Europe

Lucha Canaria (Canary Islands, Spain)

  • Name of sport (game): Lucha Canaria
  • Name in native language: Lucha Canaria
  • Place of practice (continent, state, nation):

    Canary Islands (Spain)

  • History:

    Lucha Canaria comes from the Guanches, the earliest known natives of the Canary Islands, however, with limited contact between the archipelago, each island developed different rules.
    In 1420, after the Spanish conquest, Alvar García de Santa María, first registered the wrestling techniques, including the use of referees. Only some of these early rules and techniques have survived to modern times. After the conquest, the sport became part of the islands’ tradition, usually being fought at celebrations or local festivals. The rules were established in 1872, making it one of the earliest defined forms of wrestling
    The rules have been passed on from generation to generation for centuries. The genesis of discipline dates back to the earliest history of the archipelago. According to the chronicles, it appeared in the XV century during conquests. However, originally it was not the struggles of athletes, but one of the methods of resolving conflicts, which was based on respect for the opponent, or a good way to prepare for the war. Later, the fight became a part of religious ceremonies. During emigration, the inhabitants of Kanar spread it in Cuba and Venezuela. The key moment of the existence of sport was the establishment in 1943 of the Federación de Lucha Canaria.
    In the 1940s several provincial federations were formed, leading to the formation of the Federación Española de Lucha in 1984. As it needs a sand circle, lucha is usually fought on special pitches, and important matches, particularly inter-island contests, are covered by local Canarian TV.

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    Homenaje a la Lucha Canaria by Juan Miguel Cubas, Avenida del Saladar in Morro Jable, Pájara, Fuerteventura, Canary Islands

  • Description:

    Players fight on a terrero, that is a round arena covered in sand. Teams consist of 12 people, and individual fights are in pairs. The goal of two players struggling with each other is to knock down the rival (it is enough to touch the ground with a different part of the body than the foot), for which one point is scored. The elimination is when the opponent is overturn twice. For this purpose, various techniques are used, such as donkey, cango, criminal throw, emptiness, tripping, muscle grip, toss, etc. The fight requires not only strength but also agility from the athlete. Tactical thinking, or even cunning, is important. Those who are able to defeat more than one opponent during the struggle are called puntales. A defeated player can offer his hand of the rival who escorts him from the ring in a respectful way, which also shows the nobility of the discipline.
    Techniques using in Lucha Canaria:
    Grasping: The wrestler may grasp any part of the opponent's body to try to unbalance and knock down the opponent.
    Block: The wrestler can block a move by his opponent, and use his strength to unbalance his opponent.
    Deflect: The wrestler can move his body to deflect a move by his opponent, and use the opponent's strength to unbalance him.

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  • Current status:

    In recent years, the development of Canary stocks has been observed. There are various campaigns promoting programs supported eg by Cabildo di Tenerife. In particular regions and throughout the archipelago, there are numerous professions that the Federacion de Lucha Canaria is responsible for. Moreover, clubs participate in league and cup. Every club earns points in the general classification to reach the title at the end of the each season.

  • Contacts:

    Federación de Lucha Canaria
    Webside: http://www.fedluchacanaria.com/federacioncanaria/
    Eail: This email address is being protected from spambots. You need JavaScript enabled to view it.
    Address: Callejón Cementerio, s/n - 38360 - Santa Cruz de Tenerife
    Tel.: +34 922 251 452

    federazione lucha canaria logo

     

    Federación de Lucha Canaria de Lanzarote
    Webside: http://federaciondeluchacanariadelanzarote.com/
    Fb: https://www.facebook.com/flclz/

    federazione lucha canaria lanzarote

     

    Federación Insular de Lucha Canaria de El Hierro
    Fb: https://www.facebook.com/Federaci%C3%B3n-Insular-de-Lucha-Canaria-de-El-Hierro-649688565134721/

    Federazion insular de lucha canaria el hierro

     

    Federación de Lucha Canaria de Gran Canaria
    Address: Calle Fondos de Segura s/n, 35019 Las Palmas de Gran Canaria
    Phone: +34 928 20 75 31, +34 928 20 75 30
    Fb: https://www.facebook.com/fedluchagc/

    federazion lucha canaria Gran canaria

     

    Federación Insular de Lucha Canaria de Tenerife
    Address: Call Adán Martin, 15; CP 38208, La Laguna, España
    Tel.: +34 662 65 44; +34 922 25 72 55
    Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
    Webside: http://www.fdlctenerife.es
    Fb: https://www.facebook.com/Federaci%C3%B3n-de-Lucha-Canaria-de-Tenerife-404050219674397/

    federazion de lucha canaria Tenerife

     

    Federación Insular de Lucha Canaria de La Palma
    Address: C/ Francisca de Gazmira nº25 (2ºplanta) Edif. Usos Múltiples 38760, Los Llanos de Aridane, La Palma
    Tel.: +34 922 46 18 61
    Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
    Webside: http://flclapalma.com/
    Fb: https://www.facebook.com/Federaci%C3%B3n-Insular-de-Lucha-Canaria-La-Palma-147606715401139/

    federazion de lucha canaria La Palma

     

    Federación Insular de Lucha Canaria de Fuerteventura

    federazione de lucha canaria fuerteventura

  • Sources of information :

