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2026 Classes
FOUNDATIONS
Foundations tracks are six-hour classes that span Blocks 1-4 on your schedule. Registrants in either Foundations track will still have the option to select their Block 5 class from all available options.
SATURDAY
Unarmed Foundations (Beginner - Unarmed): Raya Tuffaha / Geoffrey Alm / Ian Bond
The vast majority of stage combat in contemporary American theatre is Unarmed combat. This six hour course will cover foundational unarmed techniques for safety and storytelling. Students will learn how to fall, throw punches and kicks, grapple and choke, and safely tell the story of simulated violence. This is an excellent course for those without Unarmed stage combat experience or for those looking to review and refresh their skills.
SUNDAY
Sword Foundations (Beginner - Single Sword): Carter Thompson / Samantha Kaufman / Casey Kaleba
There are many different kinds of swords, but using them safely on stage starts with understanding distance, targeting, and the transfer of energy. This six hour course will cover foundational sword techniques for safety and storytelling. Students will learn how to attack and parry, move while fighting, act within the fight, and safely tell the story of simulated violence. This is an excellent course for those with little to no sword experience or for those looking to review and refresh their skills.
SATURDAY
Unarmed Foundations (Beginner - Unarmed): Raya Tuffaha / Geoffrey Alm / Ian Bond
The vast majority of stage combat in contemporary American theatre is Unarmed combat. This six hour course will cover foundational unarmed techniques for safety and storytelling. Students will learn how to fall, throw punches and kicks, grapple and choke, and safely tell the story of simulated violence. This is an excellent course for those without Unarmed stage combat experience or for those looking to review and refresh their skills.
SUNDAY
Sword Foundations (Beginner - Single Sword): Carter Thompson / Samantha Kaufman / Casey Kaleba
There are many different kinds of swords, but using them safely on stage starts with understanding distance, targeting, and the transfer of energy. This six hour course will cover foundational sword techniques for safety and storytelling. Students will learn how to attack and parry, move while fighting, act within the fight, and safely tell the story of simulated violence. This is an excellent course for those with little to no sword experience or for those looking to review and refresh their skills.
SATURDAY
Blocks 1-4 are 90 minutes each, and Block 5 is 60 minutes.
BLOCKS 1-2 (morning intensive):
Crafting the Fight for Film (Open - Two-handed Sword): Travis Sims
**This is a six-hour class that continues in Blocks 3 and 4. Please sign up for the same classes with this title during class selection.
Focusing on adapting from stage to screen, this course will cover the elements of creating sword violence for the camera. The first course will discuss things from previz to shooting on set, then beginning to rehearse. In the second course, students will then break out into groups to work choreo, plan out their shots, and shoot their fights. Hopefully a producer doesn't walk by and ask you to change the entire thing. Students will get an idea of what it's like to work action on a film set.
Burlesque for the Stage Combatant (Open - Unarmed): Amber Wolfe
What? Yes. This class is about being in your body. This class is NOT about being semi-naked. It’s about balancing strength, vulnerability, storytelling and creating a relationship with your audience. Bring some layers that you can remove. We will create a safe space to explore together.
English Sword and Buckler (Intermediate - Sword & Buckler): Tonya Lynn
Explore the deadly elegance of double fence as George Silver’s “true fight” principles bring new depth, danger, and storytelling power to your Renaissance swordplay, and then apply it to one of Shakespeare's most famous duels.
Golden Age Swashbuckling (Intermediate/Advanced - Single Sword): Geoffrey Alm
This class will explore concepts and choreography of the style of swordplay made famous in those movies we all love!
BLOCK 3:
Crafting the Fight for Film (Open - Two-handed Sword): Travis Sims
**This is a six-hour class that continues in Blocks 1-2 and 4. Please sign up for the same classes with this title during class selection.
Victorian Slashers and Crashers (Beginner - Single Sword): Casey Kaleba
For nearly 500 years, staged fights from the Caribbean to Italy to England integrated dance and martial arts. They were largely comprised of stock routines that all actors knew, and that could be arranged and rearranged depending on the stage, situation, and audience response. The most refined version of this were the stock phrases of the English Victorian stage, and this class will examine both the parts and the patterns, from Bell Clangers to Hutton's Loops, and assemble our own choreography based on these successful tricks.
