Kajukenbo
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(Contributors:
Peter Jason Ward, Todd D. Ellner)
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 necessary, 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 ).
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. /li>
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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