Diana started HEMA in 2013. Her main weapon is Longsword. Starting traveling in 2014 and visiting schools not only over Europe, she was able to train with a lot of great fencers.
Since 2017, she’s not part of any school or club, a fact hat brought her the nickname “the Mercenary”.

Fighting with a Sword is a conversation you have with your opponent.
In this workshop, you will learn to listen again to give the right answer.
We will mainly focus on the aspect of “fühlen an der Klinge”, learn about angles and lines, understand the meaning of different pressures in the bind to be able to react accordingly.

Minimum/Recommended/Ideal gear : A longsword and a Blindfold 

praticers’ level: Intermediate / Confirmed

 

At school age he practices boxing becoming regional champion in the category. Always passionate about history, he approaches historical fencing as a boy; he became a student of Roberto Gotti in 2016 with a study focused on Achille Marozzo and his work of 1536, especially for the two-handed sword and polearms. Since 2016 he has achieved many victories in competitive tournaments, especially in two-handed sword and polearms, he participates as assistant instructor in 2017 at the WMAW in Chicago and as an instructor in 2018; he taught in 2017 and 2018 at the Montpellier event “Marozzo Day” and in 2017 and 2018 at the Ton Puey event “Torre d’Ercole”. He regularly teaches and supports teaching in the Sala d’Armi Guardia di Croce in Brescia in the Scuola Opera Nova. He regularly devotes himself to the study and development of the interpretations of Maestro Marozzo and the Italian Renaissance Masters. Happily married with Laura, he has always lived in Brescia, works as a salesman and has land that he cultivates as an orchard and vegetable garden and a few chickens.

Chapter 180 – Opera Nova1536, Achille Marozzo. A dry and ruthless system of use takes shape with accurate and precise gestures that make the partisan an extremely effective weapon. the teaching will take place thanks to the exposure of the assaults darkened in the treatise and brought back to life with the application of them with and without an opponent.

 

Ayant découvert l’escrime médiévale et le traité de Fiore dei Liberi en 2016 avec Excalibur Dauphiné, je me suis rapidement intéressé aux AMHE, en particulier au travers des stages proposés par Gilles Martinez à Académie AMHE (Rochemaure) que j’ai rejoint en 2021. J’ai ainsi pu approfondir ma compréhension du système de combat proposé par ce maître italien, tout en découvrant d’autres armes, épée / bouclier XIIIe en tête.

Le but de cet atelier est de montrer l’importance de la progression de pointe dans le système présenté chez Fiore dei Liberi, avec en particulier la pièce 28v-a (Getty). Dans un premier temps, les élèves travailleront le mouvement d’estoc avec une couverture du côté de leur jambe avant, passant d’une posta breve à une posta longa, ainsi que le jeu de jambes associé à l’exercice (Fora di Strada). Ils réaliseront ensuite ce travail en opposition, face à un adversaire passif en posta breve puis ils réaliseront l’échange de pointe face à un adversaire leur portant un estoc. Une fois cet exercice maîtrisé, un jeu infini pourra se mettre en place, chaque élève réalisant un échange de pointe en réponse à la même technique. Pour finir et pour casser le jeu infini, le coup du vilain (colpo di villano, 28r-a, Getty) sera montré lorsqu’un élève réalisera un appui sur la lame plutôt qu’un échange de pointe.

 

Chris is director and instructor of the Academia da Espada Deutschland, which is the German chapter of Academia da Espada under Maestro Ton Puey. Since the end of 2019, he has specialized in fencing according to La Verdadera Destreza. He also trains fencing according to Ridolfo Capo Ferro da Cagli at the fencing school Krifon in Edingen-Neckarhausen near Heidelberg under fencing master Christian Bott. Chris completed the trainer course of the Bavarian Fencing Association in the field of historical fencing in 2021. In sporting terms, he participated in several tournaments and won the title of German Champion 2021 in the discipline of rapier and was awarded “Best Technical Fencer” at the International Rapier Seminar in Copenhagen in 2022. Since 2022 he has been a member of the DDHF National Team in the discipline Rapier.

In this workshop I will give an introductional overview of important La Verdadera Destreza concepts, like Angulo Recto, Medio de Proporcion, Atajo and some more in a nutshell. With a more playful approach even beginners will become Diestros step by step, who perform fencing from the bind. The result will be like light sparring, which will probably look like a dance.

The Movimento de Conclusion (disarm) is considered as the best outcome for a Diestro in a fight, because he is able to spare the life of his opponent. In this workshop we have a look at different technical examples and approaches mainly (but not only) focused on Francisco Lórenz de Rada‘s book „Nobleza de la Espada“ from 1705. This workshop will include exercises, which will try to bridge the gap between static technical exercises and free fencing.

