Kazakh Kuresi represents ancient form and style of Kazakh traditional wrestling, essential element of all festive events, celebrations and integral part of modern Kazakhstani national identity. Since ancient times, the beauty of this sports and strength of the hero-wrestlers “Baluans” have been reflected in folk epics, fairy legends, Kazakh literature like the poem of Iliyas Zhansugurov “Kulager” and Gabit Musrepov’s novel “Ulpan”, and archaeological findings. Wrestling of two opponents is performed on 12m.x 12m. sized mat. The opponents are matched according to their weight category ranging from 60 kg and above 90 kg. All techniques are performed above the waist – wrestlers must fight on foot, making it more difficult. Wrestling on the ground is prohibited. The purpose is to lay the opponent on shoulders. Duration of the match is 5 minutes with extra time of 3 minutes which is offered in case of even number of points. Evaluation of matches is counted by: a) “Buk” – if the opponent touches the mat with abdomen, knee or both knees; b) “Zhambas” is given for three “Buks” or when the opponent touches the mat with one side of pelvis or both; b) “Zhartylay zhenis” is awarded for the technique when the opponent touches the mat with both shoulders.

Kazakhstan 2016

Kun Lbokator is an ancient Khmer martial arts dating back to at least the Angkorian period, which aims to inculcate and develop mental and physical strength and discipline in its practitioners, by mastering self-defense techniques, while promoting the philosophy of non-violence. It is characterized and distinguished not only a martial arts form but also embodies a certain cultural aspect. For instance, the rituals and social practices observed in Kun Lbokator require that the practitioner possesses knowledge about nature and the universe. Practitioners are required to train and master striking and defense techniques relying on their bare arms and legs, and only once a student can demonstrate proficiency is weapons training introduced. Another essential aspect of Kun Lbokator is that it is to be practiced with an ensemble of elements including dance, music, natural medicine, sacred objects and/or amulets, tattoos, and weapons. Masters play a crucial role in the performing aspect of Kun Lbokator because they serve as mediators between the apprentices and the guardian spirits, and thus are responsible for introducing new apprentices to them and the surrounding nature, asking for the apprentices’ protection and safety in training. In return, practitioners are required to show respect to others and take a pledge to become good citizens. Presently, Kun Lbokator is still actively performed as part of ritual offerings to local protective deities, Neak Ta as well as in other festive events. Kun Lbokator is an intangible tradition widely practiced among Cambodians, regardless of their age, gender and educational backgrounds or statuses.

Cambodia 2022

The Inai Dance is a traditional dance of Malay palaces performed during circumcision ceremonies of palace dignataries and also during wedding ceremonies. This dance has specific procedures to produce difficult finger and hand movements in a continous circular position. The dance also combines the dance movements found in Mak Yong traditional theatre, the silat martial art and acrobatic arts. The Tari Inai Dance has a special dance form that is showing off a dancer’s capability to balance the body and bend backward to pick up a paper money using the mouth.

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.

Vồng Communal House Festival is a "two-term spring-autumn festival" (January 15 and September 9, 10, 11). The main day of the festival is the full moon day of the first lunar month, held at Đình Vồng relic complex, Song Vân commune, Tân Yên district, Bắc Giang province, to commemorate the merits of Saint Cao Sơn - Qúy Minh and 18 dukes of the Dương family, Mạc dynasty. On the 15th, the Saint's ordained procession is organized to the communal house. At the head of the procession is a person playing a minister. When the procession arrives at the communal house, a ceremony is held. The custom of offering a horse to carry the duke's color to the communal house to worship together is a special ritual. Vồng Communal Horse Sacrifice Ceremony: In the past, during the horse sacrifice ceremony, the knights rode 8 white horses at a leisurely and beautiful trot; Today, the organizing committee prepares 8 horses' heads (woven from bamboo, decorated with colored paper) for 8 young people to wear while running. The sowing ceremony to pray for good fortune is held in front of the communal houseyard. After the ceremony, the referee raised the ball high and commanded the boys with the East and West stripes to start the battle. After the offerings, there is an incense offering ceremony by the people in the village and visitors. The festival has many traditional games, attracting a large number of participants and ancient ones such as wrestling, martial arts dancing, horse racing, archery, crossbow shooting, fighting, cockfighting, kite flying, rice blowing competition, and word running, etc. These are all games that demonstrate the martial spirit and seasonal characteristics of agricultural residents.

