You will find in the Letter from the Chairman some reference to successful candidates who sought accreditations at this year's summer camp. The accreditation process has provoked some enquiries about the method formulated for these assessments.

I think it a good opportunity to look at both the methods of assessments and also examine the wider field of Chinese martial Arts (Wushu) competitions in general.

When examining an individual for his or her competence, the examinerÕs job is far more simple than a judge who will be looking at an unspecified field of competitors to place in the correct order of first, second and third, according to his or her preference.

Criteria used for assessments by

Longfei at the 2002 Summer Camp

The category of grading has remained the same since they were introduced in 1995:

	PASS: 6.0 7.50

	CREDIT: 7.60 8.50

	DISTINCTION: 8.60 and above

The criteria is founded on three main points:

	1. Basics and Foundation Skills

	2. Correctness of Movement

	3. Familiarity

Judging method for

Chinese Wushu Competition

While the three requirements for accreditation may appear sparse or perhaps vague, for those familiar with the principles and regulation of Wushu competitions there would be a deep understanding of the required content. I think the reader will get the feel of this content as we outline these principles.

The guiding regulation outlined here are in line with course material compiled from the International Wushu Federation JudgesÕ Manual and the E.W.F. Rules and Regulations. When we examine these guidelines we can see the similarity of specification required by a traditional master/teacher to measure a studentÕs progress. I have compiled these notes with the help of the BCCMA JudgesÕ manual for Taolu (Forms) Routines.

Classifications

6-7: Average. 7-8: Above Average. 8-9: Good. 9-9.50: Very Good. 9.50-10: Excellent.

In the scoring method a system of subtraction is employed. Substraction is made in accordance with the competitor failing to comply with the criteria. In Wushu competition a contestantÕs performance is assessed on his or her overall technical ability.

Section 1. JudgesÕ notes on scoring

According to the rules the scoring method must consider two areas of the performance:

1. The overall technical ability of the competitor

(a) Evaluate the quality of the performerÕs movements 
(scoring award available, six points)

(b) Evaluate the coordination and power of the performer 
(scoring award available, two points).

(c) Evaluation of the performerÕs spirit, rhythm, content, 
structure and style (two points).

2. The deduction of points for performance errors.

(a) Evaluate the quality of the performerÕs movements. 
A movement is defined and made up of forms and technique. 
The former includes: the stances, the body form, the hand
forms. The latter includes hand techniques, leg techniques,
body, footwork, eye coordination, weapon techniques etc.

(b) A judge should focus his or her attention on the
conclusion of a form and pay attention to the hand form
stance and body form. He or she must ascertain that they
conform to the required specification. The judge must
see the posture is relaxed yet vigorous, extended and
well balanced. When the performer is in motion the judge
must keep a watchful eye on the performerÕs transitional
techniques to ensure they follow the correct path. The
judge will observe whether the application of force is
applied accurately and in the correct place. The overall 
performance must retain the correct height, the required
distance and extension.

The judgeÕs guide to evaluation is to take notes whenever faults occur and deduct from the total. If several faults occur in a single movement the highest deducation allowed is 0.2, a judge cannot repeat deductions for a constant occurrence of the same error, for an habitual fault only one deduction of 0.2 is allowed.

The criteria above gives the outlines for Wushu judges; below we are looking at the key points and guidelines for the scoring method of Taijiquan.

Scoring Method of Taijiquan

1. Performers should emphasise quality of movement and
overall technical ability.

Judging must see the above qualities as a priority,
quality of movements should be emphasised and the
forms and techniques must be seen to be standardised. 
A performance must demonstrate a clear understanding 
of technical ability, illustrate strength, coordination,
spirit, tempo and style. A judge will make note and judgement
of a flambouyant performance which pursues appearance but
ignores the principle of internal strength and substance.

2. A competitor must have a full grasp of TaijiquanÕs key points.

A competitor must differentiate between the following points: 
relaxed from soft; sunken and stiffness; light from superficial,
lively from loose, straight from rigid, gentle from weak;
continuous from confusion and solidness from emptiness. The judge
should recognise these technical key points.

(a) Posture must be upright, calm, circular and natural

(b) Movement must be correct in technique, light, gentle, continuous 
and even

(c) Harmony between trunk and limbs, using the waist as axis to
coordinate lower and upper limbs with all moving body parts

(d) Strength must be correctly and clearly defined, illustrating
smooth and alternating soft with hard in the application of force

(e) Mindfulness: all movements are guided by thought, a tranquil mind
should be observed at all times displaying unity of purpose, form and
spirit. All moves should clearly display a beginning, a transition and
a conclusion and they should combine to embody solidness and
emptiness, hardness and softness, displayed in a gentle and light
manner.

3. Stick to the formulated criteria, donÕt deviate from the
recommended standards, give due consideration and approval to the
different styles and schools of Taijiquan and encourage development.

Observe the principle of no violation to TaijiquanÕs rules and stylistic features. Embrance all the different schools, styles and varieties of technique within the Taiji family and all reasonable movements should be graded.

Richard Watson

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