Sword Fighting in Northern NJ - On Armoring Women's Groins.

Deep in the secret base our hero, in his best impression of Tony Stark, was working on women's armor. Not being female, he decides it's best to talk to a couple of female fighter for their opinions. The question(s) were posed to several fighters, and the one's who responded are listed forthwith.

Gunnvor's thoughts on armoring women's lower torsos...

She says, "For the lower abdomen, it's all about a women's shape. Many women (who can comfortably wear a C harness around their hips) say very good things about a C-belt. It covers the abdomen and holds the legs well. I cannot comfortably wear a belt around my hips. For me, the best thing to do is hang something off of my body armor. I have lamellar hip flaps and plan to make a abdomen flap, but you could easily hang something off other types of period armor.

Shiro wrote this:

"I use a modern female groin protector - http://www.hockeygiant.com/rwompelprot.html - and inside my underwear I wear an "overnight" maxi pad, the thickest I can find. The technology of today makes padding ultra thin pads very popular, and to find think ones that actually have padding to them, I sometimes have to look for generic or store brand "cheap" stuff. Although I do wear a wide C-belt, I find it protects the hips a bit, but not so much the belly. Lower abdomen protection is done with plates hanging from the torso armor. You have to remember to armor a woman with a flex point at HER waist. It you try to run a sold plate over her belly, she can't move. I have been hit at that hinge with a spear thrust pretty hard, and it is not any fun. But you have to choose your weak points, and adjust the armor as you need to. I will try to get some pictures of my armor to you."

Sheleigh McLanagan:

"For the majority of my time in armor, I wore a coat of plates which extended just equal with my grown protection. Later I switched to a breastplate and went without hip and abdomen armor. Kinda foolish. Having heat issues I made a short gambeson that ended under my bosom, but was longer in back to pad the kidneys. I took a number of shots in the belly during that time, but being "plumptious" in the extreme in that one area it did no more than bruise me. The shot to my hip with no armor and no padding: cotton, or adipose, hut oodles more. I'm reviewing my armor in the hopes of getting back into it soonish. I'll be making a proper gambeson of linen that will extend to the top of my thighs.

For groin protection I hadn't been able to find a girls hockey cup, so I made one of rigid plastic, boiled and curved to fit, and backed it with closed cell foam. I made an additional pocket in a couple of pairs of bikini undies to tuck it into. Worked okay."

Hildemar the Alchemist:

"I use a military web belt (often referred to as a pistol belt) beneath my armor. This nylon belt has padding attached to it (and these web best pads, were once easily found in surplus stores). The belt is worn low on the hips and protects the kidneys, hip points, and abdomen, as well as providing support for leg armor. The belt is always covered by plate (and due to location, articulated plate to permit free movement so I can crouch when needed).

I have found most commercial women's groin protection to be too soft and yielding (as well as too flat) to provide the kind of protection we need against low blows, so I built my own. The current piece I use is made of 0.25" HDPE plastic and was carefully shaped over a gas jet. A rigid plate like this, backed with suitable padding, provides the best protection, in my opinion"

Me: Can I quote you?

"Sure! Just advise those seeking advice that "their mileage may vary" and that they should *test* all armor they make before permitting their opponents to try it out.

Astrid's take on the subject goes as follows:

"I am a crazy Northern Army girl. I got a women's jill and stuff the plastic insert into men's compression shorts that have a cup slot built in...It works great for me. I got cupped numerous times at Gulf Wars this year and I made it out with no real injury.

My Lower abdomen is kept in check with my "war skirt" which is a modified C-belt with leather "skirting strips" spaced about 1/4 to 1/2 inches apart..."

Sandy wrote to me with this:

"I made a padded arming coat that goes to my hips and purchased female groin protection from a sports store that specifically handles women's needs. The heavy plastic molded plate fits relatively well and has a soft pliable but solid foam edging to it for comfort. I am not fond of the underwear that pockets it and holds it in place, but it does the job well. I have not had issues with low abdomen shots....YET! But the pair of legs I created did not protect my hips and thighs the way I needed. They are a pair of belted leggings that has slots sewn in which hold waxed leather strips. Although it worked fairly well it was not enough to prevent serious bruising on my thighs and hips so I added a layer of camping roll foam to inside. That solved the problem. Next pair I make will have a sleeve for the foam. I wear a solid breast plate which has an attached back of full pocketed metal plates which act as rib and kidney protection. I recently separated part of the leg so that the weight of the knee and shin protection did not pull on my waist and back. I accomplished this by attaching knee braces to the inside of the knees. This has worked great, less back aggravation and more mobility."

