MIYAMA RYU JUJUTSU: SELF-DEFENSE OF THE FUTURE?

MIYAMA RYU JUJUTSU
SELF-DEFENSE OF THE FUTURE? - By John Lewis

The number of theories proposed to explain the anatomy of human character are as numerous as the years which have taken Man to ask such a question. Irrespective of personal persuasions as to his genesis and development, conflict stand's as the fabric upon which history was woven. It is equally clear that when the mask of civilization is torn from man's face by hatred, frustration, despair or stupidity the expression that remains is violence. As such for centuries countless individuals have devoted their minds and bodies in pursuing and devising methods to enable man to protect himself from man. They sought to understand a world where violence was, as it remains today, man's most predictable expression of his temperament. Each perceived the reality of man's violent way. However, a few recognized that, if tempered by a code of conduct, this potentially destructive force could be channeled into socially beneficial pursuits. One significant result, precipitated by attempts to codify violent behavior, was the emergence of the Martial Arts. Each "art" possessed the truly individual flavor of its creator's experience, thought, ability and bias for explaining the nature of violence and the perfection of violent action.

A contemporary heir of this legacy, one who has dedicated a lifetime to the study, contemplation and communication of his knowledge to others, is to be found at Tremont and Third Avenue’s in the Bronx, New York. Here, at his dojo, which stands like an enclave, Shinan Antonio Pereira perpetuates the Martial Arts. This man like his "art" is a most interesting study in contrasts. His formal training spans over four decades and has carried him from the streets of the Bronx to such sequestered lands as the Philippine Islands, Australia, New Zealand and Japan. More intriguing than these places are the men who have been his mentors. Japanese "masters", American soldiers, "Aussie' commandos and savage Moro warriors have in varying degrees shaped his thought. Notwithstanding his rather unorthodox background in the fighting arts, he has attained an impressive list of documented credentials in Ju-Jutsu, Judo, Aikido, Jodo and less familiar systems. Indeed, it would not be excessive to state that these experiences were gained at a cost few, but the most ardent practitioners of the arts, could appreciate. This knowledge, aided by his uncanny ability for near total recall, was synthesized to find incorporation in a form (circa 1960) which he referred to as MIYAMA RYU JUJUTSU---THE SCHOOL OF THREE MOUNTAINS.

An analysis of the historical literature, pertaining to the fighting arts, reveals that it would be unreasonable to assume the existence of any system other than JuJutsu which holds a superior claim to the designation of "focal" or "principal" Martial Art. JuJutsu is a collective term used to identify and define several dissimilar systems of hand-to-hand combat. Such diverse techniques as throwing, choking, punching and kicking, joint and bone locking and so on were employed within its framework. L1kewise, these techniques were adapted to the use of several varieties of edged or bludgeon type weapons. Whereas Judo and Karate have matured, in stature and visibility, to become celebrities throughout the world, JuJutsu enjoys no such reputation. Unlike these arts, JuJutsu is not organized into large international federations nor does it possess contest or sportive elements. Finally, JuJutsu's punishing physical rigors and lack of emphasis on rank, would not realistically attract popular support. However, these conditions are not viable indicators of the objective worth which the fighting art has for self defense purposes.

Shinan Pereira's *MiYama Ryu (style of) JuJutsu* is as unique as the man himself. Assuming a single word was required to define his system, the most accurate synonym would be "eclectic". That is a specific approach which brings together several different theoretical positions to formulate a single composite theory. MiYama Ryu has derived its techniques from five basic theoretical positions of self defense: classical JuJutsu, Judo, Karate, Aikido and what might be defined as Free¬style western street fighting. Its heritage is ancient and modern, a legitimate offspring whose parentage is Oriental and Occidental. Shinan Pereira's cognizance into the essence of personal combat, consummated this most unlikely of marriages. Although each culture possesses its own characteristic approach to the dynamics of violence, he understood that no single method could hope to keep pace with the rapid changes in the environment, social conditions or the technology of weapons. His awareness of the shape of violence in the past, perception of it in the present and contemplation of it in the future are the threads which bind MiYama Ryu into a viable force. Thusly, the system was fashioned into a style of self defense which respects the lessons of the past and when fused to those of the present possessed the flexibility to meet exigencies of the future.

Possibly, the most unique aspect of this art is its commitment to the reality that is self defense. A realization based on the trilogy of confrontation: adversary, art and defender. Each technique studied and rehearsed on the mat has been subject to and survived "natural selection" by the sternest of arbiters---the street! This approach requires a meticulous attention to the detailed execution of every self defense tactic, a most noteworthy hallmark of Shinan Pereira's teaching style. His gospel, practice I. is fundamental in preparing the student to contend with urban violence. The tyranny of practice is exemplified in his demand for perfection from the student, if not in actual execution, at least in spirited fierceness against the opponent. Such resolution is often misconstrued by the casual observer as being fanatical. Nevertheless, few could deny that Shinan Pereira’s grueling brand of physical and mental preparation pays off 1n the highest practical util1ty. This discipline, excruciatingly exacted 1n the dojo, has often been decisive when a student has been faced with the actual prospect of defending his person against another.

Otherwise it is doubtful that one could account for the disproportionally large number of police officers found to be members of the Tremont School.

The Tremont School of Judo, Karate and JuJutsu was established in 1960. During the years it has been in operation over 20,000 men, women and children of all ages have received training in the Martial Arts. Currently, there are over 70 registered Black Belt members of Tremont. Today, the Tremont School enjoys the reputation of being the oldest and largest institution of its kind in the greater New York metropolitan area.

Shinan Pereira is, at times, judged by his detractors to be petulant and uncompromising; to his students he is an unrelentless taskmaster, yet held in what could only be described as reverence. Possibly, one explanation for such a divergence of opinion, even among his closest colleagues, is that he remains surprisingly aloof from those devices of commercialism and excessive self aggrandizement which have plagued so many of his contemporaries. Whatever the reason, one judgment is surely correct that is: his art and he are like no other.