Evangelista Nick - Fighting With Sticks

FIGHTING
WITH STICKS
Nick Evangelista
This book is sold for informational purposes only. Neither the

author nor the publisher will be held accountable for the use or
misuse of the information contained in this book.
Fighting With Sticks

1998 by Nick Evangelista
Published by:
Loompanics Unlimited
PO Box 1197
Port Townsend, WA 98368
Loompanics Unlimited is a division of Loompanics Enterprises, Inc.
1-360-385-2230
E-mail: [email protected]
Web site: www.loompanics.com
Cover art by Mark Lang

Photos courtesy Nick Evangelista
Illustrations by Holly Tuttle
ISBN 1-55950-176-6
Library of Congress Card Catalog 98-85460
Contents
Foreword
Preface
iii
Introduction
Chapter One
Why A Stick?
Chapter Two
The Approach
Chapter Three
A Short History Of Sword Fighting
Chapter Four
Fighting Sticks
17
Chapter Five
Peaceful Sticks: The Shepherd's Crook
25
Chapter Six
Some Wooden Swords In History
29
Chapter Seven
35
Chapter Eight
The Singlestick And Its Ancestors
45
Chapter Nine
Singlestick: The Game
57
Chapter Ten
Holding The Singlestick
63
Chapter Eleven
Singlestick: Game 1
67
Chapter Twelve
Singlestick: Game II
77
Chapter Thirteen
Singlestick: Game III
95
Chapter Fourteen
Self-Defense
97
Chapter Fifteen
Cane Fighting
107
Chapter Sixteen
Staff Fighting
111
Chapter Seventeen
Making A Singlestick, Fighting Stick, Or Staff
117
Chapter Eighteen
Making A Cane Or Walking Stick
127
Chapter Nineteen
Organizations Of Interest
129
Chapter Twenty
Fencing Equipment Suppliers
133
Chapter Twenty One

Fighting Stick Suppliers
137
Chapter Twenty Two

Cane Suppliers
139
Chapter Twenty Three

Selected Reading List
141
Chapter Twenty Four

Fighting With Sticks In The Movies
145
Afterword
147
Appendix
Fighting Terminology
149
This book is for my good friend,

Anthony De Longis.
"If (a man) is knocked down with a Stick, he will hardly get

up again and say, it just brushed him."
Captain John Godrey
(circa: 1750)
"Walk softly and carry a big stick."

Teddy Roosevelt (1858-1919)
Acknowledgments
First, as always, thanks to Ralph Faulkner for setting me on

my life's path.
Next, much thanks to Chris Amberger for his sound comments.
Thanks, also, to Tom Cragg for his input.
Thanks to William Gaugler for his continued support for
my writing projects.
And thanks to Justin Evangelista, my son, for helping with
this book.
Finally, thanks to Polly and Joe August for always being
there.
Foreword
Foreword
The "Foreword" for Fighting With Sticks was not written

by a presently living person. The following lines were penned
by an Englishman, C. Phillips-Wolley, in 1920, for a little
volume entitled Broadsword and Single-Stick, with Chapters
on Quarterstaff, Bayonet, Cudgel, Shillalah, Walking Stick,
Umbrella, and Other Weapons of Self-Defense. His thoughts,
nearly 80 years old, seemed to be in keeping with the tone of
my book, so I decided to borrow a few lines for my readers.
Says Mr. Phillips-Wolley:
"It seems to me that single-stick is the most thoroughly
practical form of sword-play for use in those 'tight places'
where men care nothing for rules, but only want to make the
most out of that weapon, which the chance of the moment
has put in their hands.
"As a sport, it [single-stick] is second to none of those
which can be indulged in the gymnasium, unless it be boxing;
and even boxing has its disadvantages. What the ordinary
man wants is a game with which he may fill up hours during
which he cannot play cricket [basketball, baseball, football, or

ii
tennis for the U.S. citizen] and need not work, a game in
which he may exercise those muscles with which good
Mother Nature meant him to earn his living, but which custom has condemned to rust, while the brain wears out; again
in which he may hurt someone else, is extremely likely to be
hurt himself, and is certain to earn an appetite for dinner. If
anyone tells me that my views of amusement are barbaric or
brutal, that no reasonable man ever wants to hurt anyone else
or to risk his own precious carcase, I accept the charge of
brutality, merely remarking that it was the national love of
hard knocks which made this little island [England] famous.
'There is just enough pain about the use of the sticks to
make self-control during the use of them a necessity; just
enough danger to a sensitive hide to make the game thoroughly English, for no game which puts a strain upon the
player's strength and agility only, and none on his nerve, endurance, and temper, should take rank with the best of our
national pastimes.
'There is just enough sting in the ash-plant's [singlestick's] kiss, when it catches you on the softer parts of your
thigh, your funny bone, or your wrist, to keep you wide
awake, and remind you of the good old rule of 'grin and bear
it.'"
Finally,
"If you want to learn to play quickly, if you want to get the
most out of your lessons, never encourage your teacher [or
opponent] to spare you too much... If you are not spared too
much... you will, after the ash-plant [single-stick] has curled
once or twice round your thighs, acquire a guard so instinctively accurate, so marvelously quick, that you will yourself
be delighted at your cheaply purchased dexterity."
Thoughts on martial skills haven't changed much over the
years.
Preface
iii
Preface
The idea for this book came out of my life as a teacher of

fencing. I have been a fencing master for over 20 years; and,
in that time, have come across many principles that while not
directly applicable to what I do, either compliment it or run
along a similar track.
To cut, to parry, to thrust these are the mechanics of my
world, the world of fencing; and yet fencing, for the last 200+
years, has been relegated mainly to the realm of sport. How
to apply my information to a general population deficient in
swordspersons?
It suddenly occurred to me one day that fighting with sticks
could be such an activity. Certain oriental martial arts employ
sticks. But I am not a master of these arts. How could I make
use of what I know?
Then, I recalled that in my research for my first book, The
Encyclopedia of the Sword, I'd encountered a purely Western
form of stick fighting. It was primarily an English form of
play called Singlestick. And, best of all, it was an outgrowth
of the fencing I knew, something I could identify with. Here,

IV
then, was something I could use as a foundation for my own

system. Sticks canes and walking sticks unlike swords,
after all, are an acceptable part of modern life.
And so I had my starting point.
The rest is this book.
The Author.
Introduction
1
Introduction
You have a gun, but you can't get ammunition for it.
Swords are expensive, somewhat hard to come by, and take
some proficiency to use. You don't necessarily have the intestinal fortitude to go at someone mano a mano in a knife
fight. You don't have time to mold your body into a lethal
fighting machine with an oriental martial art. And you aren't
big enough or aggressive enough to just plain duke it out
John Wayne-style.
So, what do you do?
Simple.
Learn to fight with a stick. Sticks are plentiful, easy to
come by, fairly simple to operate, and, with just a bit of practice, possess some pretty decent stopping power. A good
whack in the head, or a sharp jab in the solar plexus, with a
stout stick can do some real damage.
You can make your own weapon if you want personal input. Of course, if the stick breaks you can always obtain another. Even if there were a total breakdown of society, Nature would continue to provide an abundance of fighting ma-

2
terials. In normal times, if you're seeking convenience, any

hardware store has a selection of sturdy dowels to choose
from. If you're pursuing class, a cane can fill the bill. Best of
all, a cane, or walking stick unlike various martial arts
weapons such as nunchackus is not illegal to sport in public.
Fighting with quarterstaffs.
In a world where guns are becoming harder and harder to

come by and where people are getting odder and odder
having access to even a minimal form of self-defense makes
sense.
In the following pages we will explore the concept of stick
fighting.
Chapter One
Why A Stick?
3
Chapter One
Why A Stick?
A stick, for most folks, is harder than a hand. Moreover, a

stick in a hand gives anyone an extension that exceeds their
normal reach. And there is, as has been noted, an inherent
stopping power in a stick that the average individual may lack
when unarmed. Let's face it, not everyone is a Bruce Lee or
an Arnold Schwarzenegger. Basically, the stick is a tool that
overshadows one's physical nature. It becomes an equalizer
both physical and psychological pure and simple.
Having some form of self-defense, no matter how basic,
helps remove you from the unenviable status of potential victim that being a believer and follower of law places you in.
Laws only contain the lawful. Talking your way out of a
confrontation may or may not work for you these days. Certainly, "Letting the police do the protecting," will do you no
good as a fist slams painfully into your nose. But, as most
martial artists agree, having the calm knowledge of one's
ability to protect oneself is often enough to remove you from
the predator/prey cycle. You don't have to use what you
know, simply because you know it. But if that remote mo-

4
ment of truth does arise, well, you're the one who walks
away from the encounter.
These ideas will be our operating principles.
To hit and not be hit, a concept as old as personal combat,
will be our motto.
Chapter Two
The Approach
5
Chapter Two
The Approach
We will not be following a single martial art in the selfdefense portion of this book, but will borrow good ideas from
various systems. Overall, we want to keep things simple.
Becoming a competent martial artist takes time. Selfdiscipline is at the heart of the matter. You need something
that you can integrate into your life with a minimum of effort
now!
Luckily, it doesn't take a lot of skill to whack someone
with a stick. We're not dealing with intricate forms of
weapon manipulation. If you have an inclination to strike (if
you don't hold back, that is, because you're afraid you'll hurt
your attacker), and know how to exploit the element of
surprise, you have what you need for self-defense.
Remember, the stick, well placed, is doing the work for you.
Chapter Three
7
Chapter Three
A Short History
Of Sword Fighting
It should be obvious that wooden swords have been around

much longer than metal swords in fact, they are doubtlessly prehistoric in origin but we will begin our survey of
combat with a brief history centering on the use of the metal
variety, because it is from these that the development of true
scientific fighting technique derives. Here, too, we will be focusing only on things European, because it is from Europe
that the principles of the stick fighting we'll be discussing
originate.
Men have been fighting with swords for over 5,000 years,
but the art of fencing, as practiced today, is little more than
500 years old. Strange as it may seem, modern fencing came
about as the direct result of the introduction of firearms in the
16th century. Before that time, specifically during the Middle
Ages, the sword was used exclusively as an offensive
weapon. Protection came from armor. In effect, each man
wore his own personal fort. Broad, heavy blades were used to
smash through an adversary's armor. This was no mean task.

8
It took strength and determination. Armor, as its continued

use for centuries proved, performed its job well.
Swords of the Middle Ages.
Rifles and bullets took the time-worn principles of armed

combat and rendered them immediately null and void. With
little pieces of metal propelled at high velocity (by gun pow-
Chapter Three
9
der) easily piercing armor, armor was no longer a major obstacle to overcome in a fight. Presumably, anyone could stop
a heavily armored knight in his tracks. Moreover, bulky plates
slowed a man down on the open battlefield, making him a
ready target for the musketeer. By the end of the 1500s, the
wearing of armor for personal defense was virtually abandoned.
The man of the sword was abruptly thrown out into the
cold, so to speak. Where once armor had been all, defensively
speaking, there was now a great void.
High-born knights and nobles turned for assistance to the
common swordsman who, lacking funds for expensive helmets, breastplates, and so on, had long depended on personal
skill with weapons for survival. While much of the curriculum
taught employed liberal amounts of kicking, tripping, and
wrestling, it was a starting point in the development of fencing.
Unofficial schools for teaching the "proper" use of the
sword had been around since the Middle Ages. These early
congregating places for swordsmen, however, had little to do
with academics. In fact, they were little better than robbers'
dens. Such operations were outlawed in England during the
13th and 14th centuries because they tended to attract the
worst elements of the community, and masters of fencing
were considered no better than, it was said, thieves and actors. An edict enacted in London, England, in 1286, stated,
for instance: "Whereas it is customary for profligates to learn
the art of fencing, who are thereby emboldened to commit the
most unheard of villainies, no school shall be kept in the city
for the future."
Historian Arthur Wise noted in his book The Art and History of Personal Combat (1971) that the reputation of fencing schools "...did not encourage lively, analytical, and dis-

10
criminating minds into the profession." For centuries, at best,

they were places where even a simple practice session could
lead to bruises, eye loss, broken bones, and, occasionally,
even death.
The first attempt to establish a single, organized approach
to fencing was adopted in Germany in the 14th century with
the founding of the Fraternity of St. Mark, or Marxbruder. At
their headquarters in Frankfurt, they set up a university where
aspiring swordsmen in the country came to earn their degrees
in arms. Before long, no one could teach fencing in Germany
without their approval. The Marxbruder enforced this rule
with their swords for nearly 100 years. Eventually, as the art
of fencing spread through the land, other fencing groups were
formed, and by sheer weight of numbers, remained in operation.
Two-handed swordplay of the fifteenth century.
Chapter Three
11
As time went on, with dueling more and more coloring the
fabric of everyday life, all across Europe men began studying
and analyzing swordplay with hopes of finding scientific principles based on human responses that could be counted on to
work time and again.
In 1536, Italian fencing master Achille Marozzo, considered the greatest teacher of his time, wrote the first book to
approach fencing with anything that could be vaguely linked
to art or science. Known in his later years as the "Master
general of the art of fencing," Marozzo thought that there
was nothing more noble in life than the study of swordplay.
His teachings, primitive by today's standards, continued to
depend as heavily on violence and inspiration of the moment
as on practiced skill; but they were far advanced beyond any
other fighting methods of the period.
Fencing styles developed quickly. Camillo Agrippa, Salvator Fabris, and Rodolpho Capo Ferro, all great masters of the
17th century, brought forth concepts that helped to fashion
the direction of fencing. With every new reliable idea that was
advanced, an old bit of useless nonsense fell by the wayside.
Perhaps the greatest transformation in fencing came with
the development of the rapier in the 16th century. A longbladed sword designed exclusively for point use, the rapier
changed the nature of the sword fight from a cutting game to
one of thrusting. Controversy raged for years over which
method of combat was superior. So heated was the disagreement among the two schools of combat that proponents of
both styles often fell to dueling when they encountered each
other.
Masters of the old school, men who carried the sword and
buckler the buckler being a small shield worn on the free
arm looked on rapier play with contempt. The English, the
last holdouts of the cutting sword in Europe, were particu-

12
larly brusque in their appraisal of the new weapon. Their attitude was best summed up in the writings of the fencing master George Silver. His Paradoxes of Defence, published in
1599, was a violent attack on swordplay's new wave.
A sixteenth century sword fight.
Silver fiercely dismissed rapier play as "Schoole-trickes and

jugling gambalds." He then wrote, 'To seek a true defence in
an untrue weapon [the rapier] is to angle on earth for fish,
and to hunt in the sea for hares... And if we will have true defence we must seeke it where it is, in short swords... or such
like weapons of perfect length, not in long swords, long rapiers, nor frog pricking poniards."
Chapter Three
13
Certainly, Silver's prejudices regarding the sword combat

methods of his day can easily be understood. His ideas on
fighting reflected an established form that had been worked
out and perfected over decades of practice. Rapier play at this
time, on the other hand, was still in its infancy, imperfect, full
of odd notions and much charlatanism, and without a set of
standards by which to judge technique.
Yet, the seed of dynamic change was in the rapier. And this
is what Silver and his colleagues failed to realize. The cutting
sword versus the rapier was as the horse to the horseless carriage. The potential for efficiency had only to be molded and
channeled; and when this happened, the new form would easily outstrip the old. It would take time to accomplish this, to
weed out the nonsense surrounding the rapier. But once
started, there was no stopping progress.
Why was the point weapon superior to the cutting sword?
The reason was simple: guided by an economy of movement,
and possessing a point likely to be devastating when it hit, the
rapier proved to be the most efficient tool for dispatching an
opponent. To give an example: in France, between 1600 and
1780, 40,000 noblemen were killed in sword fights due to
the death-dealing potential of the point weapon.
Despite the staunch opposition provided by old-time sword
masters, by the end of the first quarter of the 17th century the
rapier was king.
In an effort to make swords even more versatile and lethal,
during the 18th century the rapier was streamlined into a
weapon known as the small sword. The small sword, with its
shorter, slimmer, lighter blade and smaller hand guard, became the ultimate blade weapon for personal combat.
Here, fencing took on a new look. Compared to later
swords, ponderous rapiers generated slow movement.
Reaching out too far to hit an opponent, or trying any action

