Los Angeles Turners

What Is Fencing?

The sport of fencing is fast and athletic, a far cry from the choreographed bouts you see on film or on the stage. Instead of swinging from a chandelier or leaping from balconies, you will see two fencers performing an intense dance on a six-feet-by-40-feet strip. The movement is so fast the touches are scored electrically - more like Star Wars than Errol Flynn.

The Weapons

Foil, épée and saber are the three weapons used in the sport of fencing. While it is not unusual for fencers to compete in all three events, they generally choose to develop their skills in one weapon. Until recently, women were permitted to compete only in foil, but now the USFA & FIE offer national competitions for women in épée and saber. Women's épée was added to the World Championships in 1989 and was held for the first time at the Olympic Games in 1996.

Foil and épée are point-thrusting weapons. Saber is a point-thrusting as well as a cutting weapon. The target areas differ for the three weapons, though all three are scored electrically.  The Los Angeles Turners are currently saber fencers.

Object

The main object of a fencing bout (what an individual "game" is called) is to effectively score 15 points (in direct elimination play) or five points (in preliminary pool play) on your opponent before he scores that number on you. Each time a fencer scores a touch, she receives a point. Direct elimination matches consist of three three-minute periods.

Foil

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

The valid target area in foil is the torso, from the shoulders to the groin, front and back. It does not include the arms, neck, head and legs. The foil fencer's uniform includes a metallic vest (called a lamé) which covers the valid target area, so that a valid touch will register on the scoring machine. A small, spring-loaded tip is attached to the point of the foil and is connected to a wire inside the blade. The fencer wears a body cord inside his uniform which connects the foil to a reel wire, connected to the scoring machine.

There are two scoring lights on the machine. One shows a green light when a fencer is hit, and one shows a red light when her opponent is hit. A touch landing outside the valid target area (that which is not covered by the lamé) is indicated by a white light. These "off target" hits do not count in the scoring, but they do stop the fencing action temporarily.

Épée

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

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

Saber

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

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

Right-Of-Way

One of the most difficult concepts to visualize in foil and saber fencing is the rule of right-of-way. This rule was established to eliminate apparently simultaneous attacks by two fencers.

In essence, right-of-way is the differentiation of offense and defense, made by the referee. The difference is important only when both the red and green lights go on at the same time in foil and saber. When this happens, the winner of the point is the one who the referee determined was on offense at the time the lights went on.

Épée does not use the right-of-way in keeping with its dueling origin - he who first gains the touch earns the point. Or, if both fencers hit within 1/25th of a second of each other, both earn a point. However, it is equally important to have a sound defense for épée, since the entire body must be protected from a touch.

How to Follow the Action

For those new to fencing, it is difficult to follow the lightning speed of the fencers' actions. To become more comfortable in watching a fencing bout, focus on one fencer. The fencer being attacked defends himself by use of a parry, a motion used to deflect the opponent's blade, after which the defender can make a riposte, an answering attack. Thus, the two adversaries keep changing between offense and defense. Whenever a hit is made, the referee will stop the bout, describe the actions, and decide whether or not to award a touch.

Fencers seek to maintain a safe distance from each other, that is, out of range of the other's attack. Then, one will try to break this distance to gain the advantage for an attack. At times, a fencer will make a false attack to gauge the types of reactions by the opponent that can be deceived in the real attack.

As you become accustomed to the speed of the game, the tactics and strategies become more apparent, and you will gain a better understanding for the finesse and fascination of fencing!

In Depth information
FAQ: Frequently Asked Questions

Click here for the official USFA Fencing rules
 (Sept 2007 - most recent) as pdf file

Click here for a Glossary of fencing terms

2007/2008 Athlete Handbook

Operation Manual

Classification Chart

Division Operation Guide

Fencing in College

USFA Files and Documents

General 

What sports and martial arts comprise fencing? The Olympic sport of fencing is comprised of three weapons: foil, epee, and saber. All are fenced on a long rectangular strip, and electronic scoring aids are normally used to assist in the detection of touches. The rules governing these three weapons are determined by the FIE (Federation Internationale d'Escrime). Briefly, the FIE weapons are described as follows:

Foil: Descended from the 18th century small sword, the foil has a thin, flexible blade with a square cross-section and a small bell guard. Touches are scored with the point on the torso of the opponent, including the groin and back. Foil technique emphasizes strong defense and the killing attack to the body.

Epee: Similar to the dueling swords of the late 19th century, epees have stiff blades with a triangular cross section, and large bell guards. Touches are scored with the point, anywhere on the opponent's body. Unlike foil and saber, there no rules of right-of-way to decide which attacks have precedence, and double hits are possible. Epee technique emphasizes timing, point control, and a good counter-attack.

Saber: Descended from dueling sabers of the late 19th century, which were in turn descended from naval and cavalry swords, sabers have a light, flat blade and a knuckle guard. Touches can be scored with either the point or the edge of the blade, anywhere above the opponent's waist. Saber technique emphasizes speed, feints, and strong offense.

Sword fighting as sport has existed since ancient Egypt, and has been practiced in many forms in various cultures since then. Although jousting and tournament combat was a popular sport in the European middle ages, modern FIE fencing owes more to unarmored dueling forms that evolved from 16th century rapier combat. Rapiers evolved from cut-and-thrust military swords, but were most popular amongst civilians who used it for self-defense and dueling. Rapiers were edged, but the primary means of attack was the thrust. Rapier fencing spread from Spain and Italy to northwest Europe, in spite of the objections of masters such as George Silver who preferred traditional cutting weapons such the English broad sword. The Spanish school, under masters such as Narvaez and Thibault, became a complicated and mystical affair whose geometrical theories required much practice to master. Italian masters like Agrippa and Capo Ferro developed a more pragmatic school in the late 16th and early 17th centuries, introducing innovations such as linear fencing and the lunge. By the 18th century, the rapier had evolved to a simpler, shorter, and lighter design that was popularized in France as the small sword. Although the small sword often had an edge, it was only to discourage the opponent from grabbing the blade, and the weapon was used exclusively for thrusting. The light weight made a more complex and defensive style possible, and the French masters developed a school based on defense with the sword, subtlety of movement, and complex attacks.

When buttoned with a leather safety tip that resembled a flower bud, the small sword was known as le fleuret, and was identical in use to the modern foil (still known as le fleuret in French). Indeed, the French small sword school forms the basis of most of modern fencing theory. By the mid-19th century, dueling was in decline as a means of settling disputes, partially because victory could lead to a jail term for assault or manslaughter. Emphasis shifted to defeating the opponent without necessarily killing him, and less fatal dueling forms evolved using the dueling sword, or epee de terrain, an unedged variant of the small sword. Later duels often ended with crippling thrusts to the arm or leg, and fewer legal difficulties for the participants. This is the basis of modern epee fencing. Cutting swords had been used in bloodsports such as backsword prizefights at least as far back as the 17th century. Broadswords, sabers, and cutlasses were used extensively in military circles, especially by cavalry and naval personnel, and saw some dueling application in these circles as well. Training was performed with wooden weapons, and stick fighting remained popular until Italian masters formalized saber fencing into a non-fatal sporting/training form with metal weapons in the late 19th century.

Early sport sabers were significantly heavier than the modern sport saber and necessitated a strong style with the use of moulinets and other bold movements. As with thrusting swords, the saber evolved to lighter, less fatal dueling forms such as the Italian sciabola di terro and the German schlager. Hungarian masters developed a new school of saber fencing that emphasized finger control over arm strength, and they dominated saber fencing for most of the 20th century. Dueling faded away after the First World War. A couple of noteworthy duels were fought over disputes that arose during Olympic games in the 1920s, and there have been rare reports of sword duels since then. German fraternity dueling (mensur) still occurs with some frequency. The first modern Olympic games featured foil and saber fencing for men only. Epee was introduced in 1900. Single stick was featured in the 1904 games. Epee was electrified in the 1936 games, foil in 1956, and saber in 1988.

Early Olympic games featured events for Masters, and until recently fencing was the only Olympic sport that has included professionals. Disruptions in prevailing styles have accompanied the introduction of electric judging, most recently transforming saber fencing. Foil fencing experienced similar upheavals for a decade or two following the introduction of electric judging, which was further complicated by the new, aggressive, athletic style coming out of eastern Europe at the time. Women's foil was first contested in the 1924 Olympic games, and Women's epee was only contested for the first time in 1996, although it has been part of the World Championships since 1989. Women's saber made its first appearance in the 1998 World Championships as a demonstration sport, and will likely appear in the 2004 Olympics as part of a combined team event. 1.3 How is modern fencing different from the "real thing"? If the "real thing" is a duel with sharps, then aside from the mortal danger and related psychological factors, the primary technical difference is that the duelist can win with only a single good touch, whereas the athlete has to hit his opponent as many as 15 times and so requires more technical and tactical depth. Many inferior duelists have won their combats through sheer dumb luck. This is far less likely in the sport. On the other hand, the sport fencer takes many defensive risks that would be unthinkable in a duel, since he has up to 15 "lives" to work with.

Some purists equate "real" fencing with classical fencing, i.e.. the prevalent styles of the traditional French and Italian schools of fencing that predominated before electric fencing was popularized. By comparison, modern fencing is more mobile and athletic, while classical fencers were known for their more sophisticated phrasing and blade work. Modern saber fencing is performed with lightweight weapons and techniques that do not translate well to military sabers and broadswords. There is a certain amount of cross-over with lighter turn-of-the-century dueling sabers, however. Lastly, it just seems apparent to some that sport fencing has evolved away from its bloody origins. Tactically and psychologically, it is true that the sport is a vastly different world from the duel. The sport fencer's life is never in jeopardy, and with as many as 15 hits needed to secure victory, there often isn't even much figurative danger. Since the quality of a hit is immaterial, fencers will naturally prefer an easy "wounding" hit over a difficult "fatal" one, and so glancing hits will often win out over strong thrusts. Technically, however, there have been few modern innovations, and the sport fencer still possesses all the technical skills necessary to fight a duel.

Which is the best weapon? If the question means "what kind of fencing is the most fun?" then the answer is: it depends what aspects of fencing you enjoy the most. If you are fascinated by technique, blade work, and tactics, you will probably get a lot of satisfaction from foil fencing. More visceral fencers who want to experience the adrenaline rush of a fast, aggressive sword fight will want to try some saber. Most epee fencers consider themselves practical, no-nonsense sword fighters who rely on as few artificial rules as possible. Enthusiasts of more medieval combat styles, involving armor and heavy weapons, should consider kendo or the SCA heavy lists. Perhaps the question means "what is the best weapon for a beginner to start with?" Foil is the most common starter weapon, and its skills translate most easily to the other weapons. Saber is less ideal for students planning to try other weapons, due to the higher cost of electric saber gear, and the reduced use of the point. Fencers who begin with epee may struggle with the concept of right-of-way if they attempt to learn a second weapon later. However, if the student is certain that they will stick with saber or epee, then there is no harm to starting with those weapons immediately. On the other hand, if the question means "which weapon is the most deadly?" the answer will depend on a lot of factors, not the least of which are the skill of the combatants, the presence of armor, the military and cultural context, and the rules of the fight (i.e.. is this a street fight, a gentlemen's duel, or open field warfare?). Most swords are highly optimized for performance in a specific environment, and will not perform well outside it. Comparing two swords from completely different historical contexts is therefore extremely difficult, if not downright silly. Then again, perhaps the question means "which style of fencing is the most realistic?" It must be said that questions of realism have little relevance to an activity that has almost no practical application in the modern world other than sport and fitness.

Historically, however, epees have the closest resemblance (among FIE weapons) to real dueling swords, and the rules closely parallel those of actual duels (sometimes being fought to only a single point).

