Showing posts with label Alfred Hutton. Show all posts
Showing posts with label Alfred Hutton. Show all posts

Wednesday, January 23, 2013

ARTICLES: Craig Gemeiner - The Stick Fighting Method of Pierre Vigny


The stick next to the rock is man’s oldest and perhaps longest existing weapon. Its use as an offensive tool can be found in cave paintings portraying prehistoric society. Evidence exists that the ancient Egyptians had systemised methods of training with sticks of varying configurations.

At one time, every country in Europe had its own indigenous form of stick fighting. During the 1800s the cane or walking stick was an indispensable fashion accessory that accompanied every gentlemen that walked the streets of Europe . While the walking stick offered stability and assisted in preventing simple falls, it was in trained hands, an item capable of averting personal assault. As an instrument of personal defence the French developed the walking stick into a formidable weapon.

The techniques were assimilated from various sources including the Sabre, the cut and thrust sword, Savate and Boxing. This French method became known as la canne.

The French army incorporated la canne into its training curriculum as a means of developing fitness, inner fortitude and bonding by way of competitions with other regiments. The Joinville Military Academy provided compulsory four-month courses in physical culture, which covered, among other things, training in la canne, baton, Savate, fencing and hand to hand combat.

Towards the end of the nineteenth century a professor named Pierre Vigny became renowned for teaching a lethal form of la canne. It was reported that Vigny would test his skills by making nightly excursions into the roughest areas of Marseilles, Paris and Genoa to many a gambling den and drinking hole where he would scrap with any man who would step up to the line.


Vigny%20picture

Vigny was an accomplished professor of Savate, boxing, fencing, wrestling and Ju-Jitsu. He served as the fencing master for the Second Regiment of the French Artillery and was, for a period of time, a Professor of Arms at the Geneva Academy of Fencing. Vigny also held the position of Chief Instructor at The Bartitsu School and introduced la canne to England .

E.W Barton-Wright comments on the influence of the Vigny method –

“After some 15 years of hard work, such a system has been devised by a Swiss professor of arms, M. Vigny .It has recently been assimilated by me into my own system of self –defence called Bartitisu.”

The Vigny method of stick fighting was not as elegant as the academic and sportive systems but lent itself well to street brawls and riots. The skills were anything but complicated and the most direct and efficient attacks were adopted into this combat system of la canne.
 
miss%20Gertie%20Millar 

Gertie Millar ( later to become lady Dudley ) one of the most respected stage performers of the Edwardian era was an avid practitioner of the walking stick and umbrella method of self- defence ” – picture courtesy of Ralph Grasso

Percy Longhurst author of “Jiu-Jitsu and other Methods of Self-Defence” writes-

“It is impossible to convey on paper any idea of the marvellous system of strokes and parries this master (Vigny) has evolved. Against one skilled in his system half a dozen assailants would be powerless, so irrepressibly effective is the use he teaches of the ordinary thick Malacca cane”

The preferred stick that embraced all the qualities necessary to facilitate these efficient skills was constructed from a medium weight Malacca cane with a metal ball attached to one end. The “Vigny Self Defence Stick” was sturdy and heavy enough to allow the metal head to be used as the point of percussion, offering additional weight to the stick. Vigny, who considered its use unrealistic for street defence, shunned the lighter assault cane popular among the academic salles.

Let’s examine several prime skill components of the Vigny’s stick fighting method.


The High Guard

The high guard was advocated as the prime position for attack and defence. Standing with the left side forward (for a right handed person) the rear arm was raised above the head and the point of the walking stick sighted at the opponent’s eyes, the lead arm was extended forward off the bodyline. The chosen grip to accompany this combat guard was a full handed one or fist grip with the thumb folded across the fingers and not along the shaft of the stick. Unlike the waist orientated guards, which require one to first raise or retract the weapon to generate sufficient striking power, the high guard position, as advocated in the Vigny method, preps the weapon ready to strike with very little evidence of one’s intent.

Another benefit of the high guard structure was the additional protection it offered to the weapon-bearing limb. Cuts to the hand and arms were not only permitted but also encouraged.