14
that was too elaborate, meant putting oneself in a position

that could not easily be defended and was, therefore, wide
open to counterattacks. Rapiermen usually fought in a circular fashion, something like modern boxers, which allowed
them to keep their target area covered even while on the offensive. The small sword freed up the sword fight, not only
increasing the speed and intricacy of weapon maneuvering,
but also increasing the fencer's mobility.
Seventeenth century sword fighting taking on a scientific look.
Two varieties of rapier, the dueling sword of the seventeenth century.
Something else took place during the 1700s: fencing gained

respectability. With the invention of the small sword specifically designed for training the mechanics of swordplay
could be practiced and examined to a much greater degree.
The fencing master became a learned man of breeding a
combination teacher, historian, artist, scientist, and philoso-
Chapter Three
15
**
pher and the fencing school became a place where young

noblemen were sent to gain refinement.
The leader in this revolutionary movement was a dashing
42-year-old Italian named Domenico Angelo. Famous as a
talented amateur fencer throughout Europe, Angelo eventually settled in London, England, where his numerous highranking friends urged him to establish his own school. With
the lure of fame and fortune constantly in front of him, it
didn't take long for him to make up his mind. Angelo's new
salle d'armes quickly became the most popular in England.
Furthermore, as a "school of refinement," it was frequented
by the rich and talented of society who wished to bask in the
atmosphere of culture the Italian had created.
Angelo's book The School of Fencing (1763), laying out
his scientific style of swordplay in great detail, was the first
fencing volume to insist on the value of fencing being practiced for the improvement of health, poise, and grace. Angelo
lived to the age of 85, and taught right up to his death. In the
meantime, he established a line of fencing masters that was to
dominate European teaching for 150 years.
The more academic fencing became, the more its emphasis
shifted to its aesthetic elements. This, coupled with the increased reliability of guns, brought an end to the carrying of
swords. By the beginning of the 1800s, the sword was no
longer part of a man's everyday dress and was pretty much a
thing of the past for most private martial encounters. The era
of the sword as a personal weapon was over.
At this same time, the sport of fencing was born full-blown.
Sword fighting revolved almost entirely around the aspects of
personal development, entertainment, and competition. A
man's ability on the fencing strip, rather than on the dueling
field, became of prime importance. The refinements of fighting techniques, with a few exceptions, were aimed at pro-

16
moting the manly graces. It is from this period that much of

what we recognize as modern fencing springs.
Eventually, three fencing weapons took form the foil,
the epee, and the sabre each with its own distinctive technique and strategic approach. But this is not a fencing manual, so we will end our discussion of "official" fencing right
here.
Rather, it is time now to concern ourselves with the
wooden sword, its development through history, and its ultimate avenues of expression.
Chapter Four
Fighting Sticks
17
Chapter Four
Fighting Sticks
After the stone, the stick became the first personal weapon.
Where the rock would have been tossed, the stick had to be
wielded. Its use was intimate and immediate, its impact felt by
the user. According to historian George Cameron Stone in his
book, A Glossary of the Construction, Decoration and Use
of Arms and Armor (1961), 'The club is doubtlessly the...
most widely distributed, most generally used, and longest
lived weapon." He adds that it is the starting place for all
cutting and thrusting weapons in existence, and that while
originally nothing more than a rough stick, it has since been
elaborated into works of art. The stick, then, might be called
the "Adam" of personal weapons.
Since the stick weapon can be found in virtually all
prehistoric societies, the idea of picking up a piece of wood,
and bashing in an enemy's skull with it, apparently was a
pretty easy thought to come by. Australian aborigines, Native
Americans, Egyptians, Ethiopians, India Indians, Africans,
Samoans and Hawaiians, Arabs, Chinese, Japanese, and
Europeans each had their own versions of the stick weapon.

18
The Incas, even after they mastered working with gold and
silver, still fought with spears minus metal tips. Even today in
primitive cultures, the stick remains a valued combat/hunting
tool.
Clubs
Carved New Zealander clubs.
Chapter Four
Fighting Sticks
19
Clubs come in countless shapes and lengths: straight sticks;

tapered bats; sticks with balled ends, hook ends, and sharp
ends; sticks shaped like leaves, paddles, golf clubs, hockey
sticks, and picks; curved sticks; S-shaped sticks; wavy sticks;
some plain and some intricately carved.
And their names are just as varied as their forms: an-gora,
barkal, barur, baton, bendi, birra jungee, bi-teran, boomerang,
burrong, chacing staff, chingone, club shield, croc, cudgel,
dadda, dabus, dangra, Danish club, denda, furibo, gada,
ganeeugaodusha, ganjing, gargaz, gibet, gurz, hani, Hercules
club, hoeroa, indan, induka, iruella, inverapens, iwatajinga,
jadagna, japururunga, jawati, jitte, kadumango, kanabo,
kandri, kasrulla, katari, katariya, kauah, keili, kerri, kirasso,
kirikobu, knili, knobkerrie, knobstick, kongozue, kinnung,
koombamalee, kotiate, kugweong, kujerung, kulluk, kunnin,
langel, leonile, leowel, lilil, lisan lohangi, lohangi katti,
mabobo, macana, makana, maquahuiti, massue, massuelle,
mattina, mazule, merri, merai, miro, morro, mugdar,
muragugna, naboot, nilli, nolla-nolla, nyaral, pacaho, pagaya,
pahu, patu, periperiu, pernat, phalangae, plombee,
pogamoggan, potu, powhenua, purtanji, quayre, quarterstaff,
quirrang-an-wun, rabbit stick, rang-kwan, rungu, sapakana,
schestopjor, seki-bo, shakugo, singa, siwalapa, suan-toufung, taiaha, tambara, tanda, tebutji, te-gi, te-ingkajana, tetsubo, tewha-tewha, throwing club, tiglun, tindil, tombat,
trombash, truncheon, ulas, uramanta, u'u, waddy, wadna,
wahailka, wairbi, wakerti, wa-ngal, wanna, warbi, warrawarra, watillikiri, weerba, weet-weet, wirka, wona, wongala,
wonguim, yachi, yeamberren, yaribo, yu-lun, yural-bara, and
zai.
The use of the club is fairly straightforward. It could be
employed like a baseball bat; if sharpened at the end, a
jabbing spear; or thrown. For ancient man, the spot usually

20
chosen for striking one's enemy was the head, right above the
ear, where the skull is weakest.
Wooden clubs come in a variety of shapes.
South Sea Islander clubs.
Chapter Four
Fighting Sticks
21
African throwing sticks.
The best-known throwing stick, the boomerang, is

synonymous with the Australian aborigine, although, in fact,
varieties of the weapon were used in early Egypt, Thebes,
India, Abyssinia (Ethiopia), and Gaul.

22
Wooden Swords
It was inevitable that, considering man's preoccupation
with things offensive and defensive, in time the wooden club
would be modified into a wooden sword. Primitive man
crafted sticks into sword shapes, examples of which have
been found at ancient burial sites, although, according to Sir
Richard F. Burton in his Book of the Sword (1884), 'The
wooden sword extended into the Age of Metal."
Wooden swords were always fashioned of hard woods
such as eucalyptus, oak, ironwood, black wood, ash, and
mimosa.
The main problems with the wooden sword were that it
couldn't hold an edge or pierce metal armor. The first
drawback was eventually solved by attaching bits of sharp
stones (in Europe: agate, chalcedony, quartz, flint, chert,
hornstone, basalt; in Asia: jade; in the New World: obsidian),
shells, animal teeth (especially shark teeth), or bone or horn
to the wooden sword blade to enhance its performance. The
second problem was only solved by metal swords. In societies
that had little metal-working beyond that of an ornamental
nature, however, the modified wooden sword enjoyed long
employment.
The wooden sword, depending on its construction, would
be used for either cutting or thrusting; although, with some
weapons being on the border between club and sword,
bashing was not out of the question.
Wooden sword varieties include: the baggoro, bokken,
callua, cudgel, iverapema, macana, pagaya, singlestick,
tacape, and waster.
Chapter Four
Fighting Sticks
23
Brazilian wooden swords.
Chapter Five
25
Chapter Five
Peaceful Sticks:
The Shepherd's CROOK
We would be remiss if we didn't discuss, for a moment, the

peaceful use of the stick, if only to show its versatility as a potent tool and universal symbol. And there is no more effective or
long-lived version of this than the shepherd's crook.
In these times of sophisticated livestock management, it's
strange to think that one of the best tools ever created for a
shepherd was a long stick with a hook on the end of it.
The shepherd's crook.
The origin of this highly useful tool is, as one might expect,
lost in the dim shadows of man's early attempts to domesticate
animals he deemed useful. No historians were present when one
thoughtful shepherd picked up a long stick, and began poking his
sheep to get them moving in a particular direction. Or when he
found that a short, angled branch on the end of the stick could
be used to hook his animals when it became necessary to catch
them. Or when he found that by actually bending the wood itself
to make a hook, the strength of the overall instrument was increased. But one might assume, following the logical progres-

26
sion of thought, that the creative process went something along

those lines.
It's safe to say, however, that the shepherd's crook has been
around for a long, long, long time. We find evidence of it in
Egyptian art drawn well over 4,000 years ago.
The stylized shepherd's crook of the early church.
It's interesting to note, too, that in the case of Egypt, the

shepherd's crook became a symbol of sovereignty. Which, if you
think about it, points out just how effective a tool it must have
been. For something to become a metaphor for supreme control,
especially for the practical-minded Egyptians, it had to first effectively demonstrate that trait in real life.
Moreover, this symbolic aspect of the shepherd's crook as a
representation of power became so ingrained in the mind of man
that, centuries later, the early Church continued its usage to denote leaders of importance.
Chapter Five
27
Underscoring the universal recognition the shepherd's crook

inspired, medieval wool merchants often displayed its likeness
prominently on their business signs to represent the nature of
their trade.
Of course, as a practical part of everyday farm life, the crook
continued, as it always had, as the shepherd's long arm. Trained
herding dogs were added to the picture to direct a flock this way
and that, but a man still needed that hook to grab individual animals. In illustrations of rural life from the Middle Ages, the
shepherd was nearly always defined by his curved staff. Doubtlessly, in those wild days, one can imagine that the crook also
doubled for a defensive weapon against both predatory beasts
and potential human robbers.
In all these years, the shepherd's crook remained pretty much
the same. But, by the 1700s, we find preserved examples of
equipment bearing a distinctly modern touch. Crooks with small
iron hooks were made to specifically hold a sheep's leg. Larger
crooks, crafted from horn, could be used to grab a sheep by the
neck. Many of these items, as antiques, have been sold at prices
that were vastly greater than the value of the flocks they originally helped to manage.
The shepherd's crook has proven its usefulness almost as long
as man has been civilized. Yet, in recent years, it has fallen out
of favor as a shepherd's favored tooL One might wonder why
this would be so. But the answer is pretty obvious: it takes a
certain skill to use it, a skill that doesn't necessarily develop
overnight. One needs balance, timing, and a good eye to nab a
full-grown ewe or ram as it crashes past at a dead run. Furthermore, the ability to angle the hook on the animal's neck so that it
doesn't slip away is a technique only practice grants. The use of
the shepherd's crook ends up being in effect, a kind of martial
art. Stack that up against a nice, solid portable fence. You
achieve instant success with a fence. The animal is contained. It

28
goes where you want it to. No muss, no fuss. And there's no

need to develop a special skill.
People often go for the simple fix, the easy out; but, in the
end, without personal skills, without challenges, where are we as
human beings? What are our brains for? What should we be doing with our arms and legs? The shepherd's crook, it seems,
might be a symbol for much more than it used to be. (Of course,
this could also be said of learning anything else. Experience is
what life is about.)
The shepherd and his crook.
The shepherd's crook simple in design, efficient in its basic

application, and inexpensive to use will serve to remind us
that the simple ways of farming are sometimes the best; that
once upon a time, a shepherd stood on a hillside with a stick in
his hand, and that was all he needed to successfully guide and
protect his flock.
Chapter Six
29
Chapter Six
Some Wooden Swords

In History
The wooden sword has a wide distribution around the

world. The following is only a small sampling of its varied incarnations:
In ancient Egypt, soldiers practiced swordplay with a

wooden sword. The blade was flat and narrow; the hand
guard was a woven basket. When wielding this sword, the left
forearm was covered by splints of wood which were strapped
on, doubtlessly serving as a shield. Such a sword was never a
true implement of combat, but was used only as a training
tool and for sport.
The Egyptians also possessed a stick-sword known as a lisan, meaning "tongue-weapon." Some were no more than 23
inches in length; the longest, 29 inches. Some were straight,
others were curved. All were fashioned of hard wood, and
had a distinct cutting edge.

30
Stick fighting in ancient Egypt.
Rome
Roman gladiators used a wooden sword or rod called a
rudis to train for their bouts in the arena.
Mexico
When first encountered by Europeans in the 15th century
A.D., the Indians of Mexico fought with swords made of
ironwood and inlaid with chips of black obsidian. Some of
these were nearly four feet in length.
Britain
Numerous wooden swords have been recovered from ancient British burial sites. Some were apparently only of a
Chapter Six
31
ceremonial nature, the blades of which were inscribed with

magic runes. Others, though, were definitely of a fighting
nature. The latter were of both cutting and thrusting varieties.
Thrusting swords often possessed fire-hardened tips.
During the 16th century, the waster, a wooden sword with
a rounded blade, was used for practice purposes. It consisted
of a wooden blade set into a regular metal sword guard. In
the 17 th century, the waster was replaced by the cudgel, a
heavy wooden stick which employed a hilt in the form of a
wicker basket. This was, in turn, refined into the somewhat
lighter singlestick, which also sported a basket hilt.
Australia
The baggoro.

32
During the 19th century, the baggoro, a flat, sharp-edged

sword/club, was used by the natives of Queensland, Australia.
The blade was about five inches wide up to the slightly
rounded point, and reached from foot to shoulder. The grip
was a very small handle, and was intended for only one hand.
It was said that the baggaro was so heavy as to be unusable
except in a practiced hand.
Polynesia
The Polynesians produced wooden swords, and fitted them
with either shark's teeth or shells to enhance their cutting capabilities. These items were fixed in such a way as to produce
damaging wounds when either drawing or withdrawing the
sword's blade.
Polynesian shark tooth swords.
Chapter Six
33
Africa
The wooden sword in various shapes, sizes, and weights
was employed all over the African continent. The paddle
sword, which doubled, as its name suggests, as a boat oar,
was perhaps the most popular form among African warriors.
South America
South American Indians, like the natives of Africa, were
especially fond of paddle swords, although wooden swords of
a more traditional "sword" shape were also used. Swords
were fashioned from everything from palm wood to chontawood.
Amazon paddle swords.

