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Historical Weapons Guild
เข้าร่วมเมื่อ 5 ม.ค. 2017
WEIRD Open 2024
Check out all the fun of WEIRD 2024 in this fantastic video that encompasses all this unique HEMA event is about.
Video and Editing by: purepoet.art/
Grackle art by: purepoet.art/
Music:
All That by Bensound | www.bensound.com
Music promoted by www.free-stock-music.com
Lucid Dreaming by | e s c p | www.escp.space
escp-music.bandcamp.com
Downtown Walk by | e s c p | www.escp.space
escp-music.bandcamp.com
Rhythm Boulevard by | e s c p | www.escp.space
escp-music.bandcamp.com
Video and Editing by: purepoet.art/
Grackle art by: purepoet.art/
Music:
All That by Bensound | www.bensound.com
Music promoted by www.free-stock-music.com
Lucid Dreaming by | e s c p | www.escp.space
escp-music.bandcamp.com
Downtown Walk by | e s c p | www.escp.space
escp-music.bandcamp.com
Rhythm Boulevard by | e s c p | www.escp.space
escp-music.bandcamp.com
มุมมอง: 890
วีดีโอ
AGO2023 - Fight Analysis Video
มุมมอง 219ปีที่แล้ว
The video shared with James Reilly for use on Fencing Video Review.
AHWG Gear Review: ProGauntlet
มุมมอง 1.1K3 ปีที่แล้ว
Thanks to our friends at Purpleheart Armory, we received an advance (and pre-production) model of the ProGauntlet to review. The short synopsis: It's not for beginners, but worth it once you need it. If you want to pre-order a pair, you can here: www.woodenswords.com/ProGauntlet_p/glove.pro.htm?Click=17195
Coming Soon: Hans Medel
มุมมอง 4193 ปีที่แล้ว
Our next resource dive will be Hans Medel! A bit of a black sheep in the Lichtenauer tradition, but full of great information.
Fabris - Plate 33 revised
มุมมอง 3733 ปีที่แล้ว
Fabris Plate 33: A wound of third (or fourth) against a fourth. This plate has two options: 1) The opponent moves to find the fencer's sword to the inside. In this moment the fencer performs a cavazione, during which the opponent attempts an attack in fourth under the sword. During this attack, the fencer pulls away with the body to gain time to get their sword back in line. This allows the fen...
Fabris - Plate 48
มุมมอง 1933 ปีที่แล้ว
Fabris Plate 48: A wound of a fourth against a second. Both fencers start in third to the inside, with the opponent having withdrawn their blade, readying to parry with their left hand. As the fencer feints to the opponent's left hip, the opponent turns their body and lowers their hand to parry, meanwhile turning their sword to wound the fencer in the chest. The fencer seeing this action, perfo...
Fabris - Plate 47
มุมมอง 1373 ปีที่แล้ว
Fabris Plate 47: A wound of a fourth against a third. The fencer performs a feint to the opponent's face, which causes the opponent to attempt to parry with the left hand. During this tempo, the fencer lowers the tip of their sword and performs a girata with the left foot, voiding the opponent's attack while making the wound.
Solid effort mate, have a thumb 👍
Great video! Hope the editor gets paid a bunch. They seem very talented intelligent and charming
I just came for the after-credits scene...
When is the next one?
Well done! Running events can be overwhelming, but knowing people had fun repays all the stress and hard work! Keep up the good work!
Talk about a WEIRD video haha am I right... please clap
<3
Hey guys is Fabris an author? What is the best book out there on Rapier? I am a person who learns best when I can follow up doing something, with also reading about it.
So, I just watched your video with The Modern Rogue, fantastic. I thought Rapier was more linear? I am just learning, not trying to catch anybody out.
Does moving the sword like that around your head leave you open? Also didn't see any thrusts, is that for safety?
It definitely can! This was compiled for the video review series with James Reilly. I'll share the link when he posts it! We spend a lot of time talking about that style of movement and how you can make it work and what to watch out for. Thrusts are definitely allowed, they just didn't make the cut for the video.
Good stuff! I'm teaching this tomorrow.
Hey I'm thinking about joining the beginners course, I'm sixteen and I either didn't see your minimum age requirement or you don't have one. Either way am I okay to join?
