Tag Archives: Liechtenauer

Arlington Community Learning

We are pleased to announce that ACMA will be hosting a three hour lecture/seminar “Historical European Martial Arts” with Arlington County Public Schools Community Learning.  We will be discussing and presenting historical techniques and weapon systems and the texts upon which our practice is based.  Students will also get a chance to handle some of the practice equipment and learn about how they can get started training in the chivalric martial arts.

The class will be held Tuesday, September 26, from 7-10pm at Washington-Lee High School in Arlington, Virginia.

You can register online:


or by phone:


Watch this space!

ACMA will be presenting a lecture class “From Text to Practice” for Arlington County Public Schools Continuing Education.  We will post registration information here as soon as the fall course catalog becomes available.  Mark your calendars!

Historical European Martial Arts

The martial arts of medieval Europe were sophisticated systems of combat, in armor and without. Two opponents might engage with spear, sword, sword and buckler, dagger, or even unarmed.  This unique workshop will focus on the martial arts system of medieval Europe.  In addition to the weaponry and skills of the time, students will learn about the surviving documents from which these techniques are based.


Details:                 1 class of 2 hours

Time:                     7pm to 9pm

Date:                     Tuesday, September 26th

Location:              Washington Lee High School, 1301 N. Stafford Street, Arlington Va. 22201

Practicing without a partner

All by myself, don’t want to be all by myself…

But sometimes it is inevitable.  For whatever reason, you find yourself without a practice partner.  What to do?  Solo drills.  But solo drills are boring!  Yes, they can be.  But any training practice can be boring on occasion.  Remember why you started training in the first place.  Going solo can serve you well.

One nice thing about solo drills, minimal equipment is required.  You can certainly go without a mask and gambeson.  Gloves are only needed if you are prone to blisters.  If available, a full length mirror (or a glass sliding door at night) provides excellent feedback.  You can also record yourself for immediate feedback.

How should you structure a solo practice?  Any way you want. It is all about you.  Some people prefer to keep it completely freeform and spontaneous, moving from one drill to the next without necessarily planning ahead.  I prefer to set up my solo practice the same way that I would teach a lesson, first identifying a training goal or concept on which to focus.  The practice itself starts with a warmup exercise, transitioning into a technically oriented drill, followed by more spontaneous freeplay.

For a warmup, you can perform any sort of aerobic or conditioning exercise.  Most often I practice specific footwork associated with that day’s goal and save jogging or toning for off days.  I find footwork to be an important part of my solo practice.  When I am having difficulty making a technique work with a partner, the majority of the time it turns out that the fault was in my footwork and not the bladework.  Employing footwork as an integral part of my solo training has a positive effect on my partner training.

The warmup is probably the hardest part of my solo practice, I am trying to get motivated and overcome inertia.  Once I have started moving around, I am eager to pick up my sword and move into cutting drills.  Easy to construct and of definite value for improving technique are drills involving performing the same cuts over and over.  Examples include following the Meyer cutting diagram, repetitions of the Meisterhaue, or simply performing basic cuts from above or below over and over again.  Feedback is a little more important for bladework drills than for footwork so employing that reflective surface or camera is invaluable.  Another method for feedback is to use a target or pell.  Thrust into an old throw pillow hung on a wall.  Get creative finding something around the house which you can hit repeatedly without damage to it or your sword.

Now that you have those creative juices flowing, it is time to move on to shadow fencing.  So I lied when I said the warmup was the hardest part of my solo practice.  I find fencing an imaginary partner is akin to playing rock, paper, scissors against yourself.  As a result, my shadow fencing is not perfectly freeform.  I tend to script both my imaginary partner and myself, though not beyond the first movement or two.   Those scripted initial moves target that practice session’s training goal.  After that, it becomes somewhat easier to let the sword take me where it wants to go.  Visualization is important.  I have to ask myself why I would respond or act in that fashion.

Though being able to play with a buddy is inherently more fun, once you have finished your solo practice session, your body should be comfortably tired and your brain comfortably full.

All I Need to Know in Life I Learned from Master Liechtenauer

“Practice knighthood and learn
the Art that dignifies you.”
Be chivalrous. Be studious.

“Be a good grappler in wrestling;
lance, spear, sword and messer
handle manfully,
and foil them in your opponent’s hands.”
Find the right tool for the job, there’s plenty to choose from.  Learn to use them all.

“He who follows the strokes,
should rejoice little in his art.”
Don’t simply follow.  Be proactive.