    • Alberto Orgaz Pérez, Ángel Palanco Aguilera, Manuel Porras García, Daniel Rivas Flores, Patrimonio Histórico Español del juego y del Deporte: Federación de Lucha Canaria, 2010
    • Antonio Ayala, La lucha canaria, Mancomunidad de Cabildos de Las Palmas, Paln Cultural, 1977
    • Francisco J. Antequera Amor, La lucha canaria en La Palma, Confederación de Cajas de Ahorros, 1989
    • J. Morales Magyín, La Lucha Canaria, Ed. Centro de la Cultura Popular Canaria, La Laguna, 2004
    • Joaquín Martínez del Reguero, La lucha canaria: una época dorada, Centro de la Cultura Popular Canaria, 1998
    • José Hernandez Moreno, Lucha canaria: la preparación física del luchador, Dirección General de Deportes, 1989
    • José Miguel Martin, La lucha canaria, sí, VeredaLibros, 2016
    • José Peraza Lorenzo, Historia gráfica de la lucha canaria en Tenerife, siglo XX, Colectivo de Promotores de la Fundación Canaria de Lucha, 2007
    • Juan Jeronimo Perez, Lucha Canaria, Santa Cruz de Tenerife: PEKIS, 1967
    • Juan José Pacheco Lara (coordinator), Propuesta metodológica para la enseñanza de la Lucha Canaria en la educación básica, Gobierno de Canarias, 2010
    • Pedro González Marrero, Iniciación a la Lucha Canaria, 1990
    • Salvador Sanchez Garcia, Lucha Canaria, Teatro, Narrativa, Poesia, Ediciones del Cabildo Insular de Gran Canaria, 1995

    Articles:

    History of Lucha Canaria - http://www.revistabinter.com/2016/11/02/historia-lucha-canaria/
    https://www.isladetenerifevivela.com/2011/12/lucha-canaria.html
    https://deportesdecontacto.online/lucha-canaria/?fbclid=IwAR39M580TyISj0kBKLAOiM_ePUBsu1lBAoKpuAGjkVXJDy0ecDS_HvncrpY

    Video:
    https://www.youtube.com/watch?v=EsUSVmqoIaQ
    https://www.youtube.com/watch?v=DzKRh6h9uUc
    https://www.youtube.com/watch?v=FObHPZ3vdkA
    https://www.youtube.com/watch?v=EsUSVmqoIaQ&fbclid=IwAR3Tdr8RLOlS67JF9aaJ7p05vUvyRMCncnRwNadeMAY6EoLy6xXxvLW9iqY
    Historia de Lucha Canaria - https://www.youtube.com/watch?v=fTodHQK4q1c (Parte I)

  • Gallery:

  • Documents:

    pdfEstatutos_2018_La_Federacin_de_Lucha_Canaria.pdf

    pdfPATRIMONIO_HISTRICO_ESPAOL_Lucha_Canaria.pdf

    pdfReaglas_del_deporte_de_Lucha_Canaria.pdf

    pdfReglamento_de_la_Organizacin_de_Entrenadores.pdf

    pdfReglamento_de_Lucha_Canaria.pdf

Lucha del garrote (Canary Islands)

  • Name of sport (game): Lucha del garrote
  • Name in native language: Lucha del garrote
  • Place of practice (continent, state, nation):

    Canary Islands, Spain

  • History:

    The exact origin of the Lucha del Garrote is unclear, but it is believed to have evolved as a practical form of self-defense. During Spain's medieval and Renaissance periods, many regions, particularly in the rural areas, saw the development of weapons like the garrote for both personal defense and combat. It was likely influenced by earlier forms of stick fighting found throughout Europe and other parts of the world.
    Canarian herdsman have always made extensive use of poles, using them for support when moving about on difficult terrain and also to defend themselves whenever the circumstances required.
    By the 16th century, Lucha del Garrote was an established fighting style practiced across various regions of Spain. It was used both for military training and as a means of resolving disputes or defending against attackers. In this period, the garrote was seen not only as a tool of combat but also as a symbol of strength and discipline.
    In the 18th and 19th centuries, the art saw a formalization of techniques, with the development of more sophisticated rules and training methods. Its practical utility and distinctive style made it popular among Spanish peasants, farmers, and even some soldiers. The garrote was often carried for personal protection, especially in rural areas where law enforcement might be scarce.

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    Source: https://www.caballerosdecalradia.net/t3094-la-lucha-del-palo-un-arte-marcial-canaria

  • Description:

    The aim of this form of fighting is to defeat one’s opponent without doing him harm. The most notable aspects of this sport are the unique enganches (techniques for immobilising the opponent’s pole) and revoleadas (creating an opening for attack), the zapatas and trabas that are used to knock one’s opponent over, the manner in which the fighters face each other squarely and the use of a large and solid pole, which is usually as long as the fighter is tall, or sometimes a quarter longer. However, the determining characteristic of this form of fighting is not the size of the poles, but rather the way in which the poles are gripped and wielded.
    The main tactic consists of using the pole to cover the body while attacking at the same time, which is why the contenders face each other squarely, this being the most stable and secure position that enables the fighter to protect himself with the pole while being able to make equal use of both ends of the pole for attacking. Two characteristic attacking movements are el braceo and mudar las manos.

    The technique of the club fight depends on two factors:
    On the one hand, it depends on the type of stick that is used, since the size and type of wood with which the piece is made are factors to consider. And on the other hand, we have the technique, which is acquired depending on the school where the wrestler has been trained.
    The game consists of giving without being reached, for this, you have to use both hands, using body parts, hooks, etc.
    The player or fighter must have great speed with the feet, skill with the arms and many reflexes.
    The sticks can receive a wide variety of names depending on the Island or the place: Palo, Garrote, Lata, Asta, Astia, Vara, Lanza, Regatón, Vera, etc.
    Regarding the classification of the clubs, the following differentiation has been reached:

    Palo largo or grande: it is the largest of all, preferably used by shepherds, and can have various measures, although one of the shepherd's size is used to play. As for thickness, they are usually of a homogeneous diameter that fits the hands. This type of stick, being larger and thicker, gives more forceful blows. It is usually grasped by the center and the ends are used to hit.
    Palo medio: of this type there is a great variety of measures, although generally it extends from the ground to the heart. As for thickness, they are usually thicker at one end than at the other.
    This stick can be grasped by either end, although it is generally held by the thickest part.
    This stick is usually used, normally, in the technique called "collecting", which is mainly based on defensive techniques.
    Palo corto or Macana: it is a very effective and dangerous tool, if you know how to use it it can cause great damage to your opponent. To use it requires great skill with your hands and arms.
    Very fast footwork is also required. Sometimes it was the case that the fighter had been or was a dancer himself.
    The materials with which these instruments were made used to be the woods obtained from fruit and endemic trees, typical of the Canary Islands. In the Eastern Islands, Lanzarote and Fuerteventura, the wood had to be imported from other places due to the lack of good woods for the manufacture of quality clubs. The choice and cutting of wood is part of an ancient ritual, which depends on the phases of the moon; straightens with fire.

