• The Three Weapons (provided by USFA)
• The Foil
• The Epee
• The Sabre
• "Right-Of-Way" (provided by USFA)
  
• A Brief History of Fencing (provided by The Cutting Edge)
• Relevance to Other Martial Art & Life (provided by The Cutting Edge)
• FENCING TERMINOLOGY (provided by The Cutting Edge)
  

The foil has a flexible rectangular blade, approximately 35 inches in length, weighing less than one pound. Points are scored with the tip of the blade and must land within the torso of the body.

The épée (pronounced "EPP-pay"), the descendant of the dueling sword, is similar in length to the foil, but is heavier, weighing approximately 27 ounces, with a larger guard (to protect the hand from a valid hit) and a much stiffer blade. Touches are scored only with the point of the blade. The entire body is the valid target area.

The blade is wired with a spring-loaded tip at the end that completes an electrical circuit when it is depressed beyond a pressure of 750 grams. This causes the colored bulb on the scoring machine to light. Because the entire body is a valid target area, the épée fencer's uniform does not include a lamé. Off-target hits do not register on the machine.

The sabre is the modern version of the slashing cavalry sword, and is similar in length and weight to the foil. The major difference is that the sabre is a thrusting weapon as well as a cutting weapon (use of the blade). The target area is from the bend of the hips (both front and back), to the top of the head, simulating the cavalry rider on a horse. The sabre fencer's uniform includes a metallic jacket (lamé), which covers the target area to register a valid touch on the scoring machine. The mask is different from foil and épée, with a metallic covering since the head is valid target area.

Just as in foil, there are two scoring lights on the machine. One shows a green light when a fencer is hit, and one shows a red light when the opponent has hit. Off-target hits do not register on the machine.

RECENT ORIGINS:  The art of Fencing as we know it today originates from the duel--long ago fenced to the death--in later years,  fenced only to "first blood"--mainly to settle personal affairs or disputes.  Soon, such brutal nonsense became outlawed, and any participating (even doctors or friends of fencers / "seconds") were subject to fine and/or imprisonment.  The duel slowly became more rare and rarer still.  Nearly non-existent past the early to mid-1900's.

EARLIER ORIGINS:  Swordplay (ok, more like stickfighting) can be traced as far back as ancient Egyptian times!  Possibly further.  However, if we wish to speak of when refined "fencing technique" began to truly flourish, we would turn our attention to the invention of muskets and other early firearms.  These weapons made cumbersome and heavy armour disappear from the battlefield in the flash of the musket, and heavy two-handed, armour-cleaving weapons metamorphisized into light, thin-bladed, flesh-deadly, one-handed rapiers.  Swordplay became a necessity for the common soldier, and a birthright of knowledge, skill, prowess, and survival for the rich and powerful.  Ironically, as years passed--the firearm timely reversed its wheel-of-fortune over the sword--making it obsolete as a battle weapon.  How?  Guns became more accurate (even at further distance), easier to re-load, re-fire, and so--were much more deadly...

The sword soon gracefully made its exodus, retreating from actual battle, but still ready at a moment's notice, sheathed in iron almost as strong as the will of those who brandished such weaponry.  But the  sword remains a strikingly beautiful and passionate martial art within the sport of  fencing.

The art of the sword is still taught in U.S. military programs to this day, and the United States Marines still carry sabres at their sides as tradition, and when the occasion, stationing, and their rank so requires.

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Relevance to Other Martial Art

Those who have experience in other martial art forms (Jeet Kune Do, Karate, Jujitsu, Kendo, etc. etc.) will notice how the same basic fundamentals of fencing... are present in other martial art.  Some examples:

1. Measure / Proper Distance -- If you allow an opponent to become too close to you, it becomes exceedingly more difficult to stop an incoming attack.  This is shared by any martial art.  On the flip side--when an opponent is too close, they are vulnerable as well.  Further still--when one is too far away from an opponent, there is little to be said about even the most beautifully executed, well-timed, powerful attack... since at the incorrect distance it will not land.  Therefore, it is easily said that correct measure is the most paramount foundation of all martial art.  Footwork.  Without it, nothing else can be achieved.  You cannot hit if you cannot reach.

2. Tempo or Timing Change -- Imagine if while on a freeway, a car in front of you suddenly slammed on its brakes, accelerated again, all the while changing speeds and lanes, swerving rapidly and often.  Attempting to predict the driver's next action would be very difficult.  Tempo or timing changes throw off our human brains.  During these timing changes... we make errors for our opponents to take advantage of, or vice-versa!  Changing tempo is paramount to a fencer's bag of "tricks".  Bruce Lee referred to this type of concept as "broken rhythm".

Tempo or timing change is not (obviously) limited to martial art--it is also present in music, dance, acting, speech, and other walks of life.