“Do not fight above on the left if you are right-handed;
and if you are left-handed,
on the right you limp was well.”
Work from the areas where you are the most capable.  Always start from a position of strength.

“Before and After, these two things,
are to all skill a well-spring.”
Timing is everything.

“Four openings know,
aim:  so you hit certainly.”
Watch for and take advantage of opportunities.

“And test the attacks
if they are soft or hard.”
Never fight force with force.  Go around, yield, find another way.

“Learn the feeling.
The word Instantly slices sharply.”
Don’t take too long to make a decision, but make sure you have all the data before you act.

“Whoever conducts the Failer
from below he hits at his will.”
Even if you know your first attempt will likely not succeed, attempt it anyway, but have a fall back plan in mind.

“The Squinter breaks into
whatever a buffalo strikes or thrusts.”
Bullies need to be stopped.  Sometimes all it takes is a dirty look.

Verse credit:  Christian Tobler’s translation of the Van Danzig Fechtbuch as published in his book In Saint George’s Name available from Freelance Academy Press.

Musings by Pamela Muir

Vor und Nach: Breaking guards, feints, provocations, and invitations

by Pamela Muir

Vor, Nach and Indes are translated and interpreted as timing in the fight.  When you strike first, you are in the Vor, the before timing.  If you are reacting to your opponent, you are in the Nach, the after timing.  Indes is the instantaneous moment in which you have to react in the bind.1  These can also be viewed as describing initiative or who has control of the fight.  In the Vor, you are fighting offensively, in the Nach, defensively.  We are explicitly told in the texts that we should fight in the Vor, and if we should find ourselves in the Nach, we should work to regain the Vor.

Being in the Vor means to make the first strike.

“With the word before [Vor] as has been told before, he [Liechtenauer] means that you with a good first strike [Vorschlag] shall close in without fear or hesitation and strike at the openings [Blossen], to the head and to the body, regardless whether you hit or miss you will confuse the opponent and put fear into him, so that the he does not know what to do against you”2

This leads us into the concept of breaking guards.  We know making the first strike is a good idea, but how to do it safely and effectively? Most likely your opponent will be standing in one of the four primary guards, so launching the appropriate one of the four Versetzen, strikes which counter the primary guards, is the logical choice.  Either your opponent will get hit or they must perform a defensive action.  You are in the Vor and your opponent is forced into the Nach.

Breaking their guard with one of the four Versetzen is not your only choice in the Vor.  You could also perform a feint.  A feint puts your opponent on the defensive, in the Nach, and it opens up another line for you to attack.  An example of a feint in the Lichtenauer system is the Veler, the Failer.  Start a cut towards your opponent’s open high line to draw out their parry.  As they parry, change your attack to a Zwerchau to their low line, on either the right or left side.  Both your feint and your follow up to the low line have you in the Vor.  Your opponent must remain on the defensive and is stuck in the Nach.

When breaking a guard or performing a feint, Vor and Nach are easy to identify.  It starts to get a little hazier as we move into provocations.  Let us take a look at the Sprechfenster, the Speaking Window, which is a provocative use of the guard Langenort, or Longpoint.

“Do Thus From the Speaking Window
When you come to him in the Zufechten, whether with an Unterhau or an Oberhau, always let your point shoot long from the stroke to his face or chest.  In this way you will force him to either parry or bind against your sword.  And when he has bound, then remain strongly on his sword with your long edge and stand calmly and see what he will execute against you.”3

The text goes on to explain your next step according to your opponent’s actions.  If they do nothing, you work from the bind.  If they pull away, you attack to an opening.  In these two cases, you are still the one who has the Vor.  However, they may also strike around to your other side in which case you are instructed to bind against their sword.  It appears that you have given up the Vor and must therefore act in the Nach.  That is not exactly the case, the initial action belonged to you and you set up your opponent in such a way that you know all of his possible reactions and are prepared to take advantage of whatever they do.  You have the initiative.

What about fighting from an invitational guard such as Alber, or the over the head version of Vom Tag?  Which fighter has the initiative?  The one inviting the attack, or the one who attacks?  That was a trick question. Though you may be standing in an invitational guard, you should not simply lie in wait for your opponent to take the bait.  If you do, you are most definitely fighting from the Nach.  You will be forced to defend before you can re-seize the Vor.

In the case of Vom Tag, we are fairly certain that our opponent will attack with a Zwerchau if we wait.  So we are instructed to strike first and provoke that Zwerchau.  “Note:  when you stand against him in the guard Vom Tag, then strike bravely to his head.”4  We are then given instructions on how to respond to the Zwerchau that our opponent uses in the Nach.

