“Tricks of the Parisian Apaches” (1910)

  • Originally published on the Bartitsu.org site on Sunday, 24th June 2018

This article from The Globe newspaper of February 3rd, 1910 reveals some more mugging tricks developed by the so-called Apache street gangsters of Paris.  

Most of these marauders were professional thieves and burglars, who are divided, in their own slang, into “ceux qu montent” the burglars; “ceux qui marchent”, or thieves of various classes; and “ceux qui butent”, those who make a speciality of nocturnal aggression. It is the third category which is most dreaded by Parisians, for the desperate criminals who make a speciality of night attacks are a bloodthirsty, cowardly set of ruffians, and they are always armed to the teeth and hold human life—the lives of others, bien entendu — very cheap.  A solitary citizen going home late, or a policeman on a lonely beat, has very little chance against them.

M. Henri Christian lately made the acquaintance of three hooligans whose speciality is “night work,” and they gave him some details of the manner in which they operate. One the three was named Baigueur, the second answered to the nickname of the Costeau de Grenelle, and the third, because the extraordinary size of his nose, was known to his companions Cyrano.

When they have once made up their minds rob a passer-by— which one does not matter much — it is more than likely they will decide to begin operations by the “coup de la discussion.” That means that the three “apaches” will take up position the pavement, and pretend to be engaged in innocent gossip. The street or the boulevard is deserted; a solitary pedestrian comes into sight. In a moment he is weighed up the three scoundrels the look-out for their prey. There is not a policeman sight. The moment is favourable.

“He has a gold chain,” says one. . .

“He’ll do,” says the chief the criminal trio. “Get ready.”

They continue to converse until the Stranger reaches them. Involuntarily he glances at them he passes. That is sufficient.

“What do you mean by looking at like that?” asks the chief in an insolent tone. Then turning his companions, he remarks: “Hasn’t he got an ugly mug?” The pedestrian, however little he may be inclined quarrel with the evil-looking ruffians who have accosted him, will unlikely take their insults in silence. But his first word of protest one of the group advances him with a menacing “What! I’ll show you who you’ve got to deal with.”

The stranger stands upon his guard, but immediately another member the trio bounds upon him from behind, seizes him round the neck with his arm, and lifts him off the ground. His cries for help are stifled in his throat, and if he succeeds making himself heard the arm which presses against his throat is tightened and he loses consciousness.

While this is going on another of the accomplices goes through the victim’s pockets, while the third keeps watch for the police. Then, when everything worth taking has been appropriated, the wretch who has almost strangled the “pante” (victim) releases his arm, gives the victim a violent push, and sends him headlong into the pavement, where he will lie senseless for half an hour at least.

Sometimes things do not always pass so easily. Sometimes the victim shows more resistance than was expected, and then the apaches have to modify their plans. He must either be stunned with blow from a mutton-bone or given a stab with knife or dagger. The mutton-bone used by the Paris apache is a terrible weapon. In appearance it resembles a small hatchet, minus the handle, is about six inches long, and comes from the shoulder of the sheep. This and the knife and the knuckle-duster are the favourite weapons of the Paris hooligan. They are both effective and noiseless, whereas the use the revolver is likely to attract the attention of the police.

The one thing the nocturnal marauder cannot forgive is being the victim of a mistake as to the value of the pedestrian he has singled out for attack. If he has a watchchain and no watch, and if his pockets be empty, then woe to the unfortunate “pante”. To punish him for having misled “Messieurs les Rodeurs,” he is treated with the utmost savagery, thrown brutally the ground, and stamped on. Another terrible punishment inflicted on the pedestrian who does not answer to the expectations of the cowardly ruffians who waylay him at night is the sonnage, which consists in taking the victim’s head by the ears and bumping it into the edge of the pavement.

Among the more recent methods developed by the Apaches of Paris for rendering the passing citizen- incapable of resistance is the lasso.  At the favourable moment a cord, from 15ft. to 20ft. length and ending in a running knot, is thrown by an expert hand. As it falls over the victim’s head, the cord is jerked tight, and, half-strangled, he is thrown the ground. The rest is easy.