34
Japan
The Japanese produced the bokken, a wooden sword designated for practice, although because of its hardness, it could
easily be pressed into actual combat situations. Made in the
shape of the traditional samurai sword, the katana, the bokken was fashioned from either red oak, white oak, or loquat.
Europe
During the 16th and 17th centuries, practice with cutlass,
dusack, and falchion, three heavy cutting swords, was carried
on with broad, curved pieces of wood called laths. The grip
was merely a hole in one end of the implement. A glove was
needed when using such a weapon, as there was absolutely no
protection for the sword hand.
Chapter Seven
35
Chapter Seven
Fighting
with
Sticks
Stick fighting has produced a number of complex combat

styles, each depending on the design of the fighting stick, the
philosophy of the area, and the result desired from the combat. For killing or play, the fighting stick has proven itself almost as versatile as its metal relative.
The following is a sampling of fighting techniques built
around stick fighting:
Kenjutsu/Kendo
Over the centuries, the Japanese have developed an elaborate sword-fighting system called kendo, which means "the
way of the sword." This grew out of kenjutsu the art of
swordsmanship which was less concerned with art than
killing techniques. Within the realm of kenjutsu, there were
countless fighting techniques being offered, each based on the
ideas of a particular swordsman/teacher.
In the earliest days in the development of kenjutsu, live
swords were used in practice. Unfortunately, this sometimes

36
led to injury or death, even in the relatively safe confines of

one's school (dojo). At the very least, students complained
that they had to hold back for safety's sake, so they could
never really stretch their skills to the limit.
Famed Japanese swordsman Miyamoto Musashi practicing

his fighting technique with sticks.
Chapter Seven
37
To stem the problems inherent in working out with sharp

swords, the bokken, or wooden sword, was created around
400 A.D. Patterned after the samurai sword, this simple alternative proved to be a great advance when teaching fighting
skills; but the bokken was still a stout piece of wood, and
could do considerable damage if it made contact with enough
force (imagine being smacked with a baseball bat). To underscore this fact, the wooden sword often proved itself superior
in duels against its metal counterparts.
One of the most memorable such encounters occurred in
the 17th century between the great Japanese swordsman Miyamoto Musashi and his arch rival Kojiro Sasaki. While being
rowed to the duel's location on an island off the coast of Japan, Musashi carved a sword from a wooden oar. He liked
the feel of the wood, and it was his thought that a true
swordsman should be able to fight with any object. In the
end, Musashi proved victorious, smashing in his adversary's
skull with a single well-placed blow.
During the 18th century, the bokken was replaced in practice sessions by the relatively safe shinai, or bamboo sword.
Made up of individual strips of flexible bamboo, the shinai,
used in conjunction with various pieces of specially constructed armor, allowed the student of swordplay to put his
best effort into mock combat without fear of accidentally
wounding his opponent. It is from this period that kendo,
which stressed the technique and individual spirit of each individual swordsman, rather than his ability to kill, came into
being. Thus began the development of a highly ritualized and
structured sword-fighting skill, which flourishes to this day.

38
Escrima/Kali/Arnis
Escrima, arnis, and kali are the fighting arts of the Philippines. Kali is the oldest of the three forms, and is thought by
some to be the most complicated. Moreover, according to
experts, kali emphasizes bladed weapons, while escrima and
arnis focus more on sticks (although there is some controversy in the ranks on this matter). Escrima and arnis have
been characterized as "streamlined" versions of kali.
In the beginning the systemized fighting arts of the Philippines were based in great part on the sword and dagger skills
of invading Spanish soldiers during the 16th century. Natives
took what they observed, and either copied or developed a
new system of fighting based on what they observed. There
are numerous systems of fighting today, but they are all based
on geometry, that is, on principles based on a pattern of angles that all attacks must adhere to.
Stick fighting includes singlestick, long and short stick, and
double short sticks. Skills also include fighting with the staff,
the spear, and the empty hand, to name a few alternative
forms. Escrima, the term deriving from the Spanish word for
sword fighting, may be the most popular of the three fighting
arts. The practitioner of escrima is called an "escrimador."
Kempo Karate
Kempo karate employs twin-stick techniques that have
been long associated with escrima.
Chapter Seven
39
Black Sword Aikido

Seventeenth century samurai Muso Gonnosuke, originally
master of the long staff, was beaten in a celebrated duel with
revered Japanese Swordsman Miyamoto Musashi. Retiring to
the mountains to contemplate his fighting skills, Muso eventually created a new form of combat based on the use of a
shortened staff. He believed the less lengthy weapon would
allow him to get closer to his opponent, and thus allow him to
land more blows. Within his new method, he combined
movements of the spear, the sword, and the naginata (swordbladed spear). In a rematch with Musashi, Muso handed
Musashi his only defeat on record.
T"ai Chi Chuan

Viewed primarily as a relaxing Chinese art designed to
produce a healthier, more balanced spirit, t'ai chi ch'uan is
also a dynamic art of self-defense. This oriental skill, while
most often practiced in its empty-handed form, also integrates
a long staff into its technique.
Ninjutsu
Training of the Japanese ninja, the "Shadow Warriors," included staff and stick fighting. This brought into play the bo,
or long staff (six feet long), the hanbo, or cane (three feet
long), as well as sticks and wooden clubs of various lengths.
Ninja walking sticks often concealed sword blades.

40
Jodo
Jodo means "way of the stick." The official jo is a staff or
stick 128 centimeters long, and 2.5 centimeters thick. The
best jo is made of white oak grown slowly in the cold Japanese highlands. A high water content makes it very heavy.
There are two jodo styles, the original being called Shindo
Muso Ryu Jodo. The second, or Seitei Jodo, has been found
to be useful in kendo training. There is no "free fighting," or
sparring, in jodo, as the staffs are too heavy for striking an
opponent, so its work is done primarily in kata (exercises).
A popular weapon in Europe's Middle Ages, the quarterstaff had both length and weight in its favor in a fight. It was
made famous in the legendary fight between the outlaw Robin
Hood and the giant Little John over which man would cross a
tree-trunk bridge first. Robin Hood, of course, was bested by
his opponent, and was so taken by the feat that he made Little
John his second in command.
That the staff was such a successful weapon is born out by
the official 15 th to 16th century coroner records of Nottinghamshire, England. It was found that in 103 cases of murder
between 1485 and 1558, the staff was implicated as the killing weapon in more than half of them. One account states:
"John Strynger... assaulted Henry Pereson... with a staff...
which he held in both hands, striking him on the top of the
head so that his brains flowed out and giving him a wound 1
inch deep, 2 inches wide, and 3 inches long of which he immediately died." The sword, it was also pointed out, only accounted for ten deaths.
Chapter Seven
41
The use of this very effective weapon was taught in most

fencing schools of that time period. Stated quite matter-offactly by English fencing master George Silver in his book
Paradoxes of Defence (1599): "The short staffe hath advantage against two swords and daggers, or two rapiers,
poiniards, and gantlets." The reason was simple: the staff almost always created a distance factor most favorable to its
user.
The quarterstaff being taught at a sixteenth century

German fencing school.
Club
and Baton
In medieval times, the club and baton were used, notes J.

Christoph Amberger, in his book The Secret History of the

42
Sword (1996), "not only in the tournament, but also in judicial combat." In England, the club continued as a tool for
settling property disputes almost until the end of the 1500s.
In his book, The Sword and the Centuries (1901), Alfred
Hutton, writer and fencing master, describes a public club
fight between two men during the Middle Ages: 'The fight
begins, and they charge each other vigorously. Mahuot, seeing that he is something overmatched by the size and weight
of his enemy, attempts a ruse. He picks up a handful of sand,
with which the lists are plentifully strewn, and dashes it into
Plouvier's face, following the action with a blow of his club
on the forehead, which causes the blood to flow freely. This,
however, only serves to enrage Plouvier, who is a sturdy,
powerful fellow, and he attacks Mahout so furiously as to
make him fall headlog, whereon he springs upon him, tears
his eyes out of their sockets, finishes him with a tremendous
blow on the head, and finally, taking him by the arms, flings
him over the railing into those of the executioner, who
promptly hangs him on the gibbet which has been erected for
the accommodation of the vanquished man."
The baton basically, a small formal club (sometimes fitted with a handguard), often a badge of authority was
used, states historian Amberger, in conjunction with the free
hand to protect the head, neck, and face, all favorite striking
areas, although the torso could also fall under attack. The
striking moves employed with the baton, he says, were welldefined, resembling many modern fighting techniques.
Amberger finally observes that an analysis of many medieval combat systems, such as baton fighting, indicate that they,
rather than being crude displays of brute force as was once
believed, may instead have been highly developed methods of
combat.
Chapter Seven
43
Shillelagh
The stick/club of the Irish. The first object of fighting with
this weapon was to knock off an adversary's hat so that one
could attack the head with greater facility.
Cane/Walking Stick
Fighting with the walking stick became a popular form of
fencing toward the end of the 19th century, especially in
Germany and France. In time, cane and single stick play became virtually the same thing. Some old military manuals actually treated the cane as a training tool for sabre. Both cuts
and thrusts were allowed to all parts of the body, and it is
said that the blows exchanged could be quite punishing.
Therefore, masks, heavily padded vests and gloves, even shin
guards were a required part of all cane fencers' gear.
In Germany, cane fighting was known as "stockfechtn"
(although the term was a fairly broad one, and could be applied to any form of stick fighting). In France, cane fencing
was called simply "canne."
Cane fencing was introduced in England, according to Alfred Hutton in his book The Sword and the Centuries (1901),
by Pierre Vigney, a professor from Switzerland. Says Hutton:
"The instrument he employs is nothing more than the ordinary
walking-stick of daily life... The exercise, when played merely
as a game, is a remarkably attractive one, so brilliant, indeed,
that our time-honoured English singlestick is not to be compared with it. In the first place, the player is not hampered
with a buffalo or wicker hand-guard, a fact which of itself
lends variety to the play, for the man can, and does, frisk his
cane about from one hand to the other, so that his opponent

44
can never precisely tell which hand will deliver the attack, and
careful practice of the various lessons will shortly make the
student pretty nearly ambidextrous. One of the first things to
understand in such play as this is to preserve the hand which
holds the weapon, a thing which an occasional tap on the
knuckles impresses on one's memory. M. Vigney does not
confine himself to teaching a mere exhilarating game of play;
he shows his pupils also the more serious side of the system,
instructing them carefully in what they should do if attacked
by a gang of ruffians..."
Cane fencing, interestingly, is still practiced in France today. There are even some practitioners in the U.S.
Singlestick
Singlestick will be covered in the following section.
Chapter Eight
45
Chapter Eight
The Singlestick
And Its Ancestors
In Western cultures, the wooden sword, it seems, has often, though not always, been the prerogative of the lower
classes. Doubtlessly, as has been suggested by historian J.
Christoph Amberger, it was because of the rather prohibitive
costs of metal-bladed swords. Moreover, wooden swords lent
themselves favorably to the safe practice of certain fighting
styles that required cutting techniques. That is, when you hit
an opponent with a live sabre, you could do them some real
damage. At the very least the damage might consist of some
cosmetic rearranging of someone's features. But a wooden
sword used in the same manner would most likely only bruise
or raise a bump or welt. About the worst injury you could inflict would be to coax a bit of blood from your adversary's
head (which was sometimes actually the "pleasant" goal of
some wooden sword systems). Nevertheless, these European
forms of stick sword fighting rarely focused on killing, as was
the case with most Oriental arts.
In general terms, we will be talking about the Western
wooden sword as a "singlestick." That this is not 100% cor-

46
rect in terminology is only a matter of degree. Historically,

the term has become a catchall for such weapons. Generically
speaking, then, it will do.
If we want to get more precise, however, and determine
who was actually using what wooden sword at any given
time, we end up running into a bit of a problem. Early writers
on the subject often seem less concerned with exact categories. Any "singlestick" reference might be replaced with
"cudgel" or "backsword."
This could be simply because the terms themselves were
not always applied with an eye for official accuracy. In the
world of fencing and swords, the ugly head of ambiguity has
come bobbing up more than once from the ashes of time to
confuse the unwary myself included.
Another factor: some weapons have a funny habit of not
being relegated alone to a certain time period, but bleed over
into other eras and are called by some popular name of that
period. This, of course, blurs actual differences significantly.
Hence, a "cudgel" of one era might easily be tagged a
"singlestick" a few decades later. Also, sometimes names employed to describe a weapon or fighting style might vary according to the popular notions of a particular locality. The
rules and techniques of play might vary as well. The singlestick fighting of one area might be known only a few miles
away as backswording. Or backswording as cudgeling. Or
cudgeling as singlestick play. Or...! The style of the game
might be highly muscular or light, static in movement or
highly mobile, confined to a limited target area or opened up
to include the whole body.
Yet, there are some general points we can adhere to in our
quest to get a grip on stick weapon types.
These we'll now discuss:
Chapter Eight
47
The Singlestick as A Staff

To start with, the earliest use of the term "singlestick" had
nothing at all to do with wooden swords, but rather with
staffs. The original singlestick was a staff reduced in size to
five feet from the seven foot length of the traditional quarterstaff. It could be used with either one hand or two.
Waster
The waster was a wooden sword used from the 16th to
early 17th centuries when practicing the backsword, a heavy
single-edged broadsword. Originally, the weapon consisted
only of an ash stick a yard long and an inch wide that tapered
toward the tip. Later, the stick was often set into a standard
sword hilt. The blade might be rounded or fashioned with one
flat side which became the striking edge. Much used by the
lower classes, the waster was often employed in conjunction
with the buckler (a small shield carried in the free hand).
On occasion, the waster was also called a "backsword,"
since it represented that weapon, and its play was characterized as backs wording.
Backsword
and Backswording
While initially referring to fighting with the waster, the term

"backswording" eventually also covered the use of the cudgel
and the singlestick.
Said 19th century fencing historian Egerton Castle of
backswording: "... it was an art that required not so much
science and agility as coolness and muscular vigor... It was
generally held with all fingers close around the grip..." He

48
went on to note that although to strike below the belt was

considered poor form in the 16th century, by the 18th century
the game embraced the entire body as the target area. Parries
(defensive blocking) were always done with the sword hand
in pronation (palm down). Also, to hit with the point was
positively forbidden.
The object of backswording, as was the case in all English
forms of stick fighting, was to crack one's opponent on the
head until blood was drawn. Said Captain John Godfrey, a
well-known fencing master of the 18th century, "I have purchased my knowledge of the Back Sword with many a broken
Head and Bruise in every part of me." He adds that he
"...followed chiefly the practice of the backsword, because
Conceit cannot readily be cured with the file [foil]... as with
the Stick... though a Man may dispute the full Hit of a File,
yet if he is knocked down with a Stick, he will hardly get up
again and say, it just brushed him."
Cudgel
The cudgel was primarily a 17 th century wooden stick
made of ash, like the waster, but its hilt was a heavy wicker
or leather basket. Sometimes the term "cudgel" and "singlestick" are used interchangeably. Cudgeling might also be
known as backswording, which referred more to a style of
fighting than the weapons being used.
Cudgel play, according to Alfred Hutton in his book The
Sword and the Centuries (1901), descended from the sword
and dagger fight of Elizabethan times. When such duels were
copied, a wooden sword a yard in length and a shorter one,
some 14 inches long, replaced the live weapons. The hilts,
called "pots," were usually wicker baskets.
Chapter Eight
49
By contrast, "backswording," states Hutton, was simply the

use of the longer sword by itself.
One of the great masters of the cudgel and backsword was
James Figg, known as the "Atlas of the Sword." Remarked
the aforementioned Captain Godrey of Figg, "I chose to go to
Figg, and exercise with him; partly as I knew him to be the
ablest Master, and partly, as he was of a rugged Temper, and
would spare no Man, high or low, who took up a Stick
against him."
A business flyer for the redoubtable Figg.

Notice the wooden swords at the top of the illustration.