The Stick Fighting Method of Pierre Vigny_pic1

Defensive Skills

Counter cutting in conjunction with footwork was considered the most effective means of defence. When attacked by an assailant, one needed to rapidly retire by passing the leading foot back while simultaneously bringing the weapon down hard onto any open target. While Vigny considered the parry and riposte a secondary method of defence his high guard structure offered superb shielding capabilities that could combat a wide range of weapon attacks from both single and multiple attackers. With a simple movement of the wrist, the head, face and flanks could be quickly guarded. If pressed at close quarters both hands could be used to grasp the stick and guard a multitude of attacks.

The Stick Fighting Method of Pierre Vignypic2

Offensive Skills

Pierre Vigny incorporated various ways of attacking with the walking stick.

Held with one or both hands the stick was used to deliver cuts or strikes to a variety of targets including the face, head, neck, clavicle, ribs, elbows, wrists, knees and the shins.

Strikes using Vigny’s metal-headed walking stick were facilitated for the most part by the wrist and unlike a thin lighter cane which requires one to use a larger swinging movement to empower the strike, formidable blows could be generated using a simple wrist action.

The short end of the stick, protruding from the edge of the hand, was used as a dagger at close quarters while long-range thrusts were delivered by sliding the stick in a pool cue fashion through the hand.

The Stick Fighting Method of Pierre Vignypic3

While all offensive and counter techniques were initially learnt from one’s strong side, training of the body’s less coordinated side was also emphasised. The left arm, while not as coordinated as the right, still needed to be able to deliver powerful cuts. This ambidextrous approach was considered important especially in the case of the primary arm being injured or incapacitated.

Alfred Hutton author of “The Sword And The Centuries” 1901 points out –

“ For the man can, and does, frisk his cane about from one hand to another, so that his opponent can never precisely tell which hand will deliver the attack, and careful practise of the various lessons will shortly make the student pretty nearly ambidextrous. M. Vigny does not confine himself to teaching a mere exhilarating game of play; he shows his pupils also the more serious side of the system, instructing them carefully in what they should do if attacked by a gang of ruffians”.

Entry Manoeuvres and Disarming

Entry manoeuvres, disarming and infighting played an important role in the Vigny method of la canne. Used only when the opponent possessed superior striking capabilities or was welding a much heavier weapon to one’s own, these entry manoeuvres were initiated while attacking the opponent or guarding his attack. Maintaining a constant forward pressure the free hand could lift, push or pin the opponent’s weapon-bearing limb. Kicks, sweeps, back heels, throws and off hand hits were effective follow ups used to disrupt both the enemy’s balance and ability to attack. A disarmed or grounded opponent was by no means incapable of attack, and where the circumstances warranted one could continue to belabor the enemy with one’s stick.

The Stick Fighting Method of Pierre Vignypic4

Vigny’s influence was felt not only in Europe but also in India .

While on leave in Europe Superintendent H.G Lang had studied Vigny’s walking stick combative method. Upon his return to the Agency Police in Kathiawar Lang taught selected Police officers from various districts. By the 1920s the Vigny system would become the principle method of stick defence for the Indian Police force.

 The Stick Fighting Method of Pierre Vignypic5
The Stick Fighting Method of Pierre Vignypic6

His Highness Maharaja Sir Ghanshamsinhi, Raj Sahed of Dhrangadhra comments on Lang’s use of the walking stick-

“I had the occasion to witness a demonstration of a new art introduced by Mr. H.G Lang in the Agency Police of the use of the walking stick for purposes of self defence and was vastly impressed by his performance. It is really amazing how an ordinary walking stick can be made to serve as a very effective weapon of offence and defence. I consider it an undoubtedly useful art which would be worthwhile for every man to learn.”

During this period moves were underway to introduce the skills to the general public.

The Bombay Provincial Scout Council considered the physical exercise, self- defence and character building aspects of the walking stick method of self -defence highly beneficial for boy scouts.

J. T. Turner, Principal, Rajkumar College , and Member Bombay Provincial Scout Council comments –

“To see what a trained man can do with an ordinary walking stick both in defence and attack is an eye-opener for the uninitiated. I have been privileged to watch a display given by men trained by Mr. H .G. Lang, Superintendent Agency Police, and was much impressed by the sight. It is difficult to realise what an extremely business-like weapon an ordinary walking stick can make without seeing it: I was much impressed, and am convinced that all Boy Scouts should be taught to defend themselves in this way. The training involves physical exercises that are of great benefit in themselves, and teaches a boy to be quick on his feet and to keep cool in an emergency. I propose to introduce it as part of the training of Scouts here”.

