Taijiquan is a traditional physical practice characterized by relaxed, circular movements that works in concert with breath regulation and the cultivation of a righteous and neutral mind. Originating during the mid-seventeenth century in Wenxian County in the Henan Province of central China, the element is now practised throughout the country by people of all ages and by different ethnic groups. Taijiquan’s basic movements center upon wubu (five steps) and bafa (eight techniques) with a series of routines, exercises and tuishou (hand-pushing skills performed with a counterpart). Influenced by Daoist and Confucian thought and theories of traditional Chinese medicine, the element has developed into several schools (or styles) named after a clan or a master’s personal name. The element is passed down through clan-based transmission or the master-apprentice model. The latter relationship is established through the traditional ceremony of baishi. Taijiquan has also been incorporated into the formal education system. The element builds upon the yin and yang cycle and the cultural understanding of the unity of heaven and humanity. It has been disseminated through legends, proverbs and rituals, among other vehicles of expression. Safeguarding the element would increase its visibility and dialogue about the diverse ways Taijiquan is practised by different communities.

Taekkyeon is a traditional Korean martial art that makes use of fluid, rhythmic dance-like movements to strike or trip up an opponent. The graceful movements of a well-trained Taekkyeon performer are gentle and circular rather than straight and rigid but can explode with enormous flexibility and strength. The feet play as important a role as the hands. In spite of its gentle impression, Taekkyeon is an effective martial art highlighting a broad variety of offensive and defensive skills employing all available fighting methods. It also teaches consideration: a skilled Taekkyeon practitioner can rapidly dominate an opponent, but a true master knows how to make an opponent withdraw without incurring damage. As a part of seasonal farming-related traditions, Taekkyeon serves to facilitate community integration, and as a sport accessible to all plays a major role in promoting public health. Taekkyeon is also practiced by a great number of people as a daily activity. There are approximately fifty recognized practitioners of Taekkyeon at present, and the Korea Taekkyeon Association plays a significant role in the transmission and promotion of this traditional martial art.

The Kırkpınar oil wrestling festival takes place in Edirne, Turkey. Thousands of people from different age groups, cultures, and regions travel every year to see Pehlivan(wrestlers)'s fight for the Kırkpınar Golden Belt and the title of Chief Pehlivan. Each festival is launched by its patron, the Kırkpınar Aga, in a ceremony featuring forty bands of davul drums and zurna shawms. The golden belt is carried through the city in a procession, followed by prayers recited in the Selimiye Mosque. The wrestling bouts customarily take place at the Men’s Field. The master of ceremonies introduces the Pehlivans to the audience, reciting in verse their names, titles, and skills. Next, the oilman oils the wrestlers assisted by the towel holder, before the warm-up exercises and greetings. The wrestlers each wear kıspet, thick trousers made of water buffalo or cow leather. As the wrestling takes place, the drum and shawm bands play the traditional repertoire of the festival. Kırkpınar oil wrestling is open to men from all cultures, regions, and ages without discrimination between religion, language, or race. Pehlivans are considered exemplary figures in society with attributes such as generosity, honesty, respectfulness and adherence to traditions and customs. All Pehlivans are trained in the master-apprentice tradition.

Capoeira is an Afro-Brazilian cultural practice – simultaneously a fight and a dance – that can be interpreted as a tradition, a sport, and even an art form. Capoeira players form a circle at the center of which two players engage with one another. The movements require great bodily dexterity. The other players around the circle sing, chant, clap and play percussive instruments. Capoeira circles are formed by a group of people of any gender and comprise a master, counter-master, and disciples. The master is the bearer and guardian of the knowledge of the circle and is expected to teach the repertoire and to maintain the group’s cohesion and its observance to a ritual code. The master usually plays a single-string percussion instrument, starts the chants, and leads the game’s timing and rhythm. All participants are expected to know how to make and play the instrument, sing a shared repertoire of chants, improvise songs, know and respect the codes of ethics and conduct, and perform the movements, steps, and strikes. The capoeira circle is a place where knowledge and skills are learned by observation and imitation. It also functions as an affirmation of mutual respect between communities, groups, and individuals and promotes social integration and the memory of resistance to historical oppression.

