Asia

Along with martial arts philosophies and health maintenance techniques, Vovinam – Viet Vo Dao (VVVD) provides a system of martial arts techniques that encompasses various forms of self-defence that are very effective in real life combat. The goals of VVVD are to:
i) Preserve and develop the martial arts of Vietnam, applying “soft and hard core-development”;
ii) Research and innovate new martial arts’ techniques to improve VVVD technical resources;
iii) Train students on Strength, Techniques, and Philosophy to develop a solid body, strong endurance against obstacles and disease (Strength), self-defence and just causes (Techniques), and a rational mind, invincible will and gallant character (Philosophy). Students will be living in a self-disciplined and forgiving way and become model citizens, serving oneselves, one’s family, one’s state, and mankind.
Practitioners wear blue uniforms and earn belts just as in other traditional martial arts. A student begins with a light blue belt, same colour as the uniform. When VVVD student pass their first exam, the belts are changed into a dark blue colour, which stands for hope - the hope of being successful in learning VVVD. Upon positively completing the following 3 exams, yellow stripes are added to the blue belt. The 3rd yellow stripe is followed by the yellow belt: the student has reached instructor's level.
Higher levels include the red and white belts; the red stands for blood and fire, symbolizing a fighting spirit. Finally, white stands for infiniteness and bones, symbols of the depth of the spirit. The white belt designates the master to the absolute mastery of Vovinam - Viet Vo Dao.
It’s a bit ironic that Vovinam - Viet Vo Dao is getting popular in Europe, especially in France, since the founder developed this martial arts as a means to train Vietnamese youth against French colonialism. However, today the sport is also put into effect in the U.S., Canada, Australia, Belgium, Switzerland and other countries.

This sport usually covers several pairs of wooden shoes/long ski boards. Each pair of wooden shoes is 100 cm in length, 9 cm in width and 3 cm in thickness. It has velcro or nylon tapes for fastening athletes’ feet on it.

Wooden Shoe Racing is usually played in three forms: speed contest / Relay Race/obstacle race

Rules:

(For Speed Contest)
1. Speed Contest is usually played in a stadium. It uses normal athletic track.
2. Three players form a team and get ready for race.
3. On “Ready, set, go” mark, athletes must compete a distance of racing(60m or 100m)as fast as possible.
4. The first team crossing finishing line wins.
5. If the team falls down or their feet leave wooden shoes during the race, they must stop and make their feet attach to nylon tapes on wooden shoes again. Only then could they complete the rest of the race.
6. They must keep in their own race track during the race.
7. False start, running on other teams’ track or someone’s feet without keeping touching wooden shoes during race will cause an invalid result.

(For Relay Race)
Rules similar to speed race, but distance of race is longer(200 m) and each team usually has two or groups for relay race.

(For obstacle race)
Rules similar to speed race, but more interesting because players have to finish several tasks while they are running on wooden shoes. For example, bypassing cones or stepping over balloons, etc.

Styles of Xing Yi Quan
There are many styles of Xing Yi, and although training is similar in all styles, different styles have somewhat different emphasis and training methods.
There are considered to be three main branches of Xing Yi:
Shanxi Xing Yi
Hebei Xing Yi
Henan Xing Yi
To generalize the differences between the three, the Shanxi branch emphasizes a soft, flexible, hidden power (soft on the outside and hard inside), while Hebei styles are more direct and powerful (hard outside and soft inside). The Henan branch is sometimes called the “Muslim Style,” because it was handed down within the China’s Muslim community.
The style of Xing Yi passed on by Master Li Gui Chang to Tom Bisio and Internal Arts International comes from the Shanxi branch of Xing Yi Quan.

Xing Yi Quan training is direct, simple and natural. The essence of the training method is contained in three inter-related practices:

Trinity Posture (San Ti Shi)
San Ti Shi is a form of standing meditation in which one senses deeply inside the body in order to cultivate an inner awareness of the mind and body, and gain insight into the subtle internal movements and transformations that are unfolding internally. A byproduct of this process is the development of inner stability, power, agility, and unification of body, mind and spirit.