3. Conservation of Motion -- The old saying goes: "The fastest way between two points... is a straight line".  Nothing could be more true in martial art.  Well-studied martial artists constantly work on improving how quickly or efficiently they can perform any kind of action.  Whether it is a lunge, a parry, a block, a kick, a punch, a thrust of a sword... or a pirouette... there is always technique, and there is always the most or more efficient way for a particular human body to perform that action.

The more "streamlined" your actions--whether defensive or offensive--the shorter the time it will take you to change into another action.  For example, a fencer will easily meet another fencer (all in good time) that can execute the exact "same" parry of 4th and direct riposte to the chest... but do it five times faster!  Opportunities for realizations and growth in learning would be paramount here.  But this also brings us back to the concept above--for, what good does "five times faster" do... if the attack is not executed within the proper measure?  None.  You cannot hit if you cannot reach.

There are (of course) many other examples of where the same foundations cross over and intersect in interesting and even beautiful ways.  Metaphors can be drawn in many ways, and compared to other subjects, skills and professions.

An example?  A building.  How?

Without a strong foundation, a building is weak at its source.  The higher and more complex the building, the more volatile and vulnerable it becomes.  One day, when fortune's wheel turns just so--the building collapses.  And so one must begin from the beginning.  Now imagine a fencer without a strong foundation... with a poor foundation.  And how easy is it to "unlearn" what someone has learned?

I trust now you know of at least one way that fencing can be related to life in general, and how any student (child or adult)... can benefit from patience, devotion, study, respect... and LESSONS!

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Please note that the list below is neither all-conclusive, nor universal to all fencing clubs, coaches, athletes and fencing styles.  It will, however, give the studious athlete, parent or associate a good guide regarding how each action in fencing is described, accounted for, and what terms are relevant to other martial art.