I wondered “Why on earth would you train to miss on your 1st strike?” After thought I assume you are using it to knock opponents sword away. Is this correct.
It's more about thinking about controlling the center -- that nebulous space between you and your opponent. This lets you set up follow up actions at the same time you keep your opponent from making aggressive actions towards you.
I almost fell off my seat with that last insult 😂
I remember discussing the idea of turning the sword in your hand between cuts with you. I'm not sure why I missed this video when it came out, but I'm really excited to see that's its out. Subbed
"The supreme art of war is to bully your enemies and stab them when they cry" -Sun Tzu probably
I think TH-cam blacked out your video :/
It still looks good to me.... Sorry to hear it's not showing up though. I'll look into it more after work.
After the feint, are there any options to move left instead?
What if both do rising cutes(cuts)?
hah) He know what's happening)
This was fantastic!
Where did you buy your sword, I want one
In the giratta, what are your thoughts about the hilt to blade contact? The plate doesn't seem to show any blade contact when one is performing the giratta. Towards the end of the video, there seemed to be one where you made contact while performing the giratta. What do you think is the ideal vs the real?
Blade contact is definitely not the intention, and can be caused by pressing out too far during the girata, or by the opponent attempting to track or follow as you move. Contact is fine, but shouldn't be looked for.
Hey dude couldn't hear you . Sorry man I am but just an old man
Fluidity and campion never been so suited
He played well to his outside .terriffic
I want to play with this where the opponent doesn't giratta but simply takes a diagonal step in the direction he would be ... girrata-ing. Does Fabris address this directly?
Not directly (that I can recall). With that said, that type of motion would lead to the primary girata plays, where the primary fencer does the girata. As the fencer moves to find, if the opponent takes the step offline with their cavazione, that step doesn't void / clear the line as easily as a girata does. This lack of motion leaves both fencers in danger, and the fencer could perform a girata to void their own motion and at the same time lock out the opponent's attack. See Plate 31, and possible Plate 37. Somewhere between those two the motions seem to match what you're describing.
@@HistoricalWeaponsGuild Thanks so much for the reply. Funny enough it also kind of relates to plate 48 which you just dropped as well. My answer in this plate, instead of a girata by Anreas, would naturally be to press more straight on still in 4th, and if they attacked to my off-side to make that a dagger parry. I think it's a matter of which movements at which measure make the most sense. I honestly don't know what it would do to the side step you are demonstrating. Thanks for all the content you've been posting, I'm looking forward to playing with it once the pandemic allows my sword community to rejoin and stab each other again.
you're making me want to do more Fabris <3
great stuff
In regards to your parry with the off hand, are you performing it with the arm alone? Or do you find yourself bringing your body into it and making it a smoother motion? If that makes sense....
I definitely rotate the left side shoulder out as I do it. You can see a similar position in the plate. The key to this is starting square and turning out as you make the parry. Don't start oblique and rotate further offline as you'll lose balance and position, not to mention make the parry harder as the blade will be closer to you before you can reach it.
Nice! really want to do some rapier fencing soon!
I saw your content on another channel, and it has me interested in historical martial arts. I began to practice by reading material in two tools I was very interested in. Both tools being the Rapier and the Polish style saber. Do you have any reading material you believe is helpful understanding both these or even just rapier as you practice.
Bad video maybe camera problems. But it cleans up
When you say control the centerline before you actually attack are you still swinging at the other person or are you swinging towards where their sword will be during their attack then trying to control the center?
Controlling the center-line is definitely more the latter - we're at too far of a distance to threaten the other person - an attacked aimed -directly- at them should be ignored by a competent opponent. Instead of thinking of this entry as swinging the sword, we're moving it into place. Yes, it can be done with a cut-like action, but as a means to an end, not because we're looking to hit someone with the 'cut'.
@@HistoricalWeaponsGuild Ok so you are moving the sword into a better position from which to attack not attacking as you are moving into this position?
Again, lovely demonstration. I meant it, this is important work you're doing, bringing modern contextual demonstrations of the plates we usually endlessly debate. Absolutely love it.
