THE ART OF SWORD

An Interview with John Clements

What comes to mind when you think about swords? The clashing of metal against metal--Xena--The Highlander--Olympic Fencing. Or perhaps Zorro marking his opponent with the sign of the 'Z', or Excalibar being drawn from the stone, a duel to settle a debt of honor, or maybe, the Three Musketeers. Our western heritage is rich in sword imagery, but what do we really know about its use in actual combat?

John Clements, Western swordsman and author of two books, has addressed this issue with a passion as impressive and targeted as the rapier's thrust itself. A student of several martial arts, including Oriental disciplines, Clements found Western traditions lacked references and were not being taught as true martial arts. Rather, they were being portrayed in staged combat or in sport fencing. The awareness of the sword's lethalness had vanished; its evolution little understood, hiding in the archives of history.

Clements set out to dispel the many myths and misconceptions surrounding the field of European swordsmanship promoted by media and entertainment. Clements has written two books on the subject. The first, Renaissance Swordsmanship, encompasses the illustrated use of rapiers and cut-and-thrust swords which he followed with his new book, Medieval Swordsmanship, to be released in November 1998, an in-depth look at early swords and sword fighting techniques.

I spoke with John Clements, aged 33, on behalf of Chivalry Sports about his two books, the Historical Armed Combat Association and his philosophy. His build is reminiscent of Bruce Lee (at 5'7², 140 lbs, he's just a few pounds off) and he radiates an intensity that's hard to miss. He speaks quickly, precisely, and confidently. In fact, it was rather difficult keeping up with him and I was thankful he was opposite a clipboard and not a sword. This is a man with a purpose!

CHIVALRY SPORTS: How did you first become interested in swords, John?

JOHN CLEMENTS:

I suppose my earliest influence came from my father, who had gained fencing experience in Germany and Italy after World War II. He later had exposure to martial arts in the Orient in the 50's. From my earliest years I can remember pretending I was a gladiator substituting sticks for swords. Later in my pre-teens my dad made wooden swords for me and my friends. At fourteen, I began fencing lessons and followed that with exposure to martial arts. I took up kick boxing which I continued through my early twenties. I had some instruction in Japanese sword and that whetted my appetite. From there grew my interest in medieval fighting. Throughout my teens and twenties I became more active and wanted to learn more about swords. I read everything I could get my hands on. I networked with a lot of people and we swapped information and sources.

CS: So you studied a variety of styles before honing in on Western swordsmanship?

JC: Exactly, but it was that diversity and by not conforming to any one group and adopting their identity, by continually asking questions that I made my journey to swordsmanship as a martial art. I quested after the changes and differences of one group to another. I found I could overcome opponents because I wasn't locked into any one mind set of 'this is how you fight'. I had the natural gifts of speed and reflexes, but there are general concepts, principles and techniques of fighting that these groups were not using. An understanding of the universal general concepts of fighting was what the historical masters taught.

CS: Where did you go from there?

JC: That was ten years ago. I began focusing intensely on Medieval weapons as a martial art with historically accurate weapons.

CS: What did you use as a reference? Did you actually find a school still in existence?

JC: Unfortunately, there are no surviving schools of Western Swordsmanship, but there are several surviving manuals. I did a lot of exhaustive digging, ten years worth, and it's still ongoing. I followed leads by phone, mail, third person networking, etc. and uncovered some obscure libraries and archives. I found portions of manuscripts here and there. I began with research on medieval weapons, but as I continued I found a greater misunderstanding surrounding renaissance swords. There is a general unawareness of the difference between early renaissance military swords and civilian rapiers. This is often overlooked and confused with a blurring between the two. This led to my reference and instructional manual, Renaissance Swordsmanship.

CS: What is the difference between cut-and-thrust and rapier?

JC: The cut-and-thrust sword is a direct descendant of the medieval knightly sword and were used predominantly by foot soldiers. Lighter blades emerged as heavy armor declined. Its versatility was that it could often be used to outfight the more"traditional''medieval sword. Not having to penetrate battlefield armor, its blade was somewhat lighter and more maneuverable. A few quick, simple, but well placed cuts could often decide a fight before any devastating hack or slash could be delivered. A cut-and-thrust sword must be just wide and heavy enough to make cutting blows, yet light and slender enough for agile thrusts. Typically, these swords were double edged. Due to often similar hilts, cut-and-thrust swords are often mislabeled as rapiers. The rapier is a thrusting weapon with little cutting capacity. Its design is a good means of self defense. Fundamentally, the weapon is about keeping an attacker at a distance-and killing him there. It's deadly point aimed at the opponent forces him to have to come closer and pass it at the risk of being punctured. The rapier evolved from earlier cut-and-thrust swords and progressed to an almost entirely new method of swordsmanship.

CS: Are there more examples of the differences and styles of use of these swords in the book?

JC: Oh yes! Renaissance Swordsmanship is 143 pages to be used both as a general reference and an instructional guide for advanced and beginning sword enthusiasts, students of military history and martial artists. It includes detailed sword fighting techniques and how these techniques can be applied today. There are more than 100 pages of original drawings of techniques as well as stances, grips, parries, thrusts, bucklers, daggers and much more.

CS: What can we look for in Medieval Swordsmanship?

