“Sherlock Holmes and Bartitsu”

E.W. Barton-Wright (left) and Sherlock Holmes (seated, right).

Bartitsu.org is pleased to present this illustrated essay in three parts by Michael Bertram Wooster. Drawing from his grandfather’s memoirs and from the archives of the Vernet Foundation (Paris), amongst other sources, Mr. Wooster’s essay details the hitherto mysterious collaboration between famed consulting detective Sherlock Holmes and E.W. Barton-Wright in devising the latter’s “New Art of Self Defence”, Bartitsu.

Part One details Holmes’ enthusiasm for physical culture, his growing fascination with Asian martial arts and association with judo founder Jigoro Kano.

Part Two offers insight into Holmes’ meeting and subsequent friendship with E.W. Barton-Wright and the genesis of the Bartitsu Club in Soho.

Part Three outlines the eventual downfall of the Bartitsu Club, the further activities of both Holmes and Barton-Wright and finally resolves the mystery of Holmes’ “baritsu” as recorded by his colleague, Dr. John Watson.

We hope that you enjoy the journey.

The mystery of the “Japanised Englishman”

Pieter M.C. Toepoel was, in a sense, the E.W. Barton-Wright of the Netherlands. A boxing and physical culture teacher and something of a free-thinker, attracted to novelties, Toepoel was the first man to teach Japanese martial arts in Holland. He eventually developed a Bartitsu-like method combining boxing, jiujitsu and even self defence with a walking stick.

In his 1910 book Het origineele jujutsu, Toepoel recalled that:

…in 1899 I read in an English Magazine about an international system of self defence which had used amongst others a couple of pins from jiujitsu.

This is obviously a reference to E.W. Barton-Wright’s Pearsons Magazine articles on Bartitsu. Thus inspired, Toepoel made his way to London and possibly Paris and seems to have picked up an eclectic jiujitsu education. His book name-drops former Bartitsu Club instructors Sadakazu Uyenishi and Yukio Tani as well as Koyama, Miyami, Re-nie (Ernest Regnier, who pioneered jiujitsu in Paris), Okashi, Saito and Apollo (strongman William Bankier, who became Tani’s manager after the Bartitsu Club era), but does not identify Toepoel’s (main?) instructor in the art.

Most puzzlingly, Toepoel refers to learning jiujitsu upon the thin carpet of a shabby old London boxing club, and described his teacher – introduced to him by some boxing acquaintances – as a “Japanised Englishman” who had trained daily for seven years with Taro Miyake. Toepoel further notes that they would stop practicing when others entered the club, implying that this was a security precaution so that others would not “steal” their techniques; he was also apparently made to promise that he would never teach jiujitsu himself in the UK.

This is all very curious; who was the “Japanised Englishman”, and why all the secrecy?

Toepoel refers to both Tani’s Oxford Street school and to Uyenishi’s Golden Square dojo, which would seem to date his training in London to the period of roughly 1904-1909. By that time, there were several books and numerous articles available on jiujitsu, not to mention two full-time schools and several rather marginal ones. Although Japanese wrestling was hardly being taught on every street corner, it was quite widely available and it’s odd that a jiujitsu teacher at that time would have been quite so secretive.

Taro Miyake arrived in London in 1905, so it would seem to be impossible that any English jiujitsuka could have trained with him for seven years prior to 1910, unless that person had begun studying with Miyake in Japan.

On the face of it, and assuming that Pieter Toepoel was above adding in a bit of spurious detail for the sake of drama, there were only a few jiujitsu practitioners in London at that time who could conceivably have been described as “Japanised Englishmen”. Our candidates include:

E.W. Barton-Wright, who never seems to impressed anyone else as being “Japanised”, but who had spent three years in Japan, apparently spoke Japanese tolerably well and who was rumoured to have continued to have taught Bartitsu privately after the Bartitsu Club closed down in 1902.

William Garrud, who was teaching his own classes (in person and by correspondence) by 1905, but Garrud was possibly even less “Japanised” than was Barton-Wright.

“Professor Vernon-Smith”, who advertised jiujitsu classes at his Anglo-Japanese Institute of Self Defence (3 Vernon Place, Bloomsbury Square). The latter school seems to have employed Sadakazu Uyenishi as well as “a staff of expert instructors teaching gymnastics, boxing, wrestling, fencing, la savate etc.”; very little else is known about it, or about Vernon-Smith.