Sir Sichel's comments on the topic go like this:

"I just wear the foamy part of the chick pubic protector inside my underwear, it stays in place and can take a spear thrust. I have never had anything on my abdomen. The only thing on my hips are bruises from (Sir) Douglas Henry.

I am waiting on the Zoombang shorts to get here. I'll let you know how that works"

There doesn't seem to be one "ANSWER" to the question, there does seem to be solutions that work for those involved. Try a few, and find the one that you're most comfortable with considering the full contact martial art that you're getting into.

Sometimes My Tail Still Wags

By: Sir Tanaka

SCA Cross Dressing, or “How a Heian Period Samurai becomes a Squire to a Varangian (Russian Norseman living in Constantinople) Guardsman”

By Tanaka Raiko

The Society for Creative Anachronisms is a curious place. Where else could a martially inclined Heian period (11th century) samurai meet up with and squire to a Varangian Guardsman?

For those of you who aren’t familiar with the Varangian guardsman, they were essentially Russian Norseman who were in the “employ” of the Byzantine Empire. So say they were being paid off not to raid Constantinople, some say they were just a “social club”. Go figure.

At any event you can see a myriad of costume styles from a dozen or so cultures. A cavalcade of dress floods every event site. Side less surcoats swim with Elizabethan corsets, Bath robe samurai take tea with bunny fur bikini wenches, and it’s all so marvelous.

Truth be told I personally wasn’t in love with my persona, Tanaka Raiko.

My “l’Amor du Jour” sorta dragged me into the SCA. (kicking and screaming actually)

Drove me to a fighter practice on a Sunday afternoon. In my first time in armor I was beaten to a pulp. Quite literally. I vowed to myself that I would extract my returns from those who wronged me. Became quite passionate about it. This passion mated quite naturally with my academic studies. The germs of Dieter started long ago.

I studied medieval military history in college and had 6 years of German language studies. I really wanted to be a Landsknecht. The outrageous stripes and colors of a dopplesoldat appealed to my inner German. I researched, and researched even coming up with a great “Deutsche namen”. I would be “Dieter Langstaff”. The double entendre and the genetic incongruity made for delectable irony.

Alas, “Dieter” was not to be.

My girl stated in no uncertain terms that I was to be a Samurai, to counteract all the blond/red

headed and blue eyed nipponphiles. Fight as I might, the flesh’s weakness at times over rules one’s better judgement. Tanaka Raiko was born.

In Tanaka’s short time in Atlantia he blazed a trail fast and furious taking note and getting noticed for a variety of things, some of them good. My time in the south was soon over and I head to the ancestral home of all things Tanaka…Lodi NJ.

My first event in the East was in Rusted Woodlands was more than 19 years ago.

It was the "Ironman triatholon", you had to fight, run a footrace against your opponent, then shoot arrows. I thought the concept interestingly ludicrous so of course I entered. My armor was ill fitting and hideous, comprised of a solid breast plate that was too long for my torso and allowed for little or no flexibility. A hideous blue “Mace landing pad” (a clone helm, think metal wash bucket, you wouldn’t be far off) for a helm. I fought only single sword and two weapon (which I authorized in only a week prior.) I was ready for anything, or so I thought.

My first opponent in a tournament was a mutton chop festooned, British beef eater looking chap who looked evilly similar to the villain (Bennett) in that award winning Schwarzenegger movie, “Commando”. He introduced himself as Magnus, with a hearty handshake and laugh. The pale blue eyes crinkled as he regarded his opponent. Gold chain glinted sharply in the icy winter sunlight while small rowel spurs clicked metallically.

Our first conversation went sort of like this;

Tanaka: “What form would you like to fight Magnus?”

Magnus: “Well, what forms are you authorized in?”

Tanaka: “Weapon and Shield, but I just authorized in single sword and two weapon!” (if I

had a tail it would have wagged, so pleased with myself I was)

Magnus: “Just authorized in Single sword, (his grin was horrific, it haunts my dreams to this

day) wellllll…ok how about that one!”

So we fought. It wasn’t like the dramatic clashes of Jedi Knights from the movies, nor was it the choreographed precision of Japanese samurai duels. It was, to use a phrase from one of my

squires, just a “ghetto beat down”. It was so bad, that I won best death.

Youthful vigor is the ally of the unskilled and I bounced up from my beating like Golden Retriever with a ball. (if I had a tail it would have wagged.)