Even if you take the guard Alber, the advice given seems to indicate that it is better if you strike first.  “When you…stand against him in the guard called Alber, and he falls upon you with his sword before you come up, then remain thus with your sword beneath his and lift upwards.”5  The assumption is that you still intended to strike first, and you are instructed how to act if that plan fails and you were forced into the Nach.

As stated above, we know that all guards can be broken.  If we simply wait for the attack, even if we know what form it is likely to take, we have lost the initiative. “Therefore Liechtenauer does not hold the guards in such a high esteem; he is more interested in that you try to win the first strike [Vorschlag].”6  Assuming an invitational guard without intending to strike first leaves you in the Nach.

Which brings us back to the beginning of this post.  In order to control the fight, you must be fighting in the Vor and you accomplish that by making the first strike.  That first strike should be carefully planned as a feint, a provocation, or a breaking of a guard, so that you can limit and predict your opponent’s reactions in the Nach.


1 I would argue that Indes is a point in space and time, but that is fuel for another post.

2 Lindholm, David, trans. Cod.HS.3227a (n.d.): n. pag. Web. <http://www.hroarr.com/manuals/liechtenauer/Dobringer_A5_sidebyside.pdf&gt;. 21r.

3 Tobler, Christian Henry. In Saint George’s Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. Print. p. 129.

4 Tobler, Christian Henry. In Saint George’s Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. Print. p. 117.

5 Tobler, Christian Henry. In Saint George’s Name: An Anthology of Medieval German Fighting Arts. Wheaton, IL: Freelance Academy Press, 2010. Print. p. 124.

6 Lindholm, David, trans. Cod.HS.3227a (n.d.): n. pag. Web. <http://www.hroarr.com/manuals/liechtenauer/Dobringer_A5_sidebyside.pdf&gt;. 32r.

Additional resource:

Tobler, Christian Henry. Fighting with the German Longsword. Wheaton, IL: Freelance Academy Press, 2015. Print.

A Pointed Primer – A simple introduction to fighting with the rondel dagger

by Pamela Muir

Let’s enter an imaginary scenario. Somehow you have been challenged to a fight with medieval rondel daggers and you have only this single training session in order to prepare for it. In a case like this, your primary goal must be to survive. We will need to keep the techniques simple and easy to remember. We are going to make the assumption that you and your opponent are not wearing armour, but typical medieval clothing which would involve layers of linen and wool. In addition, most sets of actions will have two options. Option 1 will be “I love you like a brother, man. I don’t want to hurt you.” Option 2 will be you hate each other more than most political opponents.

First we need the basics. Though a medieval rondel dagger could cut or slice, it was most effective as a thrusting weapon. You have two ways in which to hold it. The first way would be similar to holding a tennis racket. When you have your hand on the grip, the tip of the dagger points forward or away from you. We will call this the forward grip. The second way would be similar to holding an ice pick. When you have your hand on the grip, the tip of the dagger points backwards or towards you. We will call this the reverse grip.

As dagger fighting involves close work and therefore quite a bit of wrestling, you need a stable stance. Stand with your feet about shoulder distance apart, one foot in front of the other by a distance of about one and half to two shoe lengths. Imagine a hat stand vs. a coffee table. The coffee table is more difficult to push over. Be the coffee table. You will also need to keep your off hand out of the way. Have it resting on the back of your hip, at your waist or held in close in front of you.

Now since your primary goal is to survive and the best way to survive would be to not fight at all which would eliminate the point of this exercise, we are going to start each action with your opponent attacking first. For simplicity’s sake each action will be described with both opponents fighting right handed. Of course, these actions can be adapted for different handedness as they “work from both sides.”

Draw an imaginary line vertically through the center of your body and another one horizontally at approximately waist height. Your body has now been divided into four quadrants and your opponent may attack into any one of the four.