With the passing of Professor Vigny many sources incorrectly assumed that his method of la canne also died out. But with all its tradition and undoubted skill it came as no surprise to learn that Vigny’s system would resurface, this time in the United States of America by way of Charles Yerkow. In 1943 Yerkow wrote the book “Modern Judo – The Complete Ju-Jitsu” which consisted of chapters covering Judo, Ju-Jitsu and the use of the walking stick for self-defence.

Basing his stick work on the Vigny-Lang method many of the classical guards, cuts and parries were clearly depicted.

 The Stick Fighting Method of Pierre Vignypic7
The Stick Fighting Method of Pierre Vignypic8

In 1972 a talented self-defence instructor named George B. Wallace added his own signature to the Vigny- Lang method by writing “Stick Fighting for Self- Defense”. Wallace’s book was based on street defence with the walking stick and included among other things cane and kicking integration, counters to body holds and defences while seated in a train or on a park bench. Wallace presented the long range and close quarter skills that had now become a trade-mark of the Vigny system, with careful thought to the environmental conditions of modern society.

The Stick Fighting Method of Pierre Vignypic9
The Stick Fighting Method of Pierre Vignypic10

Pierre Vigny was a man that had more than enough practical street experience. His system would not only encompass techniques for equal cane on cane confrontations but was also intended to combat adversaries armed with knives, clubs and batons and included ways to deal with multiple opponents and even aggressive animals.

With the gun and knife now facing more stringent legislation the carry options for law-abiding citizens are, in some parts of the world, almost non-existent. Fortunately the humble walking stick is currently still legal in almost all jurisdictions.

In looking for an excellent back up to one’s unarmed skills, the non-lethal use of a walking stick coupled with the Vigny method of using it is as relevant today as it was over 100 years ago.

New video now available: “La canne, The Walking Stick Method Of Self Defence Volume 2”


About the Author

Craig Gemeiner is the Founder of the Gemeiner Academy of European Combat Arts located on the Gold Coast, Australia. He is a Researcher and Historian of the European martial arts and teaches separate programmes in Street Savate, Sport Savate, Savate weaponry, fencing, English bare-knuckle boxing and women’s self- defence.

The Gemeiner Academy specialises in teaching the Vigny – Lang method of la canne and along with other individuals from around the world hopes to preserve the skills for future generations to appreciate.

Bibliography

Hutton, Alfred. The Sword and the Centuries or Old Sword Days and Old Sword Ways, London : Grant Richards 1901.

Lang, H.G. The Walking Method of Self-Defence by an Officer of the Indian Police, London : Athletic Publications, LTD.

Longhurst, Percy. Jiu-Jitsu and other Methods of Self- Defence,  London : “The Bazaar, Exchange and Mart” Office. L’ art de la can, nevue Olympique 1912.

Wallace, George B. Stick Fighting for Self- Defense , United States of America : Walmac Books 1972.

Wright-Barton, E.W. Self-Defence with a walking stick, The Different Methods of Defending Oneself with a Walking –Stick or Umbrella when Attacked under Unequal Conditions, Pearson’s Magazine 1901.

Yerkow, Charles. Modern Judo, Basic and Advanced Technique. The complete Ju-Jitsu Library: The Military Service Publishing Co 1943.



NOTES

This article is © 2003 by Craig Gemeiner. My deepest gratitude to him for his kind permission in reposting his article to my site. Contents cannot be copied, republished or transmitted without prior consent from him. Copied from http://lacannevigny.wordpress.com/pierre-vigny/the-stick-fighting-method-of-pierre-vigny/.



You can contact him care of his various sites below:

http://gemeineracademy.wordpress.com/
http://www.savateaustralia.com/
http://lacannevigny.wordpress.com/
http://defensedanslarue.wordpress.com/
http://bootfighter.wordpress.com/http://www.freewebstore.org/bootfightercatalogue/index.aspx?pageid=1000146

Tuesday, January 22, 2013

Alfred Hutton's The Great Stick from Cold Steel (1889)




A chapter on the great stick based on the French ‘Le Baton” and the Italian “Baston”  
from “Cold Steel” – by Alfred Hutton 1889

I so name this two-handed weapon in order to distinguish it from the one-handed stick or “single-stick” in use in our fencing rooms, in which it is entirely unknown.