    The types of trees most used for this purpose are:

    • Fruit trees: Quince tree (Cydonia Oblonga), Almond tree (Prunus Amygdalus), Plum tree (Prunus domesticus).
    • Endemic Trees: Palm (Phoenix canariensis), Barbusano (Apollonias barbujana), Palo Blanco (Picconia excelsa), Acebuche (Olea europaea), Canary Island Pine (Pinus canariensis).
  • Current status:

    With the rise of modern firearms and more sophisticated weapons, the Lucha del Garrote gradually declined in popularity as a practical martial art. However, it never completely disappeared. In the 20th century, efforts to preserve and revive the tradition began, particularly in the Canary Islands, where the art form saw some of its most passionate practitioners. Today, it is still practiced as a form of cultural heritage and martial art in some parts of Spain, though it is not as widely known or practiced as other forms of martial arts.
    While not as commonly practiced today, Lucha del Garrote remains an important part of Spanish martial tradition. The art is often demonstrated in cultural festivals or as part of local celebrations, particularly in the Canary Islands.
    In recent years, Lucha del Garrote has made a resurgence as part of efforts to preserve traditional Spanish martial arts, and some practitioners seek to maintain its techniques and cultural value as a form of physical and historical expression.

  • Importance (for practitioners, communities etc.):

    Lucha del Garrote holds significant importance in both the cultural and martial traditions of Spain, especially within regions like the Canary Islands. Its importance can be understood from several perspectives:

    1. Cultural Heritage: Lucha del Garrote is an integral part of Spain’s rich martial history, representing a deep connection to the country’s past, particularly in rural areas where people needed practical skills for self-defense and survival. It’s more than just a fighting art; it is a cultural practice that connects contemporary Spaniards with their ancestors, reflecting a time when hand-to-hand combat with simple tools like the garrote was essential. In this sense, the art is seen as an expression of local identity, tradition, and pride.
    2. Martial Skill and Discipline: As a martial art, Lucha del Garrote is an important discipline that helps practitioners develop key physical and mental skills, including: Coordination and Agility: The movements required to handle the garrote involve coordination between the hands, feet, and body, demanding a high level of agility.
    3. Strength and Endurance: The art places great emphasis on physical conditioning, as wielding the garrote requires upper-body strength and stamina, especially in prolonged bouts. Tactical Thinking: Like many martial arts, Lucha del Garrote encourages strategic thinking, as practitioners need to anticipate their opponent’s movements and respond quickly. Through its practice, individuals also learn patience, respect, and discipline, qualities that are emphasized in many traditional martial arts.
    4. Self-Defense and Practical Use: Historically, Lucha del Garrote was a highly practical skill for personal protection. During periods when law enforcement was limited, especially in rural and isolated areas, individuals needed to defend themselves against both wild animals and potential human threats. The garrote itself was a commonly carried tool for self-defense, and learning how to wield it effectively could make the difference between life and death. The martial art, therefore, was not just about fighting for sport—it had tangible, real-world applications.
    5. Social and Communal Function: In the past, Lucha del Garrote played a social role in communities, particularly in festivals and public demonstrations. These events brought people together to celebrate local traditions and provide an opportunity for friendly competition. The martial art became a way to show off one’s skill and strength within a community, fostering social connections and a sense of camaraderie. In this sense, Lucha del Garrote has contributed to the development of local community identity and pride.
    6. Preservation of Traditional Knowledge: Today, as modern weapons and self-defense techniques have replaced older methods, Lucha del Garrote stands as a vital cultural practice that helps preserve the knowledge of traditional Spanish martial arts. Efforts to revive the practice are crucial in ensuring that future generations have access to this piece of history. As a result, Lucha del Garrote is often taught in specialized schools or by masters who aim to pass on their expertise to younger generations, ensuring the survival of the art.
    7. Revival of Traditional Arts: In recent years, the resurgence of interest in traditional martial arts has sparked renewed attention to Lucha del Garrote. This has led to its recognition as part of Spain’s intangible cultural heritage, ensuring that this art form receives the preservation and promotion it deserves. The revival not only ensures the survival of the practice but also allows modern practitioners to learn valuable lessons from the art’s historical context.

    In conclusion, Lucha del Garrote is important not just for its martial utility, but for its role in preserving cultural heritage, strengthening community identity, and promoting physical and mental discipline. As an art form, it represents the resilience and adaptability of Spanish martial traditions, surviving through centuries of social, political, and technological change.

  • Contacts:

    Federación de Lucha del Garrote Canario
    Calle Morra Negra nº 26 Subida Chajaña, 38592, Icor Arico, Santa Cruz de Tenerife
    Tel. (+34) 629 07 19 08
    Web: https://garrotecanario.es/
    This email address is being protected from spambots. You need JavaScript enabled to view it.
    Fb: https://www.facebook.com/federacion.luchadelgarrote
    Instagram: https://www.instagram.com/federacionluchagarrote
    TikTok: https://www.tiktok.com/@fedluchagarrotecanario 

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    Club Deportivo del Juego del Palo Canario Maragat – Hirgwan

    Maragat club

  • Sources of information :

