if anyones interested or has knowledge on kajukenbo or hopgar here is some pics from

[diego]

THE70S
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roy is one of the four main seniors, he's second from right, in the first pic.

kaito on the left is recieving his 5th degree blackbelt instructor certificate from kajukukenbo founder adriano emperado.

a picture of kaito at a tournament i think he judged or held? in 76?; he's first on the left.


the last pic is hopgar gm harry wu/ng-yim-ming, whose style kaito taught blended with emperados kajukenbo with suppossedly some mantis from a yc.wong and internal style from? but im not sure on that yet..

[diego]

.

[diego]

From David chin&Micheal Staples Book: HopGar Kung-Fu. i think now out of print, i didnt post the text so you chumps can't bootleg!!.Basic Hands and all of David Chin's Stance's
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12 LONGFISTS
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Kick's&Block's


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[diego]

TIBETAN GUNG FU-TRIED AND TRUE

(This site is dedicated to the people of Tibet)


"No... martial arts snobbery exists for any classical ... form. This consideration is true of all genuine combative measures. Mondern-day emphasis on the empty-hand aspects or sporting outlets for Chinese, Korean, or Japanese fighting forms has particularly clouded the issue. Japanese Karate-do or other quasicombatives influenced by that form display the fact that they are not classical combative measures, by their refusal to permit the operator the use of weapons. Japanese Karate-do, a twentieth-century development, completely untested in actual combat, is especially guilty of this combative unreality.

Donn Draeger The Weapons and Fighting Arts of Indonesia pg. 34. (footnote)

In the world of martial arts, there are three divisions of training. There are martial arts devoted to the development of healing. The various types of Chi Gung, Ching Gung, and Tai Chi. The second type of training is that of the aesthetic arts such as the Bejing Opera arts, Tai dancing, etc. The third and most difficult type of training is in the functional, combative martial arts. This type of training is invariably dangerous, grueling, yet extremely rewarding for the individual willing to submit to it.

While there are many legendary stories of martal artists engaging each other in singular duels, there are very few martial arts in the world that have actually been tested in warfare. Tibetan martial arts is one of them.

In 1904 a British army officer named Sir Francis Younghusband headed a British invasion of Tibet. The politics leading up to the invasion involved Russia, India, Bhutan, Sikkim, and Nepal. India, Bhutan, Sikkim, and Nepal were already under British colonial control and Nepal provided Britian with their famed Ghurkha Regiments. These regiments accompanied Younghusband on his mission to invade Tibet.

The catalyst for the invasion revolved around Tsarist Russia's increasing political interest in Tibet. Realizing that Tibet could very well evolve into the political hub of Eurasia, the British were quite alarmed when the Russian mystic, Aharamba Agyan Dorjeff became the first "Tsamit Hamba" to the Thirteenth Dali Lama of Tibet. The Dali Lama gave Dorjeff the title of Tse-Nyi-Ken-Po, Abbot of Metaphysics. A chronology of what transpired is as follows:

1904- British Invasion of Tibet The Dali Lama flees to the Mongolian allie.
1909- Dali Lama returns to Tibet via Peking.
1910-Chinese invade Tibet. Storm Lhasa. Dali Lama flees to India.
1911- Chinese ran out of Tibet.
1912- Dali Lama returns to Lhasa.
Several important battles occurred during the British invasion that proved the effectivness of Tibetan martial arts. The Tibetan warriors, however, never having seen a Gatling Gun, eventually succumbed to its destructive power. Much to the shame of the British, when the Tibetan warriors turned their backs, lowered their heads, and walked away in defeat, the British kept firing, mowing down hundreds of Tibetans with their rain of death.
When it came to close quarter combat, however, the British learned very quickly how formidable the Tibetan warriors could be. On May 5, 1904 at Chang Lo village south of Gyantse Fortress, Tibetan warriors killed or wounded 56 British troops when the British conducted sortes against their buildings. Twenty percent of the British troops available were instantly diminished. At Palla Village 1100 yards away, there continued 6 more hours of desperate fighting, much of it hand to hand, in a bloody hide and seek that cost 350 Tibetan warriors their lives.

