The 4C’s – Cut

In today’s marketplace there are at least 10 major diamond shapes or cuts. Beginning with the round brilliant, gem quality diamonds are categorized as princess, emerald, marquise, pear shape, oval, radiant, asscher, heart, or cushion cut stones. In addition to these shapes, diamonds may be cut into many different uniquely cut stones. That list would include trilliants, kites, both tapered and straight baguettes, briolette cut diamonds as well as half moons, bullet shaped, and rose cut stones. The choices and options available based on the different possible combinations in these shapes, quantity and sizes of diamonds has led to an explosion in the number of jewelry styles and fashions available to the general public. This however, was not always the case.

For hundreds of years diamonds were used in their natural state admired for their hardness and rarely used in jewelry. The first attempts at modifying the diamonds natural shape came in the middle ages, and it was not until the 17th century that “brillant” cut stones were developed. While these stones looked nothing like the diamonds of today, it was the first attempt by professional diamond cutters to reshape a diamond symmetrically and add some luster and brilliance to the stones by grinding away some of the diamond at select intervals and adding “facets” to the diamond. It really was not until the beginning of the 19th century, with the advancement of diamond tools and lathes that further advancements were possible.

It is in 1919, with the geometric observations and calculations of Marcel Tolkowsky in his book “Diamond Design” that modern diamond cutting or polishing began. While his calculations continue to be modified he was the first to use real mathematical and geometrical calculations to determine the optimum placement and position for all facets in the construction of a round brilliant diamond. These calculations understood the relationship between light and the refraction of that light inside the diamond in order to bring out the most fire, luster and sparkle from the diamond material. Today’s mathematics, science and technology have further enhanced our ability to determine the precise locations for all facets of a diamond and the “cut” of a diamond plays a very important role in the overall appearance and value of a diamond.

The Gemological Institute of America has included “cut” as one of the 4C’s, the others being color, clarity and carat, in its description of a diamond. Those diamonds with the best cut are characterized as excellent, followed by very good, good, fair and poor. As with color, the results of how a stone is cut can immediately be seen in the luster, and brilliance of that stone. If the mathematical proportions and calculations were correct, the diamond, and in many ways regardless of its other characteristics, will stand out and refract light in such a ways as to have a fire inside the stone. Along with cut comes the diamonds symmetry and polish. Symmetry of course refers to the diamonds geometrical proportions and polish refers to the smoothness of the surface of the diamond as a result of its faceting. Both of these attributes have a bearing on how well light refracts and reflects off of the many facets of a diamond. The better a stone is cut the more it sparkles. It is an attribute which has a direct impact on the look and overall appearance of the diamond or piece of jewelry which is being created. As an attribute that can immediately be seen, it can make a white stone appear whiter as it allows more light into the stone and because of the refraction of that light, keeps it there for a longer period of time.

The cut of a diamond is one of its most important attributes. It cannot only add value to the stone, but enhances its look, size, sparkle and luster. It should be considered carefully when purchasing a diamond.

The 4C’s – Carat

Diamond in its original form, before it is polished and shaped is called rough diamond or just rough. About half of the world’s rough diamond comes from central or south Africa. In addition there are significant diamond deposits in Russia, Canada, Brazil, Australia and India. There are approximately 130 million carats of diamonds mined annually.

The carat is the unit of weight that is used to measure and quantify all diamond. All diamonds whether in the rough form before polish or after as a finished gem are sold “per carat”. The carat is one of the four criteria used to describe and value all diamonds. The others of course are color, clarity and cut. The De Beers Corporation created these 4C’s in 1939 as a ways to standardize the description and value of all gem quality diamonds.

Historically, the word “carat’ comes from the Greek “fruit of the carob”. The carob is a seed, which was used as the standard unit of measure on scales for thousands of years. The carob seed was used because of the belief that all carob seeds were uniform in weight. Today however, a carat is defined as the weight of two hundred milligram’s and is divided into one hundred points of 2 milligram’s each. It is for this reason that we say there are one hundred points in one carat of diamond. As such, .50 points would be a half a carat, .25 points a quarter carat, .75 points three quarters of a carat and so on.

In the mining of diamonds there are significantly more smaller rough diamond found than larger rough diamond and so and diamonds are bought and sold throughout the world, smaller diamonds cost less money “per carat” than larger diamonds. This difference in price, which can be substantial in the total cost of a stone, is due in part to the market conditions of supply and demand.

Thus, all diamonds are grouped according to size. Stones between 1 to 4 points have the same “per carat” price given that color, clarity and cut remain the same. The same stones between 5 and 7 points have a different “per carat” price. These price breaks continue, as the diamonds get bigger. Diamonds between 8 and 11 points are priced less than those between 12 and 14 points, diamonds between 14 to 18 points are priced less “pre carat” than those 18 to 22 and so on. These price breaks continue throughout the entire range of diamonds and continue more prominently as diamonds cross the full one-carat size.

These differences in the price per carat of a diamond solely related to its size or carat can have a dramatic effect on its price. If we use a quarter carat, half-carat and three quarter carat diamond as an example, we can illustrate this difference. A quarter carat diamond, H in color and SI1 clarity, a nice white stone with some imperfections in the stone, none of which would be visible to the naked eye could cost about $225.00 dollars. The same quality stone in a half-carat size about $900.00 dollars and a larger stone of .75 points about $1500 .00 dollars.

To further the example, that same stone as a one-carat diamond would be close to $4000.00 dollars but as a .90-carat, (just under a carat) it would cost just $3000.00 dollars. That’s a difference of about $1000.00 dollars for 10 points in size which will not be seen once that diamond is put into a ring. The same differences in prices would hold true regardless of what colors and clarities we chose. The only variable here was the carat weight or size of the diamond.

While decisions about the size and look of a diamond are always very personal and important, a real understanding of each of the 4C’s, carat, color, clarity and cut can give invaluable information to anyone interested in learning about or purchasing a diamond.

The 4C’s – Clarity

Diamond crystals have been present in and on the earth’s surface for millions of years. As they were being formed through the heat and pressure being exerted on the continental plates, most developed unique characteristics inside each of these crystals. Today, we call these fissures, cracks and other assorted characteristics, marks or material inside or on the surface of a diamond crystal, inclusions or blemishes.

These inclusions or blemishes have been categorized in a variety of ways to reflect the not only the size and number of them, but also their color, position and the extent of their visibility with or without magnification. While these inclusions and blemishes usually have little bearing on the strength or integrity of the diamond, in some cases depending on size and position, they can cause the diamond to fracture more easily. These inclusions and blemishes are considered imperfections in a diamond and while some larger imperfections may be seen by the naked eye, many can only be seen with the use of and under 10X power magnification. Each diamonds imperfections are unique to that particular stone and can be used to identify the diamond and authenticate the natural and not synthetic origin of the stone.

Beginning in the early 1950’s, the Gemological Institute of America began grading diamonds using a new standard to define the clarity of a diamond. Using 10X power magnification as its method of observation it defined the different types of inclusions and blemishes found inside and on the surface of the diamond, and assigned words and numbers to equate with the size, amount, type, place and color of the imperfections found in or on the diamond. Diamonds not possessing any of these imperfections or “flaws” under 10X power magnification were considered “flawless”. The next level of imperfection was considered very, very, slight and was thus labeled VVS1 or VVS2, based on the very slightest of difference as to where and type of imperfection found in the stone. The next level of imperfections were considered slightly stronger that those found in the VVS category and were labeled very slight or VS1 or VS2. Following this category were the next levels of imperfection, slightly imperfect or SI1 and SI2. These imperfections were yet again considered stronger than those found in the VS category.

Its important to recognize at this point, that unlike color, which can be seen and judged immediately, clarity in any of these categories which have just been explained, absolutely cannot. In most cases, to the naked eye, there is no difference in the appearance of a stone categorized as Flawless or as one characterized as SI2 assuming color, cut, and carat are the same.

