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.

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.

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.

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.

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.

Uzbek Jang San’ati, founded by Mr. Abbos Usmanov, is the modern kind of the Temurids martial arts, which is based on the best methods and techniques of traditional martial arts such as “Temurids martial arts”, “Qol sanati”, “Kurash”,“Seven-elbow”, and embodies the centuries old tradition of martial arts of people of Uzbekistan, as well as the elements of most effective. The material evidence discovered as a result of archeological discoveries and scientific observations confirms that the history of the Uzbek martial arts has at least 3,500-4,000 years. Scientists have discovered Bactrian-era broken crockery depicting one of the two wrestling men throwing sweep throw in modern Surkhandarya (Uzbekistan) territory, proving that the single combats that existed 3,500 years ago were at a high level of development. In addition, descriptions of single combats can be found in all ancient legends, fairy tales, and other forms of oral traditions, such as legends "Khasan and Zukhra," folk epic "Alpomish," "Gorogli," "Avazkhon," and "Rustamkhon." The current Uzbek Jang Sanati martial art has been divided into 5 categories, there are sports, health, the art of hands, martial arts of Timurids(working with knife, sword, stick, spear) and Djang Kurash(Kurash fighting). Furthermore, one of the unique features of Uzbek Jang Sanati is that it is regarded as not only as a physical system but also patriotism and moral education.

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.

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.

It is a Venezuelan martial art that involves machete, stick-fighting, and knife fencing. The name is relative to the city of El Tocuyo, southwest of the Lara state, the starting point of the colonization. It can be taken into consideration that the origin of this game came from the mixtures given at the time of the conquest. Since several cultures were brought from far away, only the strongest of those was survived and some fighting techniques originated or became known during the conquest struggles, when they fought with everything they could, in order to obtain precious independence. Then since being an independent nation, some martial arts and games were brought by the European migrant practitioners mainly from Spain, Portugal, and the Canary Islands. They had similar forms to Garrote Larense, such as the Cuchillo Siciliano, Makila Vasca, Jogo do Pao, Juego del Palo. And it is very likely that these people have met masters of Garrote Larense, sharing techniques and experiences, and influencing this art.

Formally referred to as lobokkatao, bokator is an ancient Cambodian martial art that was developed by Angkor as a close-quarter combat system. It is also engraved on the walls of Angkor Wat temple. Bokator was designed with one main purpose: to win on the battlefield. It uses a diverse array of elbow and knee strikes, shin kick, submission, and grapple. Fighters are basically can use every part of the body to attack their opponents, and a bamboo stick or short bat may be used. Fighters wear krama(scarf) around the waist, and sangvar(blue and red silk cords) toed around the biceps. The color of the krama signifies the combatant’s level: white – green – blue – red – brown – black – gold. There are about 10,000 movements from 341 sets which are based on the study of life in nature, by observing animals(horse, eagle, monkey, snake, lion, elephant, duck, etc.) and mimicking their styles and natural weapons like a fang, tusk, and claw. Once upon a time, before the century, there was a small village in the jungle that was being preyed upon and attacked by a man-eating lion. To protect the village, a local warrior who was armed only with a knife, tracked down the lion and killed it with the techniques that would become known as Bokator. The term itself translates into “pounding a lion”, with bok meaning to pound and tor meaning lion. However, the second half of the 20th century was a hard time for Bokator because it had been deliberately neglected by the Pol Pot regime(1975-1979). Those who practiced traditional arts were systematically exterminated by the Khmer Rouge, fled as refugees, or stopped teaching and hid. After the Khmer Rouge regime, the Vietnamese occupation of Cambodia began and native martial arts were completely outlawed. Grandmaster San Kim Sean is largely credited with reviving the bokator. During the Pol Pot era, San had to flee Cambodia under accusations by the Vietnamese of teaching hapkido and bokator and starting to form an army, an accusation of which he was innocent. In 1995, he returned home to revive the dying bokator but he found that it was still too dangerous to teach bokator, so he went into seclusion in the mountains where he spent his time meditating. In 2001, he moved to Phnom Penh, got permission from the new king, and began teaching bokator to local youth. Then he went on a journey searching for the remaining masters to document all the techniques. He brought the masters and formed the Cambodia Youth Kun Federation in 2004. The first national championship was held in Phnom Penh in 2006 at the Olympic Stadium.