Fighting in the Dark! (Advanced - Smallsword): Tonya Lynn
Physicalize the story of characters fighting in low- or no-light conditions (for example, Romeo and Paris in Juliet’s tomb at the end of Romeo and Juliet), with an emphasis on varying tempo, working from engagement, and sentiment du fer.
Safety Hiccups (Advanced - Unarmed): Samantha Kaufman
The Cue, Reaction, Action principle has kept us safe for decades. But when first learning it, we tend to exaggerate the first step, the cue. This leaves us very safe and very nice partners. This also leaves the choreography smelling of “stage combat.” In this class, learn how to shorten the cue, hide the cue in the move before, or even shift the cue from what we all traditionally recognize as a cue.
BLOCK 4:
Crafting the Fight for Film (Open - Two-handed Sword): Travis Sims
**This is a six-hour class that continues in Blocks 1-2 and 3. Please sign up for the same classes with this title during class selection.
Knife from the Heart (Beginner/Open - Knife): Samantha Kaufman
Knife is a small weapon with small movements. Learn how to build a foundation for knife through concepts and drills from the heart center that develop habitual patterns - or unlearn unhelpful patterns - to keep knife tight and powerful. No prior knife experience needed. This is a great place for beginners or for folks looking to deconstruct the fundamentals of knife techniques.
Unarmed Burlesque (Intermediate/Advanced - Unarmed): Amber Wolfe
Yes. We are going to explore merging unarmed, scrappy fights with removal of layers of clothing. We will create a safe space to explore. Burlesque does not have to be glam and sexy. No semi-nudity required. Comfort with touching other humans and figuring out clothing removal-ography required.
Serpentinata (Intermediate/Advanced - Rapier & Dagger): Casey Kaleba
This class looks at the coiled body as a foundation to biomechanical and artistic possibility in blade work. We'll look at efficient movement and building chains of movement rather than isolated actions. This will be a workout for both brain and body, so be ready to leave some cherished assumptions by the wayside as we build fights worth the ticket price.
BLOCK 5:
Intro to Physical Storytelling (Open - Lecture): Raya Tuffaha
This discussion-based lecture covers the basic elements of translating violence from the page to the stage. Students will walk away with a deeper understanding of various methods playwrights use to achieve their desired violent narratives, and how fight directors can best support those stories.
Preparing for the Fight Audition (Open - Unarmed): Chelsey Sheppard
This workshop will cover safety techniques and good partnering skills; explore playing relationships and making character choices; and apply these ideas to a short fight to practice learning choreography in a short time frame.
Classic Swordfights (Open - Lecture): Geoffrey Alm
This fun, end-of-day conversation time will feature watching movie clips and discussing them. Students will be sharing their feedback and perspectives. This is a great way to analyze fights, see relatable concepts, and find inspiration.
Mass Battle (Open - Mixed weapons): Casey Kaleba
The full-cast scuffle is a hallmark of opera, killing monsters, musketeers, and directors who want to add an extra fight in Macbeth. This active class will look at the three primary ways of performing and staging the fog of war, and attempt to get a sortie going in Seattle.
BLOCKS 1-2 (morning intensive):
Crafting the Fight for Film (Open - Two-handed Sword): Travis Sims
**This is a six-hour class that continues in Blocks 3 and 4. Please sign up for the same classes with this title during class selection.
Focusing on adapting from stage to screen, this course will cover the elements of creating sword violence for the camera. The first course will discuss things from previz to shooting on set, then beginning to rehearse. In the second course, students will then break out into groups to work choreo, plan out their shots, and shoot their fights. Hopefully a producer doesn't walk by and ask you to change the entire thing. Students will get an idea of what it's like to work action on a film set.
Burlesque for the Stage Combatant (Open - Unarmed): Amber Wolfe
What? Yes. This class is about being in your body. This class is NOT about being semi-naked. It’s about balancing strength, vulnerability, storytelling and creating a relationship with your audience. Bring some layers that you can remove. We will create a safe space to explore together.
English Sword and Buckler (Intermediate - Sword & Buckler): Tonya Lynn
Explore the deadly elegance of double fence as George Silver’s “true fight” principles bring new depth, danger, and storytelling power to your Renaissance swordplay, and then apply it to one of Shakespeare's most famous duels.
Golden Age Swashbuckling (Intermediate/Advanced - Single Sword): Geoffrey Alm
This class will explore concepts and choreography of the style of swordplay made famous in those movies we all love!
BLOCK 3:
Crafting the Fight for Film (Open - Two-handed Sword): Travis Sims
**This is a six-hour class that continues in Blocks 1-2 and 4. Please sign up for the same classes with this title during class selection.