Is fencing going to be eliminated from the Olympics? Olympic fencing appears to be safe for the present, and was recently expanded to include Women's Epee. Since the IOC perpetually changes its roster of Olympic sports, nothing is certain in future games. Although fencing is one of only four sports to have been involved in every modern Olympic Games since their inception in 1896, it has been mentioned in the past as one of the disciplines that may be eliminated from future Games. According to Gilbert Felli, Sports Director of the International Olympic Committee, the IOC plans to refine future games in various ways, including: -- limiting the number of athletes to 15000 -- increasing participation by women -- eliminating "so-called artificial team events" -- limiting sports of a similar type -- modernizing the Olympic program -- encouraging sports that provide a good television spectacle In the last decade fencing has undergone numerous revisions to its rules and structure to improve its value as a spectator sport, perhaps in the hopes of improving its Olympic viability. 1.6 Does it hurt? Not if done properly. Although executed with appreciable energy, a good, clean fencing attack hurts no more than a tap on the shoulder. The force of the blow is normally absorbed by the flex of the blade.

Reckless and overly aggressive fencers can occasionally deliver painful blows, however. Fencing *is* a martial art, so you should expect minor bruises and welts every now and again. They are rarely intentional. The most painful blows tend to come from inexperienced fencers who have not yet acquired the feel of the weapon. The primary source of injury in fencing is from strained muscles and joints. Proper warm-up and stretching before fencing will minimize these occurrences. There is a risk of being injured by broken weapons. The shards of a snapped blade can be very sharp and cause serious injury, especially if the fencer doesn't immediately realize his blade is broken, and continues fencing. Always wear proper protective gear to reduce this risk. FIE homologated jackets, pants, and masks are ideal, as they are made with puncture-resistant fabrics such as ballistic nylon. If you cannot afford good fencing wear, at least use a plastron (half-jacket worn beneath the regular fencing jacket), and avoid old and rusty masks. Always wear a glove that covers the cuff, to prevent blades from running up the sleeve. Fencing is often said to be safer than golf. Whether or not this is true, it is an extraordinarily safe sport considering its heritage and nature.

How long does it take to become good? There is a saying that it takes two lifetimes to master fencing. By the time anyone has come close to "mastering" the sport, they are long past their athletic prime. Some may feel that this is a drawback to the sport, but most fencers see it as a great strength: fencing never becomes dull or routine; there are always new skills to master, and new grounds to conquer. In times past, students often were not permitted to hold a weapon until they had completed a year or two of footwork training. Modern training programs rarely wait this long, and in many cases students will be fencing (albeit badly) almost immediately. Novice-level competition is feasible within 3-6 months. Competition at this point should be viewed as a learning aid, not as a dedicated effort to win. Serious attempts at competing will be possible after 2-3 years, when the basic skills have been sufficiently mastered that the mind is free to consider strategy. A moderate level of skill (e.g.. C classification) can take a few years of regular practice and competition. Penetration of the elite ranks (e.g.. world cup, international 'A' level) demands three to five days per week of practice and competition, and usually at least 10 years of experience. Progress can be faster or slower, depending on the fencer's aptitude, dedication, quality of instruction, and the age at which they begin. Rapid progress normally requires at least three practices per week, and regular competition against superior fencers. With the increasing emphasis on athleticism in the modern sport, fencers are getting younger, and the champions are getting to the podiums faster.

What qualities make a good fencer? All of them. On the athletic side, speed and cardiovascular fitness rank foremost. Other traits that can be exploited are strength (for explosive power, not heavy handedness), manual dexterity, and flexibility. Quick reaction time is extremely important. On the mental side, a fencer must be adaptable and observant, and have a good mind for strategy and tactics. Psychologically, he or she must be able to maintain focus, concentration, and emotional level-headedness under intense conditions of combat. As far as body type goes, it is always possible to adapt your style to take advantage of your natural traits. Even so, height seems to be most useful in epee. Small or thin people are harder to hit in foil. A long reach helps in epee, and long legs are an asset in foil. It should be noted that left handers seem to enjoy a slight advantage, especially against less experienced fencers. This may account for the fact that lefties make up 15% of novice fencers, but close to half of FIE world champions.

How much does it cost to get involved in fencing? The Los Angeles Turners provide basic beginners Equipment for their members.  A beginner's dry fencing kit (cotton jacket, glove, dry weapon, mask) will cost about US$100-200. A full set of FIE-spec competition gear (FIE jacket, pants, mask, 2 weapons, wires, glove, shoes, plastron, electric jacket) will run at least US$500-1000. FIE equipment is recommended both in terms of safety and quality, but clothing costs can be as much as halved by purchasing regular cotton or synthetic knits. Used equipment can also be bought from retiring or upgrading fencers. Many clubs will provide basic equipment to their beginning students. Club costs vary widely, depending on the quality of the space, the equipment provided to its members, and the amount of coaching included in the club fees. Advanced lessons are usually purchased separately. 1.10 How do I find a good fencing club? Start with your local Provincial or Divisional fencing association. Your local association will be able to tell you about recognized clubs in your area. Many universities and colleges also sponsor fencing clubs and teams that will often accept non-students as members. You might also check out courses or camps offered by local community centers. Fencers with Web access can find a list of U.S. fencing clubs at http://www.usfencing.org. Once you have a list of potential clubs, you will want to evaluate them and your needs. Desirable qualities vary, depending on your skill level and what you want to get out of fencing. Look for a good range of skill levels, decent equipment inventories, adequate scoring sets, emphasis on your favorite weapon(s), a spirited competition ethic, access to personal lessons, and a coach or master with a good record (i.e.. successful students). If you still have a choice, count yourself lucky, and choose the club that makes you feel comfortable and relaxed without sacrificing the athletic spirit that is essential to progress.

What kind of cross-training will help my fencing? The best training for fencing is fencing. Fencing development is asymmetrical and few other sports use the same muscle groups, so this is a difficult question whose answer depends largely on what aspect of your training you really want to focus on. Cardiovascular fitness and leg strength always help, so anything that enhances these will be beneficial. Cycling, swimming, aerobics, and skating are good examples. Running, sprinting, soccer, basketball, and similar sports can also be helpful, although some athletes dislike the stresses they put on the knees. Racquet sports like tennis, badminton, squash, racquetball, and table tennis are also excellent, and will exercise your upper body in addition to your legs. Circuit or period training (short bursts of high-heart-rate exercise followed by brief recovery periods) has been put forward as particularly relevant to the demands of fencing. Proper weight training can be of great benefit, if it emphasizes power development in the legs and lower body, core trunk strength for stability, speed, and flexibility. Improper weight training can potentially be detrimental, if it develops strength but not power, or sacrifices flexibility for muscle development. Some fencers maintain that juggling improves reactions, hand-eye coordination, and use of peripheral vision. Some coaches and fencers suggest occasional fencing or workouts with your opposite hand, both to improve skill and balance your muscular development. 

How can I improve my technique without the help of a coach? It is very easy to acquire bad habits and poor technique if you do not have the guidance of a knowledgeable fencing master, coach, or fellow fencer. If you are serious about improving your fencing, quality coaching is always your best investment. However, a disciplined fencer still has options if decent instruction is not available on a regular basis. Firstly, a solid knowledge of fencing theory and regulations is a must. Freelance fencers should study the FIE Rules of Competition and a good fencing manual. They should test and apply this knowledge by refereeing whenever possible. An appreciation of good fencing style is also essential, so that they can readily identify weaknesses in their own and other fencers' techniques. Observation and comparison of skilled or accomplished fencers will develop this ability. Training videotapes and videotapes of high-level competitions are also helpful in this regard. Freelance fencers must be open-minded and critical of their own technique, so that they can recognize problems before they develop into habits. Discussion of their weaknesses with training opponents will help them clarify the areas that need work. If possible, they should videotape their bouts and review them to spot defects in their tactics and technique. Fencers should seek out opponents who will strenuously test their weaknesses. More experienced fencers, left-handers, those whose tactics are particularly effective, and even those with annoying (i.e.. difficult) styles should be courted on the practice strip. When fencing less skilled opponents, fencers should restrict their tactics to a small set that require practice, and resist the temptation to open up if they should start losing. The opportunity to participate in footwork and line drills should never be passed up. When they can find agreeable partners, fencers can do more personalized drills to exercise their weak areas. (Of course it is courteous to indulge the needs of your partners when they in turn work on their own training.) Lastly, fencers should remain aware of their bout psychology and mental state when fencing, and try to cultivate the mindset that in their experience produces good fencing.

What is right-of-way? Right-of-way (or priority) is the set of rules used to determine who is awarded the point when there is a double touch in foil or saber (i.e.. both fencers hit each other in the same fencing time). It is detailed in the FIE Rules of Competition, Articles t.56-t.60 (old 232-237) for foil, and t.75-t.80 (old 416-423) for saber. The core assumption behind right-of-way is that a fencing bout is always in one of three states: -- nothing significant is happening -- the fencers are conceiving and executing their actions simultaneously -- one fencer is threatening, while the other is reacting to the threat Since no points will be scored in the first situation, we can ignore it. In the second situation, the fencers' actions have equal significance, and it is impossible to award a touch. Both touches will be annulled and the bout will be resumed where it was stopped. The third situation is the important one. The first fencer to establish a threat has priority (right-of-way), even if the other reacts by making a counter-threat. Any hit from the fencer with priority takes precedence over a hit from the other. The job of the referee is to decide which fencer did not have right-of-way, and annul his touch. If he cannot decide, the referee should abstain, annul BOTH hits, and resume the action where it left off. A proper threat can be either an attack, or a "point in line" that is established before the opponent attacks. Right-of-way is lost when the threat misses, falls short, is broken off, or is deflected away from the target by a parry or other engagement from the defender. The defender then has "right of attack" for a split second; if he returns the threat immediately, he takes over right-of-way and the tables have turned. If he hesitates, however, it becomes a toss-up; the first fencer to establish a threat will seize the right-of-way anew.

The right-of-way relationships between common fencing actions are as follows: - derobement has right-of-way over attacks on the blade - attacks on the blade have right-of-way over the point in line - point in line has right-of-way over the attack - the simple attack has right-of-way over the stop-hit - the stop-hit has right-of-way over the renewal of the attack - the stop-hit in time has right-of-way over the compound attack - the riposte has right-of-way over the renewal of the attack - the counter-riposte has right-of-way over the renewal of the riposte - the remise of the attack has right-of-way over the delayed riposte 

What constitutes an attack? According to Article t.7 (old 10) of the FIE rules of competition, "the attack is the initial offensive action made by extending the arm and continuously threatening the opponent's target." A threatening weapon is normally interpreted to be one that will or could hit the opponent if no defensive action is taken. In other words, a weapon threatens if it is moving towards the target in a smooth, unbroken trajectory. This trajectory can be curved, especially if the attack is indirect, compound, or involves a cutting action.

