Article 47 of rec.sport.fencing: Archive-name: fencing-faq Last-modified: 1993/01/31 Version: 2.3 +-------------------+ | F E N C I N G | +-------------------+ This is a list of Frequently Asked Questions (FAQ) with answers, compiled for the UseNet newsgroup rec.sport.fencing. It is intended to reduce repetitive discussions on the Net by addressing commonly raised topics. This document is maintained by Morgan Burke (Email: morgan@sitka.triumf.ca). Contributions, corrections, and suggestions are welcome. Most of the questions and answers pertain to FIE (Olympic) Fencing; Japanese fencing (kendo, kenjustsu, iaido, etc.) is treated in a separate FAQ list ("Japanese Sword Arts") that can be found in the newsgroups rec.sport.fencing or rec.martial-arts. *** Last Revised 1994-Jan-31 ---------------------------------------------------------------------------- The following questions are addressed in this document: General: 1) What sports and martial arts comprise fencing? 2) Which is the best weapon? 3) What are some good fencing movies? 4) Is fencing going to be eliminated from the Olympics? For Beginners: 5) Does it hurt? 6) What is the best weapon for a beginner to start with? 7) How long does it take to become good? 8) What qualities make a good fencer? 9) How much does it cost to get involved in fencing? For Experts: 10) What kind of cross-training will help my fencing? 11) Everything you always wanted to know about right-of-way. 12) Are flicks legitimate attacks? Reference: 13) How do I find a good fencing club? 14) What kind of equipment should I buy? 15) Where can I order or buy equipment? 16) What organizations control fencing? 17) Bibliography 18) Glossary ---------------------------------------------------------------------------- 1) What sports and martial arts comprise fencing? The Olympic sport of fencing is comprised of three weapons: foil, epee, and sabre. The rules governing these three weapons are determined by the FIE (Federation Internationale d'Escrime). Briefly, the FIE weapons are described as follows: Foil: Descended from 18th century court sword training weapons. The foil has a thin, flexible blade with a square cross-section and a small bell guard. Touches are scored with the point on the torso of the opponent, including the groin and back. Foil technique emphasizes strong defense and the killing attack to the body. Epee: Similar to the duelling swords of the mid-19th century, epees have stiff blades with a triangular cross section, and large bell guards. Touches are scored with the point, anywhere on the opponent's body. Unlike foil and sabre, there no rules of right-of-way to decide which attacks have precedence, and double hits are possible. Epee technique emphasises timing, point control, and a good counter-attack. Sabre: Descended from cavalry swords of the late 19th century, sabres have a light, flat blade and a knuckle guard. Touches can be scored with either the point or the edge of the blade, anywhere above the opponent's waist. Sabre technique emphasises speed, feints, and strong offense. The most popular of eastern fencing techniques is kendo, the Japanese "Way of the Sword". Kendo is fought with a bamboo shinai, intended to resemble a two-handed Japanese battle sword. Combatants wear armour, and strike to the top or sides of the head, the sides of the body, the throat, or the wrists. Accepted technique must be observed, and judges watch for accuracy, power, and spirit. See the Japanese Sword Arts FAQ for more information. Other martial arts that include elements of swordsmanship are: Aikido -- self defence against armed and unarmed attackers. Includes using and defending oneself against Japanese sword techniques. Arnis, Escrima -- stick fighting. Iaido -- the Japanese art of the draw. Kenjutsu -- the unadulterated Japanese martial art of the sword. Kung-fu -- a Chinese martial art that includes many sword techniques. Modern Pentathlon -- the "soldier's medley", a sport that recreates demands placed on a pre-20th century military messenger: running, swimming, shooting, equestrian jumping, and epee fencing. Single Stick -- an ancestor of sabre fencing. SCA -- the "Society for Creative Anachronism", an organization that attempts to re-create the lifestyle of Medieval Europe, including jousts and tourneys. Emphasizes heavy weapon and shield techniques, the use of armour, Florentine fencing, and fencing in the round. Additional info on the SCA can be found in the newsgroup rec.org.sca. 2) Which is the best weapon? Such a question is an open invitation to religious warfare. Everybody loves to participate, but nothing is ever settled. If the question means "what kind of fencing is the most fun?" then the answer is: it depends what aspects of fencing you enjoy the most. If you are fascinated by technique, bladework, and tactics, you will probably get a lot of satisfaction from foil fencing. More visceral fencers who want to experience the adrenaline rush of a fast, agressive sword fight will want to try some sabre. Most epee fencers consider themselves practical, no-nonsense sword fighters who rely on as few artificial rules as possible. Enthusiasts of more medieval combat styles, involving armour and heavy weapons, should consider joining the SCA or a kendo dojo. On the other hand, if the question means "which weapon is the most deadly?" the answer will depend on a lot of factors, not the least of which are the skill of the combatants, the presence of armour, the military and cultural context, and the rules of the fight (ie. is this a street fight, a gentlemen's duel, or open field warfare?). Most swords are highly optimized for performance in a specific environment, and will not perform well outside it. Comparing two swords from completely different historical contexts is therefore extremely difficult, if not downright silly. Then again, perhaps the question means "which style of fencing is the most realistic?" It must be said that questions of realism have little relevance to an activity that has almost no practical application in the modern world other than sport and fitness. Historically, however, epees have the closest resemblance (among FIE weapons) to real duelling swords, and the rules closely parallel those of actual duels (sometimes being fought to only a single point). Other martial arts with a high realism factor include kenjutsu and some aspects of SCA fighting. 