Rules for International Wushu Taolu (Routine) Competition

International Wushu Federation

CONTENTS

Article 2 Jury of Appeal. 3

Article 3 Composition of Contest Officials. 3

Article 4 Duties of Contest Officials. 4

Article 5 Duties of the Assistants. 5

CHAPTER 2 GENERAL RULES FOR COMPETITION.. 7

Article 6 Types of Competition. 7

Article 7 Competition Events. 7

Article 8 Competition Divisions (age limits) 8

Article 9 Appeals. 8

Article 10 Start-List. 8

Article 11 Registry (Roll-Call) 8

Article 12 Protocol. 8

Article 13 Timekeeping. 8

Article 14 Display of Score. 8

Article 15 Forfeiture. 9

Article 16 Anti-doping Test. 9

Article 17 Placing. 9

Article 18 Applications for the Recognition & Grading of Innovative Movements. 10

Article 19 Other Competition Regulations. 11

CHAPTER 3 CRITERIA & SCORING METHODS. 13

Article 20 Criteria & Scoring Methods for Optional Taolu. 13

Article 21 Scoring Methods and Criteria in Dual & Group Events. 16

Article 22 Judges Scores Display. 17

Article 23 Methods of Determining the Actual Points. 17

Article 24 Calculation of the Final Points. 17

Article 25 Scoring Method without the Computer Scoring System.. 17

Article 26 Addition and Deduction by the Head Judge. 18

Rules for International Wushu Taolu(Routine) Competition (Bylaw) 19

CHAPTER 1 ORGANIZATIONAL STRUCTURE

Article 1 Competition Committee

The Competition Committee of the World Championships and the World Cup shall be composed of wushu experts appointed by the International Wushu Federation and the Organising Committee. It is responsible for overseeing all aspects of the competitions.

According to the scale of competition, each continental, regional or national federation may form its own Competition Committee to be responsible for all aspects of competition organization in accord with the Organising Committee.

Article 2 Jury of Appeal

2.1 The Jury of Appeal shall be composed of one (1) chairman, one (1) vice chairman and three (3) to seven (7) members.

2.2 Duties & Responsibilities:

1) To notify a team's appeal and conduct the hearing within the time-limit; however, the scoring results shall not be changed.

2) The decision of the Jury of Appeal is valid only when more than half of its members have voted for it. If it's a tie vote then it shall be decided by a casting vote of the Chairman. A Jury member shall withdraw, if the case is involved with his or her own country or region; and

3) The decision of the Jury of Appeal shall be final.

Article 3 Composition of Contest Officials

3.1 Composition of Judges

1) One (1) chief referee, and one (1) or two (2) assistant chief referees;

2) Each judges group shall consist of ten (10) members: one (1) head judge, three (3) judges in each of group: A, B & C, respectively;

3) One chief for programming and recording; and

4) One chief registrar.

3.2 Composition of Assistants

1) 3-5 programming and recording assistants;

2) 3-6 registrars;

3) 1-2 announcers;

4) 1-2 sound technicians; and

5) 2-4 video recording technicians (to record events for the Jury of Appeal).

Article 4 Duties of Contest Officials

The contest officials shall work under the guidance of the Competition Committee. Their duties are as follows:

4.1 The chief referee shall

1) Organize and lead the work of judges groups to ensure the proper implementation of competition rules, examine and make sure all pre-competition set-up work are carry out;

2) Interpret the rules and regulations but have no right to modify them;

3) Replace officials if necessary, and have the right to take disciplinary action against officials who have committed serious mistakes;

4) To give warnings to athletes and coaches making trouble at the competition site, and may report the matter to the Technical Committee to take disciplinary action, even the cancellation of their results; and

5) Examine and announce the results of competition, and make a summary of the officials' work.

4.2 The assistant chief referees shall

1) Assist the chief referee;

2) One of them shall act on his behalf if Chief Referee is absent.

4.3 The head judge shall

1) Organize his group to review and to implement the officiating rules;

2) To add points for innovative movements with degree of difficulty;

3) To deduct points for repetition and the time limit; and

4) Propose to the chief referee to take disciplinary action against a judge has committed serious mistakes.

5) Participate in B Group judges' evaluation (overall performance).

4.4 The judges shall

1) Dedicate themselves totally when doing their duties assigned by the head judge;

2) Judge independently, according to the rules, and make detailed notes;

3) Group A Judges are responsible for the quality of movement;

4) Group B Judges are responsible for the overall performance; and

5) Group C Judges are responsible for the degree of difficulty.

4.5 The programming & recording chief shall

1) Set-up all works necessary for recording (desk), examine the entry forms, examine the Entries (registry) for Degree of Difficulty in Optional Taolu, prepare the Scoring Forms for judges and head Judges according to the required standards, and lay-out the Competition Programme;

2) Prepare other necessary Forms or Tables needed to run the competition. Examine and verify the results and placing;

3) Prepare the Competition Results

4.6 The chief registrar shall be responsible for the entire registration, and report to the chief referee and announcers if there are any changes.

Article 5 Duties of the Assistants

5.1 The programming & recording assistants shall respond to the work assigned by its chief.

5.2 The registration staff shall up-date the registrations time-to-time according to the competition order; examine the competitors' apparatuses and costumes; guide the competitors into the competition area; and hand-over the registration forms to the head judge.

5.3 The announcers shall introduce the current competitors to the public; announce their results; and provide useful information regarding the rules and regulations, the characteristics of each taolu event of wushu.

5.4 Sound Technicians shall

1) Collect all music cassettes or CD's from the competitors during the First-registration for events with music, and number them according to the running order;

2) Play the music 3 seconds after the competitor has entered the carpet and get ready to start;

3) After the competition, return all CD's and cassettes to the competitors without damaging, losing, lending or copying them.

5.5 The cameramen shall

1) Film all competition events;

2) Search and replay the videotape when required by the Jury of Appeal;

3) Archive all videotapes according to the competition orders.

CHAPTER 2 GENERAL RULES FOR COMPETITION

Article 6 Types of Competition

6.1 Types of Competition

1) Individual

2) Team

3) Individual & Team

6.2 Competition Classification by Age

1) Adult

2) Youth

3) Children

Article 7 Competition Events

7.1 Changquan (Long-fist) abbrev: CQ

7.2 Nanquan (Southem-fist) abbrev: NQ

7.3 Taijiquan (Shadow boxing) abbrev: TJQ

7.4 Daoshu (Broadsword) abbrev: DS

7.5 Jianshu (Sword) abbrev JS

7.6 Nandao (Southern broadsword) abbrev: ND

7.7 Taijijian (Taiji sword) abbrev: TJJ

7.8 Qiangshu (Spear) abbrev: QS

7.9 Gunshu (Cudgel) abbrev: GS

7.10 Nangun (Southern-style cudgel) abbrev: NG

7.11 Duilian (Dual Events) abbrev: DL: Without weapons; with weapons; and Bare Hands against weapons.

7.12 Jiti (Group Events) abbrev: JT

Article 8 Competition Divisions (age limits)

8.1 Adult (above 18);

8.2 Youth (from 12 to 18);

8.3 Children (under 12 years).

Article 9 Appeals

9.1 Scope of Appeals

The Jury of Appeal will only accept and conduct a hearing submitted by a protester when:

1) he or she is against the deduction made by the head judge or the decision of the judges in group C;

2) the "presumed mistake" is made on his or her own team competitors.

9.2 Procedures & Requirements for Appeals

If a Team leader or a Team Coach disagrees with the judges' decision made upon his or her competitors, he or she is entitled to submit a formal written appeal to the Jury of Appeal within 15 minutes at the end of the event concerned. The Appeal Fee of US$100 must be paid. Each appeal is limited to one issue.

In conducting the hearing, the Jury of Appeal will examine all evidences provided including videotapes. If the decision proved correct the protester must be abided by the Jury of Appeal s decision. Refuse to accept the Jury of Appeal's decision, the Jury can take further action against the protester suggesting the Technical Committee to take disciplinary action, including the cancellation of competition results. If the appeal proves to be justified, the Jury of Appeal shall propose to the Technical Committee to take disciplinary actions against the judges who made mistake. The Appeal Fee shall be returned. All parties involved will be notified of the results on time.

Article 10 Start-List

Under the supervision of the Competition Committee and the Chief Referee, the Programming and Recording group will use draw-lots system to determine the competitors' Start-List for each event. If the competition requires a qualifying phrase and finals, the start-List in the finals shall be determined by their qualifying scores (lowest score vs. the first score).