Hesitations and movements of the blade away from the target will usually be perceived as a break in the attack or a preparation of the attack. One common misconception is that a straight or straightening arm is required to assert the attack. However, a straight arm is not an attack, but a point-in-line. The attack begins when the arm begins extending, not once it is fully extended. It is not even necessary that the arm becomes fully straight, although that is normal for attacks at medium and longer distances. Retraction of the arm, however, will usually be interpreted as a break in the attack. Another common misconception is that an attack does not threaten unless the blade is aimed at the target. This is not generally true. The definition of an attack is the same for cuts and thrusts, so cuts and cut-like actions (including coupe's and "flicks") must threaten while the blade is still out of line. Generally, an attack threatens if it is moving towards the target as part of a smooth, unbroken movement, regardless of where the point is located when that movement begins. Many fencers are under the mistaken impression that a bent arm or out-of-line point constitutes a preparation, and therefore that they can rightfully attack into it. If the bent arm is extending and the out-of-line point is moving towards the target, however, this assumption is usually false under modern fencing conventions. A successful attack on the preparation must clearly precede the opponent's initiation of his final movement, or else arrive a fencing time ahead of his touch. Saber fencers must also consider Article t.75 (old 417) of the Rules of Competition, which states when the attack must land relative to the footfalls of a lunge, advance-lunge, (and fleche, historically). Attacks that arrive after the prescribed footfall are deemed continuations, and do not have right-of-way over the counter-attack. Saber fencers must also remember that whip-over touches can be interpreted as remises, and not mal-pare's.

What constitutes a parry? According to Article t.7 (old 10) of the FIE Rules of Competition, "the parry is the defensive action made with the weapon to prevent the offensive action from arriving". A successful parry deflects the threatening blade away from the target. It is normally not sufficient to merely find or touch the opponent's blade; the fencer must also exhibit control over it--although the benefit of the doubt usually goes to the fencer making the parry. If the attacker must replace the point into a threatening line before continuing, it is a remise (renewal of the attack) and does not have right-of-way over the riposte. However, if the parry does not deflect the blade, or deflects it onto another part of the target, then the attack retains the right-of-way (mal-pare' by the defender). In practice, very little deflection is needed with a well-timed parry. A well-executed parry should take the foible of the attacker's blade with the forte and/or guard of the defender's. This provides the greatest control over the opponent's blade. In other cases (e.g.. a beat parry with the middle of the blade) the parry can still be seen as sufficient if the attacking blade is sufficiently deflected. In ambiguous cases, however, the benefit of the doubt is usually given to the fencer who used his forte/guard. For example, if a fencer attempts to parry using his foible on his opponent's forte, it will often be interpreted in the reverse sense (e.g.. counter-time parry by the attacker), since such an engagement does not normally result in much deflection of the attack. A foible to foible parry could potentially be seen as a beat attack by the opposing fencer depending on the specifics of the action. At foil, the opponent's blade should not only be deflected away from the target, but away from off-target areas as well. An attack that is deflected off the valid target but onto invalid target can still retain right-of-way. If the defender clearly releases the attacking blade before the continuation of the attack lands, then the benefit of the doubt is usually given to the parry. 

At saber, the opponent's blade need only be deflected away from valid target, since off-target touches do not stop the phrase. Cuts are considered parried if their forward movement is checked by a block with the blade or guard. Contact with the blade or guard may be interpreted as a parry, even if a whip-over touch results. Avoiding whip-over touches altogether requires exceptionally clean and clear parries. At epee, a good parry is simply any one that gains enough time for the riposte. Opposition parries and binds are commonly used, since they do not release the opponent's blade to allow a remise.

What constitutes a point-in-line? According to Article t.10 of the FIE Rules of Competition, the in-line position is that "in which [the fencer's] sword arm is straight and the point of his weapon threatens his opponent's valid target." Properly done, the arm should be extended as straight as possible, and form a more or less continuous line with the blade, with the point aimed directly at the high lines of the target. Excessive angulation at the wrist or fingers negates the point-in-line. Superfluous movement of the point also risks negating the line, especially in saber. Derobements/trompements, however, are permitted. In foil and saber, the point-in-line has priority over attacks that are made without first taking the blade. With these weapons (but not with epee) it is forbidden to assume the point-in-line position before the command to fence has been given. In saber, a point-in-line that hits with the edge is passé'; if a touch is registered with the edge, it is properly analyzed as a remise or counter-attack, except in the case of a derobement. There are wildly differing opinions on the role of the feet in the point-in-line. Some claim that any movement forward or backward invalidates the point-in-line, while others claim that only forward movement obviates the line. These interpretations are incorrect, although they may still constitute good advice if you want to make the point-in-line more obvious to a referee. It was widely held to be an official ruling that steps or jumps forward or backward maintained the point-in-line, but lunges or fleches obviated it. This ruling, apparently based on a directive from the FIE, was official policy in the USFA for a while. However, the rulebook does not proscribe any footwork movements at all, and other FIE rulings hold that footwork, even a lunge or fleche, has absolutely no effect on the priority of the point-in-line. 

What is the scoop on "flicks" and "whips"? Flicks are whip-like attacks that can score against very oblique and even concealed targets. Sometimes thought of as a recent corruption, flicks actually have a long history that stems from coupe' (the cut-over) and fencers' efforts to throw their points around the parry. Properly executed and judged, they are effective and beautiful attacks; poorly executed and judged, they can be painful and annoying. One common criticism of the flick is that it would cause minor injury with a real weapon. The obvious, if flippant, response to this is not to flick if you're trying to kill someone with a real weapon. Another common criticism is that flicks are difficult to defend against. One must simply remember to parry them as if they were cuts, not thrusts (using auxiliary parries like tierce, quinte, and elevated sixte). The flick is also highly sensitive to distance, and a well-timed break in the measure will cause it to land flat. A third criticism is that flicks are usually given the priority, even though the attack often begins with the point aimed at the ceiling. However, the definition of an attack says nothing about where the point is aimed, only what it is threatening. It is normally true that an attack that scores must have threatened in at least its final tempo, no matter where it was pointed at the start of that tempo. Saber fencing has suffered from a related and more serious scourge, the whip-over. In this case, the foible bends around the opponent's blade or guard following a parry, to contact the target and register a touch. The scoring machines attempt to reduce these false touches by blocking hits within a certain time window following weapon contact, but this is of limited effectiveness and also has the unfortunate effect of blocking the occasional attack through the blade. Referees have tried to help out by analyzing whip-over touches as remises, but they still score over composed or delayed ripostes. The FIE has been considering and trying various possible fixes, including varying the timeouts and mandating stiffer saber blades.

What are the latest rule changes? The FIE Rules of Competition were completely revised for the 1998 season. Although the wording of the rules is for the most part similar, the article numbers and locations of particular rules are completely different.

DISCIPLINE: - Crossing the boundary of the piste with one or both feet results in a halt, and the loss of 1 meter of ground by the offending fencer. Hits launched before the halt by the offending fencer are valid only if one foot remains on the piste. If both feet leave the piste, only the hit made by the opposing fencer is counted, and only if one of their feet remains on the piste. (2002) - Falling is no longer an offence. (2002) - Immediate penalty (Group I/yellow card) if a fencer signals he/she is ready to fence with an illegal bend to their blade. (2002) - Only team members and trainer are permitted inside the designated team zone during team competitions. Penalties for violating this rule are directed against the team, and remain valid for the duration of the match. (2002) - Leaving the piste with one or both feet earns a verbal caution for first offense, and group 1 penalties thereafter. (1998) [This rule replaced by a new out-of-bounds rule, above, in 2002.] - In saber, any action in which the rear leg is crossed in front of the fore is a group 1 penalty, with the hit annulled. A correctly executed touch from the opponent is still valid. (1994) - Salute of opponent, referee, and audience is mandatory at the start and end of the bout. Failure to do so is a group 3 penalty (if by one fencer at start of bout), group 4 penalty (if by both fencers at start or end of bout), suspension (if by loser at end of bout), or annulment of hit (if by winner at end of bout). (1994)

EQUIPMENT: - Scoring lamps must indicate who scored the touch, not who received it. (2000) - FIE2000 saber blades required. (2000) - Clear masks required in all FIE foil and epee events. (2000) - 800N underarm protector (plastron) is required in addition to the regular 800N jacket. (1994) - Clothing may be of different colors, but those on the body must be white or light-colored. (1994) - Minimum width of the strip is now 1.5 meters. (1994) - The proposed rule extending the foil target to include the bib has been dropped. 

BOUT FORMAT: - Pool and relay bouts are now of 3-minute duration. (2002) - At saber only, the first period of an elimination bout will end when 3 minutes have elapsed, or the score of one fencer has reached 8 touches. (2002) - Coin flip to determine winner in the event of a tie shall be made at end of regulation time, and one additional minute shall be fenced. The winner of the coin toss shall be recorded as the victor if the bout is not resolved by sudden death in the extra minute. (1994) - No more 1-minute warning, although fencers can request the time remaining at any normal halt in the action. (1994) - Fencers shall be placed at the en garde lines at the commencement of each 3-minute period in 15-touch elimination bouts. (1994)

SCORING: - When time runs out, scores are recorded as is, rather than elevating the winner to 5 and the loser by an equivalent amount. (1997) - Following pools, fencers are sorted by V/M, HS-HR, HS. (1997) - In saber, simultaneous attacks that both arrive on the valid target do not result in any points being scored. (1994) - In the team relay, the first pair of fencers fence to 5 points or 4 minutes, whichever comes first. The next pair continue from this score up to 10 points within 4 minutes, and so on up to a total score of 45 points. (1995?)

EQUIPMENT 

Clothing: Fencing clothing includes the jacket, pants, sous-plastron (underarm protector), and socks. Some companies manufacture unitards (combined jacket and pants). Inexpensive practice gear is fashioned of synthetics or heavy cotton, but competition clothing is required to pass an 800 N puncture test. Casual and beginner fencers can rely on cotton or synthetic jackets, but should consider using a plastron for extra protection. Track pants or baseball knickers are also thrifty alternatives to genuine fencing clothing, although they afford little protection. Jackets are cut differently for men and women, and also for right- and left- handers. Ambidextrous (back-zip) jackets are available, but generally not with homologated fabrics. Ambidextrous (double-sided) plastrons are available from some manufacturers. Knee-high sport socks (such as for soccer/football or baseball) can be purchased from most sporting goods stores. Skin should not show between the socks and pant legs nor the cuff and glove of the weapon hand. The trailing hand and back of the head should be the only areas of exposed skin on the fencer's body.

FIE-certified (800 N) uniforms are fashioned from special fabrics such as Kevlar, Startex, or ballistic nylon. Some uniforms (in particular, older uniforms of Kevlar construction) offer partial 800N coverage in vital areas with lighter 350N fabrics used elsewhere. Full-coverage 800N uniforms are now the norm in FIE clothing. The rules for FIE 'A' level competition demand FIE jacket and pants. As of April 1, 1995, an additional 800N plastron is required. CFF and USFA competitions have less stringent uniform requirements. FIE clothing generally provides the highest degree of quality and protection available. It is strongly recommended for serious competitors, and for anyone else concerned about their safety. Although considerably more expensive than practice gear, many fencers find it well worth the price. Kevlar clothing should be washed with mild detergent-free soap, and no bleach. Hang dry away from sources of ultraviolet light (especially direct sunlight). Store in a dark place (a closet or your fencing bag, for example).

Colors Traditionally, fencing clothing is all white, but the rules have recently been relaxed to allow "light" colors on the body. Other colors are permitted on the limbs. The fencer's last name and country can appear on the back or the trailing leg in block blue letters; this is required in international competition. National colors can be worn on an armband on the trailing arm, or printed on the leg or sleeve. Club or association badges can be stitched to the upper trailing arm.

Masks Masks must pass a 12 kg punch test to be certified for competition. Consider subjecting a used mask to such a test before using/purchasing it. Older masks can have smaller bibs and weaker mesh (rated to 7 kg), making them less safe. When punch testing a mask, depress the punch perpendicular to the mesh without wiggling it. Do not apply more than the required amount of pressure. Pay particular attention to parts of the mesh that have already been dented or bent, including the center crease line. Unnatural dents in the mesh can and should be pushed or hammered out. Masks with a clear lexan panel in front of the face are available from several manufacturers. Although the FIE has been encouraging the use of these masks, there has been resistance from fencers concerned about safety, and their future remains unclear. The best masks have FIE homologated bibs to protect the throat, and are required in high-level competition. 1600N bibs are standard in FIE competition as of the 1995/96 season. The CFF requires 800N bibs as a minimum in elite competition, while the USFA has no FIE bib requirement. Although it was announced that the bib would become part of the foil target in the 1995-96 season, those plans were dropped.

