“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.

1

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
Jujitsu waltz 1

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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Presenting Miss Persephone Wright …

  • Originally published on the Bartitsu.org site on Wednesday, 11th June 2014
Votes for women

A special advance glimpse of Miss Persephone Wright, radical suffragette and Bartitsu-trained bodyguard, who stars in the Suffrajitsu graphic novel trilogy to be published by Jet City Comics.

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Mark Donnelly seminar for the Nutmeg Bartitsu Society (Connecticut)

  • Originally published on the Bartitsu.org site on Wednesday, 11th June 2014
nutmegBartitsuJune15

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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Armand Cherpillod in 1905

  • Originally published on the Bartitsu.org site on Monday, 16th June 2014
Armand Cherpillod in gi

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.

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Samantha Swords at the Gymuseum

  • Originally published on the Bartitsu.org site on Wednesday, 25th June 2014

Samantha Swords experiments with a pair of antique Indian clubs on display at the Forteza Gymuseum, home of the Bartitsu Club of Chicago.

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