Then, on June 4, 1904 at Kongma, 300 Tibetan warriors stormed the stronghold in which Younghusband was staying. Fighting rifles with bare hands, they scaled walls, grabbing rifle muzzels and fighting at close quarters.

On July 5, 1904, Gyantse finally fell into the hands of the British. At the same time they assaulted Shigatse on the Tsang Po River. This gave the the British the triangulation they needed to wedge their invasion towards Lhasa, the capital of Tibet located south of Shigagtse on the Tsang Po river. At Shigatse, the Ghurkas had their day and engaged the Tibetan warriors in bloody close quarters combat that required literal inch by inch crawling into Tibetan lairs.

By July 16, the British had arrived at Kharo La, half way between Gyantse and Lhasa and on July 24, they crossed the Tsang Po on two barges and in skin boats, moving 3500 men, 3500 animals, and 350 tons of supplies in the process. By August 2, 1910, they waited just seven miles outside of Lhasa until the Chinese Amban (ambassador) arrived in Lhasa. By August 9, the British had entered the city prepared to negotiate a treaty.

When the British entered Lhasa, they were not prepared for what they encountered. There were no hordes to fight, no peasants mocking them in the streets, and no one to greet them. The Tibetans simply ignored them. The British stewed in their own boredom as the treaty stalled, progressed, then stalled again under the seeming complacence of the Tibetan government.

Among the salient features of the treaty were agreements not to send English missionaries to Tibet and most importantly, that Great Britian was to have Suzerain Power over Tibet. Suzerain is a term which means that one nation has paramount control over a locally autonomous state. All of the surrounding countries including China agreed to British Suzerain Power in Tibet (An agreement that was blatantly ignored by the Communist Chinese when they invaded Tibet in 1949).

The Tibetan Warrior
In order to understand the ferocity with which Tibetan warriors fought against overwhelming firepower, we have to explore the society which the Tibetan warrior came from and the environment which shaped their lives.
Classical Tibet (before the Chinese Communist invasion in 1949) was a theocracy for centuries. The institutional religion of Tibet was Mahayana Buddhism, a religion that was propagated in "the ten thousand monastaries" (Now there is just one left and it is used as a tourist trap).

The head of this monastic system was (and still is, in exile) the Dali Lama. The Dali Lama is considered the head of the state, head of the church, and the final court of approval in all the land. Under the Dali Lama are two councils which act as prime ministers- the Ecclesiastical Council and the Council of Ministers.

The Ecclesiastical Council consists of four monks who represent the Inmost One, the Dali Lama, in the administration of all the lamasaries and nuneries of Tibet. The Council of Ministers consists of four members also- three lay and one cleric, who act as go-betweens in the intergration of church and state. Under these two prime ministers is a national assembly of the fifty families of Tibet and representatives from each lamasary.

A typical monastery contains three colleges called Tratsang. Within each Tratsang are a varying number of sub-colleges called Khamtsen which control the religious services and are each run by an abbot. In each Khamtsen is at least one incarnate lama with his own establishment, called a Labrang. The Labrang contain a number of clubs, similiar to fraternities called kyidu. An average number of about thirty-six warrior monks known as Dub-Dub belonged to each kyidu.

The kyidu was a shared cooperative of novices, initiates, and seasoned Dub-Dub monks who would share all in common- feast and famine, happy times and sad times. The Dub-Dub were found only in the great monastaries of Drepung, Sera, And Ganden.

At the top of the heirarchy in the monastary were the Pe-Cha-Wa, the "bookmen". These were the learned monks who could afford a good education. At twelve to twenty thousand feet above sea level life is very difficult, to say the least, and a full belly and a warm fire are precious commodities. Many of the people who came to the monastaries were not necessarily religious. The term monk literally means a man at a monastary.

Many monks were servants- builders, laborers, or scavengers. If a monk entered the priesthood, he became a Chela, a novice which is an acolyte boy pupil. The average monk, called a Trappa, was the most numerous at the temple. These were monks who had taken vows but could not afford a bookman's education. The Lamas, or Gurus, were the teachers of the monastary.