Its practice is employed in the Italian and French armies, partly to supple the men, for which purpose it is an admirable and highly interesting gymnastic exercise, and partly to lead to proficiency in the wielding the musket and sword-bayonet.

The system of instruction in those countries is somewhat different; the Italian method bears a very close resemblance to the practice of the two-handed sword, as taught by Achille Marozzo in 1536, while the French grafts upon a portion of that ancient play certain movements analogous to those of old English quarter-staff. In my opinion the Italian is the preferable game, and I shall follow it in the main, introducing one or two auxiliary parries from the French.


THE STICK
The stick should be five feet in length, and made of stout rattan cane.


PRELIMINARY LESSONS

First Position
Or Position of “attention.” Face to the front, with the heels together, the left arm dropped easily at the side, and the right hand grasping the stick about eight inches from the butt or thickets end, the arm to be straight and advanced towards the right front, with the nails turned to the right, and the point of the stick resting on the ground close to the outside of the right foot.

great_stick1


GUARD (IN THREE MOTIONS)

Motion 1 – Raise the stick horizontally to the front, the arm quite straight, the hand as high as the shoulder, and the nails down; at the same time make half turn to left, the right tow pointing to the front and the left tow to the left.

Motion 2 - Lower the point, and by bending the right elbow describe a circle on the left of the body, and as close to it as possible, brining the point again to the front with the nails up and the forearm close to the body; at the same time grasp the stick with the left hand immediately blow the right, the point being about on a level with the eyes.

Motion 3 - Bend the knees and bring the right foot forward to the position of guard in fencing.
When these three movements have been acquired correctly, the player must combine them, and come to the guard direct from the first position.

This guard in is fact a quarte, as a parry made directly from it protects the inner line. We now come to the change of position called by the Italians “Fals-guardia.”


FALSE-GUARD
On guard in tierce. From the guard in quarte, turn on the toes of the left foot, and retire the right foot about 18 inches behind the left, the left toe pointing to the front and the right toe to the right, at the same time pass the stick, without quitting the grasp with either hand, from the left side to the right, the left hand passing underneath the right fore-arm; the point of the stick to be on a level with the eyes, the nails of the right hand to be down, and those of the left hand to be up.

great_stick2

Change from tierce to quarte, retiring
Turn on the toes of the right foot, retiring the left about 18 inches behind the right, and come to guard in quarte.

great_stick3

Change to tierce, advancing

Turn on toes of the right foot, bringing the left foot forward and come to guard in tierce.

Change to quarte, advancing
Turn on toes of the left foot, bringing the right foot forward and come to guard in quarte.


THE MOULINETS
As in the sabre practice, so here, the moulinet is the means whereby to obtain suppleness and agility as well to acquire the method of directing the cuts. The Italian school has a large number of these moulinets, of which I think only six are really necessary, namely, two diagonally downwards, two diagonally upwards, and two horizontal – from right to left, and from left to right.

The moulinets should be executed in the first position, that is, standing erect, with the legs straight and the heels together, facing the front. They must be performed slowly at first until they have correctly learned, when the pace must be increased, and the exercise continued eight or ten times.



great_stick4

The rotatory movement of the stick is much assisted by a pulling motion of one hand, and a pushing motion of the other.

The moulinets are:
  1. Diagonal down from right to left.
  2. Diagonal down from left to right.
  3. Diagonal up from right to left.
  4. Diagonal up from left to right.
  5. Horizontal from right to left.
  6. Horizontal from left to right
MOULINET 1
Motion 1. Extend the arms with the stick pointing to the front a little above the diagonal line on the target, grasping it with the hand touching each other, the left hand behind the right, and the nails downwards.
Motion 2. Bring the stick down with a circular sweep from right to left along the line, causing it to pass close to the left side, and bring it again to the front. The grip of the hands should be relaxed as little as possible.