Shoes Fencing shoes are available from many vendors and manufacturers, including Adidas, Asics, PBT, Estoc, Sport-Escrime, Starfighter, and various vendor house brands. Prices typically range from US$50 to over US$200 per pair. Distribution of certain brands is often geographically limited, and limited to fencing equipment vendors in any case. In other words, don't bother checking at the mall. The best mass-market substitutes for fencing shoes are lightweight indoor court shoes, such as for squash, badminton, racquetball, or volleyball. Hard heel cups are widely used to absorb the impact of lunges. They are integrated into some models of fencing shoe, but can be purchased separately from specialty athletic and orthopedics stores for other shoes. Softer rubber (e.g.. Sorbothane) inserts are also commonly used to provide extra cushioning or prevent chronic injuries from flaring.

Gloves Gloves should have leather or equivalent construction in the fingers and palm, have a long cuff to cover the sleeve opening, and have an opening for the bodywire. They should not fit too snugly, or they will be more susceptible to tearing. Varying degrees of padding are available in the back of the hand and fingers, which can be useful for epee and saber fencers. Gloves can deteriorate rapidly under heavy use, often lasting a single season or less. Some gloves are washable; saddle soap or other leather treatment can extend the lives of other gloves somewhat. Economical alternatives to genuine fencing gloves include precision welding gloves, motorcycle gloves, and even common workman's gloves available at any hardware store, provided the fingers and palm are unpadded and supple enough to maintain the feel of the blade. It may be prudent to hand-stitch a longer cuff onto the glove, if the normal one doesn't cover the sleeve opening (the cuff should run halfway up the forearm). In all these cases, a small wire opening may have to be cut into the wrist.

Metallic Vests and Jackets The higher quality metallic vests are made of stainless steel, which is much more corrosion resistant than copper. Your foil vest should come to your hip bones, and be form-fitting but not too tight. Most vests come in right and left-handed versions, but ambidextrous (back-zip) versions are also available and sometimes have higher hips. Careful rinsing of your stainless steel vest in lukewarm water following a tournament or rigorous practice will wash out most of the sweat and salts that will damage it. Old sweat turns alkaline and can be quite damaging to the lamé fabric. The salt crystals left behind from dried sweat can also be abrasive and conducive to corrosion. Occasional hand washing in lukewarm water with a mild detergent (e.g.. Woolite or dish soap) and a small amount of ammonia is an excellent way of cleaning your stainless steel vest/jacket and prolonging its life. Some fencers recommend neutralizing the alkaline deposits in the vest with lemon juice added to the bath. Rinse your vest after washing and hang dry on a wooden or plastic hanger. Avoid folding, crumpling, wringing, or abrading it. All of these will fatigue the metallic threads in the fabric. Similar care should be taken with saber metallic jackets, cuffs, and mask bibs. With proper care, quality stainless steel vests and jackets should last 3-5 years of regular use. Copper jackets will usually not last more than 1-2 years under regular use.

Repair Electric jackets can go dead for several reasons, including high electric resistance due to oxidation and corrosion (usually accompanied by visible discoloration), broken metal fibers, or tears in the fabric. High-resistance areas that are due to oxidation can often be temporarily resuscitated by moistening them with water. As the moisture soaks up salts and other deposits in the fabric, conductivity will increase enough for the material to pass the armorer's check. Sweat from vigorous fencing will have the same effect. Some fabrics do not rely on conductive fibers, but rather are coated with metallic powder; these will lose conductivity when dirty, and require regular washing. Small dead spots can be "field-repaired" with a paper stapler or metallic paint. Larger dead areas and tears in the fabric can only be reliably repaired by stitching new metallic fabric over the affected areas. If no patch material is available, the fabric from one dead vest can be cut up and used to repair another (the material from the back is generally in better shape). Note that large areas can go dead due to broken fibers in a relatively small patch. Patching only the region of broken fibers can re-activate the entire dead area. Careful testing with an ohmmeter will determine where the dead zone exists. Patches should be folded over at the edges, and the stitch should overlap the edge to prevent flaps that will catch points.

Armour Padded jackets, plastrons, and gloves are available to take the sting out of hard hits. Most coaches will use special heavily-padded jackets or sleeves when giving lessons, but these are not intended for competitive use. Some masks have extra coverage at the back of the head to protect against whip-overs. Elbow protectors are also commonly worn by sabreurs. Athletic cups are important for men, and breast protectors are essential for women. The latter can take the form of individual bowls to cover each breast, or more complete full-chest protectors that cover the ribs up to the collarbone. Hard chest protectors for men are also available from some suppliers, and female groin protectors are available from some martial arts suppliers. Neck gorgets for additional throat protection can be found from some hockey equipment suppliers.

Grips For foil and epee, there are a wide variety of grips available that fall into two broad categories, traditional and pistol. Saber grips are all fundamentally of the same design. Most grips are fashioned of aluminum or plastic; the latter, while lighter, are also much more fragile and prone to cracking. Some metal grips are insulated with a layer of enamel (color coded by size) or rubber paint. Such insulation will turn an epee grip into valid target, but it is useful on foils to prevent grounding. Many traditional grips are surfaced with leather, rubber, or twine.   Traditional These are the French, Italian, and Spanish grips. All consist of a relatively simple handle, a large, exposed pommel, and in the case of the Italian and Spanish grips, crossbars or similar prongs for extra grip. The French grip is the simplest of all fencing grips in construction, and the most economical. It emphasizes finger control over strength, and provides considerable flexibility, and a variety of possible hand positions. It is the most common grip used by novices, and remains popular (especially in epee) among advanced fencers. The Italian grip is noted for its strength, but is fairly rare, partially because it requires a special tang on blades that are used with it. It is the only ambidextrous fencing grip. Italian grips are often used with a wrist strap, and contrary to rumor, they remain legal in modern competition. The Spanish grip is a compromise between the French and Italian grips, but is illegal in modern fencing competition, due to a technicality that forbids grips with orthopedic aids from being grasped in more than one manner. There are modern variants of the Spanish grip that do not use the French pommel, and these may be legal in competition if they fix a single hand position.  Pistol These are modern, orthopedic grips, shaped vaguely like a pistol, but still grasped in the traditional way. They provide a pronounced strength advantage over the traditional grips, but can encourage wrist movement over finger movement. Pistol grips all have the features of a large protuberance below the tang for the aids to grasp, a curved prong above the tang that fits in the crook of the thumb, and a large prong that extends along the inside of the wrist. There are many variations in shape, size, sculpting for the fingers, extra prongs, and so on, although certain designs enjoy wide popularity. Most pistol grip designs have names (e.g.. Visconti, Belgian, German, etc.) but these are not always consistent between manufacturers or regions.

Blades There are a large number of variables to consider when shopping for blades, including stiffness, length, durability, flex point, weight, balance, corrosion resistance, and (of course) price. Stiff blades provide better point control, but less "flickability". Some brands of blades (e.g.. Allstar) are sold in different flexibility grades. Blades that feel heavy in the tip often provide better point control, while those that are light in the tip often make for faster parries. Blades generally come in 5 sizes, 5 being the longest (90 cm for foil and epee, not including tang) and by far the most common. Shorter blades are somewhat lighter and quicker of action, and can be useful for children, fencers who prefer the lighter balance, or those who often provoke infighting in which a long blade can be disadvantageous. Cheap blades (including some Eastern European and Chinese brands) are typically not very durable or of poor temper, being inclined to snap, bend, and rust easily. Fencers who are gentle with their blades and clean, sand, or oil them regularly may nevertheless find them to be a good value. Blades typically break at the flex point in the foible. Less commonly the tips will break off, or the tang will snap at the base of the blade (this latter failure mode is fairly common in saber). Other serious modes of failure include sharp bends in the middle of the blade and S-bends in the foible, both of which are difficult to remove and will rapidly lead to fatiguing and eventual breaking of the blade.   FIE & Maraging Blades FIE-certified blades have the FIE logo stamped at the base of the blade, along with the code letters for the forge that produced the blade (caveat emptor: some disreputable forges have been known to falsify these marks). They are mandatory at official FIE and other high-level competitions. Maraging steel foil blades have a reputation for lasting considerably longer than regular steel blades, and are supposed to break more cleanly. They are made of a special alloy steel (incorporating iron, nickel, and titanium) that is only 5% as likely to develop the microcracks that lead to eventual breakage. Many fencers find them a superior value - although they cost twice as much, they last much more than twice as long. As they vary in character in the same way as regular blades, similar caution should be exercised when purchasing them. Maraging epee blades are also available, although there are alternative steels that have also received FIE certification. Leon Paul produces a non-maraging FIE epee blade worth mentioning; it is stamped from a sheet of steel, rather than forged whole. These blades are lightweight and flexible; some older ones passed the wire through a hole to the underside of the blade. FIE 2000 saber blades are stiffer than older saber blades, which is intended to reduce the incidence of whip-over touches.

Tangs The length and thread of the tang may be an issue; some blades are threaded for French or pistol grips only, and some blades with French grip tangs require an extra fitting for the thread. Italian grips may require a special tang, since part of it is exposed in the hilt. Metric 6x1 threading is standard, but not universal (esp. in the USA, where a 12x24 thread may be encountered); dies to re-thread the tang can be found at most hardware stores. If the tang must be cut to fit the grip, be very careful to leave enough thread to screw on the pommel nut. Tangs often have to be filed down to fit in tight grips. Tangs are attached by an exterior pommel on traditional grips, or by a pommel nut in pistol grips. Pommel nuts are typically fitted for a 6mm Allen wrench or hex key, 8mm socket wrench, or a standard screwdriver.  Bends and Curvature Many foil and epee fencers prefer a bend at the join of the tang and blade, so that the blade points slightly inside when held in sixte. Such a bend is best applied with a strong vise to avoid bowing the tang. A few fencers prefer to put this bend into the forte of the blade instead. Be gentle; blades will snap if handled with too much force. A gentle curve in the middle and foible of the blade is also common, and helps to square the point against oblique surfaces. Such a bend must be smooth and gradual. Sharp kinks are prohibited. Foible bends are best worked into the blade using the sole of one's shoe and the floor. For foil and epee, the total curvature of the blade is measured at the widest separation between the blade and an imaginary line drawn between the join of the forte and tang and the point. The blade can be laid across a flat surface such as a table top to measure the arch. Epees must not rise more than 1 cm above the surface, while foils are allowed 2 cm. If the objective is to angle the point to hit oblique surfaces better, this is a significant amount of curvature. If the objective is to "hook" the blade around blocking parries or body parts, however, these limits are fairly restrictive. Remember that the wire groove on epee and foil blades goes on the top (thumb side) of the blade, and the outside of the blade curvature. Saber curvature is handled differently, it being the deflection of the point from the line of the forte. 4 cm is all that is tolerated.

