Alex Kiermeyer Seminar Photos

  • Originally published on the Bartitsu.org site on Tuesday, 15th December 2015
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Pictures from the recent Bartitsu seminar with instructor Alex Kiermeyer (top) in Igensdorf, Germany.

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A Melange of Mayhem from Assassin’s Creed: Syndicate

  • Originally published on the Bartitsu.org site on Wednesday, 16th December 2015

Ten solid minutes of Victorian violence are on display in this compilation of finishing moves from the Assassin’s Creed: Syndicate video game, which is set in the world of 19th century London gang warfare.

Bartitsu aficionados will appreciate the game’s intricately choreographed action, combining brawling unarmed combat (lots of jiujitsu-like joint breaks, low kicks, knees and headbutts) with walking stick and sword-cane combat in addition to fighting with the kukri knife and the game’s signature wrist-dagger weapon.

Noting also that “Bartitsu” is available as a special achievement in the gam

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“Houdini & Doyle” TV Series to Showcase “Supernatural” Edwardian Mysteries

  • Originally published on the Bartitsu.org site on Wednesday, 9th December 2015

Back in 2011 we reported the pre-production of no less than three media projects based on the premise that Harry Houdini and Sir Arthur Conan Doyle teamed up to fight crime.

We’re now pleased to announce that a 10-episode TV series titled Houdini and Doyle is currently in production and is slated to hit the small screen in early-mid 2016. The upcoming series stars Michael Weston as magician, escapologist and arch-skeptic Harry Houdini, Stephen Mangan as Sherlock Holmes author and seance enthusiast Sir Arthur Conan Doyle and Rebecca Liddiard as Scotland Yard Constable Adelaide Stratton.

According to producer David Hoselton, the series will proritise storytelling over historical accuracy, while retaining the essence of the Doyle and Houdini characters. The series is believed to be set in 1901, whereas in real history Doyle and Houdini didn’t meet until 1920; they were, in fact, close friends for several years, before a profound disagreement about spiritualism drove a permanent wedge between them.

It also sounds as if the new show will veer towards the fantastical, with plots involving (at least apparent) ghosts, vampires and aliens, as well as “guest appearances” by historical characters including Thomas Edison and references to topical issues such as the radical suffragette movement.

Given the current permeation of Bartitsu into pop-culture, it may not be too surprising if Houdini and Doyle features some Bartitsu-inflected action scenes …

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Solved – the Mystery of “Miss Sanderson’s” First Name

  • Originally published on the Bartitsu.org site on Wednesday, 4th November 2015

Although “Miss Sanderson’s” system of umbrella and parasol self-defence was quite famous in its day, the lady herself has remained elusive. For many years we have known little of her biography except that she was married to Bartitsu Club stickfighting and savate instructor Pierre Vigny; that she seems to have used the name “Miss Sanderson” for professional purposes (but she was sometimes referred to as Madame Vigny); and that she was described as being a fencing instructor and “champion lady fencer”.

Circa 1908, her unique self-defence system was featured in several newspaper and magazine articles, receiving widespread attention. Journalists were also effusive in their praise of her skill-at-arms:

Then Miss Sanderson came to the attack, and the demonstration showed her to be as capable with the stick as the sword. She passed it from hand to hand so quickly that the eye could scarcely follow the movements, and all the while her blows fell thick and fast. Down slashes, upper cuts, side swings, jabs and thrusts followed in quick succession, and the thought arose, how would a ruffian come off if he attacked this accomplished lady, supposing she had either walking-stick, umbrella, or parasol at the time? In tests, she has faced more than one Hooligan, who was paid to attack her, and each time he has earned his money well.

The contest between the Professor and Madame (Vigny, i.e. Miss Sanderson), which mingled the English art of Fisticuffs with the French Savate, was also intensely interesting, as proving the quickness, endurance and hitting power which can be developed as readily by members of the fair sex, as by those of the male persuasion, provided only that they be suitably trained.

– J. St. A. Jewell, “The Gymnasiums of London: Part X. — Pierre Vigny’s” Health and Strength, May 1904, pages 173-177.

Pierre and Marguerite Vigny, circa 1910.

The historical record has, up until very recently, been curiously silent as to Miss Sanderson’s given name, with no published source offering even so much as a given initial.

Now, however, thanks to Rachel Klingberg’s genealogical detective work, we finally know that Miss Sanderson/Madame Vigny’s first name was Marguerite. A 1901 British census lists her as being aged 27 and living with Pierre Vigny (then aged 35) and their 2-year-old daughter Yvonne, plus an 18-year-old servant, Antoinette Duchene, at an address on Chesilton Road in Middlesex, about 19 miles from the Bartitsu Club where Pierre, and possibly Marguerite, would have been employed in 1901. Marguerite was listed as having been a French national who was born in Switzerland.

