Since a catastrophic technical failure of the original Bartitsu.org site in April of 2019, we have been working behind the scenes to recover and restore the site, primarily via the Internet Archive’s Wayback Machine.
The restoration process has been laborious but we’ve now recovered and/or reconstructed the great majority of the items posted on Bartitsu.org between 2008-2019, including all of the significant technical and historical articles.
For the time being, please pardon our dust; correcting internal links is an ongoing process and we’ll amend this post as and when that’s completed.
During the reconstruction the archived posts unavoidably became chronologically disordered. Most of them now begin with a note recording the date when they were originally posted.
We’d also like to draw your attention to the new and significantly expanded Categories menu on the right-hand side of the page. This feature will allow you to quickly and easily locate posts within a wide range of themes, supplementing the ever-useful search box.
This event has highlighted the fragility of electronic media and plans are afoot to produce a third volume of the Bartitsu Compendium, to be made available in printed as well as e-book formats, in order to further preserve the best of the research presented here since the publication of the second volume in 2008.
In the meantime, we hope you enjoy the Bartitsu Society website 2.0!
Posted inEditorial|Comments Off on A User’s Guide to the Bartitsu Society Website 2.0
In the alternate history of Joss Whedon’s new TV series The Nevers, a mysterious event in the skies over London during 1896 leaves a minority of the population endowed with bizarre, apparently supernatural powers. Three years later, the sociopolitical establishment has come to view this newly potent underclass – known collectively as “the Touched”, whose members are mostly women, immigrants and so-called “deviants” – as a potential threat to the status quo.
As we join the story, the Touched are slowly gathering around the dynamic team of Amalia True (Laura Donnelly) and Penance Adair (Ann Skelly), who manage a refuge/community known as the Orphanage. The Misses True and Adair are, themselves, in possession of supernatural endowments; Penance’s ability to perceive potential energies translates into a genius-level skill at mechanical invention, whereas Amalia experiences “ripples” of the time continuum, affording her flashes of insight into future events.
Amalia True is also a startlingly gifted hand-to-hand fighter, though her ability in that sphere is yet to be explained within the story. In the first episode she makes adroit use of a weaponised parasol reminiscent of the combat umbrellas used by Kingsman agents; it’s not only sturdy enough to deal devastating blows when swung as a club, but it also comes equipped with an electrical charge powerful enough to render opponents unconscious and an elaborate mechanical “knuckle duster” built into the handle.
As detailed in the second volume of the Bartitsu Compendium, the year 1906 saw a vehement “boxing versus jiujitsu” debate played out in the pages of some British sporting journals. Many participants were essentially armchair quarterbacks, including a number who argued to the effect that manly English fisticuffs ought to win in any such encounter, by simple virtue of being manly and English. Others, however, debated from a more purely practical point of view.
Although the consensus was that a contest of this nature would be difficult to arrange (and might actually be illegal under Edwardian English law, being interpreted as “brawling in a public place”), none of the debaters seem to have been aware that former Bartitsu Club instructor Yukio Tani had actually taken on boxer Marc Gaucher in Paris earlier that same year. Although the Tani/Gaucher contest was quite widely reported via the French athletic media, it seems to have received only a single notice in England by way of The Sporting Life, whose Monday, January 22 issue reported that Tani had fought Gaucher two days earlier.
The combat had taken place at the Bostock Hippodrome in Paris and was fought according to stipulations devised by Gaucher himself, to the effect that:
1. The contest shall comprise ten two-minute rounds, with breaks of one minute.
2. If Yukio Tani cannot make me submit within these ten rounds, I should be declared the winner.
3. Dislocations of the fingers and attacks to the eyes or genitals shall be forbidden; punches are only allowed above the belt and only the normal grips of Jiu-Jitsu shall be permitted.
4. I shall wear eight ounce gloves.
As with the much more famous November, 1905 savate vs. jiujitsu encounter between “Re-Nie” (Ernest Regnier) and Georges Dubois, which had likewise taken place in Paris, the Tani/Gaucher contest was somewhat anticlimactic. During the first two-minute round, both men sparred cautiously and nothing was gained. The second round opened with a bit more action as Gaucher threw some punches, including a right hand that caught Tani on the side of his head, but Tani then found his opportunity to break through Gaucher’s guard and, after a momentary standing struggle, took his opponent to the mat. Moments later Gaucher was forced to submit to Tani’s strangle-hold, and so Tani was declared the winner.
The details of the Tani/Gaucher contest would probably not have surprised anyone with a close practical knowledge of the relative advantages of boxing and jiujitsu circa 1906. As Edward Barton-Wright had noted back in 1901:
Ju-do and Ju-jitsu were not designed as primary means of attack and defence against a boxer or a man who kicks you, but are only supposed to be used after coming to close quarters, and in order to get to close quarters it is absolutely necessary to understand boxing and the use of the foot.