3) What are some good fencing movies? The following films involve some amount of swordfighting or swashbuckling. They are rated on a four-star system, which is a general critics' opinion of the film as a whole, not an indicator of the quality or quantity of the film's fencing. Major actors and occasionally the director (denoted by a '!') are named. Films with 2 stars or less have been omitted, as have recent films that have not yet been widely released or reviewed. The Adventures of Don Juan (1949, Errol Flynn, Raymond Burr, ***) The Adventures of Robin Hood (1938, Errol Flynn, Basil Rathbone, ****) Against All Flags (1952, Errol Flynn, Anthony Quinn, **1/2) Barry Lyndon (1975, Ryan O'Neal, Patrick Magee, !Stanley Kubrick, ***1/2) Black Arrow (1985, Oliver Reed, **1/2) Black Pirate (1926, Douglas Fairbanks, ***1/2) Black Swan (1942, Tyrone Power, Anthony Quinn, ***1/2) Blind Fury (1990, Rutger Hauer, **1/2) Bob Roberts (1992, Tim Robbins, ***1/2) Captain Blood (1935, Errol Flynn, Basil Rathbone, ***1/2) The Challenge (1982, Toshiro Mifune, Scott Glenn, **1/2) The Charge of the Light Brigade (1936, Errol Flynn, David Niven, ****) Conan the Barbarian (1982, Arnold Scharzenegger, James Earl Jones, **1/2) The Corsican Brothers (1941, Douglas Fairbanks Jr, **1/2) The Count of Monte Cristo (1934, Robert Donat, ***) The Count of Monte Cristo (1975, Richard Chamberlain, Tony Curtis,***) The Court Jester (1956, Danny Kaye, Basil Rathbone, **1/2) Crossed Swords (1978, Raquel Welch, Charlton Heston, **1/2) Cyrano de Bergerac (1950, Jose Ferrer, ***1/2) Cyrano de Bergerac (1990, Gerard Depardieu, ****) Dangerous Liaisons (1988, John Malkovich, Glenn Close, ***1/2) The Duellists (1978, Harvey Keitel, Keith Carradine, !Ridley Scott, ***) El Cid (1961, Charlton Heston, Sophia Loren, ***) The Empire Strikes Back (1980, Mark Hamill, Harrison Ford, ****) Excalibur (1981, Nicol Williamson, !John Boorman, ***1/2) The Flame and the Arrow (1950, Burt Lancaster, Virginia Mayo, ***) Flesh and Blood (1985, Rutger Hauer, !Paul Verhoeven, **1/2) The Four Musketeers (1975, Richard Chamberlain, Michael York, ***) Frenchman's Creek (1944, Basil Rathbone, Joan Fontaine, ***) Glory (1989, Matthew Broderick, Denzel Washington, ***1/2) Hamlet (1948, !Laurence Olivier, ****) Hamlet (1969, Anthony Hopkins, ***1/2) Hamlet (1990, Mel Gibson, Glenn Close, !Franco Zeffirelli, ***) Henry V (1944, Laurence Olivier, ****) Henry V (1989, !Kenneth Branagh, ***1/2) Highlander (1986, Chistopher Lambert, Sean Connery, **1/2) Ivanhoe (1953, Robert Taylor, Elizabeth Taylor, ***1/2) Ivanhoe (1982, James Mason, **1/2) Ladyhawke (1985, Rutger Hauer, Michelle Pfeiffer, **1/2) Long John Silver (1954, Robert Newton, Kit Taylor, ***) Macbeth (1948, Orson Welles, Roddy McDowall, ***) Macbeth (1971, Jon Finch, ***1/2) The Magic Sword (1962, Basil Rathbone, **1/2) The Man in Grey (1946, James Mason, Stewart Granger, ***1/2) The Mark of Zorro (1920, Douglas Fairbanks, ***) The Mark of Zorro (1940, Basil Rathbone, Tyrone Power, ***1/2) Morgan the Pirate (1961, Steve Reeves, **1/2) The Prince and the Pauper (1937, Errol Flynn, Claude Rains, ***) The Princess Bride (1987, Mandy Patinkin, Cary Elwes, !Rob Reiner, ***) The Prisoner of Zenda (1937, Douglas Fairbanks Jr, David Niven, ****) The Prisoner of Zenda (1952, Stewart Granger, James Mason, ***) The Private Lives of Elizabeth and Essex (1939, Errol Flynn, ***) Ran (1985, Tatsuya Nakadai, !Akira Kurosawa, ****) The Return of the Jedi (1983, Harrison Ford, Carrie Fisher, ***1/2) Robin and Marian (1976, Sean Connery, Audrey Hepburn, ***1/2) Romeo and Juliet (1935, Basil Rathbone, Leslie Howard, ***1/2) Romeo and Juliet (1954, Laurence Harvey, ***) Romeo and Juliet (1968, Michael York, !Franco Zeffirelli, ***1/2) Royal Flash (1975, Malcolm McDowell, ***) Sanjuro (1962, Toshiro Mifune, !Akira Kurosawa, ***) Scaramouche (1952, Stewart Granger, Janet Leigh, ***) The Scarlet Pimpernel (1935, Leslie Howard, Merle Oberon, ***1/2) The Sea Hawk (1940, Errol Flynn, Claude Rains, ****) The Seven Samurai (1954, Toshiro Mifune, !Akira Kurosawa, ****) The Seventh Voyage of Sinbad (1958, Kerwin Matthews, ***) Shogun (1980, Toshiro Mifune, Richard Chamberlain, **1/2) Sinbad the Sailor (1949, Douglas Fairbanks Jr, Maureen O'Hara, ***) The Spanish Main (1945, Maureen O'Hara, Paul Heinreid, ***) Spartacus (1960, Kirk Douglas, !Stanley Kubrick, ****) Star Wars (1977, Harrison Ford, Alec Guinness, ****) Sweet Liberty (1986, Alan Alda, Michael Caine, **1/2) The Sword of Sherwood Forest (1961, Richard Greene, Peter Cushing, **1/2) The Three Musketeers (1935, Walter Abel, **1/2) The Three Musketeers (1948, Gene Kelley, Lana Turner, ***) The Three Musketeers (1974, Michael York, Raquel Welch, ***) Throne of Blood (1957, Toshiro Mifune, !Akira Kurosawa, ****) Tom Jones (1963, Albert Finney, Suzannah York, ****) Under the Red Robe (1937, Raymond Massey, ***) The Vikings (1958, Kirk Douglas, Tony Curtis, **1/2) The Warriors (1955, Errol Flynn, **1/2) Willow (1988, Val Kilmer, !Ron Howard, ***) The Yakuza (1975, Robert Mitchum, Takakura Ken, ***) Yojimbo (1962, Toshiro Mifune, !Akira Kurosawa, ****) Young Sherlock Holmes (1985, Nicholas Rowe, **1/2) 4) Is fencing going to be eliminated from the Olympics? According to Gilbert Felli, Sports Director of the International