(from limkarate.com)
Born in Yokohama, Japan and trained in Hawaii, Papa George Lim has been exposed to the best. With over 40 years of martial arts experience, he represents the teachings, training and techniques of Professor Marino Tiwanak and Grandmaster Allen Abad.
Papa Lim has traveled and taught nationally, as well as internationally & is able to fuse the traditional and contemporary in a way that defies your wildest expectations. The tide goes in and out everyday but some things happen once in a lifetime. Don’t miss a unique opportunity to learn from such an inspirational teacher!
(This interview came from a website which no longer exists, kenpoworld.com, date of interview is unknown.)
What style of Kenpo do you practice?
Currently I study and train in my own system which has been dubbed "Jun Bao", that is simply my name in Chinese and has come to represent the amalgamation of arts that I have studied and made a part of my life for the last 40 years.
Who were your major influences in the martial arts?
Of course Grandmaster Ed Parker was a major influence, the excitement that Bruce Lee brought to the times and many others of course. Grandmaster James Wing Woo, can not be left out because he was the progenitor of much of what the American Kenpo Stylists do today. Then there are men like, Tuiolosega, Castro, Norris, and a thousand others. But even saying this not one of these men has inspired me and influenced me as much as the students who have come to me seeking knowledge. As they got better, they forced me to change, adapt, grow and seek out more information on what I was doing and why I was doing it. It's funny but when you bring someone from white to black, you can't help but be changed and influenced by that process. Changing others, must change you.
What books, videos, or other reference material would you recommend for the Kenpo enthusiast?
Read everything by Parker, read the Art of War, read the bible. In many ways the bible is a blue print for the way to live, fight etc., not just from a religious stand point mind you, but from a historic and cultural position as well. Read everything you can on every subject as the more your mind expands the more the world opens up for you. Fiction is good, but history is better. You see, no matter what you do, it has already been done by someone else, it is new, but only new to you. If you study history, you in turn study the future. Read everything, pick and choose what works for you, discard the rest. But keep the mind active and alert. Its funny to me that many people who were once great in the arts now falter. Most of it isn't physical but mental. Remember the body is a tool, the mind the plan and the spirit the engine that runs them all together. Reading keeps the mind active and broadens your perspective. You must thirst for the knowledge that is hidden within the world of the written word.
What is your current rank and what steps did you go through to attain that rank?
All of the rank that has been given to me has been given by others who found me deserving. I am simply a black belt, an instructor, a teacher. Sifu Ibrao. Rank is important only in as much as it allows me to persuade or to teach others. Other than that I have no use for it.
Why did you begin studying the martial arts? Why Kenpo in particular?
I studied because I wanted revenge on someone who I believed had wronged me. I chose Kenpo because it was particularly vicious and aggressive. I was young at the time and being young my heart was bigger than my ability to reason and think. However after the first few months, I fell in love. I mean, I really fell in love with what Parker was doing. We all had a hand in it. We developed the movements, I did kicks, someone else added this or that. Parker put it all together. Kenpo is an ever evolving and changing art, beautiful, but it takes its toll on the one who uses it. Parker had power, I mean real power, that was a result of Kenpo.
What has made you decide to stick with Kenpo?
Nothing made me decide to do anything. When you are on a path, any path, all you do is put one foot in front of the other and go with the flow. A better question is why did I stop doing one thing or another? It is because my path held me firm and true, what was not meant to be visited along that path fell away. You see, what you are meant to do, you do. Look at how many failed men there are, broken men, I mean really sad stories. This is the result of refusing what you are supposed to do. We all have purpose, we all have meaning, we all have a path. We must follow that path. Right now, my path is to bring my art to as many people as will accept it. Nothing more, nothing less. The path of others is to accept it, or get out of the way because I am coming through. It is what I have to do.
Other than Kenpo, are you studying any other martial arts?
Listen, if you study Kenpo, you are already studying another art. If you study Karate, or Kung Fu or Tai Chi or Shotokan or Ground Fighting, you are already studying another art, you just aren't paying attention. Take the basics, roll them from style to style, what do you have? Has the motion of raising your thigh to launch a thrust kick changed because it is Kenpo v. Tae Kwon Do? Come on, when you play with a motion, any motion, there is only so many nuances and changes one can make to say he is different. Acknowledge what you are doing, take part in it and celebrate the common ground on which we all stand. One of the basic tenants of the arts is respect. As soon as we learn to respect the common elements of other systems and styles we can more fully appreciate our own.