Our first set of actions will be your response to your opponent’s attack into your upper left quadrant. Your opponent may be using a reverse or a forward grip. Hold your dagger in the forward grip. From your stable stance, as your opponent attacks, shoot your left hand forward and up so that the pinky edge of your hand catches the inside of your opponent’s wrist. This is to accomplish that primary goal of survival. Option 2 is quite simple in this case. Upon a successful blocking of the attack, with your left hand grasp his dagger arm and stab your opponent with your dagger where ever he is open. Option 1 can be nearly as easy. At the moment you have successfully blocked the attack, again grasp his arm with your left hand and step so that your right leg and hip are positioned behind and against your opponent’s right leg and hip. Depending on your initial stance this can be done as either a passing, basic walking, step or a gathering step, one in which your back foot moves forward up to the front foot and then the front foot moves forward. As you step punch through that soft spot just below and inside of your opponent’s left shoulder with your right fist, this should turn your opponent’s body a bit to his left. Then with your arm across the front of his chest turn on the balls of your feet to your left, maintaining an upright and stable stance as you do so. This should throw him backwards over your right hip.

Let’s take the same line of attack, but this time you are in the reverse grip, such as if you have just drawn your dagger. Make the initial defense as before. The simple option 2 with the reverse grip is the same as with the forward grip, stab him. For option 1, keep hold of his dagger hand and hook your dagger behind his neck so that your arm is pressing on the right side of his neck and your dagger is pressing on the left side. This time as you step, with either a passing or a gathering step, make sure you finish with your right leg and hip in front of your opponent’s. Turn your body to the right as you wrench downward with your dagger and throw him forward over your right hip.

For both responses above, you could combine option 2 with option 1 by stabbing with your dagger instead of punching or hooking and then proceeding with the throw, but we are trying to keep the list of possibilities short and simple.

Oh, wait! Suppose in your panic you have not drawn your dagger at all? Or worse, for some reason you don’t have it. It will be okay, you will simply take his dagger instead. Make your initial block exactly the same way, but immediately afterwards grasp your opponent’s wrist and turn it outwards as if turning a doorknob. Now, you should easily be able to remove his dagger from his hand using your right hand. For option 1, well, you have his dagger, hopefully he will think twice about continuing the attack. For option 2, that’s right, you have his dagger and he doesn’t, you can continue the attack.

Changing to attacks to your lower left quadrant, your opponent will likely be in a forward grip. (Attacks to that quadrant are awkward while in the reverse grip. Try it against yourself in a mirror, you’ll see what I mean.) You can perform all the actions mentioned above, except this time you will shoot your left hand forward and downward to block the attack with the heel of your hand or the edge of your wrist on the inside of the attacker’s wrist. Remember that primary goal?

You could also block the attack using your own dagger. With the dagger in your right hand in the forward grip, grasp the blade with your left hand. Block the attack by pushing your dagger, using both hands, down onto his blade. Then, while maintaining firm downward pressure on his dagger with your dagger in your right hand, use your left hand to pull up on his wrist. This will either disarm your opponent or render his dagger useless. At this point you can use your imagination to accomplish option 1 or 2. In case you are without a dagger, you can simulate the same block using both of your hands. Catch your opponent’s wrist in the crook between your thumb and fingers of both hands, left hand in front of the right, and push downwards. Slide your right hand so that you can grasp the blade. As you push down with your right hand, lift the attacker’s wrist with your left hand. This should push his point back towards himself and you will either be able to stab him with his own dagger, option 2, or disarm him, option 1, or both, option 2 again.

Moving on to attacks to your upper right quadrant, this time your simplest blocks are going to be with your dagger hand. Those aren’t your only options, but recall for this scenario you don’t have much time to learn techniques and put them into practice, so we are keeping it simple. This line of attack most likely means your opponent will be using a reverse grip. Use the reverse grip yourself, and with survival in mind, block the attack high and forward with your wrist against his and your dagger positioned over his wrist. Scissor his arm between your right arm and your dagger and wrench his arm down and towards your right side. Shoot your left arm across his chest, turning him slightly to the his left, and step so that your left leg and hip are positioned behind and against the attacker’s right leg and hip. Turn your body to the left to throw him over your hip. You have accomplished option 1. For option 2, stab him when he’s down. You can accomplish the same set of moves without a dagger in your hand by using the pinky edge of your right hand to block the attack and then grasp his right wrist to finish the set.

This leaves only the lower right quadrant, but at this point you have already learned enough techniques to survive those attacks as well. Using the forward grip you can perform the throw described above in the attack to the upper right. Block the attack with your dagger or the wrist of your right hand. This time you will immobilize his hand by scooping your dagger under his arm and upwards, pulling his dagger arm towards you and pinning it to your chest as you step. You are now set to perform the actions as described above to complete the throw. Without a dagger, you will block with your right arm and then grasp his arm, everything else remains essentially the same.

