The following passage is excerpted from “The Walled City: a Story of the Criminal Insane”, written by Edward Huntington Williams and originally published in 1913. It describes an apparently un-named, but at least partially codified system of self defence and escort/restraint holds covertly developed by workers in American psychiatric hospitals during the 19th century.
The Japanese are credited with originating the much-heralded art of “jiu jitsu.” But long before the word that stands for joint twisting, nerve-squeezing, and muscle-pulling was known in this country, a system of similar, if less elaborate, disabling methods was known to practically every veteran keeper in all the Walled Cities of the country.
Without some such effective system— some system of self-defense that gave them a distinct advantage over their charges—it would have been difficult for the attendants of half a century ago to have kept some of the more violent cases within bounds, since striking with the closed hand was forbidden the attendants, altho no such restriction was placed upon their charges. And so ingenious keepers, some time early in the history of asylums, studied out an elaborate system of what we should now call “jiu jitsu,” and this was surreptitiously communicated to colleagues all over the country from Atlantic to Pacific. Surreptitiously, since if it had been made public it would have been vigorously supprest by the authorities, no matter how useful it might be, in deference to public opinion already hypersensitive to the subject of “asylum abuses.” But in point of fact, this same system of “American jiu jitsu,” if it may be so called, was sometimes a merciful as well as an effective way of handling excited and ungovernable patients.
One of its chief merits, from the attendant’s point of view, was the fact that it could be used without detection by any but an initiated onlooker. This was of inestimable value when patients were being escorted through places outside the walls of the City. At such times Citizens are likely to become excited, or take advantage of their surroundings and the sympathy of the gaping crowds, which is almost invariably with the captive, no matter how black a criminal he may be. Under these circumstances, should he become unruly, and be handled roughly by the attendant, even in self-defense, that officer would more than likely be set upon and mobbed by the onlookers. On the other hand, no one would be likely to offer more than verbal interference if the officer seemed merely to be holding his charge firmly.
Knowing this, the attendant, orientated in “jiu jitsu,” could take his patient by the arm, to all appearances simply holding his wrist with one hand and grasping his upper arm just above the elbow with the other, and guide him where he pleased without much trouble. For unknown to the spectators, the keeper’s fingers, resting apparently innocently upon his charge’s elbow, really covered a large nerve trunk on the inner side of the elbow joint, where the slightest contraction of his fingers could be made to produce a sensation that would bring any but the most unruly Citizen under control.
This was simply one of the multiform methods of controlling patients, a score of other “jiu jitsu” twists and locks being known and used on occasion. None of these methods were countenanced by any of the officers in control of any institution; and, in truth, a large number of the officers never even suspected their existence, although the attendants sometimes used them under the very noses of their superior officers, without detection, or without injury to the patient. And when the much advertised Japanese jiu jitsu took the country by storm as a novelty a few years ago these veteran attendants had their little laugh all to themselves. It wasn’t so much of a novelty to them as to the generality of people.
The first Saturday seminar will run from 9 a.m -12 a.m. and will be an introduction to the Wolf System, an integrated progression of both co-operative and competitive partnered combat movement exercises. In combination, these challenging exercises foster the balance, improvisational ability, “physical confidence” and related skills that are fundamental to the study of virtually any martial art.
The second Saturday seminar will run from 1:30 p.m. – 4:30 p.m. and will be an introduction to Bartitsu, the “martial art of Sherlock Holmes”. Founded in London in the year 1899, Bartitsu is a cross-training system between pre-WW1 “British jiujitsu”, fisticuffs, low kicking and the Vigny method of self defence with a walking stick. Although dormant throughout most of the 20th century, Bartitsu has been experiencing a revival since 2002.
On Sunday, 7 March from 8-11, Tony will be teaching an invitation-only Bartitsu class for members of a local group who are already familiar with the basic material.
The fee for one class is $30 and for two classes, $50.
What to bring
A crook-handled walking stick (preferably rattan) is recommended. Straight rattan sticks will be available for purchase on the day of the seminar for $10. Participants are also asked to bring plastic water bottles and to wear comfortable exercise clothing, including dance or martial arts slippers for active work on the SANCA training mats.
