In earlier times, Bhutanese traveled as far south as possible to buy salt, spices, and other basic products in the nearest border towns. Pasakha (formerly the southern gateway) was an important business center for the people of western Bhutan because of its proximity to the nearest Indian towns. After an arduous journey of more than 20 days through the high mountains and after nights spent in the cold, dense jungle, the villagers then reached their home, bringing their daily supplies. A young man from the village of Bja-wo once set out for Pasakha to buy supplies. Upon his return, as he prepared to spend the night in the forest, he lay down under a large tree, placed the heavy basket under his head to rest, and stared up at the sky. He saw the bright moon almost smiling at him and the stars twinkling around him. He thought about the number of nights he would have to spend like this, and wondered if the stars and moon would keep him company during his journey home. He continued his journey home during the day, spending each exhausting night under bushes and trees. Each evening he looked up at the sky and noticed that the brightest star seemed to get closer and closer to the moon each night. When he returned home a few days later, the young man, suspecting an interesting observation in the sky, wanted to know how close the star had come to the moon. The following night, he looked up at the sky and found that the star had come so close to the moon that it almost looked like it was interacting with the moon (this was the narrator's exact interpretation). It was a unique discovery that symbolized a happy moment. Incidentally, the day he made this discovery was the 15th of the 10th month, one of the most auspicious holy days in the Bhutanese lunar calendar. Therefore, the festival of Bja-wo Karma Nya-ru (conjunction of the Pleiades and the full moon) is believed to have originated in Bja-wo village and is still celebrated with great enthusiasm. Nowadays, it is also popularly known as Dogar Nya-ru. Nya-ru is celebrated on the 15th day of the 10th month of the Bhutanese lunar calendar and is considered a special occasion where family and friends scattered all over Bhutan gather on this day and celebrate the auspicious day in each and every home with festivity and joy. On the 13th and 14th day of the 10th month, people who work in the cities, students, businessmen, relatives and basically all people who are from the village gather to celebrate Nya-ru. In this village of Nyo-yue dhuen (old name) or Khamda Sali Chiwog (sub-block) as it is commonly known today, people prepare for the big event by washing their clothes, cleaning themselves, tidying their houses and the men discuss archery that will take place during Nya-ru while the women prepare the menu for the special day in the house and make preparations for Ara (locally brewed wine) and other drinks.

The 600-year-old Serlung Pelkar Chhoeling Monastery in Dawakha, Paro was founded by Drupthop Thangthong Gyalpo (1361-1485) when he built iron bridges for the people in this area. In the meantime, the people living in a place high up on the mountain had to deal with strong winds and storms that caused harm to the people and destroyed crops. The people blamed the infamous lakes in the area. There were two lakes, Yum and Syem (Mother and Daughter), which were believed to be the cause of all the destruction inflicted on the people. In Bhutan, the Bhutanese believe that all living things, including nature, have spirits and are alive within them. For example, the mountains in Bhutan are believed to be the abode of mountain gods, or at least to house spirits. Therefore, people decided to drive away the destructive spirits of the lakes by throwing the dead bodies of people and animals into the lake. The mother lake left its present location for the Dagala region and became known as Dagala Yumtsho, while the daughter lake did not make it further than present-day Selung Goemba. She had problems with her leg. You can still see the remains of the lakes where they rested. The mother advised the daughter to stay in this place and serve as the protector of the Dharma of Drupthop Thangtong Gyalpo in Selung Goemba, and left her her revered Sergi Alung (hook), making the place known as Serlung Goemba. The people of this place considered it auspicious that a lake had formed near a monastery founded by the famous Drupthop Thangtong Gyalpo. The villagers believed that the lake would eliminate famine and bring prosperity to the village, and held a festive sacrifice to ask the spirit of the lake to bless them with protection. The ritual takes place in Selung Goemba once every three years. There is no specific day or month set for its performance, but depends mainly on the availability of the Pawo. The Goemba is a common religious place of worship for the people of Khamdi and Sali and some other neighboring villages.

