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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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.
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Originally published on the Bartitsu.org site on Saturday, 31st May 2014
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.
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.
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.
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.
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.
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.
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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Originally published on the Bartitsu.org site on Wednesday, 11th June 2014
Instructor Mark Donnelly will be teaching another seminar in Connecticut on June 15. Interested parties should RSVP to Twin Dragons Martial Arts by calling (203)265-1516.
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Originally published on the Bartitsu.org site on Monday, 16th June 2014
A promotional postcard featuring Bartitsu Club wrestling and physical culture instructor Armand Cherpillod, shown posing in typical early 20th century jujitsu garb.
According to his 1929 biography, Cherpillod was invited to teach at the Bartitsu Club by his fellow Swiss martial arts instructor, Pierre Vigny, who had traveled to Switzerland at the behest of E.W. Barton-Wright specifically to find a champion wrestler. Upon arriving in London, Cherpillod quickly made his mark in the wrestling circuit and successfully represented the Bartitsu Club in several significant challenge matches. He also cross-trained in jujitsu with fellow instructors Yukio Tani and Sadakazu Uyenishi.
Cherpillod’s most famous student at the Bartitsu Club was Sir Cosmo Duff-Gordon, an eccentric athlete and aristocrat who later became famous as one of the few male civilians to have survived the sinking of the RMS Titanic.
Following the closure of the Bartitsu Club in 1902, Cherpillod returned to Switzerland where he pioneered the instruction of Japanese martial arts. He also wrote several books on that subject, including one that is the first known manual on jujitsu as self defence for women.
Originally published on the Bartitsu.org site on Wednesday, 2nd July 2014
This somewhat tongue-in-cheek review/essay, inspired by Bartitsu founder E.W. Barton-Wright’s first self defence articles for Pearson’s Magazine, was originally published in the Australian newspaper Table Talk on April 21, 1899.
Very few people who, having read “Savior Resartus”, do not remember the purport of that passage describing how the philosopher, his meditations beneath the aurora borealis interrupted by a grisly interloper smelling of train oil, puts a stop to any predatory intention by presenting a sufficiently large horse pistol at the head of the intruder. Firearms, of course, are an excellent means for equalising the offensive and defensive strength of antagonists, but the average peaceable citizen has a very wholesome objection to carrying a “shooting iron” in his hip pocket, even if there was no municipal law prohibiting the practice.
Let alone the difficulty of shooting straight in a moment of excitement, the average citizen would rather risk the chance of being robbed than of killing his assailant. He recognises the principle of the law which has abolished hanging as a penalty for stealing. Still, there are few people who would not like to possess the art of defending themselves from assault by a physically more powerful man. Pugilism requires muscle, stamina and training quite beyond the reach of the average citizen who never had biceps worth developing, who was always a duffer in the playground when a schoolboy, and who cannot get up an appetite for his dinner without a tonic.
What is wanted is a power akin to that exercised by the little lady, known professionally as the “Georgia Magnet.” She could resist the efforts of strong men to make her budge, and yet could break down their strength when opposed to her inclination. Mr. Stuart Cumberland, whose feats in thought reading astonished Melbourne some ten years ago, demonstrated that the supposed “magnetic” power was simply a clever adaptation of well known but little heeded laws of balance. Here was the secret of the much desired power which would enable the man of intelligence to cope with the man of muscle, and get the better of him in the argumentum ad hominem, yet it is only within the last month or so that anyone has come forward with a system of tuition based on that principle. (1)
“How a man may defend himself against every form of attack,” is the title chosen by Mr. E. W. Barton-Wright for his very interesting article in the current number of Pearson’s Magazine. Mr. Barton sums up his system of defence and retaliation as follows:- (1.) to disturb the equilibrium of your assailant; (2.) to suprise him before he has time to regain his balance and use his strength; (3.) if necessary, to subject the joints of any part of his body, whether neck, shoulder, elbow, wrist, back, knee, or ankle, to strains which they are anatomically and mechanically unable to resist.