Olympic Committee, the IOC plans to refine future games by: -- limiting the number of athletes to 15000 -- limiting officials to half the number of athletes -- increasing participation by women -- eliminating "so-called artificial team events" -- eliminating mixed events except in equestrian sports -- reducing the chance of an athlete taking part in several finals -- reducing the number of weight classes in sports that use them -- limiting sports of a similar type -- modernizing the Olympic program -- encouraging sports that provide a good television spectacle Rumours have circulated that "elitist" events (equestrian events, pentathlon, sailing, and fencing [!] have been given as examples) were being considered for elimination, but these are unconfirmed. Of more immediate concern are the future of team fencing events, and possible changes to the sport to make it more telegenic. Fencing doesn't appear to be in immediate danger. Not only is it on the Atlanta 1996 Games schedule, it has been expanded to include Women's Epee for the first time. Given the emphasis on new women's sports, Women's Sabre may be a future expansion to the Olympic sport. 5) Does it hurt? Not if done properly. A well executed fencing attack hurts no more than a tap on the shoulder. Reckless and overly aggressive fencers can occasionally deliver painful blows, however. Fencing *is* a martial art, so you should expect minor bruises and welts every now and again. They are rarely intentional. The primary source of injury in fencing is from pulled muscles and joints. Proper warm-up and stretching before fencing will minimize these occurences. There is a risk of being injured by broken weapons. The shards of a snapped blade can be very sharp and cause serious injury, especially if the fencer doesn't immediately realize his blade is broken, and continues fencing. Always wear proper protective gear to reduce this risk. FIE certified jackets, britches, and masks are ideal, as they are made with bullet-proof fabrics such as kevlar. If you cannot afford such extravagances, use a plastron (half-jacket worn beneath the regular fencing jacket), and avoid old and rusty masks. Always wear a glove that covers the cuff, to prevent blades from running up the sleeve. Fencing is often said to be safer than golf. Whether or not this is true, it is an extraordinarily safe sport considering its heritage and nature. 6) What is the best weapon for a beginner to start with? Foil is the most common starter weapon. It is an excellent weapon to begin with if you have no preferences or want to learn generalized principles of swordfighting. Transitions to the other weapons from foil are relatively straight forward. Foil is an abstracted form of fencing that emphasises proper defense, and cleanly executed killing attacks. Historically it was a training weapon for the small sword, so it is well suited for the purposes of learning. However, it is far from a simple weapon, and many experienced fencers return to foil after trying the others. Sabre can also be an effective starter weapon, for a few reasons. Like foil, it has rules of right-of-way to emphasize proper defense, and its de-emphasis of point attacks can be a relief to a beginner who doesn't yet have much point control. Also, many low-level sabre competitions are still fenced dry, meaning that it can be the cheapest of all weapons to compete in (although electric sabre is definitely the most expensive weapon to compete in). However, sabre differs from foil and epee in a few key respects that can reduce its effectiveness as a starter weapon if the fencer plans to try the others in the future. Among these differences are the aforementioned de-emphasis of point attacks, and a different sense of timing and distance. Epee can sometimes be a good starter weapon for two reasons. First, the rules are simple and easy to grasp, and second, the competition costs are lower, since no lame' is required. However, the apparent simplicity of the sport can obscure its subtleties to the beginner, and make progress difficult later on. Furthermore, the lack of right-of-way in epee can make transitions to the other two weapons difficult, if put off for too long. 7) How long does it take to become good? There is a saying that it takes two lifetimes to master fencing. By the time anyone has come close to "mastering" the sport, they are long past their athletic prime. Some may feel that this is a drawback to the sport, but most fencers see it as a great strength: fencing never becomes dull or routine; there are always new skills to master, and new grounds to conquer. A dedicated novice who practices twice per week will be ready to try low-level competition in 3-6 months. Competition at this point should be viewed as a learning aid, not as a dedicated effort to win. Serious attempts at competing will be possible after 2-3 years, when the basic skills have been sufficiently mastered that the mind is free to consider strategy. A moderate level of skill (eg. C classification) can take 3-6 years of regular practice and competition. Penetration of the elite ranks (eg. world cup, A classification) demands three to five days per week of practice and competition, and usually at least 10-15 years of experience. Progress can be faster or slower, depending on the fencer's aptitude, attitude, and dedication. Rapid progress normally requires at least three practices per week, and regular competition against superior fencers. The average world champion is in his late 20s to early 30s and began fencing as a child. 