Polearm+Techniques+for+SCA

=Polearm Techniques for SCA Combat=

As written in Le Jeu de la Hache, “Axe-play is honorable and profitable for the preservation of a body noble or non noble.” Greater leverage and force is gained by using this long weapon. These weapons were far more lethal to an armored opponent than any sword could be. Cheaper to make as well I am sure too. As I endeavor to improve myself I wish to take notes and assist others. Historical referances from Talhoffer and Digrasse excerpts are important in recreating the european martial arts. Refer to this glossary if there are terms or Types of Poleaxes you are unfamilar with.

The contents of this site does not necessarily express the opinions of all the loyal fighters of the Borderwatch, a unit of the Langstrand Bannerette of the Aethelmearc Army. Until said otherwise, Lord Elford is to blame.

An Outline of Techniques

I.A.Parts to the Poleaxe I.A.1.Dague: The top spike I.A.2.Maille: The hammer head. A polaxe might also have a blade, but all the treatises that deal with the weapon show or refer to a hammer. I.A.3.Bec de Faucon: The spike or curved fluke behind the maille. I.A.4.Croix: The area between the lead hand and the head of the weapon. I.A.5.Demy Hache: The shaft between the hands I.A.6.Queue: The area below the back hand. This can refer to that whole section of the shaft when used to strike, bind, deflect, etc. or to the bottom end when thrusting. I.B.Historical I.C.Most Common SCA equivalents

II.Basic Guards of the Poleaxe

II.A.Historical Guards of Jeu de la Hatch II.A.1.Guards of the Croix II.A.1.a.High Croix II.A.1.b.Middle Croix II.A.1.c.Low Croix II.A.1.d.Hanging – Keeping the point low, the leading arm should grip past the middle and the hind arm is lifted up gripping the end of the shaft. Useful for quick strong blocks to the outside by stepping in with your trailing foot. Also useful for strong upward beat attacks and thrusts to the legs. (weak outside high block when not stepping in) This is the same as DiGrassi’s High Ward II.A.2.Guards of the Queue II.A.2.a.High Queue II.A.2.b.Middle Queue II.A.2.c.Low Queue II.A.3.Guards of Provocation II.A.3.a.Queue Invitation

II.B.Historical Guards of DiGrassi II.B.1.High ward – Same as a Hanging ward II.B.2.Low ward –The hands should bear the staff in the middle and be somewhat distant. The point of the weapon directs towards the enemy’s head. Commonly used because all styles of opponents may feel threatened by a quick straight thrust. (weak outside low block) II.B.3.Level ward – Point and shaft level for efficient quick thrusts. II.B.4.Reversed ward – The shaft is nearly vertical with the point up and the heel forward. Commonly used because it is slightly harder for your opponent to judge your striking distance and quick parries can be made over the whole body.

III.A.Stance A modern fencing stance with your feet forming a 90 degree angle is good for quick forward and backward movements. A “horse” stance with feet parallel is good for quick sideways movements. I find the best stance is with your feet at a 45 degree angle, shoulder width apart and your knees bent. This is good for movement in any direction while maintaining balance. Most people will choose to place their dominant hand forward on the shaft and lead with the same leg. Since most fighters of staff weapons choose this and most people are right handed; areas of strong initial attack will match areas of strong initial defense. DiGrassi recommends that you should stand with a contrary foot forward. Meaning, that if your opponent’s left leg is leading then your right leg should be leading, as if you were facing a mirror image of yourself. This means that you might have to switch to your less dominant leading hand or start with a reversed ward or guard of the queue. This does have interesting results. The angles and force of initial attacks are slightly different and may blow through your opponents’ defenses because they are not expecting the new situation. However, realize that this can backfire on you with the same results if not practiced thoroughly.