Four Method Breathing (Tu Na Si Ba)
Tu Na Si Ba is a unique blend of several classic Nei Gong methods that completely changes one’s internal body awareness. Tu Na Si Ba efficiently combines the essence of Southern (Nan) Shaolin Nei Gong, Marrow Washing Nei Gong (Xi Sui Jing), Breath Regulation (Tu Na) and the famous Muscle Tendon Change (Yi Jin Jing). Practice of Tu Na Si Ba builds fascial strength and integrative power, and strengthens the tendons, bones and joints. Tu Na Si Ba restores the body’s embryonic internal movement (true internal movement) that is often dormant in adults

Splitting Fist (Pi Quan)
The practice of Pi Quan is integral to Xing Yi Quan. Pi Quan is the root of all other movements and forms. Pi Quan acts as a counterpoint to San Ti Shi by training inner stillness within external movement, while carving away the non-essential to discover the inner core of one’s natural movement. Pi Quan develops integrated whole body power, linked to inner will and focused intention. Together Pi Quan and Tu Na Si Ba stimulate the Micro-Cosmic and Macro-Cosmic Orbits. These internal circulations of Qi, breath, essence and spirit actualize inner transformation and transcendence.

Advanced Training Methods in Xing Yi Quan
Advanced Xing Yi training includes the Twelve Animal Fists, Xing Yi Quan Linking Forms, Xing Yi Spear (Qiang), Straight Sword (Jian), the Short Stick (Bian Gan), and many partner exercises.

Twelve Animals
Dragon (Long Xing), Tiger (Hu Xing), Monkey (Hou Xing), Horse (Ma Xing), Alligator (Water Lizard – Tuo Xing), Rooster (Ji Xing), Swallow (Yan Xing), Sparrow Hawk (Yao Xing), Snake (She Xing). Tai Bird (Tai Xing), Eagle-Bear (Ying Xiong Xing), Bear (Xiong Xing). Each of the Twelve Animals expresses a different internal and external body configuration that are variations (or extensions) of Pi Quan and the Five Element Fists.

Xing Yi weapons include Xing Yi Spear (Qiang), Straight Sword (Jian), the Short Stick (Bian Gan).
The Sword and Spear help develop body awareness and internal connection. Both weapons train the Qi, intention and spirit, all of which must be extended out to the tip of the weapon. The spear and sword are also Daoist tools that cut through delusion and pierce through illusion. Training with these former battlefield weapons enhances internal awareness and refines internal movement.
The Short Stick (or cane or umbrella) offers a modern self-defense weapon.
Source: https://www.internalartsinternational.com/xing-yi-quan/

Archers are dressed in traditional costumes from the Kamakura period – a time during which this sport was actually created. The sport begins with a ritual prayer. The leader of the game places an arrow on the altar in order to drive away evil spirits, after short introductory ceremonies. He sacrifices that arrow to the gods. Later, one of the players stands in front of the main place of the celebration. He says a prayer intended to bring peace and abundant crops to the country.

Next, on the altar an olive branch is offered, and the leader of prayer gives one of the archers a folded arrow, which will be used again at the next ceremony. The speech ends with a few hits on the gong. After leaving the temple, players go on the game field.
A further prayer takes place before reaching the destination. The archer, being already on his horse, tightens the bowstring, directing the arrow towards the sky and then towards the ground, which reminds a deep bow. These activities are performed for peace and prosperity.
The procession, leaded by the person with the olive branch, passes along the track of the game, which is about 218 meters long (2 Japanese chōs). A fence is placed on both sides of it. On the left, about 5 meters from it, at a height of 2 meters, 3 square targets with a length of 35-50 centimeters, spaced apart at equal distances, are installed. These distances, however, can change, because they are dependent on Yabusame schools and rules applied in a given region.
First, there are several test runs, during which no shields are shot. Then the main game begins. Two people standing at the beginning and the end of the track give the signal to start by waving fans. While horses’ gallop, riders have to hit the targets. If they succeed, the player sitting at the target raises a white fan.
Over the time, the targets were changed to wheels with a diameter of 10 centimeters. Inside there is confetti that shoots from it after being hit by an arrow. Some Yabusame schools, however, do not have this kind of targets.
Here and there after shooting all three shields archers receive a white robe, which they put on their shoulders.