8) What qualities make a good fencer? There are many. On the athletic side, speed and endurance must rank foremost. Other traits that can be exploited are strength, precision, and flexibility. Quick reaction time is extremely important. On the intellectual side, a good mind for strategy and tactics is essential. The ability to quickly size up your opponent and adapt your style accordingly is essential. Psychologically, a fencer must be able to maintain focus, concentration, and emotional level-headedness under intense conditions of combat. Stress management, visualization, and relaxation techniques are all helpful to putting in winning performances. As far as body type goes, it is always possible to adapt your style to take advantage of your natural traits. Even so, height seems to be useful in epee, but not necessarily in sabre. Small or thin people are harder to hit in foil. A long reach helps in epee, and long legs are an asset in foil. It should be noted that left handers usually enjoy a slight advantage, especially against inexperienced fencers. This may account for the fact that lefties make up 15% of fencers, but half of FIE world champions. 9) How much does it cost to get involved in fencing? Beginner's dry fencing setup: about $100 - $200 US Includes: cotton jacket, glove, dry weapon, mask FIE Competition setup: about $500 - $1000 US Includes: FIE 800N jacket & britches, FIE 800N mask, at least 2 FIE (maraging) electric weapons, body cord, socks, glove, shoes, lame (foil & sabre only), sensor (sabre only). Note: costs can be as much as halved by avoiding purchasing FIE certified clothing and arms. While such equipment is required at national (Canada and Europe, but not USA) and international levels of competition, most local tournaments will overlook it. If you use a cotton or synthetic knit jacket, however, be sure to wear a plastron underneath. Club costs vary, but are usually on the order of $50-$100 per year for each day per week of fencing. Many clubs will provide or rent equipment to beginners. 10) What kind of cross-training will help my fencing? The best training for fencing is fencing. Few other sports use the same muscle groups, so this is a difficult question whose answer depends largely on what aspect of your training you really want to focus on. Cardiovascular fitness and leg strength always help, so anything that enhances these will be beneficial. Cycling, swimming, and aerobics are good examples. Running, sprinting, soccer, basketball, and similar sports can also be helpful, although some athletes dislike the stresses they put on the knees. Racquet sports like tennis, badminton, squash, racquetball, and table tennis are also excellent, and will exercise your weapon arm and reflexes in addition to your legs. Many martial arts have physical and mental demands that are similar to fencing, and can improve both your fitness and your intellectual approach to the sport. Technique and tactics very rarely translate, however. Weight training can help, if done properly, but the athlete must remember that flexibility, speed, and technique are more important than raw strength. Endurance training should have priority over bodybuilding. Strength training can help, provided it doesn't build too much bulk. Some fencers maintain that juggling improves reactions, hand-eye coordination, and use of peripheral vision. Many coaches and fencers suggest occasional fencing or workouts with your opposite hand, both to improve skill and balance your muscular development. 11) Everything you always wanted to know about right-of-way. Right-of-way is the set of rules used to determine who is awarded the point when there is a double touch in foil or sabre (ie. both fencers hit each other in the same fencing time). If there is only one hit, or if the hits are separated by more than one fencing time, then there is no question as to who gets the point, and right-of-way is of little relevance to scoring. The basic idea behind right-of-way is that a fencing bout is always in one of three states: 1) nothing significant is happening 2) the fencers are conceiving and executing their actions simultaneously 3) one fencer is controlling the action and tempo and the other is trying to gain control. Since no points will be scored in the first situation, we can ignore it. In the second situation, the fencers' actions have equal significance, and it is impossible to award a single touch. Either neither fencer will be awarded the touch (foil), or both fencers will be awarded the touch (sabre). The third situation is the tricky one. The controlling fencer has the right-of-way, and his hit has precedence over any hit from the other fencer. It is inappropriate for the other fencer to attack when he is not controlling the action, since such an action may be tantamount to suicide. The job of the director is to decide which fencer was NOT controlling the action, and annul his touch. If he cannot decide, the director should abstain, annul BOTH hits, and resume the action where it left off. Control (and right-of-way) is taken whenever one fencer threatens the other with his blade; the threat should be indicated by an extending arm and a weapon that continuously threatens the target. In other words, the scoring part of the weapon should be on a smooth trajectory that will meet the target if nothing is done to prevent it. This trajectory can be curved (especially if the attack is a cut or compound attack) but should not involve hesitations or movements of the blade away from the target. A "point in line" is also a valid threat (although not an attack), since the other fencer cannot approach without getting hit. Some directors adopt a more liberal notion of threat when the above criteria are ambiguous. In these cases, right-of-way can be assigned to the fencer who is obviously controlling the tempo and action, such as through an aggressive advance. This convention is not universal at all levels of fencing. Control (and right-of-way) is lost when an attack misses, falls short, is broken off, or is deflected away from the target by a parry, attack on the blade, or prise de fer from the