Guards Foil guards vary mostly in diameter, being between 9.5 and 12 cm across. The largest guards (e.g.. Negrini) may fail the weapon gauge check if they are dented or misshapen. Epee guards are almost always the maximum diameter (13.5 cm) for best protection, although they can vary considerably in profile shape, depth (3 - 5.5 cm), weight, and eccentricity (up to 3.5 cm off of center). Saber guards come in left- and right-handed versions (the outside of the guard being larger). Competition guards may include attachments for a capture sensor. If not done by the manufacturer, saber fencers may wish to insulate the edges of the guard (and the pommel) to prevent it from shorting to their cuff. 2.10 Points & Blade Wires Many fencers have experienced trouble mixing their points, barrels, and wires. They are best used in matched sets. There are many brands to consider, each with different qualities. Some brands are cloned by Chinese and eastern manufacturers; you may notice a difference in quality or durability when using imitations. Points are regularly tested in competition. Both foil and epee points must pass a weight test, by lifting a mass (500g for foil; 750g for epee) after the point is depressed. (Technically, epees only have to lift the mass 0.5 mm, whereas foils must lift it to the top of the point travel.) In addition, epees must pass two shim tests, the first to make sure that there is at least 1.5 mm of travel in the tip, and the second to make sure that the point doesn't light until the last 0.5 mm. If the weight test fails, the main spring can be replaced or made heavier by lightly stretching it. If the fencer thinks his point is too heavy, the spring can be replaced, compressed, cut down, or softened by heating one end in a flame. If the epee 0.5 mm shim test fails, the secondary contact spring is too long. It should be adjusted or compressed. If the 1.5 mm shim test fails, your point may be improperly set up, or may be mismatched with the barrel. Most points are held together by a pair of screws on the side of the barrel, and adjusting the springs requires disassembly. Some makes of epee point are adjusted using a small wrench or a single screw in the tip. FIE epee points use a solid contact in place of the secondary spring. Lighting distance can be increased by carefully filing the contact. Epee points work by closing the circuit between the two blade wires when they are depressed. Dirty or faulty points will normally cause the weapon to fail to register touches. Foil points work in the opposite manner, by opening a closed circuit between the blade wire and blade. Dirty or faulty points will usually cause the weapon to produce spurious off-target lights.

Blade wires are typically insulated with cotton to facilitate gluing and cleaning. Nevertheless, inexpensive wires can be made at home using 26 to 36 gauge wire-wrap or magnet wire from an electronics store. Use the cup from an old wire, and attach the new wire by heating the solder connection with a soldering iron. This is more difficult with epee wires; the contacts may have to be removed from the plastic base before soldering - whether this is possible depends on the brand of wire. In a pinch, with foils you can spool a bit of wire in the bottom of the cup; this will work for a short period, but eventually the spooled wire gets fouled with the spring and causes faults. Blade tips are threaded metric 3.5 x 0.60 for foils and 4.0 x 0.70 for epees. Rethreading with a die is difficult, but possible with adequate preparation. Pre-filing the tip into a long, blunt cone (5.5 mm long with the top 1.5 mm narrower than the inside diameter of the die) will assist in guiding the die through the initial turns; the extra metal left behind can later be removed with a file. The leading edge of the wire groove should be rounded and the groove filled with epoxy putty or similar hard compound to prevent the die from jamming on the groove edge. The putty must be removed afterwards, of course. No more than 4 mm of threading is needed to affix the barrel. Body Wires The primary question with foil and saber body wires is bayonet (e.g.. Paul brand) vs. two-prong (e.g.. Uhlmann brand). They are equally functional; the primary difference is in cost and maintenance. Two-prong is a simpler design, and usually less expensive, but sometimes has a reputation for being less reliable (depending on the brand). On the other hand, bayonet designs have recently also acquired a reputation for unreliability; this is probably due to the arrival of cheap no-name bayonet body wires that give unreliable performance. Brand-name body wires usually give superior reliability. Of course, choice of body wire also determines the choice of weapon socket (or vice versa). One of the primary considerations in deciding which format to go with should be the prevalent format in your club or region. Going with the local favorite will make it easier to borrow weapons or wires when yours fail. Epee body wires are all of the same basic 3-prong design. The main reliability concern is how well the prongs maintain contact over time. Some brands accumulate grime or corrosion, while others simply wear down and become loose in the socket; sometimes the prongs can be periodically re-bent to maintain firm contact.

Glue Recycled blades must be cleaned before they are re-wired. 10 minutes with a utility knife to remove all traces of glue from the groove is usually sufficient, although chemical solvents (acetone, nail polish remover) may be helpful with some glues such as super-glue. New blades sometimes require a small amount of cleaning as well, to remove grease and grit from the machining process. Popular wiring glues include Duco cement, 5-minute epoxy, and cyanoacrylate glues (i.e.. super-glue). Some fencers have reported success using rubber cement, silicone, and white glue. Cleaning and gluing techniques will vary depending on your choice. Thin, quick-drying glues such as cyanoacrylates are best put down over top of the wire as the wire is held in the groove. If you use a thicker glue such as epoxy, you can carefully prepare one surface first. For foil wires, coat the wire in glue, and then gently pull it tight and lay it into the groove. For epees you can alternatively lay a bed of glue down before setting the wire in the groove, then make a second run of glue over the wire to seal it in place. Top glue the blade, and let it dry while the blade is held in a flexed position with the point in the air. An acetone bath for cleaning blades can be constructed from a length of copper tubing, sealed at one end. Fill with acetone, drop in your blades, and let soak overnight. White glues can be soaked in water to soften them. A blade-bowing tool for holding blades flexed while the glue dries can be constructed from a length of cord or chain attached to some small cups (film canisters work well). Place the cups over either end of the blade, and the tension of the cord will hold the blade bent for as long as you need it. Alternatively, stand the blade up with the point bent under the rim of a counter or table.

Scoring Apparatus The scoring apparatus consists of the reels, floor wires, and indicator box, and optionally a timer and scoring tower(s). As of February 1, 2000, the scoring lamps indicate who scored the touch. Older scoring boxes are wired to indicate who received the touch. Reversing the cables on older boxes will cause them to function in the new manner. Modern foil scoring boxes should display only a colored light or a white light for each fencer. Older boxes (or ones with older firmware) may display both if an off-target touch is immediately followed by an on-target touch. Modern saber scoring boxes should tolerate sabers without capture sensors. Older boxes will display white lights with captureless sabers, unless the sensor leads are shorted on the weapon. It is possible to defeat older foil scoring circuits by grounding your own weapon to your lamé (your opponent's touches will fail to register, but yours will register). This is illegal, and scoring boxes must be equipped with a grounding light to detect when fencers do this. Newer boxes have an anti-fraud feature to eliminate this hazard and allow touches to be scored in spite of grounding. Boxes without such an anti-fraud circuit are useful for detecting dead spots on lamés (ground the lamé, and then touch the opponent's lamé; white lights indicate a dead spot). Reels are typically portable, spring-wound devices (either "turtles" or "snails"). Less portable (but often more reliable) systems involving pulleys and bungee cords are used at some salles. These systems require firm anchor points at the ends and middle of the piste, so are not as portable as reel systems.

Wireless Systems Wireless scoring systems are currently prohibited in competition, due to the difficulties in distinguishing between real and forged signals. Various modern electronics technologies hold the promise of circumventing these problems, and some wireless designs are currently in development. The FIE is experimenting with some systems, and is expected to rule on their use in the near future. Simple "buzzboxes", compact battery-powered devices that signal touches with a light or buzzer, are available from various sources, but have very limited functionality. As a rule, they cannot distinguish between targets (on/off, bell hits, etc.), or distinguish the timing of hits, and do not work with saber at all. Some manufacturers claim to sell advanced buzzboxes that alleviate some of these problems (see, for example, http://members.aol.com/phaedltd/foilmstr.htm). 

Tools Every fencer needs a small toolkit for equipment maintenance. The following tools and supplies are essential:

• precision screwdrivers for point maintenance and assembly; also handy for body wire repair.

• pliers for tightening points; wire cutters are also useful, and are incorporated into many pliers.

• Allen wrench, screwdriver, or socket wrench for pommel nuts.

• quick-drying (e.g.. cyanoacrylate) glue for emergency wire repairs.

• cloth tape for insulating foil tips.

Fencers who do a lot of maintenance will also find the following tools useful:

• metal file for fitting tangs into guards/grips.

• hacksaw for cutting tangs down.

• blade-bowing tool for gluing.

• scraping tool for cleaning old glue out of grooves; an old jeweler's screwdriver will do, provided you don't mind ruining it. Utility knives will also work.

• Lighter for burning off wire insulation or softening springs.

• vice-grip pliers for heavy-duty work away from a work bench.

• Swiss-army knife for everything else.

• weapon-tester box.

Serious armourers will need many other tools, including:

• workbench with vise.

• ohmmeter or multimeter

• mask tester.

• metallic fabric tester.

• body wire tester.

• set of weights and shims.

• soldering iron (light for wires; heavy duty for pistes).

• Dremel tool.

Foil Troubleshooting

• Weapon fails weight test. 1) The spring is too soft. 2) Friction between the barrel and point is overwhelming the spring. 3) Too much tape on the end of your blade is jamming against the hole in the weight.

• Hitting the strip produces a light. 1) The strip is not grounded, or is dirty/corroded. 2) The exterior of the foil point is dirty/corroded.

• Valid touch produces a white light. 1) Opponent's lamé is not connected. 2) Opponent's body wire is broken. Diagnose by testing at the lamé clip and at the reel wire connection. 3) Opponent's lamé has a dead spot. With some boxes, dead spots can be diagnosed by grounding the fencer's weapon to his suspect lamé, and then probing the lamé with the other fencer's weapon. This does not work with boxes that have an anti-fraud feature. 4) Your foil body wire polarity is reversed. 5) The exterior of your foil point is dirty/corroded. 6) Foil circuit is breaking just before the touch (see below).

• Foil produces white lights when the tip is not depressed. 1) The tip is jammed shut. 2) Grit in the tip is breaking the circuit. 3) The barrel is loose. 4) The foil wire is broken. If the lights are intermittent, try flexing the blade to trigger the white lights; success means the blade wire is probably broken. If the lights are triggered by shaking the blade, the point or clip may be to blame. 5) The body wire is insecurely clipped to the weapon. 6) The body wire is broken. Diagnose by shorting the two connections on the weapon end of the body wire. If the lights continue, the body wire or reel is at fault. Short the two close prongs at the other end of the body wire; if the lights stop, the body wire is to blame. If not see (7). 7) The scoring apparatus is broken. The connections, reel wire, reel contacts, floor wire, or scoring box may be at fault. Short the same wires as in (6) at the various points of connection to successively eliminate each. 8) The pommel is loose.

• Foil produces colored lights when the tip is not depressed but is in contact with the opponent's lamé. 1) The circuit is broken; see previous problem. 2) The circuit is breaking when the blade flexes as it contacts the lamé or when the point is jarred. Could be caused by grit in the tip, a broken wire whose ends normally remain in contact, or a separated wire and cup. 3) The box is on the wrong weapon setting.

• There is no light when a touch is made. 1) You are not hitting properly. 2) Friction between the barrel and point is preventing the point from depressing. 3) Spring is too heavy. 4) Opponent is grounding his weapon to his lamé. 5) You are grounding your own foil to your opponent's lamé. Improve the insulation on your foible (15 cm is required). 6) The foil wire is shorting to the weapon. Check the integrity of the insulation along the wire and beneath the cushion. Also make sure no wire ends at the clip are touching the rest of the weapon. 7) The scoring box is on the wrong weapon setting. 8) There is a short in your body wire. If there are no lights when the weapon is unplugged, but there are lights when the body wire is unplugged from the reel, the body wire is at fault. 9) There is a short in the scoring apparatus. If there are no lights when the fencer unplugs from the reel, this is the problem. It can be isolated by successively unplugging connections to the box.

• Wrong lights go off when a touch is made. 1) The scoring box is on the wrong weapon setting. 2) The floor wires are reversed.

Epee Troubleshooting

• Weapon fails weight test. 1) The main spring is too soft. 2) Friction between the barrel and point is overwhelming the spring.