Posted in Hooliganism | Comments Off on “Tricks of the Parisian Apaches” (1910)

“The Most Dangerous Kick of an Expert Kicker”

  • Originally published on the Bartitsu.org site on Wednesday, 27th June 2018

Participants in one of instructor Alex Kiermayer’s recent Unarmed Bartitsu seminars practice the chasse median (mid-level side kick).

The chasse median is also one of the few kicks represented in the Bartitsu canon, albeit in the context of demonstrating how the Bartitsu-trained defender could counter this type of attack, which was picturesquely described by E.W. Barton-Wright as the “Most Dangerous Kick of an Expert Kicker”:

It’s likely that Barton-Wright had in mind the use of kicking attacks by Parisian street gangsters, who had then recently been dubbed “Apaches” – though it would take a few more years before that nickname gained real pop-culture currency.  Barton-Wright’s presentation of kicking in Bartitsu was, of course, also coloured by the prevailing English sentiment towards French athletics (and particularly French kickers) at the turn of the 20th century …

Posted in Canonical Bartitsu, Savate | Comments Off on “The Most Dangerous Kick of an Expert Kicker”

Bartitsu with Alex Kiermayer in Igensdorf, Germany

  • Originally published on the Bartitsu.org site on Friday, 29th June 2018
Bartitsu with Alex Kiermayer

Alexander Kiermayer is probably one of the most prominent instructors of the historical fencing scene. He has a broad background in various martial arts and is training counselor of the group ‘Ochs – historical martial arts ‘. His great knowledge combined with his practical skills make him a sought-after speaker at home and abroad.

Bartitsu is a martial art and self-defence system that existed between 1898 and 1902 in England. A special feature of the system – and seminar focus – is the use of walking sticks as weapons. Bartitsu became known, among others, by Sir Arthur Conan Doyle, the author of the Sherlock Holmes novels, in which the protagonist also practices “Baritsu”.  The art is a combination of Jiu Jitsu, Swiss svingen wrestling, elements of boxing, Savate (French boxing) and stick fencing.

Place: Gymnasium of elementary school – St.-Georg-Str. 20, 91338 Igensdorf close to the main road 2, approx. 18 km from the BAB 3 (Exit Nürnberg-Nord, then towards Bayreuth)

Time: Saturday, October 27, 2018, 10:00 – 16:30

Cost: 30.- € (cash payment on the spot)

Participation: No requirements, open to all associations, styles and grades

Other:

Equipment: Sportswear (also contemporary), gym-suitable shoes, sticks made of rattan, ash or polyethylene; rattan sticks can also be purchased cheaply on site.

Free night in the practice room in Pettensiedel on request!

For registrations please contact:

Matthias Dülp via etlaswind@aol.com

Tel: 09126 2893002 or 0171/706 37 16

Posted in Canonical Bartitsu, Instruction | Comments Off on Bartitsu with Alex Kiermayer in Igensdorf, Germany

“A Secret Style of Boxing” (The Sportsman, 12 December 1904)

  • Originally published on the Bartitsu.org site on Monday, 16th July 2018

There’s a good deal to unpack in this advertisement for an assault-at-arms display organised by former Bartitsu Club instructor Pierre Vigny, including one particularly intriguing item:

ST. JAMES’S HALL, PICCADILLY.

ON WEDNESDAY, DECEMBER 14 at 8 p-m. Under Distinguished Patronage.

GREAT TOURNAMENT OF FENCING AND ALL- ROUND SELF-DEFENCE, given by

Prof. PIERRE VIGNY.

With the participation of the societies The Tierce and Quarte Club, the Self-Defence Club, Le Centre de Quarte of London, the Japanese School of Jujitsu.

Fencing Foils, Duelling Swords, Sabres; English Boxing; French Boxing (La Savate); a Secret Style of Boxing, with numerous tricks and counters; Japanese Wrestling; Catch-as-Catch-Can Wrestling; Walking Stick, how anyone can defend himself in a crowd.

Foils: Mrs Roger Watts, of Fred MacPherson’s Academy, v. Madame Pierre Vigny (Miss Sanderson); Demonstration of Japanese self-defence Mr S. K. Eida and Mrs Roger Watts (first English Lady to demonstrate this wonderful system).

Reserved Seats, 16s. 6d.; Unreserved, 5s.

Tickets can obtained from Prof. Pierre Vigny, 2. Hinde-street, Manchester-square; Cafe Royale, Regent-street; and St. James’s Hall, Piccadilly.

