Association for Renaissance Martial Arts
The Association for Renaissance Martial Arts (ARMA), is an international educational non-profit organization dedicated exclusively to the study and practice of historical fencing and the exploration and promotion of the martial heritage of Western Europe. Its efforts are directed toward resurrecting and recreating a legitimate craft of European fighting skills in a manner that is historically valid and martially sound. It relies for its source material upon the dozens of rare surviving manuals of Medieval and Renaissance Masters of Defence.
The ARMA was also established to promote the study of European fighting arts and arms and armor of the 14th – 17th centuries. The largest organization of its kind, it is a leading voice in the investigation and interpretation of lost European fighting arts. The primary aims of the ARMA are to advance the quality of skill demonstrated with Medieval and Renaissance weaponry, offer authoritative information, and improve the relationship between practitioners and academics in order to improve understanding of these skills.
History
The Historical Armed Combat Association
The ARMA concept grew from an original conception as a loose organization that would allow various Medieval and Renaissance sword practitioners and students of European arms & armor to train and practice together (and was previously known as HACA - The Historical Armed Combat Association).
The HACA was originally conceived around 1991 by Hank Reinhardt, then President of Museum Replicas Limited, and a few like-minded associates. His idea was to provide an umbrella organization for individuals seeking some sort of group affiliation to share their common interest in Western swords and historical weaponry. Reinhardt was not concerned with how people organized or what individuals called themselves whenever they got together—his concern was the rules they sparred under and the historical and physiological basis for them. He also envisioned a way to provide martial instruction in historical European weaponry. To this end, Reinhardt advertised his newly formed group around a few of his long-time friends and associates. For a small fee interested persons could obtain a membership that included sparring guidelines, networking, and information on future events for certifying weapon proficiencies. Due to various complications, time constraints, and other reasons, Reinhardt was unable to follow through on his ambitious plans.
In 1993, after almost a decade of similar pursuits and seeing that the unique HACA idea was essentially defunct, long-time sword enthusiast and practitioner John Clements (now ARMA Director) obtained from Reinhardt permission to take over the HACA effort and try to make something out of the concept. Clements had begun a mentoring process of sorts through correspondence with Reinhardt starting in 1991 and already had been growing increasingly distressed at the emphasis on role-play, stunt, sport, and fantasy in virtually all efforts to practice of Medieval and Renaissance fighting arts.
Determined to bring greater legitimacy and credibility and a serious martial approach to historical Western fighting arts, in 1994 Clements reformed the HACA and developed the first small Study Group. Under the new Affirmations & Study Approach, the HACA was thus reinvented as a club for historical Western martial arts research and practice. By establishing a virtual headquarters online in 1996 as one of the very first historical fencing websites, the HACA was then able provide a haven for similar students and scholars of the sword worldwide. The emphasis grew to focus on the study of the historical source literature of Renaissance Martial Arts, much of which was presented on the website along with examples training methods. After that time, the HACA’s growth was impressive. The HACA’s contribution to the subject was significant and its influence notable and many of its innovations have become standard for enthusiasts and practitioners. Throughout the 1990s, the HACA was a leading force in the revival of Medieval and Renaissance fighting skills.
The Transition to ARMA
Realizing that the subject was richer and more involved than anyone previously believed, and perceiving that the emerging historical fencing community itself had grown and changed (in no small way thanks to the HACA and its efforts), the HACA’s leadership decided that a change was in order. Its crusade for serious treatment of historical arms and armor and recognition of the historical manuals as legitimate sources of study had been tremendously successful. In 2001, the decision was made to expand and evolve into a more effective educational organization for the study and practice of Medieval and Renaissance fencing. An efficient study curriculum for practice had also been developed using the source literature.
As one of the changes the organization was renamed the ARMA. 2001 also saw the introduction of a National Training Program (a series of seminars and workshops), ranking and certifications in the curricula, and the implementation of the basic philosophy and methodology used today.