Yajia (Tibetan-style Tug-of-war) is a traditional game and sport of Tibet. It originated from Tibetan traditional spirit - to be more specific from Tibetan belief that elephant is a holy messenger from God. Therefore, Tibetans imitate actions of elephants which they think may bring them good luck.

Rules:
1) Everybody can take a part in the event. Just before the match, contestants have to weigh themselves in order to compete with opponents of the same weight category. Only then match can be fair.
2) If it is held in an open space, a court with 9x2m is assembled. Two finishing lines are drawn 2.4 metres apart with the point zero in the middle of the court.

3) A 6 metre-long ribbon is attached to the necks of two contestants, then put the way it could get through between their legs and its central mark (usually yellow ribbon or knot) could be positioned right above the point zero.
4) The target for both contestants is to drag the yellow ribbon across the finishing line. The first to do so wins a set. A match usually consists of three sets and whoever wins two of them wins the match.
5) If neither of contestants can drag the ribbon across the line in 90 seconds, the set is considered to be a draw. In such a situation contestants take a 2-minute break and try again.
6) If after 3 sets contestants are in draw situation, another set is added to the match. Time limit of the extra set is 60 seconds. During an extra set:
a) Contestants can win having the yellow ribbon dragged over the finish line
b) Wins the contestant who dragged the yellow ribbon closer to his finish line (if neither of them made it across)
7）Participants cannot pull the ribbon with their hands and have to stay in a kneeling position. Otherwise they can be penalized or even disqualified.

Yubee Lakpee is a popular outdoor game in Manipur, played only by men. It is akin to rugby, and requires a great deal of vigorous body play and stamina. Yubee in Manipuri means coconut, and lakpee means snatching. This is a seven - a - side game and is played on a field that is 45.72 by 18.29m in area. The game starts when a coconut, duly anointed, is thrown into play, from one end of the field. The coconut is greased, and each player tries to catch it. Each player exhibits his strength and agility, in both gathering the coconut and holding onto it. The game demands wrestling ability, speed, great reflexes and a sharp mind. Some scholars choose to view the game in a religious light, since it was played on the grounds of the Bijoy Govinda Temple on pichakari day, at the home of King Ananta Shayee, by persons acting as gods and demons. The game was celebrated annually on this day, re - enacting the scene from Hindu mythology involving the snatching of the pot of nectar, after the churning of the sea.
The number of players may vary, but usually the maximum number of players does not exceed 24. Each player performs as an individual. After oiling his body, each player wears the ningri or waist belt, similar to the one worn in the game of Mukna.
The coconut is placed at the centre of the field, and on a signal, the players race towards it. The referee begins the game with a loud call - ' s wa ', occasionally he begins it by throwing the coconut into play, in centre field. The coconut is held chest - high by the player in possession, and players are not allowed to kick it.
The team, the players of which succeed in carrying the coconut into the box area ( a rectangular space 4 1/2 by 3 m in area, inside the field, the central portion of the goal line forming one of its side ) and over the goal line, despite foiling attempts by the opponents, wins the game. Just beyond the goal line sits the judge ( in days of yore, the ningthou or king occupied this seat ), and it is to him that the players dedicate the coconut.
In order to score a goal, the player has to penetrate the box area from the front, not from the sides, and he must then cross the goal line, while carrying the coconut. In case, no player succeeds in reaching the king ( the judge ) with the coconut, all the players are lined up and made to run a race to decide the victor. When the game really reaches a boiling point as it were, and there are too many people pouncing on the coconut, the rising ardour is cooled by dousing the players with water !
Source: https://sports.indiapress.org/yubee_lakpee_archery.php