The Lamas were in line to possibly become abbots of their own Labrang, especially if they were incarnate, or born once again into the monastic system from some past life. There was, however, no class distinction in the Lamasary. Everyone worked together and talked together, the idea being that "the only enemy is the man you do not know."

The Dub-Dub warriors were at the bottom of this heirarchial ladder as they usually came from the peasantry and could not afford an education. Their religious training was non-systematic and called Tolenpa which means "fill their bellies". This is a term which signifies those who would come to the Khamtsen temple services solely in order to receive a portion of Tsampa and butter-tea. Young boys who were novice monks and were the favorite attendants of the Lamas were called Chense, the "light of the eye". They would receive special favors and better food.

[diego]

There were always two levels of martial arts training in the Tibetan monastaries- training reserved for Lamas and training reserved for the Dub-Dubs. The higher the rank of the monk, the more severe and brutal the training of the monk, in order to instill morality and humility.

High level monks such as Lamas would study archery, horsemanship, the pole vault (for agility), stilt walking (for balance), and kite flying (for strategy). The lesser monks, the Dub-Dubs, would train out-of-doors, taking cold showers under glacial waterfalls. They would run naked in the sand, practice carrying and throwing heavy stones, and practice long jumping.

Novice Dub-Dubs did participate in the exercises but did not participate in the long jump from raised ramps until they became full monks. Dub-Dub novices would strip naked, laying out their clothes neatly, in the perscribed order, then run with sand in their boots, or throw stones as directed by the jump master who always carried a spade handle with which to mark jumping distances and to keep the monks in order with.

There were two martial arts that the Tibetan warriors studied. One was a grappling art called Sung-Thru Kyom-Pa Tu De-Po Le-La- Po. The technical name for this art was Amaree. The lower system that was known by most people, including the Dub-Dubs, consisted of a system of holds, locks, throws, breakfalls, and self-control.

The higher system of this martial art was reserved for the medical Lamas of the Chakpori Medical Monastary in Lhasa. This higher system was taught only to those Lamas who could pass the most stringent tests of character. The method taught self control and how to create unconsciousness for medical purposes such as the setting of broken bones, extraction of teeth, and other surgeries. Resucitation was also taught.

Some of the elite Dub-Dubs were police monks. Seven feet tall, with padded shoulders, faces blackened, and carrying long staves, they were certainly a formidable sight. The Dub-Dubs were distinguished for their physical strength and courage yet they were also very meticulous in their dress and bearing. The would wear russet robes of fine wool, voluminous and tied tightly at the waist so that the upper portion could form a purse in which they could carry all of their earthly possessions-tsampa bowl, cup, knife, amulets, rosary, bag of roasted barley, and a supply of tsampa.

The Dub-Dubs wore their skirts longer than was usual for a monk to do. They would kilt the skirt up higher than usual to expose their well trained thighs to all. This created a bulky look to which they would add a swagger. Though monks were suppose to remain shaved, the Dub-Dubs would sport a long, well-trained curl round the left ear and down the cheek. If a Dub-Dub was required to shave his curl to participate in a religious ceremony at the Potala Palace in Lhasa, he would then paint a curl on the left side of his head, flowing down his cheek.

The Dub-Dub always wore a red silk scarf above the elbow of the bear right arm. From his girdle, he would hang a huge iron key on a cord which could be used to flail or gouge an opponent with in a fight. The Dub-Dubs were not allowed to, but they all carried pocket knives which they were more than willing to pull out and use during an engagment with an opponent.

The Dub-Dubs were permitted to hire themselves out as bodyguards and convoy escorts, which allowed them to make some money. They also policed the religious ceremonies and fined anyone who hung bells from their animals or wore pretty ribbons during holy days. The Dub-Dubs were not corrupt, per se. If a person was in need, a Dub-Dub would go out of their way to assist that person. If a person had money, however, then the Dub-Dub felt that it was their duty to figure out how to receive a pittance of it.