MOULINET 2
Motion 1. Extend the arms as before, the point of the stick being just above the diagonal line 2.
Motion 2. Raise the point, and by lowering it to the rear, describe a circle close to the right side, the stick traversing the diagonal line upwards from right o left, coming again to the position of the first motion.

MOULINET 3
Motion 1. Advance the arms and stick direct to the front, the shoulders, hands, and point to be in the same horizontal line.

Motion 2. Raise the point, and by lowering it to the rear, describe a circle close to the right side, the stick traversing the diagonal line upwards from righ to left, coming again to the position of the first motion.

MOULINET 4
This must be performed as the last, only, that the stick describes the circle close to the left side, and passes diagonally up from left to the right.

MOULINET 5
Motion 1. As Before

Motion 2. Describe the circle horizontally, the stick traversing the line from right to left, and in the rearward half of the circle just clearing the top of the head.

MOULINET 6
This must be executed as the last, only that the stick describes the circle from left to right.


THE ATTACKS
There are seven cuts, one point and one thrust with the butt.

The cuts and the point may be made either on the lunge or on the pass.

The cuts are in the direction of the moulinets already described.

Cut 1. At left cheek or shoulder.
Cut 2. At right cheek or shoulder.
Cut 3. At left leg.
Cut 4. At right leg.
Cut 5. at left side.
Cut 6. at right side
Cut 7. is a vertical downward cut at the head.

The point is given usually at the breast, the arms at their fullest stretch, without quitting the grip with either hand.

The thrust of the butt is given by throwing the point of the stick vertically backward, and delivering the butt full in the face. This is to be used, a la Lonnergan, on an opponent who rushes in too close.


THE PARRIES
Quarte. From the quarte guard, raise the stick with the point slightly elevated, the right hand being about the height of the left shoulder, and receive Cut 1 at the left cheek.

Low Quarte. Drop the hands as low as the hip, raise the point a little, and receive Cut 5.

H.H (High Horizontal Quarte.) Raise the hands a little higher than the head, and slightly to the front of it, carrying them as much to the left as the extension of the arms will permit, the stick being held horizontally over the head, pointing direct to the right, and receive the vertical cut at the left part of the head or shoulder.

great_stick5

Septime. Drop the point, and receive Cut 3.

High Septime. Drop the point, raise the hands as high as the left shoulder and receive Cut 5.

great_stick6

High Prime. Drop the point perpendicularly to the left front (the right wrist crossing over the left), a little higher than the head. This protects the whole of the left side.

great_stick7

Tierce. From the tierce or false-guard, raise the stick with the point slightly elevated, the right hand being as high as the right shoulder, and receive Cut 2.

Low Tierce. Drop the hands as low as th hip, raise the point a little, and receive Cut 6.

H.H (High Horizontal tierce). Raise the hands a little higher than the head, carrying them as far into right as the extension of the arms will permit, the stick to be held horizontally over the head and pointing direct to the left, and pointing direct to the left, and receive the vertical cut at the right side of the head or shoulder.

great_stick8

Seconde. Drop the point and receive Cut 4.

High Seconde. Drop the point, raise the hands as high as the shoulder, and receive Cut 6.

High Octave. Drop the point perpendicularly to the right front, the hands a little higher than the head. This protects the whole of the right side.

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NOTES

My deepest gratitude to Craig Gemeiner for his kind permission in reposting this chapter of Cold Steel to my site! Contents cannot be copied, republished or transmitted without prior consent from him.

Craig Gemeiner specializes in the study of traditional Western fighting arts, particularly Savate and its associated disciplines, and adapting them to modern use. He is one of few instructors in the world teaching ‘Defense dans la Rue’ , a system of self-defense developed in Paris during the late 1800s and has given seminars in Australia, Japan, USA, New Zealand and Italy. For an expanded background on his background, please check out:  http://gemeineracademy.wordpress.com/about-us/about-craig-gemeiner/
as well as his various sites below:

http://gemeineracademy.wordpress.com/
http://www.savateaustralia.com/
http://lacannevigny.wordpress.com/
http://defensedanslarue.wordpress.com/
http://bootfighter.wordpress.com/http://www.freewebstore.org/bootfightercatalogue/index.aspx?pageid=1000146

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