This can have a significant impact on the price of a diamond. We can use a .75ct, three quarter carat round diamond which is H in color, as an example. An H colored diamond is a nice white stone. A .75ct HSI1 diamond would cost approximately $1550.00 dollars. The exact same stone as an HVS1 would cost approximately $2150.00dollars, about $500.00 dollar more. While technically there is a difference in the level of imperfection in the diamond, there would be no visual difference to the naked eye. At its most extreme, in a stone like this, the difference between a VVS1 rating and a SI2 rating could be as much as $1200.00 dollars.

Following the slightly imperfect or SI level, those diamonds with stronger imperfections, those that perhaps can be seen by the naked eye without the help of 10X power magnification are categorized as imperfect or I1 and I2. In recent years the word “imperfect” in the definition of each category has been changed to the word “included” and an additional category of I3 has been added. In almost all cases those diamonds categorized as I2 or I3 have strong enough imperfections or inclusions to be seen by the naked eye.

While the level of imperfection in or on the surface of a diamond can have as significant an impact as differences in color on the cost a diamond, only the strongest of imperfections or inclusions will change the look luster or sparkle of that diamond. In all cases however, a real understanding of the 4C’s, color, cut, clarity and carat will provide timely and important information for anyone thinking about the purchase of a diamond.

The 4C’s – Color

For more than six thousand years diamonds have had a place in man’s history. They have been sought after as mineral’s possessing mystical properties, as objects of beauty and as symbols of status and power. However, before De Beer’s creation of the 4c’s (color, cut, clarity, and carat), in 1939, there were no universally accepted standards used to categorize and describe the qualities of diamonds.

Color is an attribute of a diamond which is immediately visible to the naked eye and as such can immediately be compared to other diamonds which are seen as “whiter” or not as white. The color of a diamond is determined by its chemical makeup and impurities inside the stone. There are diamonds of many different colors, from white to black, brown, yellow, pink, orange, red, green, purple, blue and grey. While technically the color white is made through a combination of colors, it is easier in a discussion of diamond ‘whiteness” to think of white as the absence of color. As a diamond has less color in its crystals, it is colorless and appears whiter. When we say that a diamond is colorless or “D” in color, we are saying that this is the whitest a diamond can be. As with any color there are slight variations to that color. A diamond color is no exception and so there are varying color grades of white.

In the 1940’s, the Gemological Institute of America began assigning letters to describe the different levels of whiteness found in a diamond. This diamond color grading chart defines diamond color beginning with the letter “D” and continuing through the letter “ Z”. This is considered the normal color range of all diamonds. Diamonds not in this range due to increased or intense color are considered “fancy colored diamonds” and are graded using many of the standards and terminology used to grade colored stones like ruby, emerald and sapphire. Beginning, however, with the letter “D” and continuing with the letters “E, F, G, H, I and sometimes J, are generally considered white stones. The Gemological Institute of America has defined the level of white attributed to diamonds in each of these color grades. As more color is found in the crystal structure of each diamond, it appears less colorless and thus less white. The difference in these color grades of diamonds can only be seen by comparing the color of one diamond with another. Diamonds are generally graded loose, essentially upside down with the culet or point of the stone facing upwards. Yet, it is difficult to determine the “whiteness” of a diamond color in the abstract. Professional’s in the diamond business, grade diamond color by comparing each stone to a master set of color-coded synthetically created crystals.

In addition, diamond color may only be determined before the stone is placed in a piece of jewelry. Diamonds like prisms will reflect the color of the metal placed around it, and so a diamond will always appear whiter when surrounded by a white metal, like platinum or white gold. So much so that it can actually appear to be one full grade higher on a diamond color chart. As an example a G color stone will appear to be F in color in a platinum or white gold ring.

Ultimately, our perception of the whiteness of a diamond is influenced by the amount of light which passes through the diamond, and how that light is broken up or refracted in the stone and then reflected out of the stone. This refraction and then reflection of light in a diamond is what is responsible for the “fire” or sparkle of a diamond. This leads us to a discussion of another of the 4C’s, the “clarity” of a diamond.

The Story of Joe Perez

Sometimes the best lessons of the martial arts are not necessarily learned in class or taught by your instructor, and almost always they take years to learn. This past April I celebrated my 45th year studying the martial arts. As I look back to the first four or five years of my training I realize that Saturday’s were the most important day of the week. My regular classes were at least three days a week for at least an hour and a half each day. They were rigorous, challenging and perhaps the most enjoyable thing I’ve ever done in my life.

For 3 hours each Saturday however, after both the Judo and Karate classes were finished, there was three hours of free practice. No formal instruction, although there was always someone around to answer a question, we were free to practice what we were learning in our regular classes. It was a big treat to watch the higher grades practice on Saturday’s because it was the only time we had an opportunity to see what would come next in our training. Our classes were strictly segregated by rank, and when your class finished you weren’t permitted to stay around to watch the next class. Frankly, Sensei Pereira, as he was called at the time, chased you out the door.

Saturday’s were also one of the days that private classes took place. Usually it was one of the instructors who gave these classes to people who wanted and paid for this special attention. To be picked and used by one of the instructors as the uke during one of those private classes was a big deal. You had to be able to follow directions well, your ukemi had to be excellent, your stamina great, and your ability to withstand pain substantial. You were the instructor’s uke as he was demonstrating a technique and you were the private students uke during the course of his class. Occasionally, and I mean very occasionally, Sensei Pereira gave those classes himself. Needless to say, to be Sensei Pereira’s uke was a very big deal.

It was one Saturday in 1966, that I met Joe Perez. Joe had come to Sensei Pereira to learn Jujutsu. He was a tall, young, strong man, unremarkable and indistinguishable from the rest of us except for the fact that he had cerebral palsy. People with Joe’s type of disability have many types of problems with balance, coordination, and focus, but Joe wanted to learn. Sensei Pereira called me over to where Joe was standing and for the next six weeks I was Joe’s uke. Sensei Pereira was an excellent teacher and in some ways I felt like I was the one getting the private class. Joe worked hard and in spite of his disability made progress. He asked questions, tried very hard, and had a wonderful attitude. After a while, Joe changed his private classes to some time during the week and stopped coming on Saturday’s. I went on with my training and forgot about him, just another one of the thousands of students who passed through the Miyama Ryu system.

Joe however, did not forget and last fall I was invited to the house of an “old student” who wanted to see me. When I asked who it was, his name did not ring a bell until I walked into his apartment and saw him. His face hadn’t changed much, older as we all are, with the same smile, and the same attitude and resolve I had seen in that much younger man. Over dinner and between our stories of Shinan Pereira, Joe told me something about his remarkable life.

Joe’s father was a boxing trainer and was determined that Joe’s life would be much more than his disability. He screwed pipes along the walls of their apartment so Joe would learn to walk and tapped a rubber ball inside of Joe’s hands so he could exercise the muscles in his hands and wrists. He pushed him to lift and move and make himself strong. It all must have worked, because over Joe’s lifetime he has accomplished great things.

In 1985 he entered and completed the NYC Marathon. As a weightlifter, he competed in the 1985 US Nationals and won both Silver and Bronze medals. In the 1987 London World Games he won a silver medal. In the Barcelona games of 1992 he was awarded a Bronze medal and he competed for and was given a place on the team going to the 1992 Seoul Olympic Games. Along the way he married, held a regular job, and lived a remarkably regular life. Throughout his life Joe has lived well above his disability and constantly pushed himself to achieve more.