William E. Steers, a passionate Japanophile who travelled to Japan in 1903, studied jiujitsu there with fellow expatriate Englishman E.J. Harrison and returned to London in 1904, where he began training at Sadakazu Uyenishi’s school. Later, circa May 1912, Steers went back to Japan and studied judo with founder Jigoro Kano, who described him as being “the most earnest foreign student I have ever had”.

On the face of it, W.E. Steers seems to be the best candidate. The dates roughly match up and Steers’ huge enthusiasm for all things Japanese might well have led to his being characterised as a “Japanised Englishman”. The detail of Toepoel’s instructor training for seven years with Taro Miyake is still puzzling, in that Miyake was affiliated with Tani’s Oxford Street school, while Steers was enrolled at Uyenishi’s dojo at Golden Square. However, it is reported that Steers did study judo with the famous Mitsuyo Maeda from the year 1907, when the latter first arrived in London.

Shifting into pure speculation; assuming that W.E. Steers was Pieter Toepoel’s jiujitsu teacher, why would there have been such secrecy surrounding their lessons? Perhaps Steers felt that he was not really qualified to teach the art; I have found no other records of him as an instructor, though he was active and influential at the administrative level during the early years of the London Budokwai. As he was not a teacher in any official sense, though, Steers would presumably not have been concerned about Toepoel as a potential commercial rival, so why would he have required that the latter promise never to teach jiujitsu in the UK?

Also, Steers was evidently quite a wealthy man, so a shabby, thinly-carpeted boxing school seems an odd choice for a training venue, unless, again, Toepoel’s lessons were being “hidden” for some reason.

Research is ongoing …

Bartitsu and historical fencing

“The fence of the case of rapiers, as of all the other Elizabethan weapons, is much in vogue at the present time at the Bartitsu Club, now the headquarters of ancient swordplay in this country …”
- Captain Alfred Hutton, “The Sword and the Centuries” (1902)

Alfred Hutton was at the centre of the late-Victorian revival of “ancient swordplay”, or historical fencing styles including the use of the raper and dagger, sword and handbuckler and two-handed sword. Beginning in the 1880s he had tutored a small but enthusiastic group of students, most initially in their young teens, via a boys’ club attached to the School of Arms of the London Rifle Brigade.

Hutton and his colleague, the novelist Egerton Castle, organised a number of historical fencing exhibitions during the 1890s. By 1900 Hutton’s cadre of Elizabethan swordsmen had performed throughout the city of London and had even been invited to demonstrate their skills at a grand “Festival of Historical Swordplay” in Belgium.

Shortly after E.W. Barton-Wright returned to London from Japan and started promoting his new Bartitsu method, he joined Hutton on the lecture/demonstration circuit. Mixed Bartitsu and historical fencing exhibitions were held, most notably at the exclusive Bath Club and at a fund-raising event for Guy’s Hospital.

Hutton joined a number of notables, including politicians and minor nobility, in supporting Barton-Wright’s desire to establish a permanent training academy. When B-W opened his Bartitsu Club in Soho, Hutton began holding historical fencing classes there as well. His students included some prominent London actors, who studied historical fencing for use in stage combat, as well as young men from the L.R.B. School of Arms. Hutton also served on the Club’s Committee, which approved or declined applications from would-be Bartitsu Club members.

Given Barton-Wright’s emphasis on Bartitsu as practical self defence, it’s unlikely that historical fencing per se was considered to be a formal part of the Bartitsu curriculum. It is evident, however, that informal cross-training did take place; Hutton offered a glowing review of Pierre Vigny’s method of self defence with a walking stick, and even demonstrated that method during a 1902 newspaper interview. It’s also likely that he took some jiujitsu lessons at the Club, either with Barton-Wright or with instructors Yukio Tani or Sadakazu Uyenishi. Hutton produced a monograph on jiujitsu techniques for schoolboys and later offered a jiujitsu-based class in humane control and restraint techniques for doctors working in London psychiatric hospitals.

Sadly, the untimely closure of the Bartitsu Club seems to have brought an end to the collaborations between Barton-Wright and Hutton. But during the year 1901, when the Club was a hive of activity, one might have signed up for classes in recreational rapier or longsword fencing alongside jiujitsu, boxing, wrestling and walking stick defence. It must have been quite the scene.

Speculations on Bartitsu (kick)boxing

E.W. Barton-Wright evidently felt that while both boxing and kicking had their places within Bartitsu, they required substantial modification for use in actual self defence. Unfortunately, he never detailed the nature of his modifications, which leaves this aspect of the Bartitsu curriculum open to speculation based on a set of cryptic hints. This article examines his comments on boxing and kicking and offers some educated guesses about their place in the repertoire.