Alternatively, you could use both hands to block the attack just like you could for attacks into the lower left. As before, using the forward grip, grasp the blade with your left hand, and using your dagger in both hands, push down on his blade to stop the attack. While keeping pressure on his dagger with your dagger in your right hand, lift up on his wrist with your left. You now know you can do the same set of actions without the dagger by starting with the block with both hands, catching his arm in the crooks between your thumbs and fingers, then finishing with a disarm or stabbing him with his own dagger.

You can now block and perform follow up actions for attacks to any of the four quadrants. Your follow up actions may be of a friendlier tone, option 1, or a downright mean tone, option 2. The key to all of them is to safely block the attack and make sure that you can walk away from the fight without resembling a sieve. This does not mean we have exhausted all the possible actions that could be performed in a dagger fight. This was designed as an elementary dagger primer, a simple set of easily performed and memorized actions.

We will conclude with the usual caveat and disclaimer that this is not meant to be a modern self-defense lesson. The best way to survive a knife fight is to avoid it completely. However, if you should find yourself transported back in time and unwittingly do something that places you in a situation where the dagger fight is unavoidable, the above lessons should come in quite handy.

Ringen Acupressure or The Liechtenauer Touch of Death

by Pamela Muir

In a survey of medieval wrestling techniques, called Ringen in the Liechtenauer tradition, there is a recurrence of actions that use pressure. The idea is that by applying pressure at partcular points on your opponent’s body, you force him into compliance because you have either created pain or naturally disrupted his body structure. I have taken to calling these Ringen acupressure points.1

One of the precepts of medieval wrestling is that if you need brute force to pull off a particular technique, odds are you are doing the technique incorrectly. Throughout the literature in the Liechtenauer tradition, wrestling techniques rely on a combination of physics, body mechanics and weak points in the human body.

First, let’s take a look at physics, which in wrestling, is applied mostly in two ways. Firstly, there is the use of leverage, whereby you use a point on your own body as the fulcrum while wisely applying force to disrupt the opponent’s body or limbs. Then, since only two points (in this case, the combatant’s feet) are in contact with the ground at any time, there is a naturally unstable position to be exploited. As an example, in one of the most basic throws you step so that the front of your lead hip is positioned directly behind and in contact with your opponent’s lead hip and at the same time you thrust your lead arm across his chest. You apply a turn of your body in the direction of your lead arm and leg, thus throwing your opponent onto his back. In this case, you are treating your opponent’s body as a lever and your lead hip as a fulcrum to aid in throwing your opponent off his feet. In addition, you are throwing him to his missing point of balance. Visualize your opponent as a three legged stool, with the third leg behind and missing: that third missing leg is the point towards which you should throw him. With the proper application of the principles of leverage and balance points, you will be able to execute the technique without the need for the use of brute strength.

Body mechanics comes into play simply because there is only a certain number of ways that a human body can move, and some of these ways are more efficient than others. Suppose we take the above throw as an example. It is important in the application of the throw that you thrust your arm across his chest in preparation for pushing your opponent backwards. The reaching of your arm is a more efficient and structurally sound position than using a straight arm to push sideways. A fun bar bet example of this principle is the “unbendable arm” trick. Bet your buddies that they will not be able to bend your arm as you hold it out straight in front of you. If you simply hold your arm up, they will be able to accomplish this effortlessly. On the other hand, if you instead visualize reaching for a glass of beer that is across the room, it becomes virtually impossible for them to accomplish the task. It is the efficient use of body mechanics that is a key ingredient in both the bar bet and the throw.

Now that we have a clearer view of the physics and body mechanics, we can focus on our knowledge of the weaknesses of the human body. Those weaknesses can be exploited through the use of a strike or blow or the application of pressure to a specific point. The strikes or blows are used to initially soften up your opponent through the use of pain in preparation for the finishing point of the technique. The application of pressure to a specific point causes your opponent to comply because of the pain induced and/or because his stable body structure given by skeletal alignment has been disrupted.

The Mortstöße, or murder strikes, are a named subset of the pain compliance techniques, usually used at the onset of the action. These can be found in Sigmund Ringeck’s commentaries.2 Most of these are blows aimed at parts of your opponent’s body so as to cause intense pain and thus getting your opponent to pre-comply with your intended follow-up grappling. Besides the oh-so-obvious move as the knee to the groin, the Mortstöße include fist blows to the heart, the temple, the sides of the neck and the navel. If you have ever been on the receiving end of one of those blows, you know that it takes some time to recover, even if only a fraction of a second, time that a savvy opponent will use to his advantage.