At the religious services of the Khamsten, it was the Dub-Dubs job to tend the huge vats which make the butter tea, to carry the huge teapots on the slippery floors of the prayer halls, and to pour butter- tea for the monks. It was also their job to play the musical instruments of the procession, particularly the Gyaling, which is a Tibetan oboe. Novice Dub-Dubs would spend hours each day learning to play the Gyaling without inhaling! This also taught them to control their breath in a fight.

The second martial art of Tibet was called Senga Ngwa, the Lion's Roar (See the Six Strengths article). The higher form of this art consisted of Eight Ways of Entering or eight "antics" which were types of tantric meditation that were reserved only for higher Lamas of the monastary. The lesser form of this art consisted of four fist strikes-the straight punch, the uppercut, the overhand, and the fisthook. These fists were practiced millions of times by the Dub- Dubs to the point where they were totally reflexive responses.

In this way of training, the Tibetan Dub-Dub warriors were able to train in a martial system of both grappling and hitting that would protect the god-king, the Dali Lama, because there were no second chances. In 1910, when the thirteenth Dali Lama was fleeing to India as the Chinese invaded Lhasa, Dub-Dub warriors engaged and killed fifty-three Chinese soldiers while themselves only incurring two losses.

The context of Tibetan martial arts, which were forged on the Razor's Edge at the Rooftop of the World, is this: Hit hard. Do the most amount of damage with the least amount of energy. If you must fight, be absolutely cruel and ruthless. Because of this context, training today in the Tibetan White Crane martial art carries the same grueling consistency that the monks of Tibet endured, albeit for the danger. We fight with protective gear now and under strict supervision of the teacher, yet the lessons are still effectively learned. We learn a functional martial art deeply embedded with the flavor and values of the Dub-Dub warriors of Tibet. In respect of their memory, we owe them no less.


http://giant.genesis.uark.edu/~gumgong/khambawarrior.gif

References:
The Third Eye; by T. Lobsang Rampa; 1956, 1958; Brandt &Brandt.
Adventures of a Tibetan Fighting Monk; by Hugh Richardson; Tamarland Press, Bangkok, 1986; (out ofprint).
Bayonets to Lhasa; by Peter Fleming; Harper & Brothers, N.Y.; 1961.
Additonal Reading:
Tibet; by Norbu & Turnbull; Simon & Schuster, N.Y.; 1970.
Revolt in Tibet; by Frank Moraes; Mc Millian Company, N.Y.; 1960.
Born In Tibet; Chogyam Trungpa; Harcourt, Brace, & World; 1966.
Seven Years in Tibet; by Heinrich Harrer; E.P. Dutton & Co., N.Y.;1954.

[diego]

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The next picture is a portrait of emperado.

The next is agianst a reverse punch, he steps to the left and brush block with your left and with right grab the grion.
grab attackers r shoulder,force down, upsetting attackers balance.
At same time r hand chambers for a backfist strike, then smashes the forearm to the base of attack's Skull.
Emperado chambers his right... For a elbow strike to the spine stopping the attack.



The next pic is a variation but stays inside:
left grab and a right backfist to grion, followed by a shoulder grab, butting your body extremely close to attackers. Finishes with a bigtwo knuckle backfist to the temple.

The last pic is a armtrap, and backfist to opponent's head.

[diego]

chinchoi is vertfist with big two knuckles
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sectiona:
vs a twohand chestgrab. In this section the black circles is the right arm, white circles is the left side; the legs dont move much in this section. You start in a empty stance" stand normal feet together", and for this section and most of the form your center of focus is at 12oclock!!!.
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a) left leg step back into right side fighting horse, and left palm checks opps right wrist, while your right elbow smashes down on pressurespot on ops r forearm- right above the inside of your elbow.

b)fire a right 3inch chinchoi to face your left palm covers at the inside of your right elbow, shocking his centerrush....a&b is really one movement!.

c) r foot slightly pivots and left knee dips to floor-cover grion- raise rear heel, while your right forearm at the bottom smothers the top of your opps forearms,
your Left Tiger Claw smacks/steamroll's his face" now he feel's disrespected ".

d) left claw moves counterclock and grabs opps right side hair, or skin if you can or do something else?!,
While you shuffle back into a rsfighting-horse"rsfh"
and you pull with your left and right horizontal elbow smash to his left temple" in the form you simply smack your palm, simulating the effect".

e) drop a right backfist to grion, your left palm covers at right-shoulder.

f) roll/whip a right-backfist to face, left covers/gaurds at your right-shortribs.

