

3. From the student’s invitation on the outside line, the instructor executes a half reverse to the outside cheek with a curved step to the right which the student intercepts with an atajo on the outside line followed by a thrust along the diametric to the chest with a curved step right.

• Movement 1 - Student invites with an offline movement left (fingernails up). Instructor chambers the half reverse with an offline movement left.
• Movement 2 - Instructor delivers the half reverse with an aligning movement and a curved step right which the student intercepts with an atajo on the outside line.
• Movement 3 - Student executes a thrust with a forward movement and a curved step right.

Half Reverse & Half Cut

4. From the student’s invitation on the outside line, the instructor executes a half reverse to the outside cheek with a curved step to the right which the student intercepts with an atajo on the outside line followed with a half cut to the inside cheek and a transverse step left.

• Movement 1 - Student invites with an offline movement left (fingernails up). Instructor chambers the half reverse with an offline movement left.
• Movement 2 - Instructor delivers the half reverse with an aligning movement and a curved step right which the student intercepts with an atajo on the outside line.
• Movement 3 - Student executes a half cut with an aligning movement and a transverse step left.

Half Reverse & Circular Cut

5. From the student’s invitation on the outside line, the instructor executes a half reverse to the outside cheek with a curved step to the right which the student intercepts with an atajo on the outside line.  In response the instructor seeks to increase degrees of strength in the engagement with a movement of increase and attempts to gain an atajo on their own outside line.  The student eludes the movement of increase with a circular cut to the inside cheek with a curved step to the right.

• Movement 1 - Student invites with an offline movement left (fingernails up). Instructor chambers the half reverse with an offline movement left.
• Movement 2 - Instructor delivers the half reverse with an aligning movement and a curved step right which the student intercepts with an atajo on the outside line.
• Movement 3 - Instructor uses a mixed violent and aligning lateral movement in an attempt to execute a movement of increase and place an atajo on his own outside line.  In response the student executes an offline movement left to escape the engagement.
• Movement 4 - Student chambers the circular cut with a violent movement.
• Movement 5 - Student delivers the circular cut with a natural movement with a curved step right.

(Movements 3 & 4 may be combined into a mixed movement offline and violent to elude the engagement and chamber the circular cut simultaneously.)

Half Reverse, Circular Cut, & Half Reverse

6. From the instructor’s invitation on the outside line, the student executes a half reverse to the outside cheek with a curved step to the right which the instructor intercepts with an atajo on the outside line.  In response the student seeks to increase degrees of strength in the engagement with a movement of increase and attempts to gain an atajo on their own outside line.  The instructor eludes the movement of increase with a circular cut to the inside cheek and curved step to the right.  The student intercepts the circular cut with an atajo on the inside line and executes a half reverse to the outside cheek with a curved step to the right.

• Movement 1 - Instructor invites with an offline movement left (fingernails up). Student chambers the half reverse with an offline movement left.
• Movement 2 - Student delivers the half reverse with an aligning movement and a curved step right which the instructor intercepts with an atajo on the outside line.
• Movement 3 - Student uses a mixed violent and aligning lateral movement in an attempt to execute a movement of increase and place an atajo on his own outside line.  In response the instructor executes an offline movement left to escape the engagement.
• Movement 4 - Instructor chambers the circular cut with a violent movement.
• Movement 5 - Instructor  delivers the circular cut with a natural movement and a curved step right which the student intercepts with an atajo on the inside line.
• Movement 6 - Student uses an aligning lateral to deliver a half reverse with a curved step right.

(Movements 3 & 4 may be combined into a mixed movement offline and violent to elude the engagement and chamber the circular cut simultaneously.)

Half Reverse, Circular Cut, & Circular Reverse

7. From the instructor’s invitation on the outside line, the student executes a half reverse to the outside cheek with a curved step to the right which the instructor intercepts with an atajo on the outside line.  In response the student seeks to increase degrees of strength in the engagement with a movement of increase and attempts to gain an atajo on their own outside line.  The instructor eludes the movement of increase with a circular cut to the inside cheek with a curved step to the right.  The student intercepts the circular cut with an atajo on the inside line.  The instructor responds with a movement of increase attempting to place an atajo on their own inside line and the student responds with a circular reverse to the outside cheek with a transverse left or a circular step left depending on the distance.

• Movement 1 - Instructor invites with an offline movement left (fingernails up).  Student chambers the half reverse with an offline movement left.
• Movement 2 - Student delivers the half reverse with an aligning movement and a curved step right which the instructor intercepts with an atajo on the outside line.
• Movement 3 - Student uses a mixed violent and aligning lateral movement in an attempt to execute a movement of increase and place an atajo on his own outside line.  In response the instructor executes an offline movement left to escape the engagement.
• Movement 4 - Instructor chambers the circular cut with a violent movement.
• Movement 5 - Instructor  delivers the circular cut with a natural movement and a curved step right which the student intercepts with an atajo on the inside line.
• Movement 6 - Instructor uses a violent and aligning lateral movement in an attempt to execute a movement of increase and place an atajo on his own inside line. In response the student executes an offline movement right to escape the engagement.
• Movement 7 - Student chambers the circular reverse with a violent movement.
• Movement 8 - Student delivers the circular reverse with a natural movement while stepping transverse left or curved left depending on the distance.