    Books:
    Jorge Domínguez Naranjo, Introducción a la historia de la lucha del garrote, Viceconsejería de Cultura y Deportes, 1990
    Jorge Domínguez Naranjo, Historia sobre la lucha del garrote juego tradicional canario, Gobierno de Canarias, 1990
    Jorge Dominguez Naranjo, Catón de La Lucha del Garrote, Gobierno de Canarias. Viceconsejería de Cultura y Deportes. Dirección General de Juventud 1991
    A. Gonzalez, A., G. Martinez, El Juego del Palo Canario. Centro de Cultura Popular Canaria. Santa Cruz de Tenerife, 1992
    Jorge Dominguez Naranjo, El juego de la lata (garrote) y el juego del palo en Lanzarote, Centro de la Cultura Popular Canaria - Cabildo Insular de Lanzarote, 1997
    Jorge Dominguez Naranjo, Lucha del garrote. Catón, Gobierno de Canarias. Viceconsejería de Cultura y Deportes. Dirección General de Deportes-Centro de la Cultura Popular Canaria, 2000
    Carlos Barrera, Garrote Canario, Budo Internacional, Excmo. Ayuntamiento de San Cristóbal de La Laguna, Federación de Lucha del Garrote Canario, 2005
    Jorge Dominguez Naranjo. El tolete canario. Origen y rescate, Gobierno de Canarias - Federación de Lucha del Garrote Canario, 2006
    Jorge Dominguez Naranjo, La lucha autóctona del garrote canario. Estructura técnica y funcional, Gobierno de Canarias. Consejería de Educación, Universidades, Cultura y Deportes-Cabildo de Gran Canaria. Instituto Insular de Deportes, 2008
    Jorge Dominguez Naranjo, Reglamento Técnico Definitorio del Tolete Canario, Gráficas Atlántica, 2015
    Jorge Dominguez Naranjo, El Garrote Canario. Origen y rescate, Gobierno Canario y Federación de Lucha del Garrote Canario, 2016
    Carlos Barrera, Garrote Canario. Técnicas Superiores, Budo Internacional, Federación de Lucha del Garrote Canario, 2018
    Jorge Dominguez Naranjo, Lucha del Garrote Canario. Higiene postural, Federación de Lucha del Garrote Canario- Gobierno de Canarias-Cabildo de Fuerteventura, 2020
    Jorge Domínguez, Carlos Barrera, Garrote Canario & Tolete Canarios, Budo Internacional,Excmo. Cabildo de Fuerteventura , Federación de Lucha del Garrote Canario, 2021
    Jorge Dominguez Naranjo, Lucha del Garrote Canario: Higiene postural y Técnicas Básicas. Cuadernos Técnicos, 1, Federación de Lucha del Garrote Canario - Gobierno de Canarias-Cabildo de Fuerteventura, 2022
    Jorge Dominguez Naranjo, Lucha del Garrote: variantes y complementos. Cuadernos Técnicos 2, Federación de Lucha del Garrote Canario-Gobierno de Canarias-Cabildo de Tenerife, 2022
    Jorge Dominguez Naranjo, Garrote Canario: enganches, derribos y acaimos. Cuadernos Técnicos 3, Federación de Lucha del Garrote Canario-Gobierno de Canarias-Cabildo de Gran Canaria, 2023
    Cristóbal L. Nuez García, la Lucha del Garrote. Arte de combate y herramienta educativa, Bilenio Educación, 2024
    Carlos Barrera, Pedro González, Antonio Cabrera, Francisco Govantes, Tolete Canario, Budo Internacional, Excmo. Cabildo de Fuerteventura, Federación de Lulcha del Garrote Canario, 2024

    Articles:
    https://marcacanaria.com/lucha-del-garrote-un-deporte-tradicional-de-canarias/
    https://culturatradicionalgc.org/lucha-del-garrote-y-juego-del-palo/
    https://www3.gobiernodecanarias.org/medusa/wiki/index.php?title=Lucha_del_garrote&fbclid=IwAR0sujCv5khpUt6ia3L4HBCPZ_ODBbN6UmF0tMQq8L7IpIvilU-2pudt2N8
    https://elrincondelaikido.blogspot.com/2014/12/juego-del-garrote-canario.html?fbclid=IwAR3Tdr8RLOlS67JF9aaJ7p05vUvyRMCncnRwNadeMAY6EoLy6xXxvLW9iqY
    https://ejmas.com/jwma/articles/2000/jwmaart_wolf_0500.html

    Photos:
    https://www.caballerosdecalradia.net/t3094-la-lucha-del-palo-un-arte-marcial-canaria

    Video:
    https://www.youtube.com/watch?v=jCwxP7Inkgo
    https://www.youtube.com/watch?v=m57uQzXqPJw
    https://www.youtube.com/watch?v=qqbv9qqq7nQ
    https://www.youtube.com/watch?v=qk-PP18owEk&t=4s
    https://www.youtube.com/watch?v=n-6UaT9qlXk
    https://www.youtube.com/watch?v=SSPl7P2y-aI

     

    The information contained in the article comes from the following sources:
    https://www.grancanaria.com/turismo/en/sports/local-sports/lucha-del-garrote-pole-fighting/
    https://culturatradicionalgc.org/lucha-del-garrote-y-juego-del-palo/

    Source of photos used in this article and gallery:
    https://libroscanarios.org/se-presenta-en-la-biblioteca-insular-de-gran-canaria-un-lote-de-libros-didacticos-dedicados-a-la-lucha-del-garrote-canario/
    https://marcacanaria.com/lucha-del-garrote-un-deporte-tradicional-de-canarias/
    https://www.biosferadigital.com/articulo/cultura/abierto-plazo-participar-taller-lucha-garrote-canario/20240508181324138578.html
    https://www.guiadeisora.org/corp/la-federacion-de-lucha-del-garrote-canario-celebra-este-fin-de-semana-su-asamblea-general-en-guia-de-isora/
    https://diariodeavisos.elespanol.com/2019/08/la-lucha-canaria-no-falla-a-su-cita-con-la-virgen-de-candelaria/
    https://garrotazosblog.wordpress.com/2014/10/22/ii-jornadas-culturales-guanches-los-silos-tenerife/
    https://www.caballerosdecalradia.net/t3094-la-lucha-del-palo-un-arte-marcial-canaria