Fencing masks, boxing gloves and judo gi jackets will be useful, but are not required.
Please address any further inquiries to email@example.com for updates, etc. Please do not contact SANCA directly with regards to these seminars, as the front office staff will not have any useful information about the event.
Thanks again for your interest, and we look forward to seeing you at the seminars!
Advance notice of a series of Bartitsu seminars to be held in the Pacific Northwest (USA) between March 6-28, 2010.
Each seminar will begin with warm-up exercises taken from the 19th century “physical culture” repertoire before exploring the underlying principles, skills and tactics of Bartitsu, via lessons in the unique combination of fighting styles that made up E.W. Barton-Wright’s arsenal of tricks.
Classes to include:
• a selection of the canonical combat sequences represented in Barton-Wright’s classic article series, “The New Art of Self Defence” and “Self Defence with a Walking Stick”
• experimental neo-Bartitsu drills blending 19th century jiujitsu, scientific boxing, street savate and walking stick defence
• discussions on the fascinating history and revival of Barton-Wright’s New Art of Self Defence; the “hold-up” tactics of 19th century street gangsters, and the counters developed by self defence masters of the period, and the jiujitsu training of the Bodyguards of the radical Suffragette movement.
Just a quick update as details of an event I’m teaching have just been released. I’ll post some more information when I have it, but for now here’s the press release:
To celebrate the arrival of the Rawlings range training swords and the opening of the Knight Shop’s WMA academy we are holding
Two Days of the Blade
Feb 27th & 28th
Train FREE for two days with some of WMA’s biggest names.
Bartitsu with James Marwood.
Fiore Dagger with Colin Richards.
Fiore Longsword with Matt Easton.
Liechtenauer Longsword and Lutegerus Sword and Buckler with David Rawlings
also there will be a
Mini Open Rules Tournament
and of course the chance to try out the Rawlings line swords.
Registration is required, but again this event is completely free.
To register please email firstname.lastname@example.org
A special preview of our upcoming feature-length documentary exploring the cultural history, rediscovery and modern revival of E.W. Barton-Wright’s “New Art of Self Defence”.
Founded in London in 1899, Bartitsu was an early example of a mixed martial art, combining boxing, jiujitsu, savate and self defence with a walking stick. After a brief heyday, it was all but forgotten throughout the 20th century except for a single cryptic reference in Sir Arthur Conan Doyle’s Sherlock Holmes story, “the Adventure of the Empty House”.
Shot on location in Italy, Switzerland, England and the USA, “Bartitsu: the Lost Martial Art of Sherlock Holmes” is presented by Tony Wolf and features interviews with Dr. Emelyne Godfrey, Harry Cook, Graham Noble, Will Thomas, Mark Donnelly and Neal Stephenson.
Watch this site for updates!
Preview trailer credits
Ran Arthur Braun
Bartitsu Club Italia – Broken Art: Paolo Paparella & Angelica A. Pedatella
Cletarte – Gaetano Guglietta & Filomena Longo
Digital Room Srl
Adi Bar (piano)
Roni Cohen (cello)
Abney Park (“Airship Pirate” and “Sleep Isabella”)
Advance notice of a Bartitsu course to be held in Edinburgh from January 21st until 25 March (10 weeks total), from 6.30-8.30 pm on Thursday evenings. The instructor will be Phil Crawley of the Dawn Duellists Society.
The venue will be the Big Red Door in Lady Lawson Street, a local performance and arts space, as well as a burlesque and Steampunk themed nightclub venue. Admission is free, but participants must be aged 18 and over due to licencing and insurance concerns.
This is a trial term so the initial programme will be very much canonical Bartitsu techniques, with each session consisting of some physical conditioning, punching and kicking, grappling and cane work in equal measure. The course is aimed to be accessible to all, regardless of experience and ability.
The eventual aim, if there is interest and venue space, is to extend into a more neo-Bartitsu vein as skills and equipment allow.
