The doors to the Oriental Arts Academy of Las Vegas, Nevada, first opened in 1967. Its owners and instructors at the time was a young Native American named Sifu Saul Tallbear, a practitioner of the Chinese Temple Boxing system of Tai Liu Chuan and Hawaiian born, Japanese stylist of Aikido and Shotokan Karate named Sensei Carl Duduiot. The systems are fundamentally very different, but the dream of these two men was the same; to share with their community the values and lessons that the fighting arts of the Orient had taught them. With each instructor sharing their respective arts with each other, as well as their own student base, the school thrived. It was not until several years later, in 1969 that Sensei Duduiot was diagnosed with a terminal illness. Wanting to live out the rest of his days and be laid to rest in his native, Oahu, Hawaii, Sensei Duduiot turned over his half of the Oriental Arts Academy to Sifu Tallbear. Sensei Duduiot had just one dying wish for his friend. He requested that Sifu Tallbear continue to teach and build the school that they had started together. These days were tough both emotionally and physically on Sifu Tallbear. Wanting to fulfill his friends’ last wishes, Sifu Tallbear continued to teach the Japanese curriculum of Sensei Duduiot, as well as his own Tai Liu Chuan Fa system (also referred to as Tai Liu Shinate at this time). Sifu Tallbear did just that for as long as he could. Over time the teaching became too much, yet wanting to further his studies in the Chinese arts, Sifu Tallbear reluctantly phased out the schools Shotokan Karate curriculum. It was during this time that Sifu Tallbear, still wanting to honor his friend, fellow martial artist, and late business partner, that he decided to implement the use of ancient Japanese Kanji on his school logo, rank issued certificates, as well as his certificate stamps. Since Kanji was of Chinese origin, and later adapted by the Japanese, Sifu Tallbear felt that this would be the ultimate gesture honoring his friend and symbolic of their early days at the Chinese and Japanese Oriental Arts Academy.
Sigung Tallbear is one of the few non-Chinese, who throughout the years have successfully mastered the Tai Liu Chuan Fa system. In 1979, Sifu Tallbear was tested and promoted to his current rank of Sigung (Grandmaster). His teaching philosophy encourages friendly competition within the school (kwoon) and he does not frown upon mixing of the arts to suit individual needs. He strongly believes that physical obstacles can be overcome by the mental and the mental can be overcome by the internal/spiritual. “We all can succeed in life regardless of our shortcomings and further build upon our strengths,” states Sigung Tallbear. “I prefer to work with people’s abilities as opposed to their disabilities, we all have something to offer this world,” he goes on to say. He has proven this time and time again. His student base consisted of people from all walks of life ranging from professional athletes, Catholic Nuns, and amputees to individuals afflicted with Polio, Multiple Sclerosis, and even Spina Bifida. Throughout his 60 plus years of teaching, Sigung Tallbear has received many awards for his work with special needs children. In addition, Sifu Tallbear has always been a promoter of the arts. He introduced the annual East-West National Las Vegas Invitational Pro-Am Karate tournament, which ran through the mid to late 1970’s. When he was not promoting martial arts in Nevada, he was busy supporting fellow martial artist by regularly travelling with his students to tournaments throughout the AZ, NM, UT and CA.
Sigung Tallbear’s own studies of Tai Liu Chuan Fa were conducted in a ch’an (Zen) like fashion, a tradition in which he continues to pass on to his students to this day. His teaching methods could be described as those of the “old school” methods. Sigung Tallbear demands no less than 100% from his students (todai) both physically and mentally. Although the techniques of Tai Liu Chuan Fa seem difficult at first, they are not. They are merely case studies of relaxed, instantaneous reactions, to the elements of pain and surprise. Aside from gaining proficiency with the techniques and self defense applications, the goal of the art is to develop humility and confidence within its practitioners who when confronted with violence, will apply the techniques in a calm and collected state of mind. Development of character and preservation of one’s life and peace are the ultimate goal.
FOREVER A STUDENT
Sigung Tallbear’s own insatiable appetite for self-improvement and love of martial arts has led him down many paths of study in the world of martial arts. In addition to Tai Liu Chuan Fa, Sigung Tallbear has also studied extensively other Chinese methods of martial arts as well as those of Polynesia, Hawaii, Japan, and Okinawa. These methods include Lima Lama, Sil Lum, Kempo/Kenpo, Shotokan, Ishin-Ryu, Judo, Jiu Jitsu, Aiki Jiujitsu, and classic Budo weaponry. Most recently (circa. 1970), techniques have been learned and added to the Tai Liu Chuan Fa curriculum from the Polynesian art of Lima Lama (Hand of Wisdom) system of Grandmaster Tino Tuiolosega and the Siu Lum (Ng Ying Ga) system of Gung-Fu legend Grandmaster Ark Yuey Wong.