“Bassac Theatre” Originally known as “Treung Khlok” Theatre, it originated in Kampuchea Krom Bassac District, Preah Trapeang Province (now under Vietnamese rule). Bassac troupe originally formed by the chief of Khsach Kandal pagoda (Kampuchea Krom) names of Sour and Lok Ta Cha Krun, as well as his students, Kru Kmoa, Kru Korn, and Kru Khla. During the 1930s, Lok Ta Cha Krun brought the Trung Khlok theatre to perform in Phnom Penh and other provinces along the Bassac River. The theatre also quickly gained popularity in Phnom Penh. At first, it was called "Theatre from Bassac District", then later abbreviated as "Bassac Theatre" and is still named today. Bassac theatre is performed in both speaking and singing and accompanied by the Bassac music. The theater genre is influenced by Chinese and Vietnamese operas. The female characters (princesses or goddesses) dress similarly to the characters in classical dance. The male characters (kings, gods, or giants) dress similarly to the male characters in Chinese or Vietnamese operas. But today, the male characters’ costume is also similar to the costumes of the actors in the classical dance, except that the giant characters still wear the same costume as before. The stage is often decorated with paintings of temples or artificial mountains. Bassac theatre often features artistic legends. Performances include sword fighting, stick fighting, or other martial arts or battle scenes. The songs are both traditional and modern. During the 1960s, the Bassac Theatre gained immense popularity. There were two famous characters that almost all Khmer people at that time knew until he was named the King and the Queen of Bassac, Lok Ta Saing Sarun and Lok Year Chek Mach. Nowadays, Bassac is included in the curriculum of the Secondary School of Fine Arts. Famous Bassac theatre teachers who have passed away, including Lok Ta Saing Sarun, Lok Year Chek Mach, Mrs. Un Wang, Mr. Sous Kanan, Ouk Si Phally, John (Battambang), Tapov, Tork Khmao, Em Samphon and Kru nhoun (Outstanding Tror musician).

Chhay dam Drum Dancing is one of the unique traditional dances of the Khmer people. This dance is performed during festivals and it is both sacred and welcoming to the gods as well as artistic and entertaining. Therefore, during festivals and festivals of the community, there is Chhay - Dam dance (such as during Chol Chnam Thmay festival, Ok Om Bok festival, Dolta festival). Chhay drum - a piece of percussion, one side of the drum is covered with buffalo leather, the drum is made from hollowed-out old areca trunks or old jackfruit wood and the strap is made of fabric. In addition to the Chhay - Dam drum, there are other musical instruments such as the Cuối (gong), Chul (cymbal), and Krap (Castanets). Chhay - Dam drum dance can be a single dance, a duo dance, a triple dance, or a fourth dance and there is usually a group dance with a team of 12 members. When dancing the drum, the dancer wears the drum in front of his belly. The basic movements of Chhay - Dam drum dance are drumming (using the hand to tap the drum surface, using elbows and heels to hit the drum surface), drum dancing (dance movements similar to martial arts positions), and hand dance. To be able to perform the movements in the Chhay - Dam dance, the dancer must have health, and flexibility, and know how to skillfully combine the rhythm of the drum with physical gestures. Most notably, the drum dance performer must tap and dance in combination with rhythm and precision down to the smallest detail. When drumming with hands, elbows, or heels, it must be combined with acrobatics but must still ensure a "fluttering" sound. While tumbling, you must hold the drum tightly to your body without letting it touch the stage, making a crashing sound.