There are also plans for two one-day workshops on Saturdays at some point before March- see the Te Pooka website for more details when this is confirmed.
Previous screen incarnations of Sir Arthur Conan Doyle’s iconic detective have often downplayed Sherlock Holmes’ talents as an athlete and combatant. However, according to the canon, the Great Detective was a skilled boxer, fencer and singlestick player, whose “knowledge of baritsu” famously saved his life in mortal combat with Professor Moriarty at Reichenbach Falls. “Baritsu”, of course, is understood to have referred to the real martial art of Bartitsu.
“In the novels, the fights are often referred to off-stage; we will bring them on-stage,” explains co-screenwriter, Lionel Wigram.
Sixteen years ago I spent time in LA and whilst there swapped training with Eric Oram who I met through the Society of American Fight Directors. Eric practiced Wing Chun Kung Fu, which he studied with William Cheung, and I had the eclectic background that many fight directors have; I have studied a variety of eastern and western martial arts (in particular Aiki-jitsu and Classical Fencing) as well as stage combat.
Eric and I got on really well and had always spoken about working on a project together but despite a couple of near misses had yet to do so.
In the intervening years I’d established myself as a fight coordinator in the UK. Over time I managed to build a resume that included some big budget studio films.
Eric had continued to train and study Wing Chun becoming a Sifu (instructor) as well as one of that art’s pre-eminent practitioners. His Kwoon (school) was now well established and one of his students was Robert Downey Jr. Downey spoke to Eric about the possibility of using Wing Chun as the base of Sherlock’s fighting style. Eric didn’t know the film world in the UK and wasn’t sure he had the film experience for Holmes’ and the other fights. Also Warner Brothers would require someone with proven credits for such a gig, so Eric suggested bringing someone else on board and Downey, who I had met shortly after the release of Troy, said “well, what about your friend Richard?”
A couple of phone calls later I was on board … “Six Degrees of Kevin Bacon”.
T.W. – Were you a Sherlock Holmes fan before you started work on the movie?
R.R. – Yes, I was. I have read the complete works on a couple of occasions as well as individual stories. Of course I was familiar with the Rathbone and Brett interpretations as well as those paying homage, such as Gene Wilder’s in The Adventure of Sherlock Holmes Smarter Brother, which includes a brilliant fight by William Hobbs.
T.W. – That was a great scene; it was one of the few prior movies to show Holmes as a skilled fighter as well as a master detective. So, what was your process of researching Victorian fighting styles in preparation for the movie?
R.R. – I went to my library and took both Captain Alfred Hutton’s and Egerton Castle’s books off the shelf (1). I dug out videotape of French Cane, which was in my archive along with notes on fighting with an umbrella (I had been given an impromptu class years ago after fencing in a competition with the Metropolitan Police).
In addition, I was already familiar with your work in the area of Bartitsu and had a copy of the Bartitsu Compendium, which I re-read.
T.W. – That leads us to the next question; can you talk us through your original concepts for the fight scenes as they were described in the script?
R.R. – This film wasn’t one where all the fights were laid out in advance and remained fixed. Indeed, like something from Holmes’ casebook, there was a lot of investigation to find the martial methodology and style for Holmes, Watson and the other characters that fought. This was due to trying to get in step with the contemporary aesthetic of the film, Guy’s way of working, how Downey and Law saw their characters, the evolving nature of the relationship between Holmes and Watson, script revisions, etc, etc.
As the overall narrative of the film relies upon there being a close bond between Watson and Holmes, it seemed to me essential that, in addition to it being in the text, we realize that partnership in a physical, unspoken way that the audience would recognize.
I knew we wanted to use the fights involving Holmes & Watson to establish them as a team. It was important that they be pro-active in doing the right thing, taking the fighting to the bad guys but enjoying the physical (culture) and relishing the adrenaline rush.
The principal places for this were in the opening sequence in the Crypt, the fight at Reardon’s digs and the fight in the “Sewer”. In all of these we wanted to utilize them as a team either fighting side by side or combining to overcome the obstacles before them.