His practical demonstrations prove the irresistible force which a weak man, with a knowledge of leverage and balance, can use against a far stronger man than himself, who has not the same knowledge. Naturally, Mr. Barton-Wright has perfected his system in a professional way, and he has hundreds of devices by which he can extricate himself from the grip of professional wrestlers, or evade the attack or overcome the defence of expert pugilists and swordsmen. Colonel G. W. Fox, an ex-inspector-general of army gymnasia, certifies that Mr. Barton-Wright’s system is exceedingly practical and very scientific. That his system should be brought under the notice of the Chief Commissioner of Police was the immediate suggestion of the privileged few permitted to view his exhibition performances in England.
It seems that Mr. Barton-Wright intends publishing a book with illustrations, enabling the student to learn his methods; consequently he is not desirous of giving public performances. The examples he gives in the magazine articles are just sufficient to raise public interest, and inspire the reader with a burning desire to learn more. Quickness and confidence are the essentials of the new art, and Mr. Barton-Wright claims that “one of its greatest advantages is that the exponent need not be a strong man, or in training, or even a specially active man in order to paralyse a very formidable opponent.” Yet it is a class of self -defence designed to meet every possible kind of attack, whether armed or otherwise.
The, first example given will recommend itself to everyone who read of the tragic death of the man Stevens, when the heroic Fredman was stabbed by Medor in the Eastern Market, Melbourne, in the attempt to rescue Stevens from the attack of the frenzied phrenologist (2). Mr. Barton-Wright’s method would have been to fling his coat at the head of Medor, then, in the momentary embarrassment, he would have darted up against the homicide and dealt him a “knock out blow in the pit of the stomach.”
With revolver and dagger to face, the probability is that it would be too risky to rush “square-on” to a man so armed. To meet such an emergency, Mr. Barton-Wright shows that the man should crouch down the instant he has flung his coat, and seize the armed man’s ankle with one hand, at the same time pushing him about the waist with the other. It takes but a small amount of force to throw a man thus unexpectedly assailed, and by retaining the hold on his ankle, and pressing his leg back on the knee joint, the fallen man can be kept still under penalty of his leg being broken if he struggles.
The “chucker-out” is a familiar institution in a certain class of hotel, and is often in much request at political meetings. However efficacious the result, his methods are usually crude and ungainly. Mr. Barton-Wright shows how the operation can be performed with neatness and dispatch by a man much the inferior in physical strength of the one “chucked.” He simply seizes the recalcitrant by the wrist with one hand, raising the other to guard off a blow.
Before there is time for the blow to be delivered, the “chucker” turns on his heels, still gripping the wrist of the “chuckee,” passes his disengaged aim over the arm of the “chuckee,” and locks it by gripping his own wrist with the hand of that arm; “By straightening both your arms you are able to exert such leverage, and to throw such a strain upon his elbow that you could break it if you wished.” The description reads a little complicated, but the feat is very simple and requires very little practice to perform effectively.
Other examples show how the mild, small man can ward off a straight “right” or “left” blow from an expert boxer, and lay him ignominiously on his back. This is a feat worth studying hard by sharp-tongued public men, and editors, who write up to John Knox’s memorable apostrophe. Every politician should also study the art of disengaging themselves from buttonholers. It requires some practice, but it is very efficacious.
Altogether, Mr. Barton-Wright’s forthcoming book promises to be as important in its way as Adam Smith’s “Wealth of Nations”. It “persuaded one generation and ruled the next.” The “New Art of Self-defence” will protect one generation and punish the next.
Written by Ed Butts, illustrated by Scott Plumbe and intended for readers aged approximately 9-12, Bodyguards! is an entertaining and informative survey of personal protectors throughout history, including the Praetorian Guard, the Swiss Guard, gunfighters of the Wild West, ’30s Chicago gangsters and many more.
The adventures of the Jujitsuffragettes will also be showcased in Tony Wolf’s upcoming Amazons graphic novel trilogy, currently scheduled to be published in October 2014.
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