AKA and me:
“Working as a lecturer gives me another dimension, the person puts the acquired skills into their own operating system so that they make sense and work for them. In addition, the role of the teacher is to find the most effective ways to pass on these skills. We all learn a little differently. Someone has a better visual memory for movement, someone understands more quickly only at the moment when he sees the movement specifically used in practice. The next one doesn’t have as much of a sense of pace. As a lecturer I meet different types of people, different professions. I learned a lot from the heldiska methodology when working with the dancers. I think A.K.A. is unique because of the diverse range of experiences and personalities it offers. It is created not only by the teachers, but also by the students they work with and are influenced by. We have evolved to a unique complexity. We don’t do things unilaterally towards commerce or period, or meditation and aesthetics. We have a lot to offer people who have fencing as a hobby to complement their study of history, actors, dancers and athletes.”
Since 2002 he has participated in regular training sessions and multi-day Magisterium camps, and he fondly remembers the weekly sabre seminars and the French school conducted by Peter Kozy. Jon’s future path as a lecturer was most influenced by the personalities of his first teachers – Petr Nusek and Mirek Khun.
He regularly represents A.K.A at the international meeting of the Ancient and Historical Italian Fencing Federation (FISAS). He has a number of movement and production collaborations under his belt. Preparation of fencers for the filming of Bathory, musicals Mona Lisa, Robin Hood, Dracula (fight with D. Hůlka), Tábor and Krumlov fame.
What led him to fencing was his desire to see how cold weapons could really work. Eventually he became absorbed in the study of the alchemy of combat.
When he’s not holding a gun, Jon likes to ski, hike, drive a convertible and bake bread 🙂