T.W. – What about that big showdown between Holmes and Blackwood at the end?
R.R. – The final fight, on Tower Bridge, remained fairly fixed in concept all the way through. Having seen Holmes best everyone he fought he now comes face to face with the main antagonist of the piece and they go at it. I had to show elements of Holmes reacting to the danger, working out what he would do to counter the threat whilst getting the device that all were after at that point in the narrative. All whilst on a partially built Tower Bridge that is 200 feet up. In actuality it was 30 feet, in front of a green screen.
T.W.– The fact that Doyle’s “baritsu” is not Barton-Wright’s Bartitsu must have offered considerable artistic license. Was there any particular relationship between the movie’s fictional baritsu and the historical Bartitsu?
R.R. – Bartitsu, as you are acutely aware, is a mixed martial art involving boxing, ju-jitsu, savate, stickfighting and swordplay that was popular at the turn of the 20th century. In developing our Holmes combat style we wanted to use a neo-Bartitsu that was in keeping with the film’s contemporary aesthetic. To do this we chose to utilize the Chinese boxing that Downey practices as the foundation and also incorporate swordplay and elements of Brazilian ju-jitsu, which Ritchie practices. (2)
In this film Holmes only meets Moriarty fleetingly so if we were to introduce a form of Bartitsu it needed to be without the aid of Moriarty and within the structure of this ‘introductory’ episode of Sherlock Holmes.
Bartitsu for him was a starting point, and like any good martial artist, he continued to explore crossover points and philosophies between various martial arts. Whilst there is nothing in the script to indicate it, we followed the premise that in addition to Bartitsu, Holmes had a book or manual of Chinese Boxing and that he chose to test that system in a very pragmatic and practical manner by participating in bare-knuckle fights.
T.W. – Shades of E.W. Barton-Wright encouraging his students to cross-train between all the different styles taught at the Bartitsu Club.
So I’m gathering that the movie “baritsu” was a combination of various influences, choreographed with a contemporary edge?
R.R. – The film is competing with modern action films, such as Bourne and Bond, for an audience and I knew that with the creative and fight teams we had, our movie Bartitsu would be a modern interpretation. However, I wanted to capture the flavour of Victorian Bartitsu so I focused on the fighting ranges. I believed that if we could use the cane, foot, fist and grappling ranges then we would be able to create something that worked for both the contemporary and Victorian aesthetics.
This premise enabled us to construct fights, particularly the “Punch Bowl” fight, that demonstrate Holmes utilising various martial aspects and how, when under pressure, he was able to focus his mind, body and spirit to overcome a problem.
During the “Punch Bowl” fight Holmes sees Irene Adler and tries to concede the fight in order to pursue her. McMurdo (his opponent) rejects Holmes’ offered handshake and spits at him. This moment gave us the trigger to show Holmes’ intellectual clarity of purpose reflected in a physical way that would establish a key character element how Holmes lives.
On occasion we hear Holmes’ inner thoughts as he determines how he will defeat his opponent, what the physical repercussions of each blow will be and how long they will be out of action as a result of them.
T.W. – It’s an interesting device, making the audience privy to Holmes’ battle plan as it’s formulated a split-second before he goes into action. We don’t often get that sort of clinical detail in a movie fight scene. It’s also illuminating as to Holmes’ character.
R.R. – In his defeat of McMurdo, at the “Punch Bowl”, we wanted to have Holmes do enough to win but also to harness his anger at McMurdo’s behavior and teach him an important lesson about life without crossing over into being vindictive.
The practicalities of this meant we needed to make this ‘pre-visualized’ part of the fight extremely visceral. The way in which Ritchie planned to film the scene (with a high speed Phantom camera) meant we would see each impact as the strikes landed, so we had to plan for robust physical contact.
We constructed a fight that had Holmes block the blows coming at him and deliver a number of precise, hard, blows that would have the viewer wince in recognized pain.