Barton-Wright was fulsome in his praise of boxing, which was virtually synonymous with the idea of “self defence” in London at the turn of the 20th century. In introducing his radical cross-training concept of Bartitsu, however, he was also careful to point out that even “manly and efficacious” British fisticuffs might not be enough to cope with a determined street attacker who didn’t play by the rules:

If one gets into a row and plays the game in the recognised style of English fair play – with fists – the opponent will very likely rush in and close, in order to avoid a blow. Then comes the moment for wrestling in the secret Japanese way. Instantly the unwary one is caught and thrown so violently that he is placed hors de combat, without even sufficient strength left to retire unassisted from the field. - Barton-Wright, “Black and White Budget” magazine, December 1900

Taken at face value, this comment suggests that the forewarned but unarmed Bartitsu-trained defender would adopt a boxing guard and spar specifically in order to “sucker” their adversary into close quarters. At that point the defender would deploy jiujitsu as a sort of secret weapon. In fact, both of Barton-Wright’s “boxing” scenarios in that article proposed that an unarmed fight might begin with fisticuffs, but would end with jiujitsu:

Again, should it happen that the assailant is a better boxer than oneself, the knowledge of Japanese wrestling will enable one to close and throw him without any risk of getting hurt oneself. - Ibid.

He was less enthusiastic about French kickboxing. While acknowledging that kicking and countering kicks were important aspects of self defence training, he asserted that:

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. The use of the feet is also done quite differently from the French Savate. This latter … is quite useless as a means of self-defence when done in the way Frenchmen employ it. - Ibid.

Another cryptic comment on the subject of kicking in self defence:

Mr. Barton-Wright does not profess to teach his pupils how to kick each other, but merely to know how to be able to return kicks with interest should one be attacked in this manner. - Ibid.

Later, an article in the Pall Mall Gazette also mentioned that the kicking methods adopted at the Bartitsu Club were “somewhat different from the accepted French method.”

In considering Barton-Wright’s comments on savate, it’s worth recalling the traditional Anglo-French rivalry and the middle-class London cultural bias against kicking in self defence as being “un-English”. Also, at a time of very intense nationalism, B-W’s idea that it was socially “permissible” for English gentlemen to learn these foreign skills was still relatively novel and probably not universally accepted. Perhaps B-W deliberately de-emphasised the kicking content of Bartitsu and distanced it from the French method in his articles and lectures as a gesture towards social respectability. Likewise, he may have been attempting to score points by suggesting that the Bartitsu Club was promoting a “new, improved” (even an Anglicised) version of savate.

Both Barton-Wright himself and Bartitsu Club instructor Pierre Vigny were primarily interested in teaching pragmatic self-defence, so it’s likely that neither of them had much time for the balletic, light-contact, high kicking style that was then becoming popular as a bourgeois exercise in Paris. If we take B-W’s comments on kicking literally, then presumably he was simply advocating generic street fighting kicks of no particular national origin.

Several months later, in a lecture for the Japan Society of London, he noted that:

Under Bartitsu is included boxing, or the use of the fist as a hitting medium, the use of the feet both in an offensive and defensive sense, the use of the walking stick as a means of self-defence. Judo and jujitsu, which (are) secret styles of Japanese wrestling, (I) would call close play as applied to self-defence.

In order to ensure as far as it was possible immunity against injury in cowardly attacks or quarrels, (one) must understand boxing in order to thoroughly appreciate the danger and rapidity of a well-directed blow, and the particular parts of the body which were scientifically attacked. The same, of course, applied to the use of the foot or the stick … judo and jiujitsu are 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. – Barton-Wright, “Jiu jitsu and Judo: the Japanese Art of Self Defence from a British Athletic Point of View”, February 1901

And then:

Directly one (sees) a man, one ought to know whether he (is) a man to go for at once, or whether he should be allowed to have first turn and afterwards come in one’s self. - Ibid

This reads as if Barton-Wright was moving towards a more specifically integrated unarmed combat system, perhaps combining the defensive aspects of boxing and savate (guards, slips, parries etc.) with a limited range of punches and kicks. These would be transitional, counter-offensive actions between the preferred ranges of stick fighting and jiujitsu. Thus, again, the unarmed/disarmed Bartitsu practitioner might assume a boxing guard stance and defend/counter according to orthodox Anglo-French styles, but then segue into jiujitsu to actually bring the fight to a close.