Victorian Slashers and Crashers (Beginner - Single Sword): Casey Kaleba
For nearly 500 years, staged fights from the Caribbean to Italy to England integrated dance and martial arts. They were largely comprised of stock routines that all actors knew, and that could be arranged and rearranged depending on the stage, situation, and audience response. The most refined version of this were the stock phrases of the English Victorian stage, and this class will examine both the parts and the patterns, from Bell Clangers to Hutton's Loops, and assemble our own choreography based on these successful tricks.
Fighting in the Dark! (Advanced - Smallsword): Tonya Lynn
Physicalize the story of characters fighting in low- or no-light conditions (for example, Romeo and Paris in Juliet’s tomb at the end of Romeo and Juliet), with an emphasis on varying tempo, working from engagement, and sentiment du fer.
Safety Hiccups (Advanced - Unarmed): Samantha Kaufman
The Cue, Reaction, Action principle has kept us safe for decades. But when first learning it, we tend to exaggerate the first step, the cue. This leaves us very safe and very nice partners. This also leaves the choreography smelling of “stage combat.” In this class, learn how to shorten the cue, hide the cue in the move before, or even shift the cue from what we all traditionally recognize as a cue.
BLOCK 4:
Crafting the Fight for Film (Open - Two-handed Sword): Travis Sims
**This is a six-hour class that continues in Blocks 1-2 and 3. Please sign up for the same classes with this title during class selection.
Knife from the Heart (Beginner/Open - Knife): Samantha Kaufman
Knife is a small weapon with small movements. Learn how to build a foundation for knife through concepts and drills from the heart center that develop habitual patterns - or unlearn unhelpful patterns - to keep knife tight and powerful. No prior knife experience needed. This is a great place for beginners or for folks looking to deconstruct the fundamentals of knife techniques.
Unarmed Burlesque (Intermediate/Advanced - Unarmed): Amber Wolfe
Yes. We are going to explore merging unarmed, scrappy fights with removal of layers of clothing. We will create a safe space to explore. Burlesque does not have to be glam and sexy. No semi-nudity required. Comfort with touching other humans and figuring out clothing removal-ography required.
Serpentinata (Intermediate/Advanced - Rapier & Dagger): Casey Kaleba
This class looks at the coiled body as a foundation to biomechanical and artistic possibility in blade work. We'll look at efficient movement and building chains of movement rather than isolated actions. This will be a workout for both brain and body, so be ready to leave some cherished assumptions by the wayside as we build fights worth the ticket price.
BLOCK 5:
Intro to Physical Storytelling (Open - Lecture): Raya Tuffaha
This discussion-based lecture covers the basic elements of translating violence from the page to the stage. Students will walk away with a deeper understanding of various methods playwrights use to achieve their desired violent narratives, and how fight directors can best support those stories.
Preparing for the Fight Audition (Open - Unarmed): Chelsey Sheppard
This workshop will cover safety techniques and good partnering skills; explore playing relationships and making character choices; and apply these ideas to a short fight to practice learning choreography in a short time frame.
Classic Swordfights (Open - Lecture): Geoffrey Alm
This fun, end-of-day conversation time will feature watching movie clips and discussing them. Students will be sharing their feedback and perspectives. This is a great way to analyze fights, see relatable concepts, and find inspiration.
Mass Battle (Open - Mixed weapons): Casey Kaleba
The full-cast scuffle is a hallmark of opera, killing monsters, musketeers, and directors who want to add an extra fight in Macbeth. This active class will look at the three primary ways of performing and staging the fog of war, and attempt to get a sortie going in Seattle.
SUNDAY
Blocks 1-4 are 90 minutes each, and Block 5 is 60 minutes.
BLOCKS 1-2 (morning intensive):
Zero Budget Blood Effects (Open - blood props): Casey Kaleba
Blood effects have been a staple of theatre since Oedipus - they can be entertaining, powerful, ridiculous and memorable. They can also be messy, expensive, unnecessary, and permanent. This class will provide you with a design process for blood effects, as well as practical and updated solutions for the most common (and unusual) effects out there. The class will be a mix of presentation and experimentation, so be ready to be icky.