Article 11 Registry (Roll-Call)

Competitors must report to the designated place 40 minutes before the events start for the First Roll-Call where the costumes and apparatus are being checked. The Second Roll-Call will be done 20 minutes before the event. The Final Roll-Call in 10 minutes before the event.

Article 12 Protocol

When being called the competitor must salute the Head Judge with palm-and fist.

Article 13 Timekeeping

The Timekeeper will start the stop-watch when the competitor begins to move and stops the stop-watch when the competitor brings his/her feet together into the standing position (at the end of the Taolu).

Article 14 Display of Score

The results of the competitors will be displayed on the Score monitor.

Article 15 Forfeiture

If a competitor fails to report at the designated place after the Final Roll-Call or absent during competition, he/she will be forfeited from the event.

Article 16 Anti-doping Test

Anti-doping Test will be conducted according to the Olympic Charter and the IOC regulations.

Article 17 Placing

17.1 Individual & Dual Placing

Placing will be awarded according to the competitors' score in the competition. The competitor who has the highest score will be the winner (1st place) and the one with the second highest score will win the 2nd place, so on and so forth.

17.2 Individual All Round Placing

Individual all round placing will be determined by the total scores of each individual event (or according to the rules and regulations for that particular Competition set earlier). The highest score will be awarded 1st place; the second highest score will be 2nd place, so on and so forth.

17.3 Group Event Placing

The group with the highest score will be awarded 1st place; the group with second highest score will be 2nd place, so on and so forth.

17.4 Team Placing

Team placing will be determined by the regulations of that particular Competition.

17.5 Tied Scores

1) Tied in Individual Events

When individuals have the same scores, placing will decided according

to the following tie-break order:

(1) The competitor who successfully completed the higher degree of movement difficulty shall be placed higher;

(2) If the scores still remain the same, the winner will be the one who has completed more advanced degree of difficult movements;

(3) If the scores still remain the same, the winner will be the one with higher scores in difficulty;

(4) If the scores still remain the same, the winner will be the one with higher scores in overall performance;

(5) If the scores still remain the same, the winner will be the one who has higher scores among lower scores in overall performance;

(6) If the scores still remain the same a tied placing will be awarded;

(7) In competitions with qualifying phrase and finals, if the total result of the two competitions are the same, the competitor with the highest score in the qualifying phrase will be awarded the highest place. If the tied still remains, placing will be determined as in cases (1) - (7).

(8) If the scores still remain the same in events without difficult movements, placing will be determined as in cases (4), (5) and (6).

2) Tied in Individual All Round Event

The competitor who ranked first in more individual events shall be placed higher. If the tied still remains then the competitor who achieved second places in more individual events shall be placed higher. In case of equal ranking in all individual events, then a tie-placing shall be proclaimed.

3) Tie in Group & Dual Events

If the scores are the same in Group or Dual Events it will be determined as in cases (2) - (4) of article 17.5.1.

4) Tied in Team Events

In the team competition, the team which ranked first in more individual events shall be placed higher. If the tie still remains, then the team with more second places in individual events shall be placed higher, and so on and so forth. In case of equal ranking in all individual events, the tied -placing will be proclaimed.

Article 18 Applications for the Recognition & Grading of Innovative Movements

18.1 Principals for Innovation

All innovative movements must conform with the specific characteristics of Wushu and the principles of movement, requiring a high level of physical preparation and skill; and the degree of difficulty must be at least of Cat. B or higher and must not appear in the Tables for Degree Of Movements Difficulties and Value in Optional Events.

18.2 Application Procedures

Each team is allowed to submit an application (for Degree of Difficulty for Innovative Movement) for each routine.

The applicant must fill-up an Application Form for the "Assessment of Optional Routine Innovation" and supply a technical chart and a videotape of the competitor's movement. The application and its attachments must be sent to the IWUF Technical Committee at least sixty (60) days before the opening ceremony.

18.3 The Assessment Committee

The Assessment Committee will consist of 5 to 7 wushu experts appointed by the IWUF Technical Committee. Its main function is to examine the Taolu Innovation Application handed in by the teams.

18.4 Assessment Procedure

The Assessment Committee will consider the application referring to the innovation principle; a majority resolution is required for the movement to be accepted. Once accepted the Committee will name the movement; set-up the degree of difficulty, allocate the points to be awarded for its successful execution and points to be deducted for errors. The Committee will inform the applicant about the committee's decision. If the application is successful, the Committee will made a written report to the Jury of Appeal and the judges before the competition starts.

Article 19 Other Competition Regulations

19.1 Application for Registering the Degree of Difficulty

Each competitor must select movements for the events which he or she entered for, with different degrees of difficulty according to the Competition Rules and Regulations; and fill-up the Registration Form for the "Degree of Difficulty and Points for Optional Taolu" via Internet, and counter-signed by the Team Coach and later submit it to the Hosting Organization, at least thirty (30) days before the opening ceremony.

19.2 Time Limits for Taolu Competitions

1) Changquan, Nanquan, Jianshu, Daoshu, Qiangshu, Gunshu, Nandao & Nangun not less than 1 minute 20 seconds; and not less than 1 minute 10 seconds for Youth & Children's categories.

2) Optional Taijiquan, Taijijian and Group Event not less than 3-4 minutes; Compulsory Taijiquan and Taijijian not less than 5-6 minutes;

3) Dual Events not less than 50 seconds.

19.3 Events with Music

Taolu competitions with music (only instrumental music, no lyrics). A competitor must use instrumental music and not lyrics to accompany his or her Taolu choreography during performance.

19.4 Dress Code

All officials shall wear the IWUF Standard Contest Officials uniforms, IWUF logo badge and IWUF Identity and Accreditation Card.

All competitors shall wear IWUF Standard Taolu Contests costumes and the Competition Code Number during competitions.

19.5 Competition Area

Individual events shall be conducted on a carpet of 14 m x 8 m, surrounded by a safety area of 2 m around the carpet.

Group events shall be conducted on a carpet of 16 m x 14 m, surrounded by a safety area of 1 meter around the carpet.

The edges of the carpet must be marked with a white border of 5 cm wide.

The ceiling over the carpet must be at least 8 m in height. The distance between two (2) carpets must be at least 6 m apart.

High-level competitions should be done on a raised platform of 50 to 60 cm tall.

The platform should be lighted from above and must meet the requirements of the Competition Lighting Systems as stated in the Regulations.

Regulations. 19.6 Competition Apparatus

1) All apparatus must be conformed to the specific requirements set by the International Wushu Federation.

2) The competitor holds the apparatus with the left arm straighten and

the tip of the Jian or Dao must touch his or her ear-top. The required length of the Gun shall not be shorter than the performer's height. The required length of Qiang shall not be shorter than the performer's fingertips while standing with his or her left hand held above the head.

19.7 Competition Recording Equipments

In large-scale competitions, the minimum requirement for the competition recording are as follows:

a) four (4) video cameras (at least),

b) three (3) video players,

c) three (3) television sets,

d) a computerised scoring system and a good sound system.

19.8 This rule can be adopted in all IWUF Taolu competitions.

CHAPTER 3
CRITERIA & SCORING METHODS

Article 20 Criteria & Scoring Methods for Optional Taolu

20.1 Scoring Method

20.1.1 Each Judging Group will consist of three (3) Judges.

· Group A Formate - will judge the Quality of Movements;

· Group B Formate - including one (1) Head Judge will judge the Overall Performance;

· Group C Formate-will judge the Degree of Difficulties.

20.1.2 The Total score for each event is Ten (10) points including:

· 5 points for the Quality of Movements (abbrev: QM):

· 3 points for the Overall Performance (abbrev: OP);

· 2 points for the Degree of Difficulties (abbrev: DD).

The Starting Score of a competitor will be: the points in Degree of Movement Difficulties chosen by the competitor plus the points in Overall Performance (3 pts) plus the points in Quality of Movements (5 pts).

20.1.3 Judges in Group A Formate shall deduct points according to the errors committed during the competitor's performance.

20.1.4 Judges in Group B Formate is again subdivided into two (2) subgroups and shall judge independently. One subgroup shall determine the level of performance, while the other subgroup shall deduct points according to errors committed in the choreography.

20.1.5 Judges in Group c Formate shall judge according to the completion of the degree of Movement Difficulties and the Connecting Movements.

