"Dios, qué buen vassallo, si oviesse buen señore!" (Cantar de Mio Cid)

"El ciego sol, la sed y la fatiga. Por la terrible estepa castellana, al destierro, con doce de los suyos -polvo, sudor y hierro-, el Cid cabalga."  (Manuel Machado)

"Dios, qué buen vassallo, si oviesse buen señore!" (Cantar de Mio Cid)

"El ciego sol, la sed y la fatiga. Por la terrible estepa castellana, al destierro, con doce de los suyos -polvo, sudor y hierro-, el Cid cabalga."  (Manuel Machado)

"Dios, qué buen vassallo, si oviesse buen señore!" (Cantar de Mio Cid)

"El ciego sol, la sed y la fatiga. Por la terrible estepa castellana, al destierro, con doce de los suyos -polvo, sudor y hierro-, el Cid cabalga."  (Manuel Machado)

«The war reached us all, in the heat of battle, we well knew the sovereign wolf God and his ferocious consecrated warrior brotherhoods that, through magical rituals, acquired fury for combat, assuming the faculties of the wolf and after his death triumphant, Vaélico, thus referred to by the Vetones, accompanies them on their journey to the beyond.»

In 1212 three kings put aside their differences and, shoulder to shoulder, galloped and charged in the Navas de Tolosa against the Almohad army of Miramamolín Al Nasir that was determined to reconquer Spain and reach Rome itself.

Horsemen, cavalry, council militias, military orders, Templars, Calatravos, Santiaguistas, volunteers, gentle men ready to fight the half moon. The confrontation was cruel. Terrible scenarios with metal ripping and tearing ...

When it seemed that all was lost for Christians, the banner of the three wolves was raised...

It is Lopez de Haro who, together with his son and his Castilian knights and innkeepers, set out at the head of the vanguard determined to immolate themselves. King Alfonso VIII of Castile, who looks at it excitedly, launches the attack shouting "Here, Bishop, we all die." Pedro II of Aragon and Sancho VII of Navarra followed him ...

The epic and the enthusiasm seizes everyone and it is that the three kings ride and charge just through the hills of the Navas de Tolosa de Sierra Morena...

la Verdadera Destreza, the Spanish tradition of fencing based on geometry—the mathematics of combat: angles (for the hands and arms) and circles (for the feet and distances) against the enemy—that dates back from the beginning of the Golden Age to the 19th century, represents a titanic effort to bring order to the chaos that a sword duel entails. This Spanish martial art was documented for the first time in the treatise "On the Philosophy of Weapons and their Dexterity and Christian Aggression and Defense" back in 1582.

[T-shirt proposed by Carlos Loscertales]

La Verdadera Destreza, the Spanish tradition of fencing based on geometry—the mathematics of combat: angles (for the hands and arms) and circles (for the feet and distances) against the enemy—that dates back from the beginning of the Golden Age to the 19th century, represents a titanic effort to bring order to the chaos that a sword duel entails. This Spanish martial art was documented for the first time in the treatise "On the Philosophy of Weapons and their Dexterity and Christian Aggression and Defense" back in 1582.

[In the image a swordsman with rapier and dagger on the circle of Rada]

[T-shirt proposed by Carlos Loscertales]

La Verdadera Destreza, the Spanish tradition of fencing based on geometry—the mathematics of combat: angles (for the hands and arms) and circles (for the feet and distances) against the enemy—that dates back from the beginning of the Golden Age to the 19th century, represents a titanic effort to bring order to the chaos that a sword duel entails. This Spanish martial art was documented for the first time in the treatise "On the Philosophy of Weapons and their Dexterity and Christian Aggression and Defense" back in 1582.

[In the image a swordsman with rapier and dagger on the circle of Rada]

[T-shirt proposed by Carlos Loscertales]

la Verdadera Destreza, the Spanish tradition of fencing based on geometry—the mathematics of combat: angles (for the hands and arms) and circles (for the feet and distances) against the enemy—that dates back from the beginning of the Golden Age to the 19th century, represents a titanic effort to bring order to the chaos that a sword duel entails. This Spanish martial art was documented for the first time in the treatise "On the Philosophy of Weapons and their Dexterity and Christian Aggression and Defense" back in 1582.

[In the image a swordsman with rapier and dagger on the circle of Rada]

[T-shirt proposed by Carlos Loscertales]

La Verdadera Destreza, the Spanish tradition of fencing based on geometry—the mathematics of combat: angles (for the hands and arms) and circles (for the feet and distances) against the enemy—that dates back from the beginning of the Golden Age to the 19th century, represents a titanic effort to bring order to the chaos that a sword duel entails. This Spanish martial art was documented for the first time in the treatise "On the Philosophy of Weapons and their Dexterity and Christian Aggression and Defense" back in 1582.

[In the image a swordsman with rapier and dagger on the circle of Rada]

[T-shirt proposed by Carlos Loscertales]

La Verdadera Destreza, the Spanish tradition of fencing based on geometry—the mathematics of combat: angles (for the hands and arms) and circles (for the feet and distances) against the enemy—that dates back from the beginning of the Golden Age to the 19th century, represents a titanic effort to bring order to the chaos that a sword duel entails. This Spanish martial art was documented for the first time in the treatise "On the Philosophy of Weapons and their Dexterity and Christian Aggression and Defense" back in 1582.