 

Andrew started his martial arts journey in 2000 studying Wing Chun Kung Fu (because it lead to the use of the paired broadswords). He started training HEMA with the HSD in 2014, quickly attaining the rank of Scholar with Longsword and Messer and then Free Scholar with Polearms and Dagger. Andrew passed the British Federation for Historical Swordplay (BFHS) Instructor Level 1 qualification in 2016, before becoming an assistant instructor within the School and then being invested as Sergeant at Arms and then Provost Chapter Master of the Newcastle school. Andrew has just set up his own chapter of the HSD in Middlesbrough. He has taught at HEMA events in Spain, Ireland, South Africa, The Netherlands, Malta and Romania as well as within the UK. Andrew has an outstanding level of attention to detail, coupled with a dynamic practical approach to historical fencing.

An exploration of the close plays of the Langes Messer focusing on how to bridge into wrestling/ringen range and how to survive once you get there. W will look at how the footwork, and body mechanics change once you have closed in to wrestle and how to use your Messer to maximum advantage as well as how to prevent an opponent closing to grapple.

Working to find a better understanding of the mechanics of Fiores’ fencing system by applying the 4 virtues of Prudentia, Celeritas, Audatia and Fortitudo (Prudence, Speed, Audacity and Strength) to the dagger section of the manuscripts. We will concentrate on body movement, posture and position to gain mechanical advantage on the opponent rather than strength alone.

Minimum/Recommended/Ideal gear : Rondel Dagger trainer/Waster, Mask, forearm protection are required, Jacket, gorget and light gloves are optional. 

praticers’ level: Beginner

 

Daniel Hambraeus is an instructor from North Sweden, he focuses on the Spanish art of Destreza using rapiers, based on Rada’s Nobleza de la Espada, which he has a video series on. Daniel competes using the style with some level of success. Daniel is also an instructor in modern fencing and gladly fences smallsword with anyone that wants to.

The atajo is the core to the whole art and everything else flows from it. One of the trickiest parts to it, are the discordant rotations of the body to achieve it. This workshop will focus on this tricky step.

 

George Livermore is a Provost of the 1595. Club. He began his Martial Arts journey in 2002 in Brighton under the tutelage of club founder Chris Chatfield. In 2005 George became the 3rd Free scholar of the club and began his journey to become Provost, which he achieved in 2012.
He has recently moved to Milan to open his own school and to pursue his journey towards earning the title of Master, for which he needs to teach a student to the level of Provost. During his career, studies, and journey, he has participated and has been invited to teach at numerous events around the world: HEMAC Dijon, WMAW USA, MHFA… to name but a few. Teaching all forms from unarmed to dual weapons with staff weapons thrown in for good measure. Although the 1595. Club uses the treatise of Vincentio Saviolo as one of its main avenues of exploration for the art of fence, it is not limited to his teachings, and has evolved its martial system by incorporating other forms of Martial Arts, for example the bare-knuckle boxing of Victorian England, the French martial system of Savate, and other weapon based systems, including the naval sabre/cutlass treatise of Angelo, as well as contemporary classical sabre. The goal being to create a holistic and robust martial system using the martial principles and philosophy of Saviolo as a foundation on which to build our study.

When you play the game of thrusts you win, or you practice and get better until you win. We’ll have a look at four thrusts described in Saviolo’s treatise, and in others, and through some exercises we’ll develop a sequence that should help you in your fencing game.

 

Marine started HEMA 12 years ago with the 1.33 sword and buckler and has never stopped. She started in the “Ost du Griffon Noir club” in Toulouse (southern France) where she quickly became co-instructor and soon after instructor in 1.33.She moved to finland about 10 years ago and co-founded the Tampere HEMA club in Finland, where she stayed until the end of 2021.
She is a member of the Sword and Buckler family since 2014, which is a group based on sharing knowledge and experience. In 2022 she became a member of the Board of directors of the FFAMHE, as well as an executive board member of the IFHEMA. Over the years she gave several workshops internationally (Switzerland, Germany, Denmark, Netherlands, Finland, France). She also participated in organising seminars, tournaments and other kind of event in Finland, as well as in France. In 2019, she participated in the gala tournament of the European Games in Minsk with the French team and also took part in the public technical demonstration.
Her main practice is 1.33 sword and buckler, the 19th century French cane and langes messer. But she also enjoys practicing dagger, longsword and wrestling.