What martial arts organizations do you belong to and what positions do you hold in those organizations?
I am in charge of my own organization, The James Ibrao Martial Arts Association. I hold Black Belts in a number of other systems and I have been awarded honorary GrandMaster Positions in Kajakenbo and Lima Lama. There are others who I am very proud to be associated with but these are private matters and they shall remain this way. However, the kindness, openness and friendship that so many artists from around the world have shown me really gives me a free pass to go wherever I want in most of the top organizations and I am truly grateful for this.
What is your curriculum like? What material do your students focus on?
Basics, punches, kicks, blocks, stretching, push ups, sit ups, we use the rings to build arm strength. We use Tai Chi to build concentration and inner peace and then there are more basics. I think however above all other things my focus is on passion and passionate interpretation of what you are doing. I'll tell you a story. I had a student who came to me twenty some odd years ago. He is a big man, 6'3 250 lbs, muscle and attitude. He asked me to teach him to fight. I turned him away. I met him again, eight years later, his body had matured, he was stronger, again he asked me to teach him to fight, again I turned him away. He returned again six years ago. He had been studying with a number of very good teachers and instructors. He is a complete fighter, ground, street, karate. This time he asked me to 'train' him. His passion is so strong that it is frightening. Every punch he throws, every kick, every block has purpose, direction and passion. He doesn't know it, but his stare stops people in their tracks. He has power and you know what? He is completely oblivious to it. He no longer desires to fight, his focus is each and every movement, every breath. I can tell you I taught him that. It took him 20 years to learn the basics. This is what I teach.
How would you describe the ideal student?
For me, the ideal student is anyone who walks into my studio, gym or backyard with the desire, humility and passion to learn.
How would you describe the ideal instructor?
The ideal instructor is thirsty to teach. Thirsty to teach regardless of money, situation, time, weather, whatever. Teaching is not for everyone. I still get butterflies when I see a room full of students who are ready to start class. Man, you have to be willing to learn in order to teach. I had a little girl one time who looked up at me and said, Sifu, I know karate. I asked how was that? She told me, 'because you taught me'. That's another thing, you have to be genuine, people can smell a fake, especially kids. It may take a while but they root them out. Be genuine, sincere and straight with your people, the rest falls into place.
What do you expect from a Black Belt?
That's a loaded question because the ranking system is all out of whack. You've got 10th degree black belts over here, 5th degrees over there and 20th degrees around the corner. You know what I like? I like a guy who puts on his belt, keeps his mouth shut; except when he's asked a question and does his thing when the time is right. It doesn't get any better than that. Sure you can say community service, cleans the dojo, interacts well with others, knows his techniques; but that is to be expected, I like the individual who knows himself and his limitations. The one who takes stock of him or herself and then says, If I add a little more passion, a little more desire, I can do more. Whew! I love that!
How would you suggest maintaining the quality of instruction at satellite schools?
There are very few ways to maintain quality. People get old, tired and lazy. Money enters the picture and everything changes. The only thing you can do is start with quality to begin with. I answer all of my e-mails, I take all the phone calls. I go wherever a student calls me. I do all that I can. The rest is up to integrity and pride of the student.
What are you doing to keep up your skills and increase your martial arts knowledge?
I train every day. Every day. I work 5 days a week and I go to class with Master Wing Woo weekly. His school is beautiful to me. I feel like a kid when I slide onto that smooth cement floor. Its polished so you have to be careful, but I'm out there and at my age and I expect that I can keep it up for another ten, fifteen years at least. Mostly I try to keep my mind active. This internet has really rekindled my career and brought me out to a whole new generation of stylists. Just answering and reading their mail and comments is a challenge, but it keeps me active. An object in motion tends to stay in motion and I am no exception. Next, I stay grateful. I live in the greatest country in the world, I have a job, a beautiful family, people who love me and people who hate me. That's passion. Life is nothing without it. Imagine being the guy that everyone was indifferent about, that would be the worst. I also expose myself different styles, people and schools. I do a lot of traveling now and you really get to see some exciting things on the road.
How do you feel about adding new material to the art?