50
The Singlestick as A Sword

The singlestick of the 18th century was much like the
cudgel, baskethilt and all. It seems that perhaps the cudgel
was a bit shorter and thicker. The 19th century singlestick
possessed a triangular guard of hardened leather.
J. Christoph Amberger describes the development of the
singlestick first as a military tool serving purely hostile ends,
then as a civilian weapon, finally developing into a sport. He
adds, "As the military practice is continued in civilian life, it
develops into a closed system." Moreover, from the 1830s
on, he says, the term "singlestick" is applied to all kinds of
systems of fighting with wooden weapons. It is from this
time, no doubt, that much of the ambiguity surrounding
backswords, cudgels, and singlesticks arises.
The schlager fight possesses many characteristics

of classical singlestick combat.
Chapter Eight
51
In time, the game was fairly fixed. The distance between

opponents was greatly reduced to a few feet, the target had
shifted entirely to the head, and the left hand was bound with
a bandanna or strap, keeping it from being used to ward off
blows or grab an opponent's sword. In some ways it resembled the schlager encounters the mensur engaged in by
German university students in the 19th century and beyond.
A most colorful description of a classical singlestick fight
comes down to us from the novel Tom Brown's School Days
(1857) by Thomas Hughes: 'The weapon is a good stout
ash-stick, with a large basket handle," he begins. 'The players
are called 'old gamesters' why, I can't tell you and
their object is simply to break one another's heads; for the
moment that blood runs an inch anywhere above the eyebrow, the old gamester to whom it belongs is beaten, and has
to stop. A very slight blow with the sticks will fetch blood, so
it is by no means a punishing pastime, if the men don't play
on purpose, and savagely, at the body and arms of their adversaries. The old gamester going into action only takes off
his hat and coat, and arms himself with a stick; he then loops
the fingers of his left hand in a handkerchief or strap, which
he fastens round his left leg, measuring the length, so that
when he draws it tight with his left elbow in the air, that elbow shall just reach as high as his crown. Thus, you see, so
long as he chooses to keep his left elbow up, regardless of the
cuts, he has a perfect guard for the left side of his head. Then
he advances his right hand above and in front of his head,
holding his stick across so that its point projects an inch or
two over his left elbow, and thus his whole head is completely
guarded, and he faces his man armed in like manner, and they
stand some three feet apart, often nearer, and feint, and
strike, and return at one another's heads, until one cries,
'hold,' or blood flows; in the first case, they are allowed a

52
minute's time, and go on again; in the latter, another pair of

gamesters are called on. If good men are playing, the quickness of the returns is marvelous; you hear the rattle like that a
boy makes drawing his stick along palings, only heavier, and
the closeness of the men in action to one another gives it a
strange interest, and makes a spell at backswording a very
noble sight."
The tough "old gamesters" of Henry Angelo's day.
Chapter Eight
53
In The Sword and the Centuries, Alfred Hutton describes a

number of singlestick contests that took place at Henry
Angelo's London school (Henry was the grandson of the
celebrated master Domenico Angelo) during the mid-19th
century. Quite often the encounters possessed a somewhat
physically punishing quality. This, of course, was a reflection
of the times, given the "manly" nature of healthy competition.
While, by and large, men no longer played for blood (Master
Angelo, for instance, made all his students wear sturdy
helmets when fencing with the singlestick), "...good honest
knocks on ribs and shoulder and on arms and on legs did they
both give and receive, and that most good naturedly." And
this without any kind of padded, protective clothing.
Singlestick play was not meant to be cruel or sadistic. Yet,
it was impossible to keep questionable players out of the
game, the same way it's impossible to keep the undisciplined
poker out of fencing today. So, the game was by no means
without incident. While striking delicate areas of the body
as to hit "inside the leg" was universally considered "foul"
play, this fact was sometimes overlooked by the odd
individual intent on doing real damage as a way of gaining a
reputation as a serious competitor.
Before long, however, these transgressors were usually
paid in kind and sent briskly on their way.
Hutton described such a visitor to the Angelo school in the
early 1860s, who proved himself both brutal and unwilling to
learn from his misdeeds, even after being given back some of
his own medicine.
But, as the story goes, in a climactic encounter with one of
Angelo's crack players, the offender at last received his due.
From the outset, he laid into his opponent with such unrestrained violence that he quickly broke the latter's singlestick
blade. Then, without regard to sportsmanship or tradition, he

54
continued his assault, landing five or six heavy hits. At that, in

self-defense, the disabled competitor took the buffalo hide hilt
of his damaged weapon, and slammed it full into his attacker's face mask, which sent the transgressor sprawling
across the room. When he came to rest, Henry Angelo gave
him a kick on the backside, and advised him calmly to go
away, and never return to his school again.
The singlestick was also employed in British naval training.
Some wooden swords of this type, explains J. Christoph Amberger, looked rather like table legs.
It should also be noted that in England, during the 17th and
early 18th centuries, the singlestick, along with other weapons such as the backsword, quarterstaff, sword and dagger, sword and buckler, and the falchion were weapons of
choice in great public contests for money. These prize-fights,
which were nothing more than legally sanctioned brawls,
were usually bloody affairs (to the joy of the spectators), with
combatants continually hacking bits and pieces off one another with swords, or knocking each other out with various
stick implements. Surprisingly, as gruesome and barbaric as
these assaults were, fatalities were rarely experienced. Highly
popular in their time, they were eventually overshadowed and
replaced by the sport of boxing.
Interestingly, a singlestick competition was included in the
fencing contests at the 1904 St. Louis Olympics, although it
is not now known which singlestick system was used. This
event was never repeated in subsequent games. The event
was won, by the way, by an American, Albertson Van Zo
Post. Two other Americans, William Scott O'Conner and
William Grebe, came in second and third respectively. This
was the only time an American has ever won a gold medal in
an Olympic fencing competition.
Chapter Eight
55
The singlestick continued to be practiced well into the 20th

century, mostly in British public (private) schools. But, by the
1930s, it was pretty much abandoned.
Chapter Nine
57
Chapter Nine
Singlestick The Game
Now, at last, we come to the game of singlestick fighting!

It can be approached for exercise, or simply for fun; or it can
be a stepping stone to developing a personal self-defense
strategy. Whatever your motive, it is an ideal way to develop
self-discipline and physical control.
Purposeful
Play
If self-defense is your goal, more than anything else, you

need to know how to handle yourself under fire how to
move, how to think clearly, how to effectively respond
psychologically. Singlestick can teach you such things.
It is important when defending yourself not to flinch, not to
hesitate. You must strike with balanced force and with
accuracy. You need to follow through. These things may be
learned in singlestick play. In the first game we shall survey,
for instance, you are forced to maintain a distance. No
running away. You learn to attack and defend with facility.
You must think under fire. You develop endurance, speed,

58
and flexibility. You learn to deliver your actions with intent.

In the second game, you learn to employ distance offensively
and defensively. Balance improves. You learn to move with
grace. In both games, you become a fighter in spirit.
Any martial experience tends to affect one's life in ways
not at first perceived. Self-confidence grows. Applying one's
actions strategically improves over-all problem-solving
ability. You also learn self-discipline, to handle your emotions
so that they don't get the better of you. Fear and anger
undermine any combat situation. I might add that my years of
fencing improved my tennis game, and became a factor in my
learning to ride horses.
On the other hand, maybe you just enjoy the competition.
A fast-moving combat-like encounter with another human. A
plain, old skirmish! That's all right. Fun is OK, too.
Safety
We plan on deviating from the original game in one
respect: no blood-letting or physical damage here. I'd
recommend that each singlestick fencer purchase himself a
fencing mask to protect his head and face. Concussions are
costly in terms of medical bills and loss of brain cells; and you
only have two eyes, neither of which can be replaced. Also,
whether you wear a fencing jacket or a regular everyday
jacket when you practice singlestick, it should have extra
padding in the shoulders and chest. Maybe a towel or two.
Don't attempt the "fighting in your street shirt" of the old
gamesters. A winning score won't make up for a broken rib
or a bunch of bruises. A well-placed blow could even
conceivably break a collarbone. Too, you should wear a fairly
Chapter Nine
59
heavy-duty glove just in case. You have a baskethilt on

your weapon, but a little extra protection can't hurt.
Protection for the head: a fencing mask.
Wooden singlestick blades may also be sheathed in

protective foam-rubber coverings, which will lessen the
carnage experienced. More on that later.
You can probably improvise when it comes to protective
gear, but for the more traditionally minded singlestick player,
protective fencing clothing may be purchased from a fencing
equipment supply house. Addresses for these are included in
the back of the book.
As a fencer of some 30 years, I've found that adherence to
common-sense safety concepts is the best way to avoid
injury. Which is true of about almost everything.
Remember: it's not a game if someone gets hurt.

60
Dressed for singlestick play: A) padded "fencing "jacket,

B) glove, C) knickers, D) sturdy woolen socks,
E) athletic shoes with good traction, F) singlestick.
Chapter Nine
61
Styles of play
We will be setting down two basic game plans for
singlestick combat. The first will follow the more classic
description of singlestick play; the other is a looser game,
somewhat akin to modern sabre. However, if you find
somewhere down the line that you wish to add something to
your system, or develop a whole new approach, do it.
Improvise. Nothing here is set down in stone. Just keep in
mind that anything and everything you do is guided by a need
for safety.
It should be noted here that however you choose to frame
your game of singlestick, the point should never be employed
in the byplay. There is no give with wooden blades, as there is
with metal ones. They do not bend. Hitting an opponent in
the solar plexus or the throat with a sound thrust could do
some real damage.
Don't forget this fact.
Getting
Started
"But I don't have a singlestick," you're saying right about

now. "I went down to my local sporting goods store, and
asked the salesman for a couple, and he looked at me like I'd
just escaped from the local nut emporium. What do I do
now?"
OK, that's a fair question.
My reply is: trust me.
In an upcoming section, we'll teach you how to put
together your own singlesticks. Cheaply; I think I spent
maybe three dollars on the materials I didn't already have.

62
Once you have all the parts, you can make a singlestick in
about 30 minutes, maybe less.
Approaching the Leaning Process

Take your time. Don't try to be expert all at once. That will
only heighten your sense of frustration. It has been said that
the secret to the mastery of any art or activity is repetition. Of
course, I might add that what you're doing should be done
correctly, or you'll only be developing bad habits. You can
become a good singlestick fighter if your approach is honest,
systematic, and deliberate.
Now, let's get on with the action.
Chapter Ten
63
Chapter Ten
Holding the Singlestick
There are two methods of holding the singlestick. The first

is the "club" grip. The other is the "sabre" grip. Which one
you use will be determined by how you want to frame your
game.
Club Grip
As its name implies "club" grip you hold the grip like
a club, with fingers and thumb wrapped firmly around the
handle. If your game is to be one of flipping your singlestick
from the wrist, this grip will be your best bet.
SABRE
GRIP
The "sabre grip" is patterned after the hand hold used on a

modern sport sabre. That is, thumb on top of the grip, first
finger directly opposite, the last three fingers wrapping lightly
but firmly around the grip. If you're going to employ

64
snapping cuts from the fingers, this should be the grip you
use.
YOUR SINGLESTICK HANDLES
As you'll be making your own weapons, you'll be able to
facilitate one or the other method of gripping by how you
fashion your handles. We will discuss this in the chapter
dealing with singlestick production.
The "club " grip.
Chapter Ten
65
The "sabre-style " grip.
Chapter Eleven
Singlestick: Game I
67
Chapter Eleven
Singlestick: Game 1
The old game of singlestick, as practiced prior to the mid19th century, was one of speed, strength, and dexterity. And,
of course, courage. It took ample guts to stand up to the constant thrashing that the ash stick must have inflicted on a
body. Not to mention the realization that the outcome, on
either side of the encounter, would be a cracked and bloody
head.
This, as it is traditional singlestick, is the game we will begin with. However, we'll be amending the old-time practices
to include some modern safety innovations. No more battered
heads and badly bruised ribs. Still, hopefully, the spirit of
early singlestick will be preserved intact.
History
In his Schools and Masters of Fence (1885), fencing historian Egerton Castle recounts that Donald Walker's Defensive
Exercises, published in London in 1840, was the only work
he could locate that systematically recorded the rules of sin-

68
glestick play as it was carried out in the 18th century. Castle

summarized Walker's information:
'The combatants, each armed with a basket-hilted stick,
somewhat stouter and shorter than our modern singlestick,
faced each other within very close measure [distance]
somewhat like the German students [schlager combatants]
holding their weapon in a high hanging guard, with the basket
a little higher than the head, the point [of the blade] about on
a level with the shoulders. The left arm was used to screen
the left side of the head, elbow upwards as high as the crown
[top of the head], and as much brought forward as a handkerchief or a belt passed under the left thigh, and grasped in the
left hand, would allow. With such an attitude all consideration
of distance had to be abandoned, and the player's sole attention was directed to that of time [economizing offensive and
defense motions of weapon and body to only what is most
necessary] and guard [being in the best physical position to
either launch an attack or to defend as necessity dictates].
'The object of the play was to draw blood from an opponent's head, victory being achieved as soon as at least an inch
of it appeared anywhere on his head or face. This was called
[not so strangely] a 'broken head.' Thus the only decisive
blows were those that reached the head, but they were also
addressed to the arms, the shoulders in fact, anywhere
above the girdle [waist] where the result of a blow might be
to effect a temporary opening to the head.
'The requisites [requirements] for this very particular play
were chiefly strength and suppleness of wrist, from which all
cuts were delivered with great swiftness, and so as to disturb
the guard as little and for as short a time as possible; a quick
perception of 'time' most successful hits being delivered
either on the adversary's feint [fake attack] or on his attempt
Chapter Eleven
Singlestick: Game I
69
to bring down the protecting left arm by a cut on the left

flank [ribs]; lastly, great caution and a certain amount of endurance, to enable the player to seize the right time for a flip
[a quick, rotating flick or snap made from the wrist] at his
opponent's head without exposing his own, heedless of many
smart raps on the elbow or across the ribs."
Other singlestick techniques from this time period involved
varying the target area, allowing advancing and retreating,
and leaving open to choice what guard position might be
used. Also, some styles of play allowed the free arm to hang
loose so that it might be used to parry any which way, or
even to grab an opponent's blade.
A number of graphic accounts of lively singlestick encounters can be found in Alfred Hutton's The Sword and the
Centuries (1901).
A Modern Approach
If you enjoy pain and blood-letting, you may follow the
game of singlestick as described by Castle. I hope you have
plenty of health insurance, because you're going to keep the
doctors busy patching up you and your opponents. But, as I
have already said, I will suggest an alternative.
First, fencing masks are a must. So, no more broken heads.
Awwww! Too bad, right? The object of the exchange now
will merely be to make a solid touch on either the top of your
opponent's head or on his cheeks. Also, because masks are in
use, there is no longer any need to employ the left arm defensively. The free arm can now be held behind the back. On the
other hand, in the interests of tradition, you may wish to incorporate the strap/handkerchief-guided elbow parry into
your game. It's your choice.

70
On Guard
With the hanging guard, the sword arm is only slightly
bent. The hand and blade positions have already been described. The body is erect; the legs straight. The feet, both of
which pretty much point straight ahead, should be spaced no
more than 18 inches apart. Weight should be equal on both
feet. The free arm is bound (if desired) or placed behind the
back.
The hanging guard.
Chapter Eleven
Singlestick: Game I
71
Technique
Time and practice will smooth out your technique. The attacks should be directed from the wrist in either a flipping or
pivoting motion, depending on where you are aiming your
weapon. Parries are directed from the forearm. Actions that
emanate from the shoulder will, by and large, be much too
heavy and slow for successful maneuvering.
Play
The sequence of any exchange should be guided by common sense and not by blind, knee-jerk reactions. Here, we
may look at a logical encounter conducted between two opposing players (Mr. A and Mr. B):
1. Player A makes an attack (cut).
2. Here, player B must attempt to parry (block) the approaching offensive action.
3. If A's cut lands successfully, the action must stop at once.
Striking after a touch has occurred is a big no-no. Basically, if one player is hit, he can't immediately lay into his
opponent, whack him five times, and say he won.
4. If B successfully blocks A's cut, A should terminate his
offensive action at once.
5. At this point, a successful parry gives B an opportunity to
safely counter-attack (riposte-cut). The riposte, to be effective, should be made without hesitation. A hesitation
before counterattacking may be met by A with a resumption of his initial attack (remise). But if A meets an immediate riposte from B, he must parry it before continuing
with his offense.

72
6. This back-and-forth play goes on until a valid touch is accomplished.