What is it? How to avoid injuries and maintain your arm in the practice of HEMA. For health and scientific accuracy, this workshop was created in cooperation with a physiotherapist. The goal? Give the participants a better understanding of why injuries happen and how to prevent and manage them. The content? Basic biomechanics, some reinforcement and mobility exercises, and a couple of massage technics. Pre-requisite? None, all levels are welcome. If you are an instructor in your club, this workshop is ideal for you. What do I bring? Yourself and your arms, a weapon (longsword, one-handed sword, a stick/cane is even better)
All the content of this workshop will be made available, so you will be able to take all this workshop’s knowledge back with you and bulletproof your sword friends 😉

 

George Zacharopoulos is studying and training in Historical European Martial Arts for more than 15 years with a fondness for the German longsword and the Italian & Spanish rapier. He is currently the administrator and instructor of Academia da Espada Hellas but also teaches La Verdadera Destreza in S.C. Academy of Hoplomachia and Marxbrueder Guild Hellas and Smallsword at Athens Bartitsu Club 1900. Provost of the Historical Fencing Affliates and founder of the Athens Bartitsu Club 1900. Previous experience include Ninjutsu, Combined Chinese and Filipino Boxing (by Angelos Fasois), Sport Fencing, Sport Archery. Also certified Knife Instructor of the Reality Based Personal Protection system by Jim Wagner. He has participated in HEMA events and taught workshops in Greece, Europe and USA. Co-author (with Chrysovalantis Tampakakis) of the first book for HEMA in Greek, entitled “The Knightly art of the Sword” by Batsioulas Publications in 2011. A translation in English from Greek, of Philipp Muller’s “Theoretical and Applied introduction to Swordsmanship” 1847 military sabre treatise (with Elias Stypas) is out by Fallen Rook Publishing. He has also translated “Las Cien Conclusiones” a`17th century text by Luis Pacheco de Narváez, from Spanish to Greek, a publication released by AGEA Editora. Member of HEMAC and currently vice-president of the International Federation for Historical European Martial Arts (IFHEMA)

…and suddenly during sparring or competing your sword is found under the blade of your opponent’s sword. You can sense the pressure on your rapier and you feel helpless…..BUT are you really? In la Verdadera Destreza we do not think so. In this workshop and using the atajos from below from maestro Francisco Lórenz de Rada (Nobleza de la Espada, 1705) as a guide, we shall see that being underneath the opponent’s blade is not a bad thing. It is not loss of control. On the contrary it is a check point where you limit your opponent’s options and move or act accordingly. We shall see all the possible actions of the opponent and we shall examine our options opposing to them or acting before.

Jan is head instructor for knife and dagger at Tremonia Fechten in Dortmund, Germany. Having trained Ju-Jutsu for several years, he had decided to look into weapons based martial arts and eventually discovered HEMA for himself in 2012 when he visited the AHA in Glasgow to study the broadsword. After returning to Germany he found Tremonia Fechten and started studying the longsword, but soon focused his own studies on Ringen, Bowie Knife fighting and its roots in Spanish and Scottish arts and eventually the Italian and German dagger sources. Jan’s interests lie mainly with one-handed weapon systems and – obviously – first and foremost close quarter systems like knife and dagger. As a HEMA instructor his focus is more on the Martial Art itself and its realistic training than on tournaments and the Martial Sport side of HEMA. In this, he tries to comprehend historical systems in their context whilst looking for modern (e.g. forensic or biomechanical) insight to bolster his hypotheses and improve his training methods. Furthermore Jan is a friend of absurd metaphors, advocate of the otterisation of European Martial Arts and supporter of hop juice fuelled socialising.

In this workshop we will look at a few selected plays from Fiore’s (unarmed versus) dagger section to become aware of the physical processes and properties/quantities at work behind the scenes of a fight. We’ll do this in order to be able to consciously influence them and (ideally) optimise our applications of techniques.To picture two fighters as bodies with momentum or to ask oneself if and where one is creating a lever in a certain situation, might sound dry at first. But as this is basically about learning how to hit our partners with the planet one does not need to fear that this workshop might be overly intellectual.

 

Bastian is a Messer enthusiast for more than ten years. He has a soft spot for early new high German texts and buried the myth of carrying Messers being a legal loophole.

We will be looking at the fundamentals of Messerfechten, including footwork, cutting technique and basic tactics. This workshop is ideal if you want to peek into Messer. There will be plenty of room for experimenting for people with experience.

 

Michel Rensen started practicing German longsword at Zwaard & Steen in 2013, and hasn’t looked back since. In 2014, he started ramping up his training, and it wasn’t long after this that he started teaching, too. Currently, he has been teaching longsword workshops at many different events throughout Europe. His teaching focus is mostly on practical body structure and movement. Besides teaching, Michel also often competes in national and international tournaments, most notably placing high at large events such as the Dutch Lions Cup and Swordfish, and becoming the longsword champion at the first Dutch national championship.