Kỳ Yên Peace Begging Festival at Bình Thủy Communal House, Can Tho city, is held twice a year: Thuong Dien (mid-April lunar calendar) and Ha Dien (mid-December lunar calendar). In which, Ky Yen Thuong Dien is the biggest festival of the year at the communal house, held on April 12-15 of the lunar calendar to pray for favorable weather and a good crop. On the 11th, rituals take place to prepare for the festival, including: Opening ceremony of the three-door gate, land worship ceremony, offering to the ancestors, and presenting the birth ceremony. The festival includes the following rituals: Than Nong worship ceremony, Thay Khăn sắc Thần Ceremony, Xay Chau - Dai Boi Ceremony, Chanh Te Ceremony, Son Quan worship ceremony... Early in the morning of the 12th, the Than Nong worship ceremony takes place at the temple to commemorate the God of Agriculture. The offerings are the three animals in the previous day's presentation ceremony, which have been slaughtered and roasted pig, wine, cakes, fruits, incense, and lamps... Next, the first ritual is the ceremony to invite the divine decree to travel by royal palanquin, after which the procession returns to the communal house for the enthronement ceremony. While the divine decree is traveling, families on both sides of the road set up trays of offerings to welcome the god to pray for health, peace, and prosperity. At noon, at 12 o'clock, is the ceremony to change the divine decree's scarf. The celebrant performs the ceremony to ask for a new scarf for the decree. After that, there is the Xay Chau - Dai Boi ceremony at Binh Thuy communal house, in the form of building a semi-literary and semi-martial art, harmoniously and balancedly combining the literary and martial arts of the Xay Chau. Before starting the Xay Chau ceremony, the celebrant performs the ceremony to invite Thanh Hoang to attend and listen to the opera. After that, the Chau drum beats with 360 drumsticks to begin the ceremony. The Xay Chau ceremony represents the meaning of opening the supreme ultimate, harmonizing the two principles, and praying for peace. The Dai Boi ceremony is performed by the actors and actresses in the opera troupe, materializing the Xay Chau ceremony with the image of the characters combined with costumes, dances and lyrics through the rituals: nhat thai (nhut tru), luong nghi, tam tai, tu tuong, ngu hanh in sequence with the number of performers: 1, 2, 3, 4, 5… On the morning of the 13th, there is a ceremony in the main hall. On the morning of the 14th, there is a Tuc yet ceremony to welcome the gods. Special offerings include a shaved pig, 1 cup of blood, 1 cup of hair. After the celebrant reads the Van Te, it is burned. On the morning of the 15th, there is a Chanh Te ceremony, the most important ritual in the temple worship ceremony. This is a ceremony to worship the Gods during the Thuong Dien festival, to thank the Gods, to worship the Ancestors, and to worship the Later Ancestors. The offerings to the Gods are a white pig, a cup of blood and other offerings. After the Chanh Te ceremony is the Ton Vuong ceremony performed by the opera actors of the Ban Te Tu Dinh. Next is the Son Quan worship ceremony at Son Quan temple, also known as Ong Ho temple. In addition to the rituals and performances of traditional opera, Binh Thuy Communal House Festival also organizes activities such as: sticky rice blowing contest, local cuisine performance, traditional opera singing, along with folk games such as: boat racing, tug of war, pot smashing (blindfolded), sack jumping... attracting many participants. The Kỳ Yên Peace Begging Festival at Bình Thủy Communal House with its humanistic rituals is an opportunity to unite the community, people gather to have fun and relax to start the new crop. The Kỳ Yên Peace Begging Festival at Bình Thủy Communal House is an important testament to the history of Vietnamese settlement in this land. The royal decree and the communal house worshiping Thanh Hoang show the recognition of the monarchy in terms of administration and the formation of villages and communes. With its typical value, the Kỳ Yên Peace Begging Festival at Bình Thủy Communal House was included in the List of National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism in 2018.

