|
|
MOULIN ROUGE
Terence Bridgeman 2001
Published - Blitz Vol16 No4. 2002
It was said, there was no prettier, exciting and more stimulating sight than to see an attractive Can-Can dancer enthusiastically kicking her legs into the air. Nor to see a gentleman flatten a street mugger with a precision kick to the head. These are images during la belle époque period of the late 19th century, at the time of the Parisian Café scene, dance and music halls and of the Moulin Rouge.
The Moulin Rouge opened in Paris in 1889 and as a cabaret and dance hall it captured high society with its fashionable, extravagant interior, bohemian and liberal attitudes and the high paced risqué dancing of the can-can. In the garden there was an outdoor stage and a large wooden elephant with tame monkeys. It was the most flamboyant of the cabaret halls in Paris. Henri de Toulouse-Lautrec who frequented the Moulin Rouge brought its famous dancers vividly to everyone's attention with the popular new art of poster advertising.
Café's, dance and music halls were an important social scene and one of the qualities that gave Paris its own unique character. The gaiety of the time and the leg kicking dances also saw a different type of leg kicking some four streets from the Moulin Rouge. It was the famous Charlemont Academy of La Boxe Savate that was founded some two years earlier. Savate was nothing new to the Parisians, however the name Charlemont and his academy presented an efficient system of personal combat suitable to high society.
The Montmartre district was teaming with the working classes, bohemian artists, philosophers, prostitutes and the poor. Wealthy gentlemen venturing into the district for its nightlife were prone to mugging. The Parisian Savate gave them the ability to defend themselves without using exhausting rough and tumble methods whilst in their gentlemanly attire. The working classes and bohemians used the street Savate whereas the science and training was restricted to the upper classes. There were even a few young lady savateurs and others who were known not to go out with gentlemen who were unfamiliar with the Savate.
From the 1820's it attracted many personalities. Some of the more familiar names included the Duke of Orleans of the French monarchy; Lord Henry Seymore; artist Paul Gavarni; famous Italian Opera composer Giocchino Rossini; writer, journalist and art critic Theophile Gautier; Alexander Dumas author of the Count of Monte Cristo and The Three Musketeers.
The Savate as practiced by the upper classes at the time of the Moulin Rouge was a modern unarmed substitute for Fencing, which was fast becoming obsolete. It was suitable for settling disagreements amongst gentlemen and with the efficiency and ruthlessness that can dispatch a mugger in an ally fight. It accentuated a presence that suited a gentleman. The same attitude that tailored suits assists in distinguishing a gentleman's position in business and at social gatherings. In many respects an honourable method of sophistication and elegance that was acceptable by high society.
Its posture and methods blended with how a gentleman would carry himself and those gestures and actions would distinguish one above the street brawlers. The way the body was carried, the head held and the way the arms were used with a certain grace to pivot and place the body mechanics into an armed position. A style that to be appreciated demands a certain intelligence.
Kicking was the basis of the art and it was supported by the Paume, (palm or open hand) hitting, Boxing, grappling and the use of the walking cane (Canne) and staff (Baton). The Cane has always been the most prominent and useful weapon with the upper classes since legislation banned the carrying of the sword. Canes and umbrellas with wooden, metal or jewelled heads wielded a knockdown blow, with the ends delivering a vicious wound when thrusted. Some even had small swords fitted down the shafts. Overcoats and jackets were used similar to a cape when used for fending against an assailant with a weapon.
Those who could afford the lessons were thus armed in their top hats, tails and walking cane. It gave them a certain added confidence when seeking entertainment about the risqué dance and music halls. To be able to deal with any situation that may arise.
Traditionally Parisian Savate dates back to the 1820's where Michael Casseux commenced the idea of teaching high society. This was continued by one of his students Charles Lecour who introduced English Boxing into the system and he and his brother Hubert operated schools in Montmartre and Saint Germain. They established La Boxe Francaise, which become the basis of the system that could be used as a sport.
Joseph Charlemont was one of the most important savateurs to emerge in the second half of the 19 century. He received his training whilst serving in the military and later revised the military syllabus. Through technical perfection he consolidated a defensive and educational system of personal combat. He and his son Charles operated an extremely successful club that became known throughout Europe and London.
One of Charles most successful students was Count Pierre Baruzy who became one of the most enthusiastic and productive savateurs of the 20th century. He was a driving force in re establishing Parisian Savate after the Second World War. What eventuated was a highly competitive amateur kickboxing sport that unfortunately, lost its classical style. Methods that have only been continued by a select few.
There is little social difference between the 19th and 21st centuries as with today's street and night club violence there is still a need to defend oneself. It has become more important to know a method of self defence and it is still reassuring to know Savate if found in an unfortunate confrontation. Police resources are stretched to the limit and they are not always available until the aftermath! To succeed it is important to deal with a violent situation in a ruthless, determined yet responsible manner.
All martial arts have a cultural style and history of their own and this is the same with Savate, The character of the lifestyle of the late 19th century with the can-can, posters and the gaiety at the time of the Moulin Rouge still excites today. As with the Parisian Savate, it has continued its evolutionary transcendence from as far back as the 1820's by way of Casseux, the Lecour brothers and through Joseph and his son Charles Charlemont to Count Pierre Baruzy and to Australia through Terence Bridgeman. Bridgeman Savate is now one of the most exclusive schools of its type in the world."
There still exists an element of that gentlemanly character as practiced throughout the belle époque period of the Moulin Rouge. These are timeless qualities that are still appreciated and one of the many facets that forge 'Bridgeman Savate'. It is a time-tested discipline that encourages precision and passion. For without precision there is only chaos and without passion there is no soul.