20.2 Scqring Criteria

20.2.1 Scoring Criteria for Quality of Movements

When a competitor commits a mistake or error 0.1 point shall be deducted;

if the same error is committed more than once then 0.1 -0.3 point shall be deducted.

Please read Table 1-Deductions and Criteria in Optional Quality of Movement.

20.2.2 Scoring Criteria in Overall Performance

1) To determine the level of Overall Performance

Power, rhythm and music are divided into three (3) levels and other three (3) sublevels.

· Top level shall be awarded 3.0-2.70 points,

· Standard level shall be awarded 2.60-2.30 points,

· Low level shall be awarded 2.10-1.80 points.

Refer Table 2-Scoring Criteria in Overall Performance for Optional

Events.

In a Top Level performance the amount of strength demonstrated must be high. The strength must be applied smoothly, forcefully and accurately. The toughness and gentleness are very well incorporated. These said elements of the routine will have to be well coordinated and demonstrated. Changes in rhythm must be fast and well defined. The content must demonstrate great diversity and the structure well knit and pleasing to watch. The movements must occupied all the space and finally the music and movements must blend harmoniously.

In a Standard Level performance the same characteristics as in the Top Level but with a lesser degree.

In a Low Level performance many of the above characteristics will be missing or do not meet the requirements.

2) Scoring criteria for the choreography in Overall Performance

At the end of the performance, any obligatory movement missing will be deducted 0.2 point, and if the structure or composition does not meet the requirement, 0.1 point shall be deducted.

Refer to Table 3 - Deductions and Criteria for the Choreography in Optional Events

20.2.3 Scoring Criteria for Degree of Difficulty

1) Degrees of Movement Difficulties (1.4 point)

According to the Degree of Movement Difficulties and Their Value in each event, points for the completion of each difficult movement will be given as follows:

Category A - 0.2 point

Category B - 0.3 point

Category C - 0.4 point

Repeat the same Movement Difficulty no extra bonus points will be added. The sum of Bonus points for each category cannot exceed 1.4 points.

Refer to Table 4 - Degree of Movement Difficulties and Values in Optional Events

2) Degree of Difficulty for Connecting Movements (0.6 point)

According to the Degree of Difficulty for Connecting Movements and Their Value" in each event, points for completing each connecting movements will be given as follows:

Category A - 0.1 point
Category B - 0.15 point
Category C - 0.2 point
Category D - 0.25 point

Repeat the same Connecting Movements will not gain extra bonus points. The sum of Bonus points for each category cannot exceed 0.6 point.

Refer to Table 5 - Degree for Movement Difficulties and Values in Optional Events

If the performances do not meet the requirements, no bonus will be awarded.

Refer to Table 6 - Degree of Movement Difficulties and Connecting Movements which do not meet the requirements.

3) Bonus Points for the Degree of Difficulty in Innovative Movements

Successfully performing a recognized innovative movement will be awarded by the Head Judge according to the requirements.

Additional points will be added accordingly:

Category B - 0.2 point
Category C - 0.3 point
Category Super - 0.4 point

Failure to complete an innovative movement either not executing the movement correctly or not complying with the indicated specifications, no extra bonus points will be added.

Article 21 Scoring Methods and Criteria in Dual & Group Events

21.1 Scoring Method

21.1.1 Each Judging Group will consist of three (3) Judges.

Group A Formate - will judge the Quality of Movements
Group B Formate - will judge the Overall Performance.

21.1.2 The total score for any Dual or Group Events is Ten (10) including:

5 points for the Quality of Movements;
5 points for the Overall Performance.

21.1.3 Judges in Group A Formate will deduct points according to errors committed by the competitors.

21.1.4 Judges in Group B Formate will determine the level according to the competitors' Overall Performance.

21.2 Scoring Criteria 21.2.1 Scoring criteria for Quality of Movements

When the competitor's movements do not meet the requirements, 0.1 point shall be deducted;
When other errors occur, 0.1-0.3 point shall be deducted.

Refer Table 1 -Deductions and Criteria for Optional Quality of Movement

Refer Table 7 - Common Errors and Deduction Criteria for Overall Performance in Dual Events

Refer Table 8-Common Errors and Deduction Criteria for Overall Performance in Group Events

21.2.2 Scoring Criteria for Overall Performance

Overall Performance is divided into three (3) levels and three (3) sublevels.

Top level shall be awarded 5.00-4.10 points;
Standard level shall be awarded 4.00-3.10 points;
Low level shall be awarded 3.00-2.10 points.

Refer Table 9 - Scoring Criteria for Overall Performance in: Dual Event, Group Event and Events with No Degree of Difficulty.

· In a top level performance the amount of strength demonstrated will be high. The strength must be applied smoothly, forcefully and accurately. The toughness and gentleness must be well incorporated. All elements of the routine must be well coordinated and demonstrated. Changes in rhythm must be fast and well defined. The content must contained great diversity and the structure must be well knit and pleasing to watch. The movements must be structured in such a way that all angles of the carpet are touched. Finally the music and movements must be blend harmoniously.

In a standard level performance all the characteristics are the same in the Top Level performance but with lesser degree.
In a low level performance many of the above elements will be missing or not satisfactory.

Article 22 Judges Scores Display

22.1 Judges in Group A and C Formate - can only display scores with one (1) decimal place.

22.2 Judges in Group B Formate - can display scores with two (2) decimal places; the third decimal will not be rounded off.

Article 23 Methods of Determining the Actual Points

23.1 Optional Event

The actual point is the sum of the points obtained in the Quality of Movements and the points obtained in the overall performance.

1) Determining the actual points in the Quality of Movements

Judges in Group A Formate shall deduct points according to the requirements of the Quality of Movements, and deductions on other common errors. The sum of deducted scores made by two-third of the judges will be the score to be deducted from the Quality of Movements.

2) Determining the actual points in the Overall Performance

Three judges and one Head Judge of the Group B Formate will be again divided into two groups. Each group will judge independently. The 3rd judge and the Head Judge will determine the level of the competitor's Overall Performance according to the requirements on power, rhythm and music. The 6th and the 9th judge shall deduct points according to the errors committed in the choreography.

3) Determining the actual points on the Degree of Difficulty

Three judges of Group C Formate shall judge on the degree of Movement Difficulties and Connecting Movements according to the requirements on the additional points. The sum of the points made by two-third of the judges is actual score for the degree of difficulties.

23.2 Dual Event, Group Event and Events with no degree of Movement Difficulties

23.2.1 Determining the Merited scores for the Quality of Movements Three judges of A group shall officiate. Over 2 judges deduction content on other. Sum of deducted scores on error of one movement and common errors confirmed by more than 2 judges is the score which shall be deducted from the points of the movement quality.

23.2.2 Determining the Merited scores for the Overall Performance Three judges of B group shall officiate. The merited scores shall be the average points of the three points.

Article 24 Calculation of the Final Points

24.1 Optional Event

The final score is obtained by subtracting the points deducted by the Head Judge from the actual score; or plus additional points gained on the innovation movement.'

24.2 Dual Event, Group Event, and Event with no degree of Movement Difficulties

The final score is obtained by subtracting the points deducted by the Head Judge from the actual points.

Article 25 Scoring Method without the Computer Scoring System

If there is no computer scoring system, the scoring method shall be done by the following methods.

25.1 The actual score on the Quality of Movement and degree of difficulty shall be the same score made by two-third of the judges.

25.2 The actual score on the Quality of Movement and the degree of difficulty shall be the average of the scores given by the three judges. The third decimal place shall not be rounded off.

Article 26 Addition and Deduction by the Head Judge

26.1 The Head Judge shall make additional points for innovative movements.

26.2 The Head Judge shall deduct points for repetition; or for the time limit.

1) Repetition

A competitor whose performance is interrupted by unforeseen circumstances may repeat his or her performance with the permission of the Head Judge without deduction of points.

A competitor who forgive his routine during performance; or break his apparatus; may repeat his performance, but 1 point will be deducted.

When a competitor is not able to continue his performance due to injuries, the Head Judge has the right to stop the performance. When he or she is ready to repeat the performance, arrangements can be made for him or her to continue the competition but at the end of the start-list in his or her group. 1 point will be deducted.

2) For Taijiquan, Taijijian and Group events, ranging from 0.1 to 5.0 seconds (including 5.0 seconds) under or over the time limit shall deduct O.lpoints; 5.1 to 10 seconds (including 10 seconds) under or over the time limit shall deduct 0.2 points, and so on and so forth.

