Kyrgyz wresting ‘Kurosh’ is one of the most ancient types of wrestling of the Kyrgyz people. Athletes wear belts and white loose pants without a shirt on. Wrestlers stand one in front of another and hold each other by the belt with both hands. A wrestler must have at least one hand on the belt of his opponent during the match. One cannot grab opponent’s legs with hands but foot sweeps are allowed. The one whose thigh, body or head touches the ground first loses. If athletes fall simultaneously and it is unclear who touched the ground first – the match starts over.

Ethnosport is a form of preserving the gaming heritage and is a system for restoring ethno-motor skills lost in urbanization. It is aimed at solving the problems of encouraging and developing traditional types of physical activity that form the basis of traditional games. Ethnosport activities form motor skills that only those who lead a traditional lifestyle possess. Based on this main position, ethnosport can be defined as an institutional form of a single socio-cultural space for organizations involved in the development of traditional types of physical activity. Types of ethnosport are formed according to ethnicity - for example, Russian ethnosport, Uzbek ethnosport, French ethnosport, etc. They represent the entire set of games and motorical activities that exist in a particular ethno-cultural environment. The certain types of traditional competitions is also could be named as ethnosport.

‘It is one of the most widespread horseback games played at various feasts and festivities. Kyz kuumai is translated as chasing a girl. ‘Kyz kuumay’ was a wedding tradition in the past, in which a groom on a horse had to pursue and catch a racing bride. The game involves several couples in national costumes, which are well acquainted with rules of the game and have perfect horse riding skills. The bride was provided with the best horse; she started the race first. The groom had to catch his bride, thus proving his love and reaffirming his right to marry her. The groom has to catch up with the bride and kiss her or to touch her with his headwear, thus declaring his victory. In case of a failure, the girl chases the young man, striking his back with a whip. Due to the worse horse, the groom often failed to capture the girl. However, this was not a reason for the bride to refuse to marry.

Dembee is a form of entertainment closely associated with the airag (mare’s fermented milk) culture of nomadic Mongols. Dembee is a type of a game to guess the total number of fingers of two people through its own established phrase of verses, rhyming and distinct melody. The tradition of dembeedekh is an example of how deeply the music is involved in the livelihood of Mongols.

Wau or ‘kite’ is believed to be invented by somebody with the name Sang Jaya or who had a title such as Dewa Muda, Dewa Hindu and Masai Kelana Seri Panji. Wau was produced between 711 and 839 AD. Originally the wau was invented as a symbol of a country’s greatness, as a guide for determining direction and also as a symbol of success for every attack by a country towards another country. This game is famous in Johor, Negeri Sembilan, Selangor, Kelantan and Terengganu. Among the types of wau produced are ‘wau bulan’ (‘moon kite’), ‘wau burung’ (‘bird kite’), ‘wau merak’ (‘peacock kite’), ‘wau kucing’ (‘cat kite’) and ‘wau ikan’ (fish kite). Tools for making wau are bamboo, knife, paper, pencil, scissors, glue and rope. The making of wau is very unique compared to other games because it requires a high-level of skill. Before flown wau needs to be ascertained to be balanced so that it is not heavy on one side. Wind factor plays an important role when flying a wau.

Lansaran originated from the Murut ethnic word ‘lumasar’ means 'tossed' or 'swinging'. This tradition is an ancestral heritage of the Muruts in the districts of Tenom and Keningau, Sabah. Previously, this tradition was closely related to appeasing or worshiping the spirit of the skull, specifically the worshiping of the spirit of the human head obtained during ngayau or wartime. Now, this game is played in gatherings such as weddings or moving to a new longhouse. The lansaran place measures eight to 30 square feet and can accommodate approximately 30 players is built by mutual cooperation in a space in a longhouse. Several hard round tree branches as big as an adult’s arm are tied with rattan to accommodate the place for this game that is built suspended a foot below the house floor level. The game play is that a player goes down to the lansaran surface and then feels his body is 'tossed' by itself due to the up and down tossing effect movement of the lansaran. Sometimes a prize is placed at the top level of the lansaran and a player tries to 'toss himself' to get the prize.