En Garde position	A position of readiness and protection.  Differs for each weapon, and how each instructor makes specific choices on where the hand positioning is.
First Position	Not to be confused with the parry position of 1st, this is the body and hand position to stand in (generally with mask off) before saluting, or during a temporary break in drills as a coach speaks.
The Sabre	One of the three fencing weapons.  The other two being the Epee and the Foil.  All three weapons have differing target areas.  The Sabre's target area is the waist and above, excluding the hands.  The sabre weapon itself can be separated into sections, from point to pommel: point (or tip), weak 3rd of the blade, medium 3rd of the blade, strong 3rd of the blade, bell guard, handle, pommel (or counter-balance).  Blade relationship is of high importance when determining points in all three weapons.
Blade "relationship"	This refers to where one fencer's weapon comes into contact with his or her opponent's.  For example, if--in any given fencing time or moment--the weak part of your fencing blade comes into contact with the strong part of your opponen'ts blade... your opponent will now briefly have "Right-Of-Way".  See below for clarification on "Right-Of-Way".
The Salute	A show of respect and courtesy to an opponent, coach, director and classmates which should be used on many occassions, most of which are before and after a fencing bout or instructed class. I use a nine-point salute, which is as follows: Mask is off. 1st position.  Extend the point toward opponent (bell guard points right, palm down). Turn palm toward your body, bend the elbow and face your palm just under your chin (weapon is now pointed directly upward, bell guard points left). Extend from the elbow slightly, acknowledging the other fencer... Turn torso only slightly to left. Extend from the elbow slightly, acknowledging the director (whether there or not)... Turn torso only slightly to right. Extend from the elbow slightly, acknowledging your coach (whether there or not)... Turn torso back to center. Palm just under your chin (weapon is now pointed directly upward, bell to left). Rotate the weapon (from the elbow and wrist) counter-clockwise and point the tip toward the floor.  DO NOT hit the floor--you are pointing to it.  Palm faces downward now.  Bell guard ends up pointing to the right. Mask on.  En garde.
Lunge position	An extended, athletic position which an athlete uses in order to reach out and extend him or herself as far as possible, threatening the opponent--yet safe enough to recover quickly to the en garde position... or any other position for that matter.
Parry position	Refers to any particular position that specifically defends a particular target area.  There are many parry positions, and variations on how and when each are used, depending on the school of thought, weapon, and instructor.  In general, one will hear mostly about positions 1st through 8th.
Parry-Riposte (by steel and by measure)	A defensive action.  Actually refers to two actions which should be combined in order to score.  A parry of steel is any deflecting manuever that diverts the opponent's blade away from a fencer's target area.  The riposte is simply the "answering" attack made in order to score upon / strike your opponent.  A parry can also be made by making the opponent's attack miss or fall short--in this case, we would call this a parry of measure.
Direct Attack	An attack that is quick, direct--and takes one unit of fencing time.  Also referred to as a simple attack.  Note: an attack in fencing is defined as an extended or extending arm, with the weapon aimed at valid target area.  In sabre, a direct attack (or any attack for that matter) can be delivered with a point thrust or a cutting action.
Compound Attack	An attack that takes two or more units of fencing time.  As a general rule, nearly every compound attack will change lines.  Also referred to as a composed attack.
Counter-Attack	Any attack that is made against (and generally in the exact same moment) an opponent's attack.  The idea behind doing this is to close the opponent's line of attack (or be certain their attack misses) while also being able to hit them on-target.  When executed improperly or unsuccessfully, both fencers will be hit, but in Right-Of-Way (foil and sabre), only the initial attacker will score a point.  See "Right-Of-Way" for clarification.
Advance	A small, deliberate, quickly executed and well balanced step forward.
Retreat	A small, deliberate, quickly executed and well balanced step backward.
Appel	A small yet distractive simulated advance (or retreat) which consists of lifting either foot and stepping or semi-stomping it back into place.  Used to briefly lead the opponent to think you are moving or in action, or just to distract them by sound, movement and "suddeness".
Jump	A small jump (forward or backward) that is quick to leave the ground, and quick to return to it.  Both feet land at the exact same time--different from the advance and retreat.
Advance-Lunge	A combination of the two actions listed above.  When executed quickly and with what is best described as "fiery" tempo change, we refer to this as a Pattinando.
Jump-Lunge	A combination of the two actions listed above.  When executed precisely, with proper tempo, and excellent balance, we refer to this as a Balestra.
Tempo Change	Like in music, it is the change of speeds--not always the current speed--that makes something interesting.  Changing speed is especially important during a fencing bout.  Bruce Lee would refer to this as "broken rhythm".
Feint Attack	A simulated attack (not to be confused with a false attack) that is deliberately being used to deceive an opponent's attempt to parry such an attack.  As a general rule, nearly every feinted attack will change lines.
Indirect Attack	An attack that immediately changes lines once it is begun.  For better understanding, an example of an indirect attack is an attack by disengagement.  This attack is quick, and--like the direct attack--should take only one unit of fencing time.  Not to be confused with a Feint Attack, although both change lines.
Change(ing) of line(s)	This refers to changing the way in which a fencer moves his weapon toward the target area of an opponent.  For example, "changing lines--in sabre--from 4th (chest) to 5th (head)".  It can also be used to describe how a fencer changes defensive positions.
Beat Attack	An attack that is formed by first striking the opponent's blade near the tip, at the weak of the blade.  At this point, the fencer may now choose to make a direct or compound attack.  The beat in and of itself (striking of the blade) briefly gains the fencer Right-Of-Way, and is generally considered a prepatory manuever before executing some kind of attack (by extension of the weapon toward valid target area).
Right-Of-Way (also known as "priority")	A fencing rule that determines who is on the "attack" and who is on the "defense" given the current footwork, blade and hand work, and especially the TEMPO during any given fencing action (or phrase).  Right-Of-Way is not easily described, but better shown in real time.  Common only to Foil and Sabre.  Epee does NOT utilize the rule of Right-Of-Way.
Disengagement	An action with the fencing blade that passes underneath an opponent's weapon, generally on their attempt to contact the blade by either beat or parry.
Cut-Over	An action with the fencing blade that passes over an opponent's weapon, generally on their attempt to contact the blade by either beat or parry.
2nd Intention	A way of describing a tactic an athlete might use in order to trap an opponent.  There are many usages of second intention, but a good example would be: purposely (but convincingly) making an attack that falls short of the opponent--expecting that they will attempt to riposte... and then execute your true plan, which is to stop their riposte with your own.  A counter-riposte that was "planned" is a version of second intention.
False Attack	Not to be confused with a Feint attack, this attack is made with the deliberate purpose for it to fail / miss or be parried by the opponent.  This is one way to invoke a type of second intention.
Point-In-Line (also referred to as 'Line")	In sabre fencing, a fencer who "establishes" point-in-line by extending the point toward his or her opponent's target area (weapon bell guard points right, fencer's palm faces down)... gains priority or Right-Of-Way.  If the other fencer is hit with the "line" by the thrust without first removing the line by beat (or simply not being hit at all), the fencer with the line scores the touch.  Easier to demonstrate than to explain in words.
Yellow, Red and Black Cards	These refer to penalties that are "awarded" to a fencer for any number of reasons during the course of an organized tournament.  Cards can and should be "awarded" even during dry or recreational bouting to better educate fencers about what is and is not allowed by fencing rules.  Examples of possible cards are: not saluting an opponent or referee; halting the fencing bout while you are the one fencing; refusing to fence; running into the other fencer (body contact); reckless fencing; coming to the fencing strip without proper equipment; being a royal pain in the butt... :)
	More later... :)