Add what you want, do what you want, just keep it real and keep it relevant. You think you're going to change the face of any art? Good luck, its already been done baby. All you can do is play with the motions and be the best YOU can be. The rest is academic. Listen, what do you think Crouching Tiger was about? Guys flying through the air and running on clouds. That's what we would like to do, fantasy, if you can't add that, you better get back to work on the basics. There's a lot more power in the basics than there is ever going to be in some strings and wires. Let me say that again, you want new material? Do the basics, do them right. How's that? I'll tell you. Sweat, intent, concentration, practice and passion.
How do think Kenpo practitioners today compare with those of 20 years ago?
Twenty years ago, you hit harder. There was less money in it, less exposure and everybody wasn't wearing belts with 15 red stripes. Movies, fantasy has taken over and I'm not saying that is a bad thing because it has broadened the world of the arts and brought many more artists into the fold, but 20 years ago it was a little more driven.
What do you think students will be like 20 years from now?
I don't know. If I look to the past I'd say that you'll have the same mix as now. Some serious, some not so serious but I do believe one thing for sure. The ground fighting craze has really brought a new reality to a lot of people. If it isn't outlawed or banned by the government you just might see some truly 'Roman Spectacles'. I'm not saying it should be banned I'm just saying one thing leads to another. We always have to raise the stakes. But even then you will still have the arts in a true form. See, no matter what, people get older and hopefully wiser. They have to return to what they can do when the back has given out and the knees don't work, guess what that would be? That's right, the basics.
What do you think is the biggest misconception about Kenpo?
Misconceptions are based in individuals, not in groups as a whole. Most Kenpoists that I have met with know what they can and can not do. Whether they admit it or not is another thing. But on the whole you are talking about people who are willing to spend years developing their art, what's wrong with that?
What advice do you have for the aspiring student?
Question everything and every body and then question yourself. If you can't get a good reason for why you are doing something don't do it. If you can't give yourself a good reason for why you are doing something; you can't have passion for it, if there is no passion, no love, no feeling, don't do it. You're just going through the motions. You have the greatest machine ever designed working in your very own skull. It can think, dream, scheme, motivate, put it to work. Build passion for everything you do. Make a decision and stick with it, passionately. If you can't do that get some popcorn and a remote and have a good time in front of the tv.
You have recently released your "Five Forms to Black" program. Why have you decided to released this program now?
This is my legacy to the arts. These five forms have allowed me to remain competitive and strong well into my 60's. Wing Woo is in his 70's and still going strong. He moves like a ghost. I love to watch him walk. Each of these forms has been designed to develop one or more parts of your body. Strength, flexibility, power, endurance, balance, patience. This is a system for life, long life. How many 50 year old kickboxers are there? None, that's how many. You can not trash your body. My system builds you up, strengthens you and motivates the mind. You see your attackers, feel the energy of your blocks, punches and kicks. You feel the fire in your belly and you think. THINK. I am so proud to bring this system to people because it works. I stand by it and you should read the letters I get from people who have been studying my forms, my system. Not one return, not one complaint. It is done right. Look at the site, www.thebelt.com. It was done right too. It took years and the people behind it didn't blink when I said change this or that. They allowed me to do what I know and to teach my way. It was my path to teach this system and I stay on my path.
What are the forms that you require in your "Five Forms to Black" program and why have you chosen those specific forms?
Bungi, Gungi, Gom Gong Kuen, Si Ping Kuen, Tiger and Crane. Done right. These are the forms and I choose them because they work. I choose them because I see the effects they have on my students and their students as well. I choose them because walking along my path I found them and they have made my path, straighter, smoother and a joy to be on.
(Black Belt magazine article by John Bishop - date unknown)
Unlike many of todays so called masters, Adriano D. Emperado is a very humble man. He has no publicist, has never been one to seek out publicity, and rarely grants interviews. Black Belt was very fortunate to locate Professor Emperado at the Forbach Martial Arts Academy in San Clemente, Ca., where he was conducting the Saturday morning black belt workout. He was also spending a few days with his student Gary Forbach before going to Hawaii for the holidays. We thank Mr. Forbach for assisting us in obtaining this vary rare and exclusive interview with Professor Emperado, the Sijo (founder) of the Kajukenbo system and our 1991 Instructor of the year.
So what have you been doing the last year or so, besides being elected to the Black Belt Hall of Fame?
I've been living in a cabin in Virginia, where I have been writing my autobiography. I have a deadline of April 1993 from the publisher so I've dedicated all my time to it.
