The origin and history of Martial Arts is a controversial issue. One can see signs of martial arts in Egyptian, Greek, African, Japanese, Chinese, Thai, as well as other cultures.

The first fighting systems on earth probably evolved alongside humans because mankind must have always had a need to defend himself against animals, as well as against his fellow man. Ancient murals and sculptures show fighting poses from Egypt, India and Babylon dating from as far back as 5,000 years ago.

The martial arts as we know them probably did not evolve until systems of offensive and defensive skills were devised in or imported into China. There, in a country saturated with the spiritual teachings of Taoism, Confucianism and Buddhism, these fighting skills were combined with intangible elements such as compassion, discipline and self-control.

Martial arts are thought to have originated in India and made their way through China and across the rest of Asia. Folklore recounts mythical creatures called Tengu who practiced martial arts and passed them on to humans.

Founders of martial arts who wanted to give their methods the aura of legitimacy would often claim that the Tengu had taught them the art. Legend says that Bodhidharma, the Buddhist monk who brought Zen to China from India, also brought the martial arts. There is a clear path leading from the Southern China regions up to Korea, Okinawa and Japan. The details before that, and the exact details of that transfer, are greatly debated by historians and Martial Artists alike.

Through various periods in history when weapons were outlawed, the martial arts prospered as the only means for a person to defend himself and his family. But even as more civilized times descended upon humanity, the arts survived. They managed to outlive their violent origins primarily because they teach man much more than fighting. The true martial arts stress character development, discipline and respect. Self-defense, physical fitness and competition are some of the other benefits which modern practitioners enjoy. The fact that the martial arts have had a chance to evolve into many different styles has allowed it to endure for so many centuries.

Kajukenbo

Kenpo emerged as the core around which this new art was built. Although uncreditted by name, other influences included American Boxing (Choo was Hawaiian Welterweight Champion) and Escrima (Emperado also studied Kali and Arnis Escrima).

In the late 1940's, Palamas Settlement was a violent area and fist-fights or stabbings were commonplace. From this environment, the founders of Kajukenbo wanted to develop an art that would be readily usefull on the street. As they trained and fought in and around Palamas Settlement, the founders of Kajukenbo quickly gained reputations as formidable street-fighters. In 1950, Adriano Emperado, along with brother Joe Emperado, began teaching the new art in an open class. They called the school Kajukenbo Self Defense Institute (K.S.D.I.).

The emphasis during training was on realism - so much so that students routinely broke bones, fainted from exhaustion, or were knocked unconcious. Nevertheless, the reputation of this tough new art drew more students and Emperado opened a second school at the nearby Kaimuki YMCA. Soon Emperado had 12 Kajukenbo schools in Hawaii, making it the second largest string of schools at the time. John Leoning, who earned a black belt from Emperado, brought Kajukenbo to the mainland in 1958. Since that time, Kajukenbo has continued to flourish and grow.

From it's beginnings, Kajukenbo was an ecclectic and adaptive art. As time has passed, Kajukenbo has continued to change and evolve. Currently, there are a few distinct, "recognized" branches of Kajukenbo: Kenpo ("Emperado Method" or "Traditional Hard Style"), Tum Pai, Chu'an Fa, Wun Hop Kuen Do, and Gaylord Method. In addition, there are numerous "unrecognized" branches, including CHA-3 and Kenkabo. While this may be confusing for an outsider, it is the essence of the art. Students are not required to mimic the teacher, but are encouraged to develop their own "expression" of the art.