The ARMA’s conceptualization was also influenced by the work of Dr. Sydney Anglo, as presented in his groundbreaking work, The Martial Arts of Renaissance Europe (Yale University Press 2000). As an official advisor of the ARMA, Dr. Anglo was instrumental in retooling its vision of historical fencing. Along with other advances in this subject, his research, which itself took influence from HACA’s efforts, in turn changed the face of the emerging field of historical fencing studies and had a profound impact on the subject.
Philosophy and Methodology
The ARMA’s Credo of Renaissance Martial Arts Studies:
Respect for History and Heritage
Sincerity of Effort
Integrity of Scholarship
Appreciation of Martial Spirit
Cultivation of Self-Discipline
The Meaning of ARMA
The word arma (pronounced ‘ARM-uh’) in Latin as well as Italian, Spanish, and Portuguese means, appropriately enough, “weapon”. For knights in 13th century France, it also referred to “the valor of a fighter”, while in French it means to be armed.
The word “Renaissance” was intentionally chosen for the title for two reasons. First, because almost all of the surviving fighting manuals were written during the 14th to 16th centuries—the time period of the European Renaissance, an era of intellectual and cultural renewal and revival. It was also deemed appropriate in light of the fact that from the 1990s to the present there has occurred a “rebirth” of the study of historical fencing—a modern renaissance of ancient European martial arts.
Study Approach and Training Methodology
The ARMA Study Approach consists of researching period fighting manuals, literature and iconography combined with comparative analysis from hands-on experience using accurate replica arms and armor. Interpretations are not accepted as valid until their effectiveness is verified under as realistic conditions as possible, or in other words, at speed and power against a resisting opponent. The ARMA confines itself to historical sources and weapons, and tries to avoid techniques that are not historical or are drawn from other martial systems (such as Asian fighting arts).
The ARMA Training Methodology consists of using 4 primary tools for a well-rounded and comprehensive understanding. Wooden wasters are used for basic drilling and technique work, up to and including free-play. Padded contact-weapons, along with helmets and appropriate padding, are used for more intense free-play, including sparring at full speed and power. Federschwerter (“feather swords”), historical sparring swords, also fill this purpose. Blunted replica swords are used by more advanced students for drilling and light free-play, to accustom them to the different handling of steel weapons. Sharp replica swords are used only for test-cutting, to teach students proper edge control and cutting technique (blunt weapons are also used for this). Test-cutting experience and frequent intense free-play are heavily emphasized.
Curriculum and Armatura
The ARMA curriculum is based on the understanding that the martial arts of Renaissance Europe were not fragmented or subdivided—on the contrary, they formed a unified discipline that was largely unchanged for a period of centuries. With this in mind, ARMA scholars view all of the source texts as describing what are largely the same principles and concepts. Where many organizations emphasize the differences between each master’s writings, the ARMA focuses more holistically on the similarities, using the differences in description to illuminate subtleties in the techniques. Thus, instead of focusing on any individual master, the ARMA’s curriculum emphasizes martial theory and fundamental principles, drawing on many masters for its understanding of any given technique. The ideal is that in order to understand how one portion differs from another; you must first understand the whole and how things are alike.
The foundational weapon of the ARMA training program is the longsword. This is due both to its nature as the most popular and arguably the most versatile weapon of the time period, and because there is more source material available for the longsword than for any other weapon. All ARMA scholars begin training with the longsword, and with it learn universal principles of fighting that they then apply to other weapons as they continue their studies. The body of training techniques and methods used by the ARMA is referred to as Armatura (a term borrowed from Roman military writers so influential in the Middle Ages), and includes distance and timing drills, footwork and cutting drills, striking and counter-strike exercises, grappling elements, and Floryshe drills.
The ARMA curriculum encompasses a variety of weapons and weapon combinations, armored and unarmored, including longsword, greatsword, single sword (cut & thrust), sword & buckler, sword & dagger, messer, rapier, rapier & dagger, single dagger, polearm, and short staff. Kampfringen, the historical system of unarmed combat, is also taught, both as it relates to fighting with weapons and as a separate discipline.