I beat Sir Magnus (as I later found out the white belt, chain, and spurs signified his membership in the Order of the Chivalry, and wasn’t some sort of not so subtle statement of lifestyle) in the foot race and the archery.

Tanaka: “Golly Magnus, That was great! We’ll have to do it again! (tail wagging effusively)

Magnus: “Kid, I like your attitude….Do you like gladiator movies?”

Not quite 8 years and many roads later Sir Magnus Bloodax, a 10th century Varangian Guardsman knighted his first squire the 11th century Heian period Samurai, Tanaka Raiko.

I look back, and my tail still wags.

How to Make a Tachi

By: Sir Tanaka

The Tachi

by Tanaka Raiko

The tachi or
daichi (depending on your translation) is the sword of war of the 11-14th
century Samurai. It was the sword of war, heavier and straighter than it's more
famous and out of period counterpart the Katana, it was the sword that forged
the history of Japan.

Fighting in the
SCA for over 15 years I realized that katana's just don't have the chutzpah
needed in Heavy weapons combat. A heavier (armor piercing) weapon was needed to
fight armored opponents. Research lead me to the Tachi.

The tachi or
daichi (depending on your translation) is the sword of war of the 11-14th
century Samurai. It was the sword of war, heavier and straighter than it's more
famous and out of period counterpart the Katana, it was the sword that forged
the history of Japan.

Seeing as I
patterned my persona after a 11th century samurai it was a no brainer that I
start fighting with a Tachi.

The Tachi is one
of my favorite creations.

The Specs on the
Tachi are as follows:

* Overall Length
50-52"

* Blade Length
34-36"

* Handle length
14"

* Finished
weight: 2.5-3.5 lbs.

* Tsuba with
3-4"

Material List:

* One - 1
3/4" - 2" thick rattan stave (you will eventually cut a 48-50"
billet out of it)

* One -
4"x4" 1/2" thick piece of HDPE (for the Tsuba)

* One - roll of
3/4" strapping tape

* One - roll of
Duct tape (color of your choice)

* One - roll of
Duct tape (contrasting color of your choice)

* One - roll of
white athletic tape ( as the base handle cover or the Same')

* two - rolls of
electrical tape for the handle wrap (or use black athletic tape)

* one -
2"x2"x2" block of high density foam (for thrusting tip)

Possible material
needs:

* Rivets, pop,
two piece smash, etc.. to affix two pieces of HDPE together to get the plastic
to the right thickness.

Tools:

* At least one
Sharpie. I try to have as many as possible around (they walk away at the worst
time)

* Ruler or a
caliper (to measure thickness of rattan after cutting) draw knife or spoke
shave (to shave rattan dowel, I have two different kinds of draw knives)

* rasps, bastard
file, or wood files (to rough shape the handle)

* sand paper (for
finish sanding of the blade sides and handle)

* wood chisels
(for fine cutting work)

* cross cut wood
saw (for cutting the rattan to the appropriate length and for notching)

* Propane or Mapp
gas torch (for straightening the rattan)

* a large vice
(wood working, table, or bench vice for holding

* the rattan in
various stages)

Step one:
Material Prep

1. Rattan
straightening and billet selection

1. After
selecting the rattan stave (I pick rattan that feels "live", hard to
describe I'd have to show you). I used the torch to heat the rattan at the
points that I want to bend it to straighten it. I use either a vice or the joists
of the floor above me to brace the rattan while I'm straightening it.

2. After I
straighten, I cut out a billet 48-50 inch from the stave. I look for sections
that are straight, and are of consistent diameter. Again I look for
"live" rattan. (It has a particular feel in the hands)

2. Plastic Tsuba
prep

1. Unless you go
to a plastic supplier (which is the way to go if you're going to do some
intricate carving of the Tsuba) and buy plastic of a particular thickness,
you're going to have to build up pieces of plastic (HDPE or barrel plastic) to
the appropriate thickness.

2. I cut out two
4"x4" squares

3. Rivet the two
squares together. You will do more to them once the blade is cut out.

3. Thrusting tip
prep

1. Take high
density urethane foam (blue camping mats) and fabricate a
2"x2"x2" square. I contact cement the pieces together and
"LIGHTLY" wrap them in strapping tape (this keeps the foam from
deforming under repeated thrusts).

2. set it aside,
you will need it when the blade is done.