The “Self Defence Club” was Vigny’s own school, which promoted a “combined” approach to self-defence training very much in the fashion of the Bartitsu Club, albeit with a greater emphasis on fencing than on jujutsu.   Unfortunately, comparatively little is known about Vigny’s system in its own right.

Of the demonstrators listed, it’s notable that we can now identify Madame Vigny/Miss Sanderson as Marguerite Vigny, Pierre’s wife and a frequent competitive foil fencer as well as the founder of her own system of women’s self-defence employing umbrellas and parasols.  S.K. (Surakichi) Eida was an instructor at the Japanese School of Jujitsu and went on to achieve some fame as a “jujitsu waltz” performer on the music hall stage.  Likewise, Mrs. Watts would eventually move from Japanese unarmed combat to devise her own, intricate system of physical culture inspired by ancient Greek athletics.

The reference to a “secret style of boxing, with numerous tricks and counters” is a bit of a puzzle, especially in that it seems to be contextually distinct from both English boxing and French savate.  The actual phraseology is very close to, and may well have been directly inspired by a line from a 1902 St. James’s Gazette article reviewing a Bartitsu display at the famous Bath Club, which included “(…) a secret style of wrestling, with innumerable tricks and counters.”

Perhaps the likeliest explanation is that the “secret style” was a development of the method referred to by E.W. Barton-Wright in an article from the Black and White Budget magazine, several years earlier:

Another branch of Bartitsu is that in which the feet and hands are both employed, which is an adaptation of boxing and Savate. The guards are done in a slightly different style from boxing, being much more numerous as well.

Vigny and Barton-Wright had been working together since June of 1899 and it’s clear that one of the fruits of their collaboration was a distinct modification of (kick)boxing.  This “secret style” was never explicitly detailed by either man, but Barton-Wright’s comments suggest that it involved an aggressive, street-oriented variation of “standard” boxing defences, in which the defender aimed to damage the attacker’s striking limbs:

As to boxing, we have guards which are not at all like the guards taught in (orthodox boxing) schools, and which will make the assailant hurt his own hand and arm very seriously.

The other likely point of distinction was that Vigny and Barton-Wright both advocated for a more realistic, hard-hitting ethos that was then the accepted norm in French savate circles.  At this time, the majority of professional instructors in France were promoting a rather academic and courteous, light-contact version of savate, which was practiced at least as much as a form of “combat calisthenics” as a serious self-defence method.

In the context of Bartitsu per se, the innovation of  aggressive and damaging guard techniques was a prelude to finishing the fight as may be necessary at close quarters, via jujutsu.  Although the Japanese art was de-emphasised in Vigny’s school, some elements definitely were present, as described by journalist J. St. A Jewell in his 1904 article on Vigny’s school for Health and Strength Magazine:

Part was boxing, part wrestling, part Jujitsu, and part La Savate; but each move blended into the next like a piece of joiner’s dovetailing. One led and landed short, and that proved his undoing, for the next instant he was bent double, rendered helpless, and his arm was by way of being twisted out of socket. That was boxing and Jujitsu. Then the pupil rushed, driving hard with his left, but Vigny ducked aside, pivoted on his left leg and kicked on the mark with his right, in a full body swing, following up the move with back-heeling his man. That was La Savate and wrestling.

Posted in Boxing, Canonical Bartitsu, E. W. Barton-Wright | Comments Off on “A Secret Style of Boxing” (The Sportsman, 12 December 1904)

In Memoriam: William Hobbs (1939-2018)

  • Originally published on the Bartitsu.org site on Tuesday, 17th July 2018
The late William Hobbs (left) directing Sir Albert Finney.

By Tony Wolf

I’m sad to report the passing of William Hobbs, who was among the most influential and respected fight directors of the 20th century. He died on July 10th, at the age of 79 years.

Bill Hobbs was a true pioneer of the “modern style” of performance combat.  While many of his predecessors in film, TV and stage combat had also been expert fencers, Hobbs broke the mold in crafting fights that were at least as integral to character and story as any other aspect of production design.

It’s about thinking through the character, not through spectacle.  A fight has got to grow out of the situation of the play. Perhaps my advantage is that having been an actor, I’m trying only to do the move I feel is right for the character. You are not doing pyrotechnics for the sake of being pyrotechnic.