Tahteeb was used as a form of martial arts in ancient Egypt. Its role has since changed to that of a festive game but some of the symbolism and values associated with the practice remain. The performance involves a brief, non-violent interchange between two adversaries, each wielding a long(1.3m) rattan stick while folk music plays in the background. The rules of the game are based on values such as mutual respect, friendship, courage, strength, chivalry, and pride.

Kuresi in Kazakhstan is a type of wrestling that requires players to battle it out on foot, the objective is to get the opponent’s shoulders on the ground. It is a traditional practice where trainers would coach young boys who would then take part in local contests. These days, kuresi in Kazakhstan is a national sport practiced by men and women, up to the professional level. International competitions also take place, such as the annual tournament the Kazakhstan Barysy, broadcast in more than 100 countries. Transmission of kuresi in Kazakhstan occurs in sports clubs, which may also be affiliated to schools, as well as via masterclasses run by experienced kuresi wrestlers. The minimum age of learners can be as young as 10 and no restrictions apply concerning the background of participants. The sport of kuresi also has a place in traditional folklore in Kazakhstan. The wrestlers, known as Baluans, have been regarded as strong and courageous and depicted as such in epics, poetry, and literature. The practice of kuresi teaches younger generations in Kazakhstan to respect their history and culture, and aim to be like the heroic Baluans. It also helps to build tolerance, goodwill, and solidarity amongst communities. >Rules and Regulations https://www.youtube.com/watch?v=2Qrj9PBXthI

Ssireum is a type of wrestling in which two players wearing long fabric belts around their waists and one thigh grip their opponents’ belt and deploy various techniques to send them to the ground. The winner of the final game for adults is awarded an ox, symbolizing agricultural abundance, and the title of ‘Jangsa’. When the games are over, the Jangsa parades around the neighborhood riding the ox in celebration. Ssireum games take place on sand in any available space in a neighborhood, and are open to community members of all ages, from children to seniors. They are played on various occasions, including traditional holidays, market days, and festivals. Different regions have developed variants of ssireum based on their specific backgrounds, but they all share the common social function of ssireum – enhancing community solidarity and collaboration. As an approachable sport involving little risk of injury, ssireum also offers a means of improving mental and physical health. Koreans are broadly exposed to ssireum traditions within their families and local communities: children learn the wrestling skills from family members; local communities hold annual open wrestling tournaments; and instruction on the element is also provided in schools.

Silat is a combative art of self-defense and survival rooted in the Malay Archipelago. Traced back to the early days of the Langkasuka Kingdom, Silat has evolved into a fine practice of physical and spiritual training also encompassing traditional Malay attire, Silat musical instruments, and customs. There are many styles of Silat, inspired by the movements of human anatomy, nature, and animals. For example, Silat Harimau involves an aesthetic rhythmic motion imitating the art of self-defense and the attack of the tiger. In Malaysia alone, there are more than 150 known Silat styles whose names derive from natural elements such as animals and plants. Originally, Malay Silat was practiced by warriors – as noble enforcers of justice – but nowadays practitioners consist of masters, gurus, teachers, and students, who are responsible for maintaining the practice. Training sessions usually take place in the evening or at night in an open space such as a courtyard, led by the Master and ‘Jurukaka’. A large number of practitioners have been trained and nurtured, and an increasing number of training centers have been established in various regions. With this accelerated dissemination, the practice has increasingly transcended its status as a martial art to become a performing art; consequently, it is now a popular sport for health and leisure.

Pentjak Silat is a traditional Indonesian martial art that was originally an armed style of combat. In addition to their sporting element, Traditions of Pencak Silat also encompass mental-spiritual, self-defense, and artistic aspects. The moves and styles of Pencak Silat are strongly influenced by various elements of art, involving a unity of body and movement fitting the accompanying music. The term pencak is better known in Java, while the term silat is better known in West Sumatra, describing a group of martial arts with many similarities. In addition to local terms, each region has its own moves, styles, accompaniments, music, and supporting equipment, which includes costumes, musical instruments, and traditional weapons. Pencak Silat practitioners are taught to maintain their relationship with God, human beings, and nature, and are trained in various techniques to deal with attacks or other dangerous situations based on principles to protect themselves as well as others, avoid harming the offender and build comradeship. The practice strengthens comradeship, maintains social order, and provides entertainment for ritual ceremonies. Related knowledge and skills are commonly taught in non-formal schools and include oral traditions and expressions such as greetings, philosophical phrases, rhymed poems, advice, as well as songs, and techniques to play the instruments.

