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Merging Jianfa & Daofa in Your Swordplay:

Practitioners of Jianfa looking to explore the depths of Chinese swordsmanship, incorporating Daofa, the art of the saber, can add a more assertive, power orientated flavor to your swordplay.

This journey is not just a weapons switch up; it's about expanding your mindset, augmenting your skill set, while broadening your approach to swordsmanship.

In this guide, we'll navigate through the transition, focusing on practical techniques and insights to enhance your martial arts skills.

The Jian, with its straight, double-edged blade, epitomizes precision, agility, and adaptability, demanding a level of finesse and fine movement.

In contrast, the Dao, featuring heavier cuts, is a single-edged blade, representing power and efficiency in combat.

Uniting Daofa with Jianfa involves more than learning to handle a different sword, it means embracing a different approach in swordplay.

The Dao's point of balance is more forward than the Jian’s. This provides for more powerful cuts and thus a significant shift in technique. Daofa focuses not on the quick, wrist-led maneuvers that are the essence of Jianfa, instead focusing on powerful, elbow-driven techniques.

This style engages larger muscle groups for stronger and more impactful strikes, a key aspect in effectively wielding the Dao.

Starting with Pi Cut from Stirring Deflection

Begin your transformation with a drill common to both Jianfa and Daofa, the Pi cut from a stirring deflection. This provides a familiar base while introducing Dao's unique handling characteristics.

Chan involves a binding or wrapping movement, where the blade circles the body. It's a deflecting technique where the flat of the blade is used to deflect an incoming cut on one side of the body and then continues the motion to circle the blade around the torso, behind the back. This allows for a follow-up cut from the opposite side.

Deflecting with a Chan movement, the empty hand moves inside the blade, close to the chest, and can be employed to momentarily control the opponent’s sword arm as one advances forward. Training this technique introduces practitioners to the closer, more direct combat style found in Daofa. In contrast, Jianfa's prefers maintaining a distance that provides space to maneuver.

After gaining familiarity with the Pi and Hua cuts, it's insightful to progress to the distinctively heavier Kan cut. The Kan is and unique to saber systems, not being present in Jianfa.

Following this, the Duo cut would be the next logical cut to add. While the Duo cut is also present in Jianfa, it’s not made use of as frequently when wielding the straight sword.Training Daofa’s use of the Duo reminds us of why we are evolving our swordplay, merging the mindsets of Jianfa and Daofa, mixing more aggressive and assertive actions into our sword work.

In practice, although the timing of the Duo cut may appear similar to its Jianfa counterpart, it requires a considerably larger window of opportunity, reflecting the bolder and more direct approach of Daofa.

This exploration into the Duo cut provides practitioners with a new perspective on the rhythm shift from the more measured Jianfa to the dynamic and forceful Daofa.

The Pi cut can be likened to the power needed to trim a leaf off a tree, the Kan cut to chopping a thick branch, and the Duo cut to the robust action of felling an entire tree or splitting a log. This progression not only illustrates the escalating power inherent in Daofa techniques but also underscores the distinct tactical mindset required for this style of swordplay.

The Gua cut, though mechanically akin to the Liao cut in Jianfa, takes on a unique role in Daofa. It focuses an aggressive sweeping action to proactively capture the line, reflecting Daofa's assertive and power-oriented nature of Dao swordplay.

Incorporating shield work, especially with durable circular cost effective riot shields, provides insight into how the Dao would have been wielded on the battlefield. This practice not only enhances sword skills but also offers a better understanding of strategic defense and offense in historical combat contexts.

You can use a rattan Tengpai, but these are a lot more costly than a riot shield, which are far cheaper and will hold up to virtually anything you can throw at it during swordplay.

These individual cut drills can be combined into dynamic semi-fixed sparring routines, crucial for experiencing the reactive and adaptive nature of Daofa and preparing for unpredictable combat situations.

Merging Jianfa to Daofa offers an opportunity to evolve your understanding of Chinese swordsmanship, introducing new techniques and strategic thinking. It also adds tactical options to your swordplay, making you less predictable. This journey, embraced with dedication and an open mind, not only enhances your swordplay skills but also enriches your overall approach to swordsmanship. Enjoy the growth and mastery that come with learning the powerful art of the Daofa.

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All of the drills and cuts discussed in this guide can be found in the Daofa sections of the Academy of Chinese Swordsmanships Online Archives. Available to all members of the Daofa and Sword Scholars Study paths.

Visit www.chineseswordacademy.com for more details.

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Twilight Jianfa!

After training 3 days at Rodell Laoshi’s St. Paul Seminars, they wanted to test their sword skills. So out they went to the local plaza for some friendly bouting.

Seen on the left is Richard Son Su Meyer, director of Great River Taoist Center Twin Cities. And on the right is Quinatzin De La Torre. Both are long time students of Rodell Laoshi.