Organization
Associate Members and Study Groups
Upon joining the ARMA, new members receive learning material. Lone members are Associates and those working locally together form Study Groups. Three to four members who meet together can apply for official Study Group status. Non-members are allowed limited practice with members and Study Groups without prejudice, but are encouraged to join the organization.
In addition, regional Study Days, member Workshop events, and National Training Program Seminars are frequently held, and members in a given area will probably have the opportunity to attend at least one annually. Larger international gatherings are held less frequently. In both cases, senior students and expert instructors are invited to present classes, lectures, and National Training Program seminars to attendees. ARMA members are given priority in these events, and non-members may be prohibited from participating in certain Workshops (though most Seminars are open).
National Training Program
The ARMA National Training Program (NTP) is designed as a series of ongoing cumulative courses for members around the world wishing to begin serious study under the ARMA system of historical fencing training. The program content is a composite approach derived from the teachings of a variety of historical masters, and specifically deigned for students and practitioners over extended distances who are without the benefit of a competent instruction or practice partners. All of the knowledge required for rank advancement within the ARMA is covered in the NTP.
The National Training Program currently focuses on three main areas: Medieval Longsword, Renaissance Single-Sword (cut & thrust), and Rapier. Other weapons and skills follow from these. The goal of each focused course is to advance the student’s comprehension of the real nature of long-bladed combat and actual weapon handling. These are intense focused workshops in the ARMA Study Approach for serious practitioners, both the novice and the experienced, that closely cover much more material than larger group Seminars. The NTP is under constant appraisal and revision; curricula for other weapons, such as the short staff, are still being devised.
Uniform and Rankings
The uniform worn by members of the ARMA consists of a red T-shirt and black sweatpants. To this some members add high red socks to gather their sweatpants at the knee, to allow more freedom of movement and as a better approximation of historical fighting clothing. Non-members who practice with ARMA study groups are encouraged to wear a white T-shirt and black sweatpants. ARMA members of Provost rank (see below) wear instead a black T-shirt with red pants. (Senior students may also assume this uniform when offering instruction at official seminars.) There is also a recognized but optional ARMA formal “dress uniform,” which consists of period-style clothing in the same color scheme. Red and black, being the predominant colors used in the manuals, are considered by the ARMA to be symbolic of scholarship in historical fencing; this color scheme is used in most official materials.
ARMA ranking is somewhat informal, and is based on the four-teired system employed by the London Company of Masters. All ARMA members are considered to possess the rank of Scholar. Scholars who achieve sufficient command of the Armatura and basic principles of the ARMA program, and a matching knowledge of the fighting manuals and historical masters, are advanced to the rank of general Free Scholar. Free Scholars who demonstrate considerable expertise in all areas of the ARMA training program and an advanced knowledge of the source material are considered for Senior Free Scholar rank. Testing for either rank involves an extensive oral examination and the physical demonstration of technique, as determined by the instructors conducting the test. Qualifying for Senior Free Scholar rank also requires a Prize Playing. General Free Scholar testing may be administered by any Senior Free Scholar. Senior Free Scholar certification requires the oversight of two or more Senior Free Scholars or the Director; by custom, as many Senior Free Scholars as can be gathered are present to oversee such a test.
Unlike rankings in most martial arts organizations, Free Scholar rankings are only valid for four years; if a scholar has not advanced to a higher rank by this time, he must be retested in order to retain his current status. Free Scholar rankings are earned in a specific weapon, and a candidate must achieve a rank with the longsword before testing for any other weapon. At the present time, there are eight Senior Free Scholars in the longsword, and no rank has been awarded in any other weapon (though such rank likely will be once the curricula for other weapons is fully established).