III.B.Advance/Retreat If you are going forward, lift your forward foot first and bring your trailing foot after you. If you are retreating, lift your trailing foot first. This is common sense, but you should try to avoid crossing your feet. When you bring your feet closer than shoulder width apart, you risk losing your balance as you make quick changes of direction. You don’t want to lift your feet very high off the ground, but you don’t want to shuffle either. Lifting your feet high singles to your opponent that you are about to move fast, which spoils the surprise. Making these small steps back and forth may keep your opponent from accurately judging distance. III.C.Cross-over A cross-over is simply a couple of quickly taken normal steps. Used to cover long distances, especially when circling an opponent. When stepping this way you must have committed yourself to a certain action because changing direction becomes more difficult. III.D.Lunge This deep step forward with the trailing foot anchored is VERY important for gaining distance in a thrust. A well executed lunge-thrust and recover makes you more dangerous than a spear. III.E.Advance-Lunge This is a shuffle-step added before a lunge. III.F.Ballestra III.G.Fleche

IV.Distance

V.Engagement

VI.Basic Defense VI.A.Lines of Defense VI.B.Direct Parry VI.C.Deflection VI.C.1.Opposite hand fighter – move the point towards the outside, so that it may come up straight behind an incoming blow for the deflection. VI.D.Circular Parry VI.E.Stop Thrust VI.F.Time Thrust

VII.Basic Attacks VII.A.Lines of Attack VII.B.Simple Attacks VII.B.1.Straight Thrust – Two-Handed VII.B.1.a.Straight Body Thrust VII.B.1.b.Dropped Thrust VII.B.1.c.Rising Thrust VII.B.2.Tossed Thrust – One Handed VII.B.2.a.Straight Tossed Thrust VII.B.2.b.Dropped Thrust VII.B.2.c.Rising Thrust VII.B.2.d.Outside Tossed Thrust VII.B.2.e.Inside Tossed Thrust VII.B.3.Disengage (change-under) VII.B.4.Coupe (change-over) VII.B.5.Cut / Chop VII.C.Preparatory Actions VII.C.1.Feint VII.C.2.Beat VII.C.3.Press VII.C.4.Glide VII.C.5.Derobement (Deceiving a Parry) VII.D.Compound Attacks

VIII.Poleaxe vs. Poleaxe VIII.A.Tournament VIII.A.1.Against Similar Hand VIII.A.2.Against Opposing Hand VIII.B.Melee

IX.Spear vs. Poleaxe IX.A.Tournament IX.A.1.Against Similar Hand IX.A.2.Against Opposing Hand IX.B.Melee

X.Longsword vs. Poleaxe X.A.Tournament X.A.1.Against Similar Hand X.A.2.Against Opposing Hand X.B.Melee

XI.Shield vs. Poleaxe XI.A.Tournament XI.A.1.Against Similar Hand XI.A.2.Against Opposing Hand XI.B.Melee

XII.Two-weapon vs. Poleaxe XII.A.Tournament XII.A.1.Against Similar Hand XII.A.2.Against Opposing Hand XII.B.Melee

XIII.Individual Drills XIII.A.For Speed XIII.A.1.Half Speed XIII.A.2.Pell Work XIII.B.For Accuracy XIII.B.1.Half Speed XIII.B.2.Pell Work XIII.B.3.Floating Ball XIII.C.For Distance XIII.C.1.Lunge Work XIII.D.For Footwork XIII.D.1.Quarters XIII.E.For Increasing Endurance XIII.E.1.Pell Work XIII.E.2.Stairs

XIV.Partner Drills XIV.A.For Speed XIV.A.1.Half Speed XIV.B.For Accuracy XIV.B.1.Half Speed XIV.B.2.Freeze Frame XIV.C.For Distance XIV.C.1.Advance/Retreat XIV.C.2.Backpedaling XIV.D.For Footwork XIV.D.1.Back Pedaling XIV.E.For Attack XIV.E.1.Delivering the Shot XIV.F.For Defense XIV.F.1.Blocking the Shot XIV.F.2.Weapons Identification XIV.G.For Calibration XIV.G.1.Blow Calling from opponent XIV.G.2.Blow Calling from spectators

XV.Bouting Practice XV.A. Bouting / Tournament Formats XV.A.1.Bear Pit XV.A.2.Round Robin XV.A.3.Single/Double Elimination XV.B.For Weapon Adaptability XV.B.1.Off-handed XV.B.2.Weapon Swap XV.C.For Opponent Adaptability XV.C.1.Mixed Weapon Styles XV.D.For Situation Adaptability XV.D.1.Start with a lost Leg/Arm XV.D.2.Taking/Keeping the Advantage XV.D.3.Back Pedaling XV.D.4.Toe to Toe