With all of this, he never forgot his time in Miyama Ryu. At dinner that night he asked me to help train him again, and I agreed. As he’s aged his disabilities have made some things more challenging but Joe continues to work with the same desire as he did as a young man. He is focused and determined and I have every confidence he will achieve whatever goal he sets for himself. Proficiency in the martial arts first requires an understanding of one’s own body and the finding of one’s own center. It is only in this way that balance can be understood and without an understanding of balance there is no martial art. Joe understands his body as well as anyone I’ve ever seen and is well on his way to developing a real center. This is a great accomplishment for any student of the martial arts, let alone one so physically challenged. Joe’s story is one that should inspire all of us. It is a story of constant curiosity and learning, a story that demonstrates what can be achieved through will and determination. It is a story of shaping your own life and pushing yourself to the absolute limit. I am happy to be able to speak about a very small part of that story, one that is still being written and from which there is much to be learned.

Kind Words from Shinan Antonio Pereira

Diamonds

Diamonds have been used as an adornment, a token of affection, or as a statement of social position or title for thousands of years. Historians tell us that they were first used as an adornment on religious icons in India more than three thousand years ago. The Greeks believed that diamonds were the ‘tears of God and splinters of the stars”, and that jewelry made with diamond “reflected the constant flame of love”. Kings adorned their armor in diamonds and they were believed to have mystical powers. From the thirteenth century, European royalty wore diamonds as jewelry and in 1477; Archduke Maximilian of Austria gave a diamond ring to Mary of Burgundy beginning the tradition of diamond engagement rings. It was not however, until the twentieth century that diamonds became wholly accessible and affordable to the general public. This is in large part due to the discovery of diamonds in South Africa in the late ninetieth century and the formation of the De Beers Mining Company in 1888.

No description of diamonds and the diamond business would be complete without an understanding of the role of the South African, De Beers Company, founded by Cecil Rhodes. By the end of the First World War this company controlled approximately 80% of the distribution of all the rough diamond in the world. They in turn, controlled both the supply and thus the price of diamonds. As new mines were discovered in different parts of the world De Beers worked to form alliances to continue this influence. In 1939, De Beers created the 4C’s, color, cut, clarity, and carat, as the criteria to judge all diamonds, and since that time has worked to create marketing strategies to educate and influence the buying habits of consumers. In 1949, De Beers began its “A Diamond is Forever” campaign, which has successfully marketed diamonds as the ultimate symbol of love and commitment. While business conditions have changed over the years and De Beers control of the worlds diamond supply has diminished to a little over 40%, De Beers continues to have a tremendous influence in the price, sale and marketing of diamonds around the world.

In defining the color, cut, clarity and carat of diamonds, De Beers clarified and in many ways simplified many technical aspects of diamond manufacture and polishing. These ‘4C’s”, however, do provide the consumer with a basic understanding of the characteristics of all diamonds. Over the years the purchase of a diamond has become more affordable and available. Through careful selection and grading there are diamonds and diamond jewelry in all price ranges and qualities. Diamond jewelry and especially all jewelry surrounding one’s engagement or wedding can be a significant purchase, second or third in line with the purchase of a house, apartment or car. For this reason it is important that the consumer thoroughly understand the diamond guidelines of color, cut, clarity and carat. For every budget and at every price an understanding of these diamond characteristics can give the consumer a realistic picture of what they should expect from the diamonds or diamond jewelry they purchase. The purchase of a diamond in whatever capacity, whether an engagement or wedding gift, a simple pendant or token can provide many years of warm memories. It becomes part of an event, a history, and a life, just as it has for thousands of years.

The Nature of Diamonds

As the hardest natural material on the planet, diamonds have always held a unique position amongst the minerals of the earth. Some diamonds found in South America and Africa were actually created in outer space and deposited on Earth as a result of the asteroid showers that took place about 3 billion years ago. However, the vast majority of the diamonds on the planet were created over the course of millions of years just below the continental plates of the Earth’s crust.

While most of the world considers the word diamond almost synonymous with their use in jewelry, more than 80% of the world’s diamonds have industrial not commercial gemstone applications. Due to a diamond’s hardness and its ability to with stand high temperatures, most industrial diamond is embedded in the grinding, drilling cutting and polishing tools that power industry. With the creation of synthetic, man made diamonds more applications in the electronics and computer industries have become possible.

The history of diamonds as gemstones begins in India at least 3000 years ago, where they were used as adornments for religious statutes. Until the 18th century, India was the primary source for the world’s diamonds, being replaced at that time by Brazil. In the late 19th century South Africa became the primary source of diamonds, and up until today South Africa still accounts for almost half of the world’s diamonds. Many other countries contribute to the balance of diamonds in the world, including Russia, Australia, Canada, the Congo and Brazil. While the diamonds used as gemstones are primarily white, diamonds come in a variety of colors ranging from black and varying shades of brown, yellow, and pink. There are also very rare instances where green, blue, and red diamonds have been found. This last group of diamonds, those with a color other than white are sometimes called “fancies” or “fancy colored diamonds” and depending on the exact shade or color of the diamond command a premium price way in excess of what a similar white diamond might command.

Diamond in its raw form is called “rough diamond” and in many instances looks nothing like its brilliant and sparkling cousin. After being taken from the mines this “rough diamond” is sorted and graded by its size and potential shape and quality. It is then sold or traded through a series of dealers before ending up in a diamond-cutting factory where it is polished into the form that most people are familiar with. This done mostly in Europe, specifically Antwerp, Belguim where about 80% of all rough diamond is traded. The vast majority of diamonds are then sent to cutting factories, smaller stones going to India and the larger staying in Antwerp, or going to other major cutting centers in Israel or New York. Today, with modern methods of shaping and faceting the stones, diamonds are polished to near mathematical perfection guaranteeing brilliance, proportion and luster. These polished diamonds are then resorted and graded by their shape, size, color and clarity to be sold to dealers all over the world where they are ultimately used to create all the many different styles and types of jewelry that are available to the public.

The business of Diamonds is truly a global business with sales of all grades of diamond totaling more almost $9 billion US dollars a year. The growth of this business has been clearly fueled by the increased affluence of societies all over the world and their desire to own and wear gem quality diamonds as well as the many industrial uses this unique mineral provides.

The Nature of Silver

Silver has been mined since the beginning of time. Silver mines in what is now Turkey had large scale silver mining operations as long ago as 2500BC. Silver was used in the production of plates, coins and jewelry in both the ancient Minoan and Mycenaean civilizations. Greek and later Spanish silver mines provided more than 1000 onzes of silver per year to fuel the world ‘s uses of silver for the first 1000 years after the birth of Christ. After the discovery of the New World in 1492, silver production grew as the world’s appetite and uses for silver grew. By 1800 more than 1.5 million troy onzes were taken from mines in Mexico with additional amounts being mined in both Peru and Bolivia. In addition through out the 19th and 20th century significant amounts of silver were discovered and mined in both the United States and Canada.

Of the three precious metals platinum, gold and silver, silver is easily the most abundant. With mines producing more than 20 tons of silver a year, it is used in the fabrication and manufacture of everything from coins and jewelry to photography and medicine. Because it is an excellent conductor of electricity, it also has numerous uses in the electronics, nuclear and auto industry. Silver’s overall use in the jewelry industry continues to grow as fashion trends continue to favor a white metal over yellow and as the other two precious metals, platinum and gold, become more expensive.

Silver is truly a white metal and with the advances in tarnish resistant silver alloy, it is easy to maintain. Because it is less expensive and lighter in weight than is either platinum or gold, jewelry fashioned in silver can be made more substantial and durable. Relative to gold it has a lower melting temperature and thus can be combined with yellow gold to create “two tone” or multicolored jewelry. The silver used in jewelry is traditionally a mixture of pure silver or fine silver and copper with silver being 92.5% of the mixture and copper the remaining 7.5%. This combination is called sterling silver.

