Iaido is the Japanese art of drawing, cutting, and resheathing the katana. It places a great emphasis on correctness of form, precision and efficiency of movement, and mental focus. Practitioners of the art – iaidoka – use real swords (or else replica blades which are still quite dangerous) so it is primarily a solo art. The practice is conducted performing kata or sets forms that teach how to respond to attacks made by opponents in various positions and situations. Many techniques take place from a formal kneeling position (seiza), while others begin from a half-kneeling position, or from standing. The ideal is to be able to deal with an attack at any time, no matter what you are doing. The character 居 "i" means "to be" (especially "to sit") in a particular place, while 合 "ai" means "to match" or "to respond". Taken together, the name can be interpreted to mean “the way of responding appropriately to any situation you are in.” On the battlefields of medieval Japan, samurai were armed with various weapons such as bows, spears, halberds, and eventually firearms. But when these weapons failed, or when fighting came down to close-quarter combat, the ability to swiftly draw one’s sword and the attack were essential. The exquisite sharpness of the Japanese sword meant that fights could end an instant after they began, so quick actions with no wasted motions meant the difference between life and death. Batto (“sword drawing”) was taught as one of the many martial arts required for samurai. Schools of swordsmanship developed that placed a great emphasis on the initial draw-and-cut. The name iaido came later. In the 16th century, Hayashizaki Jinsuke Shigenobu founded Shin Muso Hayashizaki-ryu, a school of iaido that spread across Japan and branched off into numerous other traditions or ryuha. Today, the most popular are Muso Shinden-ryu, Muso Jikiden Eishin-ryu, Tamiya-ryu, and Mugai-ryu, but dozens, if not hundreds, of other styles exist. Each has its own stylistic differences and approach to training. Iaido was outlawed by the occupation forces after World War II, but after the art was reinstated, iaidoka created groups to standardize practice. The largest group is the Iaido section of the All-Japan Kendo Federation. Iai and kendo have a special relationship, and are sometimes said to be “Two wheels of the same cart,” with many people practicing both arts. Kendo teaches distance and timing with a live opponent, while iaido teaches the correct use of a real sword.

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.

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.

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.