"The art of hurting without being hurt": the Ateneu Barcelonès recovers a forgotten sport 140 years later

BarcelonaIt's a quarter past six in the evening. In the garden of the Ateneu Barcelonès, a group of ladies are discussing literature and two young people are talking about love problems. When Carles Tudó walks between the tables, everyone turns to look at his uniform, with baggy trousers inspired by those of the 16th century worn by the Lansquenets, German mercenaries. Tudó is one of Europe's leading experts in classical fencing and this year he is in charge of teaching the fencing courses that the Ateneu Barcelonès has revived more than 140 years after the last time the clash of swords echoed through its halls. The sessions are held in the elegant Jacint Verdaguer hall of the Ateneu, among volumes of centuries-old books and busts of writers. "We have sold out all places and have a waiting list," explains Tudó while preparing the swords.

"Historical fencing is the art of wounding without being wounded," argues a man who conveys enthusiasm when he talks about this art. He has dedicated his life to historical fencing, be it Japanese or Italian, by reading centuries-old treatises. At the Hungarian Fencing School of Barcelona, he teaches sport and classical fencing. He was to be the one in charge of reviving this discipline in an institution famous for its culture, but not so much for its sporting aspect. "If we have been able to organize this course, it is thanks to two people. Firstly, Jordi Carrasco, a student of mine at the Hungarian fencing school, who is also a member of the Ateneu. And, secondly, thanks to Josep Bea Arnal, one of the great promoters of fencing in Catalonia, who was the professor at the Ateneu 140 years ago. If it hadn't been for him, no matter how much Jordi Carrasco had proposed it, they would have said no. But we have the portrait of Master Bea, a photograph of the fencing hall, and documents proving that fencing began at the Ateneu in 1887. And it continued until the death of Master Bea. It was an opportunity to revive it. For now, the course lasts four months, but we want it to be a permanent activity," he comments.

140 years ago fencing was going through a key moment, evolving from military fencing towards sport fencing. And Bea was the great master, competing and teaching in places like the Military Casino, the Ateneu, or the famous Solé gymnasium, where so many important things happened, like the founding of Barça. Taking this course serves to recover the half-forgotten figure of that master. "At the Ateneu we now teach a much older style than the one Master Bea taught. He taught the fencing of that era, with the saber, the foil, and the sword of the time. We teach an earlier 16th-century style, although we are also teaching some techniques that Master Josep Bea might have taught," explains Tudó.

His students arrive at the Verdaguer room and get ready. "We have a 73-year-old lady, my most veteran student, and other young people on their way to 30," says Tudó, preparing the swords. "L'Ateneu has bought 12 sabers from a master from Zaragoza who creates replicas of very hard nylonMore secure and economical, but with the same weight and balance as a metal sword," explains the master, who admits that to buy classic swords, one must contact the few masters who still make them online. Is it safe? Very. It's definitely safer than football, for example. There is no contact, the emphasis is placed on the control of the weapon," he defends.

But how did he get into fencing? "Passion. There's no need to advertise, people who want to fence end up getting there naturally, as happened to me. It didn't come from my family, but I was fascinated. I started with traditional Japanese fencing, specifically with kenjutsu, the practice par excellence of the samurai. I wanted the most authentic fencing, that's why I fell in love with this style when there weren't even clubs in Europe. A style that has been recovered in recent years with centuries-old manuals, as it had been half forgotten. The same thing happened with historical European fencing, it had been forgotten, as sports fencing had taken over, of which I am also a professor, but it is a relatively young practice," he reasons.

Fencing, historically, was for saving one's skin. It wasn't until the late 19th century that competitions with safety elements were created to avoid injuries, as is the case now. But four or five centuries ago, it was different. "I have focused mainly on the 15th and 16th centuries, both on the longsword, which is held with two hands, and the sidesword, which is held with one hand. I teach this style, specifically the Bolognese tradition, as one of the best preserved fencing treatises was found there. A treatise with over 700 movements that give us a lot of information," explains Tudó, who adds that in the era when the Bolognese treatise was written, "in Catalonia we must have had our own, a Catalan school, but no treatise has been preserved."

At the Ateneu, students learn the movements, as if it were a choreography, to master the art of defending oneself. "These are not techniques for show. We are talking about movements that were designed to survive a real combat situation. The art of fencing is not so much the art of killing, but the art of not being killed. It is very easy to touch a person with a sword. What is difficult is to avoid being touched. The movements had to be perfect to avoid getting hurt, because a single blow could cut tendons, veins, or cause infections. The techniques are designed to save your skin. It's not like in the movies where movements are exaggerated; here it was about seeking short combats," says the master, who advocates that anyone can practice it. "It has always been seen as an elitist sport, but it is accessible to everyone, and a large investment is not necessary nowadays," he adds.

"If you practice it... it's as if we were in the 16th century, in the middle of the Renaissance, and you had the right to carry a sword in the street for self-defense. That's the magic, your body and your mind relive lost sensations. It's like a journey to the past," he concludes, ready to start a new session under the gaze of a bust of Jacint Verdaguer.