Sterling silver has come a long way in the manufacture of jewelry. Today, in addition to using only sterling silver in the creation of jewelry, it is also combined with diamonds, many different types of precious (ruby, emerald, sapphire) and semi precious stones to create a line of high fashion jewelry. Silver is featured prominently in the designs of many of the world’s finest designers and its use in high end designer jewelry continues to grow as fine jewelry stores like Tiffany and Cartier expand their use of the metal. Jewelry made from sterling silver is both durable and affordable and can be an attractive alternative to almost any piece of jewelry made from gold or platinum.

To Platinum or Not to Platinum

In the almost fifty years that my family has been in jewelry manufacturing business I‘ve seen jewelry fashion trends come and go, from the heavy 14kt yellow gold “door knocker’ type earrings of the 1960’s to the current fashion trends of silver, white gold, and platinum. Platinum’s history dates back to the time of the Inca’s in the pre Columbian society of Ecuador, but was not introduced to Europe until the mid 1500’s. While first discovered in South America, today the vast majority of platinum is mined in South Africa, with substantial quantities also coming from Russia and Canada. The are even small amounts of platinum mined in the United States.

Platinum is truly a rare metal with less that 2 ½ tons of the metal being produced worldwide each year, and per onze or unit it has always been the most expensive of the three precious metals. By comparison the United States alone produces more than 1200 tons of silver yearly. Outside of its use in the jewelry industry, platinum has a variety of other uses, not the least of which is in the automobile industry as a catalyst used in the assembly of catalytic converters. Platinum is also used in the manufacture of various electronics, medicines, and auto parts.

While today’s fashion trends favor a white metal over yellow, platinum has many other unique qualities which make it ideal for use in the jewelry industry. Platinum is an extremely dense metal and per unit is twice the weight of gold. This make a platinum piece of jewelry twice as heavy as the same piece in either white or yellow gold. Because of the denseness of the metal it will usually wear better and last longer. It is an extremely strong metal and platinum pieces can be fashioned more delicately and intricately than gold pieces with no fear of compromising the integrity or strength of the jewelry. For example, the screw posts on a pair of platinum earrings will maintain the screw thread longer than those on the same gold posts.

There is also a much greater percentage of platinum in a platinum piece of jewelry that gold in a gold piece of jewelry. Traditionally platinum jewelry is 90 to 95% platinum with 5 to 10% alloy added to the platinum to make it easier to fabricate and work with. Even 18kt gold, on the other hand is only 75% gold, with the remaining 25% a mixture of different alloys which are used for the same purpose in addition to turning yellow gold to white gold. Because Platinum is naturally a silvery white metal and does not oxidize or change color it will retain its luster for a very long time. All white gold on the other hand is plated with a metal called rhodium at the time of its manufacture and will need to be replated from time to time.

Jewelry trends do come and go, but platinum has always been used in the most highly fashioned and expensive pieces of jewelry. Whether from Harry Winston or Tiffany, Van Cleef & Arpels or Cartier, platinum has always held a special place for designers in their creation of some of the worlds most spectacular pieces of jewelry. Platinum jewelry when combined with either diamonds or colored stones give thoses stones added importance and luster due to the reflective qualities of the metal. Platinum brings out the specialness of each stone by focusing your attention to the sparkle of a white diamond in a perfectly white metal. It enhances the color of any stone, by offering a stark contrast with its own luster of pure platinum. Jewelry made from platinum will offer its owner a lifetime of use and pleasure and provide an heirloom worth passing to the next generation.

The Mathematics of Jujutsu

In the 2nd century B.C. the great Greek mathematician Euclid, said, “The laws of nature are but the mathematical thoughts of God”. Whether we believe in a divinity or not it is interesting that over 2000 years ago Euclid understood how thoroughly mathematics permeates our lives. The foundation of many of the world’s greatest achievements could not have been accomplished without the application of mathematical formulas and principles. The physical laws of mathematics and nature were created by the effects of gravity on the earth and have been in existence since the beginning of time. Over the millenniums many scientists and mathematicians from Euclid to Aristotle, from Newton and Einstein have written about and expanded our knowledge of how mathematics affects our daily lives. The application of their discoveries has changed every facet of our lives.

Mathematics in all its forms has played a part in the discovery and construction or manufacture of everything from electricity to rocket ships and skyscrapers to automobiles. All the physical laws of nature whether gravity or friction, motion or energy can be defined and measured by mathematical formula. Using these laws and the mathematical formulas that explain them engineers build bridges that carry the weight of cars, busses and trucks while at the same time withstand all the pressures of wind, rain and snow. They are able to build tall building that don’t topple or collapse under their own weight or the forces of mother nature. These same laws teach us how to execute a throw, how and where to unbalance, and where is the most efficient use of our strength.

In 1687 Sir Isaac Newton published “Philosophiæ Naturalis Principia Mathematica” one of the most famous books in the history of science and the foundation for the worlds understanding of motion and gravity. Newton’s “ Three laws of motion”, his explanation, formulas and the ability to scientifically measure the role of force, gravity, momentum and friction on any activity leads us to our best and most efficient application of any movement or technique in the martial arts. Using Newton’s laws all the many facets of the martial arts become understandable, measurable, and most importantly explainable. The why, how and where of any technique can be evaluated. They can be practiced and understood from both a mechanical and intellectual perspective. It doesn’t matter if we are talking about the atemi of karate, the nagewaza and newaza of judo, the tenkan of aikido, or the ju of jujutsu, all follow Newton’s laws.

While this does not remove all the obstacles from learning and applying techniques, it can make that path more understandable and enjoyable. Teaching the body how to move, when to move and where to move instantaneously and without thought still requires years of training even when you understand all of these things intellectually. Science, in all its forms, adds to our understanding of why and how things need to be done. It can lead us to the most efficient use of, and application of any technique. It should shorten the length of time it takes for us to understand these things and appreciate the dedication of those who have spent years learning and now teaching and mentoring those techniques. Finally, and most importantly, it opens up the study of martial arts to everyone because if there are any “secrets” in the martial arts, they can all be discovered through time and the science behind each technique.

The Science of Body Mechanics and Motion

The human body is, in one sense, a very sophisticated multilevel machine. At its very core it is series of interconnected bones which is defined as its skeleton. The bones of the skeleton are connected together by a series of joints or levers which gives the skeleton the ability to bend the bones of the body. These joints are located throughout the body and are what gives our head, hips, ankles and wrists the ability to swivel, and our fingers, elbows and knees the ability to bend. Attached to the skeleton are muscles, fibers and ligaments in varying patterns, sizes and lengths, which gives this skeleton the ability to lift its arm, to walk and run, to grasp things in our hands and move and be flexible in all the ways that we accustomed to. The way, combination and angle at which these muscles and ligaments are attached to the various bones of the skeleton determines how much force, at what angle and where that force needs to be directed for the smooth and efficient movement to occur. For most healthy people the grasping of a fork, walking, the lifting of an arm or throwing a baseball is painless and occurs with little or no thought. The scientific study of human motion, our ability to move and control our movements, to gab and pull, bend, lift and turn, to do all those things which we take for granted is called kinesiology. The study of the actual mechanics of how that motion occurs, how much force and where and at what angle that force needs to be applied to a particular skeletal or muscle group is call biomechanics, and in this case, the biomechanics of human motion. Any study of the martial arts would be incomplete without an understanding of these two fields of study. We use the mechanical principles of these sciences every day in almost every one of our daily activities, even doing something as simple as opening a door.