Finding the Mess (Intermediate - Unarmed): Samantha Kaufman
Using principles from the Michael Chekhov technique, this class explores how committing to artistic frame can grow the moments between moves within choreography to create “messier” fights. Starting off with an exploration of Chekhov’s artistic frame, we will solidify where a character’s objective begins, expands, and ends. Then, we’ll apply this exploration to simple stage combat techniques. Reframing artistic frame within stage combat from “move, move, move” to “moment, moment, moment” takes stage combatants from technical fighters back to movement actors. Weaving this principle into a choreographed sequence helps actors to achieve the dramatic effect of looking spontaneous, desperate, and messy.
Pump It Up (Intermediate - Single Rapier): Geoffrey Alm
Explore the commitment energetically needed to fill the performance space to match the given circumstances of the fight. Through the use of Single Rapier, we will explore the possibilities of stretching the envelope with conviction and honesty.
Breathing in a New Mentality (Advanced - Smallsword): Ian Bond
The root of movement is breath. In this class we’ll be exploring how breathing techniques can improve our learning and retention of complex choreography, remove unnecessary tension and strain from performance, and create dynamic vocal stories that are safe and repeatable. After a thorough warm-up, we’ll be utilizing complex choreography with one of the most difficult SAFD weapons to explore how breath can change our mindset and improve our results when facing challenges. Come prepared to be frustrated and find ease in that frustration.
BLOCK 3:
Physicality Smorgasbord (Open - Unarmed): Amber Wolfe
Join me for 90 minutes of moving, laughing, and not memorizing choreography. Improve your connection to your storytelling instrument: your body. Storytelling, physical comedy, movement, partner acrobatics, tussles, scrappy fights. Fully using your body as a narrative tool and having fun while doing it. This class requires improvisational physical contact with other humans. We will set up guidelines created by the class. My job is to be a facilitator for you to explore and have fun. Your job is to have fun and not have to memorize any choreography.
"Hello, Stick" (Beginner - Staff): Ryan Spickard
Besides a rock, a stick is most likely the oldest weapon for humanity. It’s a staff, it’s a club, it’s a spear, it helps you on hikes. We’ll introduce performers to the fundamentals of staff work for stage combat, emphasizing precision, partner awareness, and safety. Drawing on flow drills, we’ll explore controlled spins and twirling techniques that enhance fluidity and visual impact. The course provides a solid, performance‑ready foundation for anyone entering the discipline.
Musketeer R&D (Intermediate - Rapier & Dagger): Travis Sims
While Musketeers had firearms, the rapier was their primary weapon. This class will focus on fighting with a weapon in each hand, and leaning into fighting as an ambidextrous sport. Whether we're talking about Shakespeare, Dumas, Zorro, or just about any swashbuckling adventure, the rapier is all for one and one for all!
Contact Improv...Knife! (Intermediate/Advanced - Knife): Tonya Lynn
How can we build repeatable and safe choreography that doesn’t have a signature “stage combat” look? Let’s discover the fight through play and explore the unique, organic movement we each bring into the room. Be prepared to work with weight sharing and physical contact.
BLOCK 4:
Just Die Already (Open - Mixed weapons): Tonya Lynn
Put on your creative thinking caps for a choreography round-table and sandbox session focusing on the final moment of the fight - building moments that are unique, creative, and have storytelling depth. Come brainstorm, innovate, and share our discoveries as we explore these climactic moments. Class will begin with a theoretical discussion on movement choreography and layered choreographic exploration. Be prepared for gritty explorations of final moments.
Don't Get Cut! (Beginner - Knife): Travis Sims
A most visceral weapon, knife fighting puts you at unarmed distance with a blade in hand. This class will focus on not just the basics of attacking with a knife, but how to play the danger and make the audience worry for the character and not the performer.
Controlled Chaos (Intermediate - Two-handed Sword): Samantha Kaufman
How to attack on the retreat. Learn how to control cuts and thrusts when being pursued by a partner. Putting a full fight on the back heel, how to keep the safety and story consistent and engaged.
Smallsword Continuing Education (Intermediate - Smallsword): Geoffrey Alm
This class will stress how the study of historical fencing techniques add to the knowledge of the theatrical fencer. Through my association with Salle Saint Georges and the Martinez School of Fence I have been exploring historical martial concepts and how to adapt them for stage use.
BLOCK 5:
"Lo! See my Staff, it is Lusty and Tough!" (Open - Staff): Casey Kaleba
This class is a quick dip into the world of quarterstaff - the weapon of killing monsters, Sherwood Forest, and journeys to the West. We'll look at grips and swings, basic theory of choreography, and tips to wrap your brain around the mental moebius strip of dual-wielding a single object.