Pahlavani is an Iranian martial art that combines elements of Islam, Gnosticism, and ancient Persian beliefs. It describes a ritual collection of gymnastic and callisthenic movements performed by ten to twenty men, each wielding instruments symbolizing ancient weapons. The ritual takes place in a Zurkhaneh(meaning “House of Strength”), a sacred domed structure with an octagonal sunken arena and audience seats. The Morshed(master) who leads the Pahlavani ritual, performs epic and Gnostic poems and beats out time on a Zarb goblet drum. The poems he recites transmit ethical and social teachings and constitute part of Zurkhaneh literature. Participants in the Pahlavani ritual may be drawn from any social strata or religious background, and each group has strong ties to its local community, working to assist those in need. During training, students are instructed in ethical and chivalrous values under the supervision of a Pīshkesvat(champion). Those who master the individual skills and arts, observe religious principles and pass ethical and moral stages of Gnosticism may acquire the prominent rank of Pahlevanī(hero), denoting rank and authority within the community. At present, there are about 500 Zurkhanehs across Iran, each comprising practitioners, founders, and a number of Pīshkesvats.

Mongolian wrestling Bökh is a traditional Mongolian sport that has existed in Mongolia for centuries, and features no weight categories, unlike other wrestling. Bökh is Mongol for “wrestling”, and is one of Mongolia’s age-old “Three Manly Skills - horseback riding, archery, and wrestling”. The object of a match is to get opponent to touch his back, knee, or elbow to the ground without a time limit. Each wrestler must wrestle once per round, and the winners move to the next round. A variety of throws, trips, and lifts are employed to topple opponent in both versions. In addition, striking, strangling, or locking is illegal in both varieties. The technical rules between the Mongolian version and Inner Mongolia have some divergence. In the Inner Mongolian version, touching any body part other than the feet on the ground means defeat, and the Inner Mongolians may not touch their opponent's legs with their hands, whereas, in Mongolia, grabbing opponent's legs is completely legal.

This combat form has been developed within the Ngarrindjeri community in Australia. Tal-Kin-Jeri Inc.(established in 1997) is succeeding and promoting its traditional Ngarrindjeri dance and weaponry by organizing related camps and events.

Coreeda is a combination of Aboriginal dance with a unique wrestling game. It is a team sport that calculating the team members' scores by summing them up. The scores of six competitors representing each weight class from each team are added to the team scores. The word “Coreeda” means ‘kangaroo spirit’ in the Ngiyampaa language of Cobar region, NSW, Australia, and is based on a story told by the elders of that region: As a solution to the endemic warfare and reprisal killings that were taking so many lives, an old man named Beereun observed the Red Kangaroos fighting and realized that peace could be found if warriors simply put down their weapons and fought within the strict rules of play; thus the sport of wrestling was created. Centered on the great kangaroo hunts that brought many different tribal groups together for festive gatherings, the young men of the region were made to compete to dissipate their aggressive tendencies and display themselves for potential marriage arrangements. The Coreeda Festivals were occurring until the 1870s when the discovery of copper mines in the region brought European settlers and the destruction of the tribal way of life. The Coreeda Association was founded in 1998 as an attempt to revive the lost forms of traditional wrestling that were practiced in pre-colonial Australia by aboriginal people.

Korosu is a martial art that is made up of various offensive and defensive maneuvers; in some cases, weapons are also incorporated. This martial art is usually trained by those involved in espionage, counterintelligence Corps and the border guards and KGB agents. This system was founded in the 1940s by a personnel officer of the Soviet Military espionage department, Colonel Nilopor Korotki(1908-1971). It is based on the various systems of self-defense and attack, both without weapons and with various weapons and firearms.

Bulkempo is a modern Budo style that harmonically combines the strength, sharpness, solidity, and flexibility in an active environment of an actual fight. It is characterized by a rational and effective structure that is set apart by a perfect rhythm and thorough combination of striking and throwing techniques in the conditions of different types of capture. Bulkempo was built and systematized by the master Velin Hadjolov, a long-time employee of the security services of the Republic of Bulgaria.