Doors come in many sizes and weights. There are hollow core doors and doors that are solid. Doors made from metal, wood and some even filled with cement. However, even a heavy door can be opened easily. Several variables will determine how easily. The position of the hinges on the door connecting it to the doorframe, the position of the hinges on the door frame connecting it to the door, the angle of those hinges joining the door to the doorframe, and where exactly on the door is it pushed when we wish to open it are all relevant when we attempt to open the door. It is the connection and the position of the hinges which allow the door to hang straight, to put it in a balanced position. If the hinges are not connected properly, not at the correct angle from the door frame to the door and visa versa the door does not hang straight and it becomes more difficult to open. Balance and unbalance is created by position. Even if the door is balanced, where we push on the door is as important as the door being balanced. All doors are manufactured with the doorknob being placed at a right angle (90 Degrees) to the mid point between the two hinges and at the exact opposite side of the door as to where the hinges have been placed. It is because the angle and placement of the doorknob are mechanically correct that we can use the balance of the door to open it without effort.

In the biomechanics of the martial arts, it is the position and angle of the tai sabaki that brings unbalance to an uke, and the mechanically correct angle and placement of tori’s hands on a joint or muscle group which causes the pain and lose of center which allows the tori to absorb, assimilate and counter the uke’s attack. There is a mechanically correct position for each action in the martial arts. Without an understanding of this position the more strength is needed to overcome the strength and balance of the uki. Using the principles of kinesiology and human biomechanics, tori needs little or no strength in creating the most efficient and powerful application of his technique.

The Science Behind The Martial Arts

It has always been mans curiosity to explore the functions and structure of his own body. While the English words anatomy and physiology have their origin in the Greek language ,where the study of these sciences began in the 4th century BCE, work in both anatomy and physiology began in Egypt as long ago as 1600BCE. China and India have similiar traditions that date back to 2000BCE. Japan’s introduction into these sciences came from China in the 7th century. All of these countries have a long history of both armed and unarmed combat and their knowledge of both anatomy and physiology influenced they way they fought and the fighting techniques that they developed.

While every technique may have hundreds of variations, the laws of science and the human body limit the ways these techniques can be applied without injury. This knowledge of both anatomy and physiology, the understanding of how the body could and could not move, how joints function, the nature and placement of the major and minor organs and the strengths and weaknesses of the different muscle groups in the body all contributed to the development of more effective and lethal ways of both armed and unarmed combat.

In Japan, with the development of Sumo, this understanding of how the body works and moves, led to the creation of techniques that attacked specific parts of the body. Without an understanding of how joints function, both kansetsuwaza and Kote gaeshi become useless and ineffective. There would be no effective sword technique without an understanding of how the major muscles groups in the legs, hips and shoulders contribute to the coordinated movement of the body and without this understanding there is no understanding of balance and throwing technique.

Conversely, the greater your understanding of these sciences and their application to the martial arts, the easier it is to defend from any attack. Knowing the most effective way of applying a technique makes it more difficult to have that technique applied to you. The mechanics of the martial arts, what position to be in, where your body is in relation to that of your attacker, at what angle the technique should be applied and how to protect yourself from a second attack are all questions which relate back to an understanding of anatomy and physiology. Movement and the application or defense of a technique, are only effective when applied to a specific part of the body to elicit a specific result. The same is true for effective blocking techniques and the application of atemi. As the same technique or attack will vary depending on the height, weight, age, strength, sex and the experience of the attacker, so should the response. Subtle changes in movement and style of an attack, based on these variables, require subtle changes in the center of gravity,balance (kuzushi), position (tae sabaki), distance(maai), and angle of the response.

In truth, all martial arts systems are built around the strengths and weaknesses of the human anatomy and physiology. They are built around one individual’s ability to manipulate and capitalize on the weaknesses and errors of another individual. It is these sciences that form the basis for the study of human motion ,an understanding of which is essential for all students of the martial arts.

The Nature of Gold

One of the most interesting things about gold is its number of uses. Certainly, gold has been and is used in jewelry. It has been widely used as actual money in the form of coins or as the standard for which paper money has been valued. It is also used in dentistry and medicine. As an excellent conductor of electricity, it has been used as wire and in the connectors of wires in everything from audio and video cables to the contacts in the production of computers and jet engines. Gold has uses in photography, medicine, ceramics, the production of colored glass as well as being used as a protective coating on satellites and in jet fighter planes.

Naturally the use of gold that we are most familiar with is that of jewelry. In that capacity, gold has been used as an ornament or piece of jewelry as far back as 2600BC. Because it is highly malleable it is relatively easy to work with and can be shaped into an infinite variety of shapes and designs. Pure gold, of course, is called 24karat, kt or fine gold. As fine gold it is generally used in the stamping and production of gold coins, but is too soft to use in the fabrication of jewelry. In this use it is mixed with other metals, called alloys, which change its hardness, give it a variety of colors and by changing its melting point allows it to be mixed with, welded to and altered or worked on in a variety of ways. When mixed with these alloys, the amount of fine gold used in any one piece of jewelry is reduced. This proportion of fine gold to alloy gives the jewelry its designation as either 10,14,18 or 22kt.

The largest consumer of gold in the world, India, produces most of their jewelry in 22kt. Most jewelry in the United States is produced in either 10,14,or 18kt gold. As a percentage of fine gold 22kt is .916%, 18kt .75%, 14kt. .583% and 10kt .416%. Depending on its country of origin a piece of jewelry may be stamped either the number percentage or the Kt. as in .75 or .75kt in instead of 18kt. Today, laws all over the world require that all gold manufactured as jewelry must be stamped to reflect its true karat. Thus all gold used in the manufacture of jewelry must be “plumb gold”, meaning that the gold stamp must reflect the actual gold content in the ring. As an example, all gold stamped 18kt must be at least .75% fine gold or 24kt gold. Gold imported into the United States if tested by US Customs and found not to be “plumb is usually seized and the manufacturer fined and or restricted from importing more jewelry into the United States. A jewelry manufacturer in the United States found to be producing jewelry not within these guidelines is usually fined, as it is a crime.

Among the most common alloys used in the fabrication of gold for jewelry are silver, copper and brass. Nickel was also used for many years especially in the production of white gold, but due to its toxicity it has been mostly replaced with a variety of white metals like antimony, tin and zinc. The percentages of each of these metals used in the alloy when combined with fine gold give the different karat gold’s their distinctive color. They are, for example what makes 18kt gold look different from 14kt gold and what gives the jewelry industry the ability to create a “white” gold from a metal which, in its natural state, is quite yellow.

Since almost the beginning of time, from Egypt to Rome and throughout the rest of the world, gold has been prized and valued for its beauty. While it has many uses in industry, electronics and medicine, it is the feel and look of gold worn or given to someone which has given the world its greatest pleasure.

What You Can Learn From Ukemi

Learning any martial art is a very complicated affair. There is the conditioning of the body to withstand the rigors of the training, the education of the muscles in the body to move and react in a very specific and different manner to each and every attack or technique and, just as importantly, the education of the mind to internalize these mechanical movements of the body and to react instantaneously in a very intricate and prescribed manner to any stimulus or perceived threat. And then of course, there is the ukemi.

Of his many contributions to the martial arts Jigoro Kano’s development and use of ukemi in the martial arts is certainly one of his finest. Before Kano, the learning and practice of most classical jujutsu styles was quite dangerous with few safeguards for the practitioners. Techniques and throws were applied without regard for the safety of the person (uke) receiving the throw. Each person being thrown had to devise his own way of falling and protecting himself. This led to many injuries and slowed down the process of learning. Certainly if you were injured you could not learn or practice and if, during practice, you needed to constantly think about how not to be injured, your focus and attention was diverted from what you were trying to learn. This all changed because of Kano’s systematic approach to falling (ukemi).

The overall conditioning of the body that occurs a result of the constant practice of ukemi contributes to an increased sense of confidence and stability in the learning process. As it increases the speed of learning, ukemi also allows the practitioner to focus exclusively on what they are learning and practicing.