Love this, and the emphasis on footwork, which I keep banging on about; the feet are what keeps you alive! Really appreciate how you go through each plate by plate, probably the best HEMA videos out there at the moment. Hopefully you'll do the same to earlier styles as well... *nudge* *nudge*
That's an amazing compliment, thank you! We're planning on doing a similar dive into Fiore (which with my German background will be very interesting), and we've received an advanced copy of a new Hans Medel translation, which should be a lot of fun to dive into as well. Will either of those work?
@@HistoricalWeaponsGuild Ha, it's not a question of what works, I think they're all interesting and if you did any of them, I'd be thrilled. :) Fiore is a favourite because he's so early and so varied (including battlefield fighting, which is my main domain), and ventures into multi-weapon fighting (love the club and pole plates). But Medel has those detailed drawings which would be fun to go through, especially if you've got period outfits to match ... The brilliance of what you're doing is that direct fade into the plates, and then talking around what happens in them, like your comments in this video of how that left shift both deflect the attack and move you in for the blow. I find that people mostly have problems with moving their feet and body around, it's most fighters (even seasoned ones) weak spot. There's so much chatter around the darn weapons - especially the sword - in all of HEMA (and derivatives), the blows, the moving of the hands, blocking, strikes and so on, but so very little on how the feet and knees makes or break you as a good fighter. I just really love how that is talked about, so thanks! (I'm a Czech / Norwegian / Swede living in Australia, so I don't know where I fit in ... :) )
About distance - Zu fecting ? - Krig
About footwork and steps
Thank you guys so much for putting these videos online. They are hugely helpful especially for someone without a fencing group in the area. Happy to see that you are doing online classes as well.
Good video and thanks for sharing. I appreciate that you pay so much attention to measure, I see a lot of demonstrations that begin out of or too far into measure to be realistic so everything else that follows is based on incorrect distances. In the winden to a thrust from below, how do you get the leverage to control the bind when your weak is on their strong? And I cant tell from this angle but is your partners tip close enough to the center line to be a legit threat? It looks like it from this angle so Im curious what you see.
Thank you for this! My fencing instructor told me to get this book and this video works really well as a companion piece.
Meyer says the counter to Doubling (which is what you are doing when winding up to your right side after the zornhau) is the Squinting cut. With that in mind, that really solidifies that counter wind where you wind with the tip down when he counters with the squinter. I'm reading this book currently, and I believe in that situation after you double, if the opponent raises up into crown Jude Lew just does a thwart against the wrist. I enjoyed this video!
Time to learn
I might be the only person on the internet who actually searched Jude Lew to find this video.
If you were, hopefully you won't be the last.
I did the same
If you could get more than just Austin, like for example something in my home state in North Carolina, I'd come.
Its just like the simulations... Trash talk= win
the internet needed this video
This was totally unexpected, hahahaha Awesome!
😂 This made my day.
Are you sure that you're attempting plate 33? The movement and posture you're attempting looks much more like a very poor attempt at plate 32. Specifically, your body mechanics don't resemble the plate at *all*. The orientation of the feet and legs as well as the lean of the torso are all wrong. Neither the plate nor the text support your interpretation of the play. Referring to the text, it notes, "...our fencer pulls slightly away with his body in order to place his sword back in line... Our fencer lowers both his body and his hand in one motion." I don't see *any* of that happening in your demonstration. The Fiore-ish twist you're showing isn't supported in the text for the play, nor generally in Fabris' manual at all. (Also, frankly, it looks like it puts a lot of unnecessary stress on your knees.) I'm really confused as to how you reached this interpretation of the play.
Yeah that's exactly what I was thinking. The body is literally leaning the opposite direction in the illustration and when he actually did it my mind went straight to Fiore.
I agree! Looking back at this, the leg turn out started out small but definitely became more exaggerated as the time went on. As noted above, the lean forward was slowly culled out in an attempt to protect my partner, and ultimately probably lead to the Fiore-like rotation. That said, I do feel like the body drop is there, but Poor body mechanics noted, and we'll definitely work to do better in the future. Thanks for the feedback - and I'll be sure to add it to the list for our next video session so we can get a better one up.
I'm confused why you're bending back instead of forward as shown in the illustration. Is it explained that way in the treatise?
Honestly, it's a factor of doing this repeatedly and safely without excessively damaging the partner. The only thing that is really missing is the lean forward, but since there is already contact being made, I didn't lean in to avoid continually stabbing him in the ribs.