Step Two: The
blade

1. Feel and mark
the billet. You will take the billet in your hands and roll it around and
switch ends until it feels right. You will then mark (with one of your
sharpies) the part in your hands as the handle. Additionally you will mark the
back part of the blade (the side facing UP) as the SPINE. I generally draw a
rough line the length of the blade and mark it "SPINE" I will roll it
over and opposite the spine mark I will draw a rough line and mark it
"BLADE". (These lines are important as guides when you're carving the
blade). On the flat Point end of the billet I will write (PT for point) and on
the pommel end of the billet I will write (PM for pommel) these are important
when carving the billet.

2. Lock the
billet into the vice point end away from you. Your spine marked side should be
on the left and the blade on the right, with the PM marked end toward you.

3. with your
spoke shave or draw knife remove the skin from the top to a uniform depth of ¼
inch the length of the billet.

4. Flip it over
and do the same to the other side, make sure that your marks (spine, blade, PM
and PT are in the right places). If you do it right you should have two flat
trails directly opposite of each other on the billet.

5. Take your
caliper or ruler and measure the thickness from flat side to flat side. These
are your guide marks. You will continue shaving down the sides alternately
until you reach your target width of 1 ¼ inch. If you do it right you will have
a BI-symmetric blade blank. With a uniform longitudinal thickness. You now have
a blade blank.

6. From the
POMMEL end (PM) you will measure and mark 14 ½ inches with your sharpie all the
way around the blank. This will be your FRONT Tsuba mark.

7. From the
pommel end measure 14 inches and make another mark all the way around the
blank. This will be your BACK Tsuba mark.

8. Run strapping
tape from the point end to the Front Tsuba mark.

9. wrap a length
of tape around the blank to in front of and up to the front Tsuba mark. This
will be your Tsuka

Note: take your
time. I've made somewhere between 75-100 of these and each one has a life and a
feeling all their own. If you do it right the "live" feeling in the
rattan will transfer to the tachi and magnify itself.

Step Three: The
handle

1. starting at
the Back tsuba mark, carve off the corners, rounding the handle. Your goal is a
oval cross section that feels comfortable in your hands. Keep carving until you
get to the point where the tips of your longest finger (probably your middle
finger) touches the Abbuctor Pollicis of your thumb. (The big muscle of your
thumb).

2. I use the draw
knife to rough carve the handle and use the rasps, wood files etc. to rough out
the handle to the appropriate dimensions. ONCE I get close to where I want to the
handle to be I'll sand it smooth. (Tape adheres better to a smooth surface)

Step Four: The
Tsuba

1. Using a ruler
find the center of the Tsuba blank and drill a small hole.

2. Place the
sword blank Pommel end down on the floor. You should be looking down at the
Point end of the sword blank. Mark the center of the blank.

3. match up the
hole in the Tsuba blank with the mark in the Point end of the sword blank.
Trace the outside diameter of the sword on the surface of the Tsuba blank.

4. From the
center mark of the Tsuba measure out a 2 inch radius and draw a 2 inch radius
from the center circle.

5. Rivet the two
tsuba blanks together in four equidistant point INSIDE the circle you just
drew.

6. cut off
everything outside the circle.

7. cut out the
center of the tsuba to the inside trace mark

8. fit it onto
your pommel end pushing it up to the Tsuka/front Tsuba mark. Trim to fit.

9. If the hole is
too large you can use strapping tape to get it to snug up.

10. You should
not be able to push the Tsuba past the Tsuka. If you can add more tape to the
Tsuka.

11. Remove the
Tsuba until final assembly.

Step Five: The
Trusting Tip

1. Take your
2x2x2 block of foam and measure it up against the Point (PT) end of the blank.
It should be slightly larger than the outside diameter of the rattan. There are
times when I will contact cement the foam on just to keep it in place.

2. tape the tip
onto the blank with 10" strips of strapping tape. With the pommel end on
the floor, place the middle 2" inches of tape on the point end of the foam
and adhere it downward. Repeat this process across and diagonally, adhering the
point EQUALLY. Don't pull down lest you compress the tape too much and loose
it's compression capabilities.

3. holding the
blank in your left hand "Spiral wrap" strapping tape from the spot
where the lashing straps of tape end on the blank. Spiral up towards the Point
end. Cut when you reach the end. The lashing straps hold the point on, the
spiral wraps support, buttress, and protect the lashing straps. If you can
easily bend the point over, repeat the spiral wrap process until the
appropriate stiffness is attained.

4. Make sure you
have enough compression. (1" progressive)

Step Six:
Cosmetic Taping and finally assembly.