The learning processes of judo, jujutsu, aikido, and karate, are all tactile in nature, in that the practitioners needs to “feel” the technique, to feel their center of balance being disturbed, to feel the pain of atemi, and to feel how their body and that of their attacker responds to the changes of movement, angles, direction and balance which occur during the execution of a technique or from the defense of that technique. The ability to create pain, and or a lose of balance, and the subsequent lock(kansetsuwaza) or throw (nagewaza) which results is only accomplished through the “feeling” of both the technique and the results those actions. Proper ukemi allows the practitioners to feel whether a technique would be or is effective in a safe and spontaneous environment.

The ability to learn how and where to reposition your body and that or your opponent or attacker while being attacked is in direction proportion to the sophistication of your ukemi. As we are all uke and tori at one time or another, an understanding of your position in relative space and that of your attacker, and your ability to manipulate those positions(tai sabaki), distance (ma-ai) and balance (kuzushi) require split second adjustments, only possible with the mindless freedom good ukemi brings. There is in every technique, a subtlety of movement which creates a defense from every attack and an attack in each defense. While everything in the martial arts takes time to learn and instinctively feel, the mastering of ukemi eliminates several of the obstacles, both injury and fear, to that process.

The goal of every martial artist is to find for each movement or technique, that moment in time, when position(tai sabaki) and distance(ma-ai), balance (kuzushi), unbalance, and execution (kake) meld together into an effortless and unthinking combination which dominates and defeats their opponent or attacker. It is through the safety of proper ukemi, and the confidence and stability it brings to the practitioner, that the mind and the body are free to discover that moment in time.

The Nature of Ukemi

Learning any new skill can be challenging. The martial arts is no exception. There is the exercise which, even if you are young and strong, can be daunting. Because you are using muscles in a way they have never been used before there is an initial period of soreness that has to be overcome and strength that has to be developed. There is a certain level of physical endurance and stamina that is required and this takes a certain amount of time to acquire. There are no quick and easy ways to put your body in this type of condition and so the beginning student must be willing to endure for as long as it takes to bring their physical condition up to an appropriate level.

Then, of course, for many there is the fear of falling, of being thrown, and the initial shock it gives the body and the soreness that occurs as the body and muscles adapt to this new experience. For some, this is truly a daunting challenge and they never fully rid them selves of the fear of falling, of taking ukemi, as it is called. Yet, this ability to take ukemi, fall and hit the ground or in this case the mat, is at the very center of their ability to learn a martial art. As an introduction into the martial arts, it conditions the body and keeps the practitioner (uke) free from injury. This is important on several levels not withstanding the obvious. The martial arts require a great deal of time to learn. To become reasonably proficient takes years of practice. There is a direct proportion between ukemi and injury, in that the more ukemi you take and the more comfortable your body and mind are at taking ukemi, the less chance of injury you have. The less injury a student incurs the more time they can spend practicing. The less time they are away from the practice area or mat, the better and faster their body and their mind will internalize what they have learned and are learning. The more they practice their ukemi, the more comfortable their bodies feel when taking ukemi, the less time they will spend thinking about “the fall” or ukemi and the more time their mind and bodies will spend thinking about the specific movement or technique they are practicing and learning.

Over time it should be the goal of every martial artist to work with people of different sexes, heights, weights, ages and experience levels. It is only in this way that a student will “feel” the many differences that occur when them same technique is applied to or received from the widest variety of potential opponents. Being confident in your ukemi, free from the fear of injury and having your internal gyroscope know where you are in space as you are falling, will allow the practitioner (uke) total freedom in experiencing the technique and expand the number and quality of the techniques which they are capable of practicing and learning.

There are, of course, many things happening at the same time during any one movement or technique. All martial arts movement is essentially learned through a prearranged form, kata, where both the uki and tori understand what is required of them. As such, and as each role is interchanged it is important that both uke and tori “trust” each others movements and protect each other from injury, while allowing each to find their own movement and position within the technique. This is possible only through focus and concentration, a single-mindedness while applying or receiving the technique. It is only after developing good ukemi that both the mind and the body will relax enough to allow this to happen.

The Nature of Kata

In the 11th century, Shinra Saburo Minamoto no Yoshimitsu, a samurai commander and relative to the emperor of Japan made detailed studies of human anatomy and physiology by the dissection of battlefield dead, convicts and prisoners of war. The purpose, of course, was to gain a better understanding of the mechanics of movement and the ways to which any weaknesses in the bodies anatomy or physiology could be exploited on the battlefield. To take advantage of this new found information and to be able to test theories of movement, new techniques and the best way to apply them, the samurai developed prearranged forms, or kata, which allowed them to practice, using a wide array of weapons, without being seriously wounded or killed.

Each Samurai family (clan) developed kata to teach their particular style (ryu) of weaponry. These family movements and techniques were protected and kept as secrets, taught only to those within the clan. The theory being that if someone had never seen your particular movements, attacks, counters or techniques they would be at a loss or disadvantage in defending themselves from them. Thus, the original purpose of kata was to teach men how to kill, and how to become skilled enough not to be killed. Kata was designed to demonstrate how to attack, where to attack, and when to attack. It teaches how to protect your self from an attack and how to counter an attack. As both sides (uke and tori )know and eventually understand both the attack and its defense, kata provides an invaluable teaching tool and the foundation of all martial arts. The design and practice of kata will protect and forgive the mistakes of both the attacker and defender. As each side practices both attack and defense, they learn the strengths and weaknesses of each technique, as well as each other’s strengths and weaknesses. Because kata allows an individual to practice the same movement or technique multiple times with people of all ages, sizes and weights, kata gives the practitioner the ability to experience how those different variables influence both the attack and their own ability to respond to those differences.

Kata is taught though a series of instructions divided by levels of both experience and knowledge. The relationship between student and teacher (sensei), between those who are more advanced and those who have just begun, builds both respect and humility. By teaching the simpler and less complex movements first, kata slowly conditions and changes the way its practitioners move and think. In this method of training, where each new technique or movement is built upon the accumulated knowledge and skills of the previous technique, kata builds concentration and focus. Over time the reflexes and understanding of movement needed to complete each technique is developed. Through this constant repetition of movement, kata builds confidence and the calmness which allows the practitioner to attack or respond to any attack without thought or reflection, without hesitation or fear, with focus and determination.

Through kata we learn the essence of each technique, we refine our own movements, and learn how to apply the principles of distance(ma-ai), balance(kuzushi) and body position(tai sabaki) to our own techniques. It is only through constant practice and attention that our bodies learn and internalize the many different variables that come into play each time we are confronted or attacked and how to respond to them.

The Nature of Kuzushi

For most of us balance is not an issue. We wake up in the morning, role out of bed, put our feet on the floor, lift our bodies up and begin to walk. If we are healthy and our inner ear is functioning properly, our bodies internal gyroscope finds our center of gravity which gives us our sense of balance, our muscles and limbs find their coordination and strength and we proceed to move and walk an continue with our daily activities.

While we take our sense of balance for granted, our bodily immediately knows and feels when it is out of balance and in danger of falling. It tries to transmit this information to us almost simultaneously and if successful, we are able to reorient ourselves, compensate and take some preventive measures, like taking an extra step or grabbing on to something or some one, before we actually fall. Our ability to stand erect and remain balanced is one of the true gifts of our anthropological evolution. There is however a moment, a second, when we, or our bodies are not really sure if we can compensate, if there is enough time to compensate or how to compensate for being unbalanced. It is that moment, when the body is unsure of what to do, when it is vulnerable, that we wish to exploit.

When we stand and walk naturally we are centered and in balance. Our bodies maintain this balance through a complicated series of communications between our eyes, ears, limbs, and brain. If the interplay between the organs is interrupted for even a moment the brain must relay this information back to our muscle and skeletal system in order for it to make the necessary adjustments, lest we loose our balance and fall.