Remember: The goal is to hit and not be hit, so everything
you do offensively and defensively should reflect this sensible
premise.
A cut to the left side of the head parried.
A riposte to the left cheek over the elbow.
Chapter Eleven
Singlestick: Game I
73
Exchanges
An exchange between A and B might go as follows:
Begin. A cuts to the head; B parries and ripostes with a cut
to the right cheek; A parries and counter-ripostes with a cut
to the left cheek; B parries and counter-counter-ripostes with
a cut to the head and hits. Halt.
Rules
The rest of the game stands pretty much the same.
1. You will stand within striking distance of your opponent,
making cuts and parries as necessary.
2. There will be no advancing or retreating, no leaning, no
leg or groin shots, and absolutely no thrusts.
3. You may make feints to mislead your opponent as to
where you plan to hit. You may also strike anywhere on
the upper torso if you find this maneuver slows your opponent's head defense by making him flinch.
4. You may, if you wish, use your free arm in the oldtime manner with strap or belt to protect the left side
of your head. Or, you may choose to use only your
weapon for parrying, and place your free arm behind your
back. The less-frequently used tactics of grabbing or
blocking an opponent's weapon with a loose free arm, in
an anything-goes style of play, may only be utilized if both
players decide to do so beforehand.
5. A firm hit on the head, regarded as a successful attack,
takes the place of dripping blood, and stops the action.
Five such touches, as in modern fencing, win the bout.

74
A successful flip cut to the head, timed to an opposing cut to the body.
A flip cut at the head.
Chapter Eleven
Singlestick: Game I
75
Benefits
So, what does one derive from such a confrontational, inyour-face game such as this? Certainly reflexes are improved.
Also, suppleness and strength of arm and wrist. Moreover, by
giving and receiving in proper time by closely following
those ideas that will preserve you in combat you develop
self-discipline. Finally, out of all this turmoil, comes confidence.
Of course, if you happen to be using singlestick to enhance
your self-defense skills, you'll find it will do that nicely (to be
sure, as would any martial art).
Chapter Twelve
77
Chapter Twelve
Singlestick Game II
Writing in Broadsword and Singlestick (1920), C. PhillipsWolley remarks that modern singlestick "is to sabre what the
foil is to the rapier." That is, a tool for teaching fundamental
skills of sword fighting. He suggests for singlestick in
variance with the demands of sport sabre, which call for strict
adherence to specific behavior that any rules affording artificial protection should be avoided. Only the weapon and
personal skill, in his estimation, should be the measure of
one's defense. More than anything else, his game of singlestick resembles an eppe bout where virtually any action,
short of slugging the other guy, goes with the cut being
substituted for the point.
This, then, is the second singlestick game let's call it
singlestick II we will pursue.
Singlestick II
Because singlestick II much resembles modern sabre in the
way the weapon is handled, it would be advisable for the

78
newcomer to blade-oriented combat to purchase a good

fencing book to supplement the knowledge we'll be imparting
here. William Gaugler's Science of Fencing (Laureate Press;
1997) or my own The Art and Science of Fencing (Masters
Press; 1996) would prove useful in this respect.
Old Singlestick Play Versus New Singlestick Play

There are a number of differences separating singlestick II
from its earlier incarnation. Where the first game appears
rather static in its application, with only one basic "on guard"
stance and an anchored distance, there is now some variety to
contend with. This new singlestick is highly mobile, footwork
playing a vital role in delivering touches. Even the lunge, a
staple of modern fencing, is brought into play. Moreover,
with the entire body to deal with both offensively and
defensively form and blade-handling have been modified,
and given greater scope and complexity than before. Now
there are two "on guard" position possibilities (which we will
presently be describing). Flipping cuts from the wrist may be
used as before; also, firm, direct cuts from the fingers. Too,
the strap/handkerchief of the "old gamester" is gone, the free
arm being merely tucked behind the back. Parries are
accomplished with the blade alone, and are more numerous
than in the previous system.
Singlestick/
Sabre
Although singlestick II much resembles sabre fencing in its

mechanics, three points in particular will be altered for our
purposes. First, although point work (the thrust) is permitted
in sabre, it will not be allowed in singlestick II. (Remember,
Chapter Twelve
79
as I've mentioned before, there is no give or flexibility in your

wooden sword blade, and, with a simple thrust, you could do
considerable damage to your opponent.) Second, in sabre,
everything from the waist up comprises the target area; in
singlestick II, the entire body is open to attack. And, third,
while sabre possesses rules of right-of-way (that is, conventions that govern who has the right to hit whom at any given
time), our second singlestick style will follow PhillippsWolley's program of "the first to hit gets the touch." Period!
Hopefully, this will produce combatants who approach their
game carefully and with much deliberation, as they would
have to do in a real fight or suffer the painful/deadly consequences.
Modern sabre and singlestick share many similarities in form.
Singlestick II's parallels with sport sabre include the use of

the cut, the "on guard" stance, footwork, and the use of
feints, parries, and the lunge.

80
On Guard
The "on guard" for singlestick II has two distinct stances.
Number one is the more traditional singlestick hanging guard
with its high hand and low point. Number two is the modern
sabre guard, with its high point, sword hand held slightly to
the right of the body's center, and blade angled slightly inward (called, in sabre, the line [body area] of "tierce," or
three). Because we described the hanging guard fully in the
previous section, we'll now focus solely on the form of the
latter "on guard" position.
The hanging guard.
With the sabre guard, the sword arm is bent so that the
guard of the weapon may be held at about chest level, and
about 18 inches forward from body (see: illustrations of "on
guard" positions). The feet are held at right angles to one another, and spaced between a foot and a half and two feet
Chapter Twelve
81
apart. The front foot points directly ahead (towards one's

opponent); the rear foot points to the left. To keep the feet
lined up properly, you should visualize an invisible line running forward from your back heel upon which your front foot
rests. (Keeping the feet thus will help maintain your balance.)
Body weight, as with the hanging guard, should be maintained on both feet equally. As for the legs, the sabre guard
requires you to bend the knees slightly. Not so much that it
causes tension in your legs, but not so little that it becomes
easy to fall out of your guard. In fencing, this bending of the
knees is referred to as "sitting down." This lowers your center of gravity to improve balance and enhance movement. The
free hand rests on the left hip, or is held behind the back.
The upright guard in the line of tierce.

82
The lunge.
Advancing And Retreating
Now, because we'll be dealing with changing distances in

our new method of singlestick combat, to be able to advance
and retreat easily is a must.
To advance: step forward with your leading foot, and then
bring up your rear foot so that you are once again in your
basic "on guard" stance.
To retreat, step backward with your rear foot, and then
withdraw your front foot so that you are once again in your
basic "on guard" stance.
Remember, for every step you take, either backward or
forward, your feet should be the same distance apart after the
step as before it. Smooth movement takes practice, though,
so don't get discouraged if it does not come easily. Practice.
Chapter Twelve
83
Front view of the upright,

or "sabre," "on guard"
position.
The "on guard" position for the feet. Notice how they are
lined up along the line that runs from the rear foot.

84
The Lunge
In this game, the lunge also comes into play. "What's a
lunge?" you ask. Simply put, it is an action that propels your
attack forward. It is not carried out by stepping forward, as it
might appear, but rather by straightening the rear leg quickly.
It is a pushing action, then, as opposed to a pulling one.
As the back leg snaps straight, moving the attack forward,
the front foot is just picked up and set down, the front knee
coming forward until it is directly over the front ankle. The
rear leg, because of its role in the lunge, should end up
completely straight. The back foot must remain flat on the
ground.
The attacker (A) cuts to the flank (side). The defender

(B) blocks with a parry in seconde (also called in singlestick
a low-outside hanging guard).
As with the sabre lunge, the free hand remains on the rear
hip, out of the way of an opponent's cuts.
Chapter Twelve
85
The attacker (A) cuts to the chest. The defender (B) blocks
with a parry in prime (also called in singlestick play
a low-inside hanging guard).
The sword arm the arm that guides the weapon must
extend as leg motion commences. If you lunge with your
sword arm pulled back, you will leave yourself open to
counterattacks from your opponent.
Recovery
To recover from the lunge that is, to get back safely into
the "on guard" position simply push backward from the
front leg, bending both legs as you retire. The sword arm is
bent at the same time, returning to its former placement.
Offense
Here, again, we are speaking of cuts only no thrusts!
They may be directed to any portion of your opponent's
body. Cuts are made by extending the sword arm and
snapping the cut from fingers, wrist, and forearm, rather than
from the shoulder.

86
The head is always a good spot to attack, although the

sword arm, because of its close proximity to you, is also a
ready target.
Almost every cut is executed with a lunge.
Feints
Furthermore, feints (fake attacks) may be employed to
draw your opponent into a defensive maneuver that may then
be taken advantage of. A feint, if performed well, will open
an opponent's defense by drawing his blade from a position
of readiness to one where his weapon has been sent parrying
in the opposite direction of the true attack.
The basic structure of an attack would be (again we'll use
Mr. A and Mr. B):
1. A makes a feint of a cut to the head of B.
2. B draws his blade upward to parry the supposed attack.
3. A dodges (or, as we say in fencing, "deceives") the parry.
4. Once B's blade has been avoided, A cuts at B's leg,
delivering his actual attack with a lunge.
5. B, fooled, is impotently protecting his head with his blade.
6. A places a successful cut across B's thigh. Touche!
Feints are never full cuts, but only suggestions of cuts.
Nevertheless, they should be made with a strong emphasis on
body language so that they look like actual attacks. A feint
that looks like what it really is, is sure to be ineffective.
Defense
We are now talking of parries. Parries block an opponent's
attack. If you don't want to be hit, you parry. You don't
close your eyes. You don't try to hit your opponent as he's
Chapter Twelve
87
hitting you. You don't lean back. You don't scrunch up in a

little ball. You parry!
Got it?
The parry is made by moving your singlestick in the
direction of the cut being directed at you, and blocking its
access to your body.
The attacker (A) cuts to the right cheek. The defender (B) blocks with
a parry in tierce (also called in singlestick play an outside upright
guard). Should the attacker cut to the left cheek, the defender
would block with a parry in quarte (also called in
singlestick play an outside upright guard).
The attacker (A) has cut to his opponent's head. The defender (B)
blocks with a parry in quinte (also called in singlestick
play a high hanging guard).

88
In fencing, we employ both lateral and counter parries.

Lateral parries move back and forth in a straight line. Counter
parries go around in a circle. In singlestick II, we will only be
dealing with lateral parries.
In sabre, we have five basic parries. Three cover the head
and shoulders; two cover the sides and chest (we call the
areas these parries protect "lines"). That gives us five parries
in all. And these have names: prime (one), seconde (two),
tierce (three), quarte (four), and quinte (five).
We have further designations that describe if an attack is
coming in high or low. The high line is the space above the
sword guard; the low line is the space below the sword
guard. We may even point out if the attack is coming from
the right or left. The inside line is the space, high or low, to
the left of your blade; the outside line is the space, high or
low, to the right of your blade.
Prime covers the low-inside line; seconde, the low-outside
line; tierce, the high-outside line; and quarte, the high-inside
line. Quinte protects the top of the head.
Finally, parries should never be heavy. The more
pronounced the defensive maneuver, the easier it is to take
advantage of it (that is, avoid it).
Riposte
The riposte is a counterattack made following a parry. That
is, once you've protected yourself from an attack, you can go
on and try to hit your opponent.
Hits: Touches
Touches should be firm, but never hard. Hard hits not only
betray a lack of control, but also, because they necessitate
Chapter Twelve
89
drawing one's arm back to execute them, they take extra time
to deliver. Hard hitting also telegraphs your moves.
Lines: A) high line, B) low line, C) inside line, D) outside line.

Blade positions: 1) prime, 2) seconde, 3) tierce, 4) quarte, 5) quinte.

90
Strategy
Attacks should be formulated according to how your
opponent defends himself. Does he hold back? Is he
aggressive? Are his actions precise? Are they heavy? Is he
reactive? Is he thoughtful? Does he lose control if pressed? Is
he cool under pressure? All these factors play an important
role in your offensive strategy.
Mr. Phillips-Wolley suggests a ploy that entails hitting your
opponent repeatedly in a tender area such as the thigh, until
every feint made to that spot will be avidly parried, thus
making it easier to attack other targets. Is this of value? It
would depend entirely on the opponent you were facing.
Defender (B) counterattacks after a parry.

The attacker (A) parries a riposte cut to the head.
Finally, keep your responses as simple as possible. Only get

more complicated when necessity dictates you do so.
Finally, keep a point of view that would approximate the
approach you'd take if your weapon and your opponent's
weapon were real killing tools. To be sloppy and careless in
your actions will teach you nothing and give you no skill. On
Chapter Twelve
91
the other hand, adds Phillipps-Wolley, "If you only want to

see who can stand the most hammering with an ash-plant,
then your pads are a mistake and a waste of time. Ten
minutes without them will do more to settle that question
than an hour with them on." But most of you reading this will
presumably want to gain more out of your singlestick game
than a high pain threshold.
Mind Set
There is an important lesson to be learned from this game.
In the beginning you will tend to view your encounters
emotionally. Intellectually, you may say, "I'm not going to be
killed. These are only wooden swords." Still, you will feel
threatened, and you may act as though your life is in danger.
After all, you see your opponent coming toward you with a
weapon in his hand. Consequently, there's a tiny moment of
panic, of fear. That's a normal, everyday reaction to
aggression. Unfortunately, this sense may cause you to
freeze, or to overreact to the situation in which you find
yourself. When you can look on your opponent's actions not
as a threat but as simple movement to be dealt with, you will
find yourself responding with thoughtful control. This is the
goal of any martial art.
Safety
Again, no thrusting. Also, once again, wear your protective
gear: fencing mask, jacket, and glove. And, of course, you
must always stop if the blade of your singlestick develops a
crack in it. A broken wooden blade could be lethal. Use your
common sense on this!

92
Rules
1. The entire body, unless otherwise stated, forms the target
area.
2. Only cuts no thrusts are allowed.
3. The first player to make five touches before his opponent
wins the bout.
4. Generally speaking, the player who hits first, period, gains
the touch, as it would be in a real fight. Sabre rules of
right-of-way, however, may be substituted if desired.
Fouls
There are only two fouls in this game of singlestick. The
first is to strike a touch intentionally after one has been hit.
The other is to use one's free arm defensively (i.e., to block a
touch). Each, when done, causes the immediate forfeiture of a
gained point.
Sportsmanship
Not acknowledging touches in this game is considered poor
form, and while not exactly a foul, should not be tolerated on
the field of play. Also, do not argue over touches.
Benefits
Singlestick II builds a sense of confidence, as it teaches you
to move gracefully under fire. As with the first singlestick
game, it teaches self-control and self-discipline. It develops
hand-eye coordination. Of course, it is also good exercise,
and an outlet for aggressiveness.
Chapter Twelve
93
In Conclusion
I've tried to encapsulate an entire fighting form into just a
few pages. In part, if you want to learn more, you'll have to
do some extra research; also, do some bouting with your
singlestick. With a bit of experience under your belt, the
things I've been expounding on will prove easier to grasp.
Chapter Thirteen
Singlestick: Game HI
95
Chapter Thirteen
Singlestick Game III
If you decide you don't want to follow either of my game

plans, singlestick III will be anything you make it. If you want
a rough-and-tumble, anything-goes encounter, set your game
along those lines. If you want something more highly
structured than the original game, go for that. If you want to
stand on one leg, or fight blindfolded, or parry with a box of
breakfast cereal, it's your choice.
But, once again, I would caution against using the point of
your singlestick in any form of combat you create for
yourself. You will run into medical problems somewhere
along the line if you do. Believe me.
And keep your fencing mask on. Blood is certainly one way
to gauge a bout, but I don't think it's vital unless you
happen to be fighting a real duel at the time.