No, this workshop is not about magical spin attacks, throwing bombs or how to yell HYAH HYUH HUH HIIAAAAA while fencing. Rather, we’re going to take a look at the three parts of the Triforce: Courage, Power and Wisdom, and why you need to balance all three of these aspects to fence well. This random video game lore applies surprisingly well to the historical techniques laid out by Liechtenauer and his students; each of these aspects is extremely important, to the point where omitting or even underrepresenting any one of them will negatively impact the way you fence. This workshop aims to give you an easy diagnostic tool and foundational framework to improve your fencing. Prior knowledge of the Legend of Zelda games is not required to attend the workshop.

 

Tea Kew started fencing nine years ago with Cambridge HEMA, and quickly began to teach longsword at the club. Since then, Tea has taught workshops and classes at events across the world, including Fightcamp, HEMAC Dijon, Longpoint and Festival of the Sword. Their primary areas of practice are early Liechtenauer longsword fencing; refereeing and referee training; and helping HEMA instructors improve their coaching skills. Currently Tea coaches in London at New Cross Historical Fencing.

This workshop is for new instructors; experienced instructors who want some other perspectives; and for individual students who want some notes on how to be a good practice partner and improve their own skills faster. We’ll look at several simple ways to level up your teaching and practice them with some drills and sparring games.

 

Jordan has been studying martial arts and forms of swordsmanship for most of his life starting with kendo and sport fencing in school, through re-enactment until he discovered HEMA. His interests are in the older medieval weapons such as arming sword, longsword, messer through to renaissance sidesword. Though he studies and teaches various fencing treatises, his first and true love is Fiore de Liberi. He’s coached both students and other instructors in Fiore’s system so that they can apply it to their own fencing. He opened the Academy of Steel in 2018 and it has rapidly become the largest HEMA school in Wales.

This Workshop is on Fiore dei Liberi’s three turnings and how they fit contextually into his system. I will compare these actions to contemporary and modern martial arts and how they can be used to steal distance, upset an opponent’s timing, disrupt an opponent’s balance and effectively execute some of Fiore’s more complex plays such as the Tor di Spada.

 

Martin Enzi first got in touch with martial arts by practicing classical boxing, but finally found his passion when he switched to HEMA in 2001 to train longsword, wrestling and dagger. 2003 he got his hands on the first draft of the transcription of Johannes Leckuechners “Kunst des Messerfechtens”, while work was still in progress. This gave him the possibility to be one of the first persons to dig into this manuscript.
Instantly fascinated while reading the first pages of the manuscript, this was when his fascination with and passion for Messer started. After intense studies and training, he started as a trainer for longsword, Messer, and eventually also for the so-called “peasant weapons” and spear. 2006 he took part in the transcription of parts of Paulus Hector Mair’s manuscript (scythe, sickle and flail) for the Higgins Armory Museum, which will be published by Jeffrey L. Forgeng. Even though training in Liechtenauer school of longsword and the peasant weapons from PHM has always been close to his heart, his main focus and deep passion lies with the Messer according to cgm582, taking also into account other Messer-related sources like Talhofer, Codex Wallerstein, Pauernfeindt, or Falkner. After teaching for 19 years now at international events and martial arts gatherings, Martin Enzi was honored to be the first European HEMA-teacher to get an invitation to Tokyo, where he held a masterclass in Messer fencing – in fact, the first Messer class to be taught in Japan.. He was also asked to contribute 4 articles to the book series “Meditations on HEMA”, and writes articles in magazines and does surveys about finds and originals in museums. Apart from HEMA, Enzi has practiced stage fighting for 22 years and he also coaches and trains actors and stuntmen and works as a fight choreographer for movies, theatre and TV production.

In every manuscript there is al lot of talk about the Strike/blow or the thrust. A lot of training time is spent on doing this with various techniques and version. But there is also one thing in our toolbox that is mentioned but often overseen and even less trained – the cut. So we will try to talk about efficiency goals of cuts, in techniques or were to add them whilst withdrawing, or as a finisher.

 

Chris happened into HEMA via Japanese and Filipino martial arts and has been an addict ever since. He has been running the York School of Defence since 2013 and teaches classes regularly on catch wrestling, classical pugilism, basket-hilted sword, and English longsword, alongside kunst des fechtens and modern self defence, and he has had the privilege of teaching professionally as his day job since 2018.

This class will look at some aspects unique to catch wrestling, namely combining a pin and a submission at the same time in order to increase your chances of securing a victory either by pin, submission or the abject humiliation of your opponent. This class requires no previous grappling experience, but you will need a willingness to roll around on the ground and try some throws, takedowns and submissions.