Hwaran Mudosul was developed by Grandmaster Ki Beak Kim in combination with the traditional folk dance of northern Amsterdam by integrating traditional swordsmanship with the Hwarang martial arts of Korea. It uses various weapons in a competition such as swords, axes, and iron mace. Hwaran Mudosul is created by Ki Baek Kim. He combined Hwarang Musul of Korea and Dutch swordsmanship to create a modernized martial art form.

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.

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

Kolo Yar's technique included self-defense techniques without weapons, the use of improvised means, bamboo sticks, swords and shields, spears, as well as the impact on pain points. Great importance was attached to spiritual self-improvement, the development of endurance, flexibility, and mobility. The martial art "Kolo Yar" appeared in the 3rd century BC and is still preserved in Emilchino (Ukraine) and Kerala (South India) region. In India, this art is known as Kalari(Kolo Ri)-payattu. According to legend, the martial art of Kolo Yar spread in India thanks to the warriors of the ancient Slavic commander Alexander the Great. The training took place under the constant supervision of teachers where they taught various arts of Kolo (yoga, martial arts, music, painting, etc.). Kolo Yar's technique was born from observing the movements of 8 of the most ferocious animals: tiger, horse, wild boar, falcon, bull, wolf, bear and cobra. In the language of the ancient Wends, "Kolo" means 'sacred place', while "Yar" is 'fighting techniques'. So, this "fighting in a sacred place" had never held where there are a lot of spectators.

Kalarippayattu is a traditional holistic Martial Art with strong links to Yoga and Ayurveda. 'Kalari' translates as “place of training”, 'Payattu' as “combat exercises”. Kalaris are also important centers of religious worship. The initial physical training (Meippayattu) consists of animal postures arranged in flowing forms which, like Yoga, develop far more than flexibility and strength. It operates on a psychophysical level which can aid personal awareness and confidence amongst other attributes. The next level of practice involves wooden and metal weapons which again develop the senses as much as key fighting skills. What is also interesting, and again confirms Kalari's holistic ways, is the stages of training combine fighting with healing at almost all levels. The primary aim is the ultimate coordination between mind and body. Another focus of Kalaripayattu is specialization in indigenous medicinal practices. Kalaripayattu masters practiced not only the martial craft, but also medicine (kalari chikitsa) and herbalism, which they used to heal the wounds of soldiers who had been hurt in battle. Kalaripayattu originates in the southwest of India, in today’s state of Kerala and also partly Tamil Nadu. It is often believed to be the oldest martial art in the world, with deep roots in Indian mythology that look back on thousands of years of tradition. There are 3 acknowledged styles of Kalaripayattu – Northern, Southern, and Central – with the names referring to different parts of the Kerala region. The Northern and the Southern styles each have their own mythical gurus – Parashurama and Agastya Muni, respectively – and their own founding myths. For millennia these arts, their military techniques and associated rituals were shrouded in mystique, with only ancient Indian literature to go by. They started becoming less arcane around the 10th-12th century AD when Keralite society became militarized due to fights between kingdoms and dynasties. Military academies, known as Kalari, were created to instruct young people on how to use weapons and then join local troops. After a heydey in the 16th and 17th centuries, the importance of Kalaripayattu and the warriors who practiced it gradually declined due to developments in societal structure and military technique. When the British colonized India in the mid-19th century, they considered the warriors a threat to British authority, and the practice of Kalaripayattu was banned on penalty of death or exile. It wasn’t until the 1920s when a wave of rediscovery of historic traditions swept over India, there was the rise of Kalaripayattu schools, as well as a revival of the spirit of the martial art itself. Kalaripayattu presentations became very popular, as people enthusiastically recalled the heroic past of their country. Nowadays, there are many kalaris in Kerala, with dozens of schools in every town, and quite a few in other parts of India, in big cities such as Mumbai, Delhi, Chennai, or Bangalore. There are also teachers operating in countries all over the world.