96
Lunge from the hanging guard, then parry with the left hand.
Disarm from the hanging guard.
Chapter Fourteen
Self-Defense
97
Chapter Fourteen
Self-Defense
Teddy Roosevelt said, "Walk softly and carry a big stick."

And just so. The following is not meant to be an offensive
blueprint for wreaking havoc on your less able neighbors.
You don't use acquired fighting skills to be belligerent. For
the most part, they are there to enhance your life, and to
broadcast to congenital goons that you are not to be messed
with. Creeps prey on the weak. If you display strength of
purpose, you will not be preyed on. Only rarely in life does
the fully prepared and truly confident individual have to bring
his or her martial abilities to play.
Simplicity
Of course, this material is no substitute for a full-blown
martial art on the level of karate, escrima, or judo. What we
have here are some suggestions for simple, straightforward
protective measures.

98
Training
Ideally, these actions take little martial training to execute.
You needn't be Bruce Lee, Jackie Chan, or Arnold
Schwarzenegger to perform them. No mystifying ninja tricks.
It's "slip tab A into slot B" stuff. The moves focus directly on
the matter at hand, hopefully halting any problem before it
has a chance to get the better of you.
Guns
However (and this is very important!), nothing covered
here will work against guns. This is unfortunate, but
nevertheless a fact of reality. With a .45 shoved in your gut,
you give the scum your wallet, OK? However, if employed
with a level head, these uncomplicated actions will effectively
deter fists, knives, and clubs.
Behavior
To be sure, keeping a calm demeanor is a must. That is the
only way you'll be able to launch an effective defense.
Tension is a killer. Smooth responses flow out of calmness.
Therefore, you must practice what you have learned, so that,
when faced with a problem, you have confidence in your
ability to end it quickly.
Timing
Moreover, you must not hesitate. Hesitation to act gives
your attacker a distinct advantage. To catch him off guard is
a must. Timing is everything. Waiting too long to strike
Chapter Fourteen
Self-Defense
99
allows too many variables into the equation. You must stop
him before the action gets complicated. Simply put: take the
sucker out before he can think. Hit him hard, and hit him fast.
Hit him when he's down, if you have to! His first words upon
waking up should be, "What happened?" Therefore, you must
address and resolve any ingrained notions you might have of
social taboos about behaving aggressively against other
people. Moral and philosophical discussions with bullies,
muggers, and sex offenders are a waste of time. Besides, if
you're a pacifist, what the heck are you reading this book for,
anyway?
Since you're not going to be using the information you
acquire here for purely offensive purposes, we will only be
discussing and illustrating defensive and counteroffensive
responses.
The Encounter
To begin with, you must keep in mind that with your stick,
you have the advantage of reach (distance) over your
adversary, especially if you employ the thrust as opposed to
the cut. Also, remember, your stick is doubtlessly harder than
he is. So, when you hit him, you will cause him damage as
well as pain. If performed with sufficient intent, this will stop
him in his tracks.
Cut V ersus Thrust

Whether you employ the cut
determined by the situation in
what you are attempting to
definitely keep your attacker at
or the thrust will, in part, be

which you find yourself, and
accomplish. The thrust will
bay, but you can certainly hit

100
harder with a cut. The thrust has limited striking areas,

whereas the cut may well be delivered almost anywhere on
your attacker's body. Also, the cut may be used to disarm,
while the thrust should be avoided for this purpose since it
may not hit hard enough to dislodge a weapon.
A single-handed parry against a club.
One Hand/ Two Hands

You have the option of employing one or both hands in your
counterattacks. Two hands will definitely deliver a harder
strike. One hand will facilitate a more steady thrust. Onehanded attacks will also allow you to use your free hand
against your attacker, if you wish.
Chapter Fourteen
Self-Defense
101
When using both hands on your stick, the hands should be

spaced apart. This will produce a steadier hold.
Striking points
You should always hit your opponent where it will do the
most damage. Again, don't feel sorry for him. He deserves
what he gets (as long as it isn't your money).
Specific cutting points include: the top of the head, the side
of the head, the collarbone, the hand, the groin, the side of
the rib cage, the neck, and the arm.
Thrusting areas include, the forehead, the throat, and the
solar plexus.
Defense
A back-handed, two-handed parry.

102
In fencing, an action that blocks an opponent's attack is

called a parry. The parry should always be followed up with
an immediate counterattack, or riposte, because this is when
your attacker will be most vulnerable.
Parries may be made using one or both hands on your stick.
Two hands will allow for a steadier block. One hand will
produce faster thrusts. Of course, if you wish to pack extra
power into your counterattack, use the two-handed block, as
it will be easier to initiate a two-handed cut.
A simple disarm.
Chapter Fourteen
Self-Defense
103
A one-handed cut to the head.
A quick thrust to the forehead stops a knifer's attack in its tracks.

104
Strategy
It may seem obvious to say that in any confrontation of a
threatening nature, your objective would be to somehow render your adversary harmless. But how to do this effectively?
In part, it will be determined by your situation. Is your attacker active or a lumbering slug? Is he cautious or careless?
Is he confident or afraid? These factors must be taken into
consideration when formulating a plan of attack.
Never move without thinking first. If you act rashly or
foolishly, or with a knee-jerk reflex, you'd better have a lot of
luck on your side. Know what you want to do before you do
it.
There are questions, then, you must ask yourself:
1. What is my attacker doing?
2. How is he doing it?
3. What can I do against him? And, finally,
4. Can I carry out what I've planned to do?
If your answer to any of these questions is, "I don't
know?" you are up the proverbial creek. If you can answer
each question logically and positively, you are on your way to
safety.
Also, as I've said before, keep your responses simple.
Trying to dazzle your attacker with your footwork looks
good in the movies, but remember movies follow a script. If
you get too complicated, you may trip yourself up.
Outcome
Remember, your goal in any dangerous encounter is to hit
and not be hit, which is an objective as old as armed conflict.
But you can only accomplish this if you know what you are
Chapter Fourteen
Self-Defense
105
doing, and have the will to do it. If you are truly set on these
points, your personal safety will not be a matter of chance, it
will be a foregone conclusion.
Chapter Fifteen
Cane Fighting
107
Chapter Fifteen
Cane Fighting
In his book The Sword and the Centuries, Alfred Hutton

suggests that the cane is superior to the singlestick in combat
in that the cane is unencumbered by a handguard, making it
more maneuverable than the singlestick. In respect to the
basic mechanics of cuts and parries, however, the two are
almost identical.
Therefore, as we have gone into some detail with regard to
singlestick encounters, we will not dwell overly long on cane
fighting techniques, but rely instead on the illustrations to
give us an idea of how the game is to be played.
In general terms, though, cuts are made with one hand, as
are parries. A short lunge is employed to deliver attacks.
Also, thrusting should be avoided for safety's sake. As for the
target area, it may be limited by choice to include only the
area above the waist, or expanded to take in the entire body.
(It should be noted that the drawings included depict a game
that restricts touches to the upper torso.)
Of course, it is already a foregone conclusion that you'll
employ head protection and body padding before you have a

108
go at an opponent. Too, as there is no handguard with the

cane, you'd better find yourself a sturdy glove.
A circular cut (clockwise) to the head, made from the right side. When
cutting lower, the direction of the action may be reversed.
A circular cut (clockwise) to the head, made from the left side. When
cutting lower, the direction of the action may be reversed.
Chapter Fifteen
Cane Fighting
109
A circular parry (clockwise) covering the head.
A circular parry (counterclockwise) covering the head.

110
If you are truly bent on injecting a touch of truth into your

play that is, you wish to feel touches given and received
you may wish to employ an actual cane in your game.
These can be purchased or made (see: "Making a Cane" and
"Fighting Stick Suppliers"). In lieu of a cane, a dowel will
work nicely at putting "realism" into your exchanges (see:
"Making a Singlestick, Fighting Stick, or Staff').
If you merely wish a game without the pain, cover your
dowel with a section of foam water-pipe insulation (see,
again: "Making a Singlestick, Fighting Stick, or Staff'). Although this will give you a thicker weapon, making it slightly
less wieldy than a naked stick, it will most certainly cut down
on the hard knocks.
If you plan to use a cane for personal protection on the
street as we have outlined in the previous section the
cane game will doubtlessly improve your abilities in this direction.
Chapter Sixteen
Staff Fighting
111
Chapter Sixteen
Staff
Fightin
The staff is an extremely simple, yet highly versatile,

weapon. It can be employed at a considerable distance from
one's opponent, or it can be used up close. Although it is
basically a two-handed weapon, maneuvering it with one
hand is not out of the question. Both the cut and the thrust
are part of its methodology. It may be handled in the same
manner as a sword or lance, or in the side-to-side swipepivot-block style we visualize when we think of the
quarterstaff duel between Robin Hood and Little John.
Moreover, all portions of the staffs surface may be brought
into use. It comes in a variety of lengths, from eight feet
down to four. It never gets dull, as a metal weapon might.
And if it breaks, it's an easy matter to fashion a new one. It's
a unique fighting tool for something with no moving parts.
Safety
The staff, as has been noted previously in this book, can be
a lethal weapon, so care should be taken when practicing with

112
a piece of fighting equipment that should, above all, do no

harm. It is best then, not to employ an actual wooden staff, as
it will be much too heavy and ungiving for our purposes. A
light, foam-padded dowel-staff will do just as well (see:
"Making a Singlestick, Fight Stick, or Staff').
There is one instance, though, where an actual wooden
staff would be acceptable to work with. This would be if your
goal was simply to learn moves without making actual body
contact. But, of course, any time you pull your "punches,"
you lessen the impact of your training.
Employing the staff like a sword.
Regardless of your choice in staffs, however, you should

always deck yourself out in protective head gear, gloves, and
body padding, the same as you would for singlestick or cane
play. I will state this over and over. It's my responsibility,
Chapter Sixteen
Staff Fighting
113
because I am presenting this information to you. Safety

should never be anything less than your first consideration
before you start practicing. Your education in stick fighting
should not include the inner workings of your local hospital
emergency room.
The balanced hand-hold.
Technique
Historically, both the cut and thrust have been part of the
staffs game, but, for safety's sake, we will only be using the
cut in our game.

114
As for basic method:

Your distance will be determined by how you hold your
staff. Your play will be quicker if you use the centered handhold. Also, quick, firm cuts are easier to administer and easier
to recover from than heavy smashes.
And never just try to duke it out with an opponent,
smashing away mindlessly while you are being smashed upon.
Do your best to establish a definite offensive-defensive style
that treats what you do as though it had meaning and
importance. That is how skill is developed.
Trading a hit to the head for one to the body is poor strategy.
Hand Position
The staff has an advantage over many other weapons in
that the position of the hands may be shifted to produce
varying effects. With the hands at one end of the staff, it may
be employed like a long sword. Cuts and parries come from
one end alone. With the hands placed on either side of the
staffs middle, both ends may be brought into offensive and
Chapter Sixteen
Staff Fighting
115
defensive play. These variations make it a highly versatile
combat tool.
Foot Position
Unlike singlestick and cane fighting, the foot positions of
staff fighting will vary according to the action at hand. One
moment the right foot will be forward; the next, the left. This
will be influenced, in part, by how you are holding your staff,
and by whether you are cutting or parrying. Also, what your
opponent is doing will influence how you shift your feet. Use
your feet to establish proper distance: leaning to get closer or
to avoid being hit will only throw you off balance. And,
finally, never let your feet get too close together; you'll end
up on your back for sure.
Strategy
Attacks may be made to any part of the body. But, as with
any weapon, you should keep in mind the consequences of
what would happen if you were using real weapons. For
instance, you may want to hit your opponent on the leg, but if
that leaves your own head open to attack, perhaps you should
reconsider your intent. Always think about the consequences
of your actions.
Offense
When using the staff like a long sword, cuts will be
directed naturally from the arms. Make them firm, but not
heavy. Not too much shoulder. Heavy translates into slow.

116
And, when you miss, you create openings that your opponent
may easily take advantage of.
On the other hand, when using the middle hand hold, much
of your maneuvering will flow from both shoulders. But
because the staff is being gripped in a balanced manner, this
will not create a problem. Because only a small portion of
your weapon is being brought into play, you can only go so
far with a cut. Moreover, the middle hold on your staff makes
feinting with one end of the staff and cutting with the other a
highly effective ploy.
Defense
As has already been pointed out, the staff has multiple
applications when it comes to both offense and defense.
When it comes to defense, though, the staff truly shines.
When held like a two-handed sword, the length of the staff
produces a distinct advantage when parrying (because of its
extended reach). With both hands on either side of the staffs
middle, the defender has an equal opportunity to bring the
middle and both ends into play at any moment.
Further Training
The information offered here can be little more than a
starting point. But many oriental martial arts include staff
fighting in their curriculum. Should you desire a more
formalized approach to staff fighting, you might phone your
neighborhood martial arts school, and find out if they can
help you.
Chapter Seventeen
117
Chapter Seventeen
Making A Singlestick
Fighting Stick OR Staff
If you're going to get involved with the material in this

book, you're going to have to do some weapon assembling
on your own. There are no singlesticks out there for you to
buy. You could buy a staff or a fighting stick (such as an
escrima stick), of course, from any martial arts equipment
supplier, but there is a certain satisfaction in making your
own weapons.
Moreover, we'll be adding some information in the
following paragraphs on creating "safe" weapons; that is,
ones with padding for extra protection. You may want the
hard knocks of real combat, but some folks won't.
OK?
Making A Singlestick
If you did try, somewhere along the line, to order a
singlestick from Sears, you must have missed some reading in
this book. Go back to page one and start over. You probably
missed some other important items, too. Re-read every

118
section five or ten times until it sinks in. Then, come back to
this point, and try again.
YOU HAVE TO MAKE YOUR OWN SINGLESTICKS!
Got that?
Anyway...
Before I could write this book, I had to be able to come up
with singlesticks. There was no point in regenerating a
weapon-fighting style that had no weapons to go with it. That
I'd have to make something for myself was obvious. I was
treading in new territory here. I had to think about it for a
long, long while before the picture came to me.
Actually, the concept came to me bit by bit.
The stick, itself, was easy to come by. Instead of the
traditional ash stick, I got myself a half-inch oak dowel from
a nearby hardware store. The ash stick was supposed to be
about three-quarters of an inch in diameter, but that seemed a
bit drastic to me. A stick that thick is a pretty darned stout
item. You can really do some damage to a body with
something like that. No, a half-inch seemed plenty big
enough. I brought a couple of them home, and whacked them
together for a while just in case to see how they'd hold
up to actual contact. They did just fine. So, I had my
"blades."
For me, the biggest problem was the basket handguard. I
searched all over the place for appropriate baskets, roundish
wicker ones, such as I'd seen in old illustrations. I couldn't
find anything suitable. They were either too big or too small,
or the wrong shape, or too flimsy. I was stumped for a long
time. Then, it came to me. Plastic tubs! Like food-storage
containers. They're easy to come by. I had a couple already
that had once contained ice cream, I think. If you need to
purchase some, you can find suitable items in the kitchen
section of any Wal-Mart type store. (Sorry, if you have to
Chapter Seventeen
119
spend a few bucks, but it won't be that much. Go out and

price a new pair of skis or a bowling ball, and then tell me I'm
putting a hardship on you.) Just make sure you buy
containers big enough to fit your hand into. On an average,
the tub should be about six inches wide at the mouth, and no
less than five and a half inches wide at its base if it tapers.
And it should be at least five inches deep, but not too much
more than that. Also, they should be fairly sturdy, as they'll
be taking a pretty good beating.
Make sure that the container you choose for your handguard
is big enough for your hand to fit into.