To finish.... right legthreads behind left for a "LSFH"!!!..





pt2---- this time rightside is strictly blackcircles/white is left


Set1/SecB:
you start in a lsfh, and the first section i drew from the leftside, so to follow the form you have to follow text, not what you see.....this is important!.

this is vs a r punch, with variation!.

a) from a lsfh, your left steps to 11 and your right to 5. Now your in a left bowstance, you leftpalm brush block"paksao" to his right outside forearm/elbow, while your rfist palm up chambers at rib.

b) r chinchoi to rib. c) left chinchoi to rib" these two flow, and the oppositte fist chambers at each punch.


d)your left palm presses at opps right upperarm, then your right in tigerclaw grabs your opps right collarbone/jacket!.""""""""""""NOW YOU STARTED AT 12...HE PUNCHED TO 6, YOU SIDESTEPPED AND THE BLOCK,2PUNCH&CLAWGRAB...YOUR CENTER OF FOCUS WAS TO 1OCLOCK""""""""""""

e)Pivot on your left from 11 to 9 and rightsidestomp outside opps right knee, then pivot your left agian to 7 and either right roundshin kick to gut, or roundnail"toe" kick to grion. This was done to 1&2oclock respectively.

f) Pull his shoulder down and inside with your right, while your right leg steps down to 3oclock, and your left knifehand palm-up, chamber's above your crown.

g)so your in a right side-bowstance with your centerline to 3, and he's still facing 6, just bentover. your centralline"shoulder-out" is facing 12;
left cutting hand to the base of neck, while right pulls back like chamberfist.


bring your left foot inclose to right, then step your right to 6 and your left to 12, for a lsfh & Cover.

[diego]

a student of a senior emialed me a variation, instead of two shots to the ribs first punch hits the rib the second goes to jaw, then he only does the roundkick, and chops, differant but the same, all good****....

[diego]

with the hopgar techs, and use this vision with the following drawings and ex im going to post, you people should get a good idea what kajukenbo/hopgar is like.
I'm posting this in hope's a newbie or senior memb has info, plus its interesting, and i'm always off-topic on this board:cool:

[diego]

....

[diego]

Kajukenbo
Brutality with a Purpose

by John Bishop


Brutal, deadly, overkill, street effective. These and many other such terms have been used to describe the martial art system known as kajukenbo. Kajukenbo gained it's reputation for being brutally effective decades ago in the U.S. Territory of Hawaii. In the Hawaii of the 1940s the enemy was not the ancient battlefield soldier, it was the common street criminal. Instead of swords and spears he armed himself with knives, clubs, and guns. Even when unarmed he did not fight by any rules. He punched, kicked, gouged, bit, and stomped. If you encountered one of these brutal street fighters you were in for a life or death battle. Kajukenbo was designed to win such a battle. Since then it's eclectic use of five martial arts and it's no-nonsense approach to self defense has contributed to it's rapid growth and strong reputation as an highly effective self defense system.

The Development of Kajukenbo
Kajukenbo is a prime example of American ingenuity. It is also America's first martial art system, having been founded in 1949 in the U.S. Territory of Hawaii. One of today's foremost instructors in kajukenbo is Gary Forbach from San Clemente, California. According to him, kajukenbo's inception came about in 1947 when five Hawaiian martial arts masters calling themselves the "Black Belt Society" started on a project to develop a comprehensive self defense system. These five men of vision were Peter Choo, the Hawaii welterweight boxing champion, and a Tang Soo Do black belt. Frank Ordonez, a Sekeino Jujitsu black belt. Joe Holck, a Kodokan Judo black belt.
Clarence Chang, a master of Sil-lum Pai kung fu. And Adriano D. Emperado, a Kara-Ho Kenpo black belt and Escrima master. Together these men trained for several hours a day taking advantage of each others strengths and weaknesses to develop their new art. When Joe Holck and Peter Choo would spar Holck could see his weaknesses in striking techniques, and Choo would realize his vulnerability once he was on the ground. Emperado was able to show Choo how a kenpo man could work inside a kicker with rapid fire hand techniques. Chang in turn, showed the others how the circular flowing techniques of Sil-lum Pai were used to evade and strike. And Frank Ordonez showed everyone how to go with an attackers force and then re-direct it against him with painful locks and throws. After it was decided that kenpo would be the base to build on, it was a daily three year process incorporating the tang soo do kicks, jujitsu joint locks, judo throws, and sil-lum pai circular techniques into a complete system. Now all the system needed was a name. Joe Holck suggested that the name should be "Kajukenbo", ka for karate, ju for judo and jujitsu, ken for kenpo, and bo for Chinese boxing (kung fu).