1. Cover the
blade with cosmetic duck tape. Use a contrasting color for the edges. Be sure
to mark the tip with contrasting tape to mark it as a thrusting tip

2. Put the Tsuba
into place on the handle against the Tsuka, take additional strapping tape and
build another Tsuka behind it, to lock it into place.

3. Use the
athletic tape to cover the handle.

4. Take the
electrical tape rolls and have two of them unfurling in opposite directions
crossing on the sides of the handle twisting at the apexes of the oval. Continue
til end.

If you've done
this all correctly you should have a Tanaka-styled Tachi.

If you have any
questions please drop me a line.

Cheers,

Tanaka Raiko

Q & A with Mr. T #6

I am fairly new
to SCA Combat but I have been studying Medieval sword fighting combat for some time. I saw your question and answer page and I have a few questions to ask. Thank you.

Q: Why are hits below the knee prohibited? Wouldn't greaves with padding on the inside protect the shin area?

T: Good question.
The short answer is "perhaps" but it's nearly impossible to armor the calf area with anything less than a full metal greave which is not period armor for the majority of SCA combatants. Protecting just the shin, more importantly the tibia, is a good idea regardless of armor type. It should be noted that the combat rules in the SCA are dynamic, meaning they have changed over time, although there are truisms and themes one of the enduring themes is no striking below the knee. It does simplify the rules for most. Another consideration is it's nearly impossible to armor the ankle appropriately from a concussive blow, removing the ankle from the potential target area is therefore a prudent choice.


Q: The SCA theoretical stance on armor is that the fighters are wearing mail and the hit
would have to be hard enough to cut through the mail. I am not sure that the blows we are delivering would cut through riveted mail or do much damage through the gambeson underneath. Wouldn't it be easier to say that we are assuming that the fighters are just lightly armored in leather. It might make explaining things easier to spectators as well as other fighting organizations that question SCA historical accuracy. I think the historical accuracy would be
more accurate if we set the period fighting further back pre-mail.

T: But then you would potentially be putting it back into the Dark Ages and arguably the Stone
Age. Pre-mail period is, well, nearly prehistoric. Mail as an armor type existed nearly as long as we had metallurgy.

But back to the question at hand, blow calibration. You're right. We generally don't hit hard
enough to penetrate mail. This is a truism, that can be backed up with empirical evidence. The prevailing thought is that you might not damage the armor, but you could damage the man. I have broken ribs on a side of beef covered with a moving pad and chain mail, so I personally know it's possible. Additionally mail was not nearly as effective versus thrust, from my testing
experience.

Q: What do you think of allowing for a tip at the pommel end of greatswords. A pommel hit
would only be good to the head as a kill, and not allowed anywhere else on the body. I think this might allow for greatsword combat to start to reflect more the fighting as it is depicted in 15 th century fighting manuals.

T: I think they are effective as a real fighting technique. From my martial arts studies in
Kenjutsu and other forms the pommel/buttend strike is marvelously effective. Within the realm of the SCA it has merit as we do perform buttspike thrusts with polearms. On greatswords it's less effective because of the limited handle lengths (less reach).

Q: In the SCA we have Rapier group that fights with no armor other then head protection, using
mostly controlled thrusts. What do you think about having a live steel section, also depending mostly on controlled hits and emphasizing the various 15th century techniques shown in the various fight books. I think this would further grow the SCA.

T: The short answer is the SCA as it is currently configured will probably never do live
steel. It's an insurance issue.

As a practice, it's fine. I find it less exciting than Heavy weapons combat because of the
control issue. I fence schlager also, and that is evolving into something different than what SCA fencing was 10 years ago. So you might just get your wish.

Q: I know that archery in not your area but I thought I might share my thoughts. Most archers
use light 30 lb bows to be as target accurate as possible. I prefer to use a 65 lb, hunting strength longbow, so that it is period accurate. I am also buying a 130 lb warbow so I can be even more period accurate. My thoughts are that the competitions should be arranged in some manor so that it is advantageous to use the heaviest bow possible. That might be a matter of consider the amount of penetration in a thick, dense foam target and moving the target distance to 200 feet, perhaps enlarging it.

T: Actually I'm a Master Bowman in the SCA, have been involved with target/hunting archery since I was 10 and graduated college with a military history degree, so I have some
experience in this area.

You may want to consider that it's about accuracy than anything else. Historically speaking
period bows were all across the board when it came to draw weights. From the light stick bows of the Native Americans (who are period in both time and historical context) and African tribes, to massively heavy composite bows of the various historical peoples a heavy bow doesn't necessarily mean a better bow.