120
The rest of the construction material was a snap: duct tape,

electrician's tape, baseball-bat tape (optional), a PVC pipe
cap for half-inch plastic water pipe, a two-inch-wide metal
washer, and glue.
Now, let's start putting all this stuff together. Don't worry,
it's not like assembling a clock. It may take you all of 30
minutes. Yes, you'll have to invest some money and time.
But, think of it this way: if you were buying a commercial
singlestick if there was such a thing you'd probably end
up paying 40 or 50 dollars for one. You're lucky. New skills
will be dropping into your lap right and left.
So, here we go:
Step one: Cut your dowel to its proper singlestick length: 41
inches.
Step two: Punch or cut two small holes through the sides of
your plastic tub, each hole exactly opposite from the other.
These holes should be just big enough to allow you to push
your dowel through. The fit should be snug. If the holes are
too big, the dowel will move around (which you don't
want).
Step three: Feed the dowel through the holes in the tub until
about an inch is showing through the far side. This small
protrusion will become the weapon's pommel. The part of
the dowel inside the tub will be the grip.
Step four: Take your metal washer, and slide it onto the
singlestick blade, so that it ends up resting on the top of the
handguard. The washer is there to strengthen the hilt, and
to bring the weapon's weight down toward your sword
hand.
Chapter Seventeen
121
Step five: Bind the outside of the tub every part of it

with duct tape. Repeat this until you have created a good,
thick skin. Make it look like an Egyptian mummy. This will
add strength to your guard, and keep it from eventually
cracking apart from the punishment it is bound to
encounter.
Step six: Glue the PVC pipe cap onto the inch of dowel
showing through the tub. You can use Elmer's, or, if you
want a stronger hold, a good contact cement. The PVC cap
will help keep the blade anchored in one place.
Step seven: Now, take a moment to consider the singlestick's
handle (the part of the dowel inside the handguard). The
style of play engaged in, how you hold your singlestick,
and the handle's shape are intertwined. You have two
handle shape choices in front of you because you have,
basically, two styles of play: the "wrist-forearm" flipping
game, and the snapping "finger" game. (All of this was
covered earlier in the book.)
If you decide to employ the former method of play
which goes well with the "club" grip you should probably
leave the handle as it is: round. If you choose the latter form
enhanced by a sabre-style fingering you may want to
flatten the side of the handle, which faces the handguard's
opening. To shape the handle, just take a knife, and do a little
simple whittling, until you've established the desired surface.
It won't take long.
Step eight: Now, bind the grip again, the part of the dowel
inside the tub with electrician's tape. This will not only
delineate where you'll be holding your singlestick, but by
enhancing the handle's thickness, you further ensure the
dowel will remain in place.

122
Step nine: The handle may be additionally bound with

baseball-bat tape, which, to me, has the perfect surface for
gripping.
Step ten: Finally, repeatedly wrap the portion of the singlestick blade immediately above the handguard with tape
electrician's tape will do nicely until you've built it out
to a decent thickness. This will add one more bit of
insurance against the blade slipping out of place.
Ta-da! You now have a singlestick.
Singlestick parts: 1) blade, 2) handguard, 3) grip, 4) pommel.
Chapter Seventeen
123
By the way, you can improve your singlestick's appearance

by applying a bit of wood stain to the dowel. The color is
your choice. I, personally, prefer English walnut. Rubbing a
bit of linseed oil into the wood will make it look even better.
If you want to add a safety factor to your game, you may
employ a length of foam water-pipe insulation tubing as blade
padding. Designed to fit over half-inch plastic water pipe, the
insulation soft and pliable will slip neatly over your
blade, which should be the same thickness as the
aforementioned pipe.
Of course, not knowing initially how well this foam
covering would cushion hits, I couldn't very well endorse its
use. I decided I'd have to make a test. I put a length from
tip to hilt on one of my singlesticks, and handed the
weapon to my wife.
"What do you want me to do?" she asked.
"I can't very well recommend padding a singlestick blade
without trying it out, can I?" I said. "Go on, hit me."
"No."
"So, who are you, Mrs. Mahatma Gandhi?"
"I just don't want to."
"Are you volunteering to take my place?" I asked.
'This isn't my game, buddy."
"OK. So, hit me."
My wife stared at me, and shook her head.
"Oh, alright."
"And make it hard."
I braced myself.
"Hard? Are you sure?"
I nodded.
"Conan the Barbarian stuff."
She gave me a tap on the arm.

124
"What was that?"

"I hit you."
"You hit like a girl."
"I am a girl."
"Well, you're also a wife. Come on, lay into me. Haven't I
ever done anything to make you mad?"
She gave me a pretty good smack on the shoulder.
'That's better," I finally said, "But there's one test left.
You have to hit me in the head."
"Without a fencing mask on?"
"It's the most important part of the experiment. I have to
know if this stuff works to the max. If it doesn't, I shouldn't
be telling folks to use it."
"In the head?"
"As hard as you can."
"In the head."
"Cut my nog off if you can."
"You're nuts."
"Do it already!"
My wife laid back, and gave me a good solid whack across
the side of the head. There was a loud pop, and I certainly felt
it, like a dull slap; but it didn't really hurt.
I shook my head.
"Hmmm! That'll work."
The experiment was a success!
"Crash test dummy," my wife muttered.
So, use the padding if you wish to, with my compliments.
And my wife's.
Chapter Seventeen
125
Making A Fighting Stick For Cane Play

Should you wish to try your hand at cane fighting, you can
go the hard route, and buy, or make, a real cane for yourself.
You can even use a dowel: a three-quarter-inch one will work
nicely at putting "realism" into your exchanges (the dowel's
length should be approximately 42 inches).
If you merely want the game without the pain, take a halfinch dowel cut to cane length, and cover it with the previously mentioned foam insulation tube. This will give you a
solid-feeling fighting stick you can wield with impunity.
Making A Staff
Staffs come in lengths from eight feet down to four. Like
the fighting stick or cane, you can buy an already-made piece
of equipment, or you can make something for yourself.
If you make a full-fledged wooden staff, you'll have to be
careful how you use it. No body contact should be permitted.
Remember, accounts from the Middle Ages attest to the
death-dealing nature of the staff. Crushed skulls and all that.
But, you can make yourself a full-contact staff, if you
follow the safety game plan using foam padded dowels. In
this case, you'll have to fit two half-inch dowels together to
establish an adequate length, since the average individual
dowel is only about 48 inches long. You can accomplish this
by gluing two dowels into a PVC plastic water-pipe fitting
(the kind used for straight pipe extensions), and reinforcing
the connection with a good winding of duct tape. After that,
you can trim your construction to the desired length. Then,
cover the connected dowels fully with a length of foam
tubing. This will give you a workable staff that, like the

126
fighting stick, can be used without fear of damaging your

opponent.
Safety
Of course, even if you use the safety padding, please
remember to wear protective gear. A padded singlestick,
cane, or staff just means you won't break bones or induce
bleeding. You'll still feel the touches.
Be smart about this. I know there'll be individuals who'll
take up one of the stick-fighting systems in this book and say,
"I can do that crap without any old damned protection. I'm a
man. I watch American Gladiators." And there's nothing I
can do to regulate stupid behavior. I can only tell you right
now that I've been involved in the sport of fencing for nearly
30 years, working with literally thousands of fencing students
at all levels of achievement, and I've never been seriously
injured. That's because I take what I do seriously, and I don't
mess around.
Keep that in mind when you begin construction of
whatever weapons you decide on.
OK?
Chapter Eighteen
Making A Cane Or Walking Stick
127
Chapter Eighteen
Making A Cane
Or WALKING STICK
The first thing I would say about making a cane or walking

stick is, go down to your local library and check out a book
on the subject. The best I've found is The Craft of
Stickmaking (1992), by Leo Gowan. Gowan is a founding
member of the British Stickmakers Guild, and his knowledge
on the subject is about as complete as anyone could hope for.
However, if you've let your library card expire, and/or you
just can't find a book on stickmaking anywhere else, here are
some general rules to follow:
1. The stick you cut is referred to as a "shank." The most
popular shank thickness among experts is one inch in
diameter.
2. Good, solid woods for stickmaking include oak, hickory,
ash, and blackthorn. Also fruitwoods, such as apple,
cherry, pear and plum.
3. Conifers, by and large, do not produce very sturdy shanks
if you are looking for durability. The wood you select, of
course, should be hard if you plan to use your stick for
protection.

128
4. The best times to cut shanks are November, December,

and January, while tree sap is down. If cut at other times,
more drying time will be needed.
5. When you cut the shank of your choice, you'll have to let
it season for at least one year before working with it. It
may be stored in a closet or garage while drying, but
always keep it away from direct heat, which will dry it out
too quickly, and cause it to develop splits.
6. Depending on your preference, the shank may be
debarked, or left with its bark on. If debarked, you may
want to consider staining the wood.
7. Debarking a shank is accomplished most often with a
sharp knife. Afterward, a good amount of sanding will be
required. Some experts recommend sandpaper, while
others prefer emery cloth.
8. Wood stains may be obtained from any hardware store.
As there is much variety in stain color and darkness, the
choice becomes a personal one.
9. Bending the end of the stick into a "cane" curve or adding
some type of horn material to its end are both processes
that require some specific tools and detailed knowledge.
Therefore, I leave these two possibilities to the reader
who wishes to look elsewhere for more information.
10. When finishing a stick, rather than using varnish,
stickmakers usually use linseed oil. This produces both a
luster and a protective finish that can be regularly
renewed. Varnish, on the other hand, tends to chip and
scratch easily.
11. The ground end of the stick should be fitted with a
protective covering. In stick terms, this is called a
"ferrule." It may be made from a piece of copper pipe,
although rubber ferrules are available commercially.
Now, go to it.
Chapter Nineteen
129
Chapter Nineteen
Organizations
Of
Interest
For those interested in learning about stick

fighting/fencing/kendo in more detail, the following is a list of
organizations that in some way pertain to the subjects
covered in this book:
Fencing
The United States Fencing Association
1 Olympic Plaza
Colorado Springs, CO 80909
Kendo
All Kendo Federation
PO Box 2004
Lomita,CA 90717
Arnis
North American Arnis Association
PO Box 2248
Durango, CO 81302

130
Babao Arnis
1443 Antoine Drive
San Diego, CA 92139
Cane
Comte Nationale De Canne De Combat Et Baton
25 Boulevard des Italians
75002 Paris, France
Kali
World Kali Jukune Do Martial Arts Association
972 North Vermont Avenue
Los Angeles, CA 90029
Canadian Kali Association
5A, 21 15-30th Avenue N.E.
Calgary, Alberta T2E 6Z6
Canada
Minnesota Kali Group
420 North Fifth Street, #280
Minneapolis, MN 55401
Kenpo/Kempo
World Wide Kenpo Karate Association
1400B Riesterstown Road
Pikesville, MD 21203
American Kempo-Karate Association
PO Box 667892
Charlotte, NC 28266
Chapter Nineteen
131
International Kenpo Karate Association

1505 East Walnut Street
Pasadena, CA 91106
Escrima
Filipino Escrima Association
236 Wenster Avenue
Jersey City, NJ 03707
Filipino Combatative Systems International
299 Bloomfield
Nutley,NJ 07110
Philippine Martial Arts Society
PO Box 214433
Sacramento, CA 95821
Inosanto Academy
7298 West Manchester, Suite B
Westchester, CA 90045
Martial Arts Research Systems
2537-D Pacific Coast Hwy., Suite 220
Torrance, CA 90505
Philippine Integrated Martial Arts Academy
367 Reuter Avenue
Elizabeth, NJ 07202
Solis Martial Arts
20015 Faye Oaks Drive
Humble, TX 77346

132
Bahala Na Club
2120 S. San Joaquin
Stockton, CA 95206
Medieval-Style Combat
Society For Creative Anachronism
PO Box 360789
Milpitas, CA 95036-0789
Chapter Twenty
133
Chapter Twenty
While much of what you need for learning to fight with

sticks can be manufactured on your own, some formal
equipment such as fencing masks, gloves, and jackets;
also, books will have to be purchased from fencingequipment supply companies. These businesses handle mailorder purchases, and will send catalogues to interested
parties.
The following is a current list of fencing equipment
suppliers:
American Fencers Supply
1180 Folsom Street
San Francisco, CA 94103
(415)863-7911
George Santelli, Inc.
465 South Dean Street
Englewood, NJ 07631
(301)671-3105

134
Blade Fencing Equipment

212 West 15th Street
New York, NY 10011
(800) 828-5661
Triplette Competition Arms
101 East Main
Elkin, NC 28621
(910) 835-7774
Herb Obst Agency
CP 788 NDG Station
Montreal, Quebec, H4A 3S2
Canada
(514)482-2140
Vintage Sporting Equipment
PO Box 364
Sheboygan, WI53082
(800) 690-4867
Physical Chess, Inc.
2933 Vauxhall Road
Vauxhall, NJ 07088
(908) 964-3092
Colonial Distributing Fencing Equipment
N77 W7287 Oak Street
PO Box 636
Cedarburg, WI 53012
(414) 377-9166
Chapter Twenty
135
Blue Gauntlet Fencing Gear Inc.

505 Saddle River Road
Saddle Brook, NJ 07663
(201) 845-9277
Southern California Fencers Equipment Company
16131 Valerio
Van Nuys, CA 91406
Winsor Sport Fencing
PO Box 3181
Rancho Santa Fe, CA 92067
(800) 713-4732
Chapter Twenty One

137
Chapter Twenty One

The following is a sample listing of companies that supply

various types of fighting sticks, such as escrima sticks, the bo,
the jo staff, and the bokken:
Century Martial Art Supply
1705 National Boulevard
Midwest City, OK 73110
(800) 626-2787
(Supply: escrima sticks, bo staff, bokken, shoto, and shinai)
Asian World Of Martial Arts, Inc.
11601 Caroline Road
Philadelphia, PA 19154
(800) 345-2962
(Supply: escrima sticks, bo staff, bokken, shoto, and shinai)

138
East/West Seminars And Sales

255 Tompkins Street
Cortland, NY 13045
(800) 343-WEST
(Supply: escrima sticks)
Museum Replicas Limited
2143 Gees Mill Road
Box 840
Conyers, GA 30207
(800) 883-8838
(Supply: staffs)
Smokey Mountain Knife Works
PO Box 4430
Sevierville, TN 37864
(800)251-9306
(Supply: escrima sticks, shinai, and tai chi practice swords)
Lightning Products And Services
208 Calle Marguerita
Los Gatos, CA 95030
(408) 886-0325
(Supply: escrima sticks, all sizes)
Chapter Twenty Two

Cane Suppliers
139
Chapter Twenty Two

Cane Suppliers
If you're more interested in buying a protective

cane/walking stick than making one, the following may help
you in that pursuit:
Cane Masters
PO Box 7301
Incline Village, NV 89452
(800) 422-CANE
Altanta Cutlery
2143 Gees Mill Road
Conyers, GA 30207
(800) 883-8838
Smokey Mountain Knife Works
PO Box 4430
Sevierville, TN 37864
(800) 251-9306

141

The following is a list of books related to the subjects
covered in this book:
A Book of Five Rings (Barnes and Noble, 1997, reprint:
original edition, 1645), Miyamoto Musashi
Aikijo Techniques: Suburi and Kata for Four-Foot Staff
(Oak Tree Publications, 1980), Don Zier
The Art and History of Personal Combat (Arma Press,
1972), Arthur Wise
The Art and Science of Fencing (Masters Press, 1996), Nick
Evangelista
Baton Techniques and Training (Charles C. Thomas
Publishing, 1974), Takayuki Kubota
Baton Techniques for Officer Survival (Charles C. Thomas
Publishing, 1983), Robert Downey
Bo: Japanese Long Staff (Unique Publications, 1986),
Tadashi Yamashita
Bo Karate: Weapon of Self-Defense (Ohara Publications,
1989), Fumio Demura
Bokken: Art of the Japanese Sword (Ohara Publications,
1985), Dave Lowry