Vigny family census record final

Click on the above image to see detail.

Although searches for the names “Marguerite Sanderson” and “Marguerite Vigny” do not offer much further information, we know that she taught umbrella and parasol self-defence at her husband’s school during the period circa 1910 and continued to teach self-defence, fencing and physical culture classes for many years after the family returned to Switzerland, settling in Geneva.

In early 2015 “Miss Sanderson” was commemorated as a character in the Suffrajitsu graphic novel trilogy, in which she wields her “Sanderson special” umbrella in defence of the fugitive leaders of the radical suffragette movement during 1914.

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“Are You In Danger?” – a Curious Article on Umbrella Self-Defence (1900)

  • Originally published on the Bartitsu.org site on Thursday, 12th November 2015

The following short article on umbrella self defence was originally published in the Dundee Evening Post on April 3, 1900.

It’s diverting to speculate on the identity of the anonymous inventor of “umbrella fighting”, who is described in the article as “a captain in the British Army in India”. Taking that description at face value, the temptation is to identify the “inventor” as Captain F.C. Laing, who did, indeed, hold that rank and who was, circa 1900, serving with the 12th Bengal Infantry. Laing had also studied both stick fighting and jiujitsu at the Bartitsu Club.

In 1903 Captain Laing produced an interesting article titled “The ‘Bartitsu’ Method of Self Defence” for the Journal of the United Service Institution of India. A year later he followed up with a second article, proposing a design for a radically new type of cavalry sword, again recommending the Bartitsu stick fighting method.

There are, however, some discrepancies that prevent a positive identification. Most problematic is that the Dundee Post article is dated April 3rd, 1900, whereas by Laing’s own account, he studied at the Bartitsu Club while on furlough in London for several months during 1901. Allowing that the exact dates might have simply slipped his mind, the Dundee Post article is adamant that its subject was the inventor of “umbrella fighting”, whereas in Laing’s own articles he was fulsome in his praise and credit to his Bartitsu Club instructors, including E.W. Barton-Wright and Pierre Vigny.

Vigny, meanwhile, had been demonstrating his idiosyncratic method of cane self-defence in London since at least May of 1899, and by 1900 he was on staff at the Bartitsu Club in Shaftesbury Avenue.

It’s possible that there lived another British Army captain with an interest in eccentric self-defence methods, who developed his own umbrella system independently of Laing or Vigny. Alternatively, Laing may have been experimenting with a system of his own prior to training with Vigny. In any case, the system sketched in the Dundee Post article is reminiscent, in some ways, of the Vigny/Bartitsu style …


ARE YOU IN DANGER?

How To Use Your Umbrella in Self Defence.

If you were about to undergo some experience in which you were likely to incur personal danger, you would certainly provide yourself with, a revolver, or life preserver, as a weapon of defence. Would you not?

The possibilities of the umbrella in this direction have been quite overlooked except by a very few people. Nevertheless, “umbrella fighting” is, in the hands or an expert, a very dangerous form of attack or defence. A captain in the British army in India has made a special study of this, and, as a hobby, has made varied experiments dealing with the power of the ordinary umbrella, which everyone carries, to seriously injure, if not to kill, an adversary.

To be thoroughly effective, the umbrella must be one of the modern type, with a thin rod of steel for the stick. A handle of wangee or some other flexible cane is also more useful for purposes of defence than a handle which is stiff and will not bend.

Although it would appear at first glance that, the heavier the weapon, the greater its value, yet experience has proved just the contrary.

A light umbrella
of the afore-mentioned type is the ideal for the civilian’s sword. One of the most dangerous and also one of the most difficult methods of attack with an umbrella is the stab. The umbrella is held about a foot from the handle and poised, lightly, behind the head. The force of a stab which has the whole poised weight of the arm and shoulder behind it is tremendous – if it be well delivered. The almost needle-like steel point of the modern umbrella will penetrate nearly anything.

The difficulty of this method lies in the taking of your aim. A man’s head is not an easy thing to hit, and an umbrella would hardly stop a big man in a rush if it stabbed him in any other part. Clothes are not easily penetrated by a blunt point.

The inventor of umbrella fighting suggests that anyone who wishes to become expert at it should practice at a paper target the size of a man’s head, fixed upon the wall.

After a stab has been delivered, and if it does not atop the rush of your adversary, a quick fall on to one knee will result- in his tripping over you and coming down. Meanwhile, the stab will have done its work and, in all probability, the contest will be over.