(Movements 3 & 4 may be combined into a mixed movement offline and violent to elude the engagement and chamber the circular cut simultaneously.)

(Movements 6 & 7 may be combined into a mixed movement offline and violent to elude the engagement and chamber the circular reverse simultaneously.)

Ultrasound Video of Identical Twins

Filed as General with 1 reply

We went to the doctor today and found out that our twins are diamniotic monochorionic.  That means each twin has an individual amniotic sack but they share a placenta.  It also means the twins are almost certainly identical twins.

We also got our first twin video!

13 Week Ultrasound

(You can select one of the buttons on the bottom of the video to watch it full screen.)

Pregnant with Twins (Embarazada de Mellizos)

Filed as Classical Fencing, Destreza (Spanish swordplay), Fencing, General, Historical Fencing, Italian Rapier with 17 replies

My lovely wife is pregnant with twins and the first trimester officially ends on Thursday, February 25, 2010.  Of course, you want to see the pictures and I won’t deny you.

Baby Pictures

Here is the latest Ultrasound from this last Thursday:

Things seemed to be going fine with the Ultrasound when the doctor noticed some strange behavior.

Fortunately, I was there and was able to interpret what was happening inside Mary’s tummy.

Seriously Now…

When Mary and I got back from Spain, we got our lives back into a semblance of order and then gave it our best shot.  We got pregnant almost immediately and had a bit of a scare at 7 weeks when we thought we were out of the game for awhile.

We were scheduled for an emergency ultrasound and that’s when we discovered not only was Mary still pregnant, but that there were two little hearts beating in there.  We’re incredibly happy and things are going very well for us now.

Because of the earlier scare, we have been keeping this quiet but with the first trimester ending next week we’re lifting the veil of secrecy.  My blog has been remarkably quiet of late and that’s because a good deal of our effort has been consolidated into writing up our experiences as we go through the pregnancy on Mary’s blog.  Until today, these entries have been password protected with only immediate family having access.

The due date for a typical pregnancy would be about September 9, 2010.  With our twin pregnancy, we expect the twins to arrive sooner, sometime in mid August.

Mary’s Baby Blog

We’ve been blogging about the whole thing since we found out and you can read about it here:

• Mary’s Blog
• The First Pregnancy Post
• The First Ultrasound
• Mary’s Twin-Bump
• The Second Ultrasound:
• Mary’s Twin-Bump Part 2
• Puck’s First Twin Post

If you want to read all the posts (which is not required by any stretch of the imagination), start on January 1, and use the calendar on the right to select the different dates.

We’re having a wonderful time working our way through the process.

Fencing Criticism and Feedback for Dummies…

Filed as Classical Fencing, Destreza (Spanish swordplay), Fencing, Historical Fencing, Italian Rapier, Opinion with no replies

Fencers?  Cocky?  Never!

I recently witnessed an Internet discussion on fencing that rapidly degenerated into bad blood.  Using my best sarcastic voice, I hereby state, “It may surprise the world to learn that fencers are notoriously cocky and prone to confrontation.”

Any fencing teacher can watch a fencing match and provide valid criticism and feedback. Regardless of the quality of the fencing in question, how your criticism is delivered tells the world what kind of person you are.  More specifically, they get a window into how you might treat your own student.

If your goal is to humiliate and punish the student you are certainly welcome to say whatever you like, but I have a three-point system for delivering feedback based on my experiences training for the fencing master’s program.

Puck’s 3 Rules for Corrective Feedback

• Precise - Feedback should not be vague.  ”Fix your arm” is not an acceptable correction from a fencing teacher.  That could mean anything.  You do not want the student trying to guess what they should correct. ”Extend your weapon arm first during the lunge;” “In the guard create a straight line from elbow to weapon tip;” “Close the line when striking.”  These are all specific corrections tightly focused on the problem.
• Concise - Nothing breaks up the tempo of a fencing lesson like veering off into an extended discussion of tangential theory.  There is a place for extended discussion, but on the floor a short and precise explanation preserves the flow of the lesson.  Don’t let your fencer’s legs cool off while you wax poetic about the joys of striking in countertime.  Importantly, don’t lecture while the student is on guard.  If you are going to provide anything more than short feedback, put them into a resting posture like first position.  Don’t spend sweat and energy having your student hold a guard as you prattle when you could spend that energy on fencing actions.
• Nice - This seems obvious, but it bears repeating.  Don’t be a jerk when you deliver your correction.  As a fencing teacher, you are engaged in the process of creating a skilled fencer.  Like any person responsible for creation there will be challenges in the process.  It is a poor artist that wrecks his own canvas.  There is often a natural and friendly antagonism between the fencing master and the student, but the goal of the teacher should always be to build the student and not to destroy them.

Both fencing and teaching are very rewarding.  Nothing worth doing is easy all the time, but if we can take a bit of time to treat each other with respect and focus on building better fencers we will all benefit.

~P.