One of these Mortstöße, the gouging of your thumbs into your opponent’s checks, is not a blow, falling instead into the category that I refer to as Ringen acupressure points. These are not a named set of techniques, but are a group of techniques that I have noticed through my studies and practice. Most are not as grisly as the aforementioned cheek gouging, but with the use of pressure, they target specific points on the body and insure compliance by your opponent through the induction of pain or the disruption of his stable structure.

One such point is the soft spot on the chest just inside and below the shoulder. Here is a simple throw that utilizes that pressure point. Step so that the back of your lead hip is positioned behind and in contact with the back of your opponent’s lead hip. At the same time, press the heel of your lead hand into the soft spot below your opponent’s lead shoulder. Pushing forward with your lead hand and adding a turn of your body towards your rear foot will cause your opponent to fall backwards. Though we are still using the fulcrum principle in this technique, it is the forceful application of pressure to that particular spot on his chest that disrupts his structure in such a manner that he starts to lose his balance even before you add the body turn.

Another such pressure point is on the back of the upper arm. It is that spot right between your deltoid and triceps muscles. We can use that spot on the arm to counter the simple straight-arm throw mentioned at the beginning of this article. As your opponent starts to perform the throw on you by thrusting his arm across your chest, grasp the back of his hand with your same hand and with the other hand push down and forward against that spot on the back of his upper arm. In this manner, you either throw your opponent onto his face or you can walk him down to the ground. Once again, the forceful application of pressure to that body point will cause your opponent to lose his stable structure. It may also induce pain compliance as well.

The front of the leg at the joint where your leg meets your hip is another such point that induces compliance through pain and disrupts body structure. Unfortunately, I have been on the receiving end of that one in free fencing. My partner fell and as he did so, he raised up his buckler accidentally smashing into the top of my leg at the front hip joint. My body automatically folded in half and all I could think at the time was “Oomf, now I understand why that spot works so well!” I came out of the incident with a barely visible bruise and a deeper understanding of these pressure points. How about a more deliberate application for this one? As you plunge your fist or the heel of your hand into the joint at the top of the leg, use your leg to sweep your opponent’s out from under him. The combination of pain and pressure causes his body to fold up allowing you an easy way to sweep his leg.

In the above examples, the Ringen acupressure points were used in the midst of the throw or takedown. However, just like with the Mortstöße, the applied use of pressure can be used as a prelude to the intended technique. A finger break is just such an example. If your opponent has a hold on you with both arms either in front of or behind you, you can grab a single finger and wrench it backwards. As you can imagine, this would cause great pain for your opponent and his initial reaction would be for his body to follow the direction that you are pulling his finger, allowing you to take advantage of his disrupted structure. Along the same lines is the manipulation of your opponent’s head by pushing or pulling on his chin. If you can reach your opponent’s chin from behind, grasp it and pull it up and out, or if you cannot reach from behind, push his chin up and to the side. In either case, the neck pain and disrupted structure will give you a momentary advantage in which to perform a throw or takedown.

We have examined some specific examples of the application of these pressure points. In order to gain a better understanding as to how they work, if you have a cooperative partner, you can experiment with some of these points yourself. Have your partner fix himself in as stable a stance as possible. Gently manipulate these pressure points. (Please note the use of the word “gently”, as some of these work through pain compliance and it is important to be especially mindful of your partner’s safety.) With your fingers, push into the soft spot on the chest below the shoulder or the front of the leg where it meets the hip joint. Have your partner extend his arm and push with your fingers or the heel of your hand on the back of his upper arm to get a feel as to exact location of that pressure point. Very, very gently push your partner’s chin up and to the side. During all of this, it is important that your partner give you feedback. At what point did he feel that he was losing his balance? At what point can he visualize the pain compliance? Make sure that you allow your partner to do the same to you. It is on the receiving end that you are more likely to grasp precisely how these manipulations work.

Though I have only mentioned a handful of examples, these Ringen acupressure points, though unnamed as such, appear throughout the literature as a means of extra insurance in manipulating your opponent. By applying forceful pressure, as opposed to a blow or a strike, you either disrupt your adversary’s body structure or force him into a moment of compliance from the pain. It is precisely in that moment that you can then safely take advantage of his weakness and move on to your main grapple, lock or takedown.

1I would like to thank my friend, Christian Tobler, for coining the phrase “Liechtenauer touch of death.”
2Tobler, Christian Henry, Secrets of German Medieval Swordsmanship, Chivalry Bookshelf, 2001.