That sounds very interesting, you probably have some great stories about a lot of people in the martial arts.
I sure do, but that will come out in the book.
Can you tell us a little about the book?
It's basically going to be my memoirs about my life and the people in the martial arts I've known over the decades. I'll talk about a lot of the martial arts events I've been witness to. And of course a lot of stories about the people of Kajukenbo.
Can you tell us one of the Kajukenbo stories?
Back in the 60s one of my high ranking black belts asked me to sign a piece of paper for him. Thinking nothing of his request, I signed it. He then said he wanted me to sign it again, but to write larger. When I asked him why, he then told me that he wanted a good example of my signature so he could use it to make sure no one was forging my name on certificates. A while later I was visiting a Kajukenbo school. While there I was looking at the instructor's certificates on the wall when he proudly showed me one with my signature on it. I looked at it real close because I did not remember ever signing it. I later found out that my student had taken the paper I signed and had a signature stamp made. You see he had charged his students extra testing fees if they wanted my signature on their certificates.
That's a very interesting story, were looking forward to reading the book. Can we talk a little about you and the Kajukenbo System?
Of course.
When and where were you born?
I was born on June 15, 1926 in Honolulu, Hawaii.
What was your first exposure to the martial arts?
When I was 8 or 9 years old I was taught some boxing by my father and uncle who were both professional boxers. They fought at the old civic auditorium in Honolulu. At about 11 when I was living with my brother in Kauai I learned the basic 12 techniques or strikes of Escrima. And then at the age of 14 I trained in Judo under Sensei Taneo at the Palama Settlement Gym in Honolulu.
And of course you trained under the legendary Professor William K.S. Chow of Hawaii. Can you tell us about this man and his classes?
I started training with Professor Chow at the Catholic Youth Organization when I was 20 years old. Professor Chow had been a Kenpo Jujitsu student of James Mitose and also had a 5th degree black belt in judo. Like Mitose he emphasized makiwara training and ground work. The makiwara training was to develop that one punch kill that was the trademark of the Japanese styles. He also tried to be more innovative than Mitose and taught a lot of ground work because of his judo background.
Who did Chow receive his judo training from?
I'm not sure, but it may have been Professor Okizaki.
Professor Chow was also said to have been taught kung fu by his father, can you tell us about this?
I'm not sure how much kung fu training Professor Chow had in his early years. When I knew him he would tell me of visions he had of his father and grandfather. In these visions they would reveal kung fu techniques to him.
Visions?
Yes, one particular time in about 1952 or 53 he told me that his grandfather had appeared to him in a dream. He said his grandfather showed him some techniques and told him that they were "Kara-Ho".
What does "Kara-Ho" mean?
Actually nothing. Karaho is a derogatory term in Spanish, but Chow never had a meaning for the word. He said Kara-Ho was what his grandfather told him to call the art. Before that, at different times he had called his school "Go Shin Jitsu Kai" or "Lighting Karate" or "Thunderbolt Karate".
How close were you to Chow?
I was his first black belt, his Chief Instructor and a 5th Degree Black Belt under him. We were very close for many years.
Some people say that Professor Chow's black belts abandoned him, others used him, and that he lived in poverty?
It's true that Professor Chow lived in poverty most of his life. Hawaii is a expensive place to live, and he had no education. He could not read or write, so when he worked he was usually a stevedore or security guard. He also was not a good businessman so he didn't make a lot of money teaching the martial arts. Some people would visit him or invite him to do seminars for them. There was always large sums of money promised to him in exchange for a seminar and promotion. Most of the times the money was never paid or it was not the amount that was promised. Later in life he was forced to collect cans on the beach daily just to make ends meet. It bothered me to see the way he lived, but I tried to help him. When we were starting to get our schools established I went to the Professor and told him that we wanted to start an association with him as the head, and that we would all contribute dues to help him out financially. But you see Chow was a very proud and stubborn man. He refused our gesture of respect.
Can you tell us about the founding of the Kajukenbo system?
In about 1947 while I was still with Chow, I got together with 4 other black belts to train and develop a style of our own. I felt that the Kenpo Jujitsu system that I had learned lacked self defense techniques against multiple attackers or even multiple strikes. We had trained hard and fast to simply block and strike. We were developing the mentality of only facing one strike, and ending the fight with one focused punch. I started to ask myself, what if my attacker throws a number of strikes and kicks at me? What if my one well focused punch doesn't put him down? This is why we got together. We called ourselves the black belt society.