Note that both have years of experience in full contact swordplay and are able to control the power of their blows, even at full speed. Less experienced practitioners must don proper swordplay armor, particularly head and eye protection, when bouting.

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Qing Period images of Bannermen drawing their swords are rare, so I was quite please to uncover this portrait of one unsheathing his Jian.

Comparing what we see here with other Qing Period paintings, we should note several consistent details-

When Drawing a Jian, the left hand typically grasps the scabbard near to, or at, the scabbard throat. 

The upward draw into a Liao Cut appears to be the favored draw. This upward Liao can be angled to intercept a cut or initiate an advance.

Jian were often slung from a belt by cloth lanyards, however, it appears that in most cases Jianke preferred to carry the sword in the left free from any restraints a lanyard might impose.

While these details of technique and carry are those commonly depicted, we should also keep in mind that these might have also been a matter of artistic convention of the time.

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Reality Check…

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Republican era artwork -- Shi Jin deflects a flying rope dart.

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Full Contact Chinese Swordplay Tournament Baltimore, 2023

No reason why you can’t close and use your empty hand to control your Duifang’s weapon.

A solid blow to the head or worse counts as a “killing blow” and ends the bout.

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Thanks for helping us make the Academy of Chinese Swordsmanship the best place to learn and practice this art.

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? SWORD Geek ?

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19th Pith Painting of a Jianke in Archaic Clothing

Drawing his Sword-

Another example of a Jianke (swordsman) drawing his jian. As we’ve seen in several other period images, his left hand is positioned at the throat of the scabbard as he draws for a downward cut. These pith paintings were produced in large numbers, this is not a page from a sword manual. So we should be cautious about drawing too many conclusions from it. It is interesting however to note that in multiple period images where a jian is being drawn, the left hand is showed at the top of the scabbard. Drawing of the dao are sometimes also depicted in this fashion, but more often with the left hand further down the scabbard at the suspension band.

I am also pleased to see the shape of the guard is quite similar to my Cutting Jian Hanwei forges.

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A well timed, perfectly placed Ge Cut delivered by Roland Tepp on the right that intercepts his duifangs cut. Ge Cuts are properly aimed at the sword arm or hand and not the blade. Striking the duifang’s blade often has little result or can even giving the duifang energy to counter-cut with.

Roland Tepp is a long time Apprentice Student at the Academy and runs the Tallinn Branch of the Great River Taoist Center where he teaches.

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Love my Jian, but sometimes you just gotta Miaodao…

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Chinese Sword Fighting. Like speed chess.... but with SWORDS!

INSTANT ACCESS. ANYWHERE. ANYTIME. Sign up for our FREE 7 DAY TRIAL.

Find a study path that’s right for you..

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Commonly translated as:

"When the world is at peace, the gentleman keeps his sword by his side.” (君子当安平之世，刀剑不离身)

I translated this line from He’s commentary on Sunzi more literally as:

“A gentleman should live peacefully, but his sword should never leave his body.”

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That Bamboo is going down.

https://www.chineseswordacademy.com/

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Back in 2011, I was approached by Henry Kerali looking to make a short video about Chinese Swordplay. The result is this glimpse into the Sword Art through the eyes of a teacher and students. Rodell Laoshi teaches Weekly Chinese Swordsmanship Webinars and Regular In-Seminars from Estonia to Australia, Across the US and Canada. Get Started in Full Contact Swordplay- https://www.chineseswordacademy.com/m... Use Code: cut50 for Half Off the First Two Months

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Chinese Swordsmanship in 12 Days FREE ONLINE COURSE 

Launching Friday October 7 Pre-Register here: https://www.chineseswordacademy.com/12DayCourseReg Interested in Historical Chinese Swordsmanship? Our new online introductory course "Chinese Swordsmanship in 12 Days" launches next week! This short course is made up of daily lessons with Scott M, Rodell and will introduce you to three iconic Chinese swords (Jian, Dao, and Miaodao) and the principles of full contact swordplay. Here's what you'll be learning: Day 1 - Jump Straight into Your First Cuts Day 2 - Grips - Jian, Dao, & Miaodiao Day 3 - Jian Ready Stance Day 4 - Thrusting with a Jian Day 5 - Cutting with a Jian Day 6 - Daofa Basic Stances Day 7 - Cutting with a Dao Day 8 - Stepping for Power in Daofa Day 9 - Miaodao Basic Stances Day 10 - Deflect & Cut with a Miaodao Day 11 - Miaodao - Slipping the Line Day 12 - Swordplay Strategies Scott M. Rodell is a martial artist, author, and teacher of Yang style Taijiquan. He is an internationally recognized expert of Chinese historical swordsmanship. Best known for his work reviving Chinese Historical Swordsmanship, he is widely considered the father of the renaissance of this art.  Rodell travels frequently to Europe, across the US, and to Australia and Canada to lead seminars. 

Pre-Book your FREE place: https://www.chineseswordacademy.com/12DayCourseReg