Above Senior Free Scholar are the ranks of Provost, Senior Provost, and Master. At present there are no requirements or current need for these ranks (only the Director is considered to be a Provost), as the ARMA believes the craft is still in its infancy and struggling to be reconstructed and resurrected. The ARMA considers it highly inappropriate and farcical at this juncture to even consider naming anyone to be a “Master” of these extinct arts.
Outside of this system, there is a purely academic distinction called Senior Researcher that is granted to ARMA scholars who contribute significantly to the general body of knowledge on historical fencing. The ARMA also has over a dozen Expert Consultants from different fields who have offered their knowledge and expertise to its efforts.
Other Programs
ARMA-Youth
ARMA-Youth is an additional program emphasizing history, physical fitness, and the ethics of personal responsibility and service derived from the best Chivalric values of Western Civilization. ARMA-Youth seeks to offer kids and young teens a healthy approach to learning about Medieval and Renaissance martial culture and Europe’s martial heritage.
Membership is open to kids 12 and older with parental permission. For those who have been an ARMA Youth for at least one year upon reaching their 18th birthday, they automatically attain full ARMA membership in the adults program for free.
This program is still in its infancy, and still lacks a great deal of structure and development.
ARMA InTheatre (Defunct)
While the ARMA is not about stage combat, ARMA InTheatre is, and in a historically valid and martially sound manner. Though its focus has never been on choreographed theatrical fighting or stunt combat, the ARMA has long perceived a need for a martially sound and historically accurate program of fight choreography instruction and certification. The ARMA Professional Stage Combat Certification Program was designed to fill this need.
ARMA InTheatre is a series of workshop classes as an alternative to more familiar and less realistic efforts. Designed and headed by a noted expert on stage combat, Keith Duklin, ARMA InTheatre is a complete system of weapon forms, allowing students to train from basic to advanced levels.
This program was disbanded shortly after its creation.
Controversy and Criticism
 | The neutrality of this section is disputed. |
Almost since its inception, the ARMA has been controversial. Director John Clements has been called “the most controversial person in the Western Martial Arts community”, and the ARMA is often criticized by many prominent members of the European martial arts world. Most of this controversy and criticism stems from the ARMA’s efforts to promote their own perception and interpretation of Renaissance martial arts. As both an educational and as a martial arts organization ARMA is focused on bringing their interpretations to the public and correcting the misconceptions and untruths about Renaissance martial arts.
Top Myths of Renaissance Martial Arts
Martialism and Injuries
The ARMA’s stated focus on martialism is questionable to many practitioners of Renaissance martial arts because of claims of repeated injuries that have occurred during ARMA demonstrations and open sparring. However, due to its strong focus on safety ARMA actually has one of the best safety records of any martial art orgainizations. Those who claim ARMA has a history of injuries somehow manage to over look facts such as an instructor from the Stoccata School of Defense struck a fellow Stoccata instructor in the head with a sharp rapier causing a serious injury, a instructor for the Chicago Swordplay Guild broke his neck during a demonstration, and another member of the Chicago Swordplay Guild almost lost an eye when he was hit in his eye with a training dagger.
ARMA does takes a hard line on the importance of intent and realism in any martial arts training. Of course, such an intense martial approach to martial art training appears to scare many of the people who are use to a more softer approach. In the words of a retired military officer who is well respected in the Western Martial Arts community and is not associated with ARMA:
"They [ARMA members] are great people that take their training protocols 'outside the box' and work pretty 'close to the edge' as far as intensity and training safety is concerned. This IS NOT for everyone. You have to keep up your proficiecy up or else you WILL get yourself hurt. Not because they are by nature unsafe but because things are just racheted up a bit closer to reality. Some of it gets risky if you don't stay tuned up. From what I've seen of their programs, if you train hard and consistantly with the ARMA method you will be more than prepared. Don't think you can go once a month to 'Play' Longsword. You are going to get some busted knuckles. ARMA has a valid testing program that I've looked at. It is a test! and it is a challange. ARMA is not for everyone."
