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. HOW TO USE A CANNE ROYALE

Be Aware of:

La pratique nest pas soumis des rgles fixes, car tous les

coups ports sont bon

Practice is not submitted to strict rules; each blow that

touches is valid

Les coups doivent tre appliqus selon les principes

The blows must be applied following the principles

Ce nest pas un art confus

It is not a confusing art

(Hum 1862)

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A standard for everybody: La canne royale. By Jean Trembloy 2OO7

System of my uncle MARCEL REVYN.

(Born in 1914, he learned the exercises with the canne royale atschool, and later he carried on in a fencing school in Brussels.)

(My instruction 1976-1980)

1. Holding of the canne gently between thumb and index, the rope in the palm of

your hand so that the thick end of the canne sticks out of the hand so you can

make turns and twists with the wrist.The salute from the position: (feet in a square angle, back straight, and the

cannetouching the ground in prolongation of the right foot)

Lift the canne and turn with the wrist backwards two times then the canne

lands on the shoulder do the same thing but now forwards to end in the starting

position.

2. We start in the direction of the sun when exercising

outside and alone, take a first step to the right(goes

with the sun) and place the following steps along thedirections of a compass-card (THE 4 DIRECTIONS)

The blows or attacks are pointed to all parts of the

body, nothing is forbidden.

3. When we move, never stand still and each step contains a defence (PARADE).And a attack (REPOSTE), Attack and defence follow continuously. The canneis always used pointing down, especially in defence its important, if you point up

the attack can slide down the canne down to your hand, so never take a defence

pointing upwards. Otherwise said: a defence is followed by an attack, a step byan attack and another step by a defence. But we give you a piece of advice: when

you practice with an opponent and without any protection, of a helmet or gloves,

you first must learn to control the attacks. (Fat lip!)We take a rest by holding the canne on one of the shoulders.

This is a sort of combat guard (GARDE)

4. Also advised are turning steps (VOLTE).

When you move with those displacements always face

the opponent like a weather-vane turns towards thewind.

We have a figurative expression: turn into the wind

Face always your opponent when you move andmove continuously

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(Pictures: Petit Larousse Illustr 1906)

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GEAR - EQUIPMENT

Some fencers used for protection a fencers vest , but the most of them do the exercises

and the game with the canne royale with just a fencing mask, a gauntlet and a thin shirt

and normal trousers. This gives them quite some vivacity and swiftness.

MAKING YOUR OWN CANNE ROYALE:

The Canne Royale has but one size: 1 meter.It is made of tropical hardwood; the ones we make ourselves are made ofHazelnut wood, which is lighter.

The canne should be broad at the hand and thin at the point.

Normal thickness is about the size of your own thumb or another finger but notthinner then your pinkie.

(Historic correctness)

We hadden ons die stokken kosteloos aangeschaft in

een boschje van elzenhout 1880

(We had chosen those sticks (for free) in a little forest (elzen Aune Yardstick) withapprobation of the headmaster)

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HOW TO USE THE TREATY

PETIT ABREGE LITTLE SUMMARY

RIEN OMIS DESSENTIEL NOTHING IMPORTANT IS

FORGOTTEN

You must firs read the chapters where we find the definitions of the

BLOWS and the TERMS to use in practice

Before practicing, you must read whole the treaty, because Hum

explained the positions and the actions only once.

For example he explained le salut de couronnemet in detail in lesson 6,

and not in the beginning.

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ADVICE TO MASTER AND STUDENT

Hum attach great value to the relation between student and master.

They both have to understand, theres a code of conduct to become a great

fencer.

He gives following advices to the teacher:

1. Be short and concrete in your explanation, without getting obscure.

2. Take notice of the character of the pupil, look at his mental input and

his physical capacities. It can be necessary to spare some more then

others.

3. Pay extra attention to those who cant follow.

4. Stay firm so nobody adapts a bad attitude.

5. Have patience even when you have to repeat a certain move a

thousand times.

6. Those who are to eager hold them back, too much activity is more

dangerous then too little.

7. The teacher has to watch, that the pupil earns insight in moderation,control is essential to make a judgement.

8. Dont let the pupil start the fight with the assault before he knows

the theory and practice. He first has to learn to control the techniques

of the first eight lessons

In other words: The teacher has to watch that the pupil understands the

principals of the fencing art before he can develop even further.

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He gives the following advice to the pupils to become a good fencer:

1. The pupil has to aim for as much control as possible.

2. Certainty and modesty have to honour him.

3. He must learn to listen.

4. He has to deny conceit.(fuit verwaandheid)

5. Show no lack of action. Because without action you cant earn grace

or flexibility.

6. Learn to estimate the opponents movements by watching;

7. Wait with a firm foot and dont steps back react at the proper time.

(Theory of Parade and Riposte, in one move, no intervals accepted.)

8. Honesty and courtesy are essential (see Le jeu de la canne-ReglementAssault)

HEALING ACTION;

The art of the canne royale has a positive influence on the youth.

1. The physical imperfections are corrected.

2. The mental skills have to be sharpened, thus those who are shy are

given a hint to become confident.

SELF DEFENCE

The techniques of canne royale are excellent to use against bullys armed

with knives and sticks.

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The SECRET of the ART

Correct manner how to take the canne royale in the hand, between thumb

and index.

