- Allen Pittman

During the summer of 2002 , artist Alan Campbell brought down his son and some other young stalwarts to look at techniques with spear and shield. Alan has his own web page with some wonderful work he has done around the world from the Antarctic to the Rain Fforest. His interest in historic accuracy and having a penchant for good books makes him a lot of fun to be around. Alan has a project in line to do a portrait and perhaps later a mural on the Battle of Thermopylae.

The recent text/historic novel done on this battle, called "Gates of Fire" is probably the most realistic depiction of the battle to date. This is largely due to the fact the author, Stephen Pressfield, managed to visit with Hunter "Chip" Armstrong who heads the International Hoplological Institute (I.H.S.). I.H.S., for those who do not know, is the brain-child of Donn Draeger, who pioneered the study of weapon migration til his death in the 1980's. Some of his material is available on the I.H.S. site. (As a trivia note, Draeger doubled for Sean Connery and choreographed some of the martial arts and stunts for the movie "You Only Live Twice". You can spot him when Bond has the fight with the big man and ends up diving for his shins throwing him over his back. It's a real quick move done by a first class expert.)

The following pictures were taken by Alan Campbell and the positions were designed by myself to demonstrate certain fundamental dynamics present when fighting with spear and shield. Our shields are too small for Spartan shields, but some of the positions still show the necessary angles of attack & defense.

We also did some scrimmaging with padded/blunt sticks or staves, at high speed so that the awkward moments could really be seen! I have seen some historic reconstruction groups who have fantastic costumes - which I could not afford - but most of them don't seem to understand actual weapon strategy. So I am hoping Alan can get some very real images from our work together and clothe them accordingly!

Slide One
shows me pinning the opponent’s shield-edge to his shoulder - pushing him off balance, while preparing a thrust to the hip/kidney area.

The shield edge can also be used to strike and, according to present research, was used in decapitation tactics. Even a small shield edge can snap a neck.The straight jab of the boxer makes perfect sense with a small shield or buckler, and the handles on a shield force the arm to be moved into punching and swinging configurations - much like Western Boxing. Punching action on a human being is really a very specialized movement and not natural. Moreover, one definitely needs to pad the arms and sometimes the hands, to work with weapons in practice. Slapping, grabbing and chopping with palm strikes are more natural and efficient motions for a non trained person as regards empty-hand fighting. But if you train someone as the ancients did, for years with a spear, sword, and shield - they will inevitably be a very well-trained puncher and very capable with hitting with the forearm and elbow. Their arms will be like iron. Moreover, because we are a tool-bearing species with opposable thumbs and have the requisite brain-wiring for extensive hand usage, it's faster to teach how to articulate a weapon than an empty-handed strike.

Without weapons, wrestling is more natural - not like boxing - as watching children tussle teaches. Because of this I have a hunch Western Boxing may well have its seed techniques as derivations from weapon usage. Some of the oldest boxing gyms have been traced to Leghorn, Italy (see R. W. Smith/John F. Gilbey's "Word Wrestling and Western Boxing") where I hope to find evidence of this. There were gyms there as late as the 1700's. If anyone reading this has any luck finding this out let me know. If I get back to the Vatican Museum with an efficient translator, I may be able to find something there. At present, I do know that when boxing became popular with "gentlemen" in England in the 17 - 1800's with Cribb and the gang, boxing was taught along with swordsmanship, single-stick and sometimes even the quarterstaff. So it is clear there was some overlap in study and inevitably, technique.

Slide Two
is about not getting your feet stabbed - which is a major ssue when dealing with someone with a spear.Khilton Nongmaithem of Manipur, India is fully trained in Thang Ta and he has been a big help in waking me up to the full potential of a skilled spear man.

Notice my opponent is keeping his head up, and not giving it to me - as is the natural tendency when spearing down.

Slide Three
shows guard positions for the head. My turned shield will deflect the oncoming spear and the edge will chop his wrist to begin disarming him (depending on impact). The shock will wobble his shield and allow me the advantage of multiple thrusts in close, while pinning his spear arm.

Slide Four
looks at "the press" on a battle line. The angles with spear heads to the carotids and wind pipes, or alternatively going for the thoracic outlet down to the aorta, just as Fairbairn taught his Commandos in WWII.

Since the opponents' helmets can deflect the thrust, precision and speed are an issue. To maintain the serpent-like speed of forward and reverse cutting (if the thrust penetrates - it's hard to get out and could hold up progress of the line moving; the idea was to bleed the opponents' line to death) while holding a spear overhead requires a spear I estimate at about half the diameter of the ones we are using.(1" ash at six feet)

Staggering the thrusts of the line of men at high speed turns the line into a slicing machine. An opponent who slips a thrust will be hit by the man on either side. A lighter spear can even be slid or released while maintaining grip on it - to add length to the thrust - up to a foot or so! And then caught for quick retraction. Overlapping shields can create a "V" at the crossing point where the spear can be used like a pool cue with lots of support.

Again overhead, the lighter spear is the key. Many depictions show VERY thin spears- I have not heard scholars comment on it but it makes sense after you scrimmage with a heavy spear for a few hours!

The Masai use a very slender spear for Lion hunting of all things. Have no illusions about “powering in" with weapons. But with this in mind remember the first shock of the line of the Spartan was known to send the opponents line off their feet and sometimes back 10 or 12 feet!

Slide Five
is an example of a lateral step on my part -which can be used after the line dissolves and the melee begins.

Slide Six
is about the use of the foot. Greek statuary shows the angled out front kick. This can work well with weapons when used to turn the body of the opponent as shown. Note the kick is above the knee. If you kick below the knee you can break the leg/crack the knee but not turn the opponent. The turn would allow a more rapid break to occur in the whole line and could easily be worked into formation drills for the front line. Larger shields may discourage the use of the foot -though it was probably used occasionally to brace the shield. I hope to get some large shields made eventually.

Slide Seven
is an overhead deflection with a spear braced under the arm. This position can be useful if your spear hand is injured.

Slide Eight
is another look at spear angles on the line.

Slide Nine
is a good view of spear alignment over the shield top edge.

Slide Ten
shows a good one-on-one defense situation where as I attack from above my opponent crouches down to intercept.

Slide Eleven
has my opponent going for my throat while I go for his knee. During our training sequence I occasionally reversed the spear so the guys would see the value of the butt spike both to strike down but also to defend the rear.

Slide Twelve
is about the value of circling. The main thing about circling is it keeps the legs away from the opponent. The problem is it requires plenty of space which may or may not be available according to terrain and other conditions like working in a line.

Slide Thirteen
shows the potential for a sudden drop when attacked from above-the legs are always a likely target and the liking of the ancient Greeks for shin -grieves makes sense.

Slide Fourteen
shows us working on synchronizing our lunges. The use of music, rhythm and drums were/are mainstays in most military training as they train group movement quickly.