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.

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.

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 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.

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.

The Benefits of Martial Arts for Children's Mind, Body & Soul

It doesn’t take much these days to pick up some newspaper or magazine and read how we all are at increased risk for some terrible disease or chronic medical condition because of what we eat and drink, how we live and what we breathe. As a society it would not be hard to argue that many of these problems are of our own making. Our own excesses and that of societies have led to poorer nutrition, less exercise and more and more pollutants being put into our air and water. While these problems will pose great challenges for everyone in society, the children of our society have the greatest risks. Scientists tell us that childhood obesity is now at record levels. According to U.S. Governments Center for Disease Control “One-half the population below the age of 18 will be considered clinically overweight or obese by 2010”. Being obese puts children at a greater risk for high blood pressure, elevated cholesterol levels, diabetes, and asthma. New studies suggest that those who are obese face the further challenge of developing many of these other chronic conditions simultaneously. Later in their lives obesity and these other chronic conditions will lead to higher incidences of hypertension, heart disease, depression, and dementia. It will increase their risk for colon and ovarian cancer and reduce their life expectancy.

If this were not bad enough these health problems carry over to many other facets of a child’s life. Childhood obesity alone has been documented to reflect in a child’s feelings of isolation and poor self-esteem. While any of these health problems alone would be serious issues for any child to confront, these feelings of isolation and low self-esteem are also reflected in a child’s scholastic achievements as well as his/her social interactions with their peers.

However, many of the causes for obesity, diabetes and these other conditions are in our power to control, modify and change. Better nutrition and eating habits can be learned, focus, direction and exercise can be taught and a better, healthier lifestyle can be the result.

The martial arts have a long and deep history. They are filled with stories of bravery and loyalty, dedication and self-sacrifice. They are designed to motivate, to teach self-control, and perseverance. They incorporate a social system with 100-year-old traditions, which allow for individual growth and excellence. The health benefits of its exercise programs are enumerable, whereby the students gain not only the benefits from the exercises themselves but from practicing the skills they learn during each class. The martial arts are goal oriented and teach students focus and concentration in order to achieve their objectives. The relationships students develop with their instructors and fellow students further advance these skills and often carry over to many other facets of the student’s lives.

Today’s martial arts of judo, karate, aikido and jujutsu are ideally suited for the problems of to day’s youth. Teaching physical fitness, mental acuity, persistence, respect, and honor, the martial arts present responsible role models with a positive message for children of all ages. Students learn from a mentor or teacher not only the actual movements or techniques related to each individual art, but a series of life lessons related to their individual development and growth. Advancement is achieved through diligence and hard work, self-sacrifice and dedication.
This training enables the student to develop self-confidence and an acute understanding of their potential. Through the example of their teachers and fellow students new practitioners see not only what is, but also what could be. Their mental vision is enhanced and their imagination enlivened. Children who participate in these arts can be both inspired and awed. They learn about better nutrition and can develop better eating habits. The rigors of each art contribute to physical fitness and pride in each child. The lessons learned through the physical training of these arts teach children respect for themselves as well as others.

The martial arts through both its tradition and example, teach children about respect and dignity. It can instill in children a feeling of self worth and self-respect unequaled by any other activity. Finally, and perhaps most importantly it can make children unafraid, both physically and mentally, to visualize, grow, and confront the many challenges which they will encounter as they develop into adults.

A Primer in Jewelry Design and Manufacture

I suppose I have been around the jewelry business my whole life. My father learned to be a jeweler after returning from World War II as part of the G I Bill. After some years learning his trade as an apprentice, he began to stretch his skills designing and making or manufacturing his own creations. He built a small shop in the basement of our house where he was always at his workbench “tinkering” with a new model or design. I guess, “the apple didn’t fall far from the tree”, because my workbench looks just like his did when I’m making something new. In fact I still use many of the same tools my father did when he fashioned Shinan Pereira’s original “ Bushi “ ring. Since most have never been inside a jewelry factory or watched someone make the original model for a piece of jewelry I thought it might be interesting to explain what goes into making a ring like Shinan’s or, for that matter, any piece of jewelry.

Naturally, when you begin to create a new piece of jewelry you first must decide on the design. Whether you’re making a wedding band, a diamond engagement ring or in this case a man’s enameled gold ring the process is the same. After deciding on the design the next part of the process revolves around deciding the size and physical dimensions of your piece of jewelry. This involves more than deciding what the finger size is, in the case of a ring, but more about how physically large or small the piece will actually be. This is important for a number of reasons. First, the jewelry has to be visually attractive, so every part of the design has to be in proportion to every other part of the design. Second, if the design uses any kind of stones, like diamonds for example, the model must be made in proportion to the sizes of the stones used giving the setter a thick enough prong or heavy enough metal for him to set or secure the stone in the jewelry. Thirdly, the physical size of the piece, in large part, determines what the piece will weigh. Since the metals used in the jewelry process are sold by weight, a heavier piece of jewelry cost more than a light piece of jewelry. Finally, when you begin to design a new piece of jewelry, you want it to last. If you make it correctly, proportionately, and heavy enough to withstand the daily wear and tear that a piece of jewelry receives, giving the setter to enough space to put the stones and enough metal to secure them, then your design and piece of jewelry will give its owner years of fond memories.

In the case of Shinan’s ring, after the design was made, the type of metal was chosen, in this case 14kt yellow enamel gold and it was casted, basically turning his design into a piece of metal. Some basic jewelry work, cleaning and polishing was done to the ring to prepare it to be enameled. Enameling is the process which creates the black surface around the Japanese “Bushi” kanji letters in the center of the ring. Basically there are two types of enameling, hard and soft. Soft enamel is painted on the surface of the piece much in the same way you would apply nail polish to you nails and as nail polish it dries under a heat lamp or naturally over time. Hard enamel is a completely different process. Hard enamel begins as a crystal which is made into a powder. The powder is then applied to the surface you wish to enamel and then baked in an oven for several hours at between 1300 to 1500 degrees Fahrenheit. Most often several layers of this powder needs to be applied and the piece is placed back in the oven for additional time. The piece is then removed from the oven, allowed to cool, and repolished. It is now finished.