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Posts Tagged ‘ancient swordplay’

Alphabet - Happy New Year!

Now that the holidays have passed, we thought that we’d bring you a Twelfth Night present to keep your mind occupied as you recover from a month of heavy food, family gatherings and office parties: three new, free articles.

In Ancient Swordplay, Tony Wolf not only brought readers to the “Elizabethan Swordsmanship” revival of fin de siecle London, he also introduced them to the little remembered – or in Anglophone circl es, unknown – work oftheir “spiritual heir”, George Dubois (1865 – 1934). Dubois wrote and published extensively, and we celebrated his pioneering work last year with a blog post on the man, and making his Cemment du Defendre, Le Point d’ Honneur et le Duel, and Essai sur l’Escrime: Dague et Rapiere freely available on the Freelance website as downloadable PDFs.

Of these varied works, Essai sur l’Escrime: Dague et Rapiere (1925) is perhaps most interesting to students of Historical European Martial Arts. In this short work, Dubois and his associate Albert Lacaze presented an innovative system of competitive fencing with rapier and dagger, marrying historical technique to French classical fencing. Although Dubois became the better known of the two men, it was through Salle Lacaze that this tradition continued and survived to this day.

This combination of historical swordplay and living tradition is the sort of thing that medievalist, Francophile and Prévôt d’Escrime could not resist. Ken has spent time researching and studying this system of “modern French rapier”, and in the article Lacaze Sword and Dagger he supplies a short training curriculum to jump into a fast and furious style of sword and dagger fencing. Modern/classical fencers will find the method a logical adjunct and new twist to their training, while students of historical swordsmanship will get an interesting glimpse into how the ancient traditions were studied and adapted a century ago.

Ken is also working on a full translation of the original Essai sur l’Escrime, coming to a certain publisher near you…

Whether you are historian, martial artist or enthusiast, privately ask yourself how many of you firs found a love for times past through fiction? Be it Ivanhoe or the Hobbit, many of first felt wonder of another era portrayed through the words of favorite author. Of course, no matter how vivid that author’s portrayal might be, it doesn’t mean that portrayal is accurate – particularly when the world is not even our own.

Over the holidays, Ken decided to tackle this very topic. Hanging up his provost’s epee for his historian’s pen, he turns to Westeros, the mythical world of George R R Martin’s Song of Ice and Fire. Martin’s works are blockbuster bestsellers, the basis for an ongoing television series, and has been an entree for a number of folks to find out “just how do swords work”? In Down and Out in Westeros, or:Economy and Society in George R.R. Martin’s Song of Ice and Fire Ken decides to reverse that question and ask, “Does Westeros really work as a medieval society?” You might be surprised!

Finally, our titles on armizare, the medieval Italian martial art recorded by Fiore dei Liberi, were among our most popular titles in 2012. Dei Liberi himself is a bit of a shadowy figure – a man whose existence is provable, but who is better known through whom he taught than the scant details of his own biography. Gregory Mele, Freelance’s co-founder, publisher and sometimes author takes a look at the life of Galeazzo da Montova, perhaps the most famous of these students.

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In his ongoing effort to open the parlor room door to the vigorous martial arts (aka “antagonistics”) world of late Victorian London, our friend and author Tony Wolf has recently blogged offering not a glimpse into the Bartitsu Club of Barton-Wright, not in his words, but those of the ancient swordplay pioneer, Captain Alfred Hutton.

“Before bringing my passing recollections to a close as regards people I have met, and as having been more especially connected with the use of defensive and offensive weapons, I should like to refer to my friend Monsieur Pierre Vigny, a Swiss gentleman, devoted to all athletic exercises, and certainly master of the art of self defence by means of an ordinary walking-stick, a Malacca cane being preferred.  The exercise is most useful in case of attack by footpads, most interesting as a sport, and most exhilarating in a game. It beats single-stick.  However, it would take far too long for me to give further explanations.

