RENE LATOSA - ESCRIMA

Rene’s first visit to the Stockton Escrima Academy was in 1968. Rene was greeted by Angel, holding a cigarette in one hand and a rattan stick in the other. Angel, having known Rene since he was small, told him to grab a stick and Angel proceeded to demonstrated a quick technique. From this point forward, Rene was hooked and he continued to study and eventually taught at the Academy for over five years.

At the Stockton Escrima Academy in 1968, "formal training" did not exist. The method of teaching employed at the academy was strictly on a teacher to student basis. Rene remembers the ambiance at the academy was very casual, Angel was just "Angel." For all the students at the academy, the title "Grandmaster" was inherently Angels, and his alone. To Rene's advantage, during his first five months of training, he was the only one of three students who showed up for lessons. Rene's initial training, with a ratio of four instructors to one student- Angel Cabales, Max Sarmiento, Leo Giron, and Dentoy Revilar- provided plenty of diversity in styles. These four individuals played a definite role in shaping the basic format of the Escrima Concepts system; however, his greatest influence was his father.

In Latosa's early stages of developing Filipino martial art concepts (Latosa-Escrima, Latosa Weapons System, Escrima-Concepts), the movements or techniques were considered key, and the idea of using concepts was secondary. This proved effective and contributed to the fighting reputation of many of Rene's students. However effective, the system did not seem complete. There was a missing element that distinguishes the Filipino art from the other martial arts. It was not the techniques that set the Filipino arts apart, since most systems utilize techniques. It was not the ability to change from empty hand to sticks. What exactly was it? This search for the answer became the driving force in Latosa's quest to develop the Filipino martial art further. The answer was within the fighting concepts, and how they played a role in the effectiveness of the Filipino martial arts. As the concepts of power hitting, blocking hard, balance, and attitude, became more dominant, the Latosa system developed a new focus. Rene restructured his technique drills to impart the importance of concepts. Latosa utilized these concepts while boxing for the Air Force without having any traditional boxing training experience.

Today, the basic principals of the system rests within the concepts of balance, speed (timing and distance), power, focus, and transition. The bare bone of the system’s techniques is known as the box. The box system consists of five interrelated movements, not blocks, but offensive movements. These movements may seem as if they fall into the definition of blocks, but they actually are interference strikes. The idea is to understand the movements of a technique then relate this to the concept studied in Filipino Martial Art. With only five main movements the approach is simple however coupled with the concepts, the combination of structure is endless.

All Filipino martial arts students must understand the reality risks in thinking in "perfect world" terms such as "hit me here", "hit me easy", "control your hits", and "hit me perfectly". Through years of teaching, testing and developing fighting concepts, Rene has always been a firm believer in "using what works" in real life situations from any angle and in any environment. It is very important to feel positive and confident in assuring what you know works in other then a perfect world, or club setting environment. Reality knowledge can prove to be an advantage in a real situation

Teaching

The responsibilities for keeping up the standards and facilitating the growth of Filipino Martial Art are Rene's goals and have been since his career began. His insight and command of the Filipino arts and martial art concepts truly make him an expert in his field. Rene's constant goal is to find flaws in what he teaches and how he teaches as well as always creating new methods for beating his own system.

As an an instructor, Latosa has never tried to hide or refrain from teaching what he has learned or developed. The only draw back is time. There are no secrets or any hidden agendas in Latosa's method of Escrima. Rene believes that if one person withholds information, the next person he teaches will lack this new knowledge and eventually, there will be nothing substantial left to teach. The method Latosa teaches strives for creativity, innovation, and working hard. Filipino Martial Art should always be in a constant state of development. As long as students continue to learn and teach quality Escrima, the system will continue to develop. It is a progressive, challenging and adaptive system.

CONCLUSION: The road to developing a perfect system is endless. One must never be satisfied in what they know. In this system as in all systems, there is a need to continually test theories, challenge failures and accept changes. By conquering these issues you will be guided toward the road to success. For Rene, it is personal. Sharing the legacy of his Filipino culture and traditions of the Philippines to people of other cultures has been a dream and life goal.

Instructors:

ANGEL CABALES

Angel Cabales did not realize how many people he had influenced during his life. As one of Rene's first instructor, part of his legacy and influence will continue to live on in the Escrima-Concepts System developed by Rene.  

Angel Cabales liked to teach each person individually. This is the way he was taught. He did not believe that a student could learn effectively in a group environment. Angel was a sincere instructor; he showed genuine interest in all his student's progress. He sacrificed his evenings, after working long and hard days at the farms. His drive was the pleasure of teaching. It was Angel's striving and rebellious attitude that inspired Rene. Angel, saddled with the pressure of the community and his peers not to open the art to non-Filipinos, persisted anyway. The Filipino community feared the possibilities of exploitation.

MAXIMO SARMIENTO

Maximo Sarmiento was Angel's partner in the Stockton Escrima Academy; he was the person responsible for persuading Angel to open the school. Max was proficient in various aspects of the Filipino arts. His specialty was knife fighting, single and double; and Cadena de Mano, empty hands. Rene spent long hours training both at the school and privately with Max. Rene achieved the only certification in Cadena de Mano as well as Serrada by the late Maximo Sarmiento. Max Sarmiento's style is evident in the compact and power structure of Escrima Concepts.