  • Gallery:

Lucha Leónesa (Spain, region León)

  • Name of sport (game): Lucha Leónesa
  • Name in native language: Lucha Leónesa
  • Place of practice (continent, state, nation):

    Spain (León)

  • Description:

    Lucha Leonesa is played on grass, outdoor, during the summer festivals, and on mats during the winter season.It is a standing up wrestling style with clothes.
    The wrestlers (men or women) wear a T-Shirt and a short. Legs can grip legs. The arm position is fixed with hands gripping in a tight leather belt. Several weight and age categories.
    Techniques are mainly with hips and legs.
    To throw the opponent on the back give 2 points. The victory is given when a wrestler gets 4 points.

Lutte Provençales (France)

  • Name of sport (game): Lutte Provençales
  • Name in native language: Lutte Provençales
  • Place of practice (continent, state, nation):

    South of France

  • History:

    The region of Midi (Southern France) a stronghold of French Huguenots was also a prominent center of Lutte Provencales (Folk Wrestling Style of Provence). The region of Provence was part of Frankish Kingdoms (at first Merovingian, then Carolingian) since the VI century. The Franks were people with Germanic origins who around 800 under the rule of Charlemagne (742-814) established the Carolingian Empire in Europe. That Empire later split into two kingdoms, East Francia and West Francia, the former became known as the Kingdom of Germany and the latter was known as the Kingdom of France. Notably, the best Graeco-Roman wrestlers came from those two countries. Flemish and Dutch people were both descendants of Franks as well.
    The folk wrestling style of the residents of Provence was after the old Frankish wrestling fashion. The core of all wrestling styles of Frankish origin was a combination of catch-holds and ground wrestling. Another important detail was that just like in modern professional wrestling the “lift and throw” technique played decisive role, and the use of legs and feet for throwing (hooking and tripping techniques) was insignificant in that particular style. Among the most famous practitioners of Frankish wrestling was fearless warrior Henry I, Duke of Guise (1550-1588) of Carolingian ancestry, who sometimes was called Le Balafré (Scarface).

    lutte provencales

    The Frankish wrestling traditions were inherited by French and German people. Simon Goulart (1543-1628) the Medieval French humanist speaks of the contemporary French and German wrestling customs in “Lichamelicke Sterckte” (Physical Strength) a chapter from his 1625 book called “Cabinet Der Historien.“ He mentioned a certain wrestling style called “Worstelen (Worstelinge), Lijf tegen Lijf”, or “La Lutte, Corps-à-Corps” which means “Wrestling, Body to Body” (Scuffle).

    In this style the wrestlers started their match at a distance from each other and quickly would get into close quarters and after that proceeded as they wanted. The conditions of the match were previously negotiated by the combatants. Often to take opponent down wasn’t enough in that style, the winner had to force his adversary on his back and keep him underneath thus making him quit any resistance and verbally admit his defeat.

    In France this hand-to-hand combat was known as the Burgundian wrestling (Lutte Bourguignonne). Historically, Burgundian wrestling was represented by two styles: Bras-le-Corps (equal catch-hold around the torso/waist) and Corps-à-Corps (free-for-all close wrestling combat which usually started with head-holds). The former style was a standing wrestling for a throw (back fall) and the latter was an up and down wrestling in which the objection was to overcome your opponent on the ground.

    The “lift and throw” technique dominated those two styles and better developed muscles of the hip, groin and lower abdomen areas were a decisive factor. Often competitors would try to achieve a Bear Hug or a Crotch Hold on their opponent, lift him off his feet in the air, lock arms around his body and cast him down on the ground. Such Bodyslams were known as the “stones from the sky” throws (meteorite throws). Notably, use of legs and feet for throwing wasn’t favored in either of those styles, since only wrestling with hands, arms, hips and back was considered a true trial of strength and skill.

    The great visualizations of those two modes of wrestling are present in the form of Romanesque sculpture at Burgundian churches, such as Church of Our Lady of the Assumption at Anzy-le-Duc (XI-XII c.) and Church of St Peter at Saint-Pierre-le-Moûtier (XII-XIII c.). Depictions of both those wrestling styles also could be found in a XIII c. Sketchbook by the architect called Villard de Honnecourt. His name and dialect indicate that he was born in Honnecourt, a small town near Cambrai in northeastern Picardy at the frontiers of Artois and Flanders.

    ground wrestling French

    William Caxton (1422-1491) an English writer, in his translation of French prose romance "Les Quatre Filz Aymon" mentioned 2 starts in Frankish folk wrestling, “at a distance” and “close equal hug.”

    Notably, the Frankish up and down catch wrestling French terminology is still in use by the practitioners of the traditional folk freestyle wrestling of the natives and residents of the Reunion Island (a French department in the Indian Ocean). That culturally unique historical wrestling style called the La Croche takes its name from the old French wrestling term a verb Se Crocher which means to catch someone, to lay advantageous hold of someone. This style is dominated by three wrestling strategies:

    1) the Caler (drop, fall) a variety of take down holds and techniques used for throwing someone down from the standing position;

    2) the Clef (spanner, wrench) a different limbs twisting techniques which are used in order either to cause a fall from a standing position or to roll opponent on his back when on the ground;

    and

    3) the Trappeur (trapper) a number of ground wrestling techniques which allow “to trap” opponent and keep him immovable underneath in a locked position thus making him quit any resistance and acknowledge his defeat which signifies a victory in this sport.