• Weapon fails shim tests. 1) The contact spring is too long. 2) Point and barrel are mismatched.

• Hitting the strip produces a light. 1) The strip is not grounded, or is dirty/corroded. 2) The tip is dirty/corroded.

• A touch to the guard produces a light. 1) The guard is dirty/corroded. 2) The exterior of the tip is dirty/corroded. 3) The body wire (in particular the ground) is faulty (test against the ground pin of the body cord; if the lights continue, the body wire or reel is at fault). 4) The contact between the clip and weapon is faulty or corroded. 5) The guard is loose. 6) The ground pin socket is loose in the weapon clip.

• Epee produces lights when the tip is not depressed. 1) The tip is jammed shut. 2) Grit in the tip is shorting the circuit. 3) The blade wires are shorting to each other. 4) The scoring box is on the wrong weapon setting.

• There is no light when a touch is made. 1) You are not hitting properly. 2) Friction between the barrel and point is preventing the point from depressing. 3) Main spring is too heavy. 4) Contact spring is too short. 5) The barrel is loose. 6) Point contacts are dirty/corroded. 7) The blade wire is broken. 8) The blade wire is shorting to the weapon. 9) Something has come unplugged between you and the box. 10) The wires are improperly fastened to the weapon clip. 11) The body wire is broken. 12) The reel or floor wire is broken. 13) The scoring box is on the wrong weapon setting.

Saber Troubleshooting

• Box displays white lights. 1) The box requires sensors; or the saber is not shorted for sensorless operation. 2) The sensor is malfunctioning or jammed. 3) The wire in the saber is broken, or not fastened securely. 4) The mounting bracket for the sensor is loose. 5) The body wire is loose in the socket. 6) The body wire is broken. Switch to foil setting, and diagnose as for foil. 7) The scoring apparatus is broken. Switch to foil setting and diagnose as for foil.

• There is no light when a touch is made. 1) You are not hitting hard enough (with sensors). 2) The opponent's lamé has dead spots. 3) The opponent's lamé or mask is not connected. 4) The sensor is malfunctioning. 5) The clip is not properly wired to the weapon. 6) The opponent's body wire is broken. 7) There is a break in the scoring apparatus on the opponent's side. This may be in the reel, floor cable, or scoring box. 8) There is a short in the body wire. Switch to foil setting and diagnose as for foil. 9) There is a short in the scoring apparatus. Switch to foil setting and diagnose as for foil.

• Box indicates a touch following weapon contact or a parry. 1) You aren't parrying well enough. 2) The weapon is shorting to the lamé. Insulate the edges of the guard and the pommel, or hold the weapon in such a way as to prevent the contact.

• Wrong lights go off when a touch is made. 1) The scoring box is on the wrong weapon setting. 2) The floor cables are reversed at the box.

Fencing Organizations

The FIE head office is located at: Federation Internationale d'Escrime Avenue Mon-Repos 24 CH-1005 Lausanne, Switzerland TEL: +41 21 320 31 15 FAX: +41 21 320 31 16 URL: http://www.fie.ch 

A complete list of current FIE member nations and their head offices is available at the FIE website, http://www.fie.ch/Federation/carnet/federation.htm.

The head offices of the fencing federations of English-speaking countries are:

UNITED STATES: United States Fencing Association One Olympic Plaza Colorado Springs, CO 80909-5774 TEL: (719) 578-4511 FAX: (719) 632-5737 URL: http://www.usfencing.org EMAIL: info@USFencing.org 

AUSTRALIA: Australian Fencing Federation P.O. Box 7517 Melbourne VIC 3004, AUSTRALIA TEL: (61) 3 9510 8399 FAX: (61) 3 9510 2722

BRITAIN: British Fencing (Amateur Fencing Association) 1 Barons Gate 33-35 Rothschild Road London W4 5HT TEL: 020 8742 3032 EMAIL: British_Fencing@compuserve.com URL: http://www.britishfencing.com 

CANADA: Canadian Fencing Federation 2197 Riverside Dr. Suite 301 Ottawa ON K1H 7X3 CANADA TEL: (613) 731-6149 FAX: (613) 731-6952 URL: http://www.fencing.ca

IRELAND Irish Amateur Fencing Federation Branksome Dene, Frankfort Park Dundrum Dublin 14 TEL/FAX: 353-1-2984039 EMAIL: ddonegan@iol.ie

Contact your national fencing body to get the addresses and phone numbers of your local/provincial/divisional fencing associations. In addition to the above, there are also numerous associations for fencing coaches and masters. Among these are:

British Academy of Fencing EMAIL: jperry@easynet.co.uk URL: http://www.baf-fencing.com United States Fencing Coaches Association (USFCA) URL: http://www.usfca.org

Equipment Vendors

Many of the following businesses will mail you a catalogue if requested. Presence in the FAQ does not imply endorsement by the author.

USA: Blade Fencing Equipment, Inc. George Santelli, Inc. 245 West 29th St. 465 South Dean St. NY, NY 10011 Englewood, NJ 07631 TEL: (212) 244-3090 TEL: (201) 871-3105 FAX: (212) 244-3034 FAX: (201) 871-8718 URL: http://www.blade-fencing.com URL: http://www.santelli.com 

Triplette Competiton Arms American Fencers Supply 101 E. Main St. 1180 Folsom St. Elkin, NC 28621 San Francisco, CA 94103 TEL: 336-835-7774 TEL: (415) 863-7911 FAX: 336-835-4099 FAX: (415) 431-4931 URL: http://www.triplette.com URL: http://www.amfence.com

Colonial Distributing Uhlmann International Fencing Equipment Wolf Finck, Pres. USA Headquarters PO Box 636 330 N. Fayette Drive Cedarburg, Wisconsin 53012 Fayetteville, GA 30214 TEL: (414) 377-9166 TEL: (770) 461-3809 FAX: (414) 377-9166

The Fencing Post Zivkovic Modern Fencing Equipment 2543 Monticello Way 77 Arnold Road Santa Clara, CA 95051 Wellesley Hills, MA 02181 TEL: (408) 247-3604 TEL: (617) 235-3324 FAX: (408) 243-1918 FAX: (617) 239-1224 URL: http://www.thefencingpost.com URL: http://www.zivkovic.com/ EMAIL: saul@thefencingpost.com 

Cheris Fencing Supply Southern California Fencers Equipment 5818 East Colfax Avenue 16131 Valerio Street Denver, CO 80220 Van Nuys, CA 91406 TEL: (303) 321-8657 TEL: (818) 997-4538 1-800-433-6232 FAX: (818) 998-8385 FAX: (303) 321-8696 Hours: 4:30pm - 7:30pm Wed & Thurs 

Alexandre Ryjik Fencing Equipment Belle and Blade 4094 Majestic Lane Suite 163 124 Pennsylvania Ave. Fairfax, VA 22033 Dover, NJ 07801 TEL: (703) 818-3106 TEL: (201) 328-8488 Blue Gauntlet Physical Chess 246 Ross Ave. 1012A Greeley Avenue North Hackensack, NJ 07601 Union, NJ 07083 TEL: (201) 343-3362 TEL: 800-FENCING (800-336-2464) FAX: (201) 343-4175 FAX: (877) 650-3069 URL: http://www.blue-gauntlet.com EMAIL: service@physicalchess.com URL: www.physicalchess.com M.A.S. Weapons 5600 E. 36th St. N. #7 

Vintage Sporting Equipment Tulsa, OK 74115-2101 P.O. Box 364 TEL: (918) 835-0467 Sheboygan, WI 53082 FAX: (918) 835-6663 TEL: (800) 690-4867 contact: Kevin Mayfield FAX: (414) 459-9666 Le Touche of Class H.O.M.

Fencing Supply TEL: 310-428-8585 P.O. Box 261121, Encino, CA 91426-1121 FAX: 310-428-8385 or, SwordPlay Fencing Studio, EMAIL: letouchecl@aol.com 64 E. Magnolia Blvd., Burbank, CA 91501 URL:http://members.aol.com/terykins/Fencing/Fencing.html 

Allstar USA TEL: 1-888-ALSTAR5 EMAIL: alstarusa@aol.com URL: http://www.allstar-usa.com SCORING MACHINES: Commodore Systems (Saber 3-weapon box) P.O. Box 22992 Nashville, TN 37202 TEL: 1-800-627-4903 (615) 329-9398 FAX: (615) 329-0640 EMAIL: howardef@macpost.vanderbilt.edu 

AUSTRALIA: Aladdin Sports Fentec Sports PO Box 13, Balwyn 48 Clara St Victoria Australia 3103 Camp Hill QLD 4158 TEL: (03) 9483-3077 TEL: (07) 395 3852 FAX: +61 3 9816-4072 EMAIL: fencing@aladdinsports.com.au URL: http://www.aladdinsports.com.au 

Fencing International Equipment Angelo Santangelo, Maestro of Arms 47 Dalrymple Avenue, Chatswood, NSW, 2067 TEL: +61-2-419-8968

AUSTRIA: Fechtsport Michael Martin Dr. Gohren-Gasse 22 A-2340 Mvdling TEL: (43) 2236 471370 FAX: (43) 2236 471378

BELGUIM: Frank Delhem Sport Gijsbrecht van Deurnelaan 31 Bus 6, B-2100 Deurne TEL: (32) 3 6442676 FAX: (32) 3 6442707 URL: http://www.synec-doc.be/escrime/materiel/delhem.htm Bambust 625 Brusselse steenweg 1900 Overijse - Jesus-Eik TEL: (0)2 657 42 89 or (0)2 687 65 71 URL: http://www.synec-doc.be/escrime/materiel/bambust.htm 

BRITAIN: Blades Rome Fencing Equipment 35 Edinburgh Drive 29 Grange Way Staines, Middlesex TW18 1PJ Broadstairs, Kent TEL: 01784 255-522 CT10 2YP FAX: 01784 245-942 TEL/FAX: (01843) 866588

Merlin Enterprises Duelist Enterprises 24 Prices Lane 1 Barrowgate Road York, YO2 1AL Chiswick, London W4 TEL/FAX: 01904 611537 TEL: 020 8747 9629 URL: http://www.konect.mcmail.com/merlin/ 

Gladiators Leon Paul Westerleigh Units 1 & 2, Cedar Way North Littleton Camley St., London NW1 0JQ Evesham TEL: 020 7388-8132 WR11 5QX FAX: 020 7388-8134 TEL: +44 (0)1386 830982 URL: http://www.leonpaul.com TEL: (Mobile) +44 (0) 7970 642967 FAX: +44 (0)1386 833112 EMAIL: david.kirby@easynet.co.uk 

CANADA: Fencing Equipment of Canada Allstar (Herb Obst Agency) 2407 Bayview Place Box 31039 Calgary, Alberta T2V 0L6 Kelowna, BC, V1Z 3N9 TEL: (403) 281-1384 TEL: (250) 769-1810 FAX: (403) 281-0043 FAX: (250) 769-0464 Agents: Prieur-PBT Halifax: Barbara Daniel Vijay Prasad (902) 457-9228 383 Tamarack Dr. Winnipeg: Stephen and Joan Symons Waterloo, Ontario N2L 4G7 (204) 233-4795 TEL: (519) 885-6496 Ottawa: Ron Millette FAX: (519) 888-6197 (613) 235-2226 Regina: John Brunning Imex Sport (306) 244-5655 710 Marco-Polo Vancouver: Zbig Pietrusinski Boucherville, Quebec J4B 6K7 (604) 984-2157 TEL/FAX: (514) 449-0651 Dela Escrime 706 Papineau Gatineau, Quebec, J8P 3Z8 TEL: 819 669-4459 FAX: 819 669-5764 EMAIL: dela@cactuscom.com 