Both seniors and youth can take part in the competition in various weight categories, individually or in teams. Each team consists of 10 members:
- From 5 to 7 athletes,
- One “Master of Ceremonies”, who among others hits the gong,
- One trainer,
- One team captain.
In case when the team consists of more than 5 athletes, 0,1% of the 6th and 7th member’s score is going to be added to the final score of the team.
Individual competition consist of seven disciplines:
- Sang gereftan,
- Kabbadeh,
- Meel Bazy,
- Charkhidan Whirling: Charkz Teez – Charkz Charmani Charkh tak fer,
- Shelang takhteh
- Professional Meel giri.
Apart from the aforementioned disciplines, there are also wrestling competition being organized in four different weight categories( 60-70kg, 70-80kg, 80-90kg and >90kg).
To calculate total score gained by each team, the following rules are used:

Zurkhaneh equipments and terms in Iranian Varzesh-e-Bastani (source: http://www.irantourcenter.com/zurkhaneh-iran-traditional-sport/) :
1- Varzesh-e-Bastani (ancient sport): Is a comprehensive physical exercise session of 60 to 90 minutes, consisting of different kinds of physical activities appropriate for the age groups of 16 to 60-70 years old. These exercises were practiced under special customs and rituals established over hundreds of years. Each session of Varzesh-e-Bastani comprises: Warming up, main body of physical exercises, and warming down.
2- Zurkhaneh (home of strength): Is the very specially designed physical Structure, entangling, a myriad of philosophical, religious, cultural and educational Bases, together with the necessary technical facilities and apparatus for the cultivation of the body and the excellence of mind. The entrance door is low so that body of any walk of life at the time of entrance must of necessity bow in respect and enters this sacred place.
3- Bastanikar: Is everybody who practices Varzesh-e-Bastani and possesses a number of outstanding physical and spiritual traits and characteristics.
4- Pahlevan: Is the first champion among other bastanikars of a village, city, Province, country or the world of the time. This title was awarded only to athletes who were recognized as having had reached perfection in the qualities of both physical Prowess and moral virtue. The significance of Pahlevanship has been well resented in the Farsi language literature and culture. As an example, Ferdowsi, in his outstanding poetic book (Shahnameh), pictures Rostam, the Persian legendary Pahlevan, fighting heroically against depravity, vice, and sinful deeds and thoughts in the purest and most literary forms in the tenth century. Pahlevanship exists in daily life of the Zurkhaneh athletes, the most recognized tradition, Golrizan, happens when someone has a financial problem. In such a case after the Morshed bell the ring (Zang) anybody who wants to help, put the money in the special pot during this traditional charity ceremony.
In each Varzesh-e-Bastani session, the Morshed accompanies all the exercises with chanting the epics and poems that describe the braveries and heavenly prowess and heroism of these Pahlevans for the good of the human beings.
5- Gowd: Is the most significant facility where all the activities of the Varzesh-e-Bastani are performed. The floor of the pit is constructed with different layers of, from bottom to top, crushed tumble weeds, a thinner cushion of dried fine straw, a thicker layer of coal ash and finally, a well packed layer of clay or argil in a way to assure softness and flexibility needed for the safety of the Bastanikars during their physical activities. The Khadem (janitor) of the Zurkhaneh makes regularly sure that this floor is sufficiently well packed and humid before the start of every session. To eliminate the detrimental effects of dust and humidity, especially in an indoor and relatively small space such as the Zurkhaneh, the methods of construction of Gowd’s floor are rapidly approaching the ones used in constructing the other sport activities areas like the contemporary running or playing fields.
6- Morshed: Is an experienced Bastanikars who, at the same time, is a well-educated man who also has some talents in music. He is especially competent in providing the different rhythms that are needed for directing the various exercises of a Varzesh-e-Bastani practice session. He does this job by chanting the epic poems and couplets and by playing the Zarb and Zang that he has at hand. Some times there are two Morsheds who in harmony with each other direct the practice session.