3) For Changquan, Nanquan, Jianshu (Sword play), Daoshu (Broadsword play), Qiangshu (Spear play), Gunshu (Cudgel play), Nandao, Nangun and dual events, ranging from 0.1 to 2.0 seconds (including 2.0 seconds) under or over the time limit shall deduct 0. Ipoints; From 2.1 to 4 seconds (including 4 seconds) under or over the time limit shall deduct 0.2 points, and so on and so forth.

Rules for International Wushu Taolu(Routine) Competition (Bylaw)

I Optional Events

Table 1 Deduction and Criteria for Quality of Optional Movement

Type

Code

Deduction Content

Common Errors

Balances

1. Bring the leg to the head level and hold the leg while remain standing

2. Side kick and hold

the leg while remain standing

3. Side heel-up leg lift and stance

Supporting leg bends

Raised leg bends

Back kick and hold the leg while remain Standing

Supporting leg bends

Torso bends forward

Yangshen Pingheng YSPH Backward balance

Lifted leg below horizontal level

Shizi Pingheng SZPH Balancing with arms outspread

Torso below horizontal level

Low balance with leg stretched forward

Stretched leg below horizontal level

Low balance with leg inserted behind

The foot of inserted leg touches carpet

Low stepping on kick forward

The foot of the supporting leg leaves the carpet

The knee of the kicked leg bends, and the tiptoe is not directed outward

Cechuai Pingheng CCPH High balance with leg stretched sideway

The kicking leg does not undergo the process from bending to straight

Leg techniques

Qiansaotui QST Front sweep

Thigh of supporting leg above horizontal level

Sole of sweeping leg leaves the carpet

Sweeping leg bends

Huosaotui HST Back sweep

Sweeping leg bends

Heel of the sweeping leg leaves the carpet

Hengdingtui HDT Horizontal nail kick

The nailing leg sways away straight

Not nail sideward

Dieshucha DSC Land on front split

Rear leg bends obviously

The front foot's sole points in ward and touches carpet

Fenjiao FJ, Dengjiao DJ Parting kick, Heel kick

Supporting leg bends

Raised leg bends

Other Errors

Remaining still and balancing move less than 2 seconds

Any part of the body touches outside the carpet

Apparatus touches the carpet or the body, blade off handle or deformed apparently

Torso shakes, foot moves or jumps

Extra support (0.2)

Apparatus breaks (0.2)

Fall onto the carpet (0.3)

Apparatus fall onto the carpet (0.3)

Note:

1.Touching the floor outside the carpet with apparatus; or part of the body goes outside the line is not counted as outside the carpet.

2. Deduction points not indicated in the rules are all set at 0.1.

3. 0.1 point shall be deducted for one error or more errors occurred in one (1) movement. The deducted points will be added up together.

4. When two (2) or more errors occurred in one movement, the deducted points will be added up together.

Table 2 Scoring Criteria for Overall Performance in Optional Events

Level

Degrees

Scores

SUPERIOR

1^ST

3.00—--2.90

2^ND

2.89—-2.80

3^RD

2.79—-2.70

STANDARD

4^TH

2.60—-2.50

5^TH

2.49—-2.40

6^TH

2.39——2.30

INFERIOR

7^TH

2.10—-2.00

8^TH

1.99—-1.90

9^TH

1.89—-1.80

Table 3 Content and Criteria for the Choreography Deductions in Optional Events

Choreography

Content

Code

Content

0.2 shall be deducted for one required movement missing

0.2 shall be deducted for one type of difficult movements missing

Structure

Motionless posture exceeds 3 seconds or stop before difficult movement of Taijiquan and Taijijian

Running-up exceed four (4) steps before the jumping and tumbling techniques in Changquan or Nanquan

Running-up exceed one (1) step before the jumping techniques in Taijiquan or Taijijian

Composition

Lack off difficult movement within two (2) lines

Note: The deduction score un-indicated in the rules are all set at 0.1.

Table 4 Movement Difficulties and Value in Optional Events

Table 4-1 Movement Difficulties and Value in Changquan, Jianshu, Daoshu, Qiangshu and Gunshu

Type

Degree of Difficulty and Value

A+0.2

Code

B+0.3

Code

C+0.4

Code

Balances

Bring the leg to the head level and hold the leg while remain standing

111A

Shizi Pingheng SZPH Balancing with arms outspread

133B

Back kick and hold the leg while remain standing

112C

Side kick and hold the leg while remain standing

112A

Yangshen Pingheng YSPH

Backward balance

123A

Leg

Techniques

Zhishen Qiansao 540° ZSQS

Front sweep 540°

244A

Zhishen Qiansao ZSQS 900°

Front sweep 900°

244B

Jumps

Xuanfengjiao XPJ 360°

Whirlwind kick 360°

323A

Xuanfengjiao XPJ 540° Whirlwind kick 540°

323B

Xuanfengjiao XFJ 720° Whirlwind kick 720°

323C

Xuana XZ Butterfly

333A

Xuanzi Zhuanti XZZT 360°
Butterfly 360°

353B

Xuanzi Zhuanti XZZT 720°

Butterfly 720°

353C

Tengkong Bailian TKBL 360°

Lotus kick 360°

324A

Tengkong Bailian TKBL 540°

Lotus kick 540°

324B

Tengkong Bailian TKBL 720°

Lotus kick 720°

324C

Cekongfan CKF Cartwheel roll

335A

Cekongfan Zhuanti CKFZT 360°

Cartwheel roll 360°

355B

Tengkong Feijiao TKFJ

Hying front kick

312A

Tengkong Zhengtitui TKZTT

Flying front raise kick

312B

Note:

1. When the 353C movement lands on the carpet, it should be

followed by a front split. When the 323B movement lands on the carpet, it should be followed by a front split (dieshucha) or lifted knee stance (tixiduli). The 324C movement should be followed by Mabu (horse-riding stance).

2. The kicked leg of 312B movement should be the same as the take-off leg.

Table 4—2 Movement Difficulties and Value in Taijiquan and Taijijian

Type

Degree of Difficulty and Value

A+0.2

Code

B+0.3

Code

C+0.4

Code

Balances

Low balance with leg stretched forward

143A

Low balance with leg inserted behind

143B

Side heel-up leg lift and stance

113C

Low stepping on kick forward

142A

Cechuai Pingheng CCPH High balance with leg stretched sideway

132A

Leg Techniques

Dengjiao DJ
Fenjiao FJ
Heel kick or Parting kick

212A

Jumps

Tengkong Feijiao TKFJ Flying front kick

312A

Tengkong Zhengtitui TKZTT

Flying front raise kick

312E

Xuanfengjiao XFJ 540°

Whirlwind kick 540°

323C

Tengkongfeijiao TKFJ inward 180°

Flying front kick inward 180°

522B

Tengkong Bailian TKBL 540°

Lotus kick 540°

324C

Xuanfengjiao XFJ 360°

Whirlwind kick 360°

323B

Tengkong Bailian TKBL 360°

Lotus kick 360°

324B

Note:

1. The jumping movements of: 312A, 323B, 324B, 312B, 323C and 324C should use one step before jumping.

2. The kicked leg in 312B movement should be the same as the jumped leg. When the movements of322B, 323B and 323C land on the carpet, they should be followed by Tixiduli (TXDL). When the movements of 324B and 324C land on the carpet, they should be followed by Quedilong QDL (slide down and the left leg should be in-front.)

Table 4-3 Movement Difficulties and Value in Nanquan, Nandao and Nangun

Type

Degree of Difficulty and Value

A+0.2

Code

B+0.3

Code

C+0.4

Code

Leg Techniques

Zhishen Qiansao ZSQS 540°

Front sweep 540°

244A

Zhishen Qiansao ZSQS 900°

Front sweep 900°

244B

Jumps

Xuanfengjiao XFJ 360°

Whirlwind kick 360°

323A

Xuanfengjiao XFJ 540°

Whirlwind kick 540°

323B

Xuanfengjiao XFJ 720°

Whirlwind kick 720°

323C

Tengkong Bailian TKBL 360°

Lotus kick 360°

324A

Tengkong Bailian TKBL 540°

Lotus kick 540°

324B

Tengkong Bailian TKBL 720°

Lotus kick 720°

324C

Yuandi Huokongfan YDHKF
Back cartwheel roll at the same spot

346A

Dantiao Huokongfan DTHKF

Single jump backward cartwheel roll

346B

Tumbling

Tengkong Shuangcechuai TKSCC

Double flying side kick

415A

Inward Jump 720° with cudgel (broadsword) hack

321B

Tengkong Pantui 360° Cepu TKPTCP

Flying crossed legs kick 360° and land on the side

423A

Liyudating Zhili LYDTZL Carp Skip-up

445A

Note: when the movements of 346A, 346B and 323B land on the carpet, Deibu should follow them. When the movements of 323A and 445A land on the carpet, they should be followed by Tixiduli. When the movements of 324B, 323C and 324C land on the carpet, they should be followed by Mabu.

