Tshemzo includes three forms of art - tailoring, embroidery and appliqué under one name. Tailoring involves stitching all kinds of garments while embroidery, which is called tshemdrub, and appliqué or lhemdrub are done for making thangka and thongdroel. According to Lam Nado (Druk Karpo, 1986), the art Embroidery called tshemdrub and appliqué was introduced in Bhutan by Drung Damcho Gyaltshen, secretary of Zhabdrung Ngawang Namgyal. He was not only a scholar but was also highly skilled in the art of Tshemzo. Later the art was widely spread by Penlop (Chieftain) Drakpa Jamtsho and Choeje (Nobility) Jamgon Ngawang Gyaltshen subsequently. Tshemdrub involves working with thread and needle to produce designs while lhemdrub involves fixing the cut patches of either silk or brocade to produce bigger images. Monks normally practice the art of embroidery and appliqué.Monks produce large religious scrolls known as Thangkas that portray Buddhist deities and saints. Seven different kinds of embroidery are practiced: •\t Lhugtshem-light coloured embroidery •\t Sitshem- the bold coloured embroidery •\t Nyitshem- double-embroidery •\t Chagthagtshem- Iron-chain embroidery •\t Zurtshem- lining embroidery •\t Dongtshem- front embroidery •\t Chedtshem- outline embroidery a. Sewing Traditional Garments: Common practice among the people is lagtshem (hand sweing) or thrultshem (sewing by using a tailoring machine). These tailors are skilled at sewing the traditional Bhutanese garments. They stitch gho and kira, the national attires for men and women respectively. They also design and stitch tego and wonju (blouse) worn by Bhutanese women. Traditionally, lagtshem- to stitch costumes with bare hands using the thread and needles were practiced and were done mostly at home. Today, however, with the advancement in technologies, tailors use modern sewing machines, which are more effective and carried out with much ease.

The heritage originates from Bình Định - a place famous for traditional martial arts and famous historical figure King Quang Trung in the resistance war against foreign invaders. Binh Dinh traditional martial arts has many sects covering all provinces and cities across the country. This heritage has also been introduced abroad. Its practice became popular as a sport in many countries. Vo Bình Định has a high performance and combat ability, expressed in the forms of movement with bare hands, sticks, swords and spears, great knives, axes and shields. The combination of hand and stone techniques makes it a delicate, unique art form. The typical forms of Bình Định martial arts include Ngoc Tran Phap, Bach Dieu Thao Phap, Quyen Tu Hai, Thao Truc Chi, etc. Although it used to be a tool to fight foreign invaders, the people who do traditional martial arts in Bình Định always uphold the spirit of sport and its benefits to the lives of Vietnamese people.

Fire dance ceremony (Fire bridge) or "Po Dinh họn a tờ" in Pa Then language takes place on the 16th day of the 10th lunar month, in My Bac village, Tan Bac commune, Quang Binh district, Ha Giang province, when the season comes. membrane has been harvested. Traditionally, Fire dance is associated with the "Poc Quo" ritual - the ceremony to transmit the profession of a sorcerer - which is held for shamans to receive students and pass on the profession. The ceremony is organized by the clans in the village. Offerings to the gods include roosters, rice, incense, wine, votive coins, etc. The main ritual master includes the shaman and his subordinates or students. When sitting in the ceremonial chair, the shaman holds and shakes a bracelet in his hand and at the same time pats the bamboo stick on the iron lute of the Pa Then people. He chanted while his body swaying in rhythm with jingle bells and claps of hands. His subordinates lit a fire as directed by him. The shaman would then chant to take his soul to heaven, calling the spirits of the gods to enter the bodies of young men waiting nearby. Gradually, the boys will enter a trance state. Their bodies will naturally sway, and they will begin to jump into the fire with their bare feet and hands. Some dancers are even able to play burning coals with their bare hands or chew them in their mouths without injury. The Fire Dance Festival of the Pa Then has a long history and has been preserved and maintained for generations. The festival not only reflects the role and status of shamans in the previous society, but also evidences the cultural elements, primitive beliefs, beliefs in the spirit world and supernatural forces.