 

Lauren fell in love with Victorian and Edwardian Antagonistics more than a decade ago when she was introduced to the Sherlock Holmes Book of Self-Defence and realised that by following the instructions, she could throw someone twice her size clear over her shoulder. Since then, her passion for the subject has grown and expanded to include studying sources from both men and women of the period from all over the world. Her training is aided by her dedication to a variety of other HEMA disciplines, especially Messer sources of the 15th and 16th centuries as well as wrestling from any era possible.

Although no officially sanctioned military units were used during Women’s Suffrage, quite the opposite in fact, these brave women were still part of a war. A war for equality and the right to vote. As peaceful petitioning was not helping their cause quickly enough, some women decided they had to resort to more drastic measures. The women of the WSPU (a.k.a. the Suffragettes) became an army to ensure their voices were heard and to protect themselves from those wishing to silence them. In this workshop we’ll be looking at some of the tools and improvised weapons they utilised, as well as some of the unarmed techniques they used to ensure they were safe to fight another day until their job was done.

Jake Norwood fences, cuts, wears armor, organizes events too big for his own good, was a founding member of the HEMA Alliance and is responsible for at least 2 things you love about HEMA and 3 that you hate. Sometimes he pretends he retired, but just so people leave him alone. He loves Liechtenauer, the Messer, Harnischfechten, Gemeines Fechten, and reading old books.

Learn the fundamentals of armored fencing in the Liechtenauer Tradition, focusing on applying Liechtenauer’s principles. This workshop is targeted at people without armor who want to explore this part of the art, or people with armor trying to make the leap into a different form of fencing.

Get hands-on training on how to effectively cut with a sharp sword, including correct form and technique, how to practice without a target, and how to use a target to calibrate your performance.

 

Historien médiéviste spécialisé dans la redécouverte des gestes martiaux, Gilles Martinez a récemment soutenu une thèse de doctorat à l’Université Paul-Valéry Montpellier, intitulée Des gestes pour combattre. Recherches et expérimentations sur le combat chevaleresque à l’époque féodale : l’exemple du Roman de Jaufré (Paris, BnF, ms. fr. 2164). Actuellement, il associe une activité de chercheur à celle d’enseignant à l’Université de Nîmes, de pratiquant et d’instructeur professionnel de combat médiéval (depuis près de 20 ans), ainsi que de médiateur culturel.

Cet atelier proposera un travail de prise de décision autour de quelques pièces du jeu long chez Fiore dei Liberi, en particulier sur le 1er jeu à la mi-épée (meza spada) et le coup aux jambes.

 

Aurélien a commencé la pratique des AMHE (Arts Martiaux Historiques Européens) en 2010 après quelques années d’escrime artistique. Son intérêt principal est tradition bolonaise qu’il essaye de diffuser le plus largement possible que ce soit à travers les traductions des traités de celle-ci, par des ateliers sur les différents stages AMHE ou encore par des articles sur son site nimico.org. Il est aussi instructeur dans l’association Nimico, basée sur Lille, où il enseigne l’escrime bolonaise dans les diverses armes de la tradition : épée bocle, épée à deux mains, épée dague et armes d’hast

L’atelier présentera un éventails de provocation à l’épée dague en se basant le traité bolonais de Dall’Agocchie, et les intégrera dans divers jeux pour appréhender leurs côtés tactiques

 

Catherine a commencé la pratique des AMHE en 2010 après quelques années d’escrime artistique. Son intérêt principal est la tradition bolonaise qu’elle pratique et enseigne avec son mari au sein de l’association Nimico

On a tous connu ce moment où on est face à un adversaire plus fort que soit, plus expérimenté ou juste plus bourrin. En utilisant des principes et des techniques issus de l’école bolonaise, je vous apprend comment combattre dans une position de faiblesse.

Instructor: 65 Year old Englishman with 41 years of fighting with metal weapons, 39 years experience as an instructor. Currently researching Liechtenauer Longsword, Fiore, I.33 Sword and buckler, Langesmesse, Dusack, Medieval Dagger. Wide range of knowledge in other weapon systems especially Viking era weaponry.

We go through all the techniques that are found in the old treatises that render the Zwerchau attack impotent. Each technique is broken down into easy to follow steps so that you can execute them quickly and with minimum exertion. After this workshop the Zwerchau will cease to be difficult to counter. Participants should be reasonable at footwork, forming Ochs guard, cutting into longpoint and in using Kron or the crown guard.

We will go through all the important aspects of successful winding, including the counter. We will explore how to feel, measure and direct pressure to increase the control of the winding process. We will look at all the 24 winds and why there are so many.

 

Born in 1979, Founding member of Ars Ensis and the Hungarian Federation, a HEMAC member since 2005. Has been teaching in Mallorca, Swordfish, Dijon, Dreynevent and the Summer Camp, has won Gold at Swordfish in 2013. Science Fiction writer, Hema trainer, rough collie enthusiast.