defender. The defender has a split-second window of opportunity to return the attack (ie. riposte) before the attacker recovers; if he does so, he takes over right-of-way and the tables have turned. Otherwise it is a toss-up; the first fencer to start an attack will sieze the right-of-way. Normally, control should be asserted in as clear and unambiguous a manner as possible, not only to ensure that the director understands that you are taking the right-of-way, but so that your opponent does as well. If your opponent is not aware that you are in control, his actions may be quite unpredictable and dangerous. Even so, sometimes it is to your advantage to conceal your control from the opponent (such as when you try to draw the counter-attack). Obviously it is very unwise to conceal your control from the director. The right-of-way relationships between common fencing actions are as follows: - the simple attack has right-of-way over the stop-hit - the stop-hit in time has right-of-way over the compound attack - point in line has right-of-way over the attack - attacks on the blade have right-of-way over the point in line - derobement has right-of-way over attacks on the blade - the stop-hit has right-of-way over the renewal of the attack - the riposte has right-of-way over the renewal of the attack - the counter-riposte has right-of-way over the renewal of the riposte - the remise of the attack has right-of-way over the delayed riposte 12) Are flicks legitimate attacks? A "flick" is an attack that is executed with a cutting motion followed by a sudden stop, so that the foible of the blade whips around a blocking parry or body part to score with the point. It is controversial for several reasons. Many fencers feel that the flick is not legitimate because it never brings the point in line, and so never properly threatens the target. While flick attacks can score in the right circumstances, these fencers feel that the flick should rarely, if ever, take the right-of-way. Unfortunately for proponents of this point of view, the rules don't insist on a point in line in order for the target to be threatened. In fact, there are various legitimate fencing attacks that start from out-of-line positions, including sabre cuts and coupe' (cut-over). The rules seem to explicitly allow for attacks to start from out-of-line positions when they involve cutting actions. Since flicks are performed with cutting motions (blade moving perpendicularly to its length), they can be seen to fall into this category of attacks. However, the rules also say that foil is a thrusting weapon only. At first this may suggest that cutting actions are not legitimate attacks, but on further reading one finds that this rule only emphasizes that one cannot score with the edge of the foil, a point that is only relevant to manual judging. Since the cut-over (coupe') is a documented foil attack that takes the right-of-way with a cutting action, it appears that the "thrusting only" rule refers to how the point lands, not to right-of-way or how the blade is wielded. Some fencers also feel that flicks shouldn't take the right-of-way because they are often performed with a significantly bent arm. However, an extending arm is all that is required to take right-of-way. Full extension is not necessary. Yet another class of fencers perceives the flick as bending of the rules that comes close to cheating: the flicker gains an unfair advantage by using a dubious attack form that cannot be easily defended against. While they may be dubious, flicks can be easily defended against. Flicks are notoriously susceptible to being attacked on the preparation. They can also be parried, although the parries have to be wider and more precise than for inline attacks. Lastly, defence is often as simple as controlling the distance, since flicks will miss or land flat if the defender opens or closes the distance at the right time. Another concern with flicks is that some fencers dislike them because they are non-traditional and rely on blade properties that did not exist in the golden age of duelling. Such concerns are of relevance to historical re-creations of fencing, such as one finds in stage fighting or the SCA. The sport of fencing, however, is not a simulation of 17th century murder techniques, but a modern, dynamic, highly technological sport that honours those techniques that work today, not just the ones that worked a couple of centuries ago. Many flicks are preceeded by a flurry of out-of-line feints that look like random waving of the foil. Many fencers object that this waving often takes the right-of-way. It should not; right-of-way can be taken at the earliest when the arm starts its final extension. Right-of-way is lost as soon as the blade starts moving away from the target; the flicker/waver is vulnerable to an attack on the preparation at that time. Regardless of how one feels about the flick, it is widely accepted as a legitimate attack, and is very dangerous in the hands of a skilled fencer. It is important for experienced fencers to know how to use it and/or defend themselves against it. 13) How do I find a good fencing club? Start with your local Provincial or Divisional fencing association. If you don't know how to find them, contact your national fencing body (see question 16). The local association will be able to tell you about officially recognized clubs in your area. Many universities and colleges also sponsor fencing clubs and teams that will often accept non-students as members. You might also check out courses or camps offered by local community centers. Once you have a list of potential clubs, you will want to evaluate them and your needs. Desirable qualities vary, depending on your skill level and what you want to get out of fencing. Ask the following questions when selecting your club (if you're not sure what you want, "yes" is a good answer to all these questions): Does it have an active beginners' program? Are there enough fencers of your own skill level? Are there some fencers above your skill level? If you don't have your own equipment, does the club provide it? Does the club have ample electric scoring boxes and reels? Does the club emphasize the same weapons that you are interested in? Do club members compete regularly? Does the club have a master or coach? Has he/she had many competitive successes either fencing or coaching? Can you get individual lessons and instruction? At no extra cost? Lastly, atmosphere is important to any social endeavour. Choose a club that makes you feel comfortable and relaxed without sacrificing the athletic spirit that is essential to progress. 