The critique that Japanese unarmed combat was not necessarily equipped to defend against boxing punches was valid, as was the widely-held consensus that a boxer would stand little chance of defending against jiujitsu throws and submission holds should the jiujitsuka manage to penetrate his guard and “get to close quarters”. This is clearly why Barton-Wright and then others, including William Bankier, William Garrud and Percy Longhurst all argued for an intelligent fusion of both styles for purposes of self-defence. Barton-Wright himself had attempted to coach Tani in boxing – possibly with an eye towards arranging a similar bout – but he reported that Tani showed “little aptitude for the sport”.
It’s worth noting that, two years after his fight with Marc Gaucher, Tani did, in fact, compete in a similar contest on British soil, but by that time the boxing vs. jiujitsu debate had calmed down and the combat attracted little notice in the press.
Posted inBoxing, Jiujitsu|Comments Off on Jiujitsu versus Boxing in Paris: When Yukio Tani Took On Marc Gaucher
These photographs of Edith Garrud in action were originally published in the Daily Mirror of April 13, 1909. At that time, Garrud was inaugurating her “Suffragettes Self-Defence Club” as a separate concern from the Golden Square School of Jujitsu, where she taught along with her husband, William.
Posted inJiujitsu, Suffrajitsu|Comments Off on “Suffragettes to Learn the Art of Jiu-Jitsu” (1909)
A number of short silent films featuring jujutsu were produced and/or screened in London during the very early 20th century. The intriguing list of titles includes:
HE LEARNED JU-JITSU – SO DID THE MISSUS (1905)
JIU JITSU DOWNS THE FOOTPADS, OR, THE LADY ATHLETE (1907)
CHARLEY SMILER TAKES UP JU-JITSU (1911)
PIK NIK PROFESSORE DI JUJITSU (1911)
THE ART OF JU-JITSU (documentary, 1912)
JU-JITSU TO THE RESCUE (1913)
SELF DEFENCE (1913)
NOBBY’S JU-JITSU EXPERIMENTS (1914)
ART OF SELF-DEFENCE BY JU-JITSU METHODS (1918)
Unfortunately, aside from their titles and scattered items of production information, these films have defied re-discovery. It’s entirely possible that many of them may have been lost forever. Recently, however, two major scenes from Charley Smiler Takes Up Ju-Jitsu were found as part of a 1950s-vintage TV compilation of early silent comedies, in which they had been edited together and re-titled Ju-Jitsu-Itus!
Little is known about the original film’s production except that it was directed by David Aylott as part of a series of slapstick comedy shorts starring Fred Evans as “Charley Smiler”. A contemporary and childhood friend of Charlie Chaplin’s, Evans was a highly popular performer during the early 1900s.
Charley Smiler Takes Up Ju-Jitsu was originally released on August 10th of 1911 and then re-released in 1915. Here’s a contemporary description of the film, from The Bioscope of August 3, 1911:
Smiler is one of a number of people who gather outside a booth, inside which a troupe of wrestlers is performing. He is so impressed by the skill of the performers that he seizes a fellow member of the audience and tries to throw him, only himself to be roughly handled by one of the Japs, who pitches him out of the tent.
Smiler begins to practise on others the falls he has been so painfully acquainted with. A pair of lovers are given introduction to the art, and the man takes a flight over Smiler’s shoulder, as does a fisher, who finds himself pitched head first into the water. In a country farmer Smiler meets more than his match, and has such a rough time that he limps away with his liking for ju-jitsu all but cured, though a bout with a tailor’s dummy revives him a little, and he is still further exhilarated by the ease with which he topples over a long row of bobbies.
The next person he runs across, however, knows a little more about ju-jitsu than he does, and though she is only a slight girl, throws him over her shoulder with the greatest of ease.
Although only the opening and closing scenes were preserved in the 1950s compilation, by lucky chance those two scenes are most likely to be of significance to modern viewers with an interest in the early history of jujutsu in the Western world.
Here are the scenes:
At the time this film was produced there was only one full-time martial arts dojo operating in London – the Golden Square School of Jujitsu, which had been founded by former Bartitsu Club instructor Sadakazu Uyenishi in 1903, just about one year after the Bartitsu Club had closed down. Uyenishi himself had demonstrated his art in some film footage shot by the Gaumont Company in 1905 (you can see it reanimated here). When Uyenishi returned to Japan in 1907, management of the Golden Square School passed to his senior students, the husband and wife team of William and Edith Garrud.
Although it’s impossible to be certain, it’s at least likely that the various “stunt performers” featured in Charley Smiler Takes Up Ju-Jitsu were members of the Golden Square dojo. The two gi-clad “booth wrestlers” in the opening scene look like jujutsuka play-acting for the camera, rather than like slapstick actors imitating jujutsu. As a highly trained music hall tumbler, Smiler (Evans) himself was clearly capable of taking his own falls throughout the film.
