Historical European martial arts (HEMA) refers to martial arts of European origin, particularly using arts formerly practised, but having since died out or evolved into very different forms.
While there is limited surviving documentation of the martial arts of Classical Antiquity (such as Ancient Greek wrestling or Gladiatorial combat), surviving dedicated technical treatises or combat manuals date to the Late Middle Ages and the Early Modern period. For this reason, the focus of HEMA is de facto on the period of the half-millennium of ca. 1300 to 1800, with a German and an Italian school flowering in the Late Middle Ages and the Renaissance (14th to 16th centuries), followed by Spanish, French, English and Scottish schools of fencing in the modern period (17th and 18th centuries). Arts of the 19th century such as classical fencing, and even early hybrid styles such as Bartitsu may also be included in the term HEMA in a wider sense, as may traditional or folkloristic styles attested in the 19th and early 20th centuries, including forms of folk wrestling and traditional stick fighting methods. The term Western martial arts (WMA) is sometimes used in this wider sense including modern and traditional disciplines. During the Late Middle Ages, the longsword had a position of honour among these disciplines, and sometimes Historical European Swordsmanship (HES) is used to refer to swordsmanship techniques specifically.
Modern reconstructions of some of these arts arose from the 1970s and have been practiced systematically since the 1990s.
Read more about Historical European Martial Arts: Early History (before 1350), Late Middle Ages (1350 To 1500), Renaissance, Development of Modern Sports (1789 To 1914), Traditional Styles, Revival
Famous quotes containing the words historical, european, martial and/or arts:
“By contrast with history, evolution is an unconscious process. Another, and perhaps a better way of putting it would be to say that evolution is a natural process, history a human one.... Insofar as we treat man as a part of naturefor instance in a biological survey of evolutionwe are precisely not treating him as a historical being. As a historically developing being, he is set over against nature, both as a knower and as a doer.”
—Owen Barfield (b. 1898)
“So in Jamaica it is the aim of everybody to talk English, act English and look English. And that last specification is where the greatest difficulties arise. It is not so difficult to put a coat of European culture over African culture, but it is next to impossible to lay a European face over an African face in the same generation.”
—Zora Neale Hurston (18911960)
“Strike the concertinas melancholy string!
Blow the spirit-stirring harp like any thing!
Let the pianos martial blast
Rouse the Echoes of the Past,”
—Sir William Schwenck Gilbert (18361911)
“I havent seen so much tippy-toeing around since the last time I went to the ballet. When members of the arts community were asked this week about one of their biggest benefactors, Philip Morris, and its requests that they lobby the New York City Council on the companys behalf, the pas de deux of self- justification was so painstakingly choreographed that it constituted a performance all by itself.”
—Anna Quindlen (b. 1952)