DENMARK: Allstar-Danmark Skoldhoj Alle 6F DK-2920 Charlottenlund TEL: (45) 39638463 FAX: (45) 39623760

FRANCE: Prieur Soudet 18 rue Nemours 31 Boulevard Voltaire 75011 Paris (metro Parmentier) 75011 Paris (metro Oberkampf) TEL: (0)1 43 57 89 90 TEL: (0)1 48 06 48 48 FAX: (0)1 43 57 80 11 Uhlmann/Allstar Uhlmann/Allstar 7, rue Leonard de Vinci 138 rue de Chevilly 69120 Vaulx-en-Velin, Lyon 94240 L'Hay-les-Roses, Paris TEL: (0)4 78 79 28 96 TEL: (0)1 46 87 26 70 FAX: (0)4 78 80 11 33 FAX: (0)1 46 87 24 68 Escrime Technologies/Fencing Technologies (see Scoring Machines subsection, below, for contact information)

GERMANY: Allstar Fecht-Center Carl-Zeiss Strasse 61 D-72770 Reutlingen, Germany TEL: +49 (0)7121 9500-0 FAX: +49 (0)7121 9500-99 EMAIL: info@allstar.de URL: http://www.allstar.de Uhlmann Fecht-Sport Fecht-Sport H.Lieffertz Uhlandstrasse 12 Eibenweg 3 D-88471 Laupheim, Germany D-50767 Koln TEL: +49 (0)7392 9697-0 TEL/FAX: +49 221 795254 FAX: +49 (0)7392 9697-79 EMAIL: hagen@netcologne.de EMAIL: info@uhlmann-fechtsport.de URL: http://www.uhlmann-fechtsport.de

ITALY: Allstar-Italia di Mazzini Lucia Negrini Fencing Line Via Nostra Signora di Lourdes 72 TEL: ++39-45-8001984 I-00167 Roma FAX: ++39-45-8002755 TEL/FAX: (39) 6 6638830 EMAIL: negrini@negrini.com URL: http://www.negrini.com

NETHERLANDS: Stichting Topschermen Den Haag Van Galenstraat 14M NL-2518 EP Den Haag TEL/FAX: (31) 70 3640624 PORTUGAL: Joao Firmino Paulino Cabral Av. Curry Cabral 9 1Esq. Venda-Nova P-2700 Amadora TEL: (351) 1 4744040 FAX: (351) 1 3978376 

SPAIN: Es.Fid SA Av. Madrid 171-177 Esc. Isda 3070 E-08028 Barcelona TEL: (34) 3 2112933 FAX: (34) 3 4186844 

SWITZERLAND: Fechtsport Raeber und Co. Habsburgerstrasse 26 CH-6003 Luzern TEL: 041 / 210 22 40 FAX: 041 / 210 22 44 EMAIL: info@fechtshop.ch URL: http://www.fechtshop.ch/ 

Escrime Technologies/Fencing Technologies 1 rue Danton Besancon 25000 FRANCE TEL: 011 (33) 3 81-61-16-05 FAX: 011 (33) 3 81-61-13-67 EMAIL: EscrimeTec@aol.com, richard-marciano@uiowa.edu, marciano@sdsc.edu Eigertek (Eclipse 3-weapon 100% solid state scoring machine) URL: http://www.sonic.net/~schlae/eigertek EMAIL: schlae@sonic.net 

Fencing Books

The following list of books on the sport of fencing is not complete. Books on historical methods, stage fighting, Japanese fencing, and other eastern martial arts are not listed here. Online bookstores and databases (eg. www.amazon.com) are a good resource to search for more information. Hank Pardoel published his Biliography of the Art and Sport of Fencing in 1996 through the Queen's University School of Physical Education. It contains a thorough index of thousands of fencing books, articles, microfilms, and other resources dating from the 1400s to the present. Alaux, Modern Fencing (Charles Scribner, 1975) Anderson, All About Fencing (Arco, 1970) Anderson, Tackle Fencing (Paul, ?) Angelo, The School of Fencing (Land's End Press, 1971) Barbasetti, The Art of the Foil (EP Dutton, 1932) de Beaumont, All About Fencing (Coles, 1978) de Beaumont, Fencing: Ancient Art and Modern Sport (ES Barnes, 1978) de Beaumont, Teach Yourself Fencing (McKay, 1968) de Beaumont, Your Book of Fencing (Transatlantic, 1970) Beke & Polgar, The Methodology of Sabre Fencing (Corvina Press, 1963) Bower, Foil Fencing 7th Ed. (Brown & Benchmark, 1993) Campos, The Art of Fencing (Vantage Press, 1988) Castello, The Theory and Practice of Fencing (Charles Scribner, 1933) Castello, Fencing (Ronald Press, 1962) Castle, The Schools and Masters of Fence (Arms & Armour Press, 1969) Crosnier, Fencing with the Foil (Faber & Faber, 1951) Curry, Fencing (Foresman, 1969) Curry, The Fencing Book (Human Kinetics, 1983) Deladrier, Modern Fencing (U.S. Naval Institute, 1948, reprint 1954) Evangelista, The Art and Science of Fencing (Masters Press, 1996) Evangelista, Encyclopedia of the Sword (Greenwood, 1995) FIE, Rules of Competition (AFA, CFF, USFA, etc., every year) Garret, Foil Fencing (Penn State, 198?) Garret et al, Foil, Sabre, and Epee Fencing (Penn State, 1994) Gaugler, Fencing Everyone (Hunter, 1987) Gaugler, History of Fencing (Laureate, 1997) Hutton, The Sword and the Centuries (Charles E. Tuttle, 1980) Kogler, Planning to Win (CounterParry, ?) Lukovich, Electric Foil Fencing (Corvina Press, 1971) Lukovich, Fencing (Corvina Press, 1986) Manley, Complete Fencing (Doubleday, 1979) Morton, A-Z of Fencing (Queen Anne, 1988) Nadi, The Living Sword: A Fencer's Autobiography (Laureate Press, 1995) Nadi, On Fencing (G.P. Putnam, 1943) (Laureate Press, 1994) Nelson, Winning Fencing (Henry Regnery, 1975) Norcross, Fencing: the foil (Ward Lock, ?) Palffy-Alpar, Sword and Masque (FA Davis, 1967) Pitman, Fencing, Techniques of Foil, Epee, and Sabre (Crowood, 1988) Manley, Compleate Fencing (Doubleday, 198?) Selberg, Foil (Addison-Wesley, 1976) Selberg, Revised Foil (Spotted Dog Press, 1993) Shaff, Fencing for All (Scribner, 1981) De Silva, Fencing: The Skills of the Game (Crowood, 1992) Simmonds and Morton, Start Fencing (Sportman's Press, 1989) Simmonds and Morton, Fencing to Win (Sportman's Press, 1994) Simonian, Basic Foil Fencing 4th Ed. (Kendall/Hunt, 1995) Skipp, Fencing (Know the Sport) (Stackpole, 1997) Szabo, Fencing and the Master (Corvina Kiado, 1982) Bac Tau, Fencing (self published, 1994) Vass, Epee Fencing (Corvina, 1976) Wyrick, Foil Fencing (W.B. Saunders, 1971)

Fencing Magazines

Hammerterz Forum - A quarterly publication focussing on the practical traditions and literature of swordplay. US$35/year, US$60/2 years. Hammerterz Verlag, P.O. Box 13448, Baltimore, MD, 21203, USA. Cut and Thrust - A journal dedicated to the history, research and development of edged weapons. Published 4 times/year by Ronin M/A Publications, 34-3 Shunpike Road, Dept 162 Cromwell, CT 06416 USA. Subscription cost: $20/year. Veteran Fencers Quarterly - A quarterly publication focussing on veteran's fencing. Subscriptions are $8/year. Contact zippydav@aol.com for more information. Academy of Arms Online Quarterly - A Web-zine "dedicated to the True Art, Science, and Spirit of the Sword." Subscriptions are US$20 per year. See http://www.clarityconnect.com/webpages/ifv/v1n1.html for information. Japanese Sword Society of the United States Newsletter - on collecting and appreciating Japanese Swords. Published by JSS/US Box 712 Breckenridge, Texas USA 76024. Subscription cost: $25/yr in USA, $35/yr foreign. Gekkan Kendo Nippon (monthly Japan Kendo) - Japanese sword arts magazine, published in Japanese by Ski Journal Co. Ltd. 3-11 Yotsuya, Shinjuku-ku, Tokyo Japan. Subscription cost: 8106 yen/year. Fencing Association Magazines/Newsletters: Escrime Internationale - published by the FIE (see section 3.1 for contact information. Prices are 170 FF or $35 US for subscribers outside of France (150 FF/$30 otherwise). A subscription form can be found on the FIE web page. American Fencing - published quarterly by USFA (see section 3.1 for contact information). Subscriptions for non-members of the USFA are $12 in the US and $24 elsewhere. USFA members subscribe through their dues. Subscriptions also include the quarterly National Newsletter. Back issues available at http://www.uncg.edu/student.groups/fencing/AmericanFencing/. Escrime - published 6 times/year by Federation Francaise d'Escrime, in French. Subscription cost: approx 230 FF/yr + 75 Fr for Air Mail. See section 3.1 for telephone/address info. The Sword - published quarterly by Amateur Fencing Association. Subscription cost: 12 pounds/yr (domestic?). Visit their website at http://www.britishfencing.com/The_Sword.html.