Who were the other members of the black belt society?
Peter Choo who was a welterweight boxing champion and a Tang Soo Do stylist. Frank Ordonez was a Sekeino Jujitsu stylist, Joe Holck was a 8th Dan in Kodokan Judo, Clarence Chang was a Sil-Lum Pai Kung Fu stylist, and of course there was me.
So how did this development process take place?
Because of the Korean War many of the military barracks and buildings around Honolulu were empty. We would use these abandoned buildings for our training so we could train everyday without distraction. We could train in one building for a while and then switch to another. You have to understand, in Hawaii there is much competition in the martial arts. Instructors would go to other dojo's and kwoon's to see what everybody else was doing. In fact some people would train at more than one school or have their own students on the side even though they were still students themselves. When we were developing Kajukenbo I was still training under and teaching for Professor Chow. Anyway we tried to keep our meetings as secret as possible.
During these training sessions we would take advantage of each others areas of expertise. We worked on ground techniques, Korean style kicks, jujitsu locks and breaks, kenpo hand techniques, and circular kung fu techniques. We tried them on each other, looking for each others weaknesses. A karate or kung fu man was no good if a judo man were to take him down and choke him out. We combined our knowledge into self defense techniques that covered every situation we could think of, including multiple attackers, knife defenses, and club defenses. Two years later when we were finished we needed a name to describe our combination system. Joe Holck came up with the name Kajukenbo. KA for karate, JU for judo and jujitsu, KEN for kenpo, and BO for Chinese boxing(kung fu).
Some people have credited you as being the main creator of Kajukenbo, is that true?
All five of us created Kajukenbo and we wrote all our techniques down. Because of the Korean War the other four were called to service in 1949. It was left to me to continue the system. I'm the only one of the five who has ever taught Kajukenbo. In 1950 I founded the "Kajukenbo Self Defense Institute of Hawaii Inc.". The first school was at the Palama Settlement in Honolulu.
Tell us about the Palama Settlement?
The Palama Settlement was a City of Honolulu recreation facility. It had several buildings that housed dance halls, gymnasiums, cafeterias etc. It was set up to serve the needs of the poor people who lived in the surrounding areas. At the time of the founding of the Palama Settlement school you could join the settlement for 10 cents a year and use all the facilities. For Kajukenbo instruction we charged the members 2 dollars a month. For this fee they trained 5 nights a week for 3 to 4 hours.
Did you have other schools also?
Yes, after I started the Palama school I added schools at the Wahiwa Y.M.C.A. and the Kaimuki Y.M.C.A.. My brother Joe taught at the Palama Settlement school while I taught at the Y.M.C.A.s. Eventually there were 14 schools, the largest chain of karate schools in Hawaii.
So you made a good living teaching the martial arts?
No, I've never made a living teaching karate. You see we always charged very low fees for our instruction and we taught at Y.M.C.A.s and recreation centers. At the first schools we only charged $2.00 a month. That didn't even pay for belts and certificates. I always worked full time until I had a heart attack in 1982.
What type of work did you do?
I worked various jobs for Pan American Airlines for 10 years, and then I went into law enforcement.
You were a policeman?
Yes, in 1962 I became a harbor policeman for the Hawaii Department of Transportation. Then in 1974 Al Dacascos called me and told me that he was doing well in Colorado and that it was a good opportunity for karate instructors. So I quit and moved to Colorado. When I got there I couldn't believe what was happening. There was fighting between a lot of the karate schools. Not just fighting, people were getting their cars blown up, their houses shot up, it was bad. Plus it was cold, not at all like Hawaii, I didn't like it at all. I only stayed there for about a year because I knew that I only had 2 years if I wanted to be re-instated with the State of Hawaii. I returned to Hawaii and in 1976 I was re-instated with the harbor patrol. I soon transferred to the Attorney General's Office where I served as a guard to the Governor. Then in 1977 I resigned to take a position as head of security for a large complex called the Kukui Plaza. I worked there until I had a heart attack in 1982.
You have talked about your childhood training and kenpo training with William Chow. Have you trained in other systems?