  • William Hobbs, quoted in The New York Times (1995)

His fighters were, for the most part, portrayed as fallible human beings. They frequently found themselves scrambling to recover from mistakes, became exhausted or enraged, slipped in the mud, sometimes succeeding (or just surviving) almost in spite of themselves.

All of this was in profound and refreshing contrast to the more purely heroic action scenes of Hobbs’ predecessors in the field, which too often eschewed messy realism and psychological substance for the swashbuckling cliches of textbook “movie fencing”.  Bill Hobbs’ fight choreography always sought to surprise his audience, and took the less-obvious path.

As a co-founder of the Society of British Fight Directors, Hobbs was also a pioneer in the practical research of historical martial arts.  In this, along with his fellow founders Arthur Wise and John Waller, he anticipated the modern HEMA revival movement by several decades.

From the mid-1960s through to the mid-2000s, Bill Hobbs’ acclaimed fight choreography was featured in dozens of major theatrical, film and television productions.  Germane to Bartitsu.org, he staged the dapper John Steed’s umbrella combat scenes for The Avengers (1998):

Career highlights, in terms of acclaim among his peers, include his work on Richard Lester’s The Three Musketeers (1973) and The Four Musketeers (1974), Ridley Scott’s The Duellists (1977),  Franco Zeffirelli’s Hamlet (1990) and John Madden’s Shakespeare in Love (1998). 

Perhaps his most famous fight, however, was the honour duel between Rob Roy and Archie Cunningham in Michael Caton-Jones’ Rob Roy (1995).

Younger audiences will recognise Bill Hobbs’ signature creativity and commitment to detail in the “water dance” fighting style of Syrio Forel, as featured in season one of the fantasy TV series Game of Thrones. Actor Miltos Yerolemou worked extensively with Hobbs to develop his character’s unique method of swordplay.

On a more personal note, I believe that it was a 1980s TV news item about William Hobbs’ work that first inspired me to take up fight direction as a career.  In fact, his 1967 book Stage Combat: The Action to the Word (with a foreword by Sir Laurence Olivier!) was among the very few resources available to me when I set out on that path.  Because there was literally no-one in my home country of New Zealand who could teach me how to become a fight director/stage combat instructor, Bill Hobbs effectively became my mentor via the written word.

When I travelled to London to attend the first ever international stage combat workshops in 1995, I carried my copy of Hobbs’ book with me. A customs agent asked what I’d be doing in England, and I explained a bit about the conference, at which he smiled broadly and asked “Will you be working with Bill Hobbs? I used to flat with him in the ’60s! Welcome to England, sir!”

The conference itself took place at London’s Roehampton Institute.  It was an amazing workshop of creative combat, with a colourful, eclectic roster of instructors and participants.  I remember that Bill seemed quite nervous as he spoke to us, and I only afterwards learned that he’d been worried that his audience of mostly young, up-and-coming fight directors would think him “old hat”.  Far from it; and I think he was a little overwhelmed by the adulation that he did, in fact, inspire in us.

After his lecture, Bill was gracious enough to sign my dog-eared copy of his book.   Many years later, I was honoured when he agreed to review and write a foreword for my own anthology of historical stage combat essays and anecdotes, A Terrific Combat!!!  Theatrical Duels, Brawls and Battles: 1800-1920 (2009).

Bravo, Maestro, and thank you; now rest in peace.

Posted in Fencing, In Memoriam, Pop-culture, Video | Comments Off on In Memoriam: William Hobbs (1939-2018)

“Self Defence with Sherlock Holmes” at the Royal Armouries Museum (Leeds, UK)

  • Originally published on the Bartitsu.org site on Tuesday, 17th July 2018
A recent Bartitsu display at the Royal Armouries Museum.

The Royal Armouries Museum in Leeds, UK will be offering hands-on Bartitsu classes for children as part of an upcoming series of workshops in various historical martial arts.  The classes will run daily at 11am, 1pm & 3pm between August 13-17.

See this link for further details.