Fencing Films

The following films involve some amount of swordfighting or swashbuckling. They are rated on a four-star system, which is a general critics' opinion of the film as a whole (taken from commercial movie databases), not an indicator of the quality or quantity of the film's fencing. Major actors and occasionally the director (denoted by a '!') are named. Films with 2 stars or less have been omitted, as have recent films that have not yet been widely released or reviewed. The Adventures of Don Juan (1949, Errol Flynn, Raymond Burr, ***) The Adventures of Robin Hood (1938, Errol Flynn, Basil Rathbone, ****) Against All Flags (1952, Errol Flynn, Anthony Quinn, **1/2) Barry Lyndon (1975, Ryan O'Neal, Patrick Magee, !Stanley Kubrick, ***1/2) Black Arrow (1985, Oliver Reed, **1/2) Black Pirate (1926, Douglas Fairbanks, ***1/2) Black Swan (1942, Tyrone Power, Anthony Quinn, ***1/2) Blind Fury (1990, Rutger Hauer, **1/2) Bob Roberts (1992, Tim Robbins, ***1/2) Braveheart (1995, Mel Gibson, ***1/2) By the Sword (1993, F. Murray Abraham, Eric Roberts, **1/2) Captain Blood (1935, Errol Flynn, Basil Rathbone, ***1/2) The Challenge (1982, Toshiro Mifune, Scott Glenn, **1/2) The Charge of the Light Brigade (1936, Errol Flynn, David Niven, ****) Conan the Barbarian (1982, Arnold Schwarzenegger, James Earl Jones, **1/2) The Corsican Brothers (1941, Douglas Fairbanks Jr, **1/2) The Count of Monte Cristo (1934, Robert Donat, ***) The Count of Monte Cristo (1975, Richard Chamberlain, Tony Curtis,***) The Court Jester (1956, Danny Kaye, Basil Rathbone, **1/2) Crossed Swords (1978, Raquel Welch, Charlton Heston, **1/2) Cutthroat Island (1995, Geena Davis, Matthew Modine, **1/2) Cyrano de Bergerac (1950, Jose Ferrer, ***1/2) Cyrano de Bergerac (1990, Gerard Depardieu, ****) Dangerous Liaisons (1988, John Malkovich, Glenn Close, ***1/2) Don Juan de Marco (1995, Johnny Depp, Marlon Brando, ***1/2) The Duellists (1978, Harvey Keitel, Keith Carradine, !Ridley Scott, ***) El Cid (1961, Charlton Heston, Sophia Loren, ***) The Empire Strikes Back (1980, Mark Hamill, Harrison Ford, ****) Excalibur (1981, Nicol Williamson, !John Boorman, ***1/2) The Fencing Master (1992, !Pedro Olea, ***) First Knight (1995, Sean Connery, Richard Gere, **1/2) The Flame and the Arrow (1950, Burt Lancaster, Virginia Mayo, ***) Flesh and Blood (1985, Rutger Hauer, !Paul Verhoeven, **1/2) The Four Musketeers (1975, Richard Chamberlain, Michael York, ***) Frenchman's Creek (1944, Basil Rathbone, Joan Fontaine, ***) Gladiator (2000, Russel Crowe, !Ridley Scott, ****) Glory (1989, Matthew Broderick, Denzel Washington, ***1/2) Hamlet (1948, !Laurence Olivier, ****) Hamlet (1969, Anthony Hopkins, ***1/2) Hamlet (1990, Mel Gibson, Glenn Close, !Franco Zeffirelli, ***) Hamlet (1996, Kenneth Branagh, John Gielgud, Charlton Heston, ****) Henry V (1944, Laurence Olivier, ****) Henry V (1989, !Kenneth Branagh, ***1/2) Highlander (1986, Christopher Lambert, Sean Connery, **1/2) The Hunted (1995, Christopher Lambert, **1/2) Ivanhoe (1953, Robert Taylor, Elizabeth Taylor, ***1/2) Ivanhoe (1982, James Mason, **1/2) Ladyhawke (1985, Rutger Hauer, Michelle Pfeiffer, **1/2) Long John Silver (1954, Robert Newton, Kit Taylor, ***) Macbeth (1948, Orson Welles, Roddy McDowall, ***) Macbeth (1971, Jon Finch, ***1/2) The Magic Sword (1962, Basil Rathbone, **1/2) The Man in Grey (1946, James Mason, Stewart Granger, ***1/2) The Man in the Iron Mask (1998, Leonardo di Caprio, Jeremy Irons, ***) The Mark of Zorro (1920, Douglas Fairbanks, ***) The Mark of Zorro (1940, Basil Rathbone, Tyrone Power, ***1/2) The Mask of Zorro (1998, Antonio Banderas, Catherine Zeta-Jones, ***) The Messenger (1999, Milla Jovovich, !Luc Besson, ***) Morgan the Pirate (1961, Steve Reeves, **1/2) Othello (1996, Lawrence Fishburne, Kenneth Branaugh, ***1/2) The Prince and the Pauper (1937, Errol Flynn, Claude Rains, ***) The Princess Bride (1987, Mandy Patinkin, Cary Elwes, !Rob Reiner, ***) The Prisoner of Zenda (1937, Douglas Fairbanks Jr, David Niven, ****) The Prisoner of Zenda (1952, Stewart Granger, James Mason, ***) The Private Lives of Elizabeth and Essex (1939, Errol Flynn, ***) Ran (1985, Tatsuya Nakadai, !Akira Kurosawa, ****) The Return of the Jedi (1983, Harrison Ford, Carrie Fisher, ***1/2) Robin and Marian (1976, Sean Connery, Audrey Hepburn, ***1/2) Rob Roy (1995, Liam Neeson, Jessica Lange, ****) Romeo and Juliet (1935, Basil Rathbone, Leslie Howard, ***1/2) Romeo and Juliet (1954, Laurence Harvey, ***) Romeo and Juliet (1968, Michael York, !Franco Zeffirelli, ***1/2) Royal Flash (1975, Malcolm McDowell, ***) Sanjuro (1962, Toshiro Mifune, !Akira Kurosawa, ***) Scaramouche (1952, Stewart Granger, Janet Leigh, ***) The Scarlet Pimpernel (1935, Leslie Howard, Merle Oberon, ***1/2) The Sea Hawk (1940, Errol Flynn, Claude Rains, ****) The Seven Samurai (1954, Toshiro Mifune, !Akira Kurosawa, ****) The Seventh Voyage of Sinbad (1958, Kerwin Matthews, ***) Shogun (1980, Toshiro Mifune, Richard Chamberlain, **1/2) Sinbad the Sailor (1949, Douglas Fairbanks Jr, Maureen O'Hara, ***) Six-String Samurai (1998, Jeffrey Falcon, Justin McGuire, ***) The Spanish Main (1945, Maureen O'Hara, Paul Heinreid, ***) Spartacus (1960, Kirk Douglas, !Stanley Kubrick, ****) Sunshine (1999, Ralph Fiennes, William Hurt, ****) Star Wars (1977, Harrison Ford, Alec Guinness, ****) Sweet Liberty (1986, Alan Alda, Michael Caine, **1/2) The Sword of Sherwood Forest (1961, Richard Greene, Peter Cushing, **1/2) The Three Musketeers (1935, Walter Abel, **1/2) The Three Musketeers (1948, Gene Kelley, Lana Turner, ***) The Three Musketeers (1974, Michael York, Raquel Welch, ***) The Three Musketeers (1993, Tim Curry, Charlie Sheen, **1/2) Throne of Blood (1957, Toshiro Mifune, !Akira Kurosawa, ****) Tom Jones (1963, Albert Finney, Suzannah York, ****) Under the Red Robe (1937, Raymond Massey, ***) The Vikings (1958, Kirk Douglas, Tony Curtis, **1/2) The Warriors (1955, Errol Flynn, **1/2) Willow (1988, Val Kilmer, !Ron Howard, ***) The Yakuza (1975, Robert Mitchum, Takakura Ken, ***) Yojimbo (1962, Toshiro Mifune, !Akira Kurosawa, ****) Young Sherlock Holmes (1985, Nicholas Rowe, **1/2)

Fencing Videos

Instructional video titles can be found in the catalogues of several fencing equipment suppliers (see section 3.5). The last time I checked, these included American Fencing Supply, Triplette Competition Arms, and Physical Chess. The same sources sometimes have videos with theatrical or period fencing instruction. Videos of competitions are available from some of the same fencing suppliers, and also occasionally directly from national fencing associations. http://www.fencingfootage.com offers a selection of competition videos, taped by both professionals and amateurs. See section 3.5 for movies and entertainment videos.

Fencing Software

There are numerous software packages available for the administration of fencing tournaments. They generally provide for automated seeding, pooling, and elimination tableau organization, with the ability to display/print out intermediate and final results. They are best suited for events with 15 to 250 or more entrants. With less than 15 entrants, organization is generally faster by hand. Engarde is a French program (by J. F. Nicaud of Paris) that is currently in wide use by the FIE, and is downloadable from the FIE website. It is available in French, English, Spanish, German, Portuguese, and Hungarian, and runs on Windows. ATHOS is another French program (by Christian Coulon of Paris) that has seen extensive use by the FIE. In runs in French or English on PCs. ATHOS is commercial software, but the price includes unlimited upgrades and support. Contact Marc Walch (Marc.J.Walch@JPL.NASA.GOV, (818) 354 5688). Xseed is an American program (by Dan McCormick of Hudson, Ohio), supported by the USFA only. It runs on Windows and is expected to be downloadable from the USFA website. Shipshape is a British program that runs on PCs. Contact Colin Hillier at 3 Elm Close, Shipham, Somerset, BS25 1UG, UK, Tel: +44 (0) 1934 843984. The Director is an Australian program for MS-Windows (3.1, 95). Contact Powerbyte at 9/26 Stirling Street, Thebarton, South Australia, Australia 5031, Tel: +61-8-8303 3519, Fax: +61-8-8303 4363. Fencomp 1.0 is a shareware DOS program that is available from http://www.jjdstaff.demon.co.uk/fencomp/index.htm. Craig Lancaster is offering a Windows-based program for free evaluation. Contact him at craigl@waverider.co.uk, or visit his web page (http://wavespace.waverider.co.uk/~craigl) for more info. Point Control is available for "what-it's-worth-to-you" at http://www.pointcontrol.com. Some demos are also available at that site. Cyrano, a package for notating fencing choreography and other types of stage fights, is available at http://www.bergsoft.de. 

Fencing Online

Known cyberspace fencing resources include: UseNet: rec.sport.fencing - discussion on all subjects rec.martial-arts - some discussion of Eastern styles and history rec.org.sca - some discussion of history, SCA heavy and light weapons styles, armoury, and weaponsmithy WWW: I've given up trying to keep on top of Web fencing sites. Instead, here is a selection of major fencing web sites to start your surfing from: FIE fencing: F.I.E. (en francais): http://www.fie.ch USFA: http://www.usfencing.org American Fencing Magazine: http://www.uncg.edu/student.groups/fencing/AmericanFencing/ British Fencing: http://www.britishfencing.com Canadian Fencing Federation: http://www.fencing.ca Fencing.net http://www.fencing.net Fencing Suppliers: See section 3.2. Period & SCA Fencing: Arte of Defense: http://jan.ucc.nau.edu/~wew/fencing.html La Donna Rapera: http://www.people.cornell.edu/pages/bjm10/rapier.html Ring of Steel Theatrical Combat: http://maniac.deathstar.org/groups/ros/index.html SCA/Current Middle Ages: http://www.sca.org Japanese Fencing: Kendo: http://www.kendo.or.jp/ LFowler's Martial Arts Page: http://www.afternet.com/~lfowler/home2.html Sei Do Kai (Iaido): http://www.uoguelph.ca/~iaido/ Shidokan Kendo: http://www.cam.org/~hiro/english/hypertext/index_e.html The Japanese Sword: http://www.gemlink.com/rstein/nihonto.htm The Fencing FAQ is archived at: http://sitka.triumf.ca/morgan/fencing.html http://www.cis.ohio-state.edu/hypertext/faq/usenet/sports/fencing-faq/top.html FTP: Iaido archive: ftp://fox.tcimet.net/pub/iaido 

Online Rules: The FIE has the definitive version, in French of course: http://www.fie.ch/reglement/default.htm The USFA Rulebook is available at: http://www.USFencing.org/Documents/Rules 

ACKNOWLEDGEMENTS

Author: Morgan Burke (morgan@sitka.triumf.ca) Contributors: special thanks to Suman Palit, Guy Smith, Greg Dilworth, Kevin Taylor, Eric Anderson, Blaine Price, Steve Hick, Kim Moser, David Glasser, Bryan Mansfield, Donald Lane, Ann McBain, Hagen Lieffertz, Mark C. Orton, Mike Buckley, Dirk Goldgar, Scott Holmes, Arild Dyrseth, David Airey, Renee Mcmeeken, Marc Walch, Eric Speicher, Anton Oskamp, Bernard Hunt, Francis Cordero, Kent Krumvieda, David Van Houten, John Crawford, Kim Taylor, Brendan Robertson, Ivo Volf, Kevin Wechtaluk, Frank Messemer, Benerson Little, Mark Crocker, Eileen Tan, Mark Tebault, Tim Schofield, Peter Gustafsson, Kevin Haidl, Peter Crawford, Camille Fabian, Matt Davis, Fernando Diaz, Anders Haavie, Rüdiger Schierz, Todd Ellner, George Kolombatovich, Padraig Coogan, Steve Lawrence, Bryan J. Maloney, Colin Walls (C) 1993-2002 Morgan Burke Permission is granted to copy and distribute all or part of this document for non-profit purposes.

Thanks a lot from the Los Angeles Turners!
Alexander Hast

More information about fencing: Usfencing.org