To Deliver a Blow
with an umbrella it should be held almost at the end, as close to the ferrule as it consistent with a good grip. By this means the whole flexibility of the steel rod and cane handle is able to contribute to the force and precision of the blow.

It is absolutely surprising, to one who has never tried it, to find what force and weight an umbrella has when used in this way. A blow like a sledge-hammer can be delivered with it.

The umbrella forms an excellent weapon used in combination with the fist. Held in the centre, a little obliquely in front of the body, it very greatly aids the force of a blow with the clenched hand. Moreover, it forms is bar all along the body of an adversary and la a great obstacle to his advance.

There are hundreds of different ways of using the umbrella and the inventor of the new hobby has at least twenty exercises which he recommends for practice. The ones mentioned above are the most important. Anyone easily amplify them for himself.

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

  • Originally published on the Bartitsu.org site on Saturday, 24th October 2015
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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 it, and to deliver your counter-blow.

– E.W. Barton-Wright, Self-Defence With a Walking Stick (1901)

The Vigny method of stick fighting is notable for its variety of invitations, or guard positions that close off certain lines of attack while deliberately exposing a particular target so as to provoke an opponent’s attack to that target.  Of the twenty-two set-plays detailed in E.W. Barton-Wright’s stick fighting essays, thirteen make use of the tactic of invitation from a wide range of guards.  The remainder all employ variations of feinting and preemptive striking.

This article highlights the various applications of “baiting” within the canonical Bartitsu stick repertoire and underscores the practical utility of fighting tactically and ambidextrously.

The Double-Handed Guard

Double-Handed guard

The unmodified double-handed guard invites an attack to the body, or it may be adjusted to bait the opponent into attacking the defender’s lead hand or head.

The Front (Right) Guard and variations

Front guard vs. alpenstock (2)

By slightly lifting the front guard so that it doesn’t directly threaten the opponent’s face, the defender invites an attack to the midsection.

Front guard variant 1

This lowered version of the front guard, sometimes mistaken for an orthodox fencing-style guard in tierce or quarte, is intended to bait the opponent into attacking the head or face.

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This low rear version of the front guard dramatically reduces the visual threat of the cane and invites an attack to the head.

Front guard variant 2

Widening the front guard also invites an attack to the head.

The Rear (Left) Guard and variants

Rear guard invites hand attack

The defender baits an attack to his left hand, setting the opponent up for a “guard by distance” counter-attack to the head.

Rear guard invites head attack

By widening the rear guard and extending his head forward, the defender baits a head attack, preparing the “guard by distance” as a counter-strike to the attacker’s weapon hand.

Rear guard invites left lead

By dramatically lowering the cane while guarding his torso with his left arm, the defender invites the attacker’s left lead punch to the head.

Guards and invitations in action

Notice the wide range of guard positions and tactical invitations in this Bartitsu stickfighting free-play session from the Alte Kampfkunst school.

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Gandhi on Jiu-jitsu (1905)

  • Originally published on the Bartitsu.org site on Friday, 30th May 2014

Some wry commentary on jiujitsu from Mohandas K. Gandhi (Indian Opinion, April 2, 1905):

The eyes of Europeans are slowly being opened. Narmada-shankar, the Gujarati poet, has sung:

The Englishman rules, the country is under his heel.
The native remains subdued;
Look at their bodies, brother,
He is full five cubits tall,
A host in himself, match for five hundred.

The poet here tells us that the main reason for the rise of English is their sturdy physique. The Japanese have shown that not much depends upon the physique of a man. The fact that the Russians, though well set up and tall, have proved powerless before the short and thin Japanese, has put the English officials in a quandary. They gave thought to the matter and discovered that Europe was very much behindhand in physical culture and knowledge of the laws governing the body. The Japanese understand very well how the various joints and bones of the (opponent’s) body can be controlled, and this has made them invincible. Many of our readers must be aware of the effect produced when a particular nerve of the neck or leg is pressed during an exercise. This very science the Japanese have perfected.

A Japanese coach* has, therefore, been employed to train the English army, and thousands have already been taught the art. And jiu-jitsu is the Japanese name for it. The problem will now be to find something else after all the nations have learnt jiu-jitsu. This process is bound to go on endlessly.

* The Japanese coach in question was former Bartitsu Club instructor Sadakazu Uyenishi.

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“How to Use a Walking Stick in Self Defense” (1914)

  • Originally published on the Bartitsu.org site on Saturday, 31st May 2014

This tongue-in-cheek cartoon, originally published in Life Magazine of August, 1914, may have been inspired by Andrew Chase Cunningham’s book, The Cane as a Weapon.