To attack or be attacked requires the body to make multiple adjustments to this, both delicate and sophisticated system, in order to maintain our strength, center of gravity and balance. The breaking of our opponents or attackers center and thus his balance while maintaining our own is the essence of kuzushi. The act of breaking an opponents balance, their equilibrium, to take or replace their center of gravity, negates their strength while enhancing our own and renders their movement or attack futile.

The body is quite sensitive to this feeling of unbalance and will react swiftly to rectify itself, so any attempt to unbalance must be done swiftly and without notice. When we are pushed or grabbed our first instinct is to push and grab back. In many instances these reactions give our attackers bodies the information they need to readjust their center of gravity, their balance and remain strong. When we are punched, or attacked with a weapon, the way in which we try to block or try to stop the attack, telegraphs the same information and is counter productive to our defense.

The creation of unbalance and lose of center must be subtle and imperceptible to the attacker. Any attempt at readjustment once the movement begins must create pain and further unbalance and negate or absorb the attackers momentum. The movement should be over before it begins. The Kuzushi of an attacker can be felt by degrees within a circle or inches on the floor. To disrupt it requires an understanding of both motion and movement, what creates weakness and what creates strength, how to create an undisturbed line of force, position and posture which will allow you to counter balance an attack and apply your desired technique.

The Kuzushi of JuJutsu

Jigoro Kano, the founder of Judo, is generally credited with the first real technical understanding of the role of kuzushi, the use of balance and unbalance in the execution of throwing technique. However, this understanding and training in the ways of unbalancing an opponent in martial combat had existed in Japan for at least fifteen hundred years before the advent of judo.

The art of sumai, or sumo as it is called today, was Japan’s first system of empty hand combat. Employing striking techniques and the use of many forms of unbalancing techniques, most historians believe its origins date back to 23 BC. Often used in conjunction with religious or seasonal festivals, sumo’s originally objective was to ‘force an opponent to surrender unconditionally, or to kill him.” To this end sumo developed many techniques and principles which later found their way into numerous styles of jujutsu and more recently judo. Bare chested and wearing only a loincloth, these grappling techniques rely on a true understanding of balance as well as the strength and focus of the practitioner. Throughout the centuries training in sumo has been most martial artist’s introduction into the principles of kuzushi and their subsequent training in the martial arts.

The classical Japanese warrior, the samurai, was trained in multiple arts and weapons, the yumi,(bow) and later the naginata (pole weapon) and Katana (sword) as primary examples. The use of these weapons in combat, sometimes while seated on a horse, required years of training, coordination, an absolute control of the weapon and understanding of one’s center of gravity and balance.

With the advent and use of armor, the art of Yoroi Kumi-Uchi, grappling in armor, a system developed between the 9th and 15th century enhanced the samurai’s ability to fight in close proximity to one another. This system of grappling and locking to each other developed the samurai’s understanding and use of his balance, leverage and mobility to unbalance and ultimately kill or capture his opponent. While not designed as a strictly unarmed system of combat and as several versions of Kumi-Uchi developed as the armor of the samurai changed or was eliminated, the skills and techniques of this art formed the basis for many classical jujutsu styles. It is in these classical jujutsu styles, developed from the 15th century onward, which melded the skills and techniques of the bladed samurai arts with the lessons and understanding of anatomy, balance, motion and leverage learned through the many centuries of practice in Kumi-Uchi.

Without the benefit of a weapon, differences in size, weight, age and skill levels between opponents became more pronounced. These new challenges required a refinement of the fighting techniques and more thorough understanding of the variables which could affect the outcome of a conflict. The importance of natural posture (shizen hontai), mental alertness(zanshin) position (tai sabaki), and distance (ma-ai), skills which were always and integral part of the combat training of the samurai, were reevaluated and modified as classical styles of jujutsu were created.

Many of these classical styles fully embraced the flexibility and pliancy of the ‘ju” in jujutsu. This concept of both yielding and resisting an opponent’s attack, first by absorbing and thus negating its power and then taking advantage of the vacuum created by the attackers momentary weakness is the core of all martial arts. The ability to control, manipulate and ultimately negate an opponent’s attack is at the essence of all martial arts training. While it is this understanding of “ju” which enables a smaller man to defeat a much larger and stronger one and an unarmed man to defeat an attack by someone with a weapon, it is the accumulated wisdom and knowledge of over a thousand years of training and execution, much involving weapons and much by mortal combat, that allowed Master Kano to create judo, and gives the martial artists of today our understanding of kuzushi and all the other variables which form the essence of jujutsu.

A Story Of the Butterfly

One of the main tenets of Buddhism revolves around the belief that everything and everyone in the universe is interconnected and interdependent one on another. This concept of “dependant arising” or dependant origin states that at every level of circumstance and existence there exists a “mutually interdependent web of cause and effect.” Since the creation of Buddhism two thousand years ago this philosophy has been debated and called by many different names by those outside the teachings of Buddha. Most recently, the concept of the six degrees of separation has become a popular concept in Western civilization to illustrate the same idea, that everthing and thus everyone is connected to everthing and everyone else.

Scientists today generally accept the principle of the “Lorenz Butterfly” which presents the idea that the simple flapping of a butterflies wings in one part of the world create tiny changes in the atmosphere which can change or alter, prevent or delay, speedup or slow down the path or even the occurance of a tornado in another part of the world. The idea that climate in one part of the world can affect the climate in another part of the world, that the hurricanes which effect the southern coast of the United States begin as tropical waves off the coast of Africa, or that pollution from cars and coal in the United States effect the degree and speed at which ice is melting in Anartica , has been gererally accepted throughout the world. Accepting this principle of “dependant arising” brings the more interesting question ,had the butterfly not flapped its wings or had not existed entirely, would there have been a tornado?

To put a more human face on this concept consider this story. A young man living with his parents just outside New York City, graduates college a gets his dream job on Wall Street. After some time learning the in’s and out’s of this new job he gets an opportunity to advance and is sponsored by his employer to takes additional classes which will allow him to take the tests for mandatory federal licences which in turn will allow him to further advance his career. He and those in class complete those courses, take and pass the the required exams . To celebrate the all go out for an evening on the town. He arrives home, to his parents house very, very, late that evening and as a result of lets say, to much fun, gets up late the following morning. So late that he misses his regular train. There is however in this town two train lines which will take you into New York City. He rushes to the other train, and arrives in NewYork only about 15 minutes later than he normally would. He is about three blocks away from his work but actually six blocks from where he would usually stop to pick up coffee and a bagel before he went to his office. So he looks around and finds a coffee shop and goes into buy his coffee and bagel. There is a young girl behind the counter, she fumbles with his order, its her first day on the job. She arrived just the day before from Brazil. This is her uncle’s coffese shop. The young man never goes back to his other coffee shop, nor does he ever take any other train into work. A little more than a year later they were married. I made her, her engagement ring and their wedding bands and over the thirty years that I have been manufacturing jewelry I have dozens of stories just like this.

There are, of course, similar stories in everyone’s experience, in everyone’s life. Take this one from the martial arts. There was a teenager sitting home on a Saturday afternoon. He’s in the living room with his parents and grandmother. She was there every Saturday. He was waiting for the ballgame to come on, but it was raining and as was the style in those days, when the ballgame got rained out the T.V. station substituted a movie. They were usually action movies , westerns or war films were very popular in those days usually with stars like John Wayne or Errol Fynn , Randolph Scott or Joel McCrea, in the lead roles. Many were still in black and white, not color like today. That was the case on that Saturday. An old James Cagney film named “Blood on the Sun” played that day. Set in Japan, just before WWII, it is a film filled with intrigue, espionage and plenty of action. The action is pure judo and jujutsu. Cagney as it turns out was a real judoka and did all his own stunts. The teenager was absolutely enthralled and mesmerized by what he saw on the T.V., so much so that he talked about the movie with his father for much of the following week. The boy’s father, looking for something to keep his teenage son interested in for more than ten minutes at a time, looked in the local yellow pages, found a martial arts school reasonably close to where they were living and one evening took his son to watch a judo class. The judo class was actually finishing when they arrived but the owner of the school allowed them to watch the next class, a class of jujutsu. The teenager joined that very evening and within a year was allowed, even though he was quite young at the time, to join the jujutsu class. Some forty five years later he is still as excited to be in thoses classes as he was as a fourteen year old boy.

