The original Bartitsu Society website – www.bartitsu.org – was established by James Marwood in October of 2008, and that site served as the premiere online resource for the contemporary Bartitsu revival until it suffered a catastrophic technical failure in April of 2019.
The recovery, restoration and reconstruction process was a laborious task, but by January of 2021 the great majority of the items posted on Bartitsu.org between 2008-2019, including all of the significant technical and historical articles, had been reconstituted at www.bartitsusociety.com.
During the reconstruction the archived posts unavoidably became chronologically disordered and most of them now begin with a note recording the date when they were originally posted.
This event highlighted the fragility of electronic media and inspired the production of a third volume of the Bartitsu Compendium, in order to further preserve the best of the research presented here since the publication of the second volume in 2008. The Bartitsu Compendium, Volume III was published in December of 2022.
We hope you enjoy the Bartitsu Society website 2.0!
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Here follows a translation of this short 1902 article; notably, the Bartitsu School of Arms had actually closed by the time this piece was first published.
Jacketed Wrestling
The Bartitsu Club of London is directed by M. Pierre Vigny, who has occupied the post of professor there for the past three years. The premises are situated in Shaftesbury Avenue, in a spacious basement illuminated by electric light and furnished with mats to soften the impact of falls. A new School of Self-Defence and Fencing has just been inaugurated there, which we believe is destined for the greatest success.
Let us say a few words concerning the Japanese instructors who teach jacket wrestling, or what might more properly be described as the art of self-defence against assault. The two Japanese are of small stature, but admirably proportioned, and possess an agility that borders on the prodigious. They teach a form of wrestling entirely unknown here in France: jacket wrestling.
In place of ordinary street attire, the contestants don a kind of short jacket made of stout canvas; and, each seizing his opponent at will—by the collar, the sleeves, or the skirts of the garment—they endeavour mutually to throw one another, and to place the adversary in a position where he is incapable of doing harm.
When the two Japanese are engaged with other opponents, they are invincible, so great are their dexterity and their mastery of this form of wrestling. Any wrestler who finds himself face to face with them is compelled to acknowledge defeat, and they make him perform the most extraordinary somersaults imaginable. Yet they are not men of great physical strength; rather, they employ the force of their adversaries to throw them and reduce them to complete immobility. It must, however, be noted that without the jacket they are no longer able to employ those mysterious methods which so completely disconcert all who contend with them.
We witnessed the Swiss wrestler Cherpillod, a man of great vigour, reduced to helplessness by one of these small Japanese. Their knowledge of anatomy greatly assists them in overcoming their opponents, even by the infliction of pain when necessary. The photographs reproduced opposite will give a clearer idea of their method of work.
We ourselves attempted a few holds of jacket wrestling with one of the two Japanese, and the experience was decidedly amusing. Conscious of our superior strength, we seized our adversary in a front waist-grip and hurled him to the ground upon his back. The little man did not even attempt to resist, but allowed himself to fall; yet scarcely had his shoulders touched the ground when his foot came to rest upon our chest, and we executed a masterly pirouette over our opponent, who found himself above us and held us helpless—by pain and by means of various positions of the body, the nature of which one scarcely realises until subjected to them oneself.
All this is understood almost at once. It is prodigious. But let us repeat once again that there is one sine qua non condition for their victory over an opponent: the use of the special garment known as the jacket.
Oliver Janseps teaches the canonical Pearson’s Magazine article techniques of employing the Vigny cane against an alpenstock (spiked hiking staff) and a double-handed club attack.
There’s a proliferation of short “What was Bartitsu?” YouTube videos, including many AI-generated offerings, but this piece from the Informed Martial Artist channel is unusually accurate and effective (despite some questionable AI-rendered “photos” of Barton-Wright and the other principal figures).
The conclusion that Bartitsu didn’t have time to be properly developed has been reached before, notably by martial arts historian Graham Noble as featured in the 2011 documentary Bartitsu: The Lost Martial Art of Sherlock Holmes. Arguably, as Noble pointed out, only Barton-Wright himself, possibly Pierre Vigny and most likely their first generation of students were in a position to prove the art on its own terms, but there was no venue other than academic demonstrations for a martial art combining savate, boxing, jujutsu and stick fighting in Edwardian London. Hence – as the Informed Martial Artist recognises – the motivation of the modern Bartitsu revival movement.
Selected images from the brief but interesting double-weapon fencing revival spearheaded by Maitres Albert Lacaze and Georges Dubois during the 1920s.
Like the modern HEMA revival, the French dague et rapiere style referred to many combat treatises of the 1500s and 1600s; unlike the modern scene, Lacaze and Dubois were not aiming for a verbatim reconstruction of the historical styles. Rather, they were inspired by the works of Capo Ferro, Fabris and other Renaissance-era masters to develop a new, competitive and academic style of classical fencing.
Here’s the Lacaze/Dubois style in action, courtesy of a 1927 British Pathe newsreel:
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An entertaining and informative intro. to bare-knuckle fisticuffs courtesy of popular martial arts YouTuber Sensei Seth and pugilism expert Tom Billinge.
Thanks to antique dealer Rob Phillips for these photos of an antique Vigny cane; the first such example known to have been located in the history of the modern revival.
The cane is labelled
VIGNY’S “SELF DEFENCE” STICK
18. BERNERS ST. W.
and appears to be stamped “W.S. NOWELL” on top of the handle:
A Walter Salmon Nowell was active in London during this period, working in the field of dental surgery.
The Berner’s St. address dates the cane to post-September of 1902, when Pierre Vigny had set up his own academy of arms and physical culture in London’s West End.
Although Vigny’s system was versatile enough to provide protection with light canes, crook-handled canes and umbrellas, it was optimized for the specific type of cane that Vigny himself developed. In “The Walking Stick as a Means of Self-Defence” (Health and Strength, July 1903), Vigny wrote:
(…) therefore the cane is the most perfect weapon for self-defence; but in order to make it so, it must possess the necessary qualities, which, expressed in one word, is solidity.
It is for this reason that I have had a cane specially made under my directions which embraces all the necessary qualities. It is a medium-sized Malacca cane, mounted with a thick metal ball, and so firmly riveted to the cane that it cannot come off however roughly it may be used. The metal ball handle is of such a thickness that it will not get dented; but in spite of this the cane is a most handsome and elegant one, and has been so much appreciated since it has been brought out that many people may be seen carrying them.
Oliver Janseps presents his interpretation of H.G. Lang’s “flick” and “flip” techniques from “The Walking Stick Method of Self Defence”.
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The AgelessExplorer YouTube channel offers an entertaining angle on cane-fighting and on Charlie Chaplin’s physical comedy genius in this mini-documentary.
Nice to see some of these techniques in action, particularly in that the self defence section of The Wrinkle Book was possibly my first ever exposure to the notion of “early 20th century martial arts/self defence”. My late father had a first edition copy of this book and I came across this section while leafing through it sometime in the late 1970s or early ’80s; note to younger people, this is the sort of thing that sometimes happened long before the Internet.
Much later, the Wrinkle Book‘s page of self-defence illustrations may well have been the very first image I ever scanned for online republication, and in 2006 I used a lightly modified version of the same page as the cover image for my augmented republication of Andrew Chase Cunningham’s book, The Cane as a Weapon.