The "True Fight" Hidden Within Romeo and Juliet (Open - Sword & Buckler): Tonya Lynn
Reimagine Shakespeare's most famous sword fights through the lens of Renaissance swordsman George Silver's lens, uncovering historical tactics and textual references that illuminate character objectives, sharpen dramaturgy, and enrich choreographic choices. Come prepared to look at text and develop choreography, with a focus on the English basket-hilted sword and buckler.
Bar Brawl (Open - Unarmed): Amber Wolfe
This class is an open exploration of physical comedy as it relates to stage combat. We’ll build ridiculous fights. We'll do group choreo moving from partner to partner, probably to music, because that makes it more ridiculous.
Combat Masking: Crafting Successful Illusions (Open - Lecture): Travis Sims
Non-Contact Illusions are the bread and butter of violence design. Finding the right angles and locations on stage to properly mask them can be a challenge. This lecture will examine how non-contact illusions function and provide tools on figuring out masking in a house of any size from any angle, with the help of PowerPoint visual aids!
BLOCKS 1-2 (morning intensive):
Zero Budget Blood Effects (Open - blood props): Casey Kaleba
Blood effects have been a staple of theatre since Oedipus - they can be entertaining, powerful, ridiculous and memorable. They can also be messy, expensive, unnecessary, and permanent. This class will provide you with a design process for blood effects, as well as practical and updated solutions for the most common (and unusual) effects out there. The class will be a mix of presentation and experimentation, so be ready to be icky.
Finding the Mess (Intermediate - Unarmed): Samantha Kaufman
Using principles from the Michael Chekhov technique, this class explores how committing to artistic frame can grow the moments between moves within choreography to create “messier” fights. Starting off with an exploration of Chekhov’s artistic frame, we will solidify where a character’s objective begins, expands, and ends. Then, we’ll apply this exploration to simple stage combat techniques. Reframing artistic frame within stage combat from “move, move, move” to “moment, moment, moment” takes stage combatants from technical fighters back to movement actors. Weaving this principle into a choreographed sequence helps actors to achieve the dramatic effect of looking spontaneous, desperate, and messy.
Pump It Up (Intermediate - Single Rapier): Geoffrey Alm
Explore the commitment energetically needed to fill the performance space to match the given circumstances of the fight. Through the use of Single Rapier, we will explore the possibilities of stretching the envelope with conviction and honesty.
Breathing in a New Mentality (Advanced - Smallsword): Ian Bond
The root of movement is breath. In this class we’ll be exploring how breathing techniques can improve our learning and retention of complex choreography, remove unnecessary tension and strain from performance, and create dynamic vocal stories that are safe and repeatable. After a thorough warm-up, we’ll be utilizing complex choreography with one of the most difficult SAFD weapons to explore how breath can change our mindset and improve our results when facing challenges. Come prepared to be frustrated and find ease in that frustration.
BLOCK 3:
Physicality Smorgasbord (Open - Unarmed): Amber Wolfe
Join me for 90 minutes of moving, laughing, and not memorizing choreography. Improve your connection to your storytelling instrument: your body. Storytelling, physical comedy, movement, partner acrobatics, tussles, scrappy fights. Fully using your body as a narrative tool and having fun while doing it. This class requires improvisational physical contact with other humans. We will set up guidelines created by the class. My job is to be a facilitator for you to explore and have fun. Your job is to have fun and not have to memorize any choreography.
"Hello, Stick" (Beginner - Staff): Ryan Spickard
Besides a rock, a stick is most likely the oldest weapon for humanity. It’s a staff, it’s a club, it’s a spear, it helps you on hikes. We’ll introduce performers to the fundamentals of staff work for stage combat, emphasizing precision, partner awareness, and safety. Drawing on flow drills, we’ll explore controlled spins and twirling techniques that enhance fluidity and visual impact. The course provides a solid, performance‑ready foundation for anyone entering the discipline.
Musketeer R&D (Intermediate - Rapier & Dagger): Travis Sims
While Musketeers had firearms, the rapier was their primary weapon. This class will focus on fighting with a weapon in each hand, and leaning into fighting as an ambidextrous sport. Whether we're talking about Shakespeare, Dumas, Zorro, or just about any swashbuckling adventure, the rapier is all for one and one for all!