DENTOY REVILAR

Dentoy Revilar was Angels most senior student. Dentoy taught Rene multiple hitting, speed, and body positioning. Dentoy was a brilliant role model for all the students at the Academy. While watching Dentoy's workouts, Rene realized that the concept of focus was a major tool of the Filipino arts. Dentoy was effective, smooth, quick and focused. This is a mandatory concept in the Escrima system.

LEO GIRON

Leo Giron influence was more than exposing Rene to the Largo Mano system. Leo demonstrated that the length and the size of the weapon and the ability to work off line were an important and essential phase of the Filipino martial arts. His real life experiences and combative attitude toward  

LATOSA IS THE PERSON WHO INTRODUCED the FILIPINO MARTIAL ARTS to Europe. While stationed in Europe, Rene was busy executing pioneering efforts, developing a reputation by visiting local martial arts schools and exposing the Filipino martial arts throughout the European community. As word began to spread through the community, a local martial arts magazine contacted Rene for an interview. This interview led to other magazine coverage as well as invitations to conduct seminars at different schools. He started a weekly training course at a local jujitsu school. It was there that he met students Bill Newman and Brian Jones.

The initial exposure to the European market was difficult and challenging for Rene. The Filipino martial art was virtually unknown. Skepticism from veteran martial artists was running high and understandable.

Picture a group of big, strong 20+year veteran martial artists standing around and listening to a young 21-year-old "martial arts expert" talk about a Filipino martial art no one had ever heard of or have ever seen!

As you can well imagine, Rene had to back up, prove and demonstrate everything he stated. Not only was the reputation of the Filipino martial arts at stake, but also his culture and pride. Fortunately, Rene made his point and developed respect and a following.

 LATOSA FAMILY- ESCRIMA-HISTORY 

ESTEBEN LATOSA

Rene's Great Grandfather, Esteben, was a well-known (wanted) outlaw and a feared and dangerous Escrimador. As the story has it, he possessed the Anting-Anting, "the symbol of the supernatural" coupled with his martial arts skills made him a truely invincible man. As a young boy of seven years, Juan Latosa, Rene's father was the only person his outlaw grandfather Esteben would allow near him. Esteben saw a future Escrimador in the brave eyes of his young grandson Juan. He tried to teach him the finer points of fighting but Juan was too young. One day as Esteben, lay sick in bed dying, he asked his grandson to take the Anting-Anting protruding from his mouth. Even as a young boy, Juan sensed that this object had evil attached to it and refused to take it. Esteben smiled at Juan's wise decision and felt assured that his courageous grandson would be a successful fighter without the Anting-Anting. In his weaken state Esteben left for the mountains never to be seen or heard from again.

JUAN LATOSA

Juan Latosa, Rene's father, was a well-respected fighter within the province of Capiz, and in the city of Mambusao. Rene's father was the eldest in his family and a big man in terms of the average size of a Filipino. As a teenager, relatives reintroduced Juan to the Filipino martial arts. With his interest and skills sparked, Juan asked his mother for money to study in Manila. His mother's perception of study meant academics; whereas, Juan's interpretation was to proceed to the mountains to study Escrima. For over a year he studied in a secret camp where his training extended to weapons of different sizes, shapes (kampilan, staffs, ropes, double swords, etc.), and ending with a weapon completely out of character, the Japanese samurai sword. When he returned to his village, he continued to season his skills in actual fights and by practicing with different vendors and travelers who had martial arts skills. In his village, he was the best fighter; it did not hurt him too much that his athletic skills were at his highest level (Philippine Olympic Track Team).

Learning from his father was very difficult for Rene. His father was a fighter and every reaction to a situation was combat oriented. When Rene asked to see a movement for a second time, he was shown something else. Because his father did not use techniques, no two movements were ever the same.

Rene's enlarged ego was instrumental in his introduction to his father's prowess in the Filipino martial arts. Rene was practicing for a demonstration when he became concerned that he did not look as flashy and impressive as he should.

He asked his father, who was working in his garden, if he would care to be his practice "dummy." The elder Latosa noted for his quick temper remained calm despite this arrogance. He watched as his son practiced his techniques, smiled and said he needed more training. The younger Latosa asks him what he knew since he was only a dummy!

He dropped his hoe and walked quietly towards his young egotistical son and picked up a stick. Rene asked his father if he would hit him over the head, but warned him to be careful because of his deadly speed and dangerous skills. Instead, the old man in a calm voice asked his son to strike at him. There was some hesitation on Rene's part; fearing that if he went too fast his father might get hurt. Rene directed a slow hit at the old man. Before he saw what had happened, his father's stick hit him on the head. "This must have been an accident," thought Rene. He again struck at his father but this time faster. Again, Rene's head was the final destination for the end of his father's stick. In a serious fury, Rene went after his father with a strike that was strong, fast, and headed toward its target; as a result, his target moved and a stick landed between Rene's neck and shoulder knocking the young man to the ground. His father walked away laughing and went back to tending his garden. Rene's mother came out of the house, yelled at his father, and consoled her son with the bruised ego. Rene spent some time soul searching, trying to get a grip on what happened. Rene was under the impression that with his speed and technical skills he could not be beat. His father took him aside and told him about his rough and dangerous background and informed him he had much to learn. Rene's attitude towards the Filipino arts changed. The first attribute to be disposed of was his enlarged ego. His father started to train Rene in the finer points of fighting concepts, different weapons, and his philosophy. Rene realized the importance of concepts in relationship to techniques.