7- Zarb: Is a large hemispheric wooden drum, with a skin of deer, stretched over the larger end of it. Zarb is used to give the Indispensable rhythm and cadence for all the exercises through-out the session.
8- Zang: Zang is a bell that hangs within reach of Morshed’s hand. Morshed will play the Zang for purposes such as signal the beginning or the end of an exercise, attract the attention for making an announcement, honor the presence of a Pahlevan, guest, or a social personality and communicate with the Miandar and the other athletes who are performing in the Gowd.
9- Miandar: Miandar performs at the central part of the Gowd. He is the key person and leader of session.
10- Pishkesvat: Is a Bastanikar, who is characterized by a high degree of expertise, experience and seniority. He also assumes the responsibility of teaching the techniques of Varzesh-e-Bastani to younger Bastanikars.
12- Nocheh or Nokhasteh: Is a beginner (novice) in Varzesh-e-Bastani. He is ordinarily under the direction and the apprenticeship of a Pishkesvat. This is the lowest rank in the hierarchy of Varzesh-e-Bastani. The highest rank in Zurkhaneh is Saheb-e Taj (owner of the crown). It is noticeable that the one who is the first to start each one of the individual exercises is the Nocheh who is at the bottom line in seniority. The last athlete who will finish the exercise bout in the individual events is the Miandar.
13- Sar-Dam: Sar means “place” and Dam refers to “speaking or chanting”. From the technical standpoint, this is the Morshed’s rostrum from where he leads the practice session by his chants, Zarb and Zang.
14- Takhteh-Shena: Is a plank that is used for the different types of push up exercises particular to this traditional sport.
15- Meel: Is a big chunk of hard and heavy wood related with the idea of using it somewhat like Indian clubs, however, it differs with them in a number of ways. First, its base is the largest part of it. Second, it is considerably longer, larger and heavier. Third, Meels are used primarily for weight training. Fourth, one pair of Meels is necessary for exercise in Varzesh-e-Bastani. Fifth, the handle of the Meel is a cylindrical piece of hard wood that is fixed very firmly on the top of the Meel.
16- Kabbadeh: Is a bow shaped iron instrument used for weight training in Varzeshe-Bastani. On this instrument in Zoorkhaneh, the string has been replaced by a heavy chain which generally is made of 16 links. In each link there are approximately six metallic discs, each one measuring about the size of a small saucer. Kabbadehs weigh mostly between 11 to 50kg. This weight can be adjusted to athlete’s ability by removing or adding chain links or discs.
17- Sang: Is a huge rectangular piece of hard wood that has some similarities with the ancient shields used to ward off blows or missiles. The side of the rectangular that is moved near the floor throughout the exercise is gently arched. There is a hole at the central part of each Sang with a bar across it that is used as a hand grip around this opening is covered by a soft material to protect the hand. Sangs are used for weight training and one pair of them is necessary for the exercise.
18- Shelang-Takhteh: Is a plank of hard wood. This equipment is used for stretching exercises, muscular endurance and agility of the legs, aimed at running speed and endurance. This is a heavy exercise and 40 to 50 repetitions are considered to be a high performance in this event.
19- Shalvar-e-Bastani: Is a knee-breeches pantaloon that is typical clothing for the Bastanikars. This clothing is made of either leader or of heavy embroidered cloth decorated with elaborate designs and scenes. The firmness and resistance of this kind of trousers make it possible for the athletes to use it as a dependable grip during traditional wrestling of Varzesh-e-Bastani.
20- Kamarband: Is a large and heavy leader belt made especially for Shalvar-e-Bastani. This belt provides a more dependable grip for wrestling specific to Varzesh-e-Bastani.
21- Koshti (Wrestling): Similar to the Sang and the Kabbadeh exercises, Koshti is an individual event that is performed in the Gowd only by a few Bastanicars who are scheduled for the exercise session. The type of Koshti that is performed in Zoorkhaneh looks much like the Greek style wrestling where only the upper body of the wrestler gets involved in the technical pinning and holds of the combat.