    Anzy le Duc

  • Description:

    Probably the most descriptive accounts of historical Provencal folk wrestling were provided by Henri Rolland in his short story called “The Wrestler” from the 1st volume of "Les français peints par eux-mêmes : encyclopédie morale du dix-neuvième siècle" (1841) and in the article by Jean Brunet from the 1882 book called “Revue Des Langues Romanes.”
    Various wrestling games were once in strong favor among the men of Provence. The wrestling challenge matches and elimination tournaments played an essential part in celebrations at all the folk and religious holidays called the Roumavage.
    Based on the traditional Provencal classification of wrestlers as per their strength there were two championship classes of local wrestlers:
    1. Men’s Wrestling (Lucho dis ome) was a competition of really strong men and exceptionally strong men.
    2. Half-men’s Wrestling (Lucho de miechome) was a competition of moderately strong men, young adults and youth.
    There were two distinctive styles of Provencal folk wrestling:
    1. Lucho de la centuro (en aut), lutte de la ceinture en haut, which was a standing catch-hold above the waist wrestling style. In this style holds of any part of the body from head to the waist including dangerous headlocks (holds around the neck) were allowed. In this style only the use of hands, arms, hips (hip lift technique) and back for throwing was legal. The objective of this wrestling style was to give the opponent a fair back fall (two shoulders touching ground simultaneously). In this wrestling style all throws were the flying falls. Often if a man was thrown on his back three times without fair back fall taking place (3 foils rule) he was declared defeated. In case of both wrestlers falling to the ground without the back fall or foil being achieved (dog fall) they had to get up quickly and renew the contest.
    2. Lucho Libro, Lutte Libre, which was a freestyle wrestling. That style of wrestling was also known under the following names: lucha a touto lucha (lutter a toute lutte) or all-in wrestling, and lucha en arrapant pertout (lutter en attrapant partout) or catch-as-catch-can. In this style of wrestling holds of any part of person’s body and ground wrestling (lutto a terro) were allowed. Technically any fair method of throwing was considered legal. If both wrestlers fell down to the ground they will have to continue their struggle on the ground until one of the two is finally placed flat on his back and kept immovable (captured) in the undermost position until he gives in and admits his defeat verbally.

    Tripping (Croc-en-jambe) was strictly prohibited in Lutte de la ceinture en haut and technically being allowed in Lutte Libre still wasn’t favored. This was based on a local stereotype of tripping being sort of an unfair action. According to their traditions tripping was thought of as a wrestling technique that didn’t exhibit strength or skill, as they felt that true wrestling was only with hands, arms, hips and back. Interestingly, a similar stereotype dominated German wrestling customs as well. Often participants of the Men’s Wrestling championships would prefer to compete in the standing wrestling above the waist style. Their logic was based on the popular opinion that a really strong man doesn’t need holds below the waist, ground wrestling, or tripping to throw his opponent off his feet and give him a back fall or at least a foil.
    But if wrestlers decided to compete on “free for all” conditions then back fall wasn’t enough to win the contest and the winner had to make his opponent quit the struggle and verbally confess his defeat.
    Punching, kicking and any other unlawful or brutal act was strictly prohibited.
    In the ring wrestlers appeared stripped to the waist. Traditionally, the winners of the competitions were awarded various trophies, such as silver cups, embroidered velvet underpants fringed with gold or silver, etc. Over the time professionalism was introduced in Lutte Provencales.
    Sometimes the lutte libre pro wrestling matches would turn into an all-in, rough and tumble combats of wrestling and fighting combined. In those no holds barred affairs some non-wrestlng strategies like punching with the fist and kicking were a common practice.

    Lutte 1

     

  • Current status:

    Currently Lutte Provencales is not practiced anymore. In France the folk wrestling styles of the residents of Provence were still around even in the 1860s until they were completely replaced with the modern French or Graeco-Roman style, which back then was also known as a “flat hand” wrestling (la lutte à main plates).
    Many of the “Protestant weavers” who fled from religious persecution, migrating from Southern France to Britain in XVI-XVII centuries found their new home in East Lancashire and West Yorkshire. The waves of Flemish, German and French Protestants brought old Frankish freestyle wrestling to East Lancashire where it merged with folk English catch-hold wrestling
    style and over the course of centuries it evolved there into a new unique style of wrestling the Lancashire Catch-as-catch-can. Meanwhile, on the continent, Frankish style evolved into the French wrestling, aka Graeco-Roman wrestling. Interestingly, even in the 1870s when the French style was widely exhibited in England, the most common commentary on it was that in its nature, French wrestling is very similar to Lancashire catch wrestling.

  • Sources of information :

    Ruslan C Pashayev, The Story of Catch, 2019

Marula (Georgia)

  • Name of sport (game): Marula
  • Name in native language: Marula
  • Place of practice (continent, state, nation):

    Georgia

  • Description:

    Marula is one of the oldest kind of Georgian equestrian sports. The horsemen used to compete horses, participating in marula, for the distance of 25-30 km. Racing of this distance at high speed requires great resilience from the horse. For this reason, great attention is given to selection and preparation of the horse in advance, which starts 2-3 months before marula.
    Horses are prepared for marula. To develop deftness and resilience in the horse, people use to train it for long distance; besides, they increase the distance is gradually.
    Such testing of Georgian horse for long distance once again proves its amazing resilience. In this sport, mainly Megrelian horses are used in west Georgia and Tushetian horses are used in east Georgia.

  • Current status:

    Practiced

  • Contacts:

    logo National Federation Of Georgian Equestrian Folk Games Development

    National Federation Of Georgian Equestrian Folk Games Development
    David Tsirekidze, President
    Address:
    Georgia 0179, Tbilisi, Kipshidze str. 7g.
    Telephone number: +995 595 989 292, +995 599 236 226,
    E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it. , This email address is being protected from spambots. You need JavaScript enabled to view it.
    Fb: https://www.facebook.com/National-Federation-Of-Georgian-Equestrian-Folk-Games-And-Equestrian-Sports-2136020253119407

  • Sources of information :

    The information contained in the article comes from the following sources:
    Davit Tsirekidze, President of National Federation of Georgian Equestrian Folk Games Development

    Source of photos used in this article and gallery:
    Davit Tsirekidze, President of National Federation of Georgian Equestrian Folk Games Development

  • Gallery:

Matkot (Israel)

Mundje vençe (Albania)

  • Name of sport (game): Mundje vençe
  • Place of practice (continent, state, nation):

    Albania

Muštukas (Lithuania)

  • Name of sport (game): Muštukas
  • Name in native language: Muštukas (or Gray, Bubble, Lapta)
  • Place of practice (continent, state, nation):

    Lithuania

  • History:

    In the villages, and not only in them, this game has been played since at least the 19th century. in the middle.