142
The Book of the Sword (Dover Books, 1987; reprint: original

edition, 1884), Richard F. Burton
The Craft of Stickmaking (Crowood Press, 1992), Leo
Gowan
The Encyclopedia of the Sword (Greenwood Press, 1995),
Nick Evangelista
Fatal Flute and Stick Forms: Wah hum Kung Fu (Unique
Publications, 1985), Pio Chan
The Filipino Martial Arts (Know Now Publishing, 1980),
Dan Inosanto, Gilbert L. Johnson, and George Foon
Filipino Martial Arts: Cabales Serrada Escrima (Charles E.
Tuttle, 1994), Mark V. Wiley
Jo, the Japanese Short Staff (Unique Publications, 1985),
Don Zier
The Martial Spirit (Overlook Press, 1977), Herman Kauz
Martini A-Z of Fencing (Queen Anne Press, 1992), E.D.
Morton
Modern Arnis: Filipino Art of Stick Fighting (Ohara
Publications, 1983), Remy A. Presas
Ninja Warrior: Bojutsu Defense Techniques (Contemporary
Books, 1987), Jack Hoban
Ninjutsu, History and Tradition (Unique Publications, 1981),
Dr. Massaki Hatsumi
Pananandata Yantock at Daga (Paladin Press, 1988),
Amante P. Marinas
Schools and Masters of Fence (Shumway, 1969; reprint:
original edition, 1885), Egerton Castle

143
The Science of Fencing (Laureate Press, 1997), William

Gaugler
The Secret History of the Sword (Hammerterz Verlag, 1996),
J. Christoph Amberger
The Secret History of the Sword (Hammerterz Verlag, 1997;
enlarged from previous volume bearing same title), J.
Christoph Amberger
Stick Fighting (Kodansha, 1981), Massaki Hatsumi and
Quintin Chambers
Stick Fighting: Self-Defense (Thor Publishing Company,
1972), Bruce Tegner
Stick Fighting: Short Forms (Thor Publishing Company,
1982), Bruce Tegner
The Sword and the Centuries (Barnes and Noble, 1995;
reprint: original edition, 1901), Alfred Hutton
T'ai Chi Ch'uan For Health and Self Defense (Vintage
Books, 1977), Master T.T. Liang
Techniques with Thirty-Six Inch Baton: Modern Methods
Made Easy (Charles C. Thomas Publishing, 1983), George
M. Pekar
This is Kendo (Charles E. Tuttle. 1984), Junzo Sasamori and
Gordon Warner
Chapter Twenty Four

Fighting With Sticks In The Movies
145
Chapter Twenty Four

In The Movies
You may not realize it, but stick fighting whether with
staff or wooden sword has its place in the movies. The
following is a sample listing of films in which fighting with
sticks, in one form or another, has played a role.
The Adventures of Robin Hood, (1938), Errol Flynn
Lassie Comes Home, (1943), Roddy McDowell
Seven Samurai, (1954), Toshiro Mifune
Samurai III, (1955), Toshiro Mifune
Sodom and Gomorrah, (1962), Stewart Granger
You Only Live Twice, (1967), Sean Connery
Zatuichi, (1968), Shintaro Katsu
Enter the Dragon, (1973), Bruce Lee
Game of Death, (1978), Bruce Lee
Circle of Iron, (1979), David Carradine

146
Escape From New York, (1981), Kurt Russell

Lethal Weapon, (1989), Mel Gibson
Stick Fighter, (1989), Dean Stockwell
Blind Fury (1989), Rutger Hauer
Robin Hood: Prince of Thieves, (1991), Kevin Costner
Jackie Chan's First Strike, (1997), Jackie Chan
Afterword
147
Afterword
As has happened with every book I've written so far, this is

not the book I intended to write. The book I had in mind was
much smaller, less encompassing, less detailed. But, as often
happens, a book in progress takes on a life of its own, making
demands you never thought of. One topic opens up another
opens up another opens up another, and so on, until at last
you have what you intended to write about without knowing
it. That, I guess, is the nature of many writing projects.
I am pleased with this book. It covers a lot of material,
embraces a number of concepts, without being overly wordy
or complex. This book is meant to be used, to be a starting
point for some sort of personal growth. Too, if it helps even
one individual avoid an assault on their person, it will have
been a worthwhile endeavor.
Appendix
149
Appendix
The following is a list of swordfighting terms you may

encounter when learning to operate a sword wooden or
otherwise. Some will apply directly to your singlestick or
cane training. Others will merely enhance your understanding
of swordfighting, fencing, and stick fighting.
Fencing
Advance: Step forward (toward one's opponent).
Attack: An attempt to hit one's opponent with one's
weapon.
Back Foot: Foot farthest away from one's opponent.
Beat: Knocking away an opponent's blade offensively.
Blade: The striking portion of one's weapon.
Change: To change lines.
Composed Attack: An attack made up of a feint of an attack
and an evasion of a parry.

150
Conventions: Rules.
Coule: A simple attack running along an opponent's blade
(means "running").
Counterparry: A circular parry.
Coupe: A simple attack from one line to another line passing
over the top of an opponent's blade (means "cut-over").
Cut: Attacking with the side (cutting edge) of a sword blade.
Deception: Dodging an opponent's parry with one's blade.
Disengage: An attack from one line to another passing beneath an opponent's blade (means "to pull away").
Distance: The measured area that separates one from one's
opponent.
Double: A composed attack comprising a feint of disengagement and a deception of one counterparry.
Engagement: Blade together, touching or very close.
Epee: The dueling sword of fencing. Teaches the concepts
and techniques required in a real sword fight. A point
weapon. The target area includes the entire body.
Extension: A completely straight sword arm.
Feint: A fake attack (executed without a lunge). Made to
startle or misdirect an opponent; to refocus his attention
where it will do him the least amount of good; or to simply
find out how he plans to defend himself. When speaking
specifically of the composed attack, the feint is employed
to induce an opponent to defend in a particular direction so
that this parry may be taken advantage of (i.e., evaded).
Appendix
151
Foible: The weakest portion of a sword blade (closest to the

tip).
Foil: The beginning weapon of fencing. Teaches both the
fundamentals of swordplay and self-discipline. A point
weapon. The target area is the trunk of the body.
Forte: The strong portion of a blade (closest to the hand
guard).
Free Hand: Hand not holding one's sword.
Front Foot: Foot closest to one's opponent.
Glove: Glove for the sword hand.
Grip: The handle of a sword. In French: "poignee."
Guard: The hand-protecting portion of a sword.
High Line: The two quarters above the sword hand.
Hilt: The entire lower portion of the sword, including the
hand guard, the grip, and the pommel.
Inside Line: The two quarters, high and low, closest to one's
chest. Basically, to the left of a right-hander's blade, or to
the right of a left-hander's blade.
Jacket: A fencing jacket, usually padded for protection
(made of either canvas or nylon).
Knickers: Knee-length fencing pants.
Lateral Parry: A parry that moves in a straight direction.
Lines: In general terms, the four separate and distinct sections into which the body is divided (high, low, inside, and
outside).

152
Lunge: The fencing action a movement employing a forward push from the rear leg that propels an attack forward from the on guard position.
Low Line: The two quarters below the sword hand.
Mask: A protective fencing helmet.
Moulinet: A sweeping, windmill-like action made with one's
sword blade; sometimes called a circular cut or parry.
Non-Conventional: Without rules.
Off Target: An attack that has landed outside the prescribed
valid target area.
One-Two: A composed attack comprising of feint of disengage and a deception of one lateral parry.
On Guard: A position of readiness in fencing.
On Target: An attack that has landed in or on the prescribed
valid target area.
Outside Line: The two quarters, high and low, closest to
one's back. Basically, to the right of a right-hander's blade,
or to the left of a left-hander's blade.
Parry: To block an attacking weapon with one's own (always defensive).
Point: The tip of a sword blade.
Pommel: A heavy nut at the bottom of a sword guard that
both keeps a sword blade tight in its setting and acts as a
counterweight to a sword's blade.
Pronation: Sword hand is palm down.
Retreat: Step backward (away from one's opponent).
Appendix
153
Riposte: A counterattack following a parry.

Sabre: Of military origins. Combines both the cutting edge
and the point (the cut and the thrust). The target area includes everything from the waist up.
Simple Attack: An attack made up entirely of timing and
speed that lands before one's opponent can make a successful parry.
Simultaneous Touch: To hit at the same moment as one's
opponent.
Supination: Sword hand is palm up.
Stop Thrust: Extending one's blade directly into an opponent's attack. A counterattack.
Sword Hand: Hand holding one's sword.
Target Area: The prescribed area for hitting with one's
sword. Modern fencing makes a further distinction depending on whether the sword hand is in supination or pronation.
Timing: The body and blade rhythm employed when attacking.
Thrust: Extending one's sword arm toward one's opponent
offensively.
Touch: Hitting one's opponent. Also, "touche."
Kendo
Ateru: To hit, strike, score a point.
Ato-Uchi: A delayed blow or a jab, almost like a feint.
Bogu: Kendo armor.

154
Budo: Chivalry.
Chikara: Strength.
Debana-Waza: Attacking-at-the-start technique.
Do: Trunk of body; also, chest armor.
Dojo: Fencing hall.
Fumu: To Step.
Furu: To raise and lower shinai.
Gedan No Kamae: Shinai held lower than waist, with point
towards floor.
Hai: Yes.
Hansoku: Violation.
Hara: Abdomen.
Harai-Waza: Warding off technique.
Harau: To parry.
Hashiru: To run.
Hasso No Kamae: Shinai held vertically with both hands at
right side of the head and at shoulder leveL
Hidari-Do: A blow to left side of do.
Hidari-Jodan-Men: Blow to left side of men.
Hidari-Kote: Blow to left side of kote.
Hiki-Waza: Stepping-back technique.
Jodan No Kamae: Shinai held above head with one or both
hands; or held in front with either right or left hand.
Appendix
155
Kaeshi-Waza: Technique of receiving an opponent's cut and

deflecting it with the reflexive power on one's shinai.
Kata: Exercises used to build form.
Katate-Waza: Any single-handed technique.
Keikogi: Kendo jacket.
Kissaki: Point of a shinai.
Kote: Kendo glove.
Maai: Distance between two opponents.
Matsu: To wait.
Mawaru: To turn around.
Men: Mask.
Metsuki: Point of observation.
Migi-Do: Blow on right side of the do.
Migi-Kote: Blow on the right kote.
Migi-Men: Blow on right side of the men.
Mune: Chest.
Nidan-Waza: Two-step technique.
Nuki-Waza: Luring an opponent to make a cut and then
dodging.
Nuku: To draw shinai or sword.
Oji-Waza: Defense plus counterattack technique.
Osu: To push or shove.
Rei: To bow.

156
Sagaru: To retreat.
Sandan-Waza: Three-step technique.
Sasu: To thrust a sword or shinai forward.
Shikaka-Waza: Technique of delivering a cut when an opponent is off guard.
Shinai: Bamboo sword of kendo.
Shizentai: Natural standing position.
Sonkyo: Crouch position.
Tai-Atari: Body contact.
Tare: Waist armor.
Tsuba: Handguard of shinai or sword.
Uchiotoshi-Waza: Technique of striking opponent's shinai
downward and taking advantage of his unbalanced posture.
Ukeru: To block a blow.
Ukedachi: Counterattack.
Utsu: To hit.
Wakigamae: Method of holding shinai horizontal and extended at either side of body.
Waza: Form or proper technique.
Yokomen: A blow to the side of the head just above the ear.
Yoru: To come closer.
Appendix
157
Kali/ Arnis/ Escrima

Abierta: A fighting technique whereby a fighter dances about
to avoid his opponent's strikes, rather than parrying with a
weapon.
Cinco Teros: Called "five cardinal blows." Patterned around
four areas divided by an "X," plus a dot in the center signifying thrusts.
De Cadena: Described as "chain-like" movement; that is,
movements are connected, one flowing easily into the next.
Fondo Fuerte: Non-retreating style. Devised for situations
where time is of the essence, especially when retreating is
impossible.
Largo Mano: Meaning "long hand." So called when a 30inch stick or blade is used with various tactics.
Lastico: "Rubberband" style, characterized by a forward
sway followed by a backward snap that goes along with
every strike.
Numerado: An in-fighting style of combat.
Orascion: Mediation.
Repeticion: Continuous, repeating attacks that don't let up,
wearing an opponent down physically and mentally.
Riterado: "Retreating" style. It was designed to give a
fighter time to study his opponent.
Serada: Lock and thrust method. Each opposing offensive
stroke is met with a block (a check with one's stick to lock
the adversary's position) and a thrust with the free hand
which carries a second stick or dagger. These move forward continually; there is no retreating.

158
Sumbrada: A fast-paced style that teaches one to counterattack with the same action with which one is being attacked.
Errol Flynn, Bruce Lee and Sean Connery did it. So

did Medieval swordsmen and African warriors who
wielded their oars as weapons. It's the ancient art of
stick fighting, revered and explained in the pages of this
book.
Author Nick Evangelista shows the reader how to use
stick fighting for fun and self-defense. It doesn't matter
if you're flaunting a foil or gripping a dowel from the
hardware store the techniques in this book teach you
how to wield the stick with grace, power, and optimum
effectiveness.
You'll learn the comprehensive history of the stick
and all its forms: shepherd's crook, wooden swords,
canes and foils are just a few. Detailed lists provide
places where you can find special equipment and
organizations. The step-by-step approach makes stick
fighting safe and fun. In this book, you'll find:
How to play variations of the singlestick game
The proper way to hold your body and your stick for
games and real-life combat situations
How to make canes, walking sticks and singlesticks
Sportsmanship and attire for the stick-fighting realm
Why sticks? Because they're handy, easy to operate,
and don't require ammunition or a license. And in the
event of a societal breakdown
or nuclear holocaust, you'd
still be able to find a stick
and use it.
$15.00

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What are some of the different types of sticks discussed in the book?

What are some of the different types of sticks discussed in the book?

What are some of the historical uses of sticks mentioned in the book?

What are some of the historical uses of sticks mentioned in the book?

FIGHTING

This book is sold for informational purposes only. Neither the

Fighting With Sticks

Cover art by Mark Lang

Chapter Twenty One

Chapter Twenty Two

Chapter Twenty Three

Chapter Twenty Four

This book is for my good friend,

"If (a man) is knocked down with a Stick, he will hardly get

"Walk softly and carry a big stick."

First, as always, thanks to Ralph Faulkner for setting me on

The "Foreword" for Fighting With Sticks was not written

Fighting With Sticks

The idea for this book came out of my life as a teacher of

Fighting With Sticks

then, was something I could use as a foundation for my own

Fighting With Sticks

terials. In normal times, if you're seeking convenience, any

Fighting with quarterstaffs.

In a world where guns are becoming harder and harder to

A stick, for most folks, is harder than a hand. Moreover, a

Fighting With Sticks

It should be obvious that wooden swords have been around

Fighting With Sticks

It took strength and determination. Armor, as its continued

Swords of the Middle Ages.

Rifles and bullets took the time-worn principles of armed

Fighting With Sticks

criminating minds into the profession." For centuries, at best,

Two-handed swordplay of the fifteenth century.

Fighting With Sticks

A sixteenth century sword fight.

Silver fiercely dismissed rapier play as "Schoole-trickes and

Certainly, Silver's prejudices regarding the sword combat

Fighting With Sticks

that was too elaborate, meant putting oneself in a position

Seventeenth century sword fighting taking on a scientific look.

Two varieties of rapier, the dueling sword of the seventeenth century.

Something else took place during the 1700s: fencing gained

pher and the fencing school became a place where young

Fighting With Sticks

moting the manly graces. It is from this period that much of

Fighting With Sticks

Carved New Zealander clubs.

Clubs come in countless shapes and lengths: straight sticks;

Fighting With Sticks

Wooden clubs come in a variety of shapes.

South Sea Islander clubs.

African throwing sticks.

The best-known throwing stick, the boomerang, is

Fighting With Sticks

Brazilian wooden swords.

We would be remiss if we didn't discuss, for a moment, the

Fighting With Sticks

sion of thought, that the creative process went something along