14) What kind of equipment should I buy? This FAQ does not endorse particular brands, but will point out some of the things to consider when purchasing equipment. CLOTHING: FIE 800N clothing is the most expensive available, and is required at the highest levels of competition. It includes special fabrics (such as kevlar or ballistic nylon) around vital areas such as the chest, belly, and groin, and is highly resistant to punctures by broken blades. Alternatively, you can purchase kevlar underclothes and wear regular cotton outerwear. If not using 800N clothing, cotton or synthetic jackets should be utilised in conjunction with a plastron. Most jackets are left- or right-handed. Sabre fencers may wish to consider extra protective padding and elbow protectors. Jock straps are helpful for men, and breast protectors are essential for women. A glove for the fencing hand is essential; it should cover the sleeve cuff, and have an opening at the wrist for the body wire. For the anal-retentive, FIE rules state that fencers must wear only white, and that skin must not show between the socks and pant legs. For casual and beginner fencers, sweat pants or baseball knickers are reasonable alternatives to genuine fencing clothing. MASKS: The best have FIE 800N bibs to protect the neck, but cost considerably more than the regular varieties. For foil, masks should be well-insulated to prevent touches to the head from conducting to the lame' and registering as a touch. Electric sabre masks must be conductive, on the other hand, to allow head touches. Avoid old and rusty masks, and consider subjecting a used mask to a punch test before using/purchasing it. LAME'S: Stainless steel is preferred, as they are much more corrosion resistant than older copper ones. Your lame' should come to your hip bones, and be form-fitting but not tight. Most lame's come in right and left-handed versions. Regular rinsing or careful hand-washing of your lame' (especially immediately after a tournament or practice) will improve its lifespan. Avoid folding, crumpling, or abrading it. WEAPONS: Maraging steel blades are now required at the highest levels of competition. They are about twice the price of regular blades, but are supposed to be more durable, and break more cleanly. There are a large number of variables to consider when shopping for blades, including stiffness, length, durability, flex point, weight, balance, and (of course) price. Which qualities a fencer prefers is largely a matter of taste. The length and thread of the tang may also be an issue. A wide variety of grips are available to epee and foil fencers, but choice is also a matter of preference. Guards come in various sizes and weights. Some fencers will also have preferences between 2-prong and bayonet body cords and connectors. SHOES: Fencing shoes are ideal, but expensive. Indoor court shoes, volleyball shoes, and even wrestling shoes are good alternatives. 15) Where can I order or buy equipment? Most of the following businesses will mail you a catalogue if requested. This FAQ does not endorse any of these companies. USA: Triplette Competiton Arms Blade Fencing Equipment, Inc. 162 W. Pine St. 212 West 15th St. Mt Airy, NC 27030 NY, NY 10011 TEL: (919) 786-5294 TEL: (212) 620-0114 FAX: (212) 620-0116 George Santelli, Inc. 465 South Dean St. American Fencers Supply Englewood, NJ 07631 1180 Folsom St. TEL: (201) 871-3105 San Francisco, CA 94103 TEL: (415) 863-7911 Colonial Distributing Fencing Equipment Uhlmann International PO Box 636 Wolf Finck, Pres. USA Headquarters Cedarburg, Wisconsin 53012 330 N. Fayette Drive TEL: (414) 377-9166 Fayetteville, GA 30214 FAX: (414) 377-9166 TEL: (404) 461-3809 The Fencing Post Zivkovic Modern Fencing Equipment 2543 Monticello Way 77 Arnold Road Santa Clara, CA 95051 Wellesley Hills, MA 02181 TEL: (408) 247-3604 CANADA: Fencing Equipment of Canada Herb Obst Agency (Allstar) 2407 Bayview Place CP 788 NDG Station Calgary, Alberta T2V 0L6 Montreal, Quebec H4A 3S2 TEL: (403) 281-1384 TEL: (514) 482-2140 FAX: (403) 281-0043 FAX: (514) 485-9283 BRITAIN: Blades Leon Paul 35 Edinburgh Drive 14 New North Street Staines, Middlesex TW18 1PJ London WC1N 3PW TEL: 0784 255-522 TEL: 071 405-3832 FAX: 0784 245-942 FAX: 071 405-3834 AUSTRALIA: Aladdin Sports 46 Hosken Street North Balwyn 3104 TEL: +61 3 479-1280 TEL: +61 3 479-1144 FAX: +61 3 816-3357 EMAIL: garwoli@latcs1.lat.oz.au SCORING MACHINES ONLY: Commodore Systems Fencing Technologies (Saber 3-weapon box) P.O. Box 16181 P.O. Box 22992 Minneapolis, MN, 55416 Nashville, TN 37202 TEL/FAX: (612) 926-7955 TEL: 1-800-627-4903 EMAIL: richard-marciano@uiowa.edu (615) 329-9398 FAX: (615) 329-0640 EMAIL: howardef@macpost.vanderbilt.edu 16) What organizations control fencing? Federation Internationale d'Escrime 32, Rue La Boetie 75008 Paris, France Amateur Fencing Association (Britain) 1 Barons Gate 33-35 Rothschild Road London W4 5HT Tel: 081 742-3032 Canadian Fencing Federation 1600 Prom. James Naismith Drive Gloucester, ON K1B 5N4 TEL: (613) 748-5633 FAX: (613) 748-5742 United States Fencing Association 1750 East Boulder Street Colorado Springs, CO 80909-5774 TEL: (719) 578-4511 FAX: (719) 632-5737 Contact your national fencing body to get the addresses and phone numbers of your local/provincial/divisional fencing associations. 