Barton-Wright’s articles on “Self Defence with a Walking Stick” include several defence sequences that feature boxing punches and savate kicks, but in each case, the context is the Bartitsu-trained defender countering punching or kicking attacks with his trusty cane. The Black and White Budget article also featured a photograph of Vigny executing what looks like a waist-high front thrust or crescent kick. The implication is that students at the Bartitsu Club might have practiced the basic offensive techniques of boxing and savate partially in order to simulate the types of attacks they might face in the streets; to “role-play” as boxers and savateurs for training purposes.

Barton-Wright’s reference to “more numerous guards”, performed in a “slightly different style” to orthodox boxing, may be significant. It seems highly likely that he and Vigny would have discounted those techniques that relied upon either fighter wearing boxing gloves. If so, they may have been inspired by the older, pre-Queensberry Rules versions of pugilism and savate, which were designed for bare-knuckle fighting and did include a diverse range of guards. Also, Bartitsu defences against unarmed striking attacks were not restricted by the rules of boxing; the counter-attack might be a kick, a punch, a jiujitsu atemi strike, a throw and/or a submission technique.

Finally, while the most dangerous stick and jiujitsu techniques could not be fully applied in safe training, via recreational (kick)boxing the Bartitsu practitioner could still attain the sense of timing, distance, contact and unpredictability that can only be honed by unrehearsed sparring.

E.J. Harrison on E.W. Barton-Wright

A passage from E. J. Harrison‘s classic book The Fighting Spirit of Japan, originally published in 1912. This section is taken from a reprint dating to the early 1950s.

Perhaps a pioneer of the Japanese art (of self defence) or a certain version of it was the late Barton-Wright, who studied for some time in Japan, afterwards proceeding to London where he opened an academy and taught what he knew under the name of Bartitsu. He claimed that he had grafted on to the parent stem various shoots of his own invention or culled from other schools in different parts of the world. Without doubt Mr. Barton-Wright was a colourful personality in his day and generation and could give a very good account of himself against all and sundry lacking knowledge of either jujutsu or judo. This splendid veteran passed away only a few years ago, on the threshold of his tenth decade.

Bartitsu as “urban survival”

Bartitsu is cited as an example of urban survival training in a new book, How to Predict the Weather with a Cup of Coffee, by Matthew Cole.

Harnessing the laws of science, nature and human behaviour, this book revisits and reinvents the tricks that got us through our savage past and updates them for the 21st century. It arms you with a caveman’s toolkit for survival wherever you may be – Starbucks, the office, or a crowded tube on a Friday night – and tells you all you need to know to transform your daily grind into a non-stop adventure (you don’t even have to wear khaki).

After a summary of Bartitsu history, Cole concludes:

Barton-Wright was a man after my own heart, equipping his students for the new and very real challenges of life in a modern city. Until then, men had felt protected by the rules of decency and fair play, but that old order had crumbled. Bartitsu helped the modern gentleman meet this new test with pragmatism and dignity. Hoorah for B-W.

Bartitsu ref. in new superhero drama, “The Cape”

Bartitsu gets an unexpected shout-out in this preview for the new NBC superhero series, “The Cape”. From the official Cape website:

“The Cape” is a one-hour drama series starring David Lyons (“ER”) as Vince Faraday, an honest cop on a corrupt police force, who finds himself framed for a series of murders and presumed dead. He is forced into hiding, leaving behind his wife, Dana (Jennifer Ferrin, “Life on Mars”) and son, Trip (Ryan Wynott, “Flash Forward”). Fueled by a desire to reunite with his family and to battle the criminal forces that have overtaken Palm City, Faraday becomes “The Cape” his son’s favorite comic book superhero — and takes the law into his own hands.

During a training montage, the Cape’s mentor, Max Malini, says:

“British Bartitsu … the warrior dancers of the T’ang Dynasty used their robes as weapons.”