Posted in Canonical Bartitsu, Exhibitions, Instruction, Sherlock Holmes | Comments Off on “Self Defence with Sherlock Holmes” at the Royal Armouries Museum (Leeds, UK)

Solo Training with the Vigny Cane

  • Originally published on the Bartitsu.org site on Sunday, 22nd July 2018

Andres Morales of Chile demonstrates various techniques with the Vigny cane, working mostly from the Right (or Front) guard stance:

Posted in Video, Vigny stick fighting | Comments Off on Solo Training with the Vigny Cane

“Observations on Practical Self-Defence”

  • Originally published on the Bartitsu.org site on Tuesday, 31st July 2018

The anonymous author of this short article from the Illustrated Sporting and Dramatic News of 5 January, 1924, lands squarely on the side of pragmatism as a guiding tactic of self-defence.

As a matter of pure curiosity one likes to know the various methods of self-defence employed by various individuals. Many years ago, in the West Indies, I met a peculiarly “hard case”; a man, covered with scars, who had followed all the more reprehensible avocations, and one or two reputable ones as well; not a big man, not an especially strong man, but wiry and small-eyed and broken-toothed and leering, the sort of man one would not like to meet unexpectedly in a dark place. He talked well. His reminiscences were mostly quite dreadful, but in telling them he curiously lacked braggadocio.

“Boxing?” he said. “No; what’s the good of that? I’ll tell you what I can do, though. I can throw a bottle.”

And as there were commonly a good many weapons of that nature within his easy reach I felt that, although interesting, he was a man to keep close behind.

A stout walking stick is a useful weapon if you thrust with it, and a ship’s engineer has before now used a spanner in the same way, but in default of arms, lethal or otherwise, a knowledge of ju-jitsu is undoubtedly the most useful accomplishment. But whereas boxing can occasionally be useful in practice (though over rated), and is a first-rate sport, ju-jitsu at its best can never be a true sport in the European sense, for it entails breaking bones and the infliction of all sorts of more or less serious injuries.

In the robuster age of the prize ring, perhaps, judging from romances, fists were more generally used in anger than they are to-day but I cannot believe that the ruffian of 1823 with a heavy boot would withhold that boot (to say nothing of the loaded stick which he probably kept in his sleeve) when chance or rascality set him in personal conflict with a real fighting man. Indeed, too much altogether has been made of the noble art as a means of self-defence.

Posted in Antagonistics | Comments Off on “Observations on Practical Self-Defence”

“The Most Dangerous Kicks of la Savate” (1908)

  • Originally published on the Bartitsu.org site on Wednesday, 8th August 2018

Henry Bagge’s article from the February, 1908 issue of Fry’s Magazine strongly echoes the sentiments expressed by E.W. Barton-Wright and other critics of then-contemporary, mainstream French kickboxing

The theme of “improving” savate (partly via an infusion of English boxing) is ironic in that, during the course of several decades before this article was written, several such infusions had already been made. One of the more recent attempts had, in fact, been carried out at the London Bartitsu Club. Nevertheless, the dominant approach to teaching and practicing savate in France circa 1908 was the stylised, courteous and extremely light-contact style favoured by Charles and Joseph Charlemont.

The Charlemonts’ favored approach was opposed by a minority counter-culture within French kickboxing circles, who advocated for a harder-hitting and more pragmatic style geared towards both prize-fighting and practical self-defence.

Bagge’s subject, savateur Paul Mainguet, was clearly a proponent of the latter school.  He recommends employing the evasive and coup d’arret (“stop-hit”) techniques of savate against kicking attacks, plus a small selection of direct, well-proven kicks, relying upon boxing otherwise.  Add an emphasis on guards that damage the opponent’s attacking limbs plus the close-quarters grappling of Japanese jiujitsu and you have Bartitsu unarmed combat in a nutshell.

The “kicker” in the accompanying photographs is Georges Dubois, who had, in 1905, famously lost a savate vs. jiuitsu challenge contest against Ernest Regnier, a.k.a. “Re-Nie”.  Dubois went on to pioneer a number of interesting “antagonistics” projects, including revivals of gladiatorial combat and Renaissance-era martial arts and creating his own, notably pragmatic, system of self-defence

La Savate, or French boxing, may be divided into two classes; the first absolutely incorrect, and thoroughly useless as a means of fighting, but distinctly worthy of consideration as a very pretty imitation of the real thing, requiring, as it does, a wonderful display of dexterity, combined with an astounding suppleness of the limbs.