I never actually had a chance to thank Mr Cagney for making that movie or for giving me my first glimpse of the martial arts. I suppose I could have though. A few years after my father retired, he bough a fifty acre apple farm in upstate New York. Mr Cagney was our neighbor. He owned the farm next to us, butterflies and all.

How to Shape A Child’s Life

Most people go through life unnoticed and, if we are honest, lead a fairly unremarkable life. Yet there have always been people whose lives have been just the opposite, quite remarkable and in some cases nothing short of genius. Aristotle, Beethoven, Confucius, Michelangelo, Shakespeare to name just a few. This list could go actually go on and on, for in the history of the world, in every culture, from every part of the globe, in every discipline, whether math or science, literature or music, religion or architecture, there have always been those lives have been extraordinary. Until very recently we have always looked at these people at being essentially different from the rest of us, having received by accident or luck, something in their bodies chemistry or brain which made them smarter, more talented or perhaps more athletically resilient and faster than the rest of us. They were just ‘wired” differently than everyone else. Modern science however, tells us this is not the case

Two new books “Talent Is Overrated” by Geoff Colvin and “Outliers’ by Malcolm Gladwell supply ample scientific research which suggests that while nature does play a role in our innate capabilities it does not limit our ability to achieve greatness or become champions. That, according to the science, is determined by how we learn, how often we practice and at what age we begin. Certainly, the younger we start anything whether language, or sports, writing or math the better chance we have at becoming great at it. This occurs for several reasons. Repetitive action, focused and deliberate practice teaches the brain to “act “ differently. It literally changes the way you interpret information. In athletic activities it changes the way your body channels the information and electronic stimulus it gets from your brain. The science tells us that this learning process takes a great deal of time, at least ten thousand (10,000) hours of practice. Thus the earlier the better.

We all realize that practice, especially that with the goal of achieving a minimum of 10,000 hours at a skill, whether its tennis or the computer will be tedious and at the very least, at times, quite boring. That is, unless the person involved finds that activity or subject meaningful and rewarding. Not unless there is a teacher or mentor to help them, prod them and encourage them when needed, to help them stay focused and provide a role model for them to aspire to. What better activity for children than the martial arts to provide the basis for such a focused and rewarding life experience?

Long before the students become effective martial artists, they learn the important social skills of teamwork and self- reliance, of understanding direction and accomplishing a task. Students are instantly immersed in the many problem solving and self confidence-building lessons that the martial arts provide. The lessons of concentration, ability to focus, and self-discipline are just a few of the basic skills that students in the martial learn to incorporate into their daily lives.

From the very beginning, the martial arts are very goal oriented. Students receive immediate feedback from both their instructors and fellow students as to whether they are achieving these goals. Every new technique is a test, not only of their skills, but also of their resilience, determination and concentration. A student learns instantly whether what he or she has done will be effective. When they succeed, this accomplishment helps build a positive self-image with increased self-confidence. It reinforces their problem solving skills and demonstrates the benefits of determination.

As the basic teaching tool of all martial arts is” kata”, the martial arts provide each student with the ability and opportunity to reshape how his body and his brain work together. Kata’s are essentially pre-arranged forms where both sides and both student know and hopefully understand what the other side will be doing. These pre- arranged forms are both protective and instructive to students of the arts. Kata teaches the origin of all movement and technique. Kata highlights our strengths and weaknesses and help students of the martial arts achieve their full potential. The practice, grading and teaching of Kata has been at the foundation of most martial arts systems. In following the movements and instructions of their more knowledgeable teachers, students are taught to move in ways less likely to cause injury to themselves or their partners. They begin to learn the tedious and repetitive movements, which will eventually give them the skills and abilities to grow into their next level of training.

By teaching the simpler and less complex movements first, students will build on these techniques to learn the more complex movements as they progressed through the ranks. Each step in their training is designed to impart a certain level of skill and understanding in a very specific manner. Each level of training rests firmly on the accumulated skills developed during the students’ previous level of training. Based on this system of teaching, students in all arts are periodically tested and graded receiving different belt colors to be worn with their uniforms to signify higher levels of learning and ability. This increases their confidence and enhances their self-esteem. This requires dedicated thought, focus and the development of interpersonal social skills, all of which will carry over into their non martial arts lives. Throughout this process their teachers have the opportunity to encourage and focus a child’s motivation and practice to help them get over their more difficult challenges and achieve each new goal. Through all the many different types and forms of kata in judo, karate and jujutsu, the martial arts provide the repetitive action, focused and deliberate practice needed to wire and rewire a child’s body and brain, to help them achieve the “genius” and full potential the may have wrapped up inside of them.

A Symbol of MiYama Ryu JuJutsu

In 1965, shortly after I began taking classes in MiYama Ryu Jujutsu, then Professor Pereira (He was Sensei or Professor Pereira from the opening of the school in 1960 until 1973 when he became Shinan) asked my father to help him remake a ring that he wore and that come into disrepair. My father was a jeweler and a model maker and so about a month later, he returned a brand new model of that ring to the Professor, as he liked to be called and charged him $35.00. I still have the model for that original ring, a man’s gold black enameled signet ring with the Japanese kanji for the word “Bushi” or samurai cut into the center of the ring. That ring became a very important symbol in the history of Mi Yama Ryu, because Shinan allowed only those students that achieved a Black Belt in Mi Yama Ryu JuJutsu to purchase and wear that ring. Over the years my father made many rings and pendants for students of Mi Yama Ryu JuJutsu, and after my father’s retirement, so have I.

Throughout the years I have come to appreciate the beauty and symmetry of Japanese calligraphy and have made and designed many different kinds of jewelry using the various ways of writing Japanese kanji. Because a single kanji may be used to write one or more different words, each word, a combination of several kanji tell a story or invoke an image to the reader. Even the way the letter or kanji is written can evoke and sense of strength or boldness, softness or continuity.

The making of jewelry is actually not that different and uses many of the skills that one learns through their study of the martial arts. It takes a good deal of time to learn the physical skills needed in the manufacture of a piece of jewelry. How to use and handle the tools you need, to control them in your hands and guide them to do what you wish them to do is not so unlike learning how to use any weapon a sword or a jo for example. Your ability to perfect these physical skills requires more than time, it requires patience and focus, the staying power needed to learn a new technique or a new way of moving. Persistence and repetition make a better jeweler as they do a better martial artist

Having learned these skills over time and with the help a good teacher you eventually begin to feel energized by new projects, new designs or in the case of martial arts new challenges and new techniques. You begin to stretch your skills to adapt them to these new challenges and you build on the skills you have already learned to create more intricate designs, to learn higher level techniques. As a jeweler you work more efficiently, you can begin to visualize your designs long before they are ever completed, as martial artists our movements become more polished more subtle. Our technique has gotten better.

While we all strive to become the best at what we do, and as perfection is not truly possible, I have found that my two “arts”, that of MiYama Ryu JuJutsu and the art of making and designing jewelry, have complemented each other and the skills learned in each discipline has enhanced my ability to practice and learn the other. For that I will eternally be grateful to my father, who was the best of teachers and to Shinan Pereira who comes in a really close second.