In my 30s I expanded my Escrima training with my step father Alfredo Peralta. He taught me a method using the single stick. We would take a 2X4, cut it arm length and taper down a handle at one end. We trained with this to build powerful wrists and forearms. After training with the 2X4 you could make a rattan stick go like lightning.
Was Alfredo Peralta a well known escrima man?
Oh yes. You see in the 40s and 50s they would have full contact escrima matches at the civic auditorium in Honolulu. Alfredo was beating everybody there until the gaming commission shut em down. Also, in Kauai, Alfredo fought Floro Villabrille. He won that match against Villabrille and left him with a scar above his eye.
Kajukenbo has a lot of kung fu elements, did you also train in kung fu?
Yes, in my 30s I also trained in various forms of kung fu under , Professor Wong, and Professor Lau. It was several years later that these Professors and the Hawaii Chinese Physical Culture Association awarded me the title of Professor, 10th degree. I was also awarded a certificate by Grandmaster Ho Gau of Hong Kong appointing me as an 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.
Isn't it true that you also received a instructors certificate from James Mitose?
Yes, I went to Mitose for instructors training and later received a instructors certificate, but I place little value in it because I later found out that Mitose sold high ranks to some people while he was in Hawaii. Also I always considered Professor Chow to be my instructor.
Mitose was a controversial figure who spent the last years of his life in prison. Can you tell us something about the Mitose you knew in Hawaii?
When Mitose taught Kenpo Jujitsu he always emphasized his religious philosophy. He dressed as a minister, carried rosary beads, and chanted like a Buddhist. He always stressed that you were never to use kenpo, even for self defense. His workout was that of traditional Japanese karate. We did makiwara training, some jujitsu takedowns and throws, and worked on developing the one punch kill. We also had one kata; the Naihanchi kata.
What did Mitose call his art and who did he learn it from?
Mitose called his art Kenpo Jujitsu. He told us that he had learned it from Choki Motobu. I never heard the term "Kosho Ryu Kenpo" until he went to prison and some other instructors visited him and got master certificates in Kosho Ryu. I also never heard from him the story about the Kosho family temple.
So Mitose was a highly peaceful and spiritual man?
Not really. You see in 1953 Professor Mitose paid a unannounced visit to my Palama Settlement school. He brought Dr. Arthur Keave and Masaichi Oshiro with him. He asked if they could demonstrate some techniques to my students. So I said ok, and Oshiro proceeded to demonstrate the Naihanchi kata. I then consented to demonstrate some of our Kajukenbo techniques. When all was done Mitose told me that me that I should call my system Kenpo Jujitsu since he considered it to be rooted in his system. I told him that I couldn't because there were 5 creators who contributed their arts to the system. He then became enraged and threatened to come back the next day with a samurai sword and kill me. Me and some of my students waited for his return, but he never showed. The next thing I heard he had gone to California. Years later I heard that he was in prison for having a student kill an old man.
So the Kosho Ryu we see today in magazines is not the Kenpo Jujitsu you remember from Hawaii?
Like I said I had never heard of Kosho Ryu Kenpo. Mitose called it Kenpo Jujitsu and some of the Japanese said that the traditional name should be Shorinji Kempo. The instructors who got the master certificates while visiting Mitose in prison were all from different systems, and I'm sure that he didn't teach them kenpo in prison. In fact Thomas Barro Mitose was a Kajukenbo black belt under my student, Joe Halbuna.
Speaking of Thomas Mitose, are there other people that were originally Kajukenbo black belts?
Many. The Shotokan stylist Ken Funakoshi was one of the black belts who came out of the Palama school, as was the actor Don Stroud. Funakoshi, who was a descendant of Gichin Funakoski felt that he should follow his heritage and train in Shotokan. I gave him my blessing. Paul Yamaguchi, who had come to me from Professor Chow, was the grandson of Gogen (the cat) Yamaguchi. He later chose to train in his grandfathers style of Goju Ryu. Again he had my blessings. You see I have never stopped my students from expanding their knowledge. That's why Kajukenbo has four branches, original or kenpo, chuan fa, won hop kuen do, and tum pai. The only thing I don't like is when instructors don't give credit to their roots, Kajukenbo. I don't care for instructors calling their schools "John Doe's kenpo karate" or "Kajukenbo John Doe's method". There is only one Kajukenbo.
How well did you know Ed Parker?