JC: Medieval Swordsmanship can also be used as both a general reference and instructional guide. It is 344 pages and heavily illustrated with many historical drawings from medieval manuscripts. Its primary sources are drawn from the works of the German and Italian Grand Masters. The book's purpose is to present an overview of medieval sword as an actual martial art and how it was taught as a martial art. Forty percent of the book is devoted to sword and shield and sixty percent covers long sword. A medieval sword (discounting its use in tournament and trial by combat) is exclusively a weapon of war. Unlike other weapons such as axes, bows, daggers and spears which have uses as tools as well, ie. hunting, the sword's sole purpose is for combat.

CS: To give yourself and other sword enthusiasts a place to practice and study swordsmanship as a martial art you formed the Historical Armed Combat Association or HACA. Wow, talk about an onomatopoeia! You can just hear and feel the sword splitting the air. HACA certainly describes what you do.

JC: Hank Reinhardt of Museum Replicas came up with the name and helped found the organization. HACA is an informal club of arms and armor enthusiasts and practitioners dedicated to exploring and reconstructing our Western martial heritage. HACA was established to promote the study of arms and armor from the perspective of their historic function and use. It's purpose is to provide for a safe, realistic and practical opportunity for members to engage in related activities. HACA's virtue is in its approach. We focus exclusively on reconstruction skills and techniques where anyone can participate, contribute and learn. We are not a role playing organization and do not develop a 'persona'. This way we're not distracted by being someone else. We study the art and practice it. Hank Reinhardt, who is also my mentor, has a goal to see organizations, like HACA offer a proficiency certification in different medieval and renaissance weaponry which would be an equivalent to similar rating in Asian martial arts and to bring greater legitimacy and authority to Historical Western Fighting Arts. Right now HACA has about a dozen US, European and Australian study groups. The HACA web site is the most in-depth information on the subject on the internet. It's constantly being added to. Anyone wanting more information should definitely check it out.

CS: John, what's the biggest challenge for Western swordsmanship?

JC: For so long the sword's sole voice has been through the depiction of film and television--and sport fencers saying 'we're the end result' of the sword's western evolution. Role playing is its own result. It seems to be a lost piece of our Western martial heritage.

CS: Well, does it matter where or how the interest sparks? Won't some people fall so in love with swordplay that they'll seek out the pure art? As for others, does it really matter if they think D'Artagnan is the world's greatest swordsman? Aren't these more popular, though inaccurate portrayals keeping the spirit alive, saving the art from near extinction? After all, what would the world be without Hamlet?

JC: They influence and may inspire, but I think they misinform as much as they inspire. Swordsmanship is the practice and study as a martial art. Its purpose and origin is real fighting. Stage-combat is illusory. Although it is a necessary and respected part of theater its purpose is to create an illusion, not about how to defend yourself or beat an opponent. It takes much skill and practice. Modern fencing is a game with an assortment of rules and conditions. It is a very athletic and challenging sport based on earlier methods, but not a martial art.

CS: John, do you have a favorite style or weapon?

JC: Actually I have two. The early renaissance sword and dagger or sword and buckler. The renaissance cut-and-thrust sword is sophisticated, elegant and versatile. It can be used effectively against any other weapon or weapon combination.

CS: What can we expect from you in the future?

JC: I'm very excited about a video we're making. It's the first in a series and will focus on general Western sword history from the early Middle ages to the late Renaissance. The video includes test cutting with various types of sharp blades and interviews with leading authorities. You can look for that next summer. I'll continue to help promote the more serious and formal of the fighting arts. I'd like to see more of the historical manuals translated and commercially published as well as more availability of training aids.

My own personal goals are to perfect my skill and improve my knowledge while simultaneously developing students into capable proteges... although I could see myself endlessly traveling to Europe tracking down more research. Above all I am always looking for more, new people to spar and/or cross train with. Those interested can contact me through the HACA web site.

I can't encourage people enough to check out the HACA website. It's filled with all kinds of further information: articles, interviews, study group locations, class schedules, all sorts of 'how to's', loads of photos, movie clips of sword techniques, more information on the books and an extensive glossary of terminology. It's an outstanding source of information. After spending some time there it's easy to see why John Clements and fellow sword enthusiasts are working so hard to bring the tradition back to life. John sums up their passion very well,"I must say, as a martial artist, I can think of nothing more satisfying than to simply declare, 'Yes, I am a swordsman'.''

To contact John Clements or visit the HACA web site see: http://www.thehaca.com/default.htm

All quotes are printed with the permission of John Clements.

About the author: Cynthia Cameron is a freelance writer based in Tucson, Az. She is currently working on a novel set during the Wars of the Roses and thanks John Clements for his insight and knowledge he shared on the weaponry of the time. Cynthia welcomes your comments and story ideas. You may contact her in care of Chivalry Sports or by email: highlandpeacock@theriver.com

Go to previous story: Commedia dell' Arte

Go to next story: Knights, Glamour, Action! Behind the Scenes of Noble Cause Productions

Return to: Articles Index

---

| Home | Secure Orderform | Request Catalog | Contest | SiteMap | FAQs | Hotlinks | Articles | Plaza | Armor | Shops | Contact Us |

All funds in US dollars. Visa, Mastercard, Discover, and Novus credit cards accepted.
USA and Canada toll-free number 1-800-730-5464 or FAX (800)-410-KING.
Customers calling from outside of the USA or Canada call (520)-722-1255 or FAX (520)-722-1309.
© 1996-1999 Chivalry Sports, Inc. all rights reserved.
webmaster@renstore.com

This page was last updated Tuesday, 27-May-2003 13:21:00 EDT