The Cape is obviously an expert martial artist armed with a super-powered cloak, but it’s unlikely that we’ll see any classical Bartitsu featured in the series. On the other hand, it’s always nice when writers do their homework. One wonders what E.W. Barton-Wright would have made of all this:

Another “new” canonical Bartitsu technique

From Percy Longhurst’s “JiuJitsu and Other Methods of Self Defence”, 1906 (pp 77-78):

A different defence to a similar attack – one which considerably surprised me when I was first introduced to it by Mr. Barton-Wright several years ago, and which is by no means too much for feminine strength – is that illustrated in Figure 46. The descending hand of the assailant is jerked up, his wrist seized, and the defender simultaneously steps outside the assailant’s advanced leg so that her knee – the leg being bent – is pressed against his bent knee. A sideways and downwards jerk of the captured hand will lay the assaulter on the ground, the whole secret of the move being, of course, the disturbance of the balance.

Considerable confidence and great quickness are required for the satisfactory accomplishment of this throw, and, admittedly, there are better defences which may be used if the assailant has a very great superiority of weight. If the thrower makes a slight backwards kick with her advanced foot at the same moment that she jerks the captured arm round, it will facilitate her assailant’s downfall.

“New” historical Bartitsu technique discovered

The Bartitsu Society conceptually divides practical Bartitsu into two related areas. Canonical Bartitsu is the art as we know it was; the specific self defence techniques detailed by E.W. Barton-Wright and his colleagues between 1899 and 1902. Neo, or modern Bartitsu is both “Bartitsu was it may have been” and “Bartitsu as it can be today”; it describes our modern attempts to continue the mixed martial arts experiment begun by Barton-Wright in 1899.

Most of what we know of canonical Bartitsu is drawn from a series of four articles by E.W. Barton-Wright, originally published in the London-based Pearson’s Magazine. “The New Art of Self Defence” was published in two parts during March and April of 1899, and “Self Defence with a Walking Stick” appeared in January and February of 1901. After being re-discovered in the British Library archives by the late judo historian Richard Bowen, these articles were first broadcast via the Electronic Journals of Martial Arts and Sciences website in the year 2000.

Pearson’s was a popular journal and was also published in an American edition. Recently-discovered copies of the US issues for March and June of 1899, which included slightly modified re-prints of Barton-Wright’s first two articles, have revealed the following “new” information on Bartitsu.

Note.—Mr. E. Barton-Wright, the author of this article and of its companion to be published next month, is shortly to visit this country in order to introduce a system of self-defence which would seem to render anyone acquainted with it practically impregnable against all forms of attack, however dangerous and unexpected they may be.

In fact, as far as we know, Barton-Wright did not introduce Bartitsu to the United States, though it is diverting to imagine what might have happened if he had.

The following image is a “header” used for the March article, significant in that it offers a portrait-style photograph of Barton-Wright himself. This is only the second such photograph ever discovered by the Bartitsu Society.

The June article header offers a handsome Art Nouveau effect:

Most intriguing, though, is that the June article from the US edition includes a previously unknown addition to the canon of classical Bartitsu techniques. We can only speculate as to why this technique was not included in the original, and now widely-known, articles from the British edition. Perhaps it was omitted for reasons of space, or perhaps the photographs supplied to were of inadequate quality; it is the only technique in the June article not to have been illustrated.

No. 1.—One of many Means of Defence when a Man Strikes at You Low or Below the Belt.

Should an assailant strike at your wind or heart with his right fist, step backward with your right foot, and in doing so place your right hand over your heart, with the palm outward, and grasp his wrist by placing your left hand over his wrist (the placing of the right hand over the heart is only a precautionary measure in case you miss catching his wrist when he leads off at your body).

As soon as you feel you have hold of his wrist, pull it towards you with a slight outward motion leftways, take a step forward with your right foot, placing it behind his right leg, and seize him by the throat, pressing your thumb into his tonsil or just under the back of the ear, which is extremely painful.

Then with a sharp leftward pull with the left hand, and a thrust or a push leftward with the right hand (keeping your right calf or the side of your knee tightly behind his right knee), you throw him on his back; retain your hold on his throat and ear, and dropping upon the right knee you pull his arm towards you so that his elbow is just across your thigh. With the slightest pressure you could break his arm. At the same time you extend your right arm vigorously and press your thumb well into the cavity under the ear, which will cause great pain, preventing him from getting up.

Alert readers will note that, contrary to what is suggested by the title, this technique does not in fact deal with a defence against a low, below the belt attack, but rather with countering a punch to the torso. The simplest explanation may be that the US Pearson’s editor became confused and incorrectly matched one heading with another technical description; if so, then there may have been at least one more canonical technique (the defence against a “low strike”), in Barton-Wright’s original submission.

The game is afoot to track down the April, 1899 edition of Pearson’s Magazine (US edition), which might include more “new” Bartitsu material.