The second, however, is a far more serious business. There is little of the gallery play about it, and as a means of resisting an attack from footpads it is invaluable, and far more deadly in its effects then any blow with the fists.

La Savate, for exhibition purposes, was developed and perfected by Dr. Pengniez, chief surgeon of the Army and hospital, himself a first rate amateur boxer. It was only after a considerable amount of discussion, and repeated consultations with the highest boxing authorities, that the whole thing was reduced to a science, and all the various blows, kicks, and guards consists clearly and concisely tabulated under separate heads.

Undoubtedly the cleverest exponent of la Savate is Professor Mainguet, the world’s middleweight champion of French boxing. In common fairness it should be stated here that M. Bayle, the heavyweight champion, who was to have met Professor Mainguet, and decide once and for all which was the better man, injured his knee so seriously before the match could be pulled off that the question of which of the two is entitled to call himself the world’s all-around champion of la Savate has never yet been decided.

Without wishing in any way to detract from the undoubted skill of M. Bayle, Mainguet’s phenomenal quickness justifies many in the belief that he would have got the decision over his formidable adversary, for it is certain fact that a chassez-bas – a lateral, or “cow” kick on the ankle – will put the strongest man in the world temporarily out of business, and Mainguet can deliver this one kick (among many others, of course) with amazing speed and dexterity.

Mainguet, in addition, is one of the few Frenchmen who are able to differentiate between the English style of boxing and the French, for he has carefully studied the former, and is quite proficient at it. Many French amateur champions have graduated from Mainguet’s school, including Jacques Maingin, heavyweight champion in 1903, and Fry, French lightweight champion of English boxing in the same year. In 1907 he turned out Mazoir, French featherweight champion, both in English and French boxing, carrying off also the 1907 Interschool Challenge Cup for the greatest number of victorious pupils from one school.

It cannot be denied that in real fighting the French method of boxing is absolutely deadly, for no matter how much pluck a man may have, a kick on the ankle, involving, as it does, all the bones and ligaments of the foot, or a stamp on the instep, causes such excruciating pain, and the injured part swells so rapidly, that a man is practically unable to stand on his feet.

It is a curious fact that while the French have so clearly defined what is fair, and unfair, in their fencing schools, and in their duels, they do not seem to have been able to draw a hard and fast line in la Savate; and this is the one great difference between the English and the French styles of boxing.

In the duels with rapiers certain rules are laid down which protect the combatants from all surprises, and the duellist who breaks either of these would be disqualified at once and socially ostracized. But this fairness, which is the basis of the rules which govern dueling, does not appear to regulate the style of fighting used by the lower classes to settle their differences.

Again, in the boxing competitions Frenchmen are absolutely irrational, for, according to the rules which govern la savate, the man who is touched by a slight kick must stop instantly. If, however, the man who is kicked was in the act of rushing, and lands a terrific punch on the jaw after being touched, that punch is declared null and void by the judges.

Eliminating all the spectacular kicks in la savate, there are several which, if carefully studied, would render French boxing so formidable as to be practically invincible, if taken in conjunction with the English style of boxing. It must, however, be clearly understood that the kicks which are described at the end of this article are so dangerous that they are absolutely disallowed in all competitions, and they can only be used very gently when sparring.

Several Frenchmen I have seen box use these kicks only, but they are in the minority, for in France the majority of people go in for English boxing (an imperfect copy of our own), or the classical French boxing, with its puerile conventions.

Some time ago I was discussing with a professor of la Savate the difference between English and French boxing, and I suggested that a judicious blending of the two would make a very formidable mixture, if the man were attacked suddenly in the street. He agreed.

“When I am fighting, “he said, “I strive to forget that I have my feet at all. I only fight with my fists, after the English style as I understand it. I only use the French style to guard the kicks at the instep, and to dodge all the kicks at the lower part of the legs and feet. Then suddenly, while practically in the art of delivering a blow, I land a coup de pied direct (straight jab with the flat of the foot) full in the man’s chest, or un coup de pied de pointe (with the toes of the foot) on the kneecap. If, however, my adversary clinches, I use what is termed a chassez-bas, which smashes one of his ankles, or crushes his toes.