The one and main principle for upbringing and educating children and youth is to direct them to have respect towards their elders and to follow and venerate their teachings. It is accustomed to employ the combination of variety folk upbringing and educating methods such as approving and supporting, encouraging and praising, disapproving and prohibiting, reproving and criticizing, serving as an example and causing to follow. Folk aphorisms, proverbs, folk oral literature, traditional games and toys are commonly used as well. Mongol herders have been educating and nurturing their children and youths from very young age by engaging in the labor activities which appropriate to their age, and working together with their parents and siblings; playing traditional games, engaging with nature and to make a disciple of well-educated person.

The World Nomad Games are the biggest international project held in the Kyrgyz Republic, a project initiated by the government in 2012 for the revival and preservation of the culture of nomadic civilization. The mission of the World Nomad Games covers the revival, development and preservation of the ethnosport and ethnoculture movement in the world, diversity and originality of the people of the world in order to foster a more tolerant and open relationship between people. The World Nomad Games consist of three main parts: •\tEthnoculture •\tEthnosport •\tScience The First World Nomad Games were held in Kyrgyzstan in 2014. 583 athletes from 19 countries participated in competitions held in 10 types of sports, plus an additional 1,200 participants in the cultural program. The Second World Nomad Games were held in Kyrgyzstan in 2016. 1,200 athletes from 62 countries participated in competitions in 26 types of ethnosports. The Third World Nomad Games were held in Kyrgyzstan in 2018. 1,500 athletes from 66 countries participated in competitions in 37 types of ethnosports.

Kyrgyzstan 2021

Bài Chòi is a form of card playing with 32 cards in 9 huts made of bamboo and thatched roofs. 9 huts are built according to the eight trigram formation with 8 huts corresponding to the eight gates of Tàng, Tốn, Đoài, Cảm, Ly, Trống, Cống, Côn and 1 hut in the middle, called the middle hut. Bài Chòi is hosted in large, shaded spaces during festivals and from the first day of the New Year until the end of January. The celebration begins with ceremonies performed by the elderly and dignitaries in which they worship the land, the gods, and the tutelary god while offering prayers for a peaceful new year full of bountiful harvests and wealthy villages. Ms/Mr "Hiệu" is the leader and chairperson of the Bài Chòi festival, understands the rules of the game, is good at singing, and talented in dialogue. Players not only understand the rules of the game but also must know many proverbs and know how to sing folk songs. Bài Chòi art has four basic activities: playing - hitting - shouting - singing. These activities are supported by tools such as cards, bamboo tubes, chipmunks, war drums, adoring drums, small drums, flags, etc. The rules of the game are as follows: each card has 3 leaves, and each leaf is a letter. The main card is the Tam Cúc deck of 27 pairs. One half is put into the tube for the person to chant, and the other half will be divided into 9 huts, each hut includes 3 leaves. For each card drawn, the person who wins that card will shout. If they win 3 cards, they will be the winner.

Viet Nam 2017

Yike Theater is a typical folk performance art form of the Khmer people. Yike Theater was born in the Ba Sắc region of Sóc Trăng province with the great contributions of his ancestor Lý Cuôn. The theme is exploited from the treasure of Khmer folk literature. The stage and scenery are of the nature of a "gourd stage", and a landscape backdrop (available, can be pulled up and down). Basic dances such as military training, congratulations, good harvest, water invitation... Dance movements are divided into two character lines: the front line has poise and decisive movements (men) and graceful and soft movements (women); The villain line has exaggerated, fierce movements. The choreography has separate rules for different types of characters: people (13), python (02), and animals (01); individual choreography (04) and combat choreography (06). Music: the main musical instruments are strings and percussion, the most important being "trô u" (dip lute); Pinpet (pentatonic) orchestra. Music has its own characteristics, is methodical, has clear patterns and rules, and is used for each subject and character's personality. Songs and melodies: there are a total of 163 songs (tunes, including Lôm songs and Nô kô rek songs), of which 34 are traditional and official songs; The remaining songs are influenced by other art forms. The songs are divided into male and female voices, with specific characters such as hunters, fairies, male, female, and clown roles. The characteristic of Yike singing is that at the end of all the songs, there is a collective chant inside the stage. The art of makeup according to specific regulations shows the character's personality: bold, clear makeup (human - white, pink red; fox - red, black; fairy - blue). This is a combination of art forms from singing, dancing, music, martial arts, costumes, makeup, painting, and cuisine with unique characteristics of the community. Before performing, they worship the ancestors. The game exploits fairy tales and Khmer folk mythology.