Today kajukenbo is practiced all over the world.
Kajukenbo techniques
Like most karate systems kajukenbo has katas or forms. These 14 katas are known as "Palama Sets" 1 through 14. ( These katas were formerly known as Pinans. Forbach explains that in February of 1993 Professor Adriano D. Emperado renamed the katas to show their origin, the Palama Settlement of Honolulu, Hawaii.) Like traditional systems, kajukenbo takes a number of it's self defense techniques from it's katas. Although the Palama sets provide the kajukenbo stylist with many good techniques, kajukenbo's strength lies in it's self defense techniques.
These self defense techniques are arranged and categorized into 15 grab arts, 21 punch counters, 15 knife counters, 13 club counters, 9 two and three man attack counters, and 26 advanced alphabet techniques.
By combining techniques from tang soo do, judo, jujitsu, kenpo and kung fu, the kajukenbo stylist can defend himself in many ways. He can use soft circular kung fu techniques to evade and strike. Or he can use judo or
jujitsu to throw an attacker to the ground or restrain and control him. Forbach feels that the strength of kajukenbo is in how these techniques are combined. For example, if the attacker punches, the kajukenbo stylist may step into the attack at a 45 degree angle while blocking with a soft palm block. He would then counter attack with several rapid fire kenpo hand strikes followed by a judo foot sweep. Once on the ground the attacker could be struck again or controlled with a jujitsu lock. Unlike most traditional systems, kajukenbo relies heavily on combination techniques. These combination techniques are arranged so that each technique will set up the next by following the reaction of the attacker's body. Although some martial artists may describe this as overkill, Forbach feels that an attacker may not be stopped by one strongly focused blow. Therefore the
theory behind kajukenbo is that it is better to counter with a multitude of techniques that can be ended when the threat no longer exists, than to rely on one technique and find that it is not enough.

Kajukenbo Training
Even the best designed self defense system is of little value if the training and instruction is weak.
The brutality of the kajukenbo workouts in the early years was legendary. Broken noses, bruised ribs, and black eyes were a everyday occurrence in the early kajukenbo schools. Professor Emperado had a motto,
"The workout isn't over until I see blood on the floor". His felt strongly that if someone was afraid of pain, they would be defeated the first time they were hit. He also felt that his students had to get used to pain and learn how to give it back. This enabled them to find out which techniques worked and which didn't. Because of these realistic workouts numerous martial artists from other systems undertook kajukenbo training. Some stayed and some returned to their own systems, but all who had witnessed kajukenbo were impressed.
Today's kajukenbo schools have had to alter their training somewhat due to the times. In the early days very few if any women or children trained. Also nobody worried about lawsuits or liability insurance.
In discussing modern day training Forbach explained that he still conducts full contact training, but the students are gradually eased into it, and it's not an absolute requirement. "I don't want to lose people, but yet, at the same time, I don't want to lose the essence of the art. I try to work a little bit slower than they did in the old days. I don't want anyone getting injured, but I want them to get as close as they can to reality in their training, without injuries. Of course we now use protective gear and contact to the face and vital areas has been
eliminated".
When asked about the brutal reputation that kajukenbo has acquired over the years Forbach had this to say. "Kajukenbo is designed to defend against many types of attacks. I don't teach my students to be violent, but I also don't teach them to turn the other cheek. My students have the utmost respect for their fellow man, but they are prepared to protect themselves completely if the need arises. In other words, It's better to know how, and not have to; than to have to, and not know how."