Table 5 Connecting Movements and Value in Optional Events

Table 5-1 Connecting Movements and Value for Changquan, Jianshu, Daoshu, Qiangshu and Gunshu

Degree of Difficulty and Value

A+0.1

Code

B+0.15

Code

C+0.2

Code

D+0.25

Code

Tengkong Feijiao TKFJ + Zuopan ZP

Flying front kick + sitting position

312 A+6

Xuanfengjiao XFJ540° + Deishucha DSC

Whirlwind kick 540° + landing on front split

323 B+4

Xuanfengjiao XFJ540° + Tixi Duli TXDL

Whirlwind kick 540° + lifted knee stance

323 B+3

Xuanfengjiao XFJ720° + Deishucha DSC

Whirlwind kick 720° + landing on front split

323 C+4

Xuanfengjiao XFJ360° + Deishucha DSC

Whirlwind kick 360° + landing on front split

323 A+4

Tengkong Bailian TKBL540° + Mabu MB

Lotus kick 540° + horse-riding stance

324 B+l

Tengkong Bailian TKBL540° + Tixi Duli

TXDL Lotus kick 540' + lifted knee stance

324 B+3

Tengkong Bailian TKBL720° + Mabu MB

Lotus kick 720° +horse-riding stance

324 C+l

Xuanfengjiao

XFJ360° + Mabu MB

Whirlwind kick 360° + horse-riding stance

323 A+l

Tengkong Bailian TKBL 360° +Tixi duli TXDL

Lotus kick 360° + lifted knee stance

324

A+3

Xuanfengjiao XFJ720" + Mabu MB

Whirlwind kick 720° + horse-riding stance

323 C+l

Xuanzi Zhuanti XZZT 720° + Dieshucha DSC

Butterfly 720° + landing on front split

353 C+4

Xuanfengjiao XFJ360° + Zuopan ZP

Whirlwind kick 360° + sining position

323 A+6

Xuanfengjiao XFJ360° + Tixi Duli TXDL

Whirlwind kick 360° + lifted knee stance

323 A+3

Xuanzi Zhuanti XZZT 360° +Xuanfengjiao XFJ 720°

Butterfly 360° + Whirlwind kick 720° (within 4 steps)

353B

+ 323C

Tengkong Bailian TKBL 360° + Dieshucha DSC

Lotus kick 360° + landing on front split

324 A+4

Xuanfengjiao XFJ360° + Xuanzi Zhuanti XZZT 720°

Whirlwind kick 360° + Butterfly 720° (within 4 steps)

323A

+ 353C

Low balance with leg stretched forward + a twist of 180° and lifted knee stance

143 A+3

Tengkong Feijiao TKFJ + Tixi Duli TXDL

Flying front kick + lifted knee stance

312 A+3

Tengkong Bailian TKBL 360° +Tixi Duli TXDL

Lotus kick 360° + lifted knee stance

324 B+3

Xuanfengjiao XFJ360° + Qitiaojiao Luodi QTJLD

Whirlwind kick 360° + take-off foot land on the carpet

323 B+3

Tengkong Bailian TKBL 360° + Quedilong QDL

Lotus kick 360° + slide down

324 B+5

Tengkong Bailian TKBL 360° + Qitiaojiao Luodi QTJLD

Lotus kick 360° + take-off foot land on the carpet

324 B+3

Tengkong Feijiao TKFJ + Tengkong Bailian TKBL 540°

Flying front kick + Lotus kick 540° (No step)

312A + 324C

Tengkong Feijiao TKFJ + Tengkong Bailian TKBL 360'

Flying front kick + Lotus kick 360' (No step)

312A + 324B

Low balance with leg inserted behind + lotus kick 180° to become lifted knee stance

143 B+3

Note: 1. An athlete should use the same foot to kick, slap and land on the carpet.

2. The movement should be finished motionlessly then follow by another movement.

3. An athlete can only choose one time of slide down.

4. For 312A+324B and 312A+324C, the athlete shall jump directly after feet fall on ground of the last jump.

Table 5-3 Connecting Movements and Value in Nanquan, Nandao and Nangun

Degree of Difficulty and Value

A+0.1

Code

B+0.15

Code

C+0.2

Code

D+0.25

Code

Xuanfengjiao XFJ360° + Diebu DB Whirlwind kick 360° + butterfly stance

323 A+2

Yuandi

Houkongfan YDHKF+ Diebu DB

Backward cartwheel roll on the same spot + butterfly stance

346

A+2

Xuanfengjiao XFJ360° + Tixi Duli TXDL

Whirlwind kick 360° + lifted knee stance

323 A+3

Xuanfengjiao XFJ720° + Mabu MB

Whirlwind kick 720° + horse-riding stance

323 C+l

Tengkong Feijiao TKFJ + Tixi Duli rXDL

Flying front kick + lifted knee stance

312

A+3

Dantiao

Houkongfan DTHKF + Diebu DB
Single jump backward cartwheel roll + butterfly stance

346 B+2

Tengkong Bailian TKBL 360° +Tixi Duli TXDL

Lotus kick 360° + lifted knee stance

324 A+3

Tengkong Bailian TKBL 720° +Mabu MB

Lotus kick 720° + horse-riding stance

324 C+l

Xuanfengjiao XFJ360° + Fengkong Feijiao TKFJ

Whirlwind kick 360° + Flying front kick

323A + 312A

Tengkong Feijiao TKFJ Inward twist 180° +TiXi Duli TXDL

Flying front kick with an inward twist 180° + lifted knee stance

322 B+3

Liyudating Znili LYDTZL + Tixi Duli TXDL

Carp Skip-up + lifted knee stance

445 A+3

Tengkong Bailian TKBL 360° + Mabu MB

Lotus kick 360° + horse-riding stance

324 A+l

Tengkong Waibaitui 540° + Mabu MB

Jumping outward kick 540° + horse-riding stance

324 B+l

Xuanfengjiao XFJ360° + Dantiao Houkongfan DTHKF
Whirlwind kick 360° + single backward jump cartwheel roll (within 2 steps)

323A + 346B

Xuanfengjiao XFJ540° + Diebu DB

Whirlwind kick 540° + butterfly stance

323 B+2

Inward Jump 720° and cudgel hack (also in broadsword) + Pubu PB couch stance

321 B+0

Note: 1. An athlete should use the same foot to jump, slap and land on the carpet.

2. The movement should be finished motionlessly then follow by another movement.

Table 6 Movement Difficulties and Connecting Movements Which Do Not Meet the Requirements

Table 6-1 Movement Difficulties and Connecting Movements in Changquan, Jianshu, Daoshu, Qiangshu and Gunshu Which Do Not Meet the Requirements

Difficulty

Types

Movement

Disaccorded with requirement
(No addition of score)

Movement of degree of Difficulty

Balances

Bring the leg to the head level and hold the leg while remain standing

Side kick and hold the leg while rema.in standing

Shizi Pingheng SZPH Balancing with arms spread outward

Lifted leg not vertical

Back kick and hold the leg while remain standing

Lift leg not vertical

Holed leg not behind the shoulder

Yangshen Pingheng YSPH Backward balance

Torso above horizontal level 45°

Leg techniques

Zhishen Qiansao ZSQS

Front sweep 540°

Zhishen Qiansao ZSQS

Front sweep 900°

Sweeps and twists incomplete

Jumps

Tengkong Zhengtitui TKZTT
Flying front raise kick

Not executed in the air or tiptoe of the kick does not touch the forehead

Tengkong Feijiao TKFJ
Flying front kick

Not executed in the air

Xuanfengjiao XFJ 360°

Whirlwind kick 360°

Xuanfengjiao XFJ 540°
Whirlwind kick 540°

Xuanfengjiao XFJ 720°
Whirlwind kick 720°

Twist incomplete or the kick leg below horizontal level

Tengkong Bailian TKBL 360°
Lotus kick 360°

Tengkong Bailian TKBL 540°
Lotus kick 540°

Tengkong Bailian TKBL 720°
Lotus kick 720°

Twist incomplete or the kick leg below horizontal level

Xuanzi XZ, Cekongfan CKF
Butterfly and cartwheel roll

Not executed in the air

Xuanzi Zhuanti 360° XZZT
Butterfly 360°

Xuanzi Zhuanti XZZT 720°
Butterfly 720°

Cekongfan Zhuanti CKFZT 360°
Cartwheel roll 360°

Twists incomplete

Connection of degree of difficulty

Connection between two difficult movements

Tengkong Feijiao TKFJ + Cekongfan CKF

Flying front kick + Cartwheel Roll

Run-up steps between jumps exceed the required movement

Xuanfengjiao XFJ 360° + Xuanzi Zhuanti XZZT 720°

Whirlwind kick 360° + Butterfly 720°

Xuanzi Zhuanti XZZT 360° + Xuanfengjiao XFJ 720°

Butterfly 360° + Whirlwind kick 720°

Connection between difficult and motionless movements

Tengkong Bailian TKBL 360° ,540° ,720° + Mabu MB
Lotus kick 360° ,540° , 720° + horse-riding stance