Before he started training with Professor Chow, Ed trained with me for about 2 weeks. While he was with me he took the first 8mm movies of the Palama settlement training. I knew him for many years. At times when I was in California he would have me as his guest of honor at the Long Beach Internationals. After Ed left Hawaii he became estranged from Professor Chow. It was Ed who brought kenpo to mainland America, made it popular, and made so many contributions to the art, so in the late 60s I promoted him to 8th degree black belt.
We have all heard of the blood and guts training that went on in the old days. Were these stories true?
When I taught a class I wanted to see blood on the floor before the workout was over, so there were a lot of injuries. You see, one has to experience pain before they can give it. You have to know what your technique can do. We lost a lot of students in those early 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.
Who were some of these students?
Woodrow McCandless was one of Mitose's black belts. Brother Abe Kamahoahoa, and Paul Yamaguchi were Chow's black belts. Marino Tiwanak was the flyweight boxing champion of Hawaii before he joined us. There were many.
Who were some of the tournament stars of Kajukenbo?
Al and Malia Dacascos won many tournament championships. Al Gene Caraulia won the 1st Karate World Championship in Chicago in 1963 when he was still a brown belt. Purple belt Victor Raposa knocked out world rated Everett "monster man" Eddy at the 1975 "World Series of Martial Arts". Carlos Bunda was the first lightweight champion at the Long Beach Internationals. Just to name a few.
So Kajukenbo has really grown since the Palama Settlement days?
Yes, there are Kajukenbo schools all over the world now.
How well did you know Ed Parker?
Before he started training with Professor Chow, Ed trained with me for about 2 weeks. While he was with me he took the first 8mm movies of the Palama settlement training. I knew him for many years. At times when I was in California he would have me as his guest of honor at the Long Beach Internationals. After Ed left Hawaii he became estranged from Professor Chow. It was Ed who brought kenpo to mainland America, made it popular, and made so many contributions to the art, so in the late 60s I promoted him to 8th degree black belt.
"I taught the police academy for 20 years. From 1973 to 1976 and then again from 1978 to May of 1996. This pic was taken by the Providence Journal when they were doing a special article on the R.I. Municipal Police Academy. They had just made the Flanagan Campus of CCRI the main headquarters for the police academy. The Journal (projo) was fascinated that they had a female defensive tactics instructor. I believe it was 1980/1981 or so when they came to do a photo shoot on me and my class. Later in 1981 PM Magazine ( a tv program) did a story on me teaching the academy. They followed me around from dojo to academy and my home filming that special. I don't remember the candidate's name in the photo. I just always pick an uke at random. The bigger the better."
Already a champion in numerous New England karate tournaments Linda Jean Herzog was up for promotion to black belt at SGM George Pesare's Kenpo Karate Institute in August of 1977.
Legend has it Ms. Herzog "went through the grueling 3-day black belt test with great pressure from the then (all male) Black Belts to try to ensure that she would not complete her testing."
Ms. Herzog passed the 3-day test and was promoted to 1st Degree Black Belt becoming the first woman to achieve such rank in the United States.
Ms. Herzog is currently a 9th Degree Black Belt and is retired from the United States Secret Service.
This powerful fighting method was developed during ‘80s by Master Amatto Zaharia, who created his organization underground at that time, as long as practicing martial arts during communism was illegal. Amatto Zaharia practiced boxing, judo, and karate, combining them in one fighting style being his best choice.
Amatto Zaharia is a multiple European and world champion but also a military expert, being one of the top instructors of the Romanian commando troops and an elite sniper also. In 2009, for his merits in promoting and developing the combat sport of Kempo worldwide, he was awarded by His Excellency Traian Basescu, the President of Romania.
But more than this, Amatto Zaharia was a visionary who pioneered the idea of bringing Kempo under the same umbrella for getting more and more recognition internationally as an official sport. At the end of the 20th century, based on long-time experience and connections in the world of Kempo, Amatto Zaharia started to contact different masters and Kempo styles/organizations, putting them at the same table, bringing to the same point the different rules of competition, uniformizing also the clothes of the referees and athletes. In this way, after many years of hard work and dedication, the International Kempo Federation appeared.
At present, Amatto Zaharia is an Executive-Member of the Romanian Olympic Committee and also the Executive-President of the International Kempo Federation.
http://olympickempo.com/about-ikf/kempo-history/
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| Parker, Ibrao, 1958 |