[diego]

Adriano D. Emperado
The Force Behind Kajukenbo


by John Bishop

Decades before anyone envisioned the combining of martial arts systems to form a eclectic system 5 men in Hawaii were already doing it. These men were not like some of our modern day style founders who have a marginal knowledge of various systems and no expertise in any. These men were all masters in their own systems. Peter Choo was a welterweight boxing champion and a black belt in tang soo do. Frank Ordonez was a black belt in sekeino jujitsu. Joe Holke was a 8th degree black belt in kodokan judo.
Clarence Chang was a master of sil-lum pai kung fu. And Adriano Emperado was a 5th degree black belt in kara-ho kenpo. All 5 of these men worked together between the years 1947-49 to combine their techniques and create the kajukenbo system.
With the start of the Korean War, Joe Holke, Peter Choo, Frank Ordonez, and Clarence Chang were drafted into service. This left Emperado to teach their new art.
Adriano D. Emperado was born in Honolulu, Hawaii, on June 16, 1926. He was born to Filipino Hawaiian parents in the poor Palama section of Honolulu. Like a lot of poor areas the Palama settlement was a violent
place to live. Confrontations and fights were a daily occurrence. Because of this Emperado started his self defense training at the age of 8. At this time in his life both his father and uncle were professional boxers, so of
course he was taught how to box. His next training came at the age of 11 while he was living with his older brother in Kauai. There he learned the basic 12 strikes of escrima. At age 14 he found himself back in his old
Palama neighborhood. There he trained in judo under Sensei Taneo at the Palama Settlement Gym. A few years later at the age of 20 Emperado undertook the serious study of kenpo at the Catholic Youth Organization in Honolulu. These classes were taught by the legendary Professor William K.S. Chow. Professor Chow had been a student of kenpo jiu jitsu instructor James Mitose, and also held a 5th degree black belt in judo. Emperado trained daily with Chow and soon became his first black belt. Emperado spent many years with Professor Chow becoming his Chief Instructor and attaining the rank of 5th degree black belt. During the developmental years of kajukenbo Emperado would train with the 4 other co-founders during the day and then
teach classes for Chow in the evenings.
After the other 4 went off to war Emperado started the 1st kajukenbo school at the Palama Settlement Gym in 1950. At the Palama school students could train for $2.00 a month. The workouts that took place there are
legendary for their brutality. Emperado has been quoted as saying that a workout wasn't over until there was blood on the floor. When this author asked him about this statement he explained that the statement was true. He went on to say "that you have to experience pain before you can give it.
You have to know what your technique can do. We lost a lot of students in those days, but we also got a lot from other schools, including black belts. These students would look at what we were doing and realize that we had a no nonsense effective system". When asked who some of these early black belts were he named Woodrow McCandless from the Mitose school, Brother Abe Kamahoahoa and Paul Yamaguichi from the Chow school, and others from various fighting systems. He then described how his first black belt Marino Tiwanak joined his class after being soundly defeated by him in response to Tiwanak's challenge. What makes this such a astonishing story is the fact that Marino Tiwanak was the flyweight boxing champion of Hawaii at the time of the challenge.
With the success of the Palama Settlement school Emperado started expanding. He left the teaching at the Palama school to his brother Joe while he started classes at the Kaimuki Y.M.C.A. and the Wahiwa Y.M.C.A.. Soon the Kajukenbo Self Defense Institute of Hawaii, Inc. was the largest chain of karate schools in Hawaii. Emperado also became instrumental in the development of tournament karate in Hawaii. He sat on the Hawaii Karate Rules Board, which established standards for competition used throughout the islands. He also
promoted and officiated at several major karate tournaments throughout the islands.
Although he was very successful in the martial arts he never made a living at it. Because he taught at Y.M.C.A.'s and recreation centers he always kept his student fees low.