Most intriguing, though, is the possibility that the jujitsuffragette “Miss U.I. Throwe”, who teaches Charley an object lesson at the end, may also have been a Garrud student, or may even have been played by Edith Garrud herself. She had started teaching a suffragettes-only self-defence club in 1909, and in 1913 she was famously recruited to train the clandestine WSPU Bodyguard; the team of security specialists who defended outlaw suffragettes from assault and arrest.
There are only a few clear photographs of Edith Garrud circa 1911 and the visual quality of the Charley Smiler film isn’t good enough to be able to positively identify “Miss Throwe”, but Edith would have been more than qualified to essay this role – not least because she had previously starred in Ju-jitsu Downs the Footpads, or, the Lady Athlete (1907) – and there is a definite resemblance. While “Miss Throwe” is clearly shorter than Evans, though, it may be that she’s taller than 4’11”, which was Edith Garrud’s reported height.
Regardless of who played “Miss U.I. Throwe”, the jujitsuffragette footage in Charley Smiler is, by some 15 years, the earliest known moving imagery of a woman demonstrating jujutsu and is literally the only film known to exist of “suffrajitsu” in action during the early 20th century.
Although it was fairly common for Japanese jujutsuka to engage with Western boxers on the stages of Edwardian London’s music halls, the boxers normally simply wrestled according to jujutsu rules. Occasionally, however, a true mixed-styles bout did take place, as when former Bartitsu Club instructor Yukio Tani took on the pugilist known as Young Joseph or as in this instance, recorded in the Birkenhead News of August 25th, 1909, when Tani’s compatriot Taro Miyake exhibited his jujutsu skills against the boxer Charlie Knock.
The Miyake/Knock “turn” was, however, expressly announced as an exhibition, and it was noted that they would not attempt to hurt each other, so the actual performance was clearly more in the nature of a light sparring contestfor demonstration purposesrather than a serious match.They repeated the exhibition at a number of music halls during August and September of 1909.
Noting as usual that the term “Jap” was not used pejoratively in Edwardian English and also that Taro Miyake’s name was frequently rendered by English journalists as “Tarro Myaki”.
AT THE OLYMPIA
A programme of quite exceptional excellence is submitted to patrons of this fine hall this week. From beginning to end the entertainment is of the highest class, and not a dull moment is experienced throughout.
The “top of the bill” is occupied by Tarro Myaki, the celebrated Japanese exponent of the Ju-Jitsu system of self-defence, who not only give a remarkable exposition of the science, but shows how he would defend himself against the attack of a skilled boxer. The representative of boxing is no less a person than Charlie Knock, the welterweight champion of England and the winner of many battles in the ring, so that it will be seen that the Jap has a foeman worthy of his steel.
On Monday evening Myaki endured a good deal of punishment, but brought each of three bouts to a close by throwing the boxer and rendering him helpless by the application of one or other of the “grips” or “holds”, practiced by the Ju-Jitsu expert. The demonstration was much appreciated.
Earlier in the evening a perhaps even more remarkable display of the value of a knowledge of Ju-Jitsu was given by Miss Clarice, the lady champion, who dealt effectually with a realistic looking ruffian impersonated by her partner Euzen, the “soldier juggler,” whose performance, by the way, was one of the features of the night’s entertainment. Every “attack” was foiled with consummate ease, and when the rough, baffled at every turn, produced first a cudgel, then a knife, and finally a revolver, he was even more severely dealt with. There can be no question that a knowledge of the Ju-Jitsu method of defending oneself is extremely valuable, and that the art is well worth the trouble of acquiring.
When Edward Barton-Wright ceased promoting the Japanese martial arts in England, the cause was taken up by the music hall strongman William Bankier, known professionally as “Apollo, the Scottish Hercules”. This series of photographs shows female students at his Great Newport Street academy being trained by Phoebe Roberts (shown standing at the far right). Miss Roberts was, along with Edith Garrud and Emily (Diana) Watts, one of the first female jujitsu instructors in the Western world.
“Uncle Frank’s trick” was anecdotally attributed to a “philosophical Apache”, who reasoned that it was better tactics to temporarily disable a mugging victim without endangering their life.
During the early years of the 20th century, the trick attained a degree of pop-culture infamy as part of the “Apache chic” craze. It was frequently showcased in self-defence manuals of the period – along with various counters – and in the media, including this flip-book produced by Leon Beaulieu.
Posted inHooliganism, Video|Comments Off on Le Coup du Père François Flipbook Animation (circa 1897-98)
New loose-fitting Army overcoats are about to be handed out to the officers of the London police in place of the tight-fitting coats at present worn. The new coat is much lighter than the old. It is believed that the new cloth will be much warmer and more waterproof than the old, and what is more important will prevent the officer being handicapped by tight-fitting clothes in the event of a struggle with a desperate prisoner.
Ju-jitsu, the Japanese mode of wrestling, which is being taught to the police, is mainly responsible for the change, at having been found that, no matter how efficient the officer became, be was virtually helpless when encased in his present tight-fitting clothes.
Posted inJiujitsu|Comments Off on Jujitsu Overcoats (Ashbourne News Telegraph, 8 November 1907)