17) Bibliography This list has been compiled from suggestions by rec.sport.fencing readers, and is far from complete. Alaux, Modern Fencing (Charles Scribner, ?) Anderson, All About Fencing (Arco, 1970) Angelo, The School of Fencing (Land's End Press, 1971) Bowers, Foil Fencing (?, 1991?) Castello, The Theory and Practice of Fencing (Charles Scribner, 1933) Castello, Fencing (Ronald Press, 1962) Castle, The Schools and Masters of Fence (Arms & Armour Press, 1969) Crosnier, Fencing with the Foil (Faber & Faber, 1951) Curry, The Fencing Book (?, 1984) FIE, Rules of Competition (AFA, CFF, USFA, etc., every year) de Beaumont, Fencing: Ancient Art and Modern Sport (?, ?) Gaugler, Fencing Everyone (Hunter, 1987) Hutton, The Sword and the Centuries (Charles E. Tuttle, 1980) Lukovich, Electric Foil Fencing (Corvina Press, 1971) Lukovich, Fencing (Corvina Press, 1986) Morton, A-Z of Fencing (Antler, 1988?) Nadi, On Fencing (G.P. Putnam, 1943) Palffy-Alpar, Sword and Masque (FA Davis, 1967) Pitman, Fencing, Techniques of Foil, Epee, and Sabre (Crowood, 1988) Manley, Compleate Fencing (Doubleday, 198?) Selberg, Foil (Addison-Wesley, 1976) 18) Glossary of terms: Assault: friendly combat between two fencers. Attack: an offensive action that includes extension of the arm, a forward moving blade, and the threatening of the target with the scoring part of the weapon. Attack au Fer: an attack on the opponent's blade, eg. beat, froissement, pressure. Balestra: a forward hop or jump, typically followed by an attack such as a lunge or fleche. Bayonet: a type of electrical connector for weapons. Beat: an attempt to knock the opponent's blade aside or out of line. Bind: an action in which one fencer forces the opponent's blade into the diagonally opposite line, by taking it with the guard and fort of his own blade. Black Card: used to indicate the most serious offences in a fencing competition. The offending fencer is usually expelled from the event or tournament. Bout: an assault at which the score is kept. Broadsword: a military sword and fencing weapon popular in the 18th-19th centuries, similar to a heavy sabre; any straight-bladed, double- edged, single-handed cutting sword of the post-medieval period. Broken Time: a sudden change in the tempo of one fencer's actions, used to fool the opponent into responding at the wrong time. Compound: an attack or riposte incorporating one or more feints to the opposite line that the action finishes in. Conversation: the back-and-forth play of the blades in a fencing match, composed of phrases (phrases d'armes) punctuated by gaps of no blade action. Counter-attack: an attack made against the right-of-way, or in response to the opponent's attack. Counter-parry: a parry made in the opposite line to the attack; ie. the defender first comes around to the opposite side of the opponent's blade. Counter-riposte: an attack that follows a parry of the opponent's riposte. Counter-time: an attack that responds to the opponent's counter-attack. Corps-a-corps: lit. "body-to-body"; physical contact between the two fencers during a bout, illegal in foil and sabre. Coule': also graze, glise', or glissade; an attack or feint that slides along the opponent's blade. Coupe': also cut-over; an attack that passes around the opponent's tip. Croise: also semi-bind; an action in which one fencer forces the opponent's blade into the high or low line on the same side, by taking it with the guard and fort of his own blade. Cut: an attack made with a chopping motion of the blade, landing with the edge or point (see Flick). Derobement: avoidance of an attempt to take the blade. Direct: an attack or riposte that finishes in the same line in which it was formed, with no feints out of that line. Disengage: a circular movement of the blade that avoids the opponent's parry. Double': an attack or riposte that describes a complete circle around the opponent's blade, and finishes in the opposite line. En Garde: also On Guard; the fencing position; the stance that fencers assume when preparing to fence. Envelopment: an action that sweeps the opponent's blade through a full circle. Epee: a fencing weapon with triangular cross-section blade and a large bell guard; also a light duelling sword of similar design, popular in the mid-19th century. False attack: an attack that is intended to miss or fall short, intended to produce a reaction from the opponent. Feint: attacking into one line with the intention of switching to another line before the attack is completed. Fencing Time: also temps d'escrime; the time required to complete a single, simple fencing action. Finta in tempo: an attack that responds to the opponent's counter-time. Fleche: lit. "arrow"; an attack in which the aggressor leaps off his leading foot, attempts to make the hit, and then passes the opponent at a run. Flick: a cut that lands with the point, often involving some whip of the foible of the blade. Florentine: a fencing style where a secondary weapon or other instrument is used in the opposite hand. Foible: the upper, weak part of the blade. Foil: a fencing weapon with rectangular cross-section blade and a small bell guard; any sword that has been buttoned to render it less dangerous for practice. Fort: the lower, strong part of the blade. French Grip: a traditional hilt with a slightly curved grip and a large pommel. Froissement: an attack that displaces the opponent's blade by a strong grazing action. Guard: the metal cup that protects the hand from being hit. Foils use small bell guards, epees use large bell guards, and sabres have a knuckle guard that wraps around the hilt to