This is a Lichtenawer longsword workshop about the vier vesetzen in the MS3227 and folow-up techniques.

This is a Lichtenawer longsword workshop about the masterstrikes in the MS3227 and folow-up techniques.

J’ai débuté les AMHE fin 2008 au sein de l’association De Taille et d’Estoc. J’y ai découvert plusieurs disciplines dont la lutte de Fiore et de Ott. C’est en 2012, en accompagnant Vivien dans l’étude et la redécouverte de la lutte française du XIXe siècle et en donnant des ateliers en France (Dijon, IDF, Toulouse…) et en Europe (Fightcamp, Noble Science) que j’ai vraiment développé le goût pour cette discipline.

Mon atelier sera concentré sur les techniques au sol dans la lutte française du XIXe siècle, issues principalement des traités de Fénelon, Paul Pons et François le Bordelais. Lorsque l’on commence la lutte, il peut y avoir beaucoup d’appréhension. C’est pourquoi, je souhaite proposer uniquement des techniques au sol, pour aider à prendre confiance et à prendre du plaisir.

 

Je suis Jeanne, tombée dans les AMHE en 2008 chez De Taille et d’Estoc, je pratique la dague, l’épée longue, la rapière et depuis peu l’épée bocle au sein de la Confrérie de la Corneille à Rennes. Passionnée par la transmission et la pédagogie qui sont au cœur de ma vie professionnelle, je me plais à utiliser la dague de Fiore comme un outil au service de la compréhension de grands fondamentaux, de la sensibilisation au travail de la source ou de l’expérimentation de principes biomécaniques. Je vous propose un atelier en partenariat avec Léo, ami et cobaye lors de mes premières armes en tant qu’instructrice, Léo pratique les AMHE depuis 2011 et enseigne la dague au REGHT à Lille chaque semaine. Son approche permet une pratique de la dague dynamique, voire musclée, qui, alliée à ma recherche de souplesse et de fluidité, est parfaitement complémentaire à la mienne.

“Ils en viennent à la dague, Dieu leur vienne en aide.” Hans Talhoffer par cette citation ne nous encourage que modérément à nous lancer dans un assaut libre à la dague dans notre contexte de pratique moderne.
Face à l’importance que Fiore donne aux techniques destinées à “briser les bras”, comme il le dit lui même, il serait tentant de se limiter à une simple étude technique des pièces, en totale coopération, sans opposition. Pourtant, la dague est une discipline riche et un formidable outil pédagogique qui, dans un contexte sécurisé, peut permettre une expression libre de techniques simples et variées faisant appel à des fondamentaux du combat à mains nues : souplesse, structure, mouvement. Au travers de nos approches complémentaires, en passant par un travail des fondamentaux cités ci-dessus et une approche technique de la dague telle que présentée dans les manuscrits de Fiore dei Liberi, nous vous amènerons progressivement à échanger avec un.e partenaire en contexte d’opposition en sécurité et, idéalement, avec technicité.

 

My name is Julian Schrattenecker and I have been an active historical fencer for more than 10 years. The main focus of my fencing studies is the style of the early 17th century of Salvatore Fabris and the german fencing masters who followed in his footsteps. The interpretation work of Fabris’ I am doing in cooperation with Florian. In 2014 we decided to produce our own fencing swords based on original antiques to deepen our understanding in rapier fencing further. We took detailed measurements of swords from private collections and museums, such as the “Hofjagd- und Rüstkammer”. Also, we were not satisfied to improve our understanding of fencing by acquiring techniques from fencing books and producing our own sword. So, we also decided to transcribe different manuscripts about fencing of the 16th and 17th century, such as HS381 from the Palais Liechtenstein, and publicise our transcriptions for the historical fencing community.

Salvator Fabris introduced a brand new concept in fencing: walking
towards the opponent with resolution and without stopping. In our workshop we will explainthe theory behind it and go through some of his rules to illustrate the
principles.

 

Daniel is a historian, focused on the study of European martial arts. He currently works at the Laboratory of Experimental Museology (EPFL, Lausanne), where he manages research projects, but he’s also affiliated with the University of Bern at the History Institute. While he owns a steel pyjama, he nowadays spend more time with his dussack or single sword. He’s the chief editor of Acta Periodica Duellatorum, honorary president of IFHEMA and a passionate HEMA practitioner exploring fun stuff.

Open warm-up according to Ling’s method (Swedish Gymnastics), based on the take of Tanner (Physical culture for men, women and children, London: 1894). You’ll enjoy a swift and gentle warm up, and maybe take home some warm-up routine for yourself.