While this may not be very elegant, a man can learn how to do it in one lesson; that is why I teach my pupils English boxing, for I am free to admit that the English method is the only one that is any good. Only a very gifted man can make the great success of the French style of boxing and it is asking a great deal of the ordinary pupil to expect him to have the dexterity of an acrobat.

In my opinion, the best method is the one that the most clumsy man can learn without any trouble, and the beauty of all these easily-learned kicks is that the pupil never forgets them once he has thoroughly mastered them.

The following kicks are considered by the majority of professors of French boxing to be the most dangerous.

Le Chassez-bas

This kick can be delivered with either the left or the right foot, but it is always given as in the chassez-bas with the leg that happens to be foremost at the time. Thus, if a man is boxing in the English fashion; boxing, that is to say, with the left leg and left arm in front, naturally the left leg is the one he uses.

This kick is the only really practical one of the whole lot, and entails no alteration in our usual methods of boxing – of course, always excepting the use of the feet for kicking purposes. The following is the best way of administering this kick –

1. Throw the weight of the body on the right leg.

2. Shorten the left leg, then suddenly shoot it down as if in the act of stamping with the foot crosswise, aiming at the desired spot.

Most vulnerable spots are the following: (1) the toes; (2) the instep; (3) the shinbone; (4) the kneecap.

The man who has been only slightly hurt on any of these spots is very chary of another experience, and wisely keeps at a distance.

The chassez-bas is really very useful, even if only used as a means of defense it makes one’s adversary very uneasy, practically mows down his base, and opens the way to sudden rushes, which, if a man is uneasy, practically take him off his guard.

Chassez-croisé

This kick is delivered in exactly the same way as the preceding one, only the one word croisé (to cross), practically explains the act.

Thus, if a man is out of range of his adversary, naturally, as long as he keeps out of the way, he has nothing to fear. If he wishes to still keep at this distance, and yet to deliver an attack, the only way in which this can be done is with the feet, the leg landing on his opponent’s legs. The first thing is to get a little nearer to your adversary; and to deliver the kick effectively the following method should be employed –

Place the point of the right foot beside the outer anklebone of the left foot, draw up the left leg, and strike as in the chassez-bas. If, instead of placing the point of the right foot on the outside of the left ankle, you place it with a jump very much in advance of it, you get all the closer to your adversary to deliver your kick.

Coup de Pied Direct

Left leg and left arm in advance;

1. Shift the weight of the body forward onto the left leg.

2. Strike a swift jab forward, with the sole of the foot, full in the chest.

The whole weight of the body being behind this kick, the force is tremendous.

Coup de Pied de Pointe

Left leg and arm in front.

1) Carry the weight of the body lightly on the left leg.

2) Kick forward with the point of the right foot either at the knee-cap or in the stomach.

This kick should be given with a quick, sharp stroke, and the foot should at once be replaced behind the left one after delivery.

The best way to use this kick is to aim only at the kneecap, as one, well delivered, will knock out the strongest man with ease and quickness that is amazing.

Posted in Instruction, Savate | Comments Off on “The Most Dangerous Kicks of la Savate” (1908)

Bartitsu Stick Fighting in Bavaria, Germany

  • Originally published on the Bartitsu.org site on Thursday, 9th August 2018

Part 2, Video Walking Stick: Coburg Zeitreise 2018. Alex and me demonstrated 19 th century self defense. Including foil and sabre fencing. Fighting with the walking stick, pugilism and savate. NOTE: Fighting with the walking stick was a short part of it.Showing only the basics with a little free playing!

Posted by Christoph Bear-Knuckle on Wednesday, August 8, 2018

Some highly skilled Vigny-style cane play in this unarmoured demonstration bout by Bartitsu instructor Alex Kiermayer (suspenders and flat cap) and his colleague-at-arms Christoph Reinberger.  Kiermayer and Reinberger have also recently collaborated on the instructional video series Bartitsu: Historische Selbstverteidigung mit dem Spazierstock nach Pierre Vigny.

Note especially the fluid, ambidextrous shifts between attack and defence techniques and between various single and double-handed guard positions, as per numerous eyewitness accounts of the Vigny style in action during the early 20th century.

Posted in Canonical Bartitsu, Sparring, Video, Vigny stick fighting | Comments Off on Bartitsu Stick Fighting in Bavaria, Germany