The Long Tong Festival (Going to the Fields Festival) of the Tay people in Dinh Hoa district, Thai Nguyen province is held in the early days of spring to pray for favorable weather, good crops, bountiful harvests, and a prosperous life. The festival is held in the largest and most beautiful fields. The Long Tong Festival includes a ceremony and a festival. The festival will feature many traditional rituals that have existed for a long time, such as: the Tay people's harvest praying ceremony, San Chay, Tich Dien ceremony; the Dao people's blessing praying ceremony, with traditional rituals imbued with the beliefs of the ethnic groups in Dinh Hoa district. During the ceremony, each family prepares a tray of offerings including chicken, pork, boiled eggs, Chung cake, sticky rice, various types of sticky rice cakes, Khao cakes, Lam tea... to offer to the gods. On each tray of offerings, there is a colorful flower-shaped cake and two pairs of cones made of fabric with many colorful tassels and seeds of all kinds. The offering trays of the village are carefully selected, must be larger, more numerous, more beautifully decorated than the offering trays of the families and must include a pig's head. The offering trays are arranged in a straight line, the master of ceremonies (usually a Taoist or Mo master), is called "Pú mo". "Pú mo" stands in front of the offering trays of the village to thank heaven and earth, the gods for blessing the villagers, at the same time the villagers light incense, pour wine. After the prayer of thanks, "Pú mo" continues to pray for rain, an assistant carries a basin of water standing next to it, many others hold palm leaves walking from the worship place to the end of the field. After praying, "Pú mo" sprinkles water around, implying that heaven is sending rain, the villagers gather around, everyone wants to catch those drops of water symbolizing luck. After sprinkling water, "Pú mo" takes seeds from the offering trays and sprinkles them around, the villagers mix those seeds with the seeds they choose to plant. Next, the men will plow the first furrows, while the women will show off their planting skills. After the ceremonies, the villagers will celebrate together, wishing each other good health, good luck, full barns of rice, full yards of pigs and chickens, etc. During the festival, there will be a Tich Dien ceremony, a planting competition, dry puppetry, folk games: throwing cones, lion dances, martial arts, tug of war, stilt walking, tug of war, stick pushing, singing and responding between men and women, etc. The Long Tong Festival (going to the fields) is one of the festivals held annually by the Tay ethnic group in Thai Nguyen, associated with agricultural beliefs, to express respect and gratitude to the gods of the forest, the gods of the mountains, the gods of the sky and the gods of the earth, and the wishes for a prosperous life imbued with the identity of the indigenous Tay people. Through this, the festival activities also contribute to promoting valuable landscapes and historical relics to boost local tourism development. This is a long-standing traditional festival of the Tay people in the Viet Bac region, recognized as a National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism in 2017.

The Tortoise traditional dance was inspired by the community’s observation of tortoises that live in rivers, lakes or pools. It started from an event whereby a fisherman unexpectedly hooked a tortoise. The community made the event as a joke, there then sparked a tortoise dance movement. This dance was in its splendour era during the 1950s to the 1960s. This dance was spotted at the earliest originated and rooted at Sarang Tiong Village, Endau, Kuala Rompin, Pahang, inspired and developed by expert individuals in the martial arts of silat, and created as entertainment. A dancer’s body movement and facial expression are according to a tortoise’s behaviour. The dance movement and dancers’ facial mimics are adapted so as to add to the humourous entertainment element that can attract the audience with comedy actions as well as entertaining. There are three versions of this dance according to its location. At Sarang Tiong Village it was inspired from an event whereby a wife who had a penchant to eat tortoise but her husband could not catch one. Then the wife dreamt an old man gave her the tip to catch a tortoise and that was to use banana bait as this is the tortoise’s favourite food. After the incident tortoise became a hot topic at the village. To celebrate the success there then sparked an idea to realise a dance form from a tortoise’s movement that can attract the public with a humorous and tickling performance. The Tortoise Dance at Pulau Rumput Village, Pekan, Pahang was brought in by Mr Iderus bin Ginuh from Alai Village in Rompin to Pekan in 1964. At Jambu Village, Pekan this dance is based on the experience of a fisherman named Pak Ngah Hitam in Endau, Kuala Rompin who was amazed at a tortoise’s behaviour when trying to eat his bait. He then imitated the tortoise’s actions and stylised a dance resembling that of a tortoise movement with no link to the silat matial arts movement.