Massage techniques and relaxing exercises in order to take good care of your sparring partner(s), according to the Swedish gymnastic method. Pehr Henrik Ling (1776-1839) is a pioneer of physical culture in Sweden, which later will become global as “Swedish gymnastic”. He is also credited as the father of Swedish massage. You’ll enjoy a good mix of exercises and simple massage techniques to relax and take care of your body after intense physical exercise.

 

Roman Vučajnk (1977) has been involved with HEMA since the early 2000s. At first he focused on mediaeval German martial heritage; now he is more attracted to styles of urban combat of the 16th and 17th centuries. The legacy of Joachim Meyer is of a particular interest to him, and he is pleased to see quality output by an increasing number of Meyerists taking root.
He teaches at Academia artis dimicatoriae (Slovenia) and has had the privilege of teaching and sharing at a number of workshops and events throughout Europe. Roman is a member of HEMAC and an honorary member of De Taille et d’Estoc and Asociación para el Estudio y Desarrollo de las Artes Marciales Europeas.

They say that sword is a weapon of a more civilized age. Perhaps. But there was an age when civilians carried swords at their side for an everyday occasion. Things gave rise to occasions when swords were drawn and used. Our workshop shall explore how “sideswords” were used according to different historical sources. We shall go through a few solo-perspectives and work in pairs.

 

Ala a commencé les AMHE il y a 5 ans par l’épée longue liechtenauerien.

atelier sur la thématique du Umschlagen tel que décrit dans la tradition de Liechtenauer. Je partirai du texte des glossateurs de Liechtenauer pour ensuite exposer les manières dont je le travaille dans un contexte compétitif, avec une forte exigence en placement, temps et posture.

 

Has practised the use of shields and spears in different forms for 15 years. Dancer and instructor (BA of dance and pedagogy). Worked at the National Opera of Finland as a stage fighter and dancer. Balances between being a father of a toddler and running a folk-dancing company. Thankfully trepak gives you an excellent sense of balance. https://hirdmenn.blogspot.com/2022/12/testing-thin-and-thick-shields-against.html

Drills with spear and shield for the over-arm grip. We will show how historically accurate spears and shields would behave, and what kind of weapon actions this implies. The focus will be on playing with the different distances while creating threats with the spear and binding the opponent’s shield with yours. After the workshop, there will be light sparring and we invite everybody to test out and compare different spear use interpretations in a small-scale movement laboratory. Location – inside or outside. Size – 10-20 ppl.

 

Has practised Fiore and Lecküchner for 18 years. He did not discover or invent the wondrous secrets of this art (known only by very few men in this world), but rather travelled through many lands and searched for the true and correct art for the sake of experiencing and knowing it. He learned these skills from many German and Italian masters and their senior students. Wrestling instructor. Worked at the National Opera of Finland as a stage fighter. In his free time, is a stressed father of small children and escapes them in his office at the National Library of Finland.

Wresting at a long distance and wrestling with different weapon contexts seems to be hard to do. Worry not, Baumann’s fight book has the twirch you are looking for. A repertoire of follow-ups from grabbing your opponent’s right hand
– Drills for bringing new techniques into your toolbox
– Wrestle at the long distance like 1470s never went away!
– PSA: Somebody might bring up messer as a context for usage

minimum/Recommended/Ideal gear : none

 

Iris Meijer (25) is a member of the HEMA showfighting group Bataille. With a background in theater and creative writing, she soon started to specialise in stage combat techniques when she joined Bataille in 2018. She now provides most of Batailles internal training and external workshops on showfighting. Besides that, she is one of the main directors and writers of the Bataille live shows.

Stage combat is all about creating the illusion of violence in front of a live audience and being able to keep yourself and your partner safe. In this workshop we will explore how to add a layer of realism to staged fights, by using the actual HEMA techniques in combination with showfighting elements. We will be covering various armed and unarmed stage combat techniques. You will learn to throw and take a good punch; and of course more spectacular techniques like hair pulls and choking will be covered during this workshop.

minimum/Recommended/Ideal gear : A mask, light gloves and a sword

 

Escrimeur touche-à-tout, je pratique, j’étudie et j’enseigne les Arts Martiaux Historiques Européens au CELACAMTHE à Annecy, en Haute-Savoie. J’ai débuté ce voyage à De Taille et d’Estoc à Dijon en 2007, puis, j’ai rejoint différents clubs – à Belfort, Strasbourg, Montréal (Arte Dimicatoria), Sherbrooke (LAMHES) et Nice (Medieval Combat). Je suis également actif au CA de la FFAMHE, que je représente à l’IFHEMA. Fasciné par l’interdisciplinarité intrinsèque à la pratique des AMHE, je m’intéresse à toutes leurs facettes – de la recherche à l’entraînement physique, de l’interprétation du geste à l’étude de son contexte d’application, ainsi que tous les aspects de la vie sportive et associative qui les accompagnent. Je partage librement la traduction en français de sources primaires issues de différentes traditions (Fiore dei Liberi, JG. Paschen, G. Briccio, G.dall’Agocchie, H.Medl etc.) afin d’en faciliter l’accès et de promouvoir leur usage. Je diffuse également mes travaux lors de différents stages sous la forme d’ateliers ou de conférences, et je contribue au tissu associatif par l’organisation de l’évènement Marquisattack.