To put it in a historical perspective Harold wasn't killed because his armor was penetrated,
He was shot in the eye. The French lost Agincourt and Crecy not because their armor was penetrated, (nor did the English have the heaviest bows on the field) but because their bloodlust for the English made them make really bad tactical decisions. The bow of the Mongols wasn't nearly as powerful as the bows of the Arabs and Persians, but why did the Mongols defeat the Arabic and Persian so handily? Better tactics, leadership, and a focus on accuracy and speed.

From a practical modern standpoint, most archers don't have the time, or desire to develop
themselves physically to shoot anything more than a 20-40 lbs bow. When 85% of the shooters only shoot royal rounds there really isn't a need ballistically speaking.

Additionally modern forensic science has shown that most medieval armors were proof against
hand bows. Heck, well made chain mail with a padded gambeson was proof against most
archery fire at range. There are many historical accounts of mounted fighters wearing chain mail and bristling with arrows.

The historical fact was hand bows were a great weapon, but they weren't effective versus the
armored warrior. It was very effective against the lightly armored levees and men-at-arms, and as weapon to control your opponent's movement and protect your flanks at range.

Further evidence against the superiority of hand bows was this: Only crossbows were declared as illegal by the Holy Catholic Church and the Pope. Why? Because only crossbows could regularly kill armored warriors (armored and mounted nobility for the most part).

I personally understand your bias (I shoot with a nearly 50lbs draw weight bow myself), but
it really doesn't stand up historically either, because no hand bow is more powerful than the heaviest of crossbows.

Thank you kindly for taking the time to look over my questions.

Bill

Nutley Practice
Fighter


You're quite welcome Bill and Thank You for asking.

Cheers,

T

Sword Fighting in NJ

By: Sir Tanaka

There’s Sword Fighting in Northern New Jersey through the
Society for Creative Anachronisms, known as the SCA.

With the advent of many motion pictures, cable and TV series
about the “sword and sandals” era’s there has been an increased interest in
sword fighting.

“Hold on now, isn’t sword fighting dangerous?”

It has the potential to do so, but we can mitigate that
danger a bit, let me explain.

“What is sword fighting as defined within the SCA?”

Within the SCA we practice three forms of sword fighting;

Heavy Weapons or Chivalric Combat, which is sword fighting
in armor as practiced in the Dark and Middle ages.

Period Fencing, which is the civilian art of sword fighting
as practiced in the Renaissance period.

Youth Combat is sword fighting for minors, using padded
weapons.

Sword fighting isn’t for everybody. These are competitive
contact sports. You are contacting each other, at times forcefully, when sword
fighting.

In Heavy Weapons, the sword fighting is done with weapons
made of rattan, in medieval styled armor. The medieval sword fighting armor is
made of rigid material either metal or plastic, with only metal used in head
armor. The hits are NOT choreographed, and are generally done with heavy force
and purposeful intent. The aim is to hit your opponent with a “telling blow”
that is to say hard enough to defeat his armor and defense. The sword fighting
is hard, fast, and at times brutal. It is a full contact sport.

In Period Fencing, the sword fighting is styled after the
period of civilian defense and dueling. The weapons are made of steel, with
rubber stoppers or buttons on the points to prevent penetration. The edges of
the swords are blunted to prevent cutting. The armor is mostly cloth with
harder armor in vulnerable places like your neck or groin. As in Heavy weapons,
the sword fighting blows are not choreographed, but they are controlled, and
less ballistic. Cutting and slashes are allowed as they would have been telling
in a civilian duel.

Youth Combat is sword fighting for minors. There are four
divisions which are broken up by age, and in some circumstances size, (If
you’re a big kid they will move you up a division). For the first three
divisions, the sword fighting weapons are constructed of PVC and are covered
with foam. In Division 4 it is Heavy
Weapons combat for 16 and 17 year olds.

Sword fighting is alive and well in these current middle
ages through the Society for Creative anachronisms.

The Sword fighting branch of the SCA in Northern NJ is The
Shire of Rusted Woodlands. You can find out more at their website.
http://rustedwoodlands.eastkingdom.org/
or their Facebook Page

www.facebook.com/group.php?gid=115701475127608

testing 1 2 3...

In an effort to be more current in these current middle ages the Shire of the Rusted Woodlands is going tech.  

We'll be using this blog to chronicle the great things happening in the Shire so subscribe to our RSS feed, follow us on twitter @RustedWoodlands and like us on facebook because there's good things happening and you're going to want to know about them.