Xuanfengjiao XFJ 360° , 720° + Mabu MB Whirlwind kick 360° ,720° + horse-riding stance

When landing on the carpet, both feet do not touch the carpet at the same, and feet move or jump

Xuanfengjiao XFJ 360° , 540° + Dieshucha DSC Whirlwind kick 360° ,540° + landing on front split

Dieshucha DSC Whirlwind kick 720° + landing on front split

Xuanzi Zhuanti XZZT 720° + Dieshucha DSC Butterfly 720° + landing on front split

When landing on the carpet, both feet do not touch the carpet at the same time, and feet move.

Xuanfengjiao XFJ 360° + Tixi Duli TXDL Whirlwind kick 360° + lifted knee stance

Xuanfengjiao XFJ 540° + Tixi Duli TXDL Whirlwind kick 540 ° + lifted knee stance

Tengkong Bailian TKBL 360° + Dieshucha DSC Lotus kick 360° + landing on front split

Tengkong Bailian TKBL 360° + Tixi Duli TXDL Lotus kick 360° + lifted knee stance

Tengkong Bailian TKBL 540° + Tixi Duli TXDL Lotus kick 540° + lifted knee stance

Slapped foot does not land on the carpet alone

When landing on the carpet, both feet move or jump

Foot of the lifted leg touches the carpet

Transition between throw and catch of apparatus and movements

Pao + Tengkong Feijiao TKFJ 360° +Jie Throw + Flying front kick 360° + Catch

Pao + Qiangbei QB + Jie Throw + Dive shoulder roll + Catch

Flying front kick not executed in the air

Buttock or knee not leaves carpet after dive shoulder roll

Misses to catch the apparatus or catch the fringe or tussle only

Note:

1. The degrees of twists for jumping movements followed by Mabu, and Dieshucha are measured by the angle of lines between tiptoe and heel before and after jumping.

2. The degrees of twists for jumping movements with twists of single foot landing on the carpet are measured by the angle of lines between tiptoe and heel before and after jumping.

3. The degrees of sweeping leg technique are measured by the angle (begin and end) of the sweeping foot.

4. Steps in the 323A+353Cand 353B+323C are counted from any step made after two feet land on the carpet. Steps in the 312A+335A are counted from any step made after one foot land on the carpet.

Table 6-2 Movement Difficulties and Connecting Movements in Taijiquan, Taijijian Which Do Not Meet the Requirements

Difficulty

Types

Movement

Disaccorded with requirement
(No addition of score)

Degree of difficulty movements

Balances

Low balance with leg stretched forward

Low balance with leg inserted behind

Supporting leg above horizontal level

Low stepping on kick forward

Supporting leg above horizontal level

Foot of the kicking leg touches carpet

High balance with leg stretched sideway

The foot of the leg stretched sideway lower than shoulder

The upper torso leans more than 45 degree

Side heel-up leg lifted and stance

Lifted leg not vertical or torso inclines more than 45° (including 45° )

Leg Techniques

Dengjiao DJ (fenjiao FJ)
Heel kick (Parting kick)

Heel of the lifted leg below shoulder level

Jumps

Tengkong Zhengtitui TKZTT
Flying front raise kick

Starting jumps exceed 1 step or tiptoe of the kick does not touch the forehead

Tengkong Feijiao TKFJ
Flying front kick

Starting jumps exceed 1 step or not executed in the air

Xuanfengjiao XFJ 360°
Whirlwind kick 360°

Xuanfengjiao XFJ 540°
Whirlwind kick. 540°

Starting jumps exceed 1 step, twist incomplete or inside crescent kicked (lihetui) leg below horizontal level

Tengkong Bailian TKBL 360''
Lotus kick 360° K$a^540g

Tengkong Bailian TKBL 540°
Lotus kick 540°

Starting jumps exceed 1 step, twist incomplete or outside crescent kicked leg (waibaitui) below horizontal level

Degree of difficulty of transitions

Connections between two difficult movements

Tengkong Feijiao TKFJ + Tengkong Bailian TKBL 360°

Flying front kick + Lotus kick 360°

Tengkong Feijiao TKFJ + Tengkong Bailian TKBL 540°
Flying front kick + Lotus kick 540°

Runing-up steps between jumps exceed the required movement.

Connecdons between difficult and motionless movement

Tengkong Feijiao TKFJ + Qitiaojiao Luodi QTJLD Flying front kick + land on carpet

Tengkong Bailian TKBL 360° + Quedilong QDL Lotus kick 360° + slide down

Tengkong Bailian TKBL 540° + Quedilong QDL Lotus kick 540° + slide down

Feet do not land on the carpet at the same time or foot moves

Tengkong Feijiao TKFJ + Tixi Duli TXDL Flying front kick + lifted knee stance

Xuanfengjiao XFJ 360° + Tixi Duli TXDL Whirlwind kick 360° + lifted knee stance

Xuanfengjiao XFJ 540° + Tixi Duli TXDL Whirlwind kick 540° 4- lifted knee stance

Tengkong Bailian TKBL 360° + Tixi Duli TXDL Lotus kick 360° + lifted knee stance

Tengkong Bailian TKBL 540° + Tixi Duli TXDL Lotus kick 540° + lifted knee stance

Slapped foot does not land on the carpet alone

When landing on the carpet, both feet move or jump

Foot of the lifted leg touches the carpet

Connections between two motionless movement

Low stepping on kick forward+a twist of 180° to become lifted knee stance

Shakes, moves, or jumps during transition

Twist incomplete

Low balance with leg stretched forward + a twist of 180° to become lifted knee stance

Low balance with leg inserted behind +lotus kick 180° to become lifted knee stance

Note:

1. The degrees of twists for the jumping movements followed by slide down movement are measured by the angle between the line of tiptoe and heel during the jump and the line of landing of the left or right leg.

2. The degrees of twists for jumping movements with a single foot landing on the carpet are measured by the angle of lines between the tiptoe and heel before and after jumping.

3. The connecting steps of 312A+324A and 312A+324C shall jump directly after two feet land on the carpet simultaneously.

4. There should be no forward step in the transition between two motionless movements. The body should rotate around the supporting leg.

Table 6-3 Movement Difficulties and Connecting Movements in Nanquan, Nandao and Nangun Which Do Not Meet the Requirements

Difficulty

Types

Movement

Disaccorded with requirement (No addition of score)

Degree of difficulty Tiovements

Leg Techniques

Zhishen Qiansao ZSQS 540°
Front sweep 540°

Zhishen Qiansao ZSQS 900°
Front sweep 900°

Sweeps and twists incomplete

Jumps

Xuanfengjiao XFJ 360°
Whirlwind kick 360°

Xuanfengjiao XFJ 540°
Whirlwind kick 540°

Xuanfengjiao XFJ 720°
Whirlwind kick 720°

Twists incomplete or inside crescent kicked leg (lihetui) below horizontal level

Tumbling

Tengkong Bailian TKBL 360°

Lotus kick 360°

Tengkong Bailian TKBL 540°
Lotus kick 540°

Tengkong Bailian TKBL 720°
Lotus kick 720'"

Twists incomplete or outside crescent kicked leg (waibaitui) below horizontal level

Dandi Houkongfan YDHKF
Backward cartwheel roll at the same spot

Foot moves before jump

Dantiao Houkongfan DTHKF
Single jump backward cartwheel roll

Running-up steps before jump exceed 3 steps (including 3 steps)

Jump with a inward twist of 720° and cudgel hack (also in broadsword)

Twist does not meet the requirement

Tengkong Shuangcechuai TKSCC Double flying side kicks

Kicks below horizontal level

1. The degrees of twists for jumping movements of double feet touching the carpet, or followed by stances are measured by the angle between the line of tiptoe and heel during the jump and the line of the landing of the left or right leg.