There is another new development of athleticism which I strongly advocate, viz., Ju-jitsu, or Japanese wrestling.  I am too old to go in for regular wrestling as it obtains in Japan, easy as it may look, but my good friends Uyenishi and Tani put me up to about eighty kata, or tricks, which even at my age may one day or another come in useful. In modified form the art might be advantageously practised by a small boy when meeting a great hulking bully; indeed, the successful way in which a twelve-year-old friend of mine who knew some tricks of Japanese wrestling floored his parent in my presence was most instructive in spite of its apparent disrespect.

My Japanese friends tell me it is one of the most amusing sights to watch the little native policemen in Japan throwing and capturing huge, stalwart, European sailors who have supped not wisely but too well.”

You can read more about Hutton’s thoughts, and how he later made use of Tani and Uyenishi’s lessons in Captain Hutton writes about his friends at the Bartitsu Club.

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t seems that Sherlock Holmes’ “forgotten” martial art is slowly, but steadily, seeping into the public consciousness!

While Tony Wolf has been busy writing about and documenting Bartitsu history for years, we told you recently about the newly formed Bartitsu Club of Chicago, his experiment in on-going, progressive training in both canonical and neo-bartitsu. The Bartitsu Club is not only the newest member of a growing, informal association of clubs and training groups around the world, but it has found an ideal home at Forteza Fitness, Physical Culture and Martial Arts. Directly inspired by Barton-Wright’s School of Arms, Forteza features a unique late-19th century theme; brick walls and a high timber ceiling enclosing 5000 square feet of training space, including a “gymuseum” of functional antique exercise apparatus.

Only two months into its existence, and the club is already getting some good press. Click on the highlighted text to read the article Martial Arts, Victorian Style: Bartitsu at Forteza Fitness Brings Back the Lost Fighting Art of Sherlock Holmes, by New City journalist Kristen Micek. Another new article on the Bartitsu Club at Forteza Fitness is available here: Blast into the Past.

You can also watch a short video impression of the recent Open House held at Forteza Fitness, Physical Culture and Martial Arts, featuring demonstrations by the Chicago Swordplay Guild, the Bartitsu Club of Chicago and the Asylum Stunt Team.

Meanwhile, Bartitsu is also doing well in its homeland of Britain. It was recently featured in a 3.5 minute segment on Britian’s popular TV magazine, The One Show. The show features an interview with Emelyne Godfrey and a Bartitsu fight scene choreographed by Ran Arthur Braun, performed by Braun, “One Show” co-host Gyles Brandreth and Ajay Jackson and Ashley Patricks:


Finally, but certainly not least, the “jujutsu suffragette” Edith Garrud is back in the news, a mere forty years after her death! Far more than just a “women’s rights” group, the suffragettes were a formidable fighting force – in more ways than one. The leaders of the fight for women’s votes had their own elite bodyguard, trained in jujitsu, to protect them from the police. The suffragettes and their role in the history of Edwardian antagonistics at large, and Bartitsu in particular is documented in Bartitsu: The Lost Martial Art of Sherlock Holmes, and you can both read more about Edith Garrud, who was the jujitsu and self defence trainer of the Suffragette Bodyguard society and see a humorous nod to these ladies from this presentation at last year’s Western Martial Arts Workshop:

All in all, it’s a fine time to be a bartitsuka!

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lthough the pioneering work of Alfred Hutton and Egerton Castle is well-known to students of Historical European Martial Arts, far-fewer are aware of the expansive, and longer-lasting, efforts of their “spiritual heir”, George Dubois (1865 – 1934).

Dubois was a professional sculptor and Olympic athlete, who had studied savate and fencing since childhood, and became inspired by a display of “Ancient Swordplay” involving Hutton and Castle, which he saw in Brussels in 1894. By 1906, Dubois had become interested in the intellectual and physical challenges of reviving archaic systems of fence. His first project was the reconstruction of Roman gladiatorial combat between a retiarius (net and trident fighter) and a myrmillo (sword and shield fighter), to be demonstrated at an “ancient sports” festival in Tourcoing.