 

Pedro San Miguel has been fencing since 2013, and is currently an instructor with Schola Gladiatoria. He focuses on 19th-century sabre and foil, with his main sources of study including the works of John Musgrave Waite, Captain Alfred Hutton, Louis Rondelle, George Chapman, and Camille Prevost, while also having a keen interest in Italian authors such as Luigi Barbasetti and Masaniello Parise, among others. Pedro also trains longsword according to Fiore dei Liberi, and is a senior student with The Renaissance Sword Club, where he studies rapier & dagger. Pedro is currently ranked #1 in sabre in the UK. He teaches at two branches of Schola Gladiatoria, runs private lessons in sabre and foil, and teaches internationally.

The ability to parry and riposte confidently is a strong foundation upon which to build your sabre play. But what do you do if your opponent is counter-riposting all of your ripostes with ease? You could stay in the riposte, counter-riposte loop, and hope they mess up first, or you could quit while you’re ahead and interrupt the riposte rally with something else.
In this workshop we will look at drills and exercises that will first help you build a reliable parry-riposte game, and then we will work on techniques and strategies to safely break out of any riposte rally. These will include compound actions, time attacks, actions on the blade, closing, and other methods of interruption, taken from a variety of 19th-century sabre and foil sources.

I’ve practiced Western and Oriental martials arts for several years and I’ve focused HEMA for the past 8 years

An aproximation of oriental and western martial arts footwork to the Historical European Martials

 

Longsword Enjoyer since 2005, Gabriel is an instructor and a competitor specialized in German Longsword. He’s also known as French Hema Boy on Youtube, or “The Yellow copter” by his friends or sparring partners.

Together, we will go indeep the German Longsword system, starting from the now well known Meisterhaw. For each of them, we will remember the basic exécution, then, we will unfoild them.
We will rely a lot on Hangen principe, Winden, and all minimal move we can do in Arbeit.

 

He is currently the director and principal instructor of the Sala de armas Pedro del Monte in Granada / Spain. His main interest is focused on the study of the Ars Palestrinæ – Palestrian Arts -, disciplines that within the HEMA – Historical European Martial Arts – put martial practice before sports, working on a panoply of weapons that is articulated in the same theoretical corpus. The sources of documentation of him are found mainly in late-medieval and Renaissance treatises, focusing the current investigation of him on Iberian and Italian authors. To interpret and put into practice the concepts studied in historical treatises, he uses experimental archeology through material culture, in addition to his experience in other martial arts and contact sports, for the execution of biomechanical concepts. In parallel, he is dedicated to historical dissemination by writing articles in magazines specialized in history and martial arts, as well as holding conferences in museums and other cultural institutions. He began his practice in martial arts in 1983.Since then and until 2006 he has practiced different disciplines among which are the following.

– Taekwondo – 8 years

– Full Contact – 5 years

– Jujutsu – 5 years

– Iaido – 2 years

From 2006 to the present day he has devoted himself exclusively to the study of the Ars Palestrinæ.

Pedro Monte in his work “Pietro Montii exercitiorum atque artis militaris collectanea in tres libros distincta” – which we will call Collectanea from now on – shows us, in a general way, a large number of subjects that, directly or collaterally, will benefit the reader in the performance of the war art. There are a number of direct references in the training of various weapons, including the two-handed sword. In this seminar, we will focus on the use of this weapon, through the practical application of the advice given in the Collectanea, through a series of exercises in which we will develop the concepts that underlie them. Also, we will execute some of the “levadas” that Monte describes in his book. Said levadas were exercises similar to flourishes carried out in other schools, intended to improve the practitioner’s physical condition, in addition to providing him with ease with the weapon in question and facilitating the internalization of different offensive and defensive concepts.

Wrestling is perhaps the discipline that receives the most attention in the publications of the Italian Maestro Pedro Monte.
In his writings, he shows us the particular way that Hispanics have to fight, using complex footwork to carry out techniques called “mañas”, with which they support a whole way of understanding movement in combat, transition of balances and disposition of the plants. All this is of vital importance, since it forms the basis of his subsequent work with weapons.
In this workshop, we will work on some applications of the mañas that Monte describes to us, such as the torno, the sacaliña, the traspié or the descaderada. And how to ultimately apply them to sword work.