protect from cuts to the hand. Hilt: the handle of a sword, consisting of guard, grip, and pommel. Homologated: certified for use in FIE competitions, eg. 800N clothing and maraging blades. In Quartata: an attack made with a quarter turn to the inside, concealing the front but exposing the back. In Time: when a stop-hit arrives at least one fencing time before the original attack. Indirect: an attack or riposte that finishes in the opposite line to which it was formed. Insistence: forcing an attack through the parry, using strength. Italian Grip: a traditional hilt with finger rings and crossbar. Lame': a metallic vest/jacket used to detect valid touches in foil and sabre. Line: the main direction of an attack (eg., high/low, inside/outside), often equated to the parry that must be made to deflect the attack. Lunge: an attack made by extending the rear leg and landing on the bent front leg. Mal-parry: a parry that fails to prevent the attack from landing. Maraging: a special steel used for making blades; tends to be stronger and break more cleanly than conventional steels. Match: the aggregate of bouts between two fencing teams. Neunte: parry #9; blade behind the back, pointing down. Octave: parry #8; blade down and to the outside, wrist supinated. Opposition: an attack or counter-attack in the same line as the opponent's blade; a combined parry and riposte. Parry: a block of the attack, made with one's own blade. Passata-sotto: a lunge made by dropping one hand to the floor. Phrase: a set of related actions and reactions in a fencing conversation. Piste: the linear strip on which a fencing bout is fought; approx. 2m wide and 14m long. Pistol Grip: a modern, orthopaedic grip, shaped vaguely like a small pistol; varieties are known by names such as Belgian, German, Russian, and Visconti. Plastron: a partial jacket worn for extra protection; typically a half-jacket worn under the main jacket on the weapon-arm side of the body. Point in Line: also line; an extended arm and blade that threatens the opponent. Pommel: a fastener that attaches the grip to the blade. Preparation: the initial phase of an attack, before right-of-way is established. Pressure: an attempt to push the opponent's blade aside or out of line; depending on the opponent's response, the pressure is followed by a direct or indirect attack. Prime: parry #1; blade down and to the inside, wrist pronated. Priority: in sabre, the now-superceded rules that decide which fencer will be awarded the touch in the event that they both attack simultaneously. Prise de Fer: also taking the blade; an engagement of the blades that attempts to control the opponent's weapon. See: bind, croise, envelopment, opposition. Quarte: parry #4; blade up and to the inside, wrist supinated. Quinte: parry #5; blade up and to the inside, wrist pronated. In sabre, the blade is held above the head to protect from head cuts. Rapier: a long, double-edged thrusting sword popular in the 16th-17th centuries. Red Card: used to indicate repeated minor rule infractions or a major rule infraction by one of the fencers; results in a point being given to the other fencer. Redoublement: a new action that follows an attack that missed or was parried. Remise: immediate replacement of an attack that missed or was parried, without withdrawing the arm. Reprise: renewal of an attack that missed or was parried, after a return to en-garde. Right-of-way: rules for awarding the point in the event of a double touch in foil or sabre. (see question 11) Riposte: an attack made immediately after a parry of the opponent's attack. Sabre: a fencing weapon with a flat blade and knuckle guard, used with cutting or thrusting actions; a military sword popular in the 18th to 20th centuries; any single-edged cutting sword used by cavalry. Salle: a fencing hall or club. Second Intention: a false action used to draw a response from the opponent, which will open the opportunity for the intended action that follows. Seconde: parry #2; blade down and to the outside, wrist pronated. Septime: parry #7; blade down and to the inside, wrist supinated. Simple: an attack or riposte that involves no feints. Simultaneous: in epee, two hits that arrive within 1/20 - 1/25 s of each other. In foil and sabre, two attacks for which the right-of-way is too close to determine. Sixte: parry #6; blade up and to the outside, wrist supinated. Small Sword: also court sword; a light duelling sword popular in the 18th century. Stop Hit: a counter-attack that hits. Three Prong: a type of epee body wire/connector; also an old-fashioned tip that would snag clothing, to make it easier to detect hits in the pre-electric era. Thrust: an attack made by moving the sword parallel to its length and landing with the point. Tierce: parry #3; blade up and to the outside, wrist pronated. Time Hit: old name for stop hit with opposition. Two Prong: a type of body-wire/connector, used in foil and sabre. Whip-over: in sabre, a touch that results from the foible of the blade whipping over the opponent's guard or blade when parried. Whites: fencing clothing. Yellow Card: also advertissement, warning; used to indicate a minor rule infraction by one of the fencers. ---------------------------------------------------------------------------- ACKNOWLEDGEMENTS: Author: Morgan Burke (morgan@sitka.triumf.ca) Contributors: many helpful suggestions made by Suman Palit and Guy Smith; some fencing supply house addresses obtained from Greg Dilworth and Kevin Taylor; USFA address and some books suggested by Eric Anderson; British sources supplied by Blaine Price; some bibliographic info from Steve Hick. (C) 1993, 1994 Morgan Burke Permission is granted to copy and distribute all or part of this document for non-profit purposes. ---------------------------------------------------------------------------- End of rec.sport.fencing FAQ