Myrmillion vs Retiarus – Dubois’ method of reconstructing gladiatorial combat prefigured the “living archaeology” movement by almost seven decades.

For the next several years, Dubois continued to combine his interests in the fine, performing and martial arts. In 1916 he produced a book, Comment se Defendre  presenting a notably realistic fusion of Japanese and French self-defence techniques, reminiscent of Barton-Wright’s Bartitsu. His daughter, Mathilde, played the role of the defender in several of the book’s forty-eight instructional photographs.

Two years later, Dubois published his “Essai sur le traité d’escrime de Saint-Didier, publié en 1573,” a brief but insightful analysis of the rapier fencing text produced by the 16th century master-at-arms, Henri de Saint-Didier.

But it was rapier fencing was that truly inspired Dubois, how found the “doubled” art of rapier and dagger to be the height of fencing exercise; beneficial both in terms of physical culture, because it encouraged a more symmetrical muscular development, and also in terms of intellectual engagement. During this period he collaborated with another French fencing master, Albert Lacaze, who shared Dubois’ interest in historical fencing techniques.

In 1925 Dubois published a further work on rapier and dagger fencing. Essai sur l’Escrime: Dague et Rapiere is particularly interesting by way of contrast to L’Escrime au Theatre, which had been published some fifteen years earlier. Dague et Rapiere was not a book of stage combat techniques, but rather presented an innovative system of competitive fencing with double weapons.

 Introducing his own work, Dubois explains that:

 “Employing Fifteenth and Sixteenth century fencing terms creates something of a complication for the modern reader. A didactic book should present all of its explanations as clearly as possible. Therefore I shall employ, in this essay on ancient fencing, terms that are familiar to masters-at-arms and to their students at the foil and epee, using the classical grammar of the modern French school.

“Moreover, I would appreciate it if the reader would adopt my conviction – based on studies within the historical oeuvre – that even if the terms employed by the old Masters are not the same ones that we use today, then the methods that they described are as our own; they taught many of the same skills, since the guard of the sword was furnished with transverse branches that we all utilise scientifically.”

Thus, in Dague et Rapiere, Dubois presented a historically-inspired double-weapon fencing system intended to complement the classical foil and epee fencing of his own era. He wrote that the system was based soundly upon the mutual study, by himself and Master Lacaze, of their collective fencing libraries, which included the works of Thibault, Capo Ferro and Fabris.  Rather than a strict revival of ancient swordplay, it was a modern system adapting historical practice to the contemporary art. In several respects it is very much the type of manual that Captain Hutton might have produced on this subject, had he been inclined to popularize “ancient swordplay” beyond his own small clique.

For those interested in a glimpse of Dubois’ “modern rapier” in practice, in October of 1927, the Pathe film company recorded an outdoor training session in the method of double-weapon fencing described in Dague et Rapiere. The footage was then edited into a silent newsreel item entitled Fence and Keep Fit!”, which runs for a little over three minutes.

A second film clip from 1934, records a visit to Salle Lacaze by the famous Italian fencer Aldo Nadi, and shows students engaged in rapier and dagger training, and in the final shot shows Nadi decisively winning a fast epee and dagger bout:

That same year, George Dubois died at the age of sixty-nine. Through his books and essays, historical fencing displays and theatrical fight choreography, he had been at the cente of the escrime ancienne movement for three decades. It was largely through his efforts, and latterly those of his colleague, Master Albert Lacaze, that the work begun by Alfred Hutton, Egerton Castle and their peers was perpetuated into the new century, and in isolated pockets, such as the Salle Lacaze, has continued to the present day, creating its own living tradition of “modern rapier and dagger”.

You can read more about Dubois and the French HEMA movement in Tony Wolf’s Ancient Swordplay. For Francophones, we are pleased to celebrate this early pioneer by making his Cemment du Defendre,  Le Point d’ Honneur et le Duel, and Essai sur l’Escrime: Dague et Rapiere freely available as downloadable PDFs on the Freelance website.

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