A lot of Emperado's knowledge of street fighting came from his many years in law enforcement. He had spent 14 years as a harbor policeman for the Hawaii Department of a Transportation, and a year with the Hawaii
Attorney General's Office. While with the Attorney General he served as a body guard to the governor. He then went on to become the security director for a large company. He worked in the corporate security field until he
suffered a heart attack in 1982.
All of his life Emperado has studied various martial arts. In his 30s he expanded his knowledge of escrima by training with his step father Alfredo Peralta. Peralta taught him a method using the single stick. Emperado described how they would take 2x4s and taper down handles and then train with them. He said that "after a workout with the 2x4 you could make a rattan stick go like lighting".
About the same time he started a serious study of various kung fu systems. He studied under Professor Lau Bun of the Choy Li Fut system and Professor Wong of the Northern Shaolin system. Several years later these
professors and the Hawaii Chinese Physical Culture Association awarded Emperado the title Professor 10th degree. Also at this time he was awarded a certificate by Grandmaster Ho Gau of Hong Kong appointing him as a advisor and representative of the Choy Li Fut system. This certificate was signed by Grandmaster Ho Gau, Professor Cheuk Tse, and the directors of the Hawaii Chinese Physical Culture Association. This was truly an accolade when one considers that the Hawaii Chinese Physical Culture Association was the first kung fu school outside of China. Because he had been exposed to many fighting systems Emperado has always been one to welcome innovation. Unlike most of the traditional systems, his kajukenbo evolves constantly. To date there are 4 systems within then kajukenbo style. The first of course is the Original Method, sometimes referred to as the kenpo karate branch. This is the system that Emperado, Holke, Choo, Ordonez, and Chang formulated between 1947 and 1949. The original method uses kenpo karate as a base and adds selected techniques
from the tang soo do, judo, jujitsu, and sil-lum pai kung fu systems. The second system is the Tum Pai branch. This system was in development from 1959-1966 by Emperado, Al Dacascos, and Al De La Cruz. Development was suspended in 1966 when Dacascos moved to the mainland. Its development was
then re-activated in 1984 by Jon Loren. The Tum Pai system incorporates the original kajukenbo techniques along with tai chi chuan elements. The third system is the Chuan Fa branch. This system started development in 1966. Again this was a collaboration of Emperado, Al Dacascos, and Al De La Cruz. This system incorporated the Northern and Southern styles of kung fu with the original method of kajukenbo. The result was a blend of soft and hard techniques. The Chuan Fa system also opened the door to the richness and unlimited techniques that the Chinese arts had to offer. The last system is the Won Hop Kuen Do (combination fist art) branch. This branch was the brain child of Al Dacascos. When he moved to the San Francisco area in the early 60s Dacascos supplemented his kajukenbo training with an extensive study of the Chinese and Filipino arts. In 1969 he saw that his kajukenbo was becoming a blend of the various systems that he was learning. This system that he named Won Hop Kuen Do contained the original kajukenbo forms and 25 exclusive fighting principles. Like all of the systems, Won Hop Kuen Do is in a constant state of evolution. Although kajukenbo has 4 systems
Emperado has always stressed that no system is superior to another and that they are not improvements on the original method. They are just kajukenbo expressions that emphasize different techniques. In his lifetime Emperado has seen his kajukenbo style grow into a major martial art that is practiced all across the United States and in several countries.

[diego]

Next week.....

[diego]

http://clubs.yahoo.com/clubs/kajukenboworldwide
http://clubs.yahoo.com/clubs/kajukenbo2000
http://www.geocities.com/Colosseum/Bench/8528
http://zidav.home.sprynet.com/dp1.html
http://www.kajukenbo.org
http://www.dacascos.de/sites/frames/eng/hp.htm
http://www.kajukenbo.com
/http://www.wunhopkuendo.com/
http://www.ringsurf.com/netring?ring=kajukenbo;action=list
http://www.english.swt.edu/Scott's.Stuff/kaju/index.html
for kaju video, at this last site above, goto Required skills, then click on OnestepDefenses for video.

lionroar:
Greencloud.com
hopgar.com

[diego]

cutnpaste the full text"bluenblack" of that last kaju link for the vids

[diego]

:)