  • Description:

    It became the most popular in the interwar period. It is attractive in that it can be used to demonstrate not only hand strength, but also speed, dexterity and accuracy. A player who manages to run to his opponents' yard and return to his yard after hitting the ball wins one point for his group. It is possible to play two halves in half an hour and count which group won more points. The description of the game is based on F. Paškevičius' book Sports Games and the Millennium Rip (Vilnius, 2002).

Nabast (Bulgaria)

  • Name of sport (game): Nabast
  • Place of practice (continent, state, nation):

    Bulgaria

Palant (Poland)

  • Name of sport (game): Palant
  • Name in native language: Palant
  • Place of practice (continent, state, nation):

    Poland – one of the most interesting places where its traditions have been preserved, in an interesting local form, is Grabów near Łęczyca (Łódź Province), where there is a special feast, called “Palant Feast”, organized every year; other places: Cyprzanów, Warsaw, Cracow, Rzeszów, Gdansk, Słubice (Polish Champion in palant with trainings every week), in the past also Lublin, and other places, also abroad – the number of places is constantly increasing, thanks to the development and promotion of Palant by Polish Palant Association.

  • History:

    The word “palant” is derived from the Italian word pallante and since the Middle Ages it meant
    “a ball player”.
    The sources of the game of Palant in Poland date back to the Middle Ages. Over the centuries, it has developed not only in Poland, constituting an interesting, physical, team form of playing with the use of a ball and a stick.
    According to some historical sources, Palant had a significant influence on the development of American baseball. Polish emigrants were supposed to bring it to America at the beginning of the 17th century. In the centuries that followed, the game and its many variations continued to evolve around the world.
    In the 20th century, Palant was still popular in Poland. Especially in Silesia, where regular competitions were held. There was even a Palant league, this sport was practiced in schools and serious works were written about it.
    After the second world war, even the Polish championships began to be organized, and in 1957 the Polish Palant Ball Association was established. In the 1960s, a doctoral thesis was written on the forms of playing Palant in Poland, presenting a very high scientific level. Its author was Zofia Dowgird.
    However, after these events, Palant started to be criticised. Some representatives of the press and academic circles were considering Palant as a secondary topic – not worthy to be treated seriously. Communist authorities were also trying to destroy traditional Polish culture. In many other countries, in which there are similar sports, this would be unthinkable.
    As a result of this criticism, Palant began to lose its importance in Poland. The Polish Palant Ball Association was changed to Polish Baseball and Softball Association. Urbanization and industrialization, and consequently, fewer and fewer natural squares for playing Palant, led to the fact that this Polish sport with a centuries-old tradition began to disappear, and the word “palant” acquired a negative meaning (literally translating: “a jerk”). Such a situation in the United States or England would be difficult to imagine. In 2014, Polish Palant Association was created with the mission of reinventing Palant (it is described in more details below). There are also plans to create International Federation of Palant soon.

  • Description:

    The basics:
    Palant is a sport from a big family of “bat and ball games”.
    The basic aim is to hit the ball with a wooden stick (around 60 cm long), called a palant or a palestra, into the field, and then to run to the next “bases” as soon as possible. The task of the hitting player is to run all the four bases and come back to the first base, called “the nest” (in Palant it is called “zapłot”).
    At the same time, the players of the opposing team try to catch the hit ball and hit the running rival with it. If he/she is hit between bases, this player is eliminated from this round. If the player is hit between bases, he/she is also eliminated. Three such situations cause the change of sides between teams.
    If the ball hits the “hell” (piekło) square, play continues until either the player is knocked between bases or it is thrown over the starting line towards “hell”, then play is stopped and if the player has not reached the next base, he returns to the previous base. The defenders can pass the ball between themselves, while the attacker cannot deliberately touch the ball in play - if he/she does it intentionally, there is an automatic change of sides.
    Attacking players can't run out of “hell” zone either - then there would also be a change of sides.
    The pitch is 20 meters wide x 50-60 meters long. You need to draw there the bases for two different zones: “Niebo” (eng. “Heaven”) and “Piekło” (eng. “Hell”).
    There is a no time-restriction game. A match is divided into 1 to 7 Rounds (with 2 to 14 changes of sides).Their number is determined by the agreement (level, type of match etc.). Normally, during the tournaments, there are 2 rounds: each team hits the ball twice.

    The players:
    Participants are divided into two teams of 7 to 15 players. The optimal number for one team is 8 players and there are such teams playing during the tournaments. The games are played with mixed teams (girls + boys) – a minimum of two girls in one team (since 2024, there will be a minimum of three girls required).
    The basic course of the game (one run):
    1 Game – one team hits the ball with the bat, the other team defends by catching the balls and trying to hit the opponents or to throw the ball to the base no. 1 before the attackers reach the bases number 2-4 (they can also kick the ball, trying to reach the base no. 1).
    2 Change – the teams change sides and roles.