Because of its focus on intent and realism ARMA has been very appealing to people with military and law-enforcement backgrounds. The most notable among these is Matt Larsen, the Director of the U.S. Army Combatives [martial arts] Program and author of FM 3-25.150.
Former Members
Though interaction with the greater community of Western Martial Artists, ARMA and it's director have inspired strong feelings on both ends of the scale. Supporters claim it's methods help them to learn, and generally have a high opinion of Clements. Detractors maintain that the the organisation and it's director are responcible for very bad conduct on several levels. Like other organizations ARMA has on occasion ejected members for misconduct or violation of the membership agreement. Disgruntled former members have been some of the harshest critics of the organization. A typical example of this kind of criticism is the arma-truth website who's owners claimed to be former members (their true identities were never posted on the web site). While the arma-truth web site, which is no longer functional, was extremely critical of the organisation and Director Clements most of the web site's content consisted of little more than jokes about the organization and its members. The arma-truth web site also displayed a large amount of private discussion text stolen from the organization's private forum, but this backfired on the owners of the web site since the discussion text showed ARMA's side of many issues.
Relationships with other organizations
ARMA has also been the subject of controversy due to its criticism of what it considers misconceptions currently popular in the Renaissance martial arts community. It openly rejects the claims of some sport fencing and classical fencing instructors to possess a “living lineage” of martial arts training extending back into the Renaissance. It likewise criticizes any instructor claiming the title of “master” of any Renaissance martial art. Finally, the ARMA has never been shy about pointing out what it perceives to be unrealistic and inefficient techniques employed by other organizations, holding their work to its own internal standards.
Other organizations maintain that strained relations between themselves and ARMA are only due in small part to the above disagreements. They point to specific actions on the part of Director Clements, such as his absolute refusal to give a historical basis to the shield style he describes in his book. The reader is directed to SPADA 2, one of the most respected publication in the Western Martial arts world, SPADA 2 ISBN 1-891448-35-8 In the footnotes of the article "Further thoughts on combat with large shields" it is pointed out that Clements has repeated refused to document his shield style.
The given reason stated by many for the ostracism of John Clements was his conduct at a seminar. Clements reportedly attempted to put his thumb into a man's eye after repeatedly failing a grappling technique on the man. This was witnessed by the entire class, instructors from the Tattershall School of Defense. Tattershall and the Stoccata School of Defense. Stoccata Either can be reached for comment. Clements is also reported to have injuried himself doing a Kata of his own design, which he calls a Flourish, by sticking the point of a longsword into his own thigh.
Scholarship
Both of John Clements' books have received some harsh reviews by Maestros, instructors, and researchers within the classical fencing and the historical fencing community.
ARMA has also taken some debatable positions on some issues. Two notable ARMA positions are that "rapiers cannot cut" and that all parries with actual cutting blades should occur edge-to-flat rather than edge-to-edge.
Edge-on-Edge
Edge-on-edge parrying is one of the major isssues that separate ARMA from other groups. According to the ARMA interpretation parries with cutting blades are to be performed either by striking into the flat of an adversary's blade with the edge so as to displace the adversary's blade or by displacing the adversary's blow by receiving the edge of the adversary's blade on the flat of your blade. The reasoning behind ARMA's interpretation is that (A) it matches the techniques discribed by the historical masters, (B) it is more martially sound since the edge is not tied on the adversary's edge, allowing quicker execution of counter techniques, and (C) it does not damage the blade. The use of edge-on-edge parries is viewed as being as being a mis-interpretation due to the theatrical, role playing, and re-enactment background of many of the people in other groups.
It should be noted that edge-on-edge parrying is only an issue for cutting blades such as the longsword, arming sword, and side sword. Edge-on-edge parrying is not an issue for a thrusting blade such as found on a true rapier, nor is it an issue when thrusting with a cutting blade.
Articles by John Clements discussing why edge-on-edge parries should not be used.
