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Kajukenbo
(Contributors: Peter Jason Ward - ironmarshal+@CMU.EDU,
Todd D. Ellner - tellner@cs.pdx.edu)
Intro:
An eclectic martial art that is a blend of Karate, Judo, Kempo,
and Boxing, from which arts it takes its name.
History:
Kajukenbo was synthesized in the Palomas settlements of Hawaii
during the years 1949-1952. Five practitioners of their respective
martial arts developed Kajukenbo to complement each others styles
to allow effective fighting at all ranges and speeds. The last
living founder of Kajukenbo is Sijo Adriano D. Emperado who practiced
kempo and escrima. (Other founders are P.Y.Y. Choo, Frank Ordonez,
J. Holck, and Professor C. Chang). It was decided that kempo would
be the scafolding around which Kajukenbo was built. The arts drawn
upon to found Kajukenbo are Tang soo do, judo, ju-jitsu, kempo,
and chu'an fa gung fu (Chinese boxing); hence the name Ka-ju-kem-bo
(Tang Soo Do was shortened as a form of karate, even though that
is technically incorrect).
To test the effectiveness of their origional techniques the five
founders would get into fights around the Palomas settlements
(the worst slum in Hawaii at the time). If the technique succeeded
consistently in streetfighting it was kept as part of the system.
>From these field test came Kajukenbo's Quins (known as the
Palomas sets (forms or kata)), Natural laws (self-defense), Tricks
(close-quarters fighting), and grab arts (escapes).
Description:
Kajukenbo concentrates on being an effective art at all ranges
of fighting, kicking -> Punching -> Trapping -> Grappling.
While many schools of karate and Korean martial arts concentrate
on kata, Kajukenbo stresses the self-defence movements over the
relatively fewer forms in the art. The reasoning behind this is
that a practitioner must be capable of defending himself in streetfighting
situations before turning inward to perfect the 'art' of Kajukenbo.
At higher levels there is meditative and chi training, but the
author cannot comment further at his level of experience.
Kajukenbo stresses the following-up of techniques based on an
opponents reactions and not stopping with just one hit. The reasoning
is that while one should strive to end a fight with the fewest
techniques nessesary, it is important to know how an opponent
will respond to attacks, and how best to take advantage of his
reactions. A major ethical point behind my instruction was, "If
he starts the fight, you decide when the fight is over."
Training:
The training is physically intense and very demanding. Exercise
is a part of the class structure to insure that practitioners
will be physically capable of defending themselves outside of
the dojo. The warm-up and callistenics typically last 1/3 of the
class period. Emphasis is placed on bag work (kick, punching,
elbows, and knees) as well as sparring and grappling (contact
with control). After a certain amount of time training, students
begin to throw real punches at each other and their partner is
expected to react appropriately or face the consequences. Learning
to absorb and soften an impact is also a major facet of training.
Quins (kata) are performed to fine-tune a person's movements while
working with partners for self defense teaches a student how to
manipulate an opponent and follow up on his reactions.
Sub-Styles:
Kajukenpo, formed in 1970 by Algene Caraulia, and headquartered
in Cleveland, Ohio (from Anthony Schaaf <adschaaf@mtu.edu>).
Kenpo Karate is considered to be a sub-style of Kajukenbo (see
separate entry on Kenpo) and is very close to "the original" Kajukenbo.
Tum Pai, created in part by Sifu Al Dacascos, is adminstered
by Sifu Jon Loren, and incorporates more of the soft, internal
Chinese arts.
Kajukenbo Chuan Fa was created by Dela Cruz and Professor Emperado
and has been taken over by Leonard Endrizzi and Bill Owens. It
includes more Chinese martial arts than Kenpo Karate and is softer
but no less rigorous.
Wun Hop Kuen Do is the newest sub-style - the personal expression
of Sifu Dacascos, containing the original syllabus but with more
Chinese and Filipino influence.
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