The Trò Chiềng Festival is held in Trinh Xa village, Yen Ninh commune, Yen Dinh district, Thanh Hoa province from the 10th to the 12th of the first lunar month, to commemorate the great contributions of Tam Công Trịnh Quốc Bảo - the village's tutelary god - the founder and teacher of Trò Chiềng, and to pray for a peaceful and happy new year. Trò Chiềng was originally an elephant war game (also known as elephant fighting), which later developed into a festival with 12 performances. The founder of Trò Chiềng was Thanh Hoang Tam Cong Trinh Quoc Bao (998 - 1085). Thanh Hoang Tam Cong Trinh Quoc Bao also had the name Trịnh Bạn, a native of Định Xá village (Chiềng village). Trinh Quoc Bao was an official under the Ly dynasty, and had contributed to helping King Ly Thanh Tong defeat the Song army in the North and pacify the Champa invaders in the South, so he was given the title of Dong Phuong Hac Quang Dai Vuong. The Trò Chiềng Festival is organized in 2 parts: The ceremony begins with the Phụng Nghinh worship ceremony, incense offering, and elephant procession from Trinh Xa communal house to the commune stadium to report to the village's tutelary god about a year of labor and production of the local people. The festival takes place with 12 special performances such as: Golden neck procession, chicken neck procession, tutelary god procession, son-in-law selection, horse racing, elephant fighting, dragon fighting, carp transforming into dragon, Phung Hoan procession, fireworks... The toys are made of materials: bamboo, rattan, fabric... In which, elephant fighting is considered special and has become a cultural beauty of the people of Trinh Xa village. The fighting elephants are woven from bamboo and rattan, carried by 4 strong young men on 4 legs and a strong, experienced old farmer holds the stick to control the elephant's head for fighting. When "Thượng Soạn" gives the order, the 2 elephants will charge at each other, fighting with 2 tusks; The old custom stipulates that elephants will fight in 2 rounds, each round has 3 rounds, the one that is pushed back will lose. After the performance ends, all elephants, horses, and dragons will be transformed and announced to heaven and earth, to show gratitude for the merits of their ancestors and predecessors. The festival also takes place enthusiastically with competitions: making longan cakes, and banh la rang bua - traditional products of the locality. After the performance ends, all elephants, horses, and dragons will be transformed and announced to heaven and earth, to show gratitude for the merits of their ancestors and predecessors. The Trò Chiềng Festival reenacts all aspects of life, working, fighting, playing... guiding people back to history, their roots, and a good life. The festival is a cultural activity, meeting the spiritual needs of the people, praying for the people's health, prosperity, and good crops; it is an opportunity for people to express their respect and gratitude to the gods and ancestors who have built and defended the country. This is a typical festival in the cultural life of the residents of the Mã River Delta. With its unique values and historical significance, the Tro Chieng Festival was recognized as a National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism in 2017.

The Roóng poọc Festival of the Giáy is held in Dragon Day of January to worship the Land God, opening a new production cycle. Making the "Quả Còn" and cutting the "Cây Nêu" are two main preparations with strict taboos. The village chief is responsible for decorating the sun and moon circle of wreath hanging on the top of the "Cây Nêu". The team plays the Pí Lè trumpet during the ceremony. During the ceremony, the celebrant turns towards the rising sun and prays for the erection of the "Nêu" pole. When erecting the "Cây Nêu" and the "Còn" pole, they follow traditional rules. The "Còn" pole symbolizes "masculinity", tearing the sun and moon circle of wreath hanging on the top of the "Cây Nêu" symbolizes the harmony of yin and yang and the desire for good harvest. When hitting the tearing the sun and moon circle of wreath hanging on the top of the "Cây Nêu", the village chief throws seeds, with the idea that they are sacred seeds, and everyone rushes to grab them. The most special part of the festival is the "cloud pulling" (tug of war) game.