    The pitch:
    The pitch is divided into Bases (see the chart below):

    pole gry

    Source: Polish Palant Association: https://www.palantpowraca.pl/

    BASE NO.1
    We start the game here. A maximum of 2 people can stand here. A third person from the same team, standing here, means an automatic switch of sides between teams.
    BASE NO. 2
    BASE NO.3
    BASE NO. 4
    We end the game here. Upon getting to this base, the player scores a point.
    5 HITTING FIELD
    The attacking player stands here, holds the bat with one hand, tossesthe ball with the other hand and hits it with a bat into the Catching Zone ( “Piekło”, eng.“Hell”). Every player has 3 attempts. You can use all of them, but you don't have to do that.
    6 CATCHING ZONE (“PIEKŁO” (“HELL”))
    In this area, the hitting players try to reach bases and the defending team (catchers) try to stop them, by catching the hit ball and throwing back to the zone, called “Niebo” (eng. “Heaven”, see the chart), throwing the ball at the running runners (only these ones who are not touching the bases in this moment) or catching the ball (preferably) with one hand.
    7 SIDE FIELD (OUT)
    • if the first contact of the ball is in this area after the hit –this ball is incorrect,
    • but when the first contact of the ball after the hit is in the Catching Zone and the next hit is in the Side Field, we keep playing – the ball is correct.
    8 ZAPOLE (“HEDGING”)
    Perfect hitting the ball – it landed beyond the last line! The game is stopped! All players, situated at the bases, go to base 4. It is called “zapłot” if the ball is beyond the last line and between the side lines.
    9 A FIELD FOR ELIMNATED PLAYERS
    10 QUEUE OF IMPRESSION
    Determined before the start of the run. The player can do maximum of 2 runs, i.e. to get 2 points. The second turn depends on the order in which you reach the Base no. 4.
    + BASE NO. 3 (blue) TEAM IS PICKING (SCORING POINTS)
    + BASE NO. 3 (red) TEAM IS CATCHING (DEFENDING THE SCORING POINTS)

    Running of the game:
    Team of “Heaven” is placed in front of the “Heaven” line and team of “hell” is placed on the field.
    The hitting team (“Heaven”) tries to keep as long as possible the “Heaven” field. To do so, their players are hitting the ball with the bat as far as possible and afterwards they runto reach another bases (from no. 1 to no. 4). Each time you reach a base no. 4, you get one point.
    The team in the field of “hell” aims to conquer “Heaven”. To this end, they try to catch the hit ball in their hands as soon as possible and throw it back to the “Heaven” field or to hit the player who is running to reach the bases to stop as many players as possible.
    If the defending player catches the ball with one hand, it is a fault and the batsman is out, he/she can no longer bat. If there is a catch in two hands or a foul in one hand, the game continues.

    When to switch sides?
    Teams switch sides when:
    • The attacking team commits 3 mistakes, e.g.:

    • a player, who is running to reach to the bases, is hit with the ball by defending players – this player is eliminated,
    • one-handed catch (in Polish “Kampa” or “Chytek”) by one of the defending players– result: elimination of the attacking player,
    • no proper hitting the ball by an attacking player in 3 attempts – he is not eliminated, but he/she goes to the first base.

    • There are more than 2 people in the base no. 1.
    • There are no players left in the attacking team to hit the ball.

    Ending of the game:
    The game ends after the predetermined number of rounds (1 to 7). The winner is the team with more points earned for reaching to the base no. 4.

  • Current status:

    Palant, as a well-deserved, traditional Polish sport, has not disappeared for good. One of the most interesting places where its traditions have been preserved, in an interesting local form, is Grabów near Łęczyca (Łódź Province) - more about this feast can be find here: https://inspirowanysportem.pl/palant-i-jego-historia/ (this is in Polish but it can be easily translated with the help of online tools).
    In 2014, the Polish Palant Association (Polskie Stowarzyszenie Palantowe (PSPal)) was created in Warsaw, which aims to recreate the game of Palant, by promoting it, educating and training the young generation of Palant players, restoring classes in schools, organizing competitions and trainings in this sport, establishing and cooperating with other Palant associations in Poland and abroad etc.
    For this purpose, Polish Palant Association organizes, among others, international tournaments in Palant and promotes this traditional Polish sport in the media. Thanks to these activities, this sport is once again more and more known at the local, national and even international level.
    An interesting initiative of the Association in this context is the action Palant powraca (Palant returns) – organizing open trainings, matches and demonstrations of the game in various places in Poland and inviting famous people from the world of sports, television, show business, etc. to participate in them. They also organize, among others, Polish Champions every year, The Polish Cup and many such events.
    The Palant ball club was also established in a town of Cyprzanów just after the first world war.
    Palant is also played, among others, in a city of Lublin. Since 2008, numerous initiatives have been organized here, related to the promotion of this sport, as well as other Polish traditional sports.
    Paland is also played in Słubice. The team from this town has won Polish Championships. They organize trainings very week.

  • Importance (for practitioners, communities etc.):

    Palant has been a Polish traditional sport since at least 500 years. It was the most popular Polish sport before the second world war. There were regular competitions in this game. It was
    a part of school physical education and was regularly played by people in their free time. After the above-mentioned criticism of the press and some academics, its popularity has significantly decreased. However, thanks to the above-mentioned activities of, among others, Polish Palant Association, this Polish, traditional sport is returning and regaining its popularity. It is again treated as an important part of Polish national and cultural heritage. Thanks to numerous initiatives, it has a chance to be again a Polish national sport – and not only sport, but an element of Polish culture.

  • Contacts:

    Polskie Stowarzyszenie Palantowe (Polish Palant Association
    Tel. 608 404 030
    This email address is being protected from spambots. You need JavaScript enabled to view it.
    Web: www.palantpowraca.pl 
    Fb: https://www.facebook.com/Palant/

     logo Polskie Stowarzyszenie Palantowe

  • Sources of information :

    Video:
    https://www.youtube.com/watch?v=xLVUfRyYDZ8
    https://www.youtube.com/watch?v=ej_E776zKjs

     

    Source of photos used in this article and gallery: Polish Palant Association, www.palantpowraca.pl 

  • Gallery:

Contact

E-mail: traditionalsports@traditionalsports.org

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