The challenge then was ensuring we had the right performer as McMurdo. A British stunt performer, Dave Garrick, was cast in the role and he did a terrific job, throwing punches at Downey only to have them blocked and a sharp crisp counter-strike hit him. It was a very tough physical day for both he and Downey as although not full out, the blocks and strikes were real.
T.W. – I hope viewers will spare a thought for Mr. Garrick, then!
R.R. – While this visceral, dynamic fight, which gives us our first proper look at this action aspect of Holmes, involved only two people in performance, it was the product of collaboration from a fight team that included myself, Eric Oram (fight consultant), Franklin Henson (stunt coordinator), Dave Garrick and the erudite input of Robert Downey Jr. and Guy Ritchie.
T.W. -That’s good to hear. People sometimes don’t appreciate the degree to which movie action scenes are collaborations between specialists.
How were the actors and stunt performers trained for their roles?
R.R. – We had “Fight Club”, where in addition to rehearsals for specific scenes there were Wing Chun sessions, swordplay and, on occasion, ju-jitsu with Guy.
Robert trains most days either in the gym and/or practicing Wing Chun. In addition he had fight rehearsals on a regular basis. Jude Law and Mark Strong also work out on a regular basis.
They had fight rehearsals with me and these were structured around what was coming up next, so they peaked in their fight training just as we were scheduled to film each scene.
T.W. – Finally, I have to ask – what was it like working on an action film in which both the director and lead actor are martial arts enthusiasts?
R.R. – A team full of martial artists and creative artists! It was a wonderful, brilliant and occasionally frustrating time. We all had something positive to contribute and all were able to demonstrate what we meant.
The obvious hazard with such a situation is that you have “too many chefs and not enough Indians”.
In this instance, though, I believe it worked as we were all working to the same end. As with any new work situation, there is a period of adjustment at the beginning as you figure out the particular work dynamic, but fairly quickly we got to a place where we could and would be able to amend and change choreography according to any changing circumstance or script change that came up at the 11th hour.
We played and explored from the first day of rehearsals to the last day of shooting. Always allowing for improvement or suggestion. One of my favourite memories is Downey saying after I demonstrated the final fight on Tower Bridge “It’s brilliant, perfect” … and then adding with a wry smile, “let’s change it!”
(1) – Captain Hutton was an instructor at E.W. Barton-Wright’s martial arts school in London’s Shaftesbury Avenue, where he taught foil, epee and sabre fencing. Hutton’s students included actors and soldiers, who he trained in the skills of Elizabethan-era fencing. In 1901 he described the Bartitsu Club as being “the headquarters of ancient swordplay in England”.
(2) – Although the resemblance is probably co-incidental, many of the techniques of Wing Chun kung fu are notably similar to those of late 19th century “gentlemanly fisticuffs”. Both styles feature erect fighting stances, vertical fist punches and an emphasis upon protecting the central line of the body. The newaza (ground grappling) of Brazilian ju-jitsu closely resembles that of the eclectic “British ju-jitsu” that arose before the First World War.
A sneak preview of the action in the eagerly-awaited Sherlock Holmes movie, courtesy of Slashfilm.com:
“It does make considerable difference to me having someone with me on whom I can thoroughly rely.”
In the film, as in the books, both Holmes and Watson know their way around a fight and their skills are frequently tested. Holmes is a skilled martial artist; this propensity links him with both the star and director of “Sherlock Holmes,” as Downey and Ritchie have practiced martial arts for years, and worked together to create Holmes’s distinct fighting style. “Doyle called it Baritsu in the novels, which is tied to a 19th-century hybrid of jujitsu that is actually called Bartitsu, created by Edward William Barton-Wright,” Downey explains. “Jujitsu is Guy’s chosen martial art. Mine is Wing Chun Kung Fu. So, we developed our own combination of martial arts styles for the movie.”
As efficient as he is at neutralizing an enemy in the course of his work, Holmes is also known to blow off steam in a boxing ring at a working class pub called the Punch Bowl. Here, in front a raucous crowd, Holmes takes on a massive boxer named McMurdo, played by David Garrick, in a brutal bare-knuckle fight which showcases the detective’s prowess and physical strength.