The traditional Vĩnh Khê Village Wrestling Festival is held annually on the 7th day of the first lunar month to commemorate and pay tribute to two generals - the village's tutelary gods who had great merit in defeating the enemy to save the country and protect the people during the Tran Dynasty. The two tutelary gods are Vũ Giao and Vũ Trong, and also to honor Mr. Phạm Tử Nghi - a famous general from Vinh Niem (An Duong commune) - who passed through Vĩnh village when the festival was held, he asked to participate in the wrestling competition and won a high prize. After his death, the villagers set up a memorial tablet to worship him along with the two Vũ brothers. The Vĩnh Khê Village Wrestling Festival was formed during the Tran Dynasty, 14th century (with a history of nearly 700 years), converging the crystallization of the training of soldiers proficient in martial arts to save the country by the two tutelary gods of the village - who are also the lucky gods that the villagers have built temples to worship since that time. The annual wrestling festival is held for the first 3 days of spring on the birthdays of the two tutelary gods, of which the 7th day of the first lunar month is the main festival day. The Vĩnh Khê Village Wrestling Festival is associated with a wrestling competition, which usually lasts only one day but attracts many wrestlers from famous wrestling schools in Hai Phong and other provinces and cities to compete. After the traditional rituals according to the village's customs, two elders in the village, dressed in formal clothes, will perform the "giao diep" ceremony and symbolically wrestle in the communal house, then the wrestlers will compete on the stands set up in the communal house yard. The competition rules are set by the village, regardless of age, weight class and competition time. This is also a unique feature of the Vĩnh Khê Village Wrestling Festival. Normally, the wrestlers will compete in 3 rounds, each round has a time of 3 minutes to determine the winner. However, in case the 3 rounds end without determining the winner, the wrestlers will enter the extra round without counting the time. The wrestler is considered to have won absolutely when he defeats his opponent in a position where both shoulders and one buttock touch the mat at the same time for 3 seconds. The Vĩnh Khê Village Wrestling Festival demonstrates the martial spirit, respect, and remembrance of the people's origins. The festival has been deeply rooted in the subconscious of the people, maintained as a tradition, and passed down through many generations. With its unique cultural features, in 2017, the Vĩnh Khê Village Wrestling Festival was recognized as a National Intangible Cultural Heritage.

Although better known worldwide as a type of martial arts, Pencak Silat is actually an Indonesian tradition that has been transmitted over many generations. In addition to its sporting aspect, the Pencak Silat tradition also encompasses the aspects of mental-spiritual, self-defense, and art. The term Pencak Silat is formed from two words, which are pencak and silat. The term "pencak" is better known in Java, while the term "silat" or "silek" is better known in West Sumatra, to describe a group of martial arts which have many similarities. In addition to using local terms, each region has their own move, style, accompaniment music, and unique supporting equipment. The moves and styles in Pencak Silat are strongly influenced by various elements of art. These moves and styles are a unity of body movement (wiraga), movement feeling (wirasa), and movement fit to the accompaniment music (wirama). The supporting equipment for Pencak Silat includes costumes, music instruments, and traditional weapons. Pencak Silat practitioners are taught to maintain their relationship with God, human beings, and nature. These practitioners are also trained in various techniques to deal with attacks or other dangerous situations based on principles to protect him or herself as well as others, avoid harming the offender, and build comradeships. Pencak Silat is often performed during various ritual ceremonies and celebrations. Men and women of all ages, as well as the disabled, can all practice Pencak Silat. They usually will learn in Pencak Silat schools or academic schools from kindergarten to college.

Indonesia 2019