Cane cartoon 1
Cane cartoon 3
Cane cartoon 4
Cane cartoon 2
Cane cartoon 5
Cane cartoon 6
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The Jiu-Jitsu Waltz (“The Scrap Book”, Vol. 4, 1907)

  • Originally published on the Bartitsu.org site on Saturday, 31st May 2014
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A FRENCH WOMAN AND A JAPANESE MAN
AMAZE LONDON WITH A NEW STUNT.

The novelty of the summer in London is the jiu-jitsu dance in which Mlle. Deslys and S. K. Eida are performing in “The New Aladdin.” A glance at the accompanying pictures is sufficient to convince one that it is novel and not quite like any of the dances in which Americans indulge. It is hardly as graceful as a waltz, nor does it require the agility of a “jig.” In seeking a comparison, perhaps the famous Bowery “spiel” is more nearly like it than anything else we have.

Gaby jujitsu waltz

After all, the jiu-jitsu dance is but a demonstration of the unflagging enterprise and initiative of amusement managers. Vaudeville strives to amuse, to appeal to our sense of humor; in a word, to present nonsense that incites the laughter and arouses the good spirit of the audience. Yet, there must be novelty, and the public is ever interested in those feats that involve the risk of the personal safety of the performer.

Jujitsu waltz montage

It matters not how really dangerous the feats may be, how much the pulse of the onlooker hastens, there is always a desire on the part of some to “see it over again.” Folks will talk about these hair-raising stunts, and managers know that there is no better publicity than the gossip that arises from an ever-increasing circle of public interest.

And knowing this, there is hardly an innovation in any field of human effort that is not exaggerated and made to fit the vaudeville stage and presented until public interest lags and the “new” act makes way for something “newer.”

The late Japanese-Russian War aroused great interest in things Japanese; in the home-life of the little yellow man; in his literature, his art, his sports, and his fads. Recall with what interest and lively expectation our athletes and physical-culturists hailed their “jiujitsu” manner of wrestling — that peculiar science in which sleight is a more potent factor than brute force.

Jujitsu waltz

Troupes of Japanese gave exhibitions of their skill upon the vaudeville stage, and no one who witnessed one of their “acts” can fail to remember that it was exceedingly rough, and that the necks of the participants were very often in great danger of being broken, not to mention the reckless manner in which limbs were twisted. Jiu-jitsu was then something novel; there was the spice of danger; the public was interested and the managers’ end was attained.

And now, perhaps because interest has abated, the original jiu-jitsu performance has been converted into a dance. London audiences have received the dance with marked signs of approval. It is exciting throughout, and excitement seems to be what the people want in theatricals these days. At any rate, they are getting it.

Deslys and Eida

Notes: Gaby Deslys and S.K. Eida introduced the Ju-Jitsu Waltz to London audiences during the run of The New Aladdin, a musical extravaganza, which ran at the Gaiety Theatre, London, from 29 September 1906 to 27 April 1907.

S.K Eida was one of three assistant instructors at the Japanese School of Jujitsu in Oxford Street, operated by former Bartitsu Club instructor Yukio Tani and his fellow challenge wrestler, Taro Miyake.

According to the Footlight Notes blog:

Surye Kichi Eida (1878-1918), who was born in Japan, appears in the 1901 Census as an assistant gardener, living in Acton, West London, with his brother, Saburo Eida (1858-1911), an importer of art, and his family. In 1909 he married Ellen Christina Brown (1886-1931) and together they toured United Kingdom music halls in a Japanese dancing and ju-jitsu act, billed as Nellie Falco and S.K. Eida.

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Tools and Weapons of the Suffragette Bodyguards

  • Originally published on the Bartitsu.org site on Sunday, 8th June 2014
suffragette weapons

A collection of Suffragette bodyguard weapons and tools confiscated by police following the infamous “Battle of Glasgow” brawl, which took place at St. Andrew’s Hall on the evening of March 9th, 1914.

This picture was originally published in the Daily Record and now forms part of a display at the Glasgow People’s Palace museum.  

The collection includes include six Indian clubs and five police truncheons (also commonly carried by private citizens for self defence purposes) along with several specialised items:

* top row, third from left: a set of wirecutters

* top row, fifth from left: a “life-preserver” or semi-flexible, weighted bludgeon

* bottom row, third from left: a section of barbed wire, probably part of the barricade that was concealed around the edge of the St. Andrew’s Hall stage; a pistol, probably that which was loaded with blanks and fired to intimidate the police by Scottish suffragette Janie Allen.

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