Contact Improv...Knife! (Intermediate/Advanced - Knife): Tonya Lynn
How can we build repeatable and safe choreography that doesn’t have a signature “stage combat” look? Let’s discover the fight through play and explore the unique, organic movement we each bring into the room. Be prepared to work with weight sharing and physical contact.
BLOCK 4:
Just Die Already (Open - Mixed weapons): Tonya Lynn
Put on your creative thinking caps for a choreography round-table and sandbox session focusing on the final moment of the fight - building moments that are unique, creative, and have storytelling depth. Come brainstorm, innovate, and share our discoveries as we explore these climactic moments. Class will begin with a theoretical discussion on movement choreography and layered choreographic exploration. Be prepared for gritty explorations of final moments.
Don't Get Cut! (Beginner - Knife): Travis Sims
A most visceral weapon, knife fighting puts you at unarmed distance with a blade in hand. This class will focus on not just the basics of attacking with a knife, but how to play the danger and make the audience worry for the character and not the performer.
Controlled Chaos (Intermediate - Two-handed Sword): Samantha Kaufman
How to attack on the retreat. Learn how to control cuts and thrusts when being pursued by a partner. Putting a full fight on the back heel, how to keep the safety and story consistent and engaged.
Smallsword Continuing Education (Intermediate - Smallsword): Geoffrey Alm
This class will stress how the study of historical fencing techniques add to the knowledge of the theatrical fencer. Through my association with Salle Saint Georges and the Martinez School of Fence I have been exploring historical martial concepts and how to adapt them for stage use.
BLOCK 5:
"Lo! See my Staff, it is Lusty and Tough!" (Open - Staff): Casey Kaleba
This class is a quick dip into the world of quarterstaff - the weapon of killing monsters, Sherwood Forest, and journeys to the West. We'll look at grips and swings, basic theory of choreography, and tips to wrap your brain around the mental moebius strip of dual-wielding a single object.
The "True Fight" Hidden Within Romeo and Juliet (Open - Sword & Buckler): Tonya Lynn
Reimagine Shakespeare's most famous sword fights through the lens of Renaissance swordsman George Silver's lens, uncovering historical tactics and textual references that illuminate character objectives, sharpen dramaturgy, and enrich choreographic choices. Come prepared to look at text and develop choreography, with a focus on the English basket-hilted sword and buckler.
Bar Brawl (Open - Unarmed): Amber Wolfe
This class is an open exploration of physical comedy as it relates to stage combat. We’ll build ridiculous fights. We'll do group choreo moving from partner to partner, probably to music, because that makes it more ridiculous.
Combat Masking: Crafting Successful Illusions (Open - Lecture): Travis Sims
Non-Contact Illusions are the bread and butter of violence design. Finding the right angles and locations on stage to properly mask them can be a challenge. This lecture will examine how non-contact illusions function and provide tools on figuring out masking in a house of any size from any angle, with the help of PowerPoint visual aids!
Schedule subject to change.
Which skill level am I?
The classes that best suit you will depend on your personal experience. We've created a guide below to help you understand how we label our course offerings.
Beginner: courses that provide an introduction to a weapons discipline. They are designed for students with no experience or those looking for a refresher.
Intermediate: courses intended to continue education in a specific discipline by building on prior knowledge. Best for students who have some familiarity with the weapon discipline, and are interested in going deeper or increasing their skills.
Advanced: courses best suited for students with a good working familiarity of a weapon discipline who are ready to challenge themselves. Please do not sign up for one of these classes unless you are solidly familiar with that weapon style (or you may struggle and/or endanger yourself or other students).
Open: courses designed for students of all experience levels. They provide explorations of basic concepts to meet students where they are and/or allow space for students to work at their own pace.
The classes that best suit you will depend on your personal experience. We've created a guide below to help you understand how we label our course offerings.
Beginner: courses that provide an introduction to a weapons discipline. They are designed for students with no experience or those looking for a refresher.
Intermediate: courses intended to continue education in a specific discipline by building on prior knowledge. Best for students who have some familiarity with the weapon discipline, and are interested in going deeper or increasing their skills.
Advanced: courses best suited for students with a good working familiarity of a weapon discipline who are ready to challenge themselves. Please do not sign up for one of these classes unless you are solidly familiar with that weapon style (or you may struggle and/or endanger yourself or other students).
Open: courses designed for students of all experience levels. They provide explorations of basic concepts to meet students where they are and/or allow space for students to work at their own pace.
Have other questions? Send us a message!