2. The degrees of twists for jumping movements of single foot touching the carpet are measured by the angle between the line of tiptoe and heel during the jump and the line of the landing of the left or right leg.

3. The degrees of twist for sweeping leg techniques are measured from the start and end of the sweeping leg.

4. Steps in the 323A+346B are counted from any step made after one foot land on the carpet.

Table 7 Common Errors and Deduction Criteria for Overall Performance in Dual Events

1. Touching the Floor outside the carpet with the apparatus or any part of body goes beyond the sideline is not consider as outside the carpet.

2. The above-mentioned errors are deducted each time when committed by the competitor.

3. "Apparatus touches body" refers to the competitor who touches his or her own body with the apparatus.

Table 8 Common Errors and Deduction Criteria for Overall Performance in Group Events

Table 10 Scoring Criteria for Overall Performance in Dual Events, Group Events, and Categories Without Specific Requirements on Difficulties

Bend leg at knee and drop into a half a squat so that thigh is almost level and knee and toes are in a vertical line. Straighten the other leg, toes pointing inward. Both soles are flat on floor.

Bend thigh to horizontal level, heel should not leave the floor and the other tiptoe touch the floor.

Full squat with thigh resting on calf and foot and knee turned outward while the other leg is stretched sideways (horizontal to the floor), toes pointing inward. Both soles are placed flat on floor.

Keep the supporting leg straight or bent slightly. Point the toe of the other foot and then kick with the toe, snapping the knee out to full extension.

Keep the supporting leg straight or slightly bent. Raise kicking leg's knee with toes pointing inward. Thrust out the kicking leg's heel forcibly sideway to shoulder level, trunk inclining not more than 45 ° . The power of the kick should be focused on the sole . The kick must be above the waist.

Left foot takes a step forward to form a left Gongbu. Meanwhile, thrust both palms forward at shoulder level, fingers pointing up. Turn the toes of left foot inward and drop into Pubu with left leg bent at knee and right leg stretched. At the same time, turn trunk to the right and bend forward, placing both palms on the floor near the inside of right knee. Using the ball of left foot as pivot, turn trunk rightward and sweep right foot in the same direction in full circle with sole flat on floor.

Form a fist and bend elbow with the palm of the hand facing down. When sinking the elbow forward or sideways the power of the struck should be concentrated on elbow.

Raise arm to the chest and lips' level and keep it curved. The front knee of Gongbu (bow stance) should not surpass the toe.

Pull both hands backward (in a curve direction). Weight must shift to the back leg. Keep body straight.

Keep both arms rounded while pressing forward. Both forearms should not higher than the mouth level.

Keep the arm rounded while "brushing" the knee. The hand which is moving forward must travel close to the ear. When bringing the foot forward, the toes of the foot must not touch the floor. Don't bend the knee of the supporting leg. The front knee of Gongbu should not surpass the toe.

Move the body with hands moving in vertical circles in front of the body. The hands should move below the eyebrow. Keep the body at constant height.

Keep both arms rounded. With the hand blocking-up and the other pushing forward (both coordinated). The hand pushing forward should be between the waist and the eyebrow. Sink the elbow, drop the shoulder, relax the waist and tuck in the buttocks.

Turn the arm inwards. Punch forward from the ribs at the same time rotating the arm until the palm of the fist is facing downwards. The power of the punch should be focused on the knuckles of the fist but the wrist should be kept lose. Keep the fist between your chest and waist.

Step backwards. Keep the body straight and at the same height. The hand pushing forward should be between the shoulder and the eyebrow.

Keep the elbow bent through-out. While deflecting and parrying the hand should move in a visible circle. The movement of the hands and the turning of the body should be coordinated.

Single butterfly stance. Bend one leg into a squat and place inside of the other knee on the floor. The inside of the foot and lower leg should touch the floor.

Both knees are pressed together. The inside of both feet and lower legs should touch the floor.

Move two steps forward (diagonally) with one foot crossing over the other. The first step should be a half step (short) and move quickly. The second step should touch the floor. Both steps should be done forcefully.

Bend one leg into a squat stance with the heel lifted-up and bent the knee (off the floor) of the other leg. The muscles of the back leg must be obviously clenched. The distanced between the two legs of the competitor must be 2 and 1/2 width. The tibia of the back leg should be parallel to the floor.

In the Guaquan, the back fist shall strike down rapidly. The power of the fist should be focused on the back of the fist. In the Gaiquan, bend the elbow slightly and strike the fist down in an arc motion. The power of the fist should be focused to the face of the fist.

Bend the elbow slightly and strike the fist up in a curved motion. The power of the punch should be focused on the 'eye' (the spiral made by pointer and thumb) of the fist.

Pull back the toe while kicking extend the leg horizontally across the body. The power of the kick should be focused on the toe.

Separate the fingers and curl them at the second and third finger-joints. Curl the thumb at the second finger-joint. The first finger-joints of all fingers should be pulled backwards to expose the center of the palm.

Extent the arm forward and downward whilst turning the forearm inward. The power of the movement should be focused on the inside of the forearm.

The sword moves upwards in vertical circle in front of you , then backwards or downwards, the movement should be focused on the body of the sword.

The sword moves from down to up in vertical circle. The movement should be focused on the front part of the sword.

Pull the wrist back until the sword is vertical and then strike forward and downward rapidly. The power of the movement should be expressed through the tip of the sword.

Lift the up sword vertically and chop downward. The power of the movement should be focused on the length of the blade.

Pull the wrist back and flick up the sword rapidly. The power of the movement should be focused on the tip of the sword.

Block and strike out (up or down) with the length of the blade. The power of the movement should be focused on the front section of the blade.

Rotate the wrist in such a way that the tip of the sword moves in a figure eight direction next to the body. The power of the movement should be focused on the tip of the sword.

Thrust the broadsword forward forcefully (straight). The power should be focused on the tip of the broadsword. Arm aligned (in line) with broadsword.

Tip of broadsword points downward. Moves around the shoulders with the right arm holding the handle of the broadsword in the clockwise direction.

Tip of broadsword points downwards. Back of broadsword Move around the shoulders with the right arm holding the handle of the broadsword in the anti-clockwise direction.

Lift up the broadsword vertically and chop downward rapidly. The power of the movement should be focused on the length of the blade.

Keep the broad sword horizontal and hack (swing) sideways. The blade should be between the shoulder and the head. The power of the movement should be focused on the body of the blade.

Move the broadsword upward and then backward or downward across the body in a circular motion. The blade of the sword should be as close to the body as possible. The power of the movement should be focused on the spine of the blade.

Circle the broad sword vertically either directly above the head or in front of the body. The power of the movement should be focused on the spine of the blade.

Rotate the wrist in a way that the tip of the broadsword moves in a figure eight direction in front and behind the body. The power of the movement should be focused on the spine of the blade.

"Head of Spear" moves outward in arc motion, not higher than your head level nor lower than the crotch level. The power pf the movement should be focused on the front part of the spear.

"Head of spear" moves inward in an arc motion, not higher than the head level nor lower than the crotch level. The power of the movement should be focused on to the front part of spear.

Thrust the spear forward in straight-line. The power of the movement should be focused on the tip of the spear. The rear hand should touch the front hand executing the movement.

Slide the body of the spear rapidly through the palm of the hand, keeping the spear straight and close to the throat, waist, or arm.

Tilt the tip of the spear upward in a way that cause the tip of the spear to quiver. The tip moved in an upward direction, or to the left or right. The power of the movement should be focused on the tip of the spear.

Lift up the spear vertically and then strike downward with the tip of the spear. The power of the movement should be focused on the tip of the spear.

Rotate the spear vertically in a figure 8 direction while keeping the body of the spear close to your body.

Lift and strike with the "tail" of the spear The power of the movement should be focused on the "tail" of the spear.

Holding the cudgel with both hands and swing it horizontally (right to left and vice versa) at chest level Force should be focused on the front part of the cudgel

Lift up the cudgel in vertical and strike downward with the tip of the cudgel The power of the movement should be focused on the front of the cudgel.