POSITIONS & ACTIONS

1. LEQUERRE - AT RIGHT ANGLES

First position: (Fig 1) Before performing the greeting (Salut) feet in right

angle, right back, end of the canne royale for the rigt foot on the ground,

(le petit doit du main gauche sur la couture du pantalon) with left hand

standing stiffly to attention.

2. LE SALUT - THE GREETING

Le MUR Le mur est une exercise prparatoire avant lassault, il est

compose du salut

Perform le mur exercise before the game and is composed by the

greeting

Four possibilities:

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a. Salut de couronnement (Hum)

With a coup de tte bring the canne royale before you and do a turn

above the head from right to left end from left to right.

b. Salut decole (Nonkel Marcel)

c. Salut descrimeur

d. Bow with the head to Public (Hum)

3. THE FOUR IMAGES

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Fig 1. Begin position EQUERRE The Right Angle

Fig 2 is the position for the Master, and to do the game Lassault

Fig 3. Is Guard for the lessons hand and arm is like protection for student

not to hit himself.

The stand of the feet is one underleg broad in fig 2 an fig 3

Fig 4 This position is used in action, and is a redoubling of the stand

between the feet, coup de bout.

4. LA GARDE -THE GUARD

1. Canne royale on the left shoulder (first perform coup de tte)

(Principal guard) (Fig 2 & Fig 3)

How to go into the guard

1. to move forwards

2. to move backwards

3. Saut (jump) at the same place changing feet

Rear leg is stretched and the distance between the two feet is

the length of the underleg.

2. Canne royale on the right shoulder

3. By the coups: Guard not described by Hum, but used in

school practice

Canne royal at the left side, under the left, arm in position of

student.

4. By Appel is to open the body, its asking to attack you at

opponent , right hand before left shoulder and pointing in theair, and stamp 2 x or more with right foot

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5. LES COUPS THE BLOWS

1. Coups de figure Blow on the face

To perform many times

2. Coups de tte

Go by the sides (left or right) of the body

3. Les coups Coups de flanc

Lift hand, so that you get easy in parade

4. Coup darret

Dont do this, its forbidden (mauvaise grace)

5. Coup de parties (genitals)

Also forbidden until you have protection

6. Coup de jarrets (slintbone) and Coup de chevilles (ankle)

You can perform this with stretched arm or arm to you body

7. Coup de bout

Used it often, by narrow distance, but only when you have a

helmet on

8. Coups de bras, de ventre, de poitrine

All the body parts you can touch count

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6. TERMINOLOGIE

1. La botteLe coup port avec rusitte.

A Blow that touches

2. Feintes

To perform a blow at one target but touch an other target

3. Attaquer

To attack

4. Lappel

Is to open the body, its asking to attack you at your opponent, right hand

before left shoulder and pointing in the air, and stamp 2 x or more with right

foot

5. La parade

Basic Principle: (see point 3 of system of my uncle Marcel is the same)

6. La riposte

Basic Principle: (see point 3 of system of my uncle Marcel is the same)

7. Tac de la canne and Le tac-au-tac

When the sticks touch each other

8. Le coup pour coup

The two opponents touch both at the same time

9. Coup pass

A blow without touching the opponent

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7. LES QUATRE FACES THE FOUR SIDES

DIAGRAM TO VISUALISE THE 4 SIDES

THE 4 SIDES - Les 4 Faces : 4 > 1 > 2 > 3 > 4 is the directions of the actions byexcercising alone (single handed) and in group.

+ Is the center of your action and give the direction to hit.

O Is range of your Canne Royale, the exact distance to hit.

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8. LA VOLTE THE TURN

VOLTE is a displacement of the body by a turn. In which we face the other direction.Hum 1862:

Preparation on one line, backwards

3 steps look side 1 2 1

HALF TURN LEFT FORWARTS

look sides 4 > 2

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HALF TURN RIGHT- BACKWARDS look side 2 > 4

The diagrams give us the displacements of the feet.

These volts (Turns) give us in using the combination of the half turns to a whole turn, the

possibility to look always to our opponent.

It is also a very good exercise to master the principle to use PARADE & RIPOSTE with

continuously displacement.

9. THE LESSONS

The first series of 4 lessons

- GREATING (salut de couronnement) (side 4)

- How to take the first direction to the right (side 1)

- How to take the other sides ( 2) Back (3) left- How to move forward backward Saut (on one place)

- redoubling of the stand between the feet in action

- The blows to perform: Coup de figure, Coup de flancs,

coup de tte.- Position guard = fig 3

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The second series of 4 lessons

- Learn the volte (turn)

- Use the 4 directions- The blows to perform are those learned in the first series

plus Coup de jarrets, coup des parties, coup de bout. (The

coup darret is not executed)

Blows and Combinations

1. 1 coup de figure left

1 coup de figure right

2. 4 coups (sides of the body) left right left right

3. 1 coup de tte left

1 coup de tte right

4. coup de bout : the punch with the end (in the hand) is folowed with a stepbackwards and a blow in the side of the body (coup de flanc) and a next step with

a (coup de jarrets) (splintbone)

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5. Appel and attack with coup cheville

6. Redirect the blows - Coup de parties (genitals)ou coups de chevilles = coupsinverses

7. All blows can be changed = Feinte

8. Mouliner and the guard are positions before the Parade or the Riposte