Category Archives: Instruction

Old Time Strongman Morning Routine

Posted on December 24, 2020 by BartitsuSociety

Originally published on the Bartitsu.org site on Sunday, 4th October 2015 The Art of Manliness offers this short morning workout routine based on Adrian Peter Schmidt’s 1901 manual, Illustrated Hints for Health and Strength for Busy People.

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“To Invite an Attack”: Tactical Guards in Canonical Bartitsu Stick Fighting

Posted on December 24, 2020 by BartitsuSociety

Originally published on the Bartitsu.org site on Saturday, 24th October 2015 It is always most desirable to try to entice your adversary to deliver a certain blow, and so place yourself at a great advantage by being prepared to guard … Continue reading →

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Tony Wolf Bartitsu Seminar Video

Posted on December 24, 2020 by BartitsuSociety

Originally published on the Bartitsu.org site on Sunday, 21st December 2014 Highlights from a two-hour introductory Bartitsu seminar taught by instructor Tony Wolf at the CombatCon martial arts conference in Las Vegas, Nevada. The theme of this class was to … Continue reading →

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“Directly You Are Seized, Strike Your Assailant”: the Atemi-waza of Canonical Bartitsu

Posted on December 24, 2020 by BartitsuSociety

Originally published on the Bartitsu.org site on Sunday, 9th August 2015 The Bartitsu canon consists of the close-combat techniques presented as Bartitsu by E.W. Barton-Wright and his colleagues between the years 1898-1902. Most notably, they include the various jiujitsu kata … Continue reading →

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Defense dans la Rue Vol. 2: Fundamental Striking Skills

Posted on December 24, 2020 by BartitsuSociety

Originally published on the Bartitsu.org site on Wednesday, 26th August 2015 The second volume of Craig Gemeiner’s Defense dans la Rue (“street self-defence”) instructional DVD series is now available: During the later decades of the 19th century Parisian citizens experienced the … Continue reading →

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Further Guard Positions in Vigny Stick Fighting

Posted on December 23, 2020 by BartitsuSociety

Originally published on the Bartitsu.org site on Wednesday, 2nd March 2016 These illustrations of various guard positions in the Vigny walking stick system were reproduced in several US newspapers during August of 1904.  This sequence from the Detroit Free Press (August 28, … Continue reading →

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“Seize him …” – the Active Free Hand in Canonical Bartitsu Stick Fighting

Posted on December 23, 2020 by BartitsuSociety

Originally published on the Bartitsu.org site on Sunday, 2nd October 2016 Above – the active use of the free hand in several canonical Bartitsu set-plays. Going by all historical evidence, the transition from cane-fighting distance to close-quarters combat was one of the … Continue reading →

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“Attacked by a man with a stick in his hand”: an Interpretation of Captain Laing’s First Bartitsu Set-Play

Posted on December 23, 2020 by BartitsuSociety

Originally published on the Bartitsu.org site on Thursday, 20th October 2016 Captain F.C. Laing’s 1902 article The ‘Bartitsu’ Method of Self Defence is an often-neglected resource for canonical Bartitsu stick training. As with all choreographed set-plays, Laing’s “examples” are best approached as formalised … Continue reading →

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“A man without a stick rushes at you with his fist”: an Interpretation of Captain Laing’s Second Bartitsu Set-Play

Posted on December 22, 2020 by BartitsuSociety

Originally published on the Bartitsu.org site on Tuesday, 18th October 2016 Captain F.C. Laing of the 12th Bengal Infantry (Kelat-I-Ghilzai Regiment) spent several months of intensive training at the London Bartitsu Club.  He then produced a uniquely useful article, The “Bartitsu” Method … Continue reading →

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“Attacked by a man with a stick in his hand”: an Interpretation of Captain Laing’s First Bartitsu Set-Play

Posted on December 22, 2020 by BartitsuSociety

Originally published on the Bartitsu.org site on Thursday, 20th October 2016 Captain F.C. Laing’s 1902 article The ‘Bartitsu’ Method of Self Defence is an often-neglected resource for canonical Bartitsu stick training. As with all choreographed set-plays, Laing’s “examples” are best approached as formalised … Continue reading →

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