Article by John Clements discussing and showing damage caused by edge-on-edge parries.
One of the many discussions on SwordForum for and against the use edge-on-edge parries
Sparring Rules
Rapiers without Edges The ARMA advisement for sparring is that "For rapier fencing it is strongly suggested that the full body target be used (including the hand and foot). All thrusts to the torso, head, and neck should be counted as lethal. For true rapiers, slashes, slices, and draw-cuts should not be considered incapacitating or lethal." "Grappling (seizing arms & hilts) should be kept to a minimum..." Link to ARMA article
The primary criticism of the practice of ignoring the sharp edges of a rapier is that it introduces an unrealistic artifact to any sparring that occurs and leads to more grappling than might actually be reflected in a realistic encounter. However, from its research ARMA has concluded that grappling is a very realistic artifact of rapier fighting. Again, the criticism of grappling in rapier fighting seem to come from those who are use to a more softer approach to their martial training.
The practice of using cuts with a rapier is well documented in the historical record as shown by Salvator Fabris(1606), Ridolfo Capo Ferro(1610), Pacheco(1600), Joseph Swetnam (1617) and many other authors who describe cuts within their texts. Of course, it should be noted that there is not a single historical record of someone actually being killed by a rapier cut.
- Viggiani(1575) - "The strike can be of two sorts, either the cut or the thrust. The cut is either with the true edge of the sword or with the false edge."
- Giganti(1606) - "Hold the sword and dagger firmly in the hands: the dagger high, at times low, at times extended; the sword at times high, at times low, at times to the right side always in action of defence and attack, you wound the enemy, either with a point or cut, it is possible to defend and wound in one time."
- Capo Ferro(1610) - "The cuts need to be done as if slicing, because in this manner one comes to strike with all of the debole, because little by little one will come to cut with the sharpest part of the edge, and for this reason the cuts that descend are more vigorous than those that stop above the waist, to such extent that the said upper and lower parts are found to be more or less at apt measure to give slicing offenses." (Translation by J. Swanger)
- Swetnam(1617) - "if thou put thy thumbe upon thy Rapier according as I have set it down, calling it the naturall fashion, and is the first of three waies for holding of thy Rapier; and this fashion will bee a great strength to thee, to give a wrist blowe, the which blow a man may strike with his Rapier, because it is of small force, and consumes little time,..."
ARMA Response
John Clements' own thoughts on the controversy surrounding the ARMA can be found here: ARMA Editorial: Rumors, innuendos, and half-truths.
ARMA Member-Published Literature
Anglo, Sydney. The Martial Arts of Renaissance Europe. Yale University Press, 2000. ISBN 0300083521
Clements, John. Medieval Swordsmanship: Illustrated Methods and Techniques. Paladin Press, 1998. ISBN 1581600046
Clements, John. Renaissance Swordsmanship : The Illustrated Book Of Rapiers And Cut And Thrust Swords And Their Use. Paladin Press, 1997. ISBN 0873649192
Lindholm, David, & Peter Svärd. Sigmund Ringeck's Knightly Art of the Longsword. Paladin Press, 2003. ISBN 1581604106
Lindholm, David, & Peter Svärd. Knightly Arts of Combat - Sigmund Ringeck's Sword and Buckler Fighting, Wrestling, and Fighting in Armor. Paladin Press, 2006. ISBN 1581604998
Lindholm, David. Fighting with the Quarterstaff. The Chivalry Bookshelf, 2006. ISBN 1-891448-36-6
Vail, Jason. Medieval and Renaissance Dagger Combat. Paladin Press, 2006.
Zabinski, Grzegorz, with Bartlomiej Walczak. The Codex Wallerstein : A Medieval Fighting Book from the Fifteenth Century on the Longsword, Falchion, Dagger, and Wrestling. Paladin Press, 2002. ISBN 1581603398
External links
This article includes paraphrases of material copyright John Clements. Used with permission.