Rotate the cudgel horizontally in one circle, either above the head or in front of the body. The power of the movement should be focused on the front of the cudgel.

Lift upward and strike with the tip of the cudgel, in a way causing the tip of the cudgel to quiver. The power of the movement should be focused on the tip of the cudgel.

Rotate the tip of the cudgel vertically or the head (bigger end) of the cudgel in the clockwise or anti-clockwise direction. The height of the cudgel should be between the shoulder and the knee. The power of the movement should be focused on the tip of the cudgel or the Head of the cudgel.

Poke with the tip or bottom of the cudgel straight forward. The power of the movement should be focused on the tip or the bottom end of the cudgel.

Lift up the cudgel in vertical and strike downward with the tip of the cudgel. The power of the movement should be focused on the tip of the cudgel.

Spin the cudgel in vertical quickly in the clockwise direction, keeping the cudgel close to both sides of the body.

Thrust the sword straight forward from your body. The arm and the edge of the sword should be in line. The power of the movement should be focused on the tip of the sword.

With the sword in vertical move it either upward and backward or downward across your body in a circular motion. The blade of the sword should be as close to the body as possible. The power of the movement should be focused on the front of the blade.

With the sword in vertical lift the sword upward in a curve direction in front of your body. The power of the movement should be focused on the front of the sword blade.

Pull the wrist backward until the sword is in vertical and then strike forward and downward. The power of the movement should be focused on the tip of the sword.

Lift up the sword in vertical and chop downward. The power of the movement should be focused on the length of the blade.

Block and strike diagonally (up or down) with the length of the blade. The power of the movement should be focused on the front of the blade.

With the sword in horizontal stretch out and draw back in a curved action. The sword should be between chest and lower abdomen. The power of the movement should be focused on the length of he blade.

With the sword in horizontal and elbow slightly bent, rotate the tip of the sword clockwise or anti-clockwise in small vertical circles. The power of the movement should be focused on the front section of the blade.

Tip of ND points downward. Circle around the shoulders with right hand holding the handle ofND. Keep "head" of ND straight.

Tip of ND points downward. Circle around shoulders in the anticlockwise direction with the handle of ND. Keep your head straight.

Lift up the ND in vertical and chop downward. Arm and ND should be in line. The power of the movement should be focused on the length of the blade.

Held the ND in horizontal extend and draw back in a curved action. The ND should be between chest and lower abdomen. The power of the movement should be focused on the length of the blade.

With the tip of the ND facing up or down, move to the left or right to block. The power of the movement should be focused on the body of the ND.

Block and strike out in diagonal (up or down) with the length of the blade. The power of the movement should be focused on the front of the blade.

With the blade facing left or right, chop horizontally - first to the front then to the left (or right) at ankle level. The power of the movement should be focused on the blade.

Rotate the wrist in a way that the tip of the ND moves in a figure 8 movement, close to both sides of your body. The blunt side and the blade of the ND should be distinguished clearly.

Both hands hold the NG and strike downward forcefully. The power of the movement should be focused on the front of NG.

Hold the NG with both hands. With the elbow bent, push the rear hand down and pull the front hand forward in a short, sharp flicking action, in order to strike with the tip of NG upward (or the left or the right) making the tip of the NG to quiver. The power of the movement should be focused on the tip of the NG.

Rotate the tip of NG in vertical or the bottom end of NG in the clockwise direction or anti-clockwise direction. The height of NG should be between the shoulder and the knee. The power of the movement should be focused on the tip of NG or the bottom end of NG.

Hold the base of the NG with both hands. Turn the front arm outward (clockwise) and pull the NG toward you and press it on the thigh. Both palms should be facing up. The power of the movement should be focused on the front of NG.

Keep the NG in vertical in-front of your body horizontally, block to the left or right. The power of the movement should be focused on the body of NG.

With both hands holding the NG, strike horizontally to the left (or right) with the tip (or the bottom end) of the NG. The power of the movement should be focused on the ends of the NG.

With both hands holding the NG., push the NG out in an upward movement with the tip of the NG. The bottom end of NG should touch the floor. The power of the movement should be focused on the tip of the cudgel.

With both hands holding the NG. throw up the NG. The power of the movement should be focused on the dp of the cudgel

2. Buxing (Stances): xiebu, zuoban, dingbu, dingzibu, banmabu, bingbu, gaoxubu, hengbu, hengcha, shucha, chabu, hengdangbu

3. Bufa (Footworks): shangbu, duibu, chabu, gaibu, xingbu, zongbu, yuebu, tabu, jibu

4. Quanta (Fist techniques): chongquan, pizhang, guanquan, zaquan, liaoquan, chaoquan,bengquan, hengquan

5. Zhangfa (Palm techniques): tuizhang, tiaozhang, chuanzhang, liangzhang, jiazhang, gaizhang, kanzhang, anzhang, pizhang

7. Tuifa (Leg techniques): dengtui, zhartgtitui, xietitui, cetitui, daotitui, danpaijiao, lihepaijiao, bailianpaijiao, diantui, chantui.

8. Pingheng (Balances - remain motionless limit: at least 1 second): tixipingheng, pantuipinghen, tanhaipinghen, wangyuepinghen, woyuepinghen

9. Tiaoyue (Jumps): tengkongjiantan, tengkongzhuanshentiao, latuizhuanshentiao, tengkongxiefeijiao, tengkongshuangfeijiao, tengkonglianhuanfeijiao, tengkongdaoti

Yunjian, mojian, jiaojian, chuanjian, saojian, jiajian, tiaojian, baojian, lanjian, tijian, daijian, xiaojian, liaowanhua

Liaodao, saodao.kandao, wanhuadao, jiedao, cangdao, jianbeidao, bengdao, diandao, modao, tuidao, cuodao, fendao, daidao, baodao, pengdao, jiadao, gedao, andao

tiaoqiang, piqiang, poqiang, shuaiqiang, baiqiang, raohouchuanqiang, raoyaochuangqiang, saoqiang, daiqiang, laqiang, tuoqiang, jiaqiang, puqiangJianbeiqiang, baoqiang, liaoqiang, suoqiang, piba, liaoba, hengjiba, boba, guaba, saoba

bogun, diangun, chuangun, tuigunJiagun, langun, tiaogun, yagun, saogun, baogun,jugun,jiagun,jugun, hengjigun, baojiegun, danshouwuhuagun, zhudigun

yunjian, jiajian, baojian, lanjian, tijian, daijian, xiaojian, chuanjian, saojian, zhanjian

yundao, guandao, liaodao, kandao, cangdaoJianbeidao, bengdao, diandao, tiaodao, tuidao, cuodao, fendao, daidao, baodao, pengdao, jiadao, andao, zhandao

lungun, chuangun, tuigunJiagun, langun, tuogun, guagun, yagun, bogun, saogun, diangun, penggun, chuogun, gaigun, shuaigun, wuhuagun, cuogun, zhugun, baogun, jiagun

Note: Judges' seats are opposite to the main desk, and divided into 2 rows. The rear roll is 40cm higher than the front, and 50cm distance shall be kept for the judges.

Note: Difficult movement will be adapted gradually with the development of techniques.

In a standing position with feet together and the left palm and the right fist pressed against each other (with the top of the knuckles of the right hand in line with the bottom of the left hand fingers - on the palm side) at chest height about 20-30cm away from the chest.

Standing with feet together the broadsword held in the left hand, bend the elbow to lift the broadsword to chest height with sharp edge on top. Raise the right arm and place the center of the palm on the first joint of the left thumb 20-30cm away from the chest.

Slowly with feet together and the sword in left hand bend the left elbow to raise the sword to chest height (the body of the sword is in contact with the outside of the forearm) and place the heel of the palm of the right hand at the bottom of the left index finger at chest height 20-30cm away from the chest.

Standing with feet together the right hand holding the spear or cudgel one third of the way from the bottom, lift the right arm to chest height 20-30cm away from the chest with the spear or cudgel held vertically, place left palm on the second joint of the right thumb.

For routines which use two (2) apparatuses, both apparatuses should be held in one hand to salute in the same way as with the salute broadsword, spear or cudgel. When it is impractical to salute whilst holding both apparatuses in the hands, an eye salute should be performed by standing with feet together facing the Head Judge.

When an official inspects a apparatus, if it is a short apparatus the competitor should hand it to the official with the tip pointing down and the apparatus held vertically. If it is a long apparatus it should be handed to the official with the tip (thin end) pointing up and the apparatus held in a vertical position.

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