Kakukenbo
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.
(Contributors: Peter Jason Ward, Todd D. Ellner)
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