nese, and the Japanese word kenpôis translated as “fist law.” Ch’uan’fa
is now headed by Bill Owens. Albert J. Dacascos developed Won Hop
Kuen Dô in 1969. This branch was inspired by Bruce Lee’s Jeet Kune Do
(pinyin Jie quandao), but has “long-fist” (i.e., long-range) techniques.
Thus, Won Hop Kuen Dô appears heavily influenced by Northern Shaolin
Boxing.
The techniques of Kajukenbo are a blend of many styles, encompass-
ing multiple ranges of combat into a cohesive system. Anyone cross-trained
in the styles, methods, and systems that comprise Kajukenbo could recog-
nize root elements of original sources. The high-line long-range kicking
comes from Tang Soo Do (pinyin Tang Shou dao). The throwing and grap-
pling techniques come from jûdô and jûjutsu. Kenpô brings to Kajukenbo
low-line kicking and hard-style striking. (In hard style, there is an empha-
sis on meeting force directly with an opposing force for offense and de-
fense.) Shaolin Boxing adds soft-style parries, low kicks, and fluid strikes.
Soft style means there is an emphasis on deflecting attacks with indirect
counterattacks. European boxing adds “bob-and-weave” defense (lowering
the level of the body and swaying) and efficient punching. Filipino escrima
adds rhythmic striking and angular footwork that is designed to evade at-
tackers and deliver indirect counterattacks, a principle that is also useful
for managing multiple opponents.
Kajukenbo uses deep “horse riding” (i.e., straddle) stances, not only
to strengthen the legs, but also to create a stable position from which to de-
liver pulverizing blows from above to a downed opponent. Another reason
for the “horse” stance in Kajukenbo is to save wear and tear on the knees
when using follow-up techniques against an opponent who is on the
ground. For example, should a downed opponent grab a defender in the
horse stance, there is the option to either spring away or drop to the knees
in order to pin the opponent. Moreover, no padded floor mats are used in
traditional practice, because no mats are available on the street. The horse
stance brings one closer to earth, lowering the center of gravity and giving
stability to uproot and off-balance attackers.
Trademark techniques of Kajukenbo are the “shadowless” kick, the
double grab, the hammer fist, and the cross-cover. The shadowless kick is
a low-line attack directed to the legs, groin, or abdomen. The kick is called
shadowless because balance is not broken, and telegraphing, or showing
preparation for the movement, is minimized. There is also a jump “switch-
ing kick” that is deceptive because of foot position replacement while in the
air. The “double grab” refers to the cross-hand grab technique, which
serves to open the formal movements of the art and, in practice, is designed
as an attack and defense combination. The double grab with both hands
crossed over hides the secret ripping and tearing movements, using the fin-222 Kajukenbo