[In the image a swordsman with rapier and dagger on the circle of Rada]

[T-shirt proposed by Carlos Loscertales]

La Verdadera Destreza, the Spanish tradition of fencing based on geometry—the mathematics of combat: angles (for the hands and arms) and circles (for the feet and distances) against the enemy—that dates back from the beginning of the Golden Age to the 19th century, represents a titanic effort to bring order to the chaos that a sword duel entails. This Spanish martial art was documented for the first time in the treatise "On the Philosophy of Weapons and their Dexterity and Christian Aggression and Defense" back in 1582.

[In the image a swordsman with rapier and dagger on the circle of Rada]

[T-shirt proposed by Carlos Loscertales]

La Verdadera Destreza, the Spanish tradition of fencing based on geometry—the mathematics of combat: angles (for the hands and arms) and circles (for the feet and distances) against the enemy—that dates back from the beginning of the Golden Age to the 19th century, represents a titanic effort to bring order to the chaos that a sword duel entails. This Spanish martial art was documented for the first time in the treatise "On the Philosophy of Weapons and their Dexterity and Christian Aggression and Defense" back in 1582.

[In the image a swordsman with rapier and dagger on the circle of Rada]

[T-shirt proposed by Carlos Loscertales]

La Verdadera Destreza, the Spanish tradition of fencing based on geometry—the mathematics of combat: angles (for the hands and arms) and circles (for the feet and distances) against the enemy—that dates back from the beginning of the Golden Age to the 19th century, represents a titanic effort to bring order to the chaos that a sword duel entails. This Spanish martial art was documented for the first time in the treatise "On the Philosophy of Weapons and their Dexterity and Christian Aggression and Defense" back in 1582.

[In the image a swordsman with rapier and dagger on the circle of Rada]

[T-shirt proposed by Carlos Loscertales]

DIGITAL EDITION (FREE)

The viada according to the RAE is the violent departure or departure of a person or an animal. It is also defined as the start-up or starting of an engine. With various meanings in disuse such as an attack or the defeat of enemy troops.

Much of it you will find in the pages of this graphic work. A compilation loaded with lights and shadows, myths and legends, ancestral references and historical identities. There is love and also many passages of war. But above all there is a purpose that you will discover through a path of the spirit, a pagan path, a magical path, a path of cultures, a path of action and a path of death.

Because this is a journey and a warrior path. An intimate and direct blasting—violent of course, since it is a first radical shock to your own sensitivity and subjectivity—of your reality. An inner revolution to start surfing the wave.

protected, with this sign the enemy is defeated"). Pelayo attributed his success to the use of this protective emblem. Whether or not the story about Don Pelayo and the battle of Covadonga is more reliable is told: if it was in 718 or 722, the number of participants according to the chronicles, recent studies talking about a riot of four uncles, what if it ended Reconquista was coined in contemporary times... the truth is that myths and legends convey to us the vision of what our ancestors believed, felt and lived at that time —let's stop judging the past with today's values"—, and That collective feeling and thought at that key moment, that fact, was the flame that lit and motivated the slow but persistent advance towards the south in that process of recovery of the lost kingdom, the so-called Reconquista, towards the definitive unity of Christian kingdoms, concluded with the capture of Granada in 1492.

 [T-shirt proposed by Elena Arquimbau]

[Information about Customized Shirts]

The Iberians gained fame for their fighting prowess, but their writing systems, their trade, and their art show that they were much more than great warriors. Their mother tongue "Iberian" was spoken from the Hérault River (France) to Porcuna (Jaén) and they left thousands of inscriptions written in an original alphabet of signs that was a mystery for centuries that little by little is deciphering ... Written on coins , lead sheet, amphorae, mosaic, stone stele, silver crockery or trousseau, painted and engraved ceramics, copper plates, silver trousseau, walls ... Its enormous diffusion in the peninsula reveals to us how consolidated it was. The same alphabet was also shared with the Lusitanian and Proto-Basque languages.

[In the image the head of the wolf on the pectoral disc of the armor of the Iberian warriors]

The representation of the wolf in Iberian iconography, as a cult totemic animal, with strong roots in pastoral populations, related to myths and religious symbolism, represents ardor, heroism and warrior mysticism. Combat scenes between wolf and man are common, some symbolize death threat, lineage of power, protection in combat ... and the cult of the night, the path or initiation rite, in the passage to the afterlife, lupus as a guide in the afterlife ...

So recurrent in Iberian art, we find it in the sculptural ensembles of "El Pajarillo", in the Elche-Archena style ceramics, in the mints of the Iltirta and Iltiraka mint, in the "Copa del Carnassier", in the "Torso de Guerrero de la Alcudia"... and in the "Pátera de Perotito" where a young man, his hands are raised in a ritual position, is devoured by the wolf, merging with him, in his transit with the beyond ...

Because the wolf is also death, dying to live, dying to resurrect, when we are eaten we will renew our spirit, as a different being that is reborn as a new man. A journey of the initiate to the world of spirits, a descent to the bottom of the caverns, twinned with a wolf guide who will transfer us his great qualities...