“The bare-knuckle boxing ring is the only place where Holmes doesn’t think,” says Downey. “But even there he does think; he thinks about how to win the fight, but doesn’t think about all of these ongoing concerns of life. Interpersonal relations don’t enter into it. It’s just you and your opponent.”
“The Punch Bowl is where Holmes goes to hone his skill, to make mistakes, and test out techniques against very powerful opponents,” comments fight consultant Eric Oram, who for years has trained with Downey in Wing Chun Kung Fu and helped prepare the actor for the fight sequences. “He starts by using the least amount of force in the first half of the fight. It’s only after his opponent crosses the line that he wants to teach him a lesson.”
More out of necessity than choice, Watson too knows his way around a street fight, though he is more of a brawler compared to the fluid combat style of Holmes. “Watson is used to the up-close-and-personal fight-for-your-life stuff,” Downey attests. “He has a much more accessible but no less effective style than Holmes. As a matter of fact, there are often times when Holmes over thinks in order to come up with the best deduction, where Watson will just strike with any tool that’s handy.”
“Watson is a war veteran and used to thinking on his feet,” says stunt coordinator Franklin Henson. “He can throw a wild punch in reaction, and, like a street fighter, he’ll use whatever it takes–his head, knees or elbows–to bring an opponent down.”
Law relished participating in the fight sequences. “When you’re in the hands of someone like Guy, who shoots with such a unique eye, you know you’re not shooting a standard fight scene,” says the actor. “He’s always looking for a new way to reveal the story behind the fight, and he knows exactly what he wants. So it’s good fun.”
Director of photography Philippe Rousselot utilized lighting and camera to make the textures palpable and the fights a truly physical experience. “Guy wants the film to feel to the viewer as if you’re there,” Rousselot states. “A good example is the Punch Bowl fight. It was crucial to bring in every detail, from a miniscule drop of sweat to the effect of each blow on the opponent’s body to the sea of movement and tussling in the crowd.”
Ritchie also used these sequences to deconstruct Holmes’s thinking over the course of a fight. He and Rousselot accomplished this moment-by-moment technique using a high-speed digital camera called the Phantom, which creates an ultra-slow motion effect. “The Phantom takes one second of filming and strings it out over 40 or 50 seconds,” says the director. “The camera takes in a great deal of information in a very short period of time, which is the perfect lens through which to illustrate how Holmes’s mind operates. He is able to condense an enormous amount of information into a fraction of a second.”
For a key action sequence–on a multi-story set representing the half-constructed Tower Bridge–Ritchie rehearsed extensively with the actors, along with Oram and Henson, as well as fight coordinator Richard R. Ryan. “We worked very closely with quite a big stunt team,” notes co-producer Steve Clark-Hall. “They knew Robert’s capabilities, which are considerable, and were able to play to his strengths. Pulling off this degree of high intensity action in these stunt sequences was quite a team effort.”
Ritchie sought a strategic blend of rehearsal and spontaneity to ensure the chaos of fighting was reflected in the sequences. “I made the creative decision to make the film gritty, so I didn’t want things to be too choreographed,” he says. “We discussed everything, but we also made sure to leave room for improvisation. I didn’t want it to look too perfect.”
This sensibility appealed to Rachel McAdams, who had extensive stunt work in the Tower Bridge sequence. “Guy liked to keep things messy and keep the truth within this fantastical world,” she notes. “There’s always the temptation to get too refined when dealing with this period, but Guy made sure it was also rough and tumble and modernized. Doing this movie with Guy taught me to be really quick on my feet and precise, yet always open and flexible.”
Of course, humor was an important ingredient in the action and found its way into all the action scenes. “There needed to be moments of levity and other moments of gravity,” Ritchie offers. “So the funny bits got funnier and the darker bits got darker as we went along.”
Read more: 37 High Resolution Photos From Guy Ritchie’s Sherlock Holmes | /Film http://www.slashfilm.com/2009/12/10/37-high-resolution-photos-from-guy-ritchies-sherlock-holmes/#ixzz0ZNJZaqSH