[Lafayette C Curtis]

I know I'm not a highly skilled or experienced swordsman, but lately I've been asked on a number of occasions to demonstrate some of what I've learned about medieval and Renaissance European martial arts, particularly swordsmanship. The problem here is that many of the most interesting techniques from the tradition I'm most familiar with (i.e. the Liechtenauer lineage and closely-related branches) work at/from the bind, so I can't really show them off except on rare occasions when one of my old practice partners just happens to be around and available for the same event.

In short, I think I may need to develop a routine for showing off the simpler cuts, thrusts, slices, footwork, and other aspects of the art that can be demonstrated without the need for an opponent's presence. But I don't know where to start -- so any tips or pointers would be appreciated.

[Dustin R. Reagan]

[Ben Coomer]

I find that a demonstration of the meisterhau are a good place to start. Strong cuts with strong defenses, footwork, immediate opportunities for thrusts. Combine them into a some flourishes to demonstrate how they would work with each other and you've got a good quick demo.

[Craig Peters]

A really effective way to demonstrate your ability is just to work through each of the actions for a particular strike or technique. So, for example, you cycle through all the of the zornhau techniques, or all of the krumphau techniques. To make it life-like, just imagine there really is an opponent ready to strike you, and then intensely strike and displace as though you are actually fighting him. The benefit in doing this is that you will demonstrate the actions in zufechten- like the five meisterhau- which are more exciting for most audiences to watch, while still revealing the subtleties of binding, save that you have had to imagine the opponent.

These days, I avoid any other types of flourishes in my practice. Although it certainly is possible to string together a series of strikes, displacements, thrusts, feints and so forth in a manner that is dynamic and flows, you are investing time and energy practicing techniques that get in the way of the true art. In a sense, you are practicing bad habits, because in ernst fechten, you don't do a random series of actions; you lead with a strike or blow, then feel and drive with the most efficient attack to the next opening. Therefore, it makes sense to practice techniques in this way, and practice them as though you are really fighting. The added benefit is that you will be demonstrating the genuine actions of the art for people, rather than putting on a "flourish performance".

[William Carew]

Much of the Renaissance two-handed sword work that we currently know of survives primarily as solo flourishes or drills.

A very detailed source that could be used for solo public performances is the Memorial Of the Practice of the Montante of Diogo Gomes de Figueyredo (translated by Steve Hick and Eric Myers). While the montante lessons are most impressive when performed with a full sized montante or spadone, they can be performed just as well with a regular sized longsword too.

[Matthew P. Adams]

http://www.youtube.com/watch?v=owcre_q-RKU

http://www.youtube.com/watch?v=Mr3H2Zynesc

http://www.youtube.com/watch?v=6fZH2GgHZDs

http://www.youtube.com/watch?v=QNVojNVs2XE

[William Carew]

[Matthew P. Adams]

Those show half cuts with the point remaining on the opponent, right? Nicely done. Montante has some very graceful movement.

[Lafayette C Curtis]

[Craig Peters]

[Lafayette C Curtis]

Exactly. I just get so caught up in dealing with the "other guy" that I lose sight of the fact that I'm not there to fight "him," but to help the audience understand what medieval/Renaissance European martial arts were all about.