“About Martial Arts, E.W. Barton-Wright and Yukio Tani”

Marcus Rowland’s short article About Martial Arts, E.W. Barton-Wright and Yukio Tani was first published in Valkyrie magazine in 1996, and accompanied a CD-Rom which included all five of the articles E.W. Barton-Wright had written for Pearson’s Magazine between 1899-1901. As such, Rowland’s article appeared at the very beginning of “modern” Bartitsu scholarship, several years before copies of Barton-Wright’s articles were broadcast online via the EJMAS website.

Since the original publication of Mr. Rowland’s essay, the Bartitsu Society has undertaken considerable further historical research on Bartitsu and on Barton-Wright himself, and offers the following comments and corrections:

Barton-Wright worked in Japan from 1891 to 1899, and towards the end of this period he trained under the sensei Yukio Tani, then aged nineteen. When he returned to Britain, he persuaded Tani and his older brother to accompany him, with the aim of setting up a martial arts school in London. Why they agreed is unclear; while Tani was obviously very talented, he was also very young to be a sensei, and it seems possible that there were simply few opportunities for him in Japan. The picture shows Barton-Wright with a bearded Japanese martial artist, possibly Tani or his older brother.

Barton-Wright actually lived in Japan for approximately three years, between 1895 and 1897. There is no evidence to suggest that he met Yukio Tani while resident in Japan; his major martial arts training there appears to have been in Kobe, at the Shinden-Fudo Ryu jiujitsu dojo of sensei Terajima Kuniichiro. Barton-Wright also claimed to have taken some lessons with professor Jigoro Kano, the founder of Kodokan judo, but nothing more is known of that connection except that Barton-Wright apparently later corresponded with Kano “and other friends in Japan” towards arranging for some jiujitsu instructors to work at the Bartitsu Club in London.

The identity of Barton-Wright’s demonstration partner in the photographs for his “New Art of Self Defence” articles remains a mystery, but it is certainly not Yukio Tani, nor Tani’s elder brother.

Bartitsu was never very popular, possibly because Barton-Wright’s changes deterred sportsmen with an interest in authentic Ju Jitsu and its associated ceremonies, and the dojo closed within a few months.

The Bartitsu Club was active for a little over two years, between late 1899 and early 1902 and in fact, a number of athletes did train at the Club. It is also worth noting that no-one else in England during this period actually knew what “authentic jiujjitsu” was, and that there is nothing to suggest that anything other than “authentic jiujitsu” was taught at the Club. Barton-Wright’s concept of Bartitsu essentially involved cross-training between the various martial arts and combat sports taught at the Club, thus including jiujitsu, fisticuffs, kicking and Vigny stick fighting; a crucial point that has eluded many critics between the early 1900s and the present day.

He next tried to make money by putting on Ju Jitsu displays on the music hall stage; Tani’s brother promptly denounced this abuse of the art and returned to Japan.

Barton-Wright had publicised Bartitsu via lecture/demonstrations on music hall stages since 1899, well before any of the Japanese fighters had arrived in London. Of the original group of three (Yukio Tani, his elder brother who is only known to us by his initial, K, and their associate S. Yamamoto), K. Tani and Yamamoto taught at the Bartitsu Club and participated in exhibitions for a short period before returning to Japan. No-one is certain why they left England, though their departure aroused some controversy at the time. Barton-Wright’s version of the story was that, through a mis-communication, K. Tani and Yamamoto had not realised that they would be required to exhibit jiujitsu in the music halls. Yukio Tani evidently had no problem with that arrangement and became a popular “star turn” in the halls throughout and for many years after the Bartitsu Club era.

How To Pose as a Strong Man (January 1899) shows some simple tricks based largely on martial arts concepts of leverage. It was not written to publicise Bartitsu, but does illustrate Barton-Wright’s opportunistic approach; it seems unlikely that a more dedicated student would have written it.

Barton-Wright was evidently fascinated by the mechanics and psychology of these types of leverage stunts, and his article was actually written as an exposé of the tricks employed by athlete/entertainers such as the “Georgia Magnet”, who often claimed that their performances displayed supernatural powers of “electricity” or “animal magnetism”. This is comparable to the modern practice of exhibiting similar feats as demonstrations of ki or chi power. It’s difficult to see how Barton-Wright’s article can be viewed as being opportunistic, or as demonstrating a lack of dedication; if anything, it suggests an advanced understanding of body mechanics that could only have augmented his martial arts skills.