Sansari Puja (Ritual for the Mother Nature) is the most important cultural event of the Limbu community, Samtse Gewog (block) under Samtse Dzongkhag (district). Sansari Puja is a community festival usually held in April according to the Gregorian calendar to ask blessings from Mother Nature and the deities living in the forest. They have a particular jungle called Limbu lha-kha where they perform this ritual annually. The reason for performing it in the jungle is because of the cleanliness and tranquility of the forest. During this festival, all members of the Limbu community gather to perform a ritual of gratitude and ask for future prosperity. During this ritual, the deities who preside over the jungle according to the community's beliefs are appeased to give thanks for the past successful year and to wish for a peaceful and prosperous life in the future. This festival is always held on one of the Saturdays of April in the Gregorian calendar. Although Saturday is the most suitable day, it can be moved to other days if one of the Saturdays in the month of April is inconvenient for performing the Sansari Puja according to divination. The Sansari Puja is performed every year on a hill known as Limbu lha-kha of Trasher Pu village by erecting a temporary altar where prayers are offered throughout the day for health and a good harvest. All the villagers gather on the quiet hilltop to perform this puja for the worship of Mother Nature and the well-being of all. The reason for performing this festival in the forest is the belief in a clean environment and mountains, and a patron deity who resides in clean places. The pandit or pujari (priest) and his helpers perform the entire festival while the people in the community are joyful and at the same time pray for good health, life and prosperity.

The community worships the forest god in the forbidden forest according to their legend. They hold the Feast on June 6 at the edge of the forest behind the village. The altar is made from small branches and returns to the forbidden forest. Presiding over the worshiping ceremony is a shaman chosen by the villagers according to their own principles. There are two main rituals, as follows: Offering offerings: The villagers present an offering of live chickens and goats along with other offerings. The priest prays according to the set steps so that the gods can witness the ceremony, then let the people slaughter chickens and goats in turn. Main offering: The goat is charred, leaving the internal organs to serve the main ritual. The goat blood is blessed by the sorcerer to save the lost soul. In the end, they cook and eat on the spot together. The ceremony shows the community's sense of forest protection.

Just like any other communities, the livelihood of Lhops also started with hunting and gathering activities. In the past, Lhops gathered wild edible plants like Burr (Kochu or Colocasia) or Lohbol (Tapoica), and hunted as well as fished. With the recent developments in the community, Lhops have adopted agriculture as their source of food and nutrition, and with the passage of time, agriculture has become a way of life for subsistence and commercial means.

The Melanau ethnic is one of the biggest in Sarawak living in the Mukah area. Some are Muslims and some Christians. Those that still practice animism worship the Ipok ‘spirit’, the manifestation of the strength and power of nature. Ipok consists of Ipok Laut (Sea Ipok), Ipok Balau (Jungle Ipok), Ipok Sarauang (Sky Ipok) and Ipok Iyang (Soil Ipok). On the first night the faith healer is alone in his house after being told that someone has fallen ill. The faith healer bargains with the ‘spirit’ including obtaining the spirit’s requests for the Bebayoh ritual. The second day involves the sick and the faith healer at the faith healer’s house or at the sick person’s premises depending on the spirit’s request. On the night itself the faith healer informs the sick person’s family about the spirit’s requests. The preparation begins in the evening of the following day. The Seladai Dance is then performed. The substances for the Bebayoh ritual are young leaves such as the betel nut leaves, jasmine flower, incense, a drum, candle, and glass fragments on a white cloth. Incense is burnt to start the ritual with mantras recited by the faith healer in the language of the faith healer’s spirit and that of the Ipok, at the same time hitting the drum used to detect the sick person’s illness. The candle is lighted inside the drum and then placed on the faith healer’s face. Other musicians play the rest of the musical instruments such as drum, kulintangan and gongs. After detecting the illness, the faith healer swallows the candle. The betel nut leaves are then swayed on the sick person’s body. The Ipok’s spirit enters the sick person’s body to cure him. Then the sick person steps on the glass fragments. The Seladai dance is then performed by seven unmarried couples with the faith healer circling the dancers with the isem pesai (a kind of young leaves). The sick person has to undergo abcentism like he is forbidden to consume stingray and shark, as well as beans and eggs. On final evening (the seventh day) is the end of the treatment. The sick person has to prepare the ‘payment’ to the faith healer that includes gold, a small spear (made of bone – as the spirit’s food), and a live chicken.

“Kin” means to eat; “Pang” means ceremony, the person attending the ceremony; “Then” refers to the gods in Mường Trời. Kin Pang Then is a festival to celebrate adopted children of the White Thai people. The ceremony is organized by Then workers to meet adopted children to give thanks and celebrate Then's fate. The ritual takes place in early spring (from before the full moon in January to before the full moon in March every year), and is held once every 3 years. Mr. Then himself chose a specific day for his adopted children to know and attend. The day of the Kin Pang Then ceremony must be before the full moon day of the first lunar month. The pang tree is the center of ceremonies and is elaborately decorated. The Then altar and offering tray include many items. On the evening of the first day, Master Then prepared the pan cai offering tray to worship Then, including sticky rice, paddy, betel and areca, wine, eggs, steamed sticky rice, salt, white cloth, cotton thread, silver bracelet, incense, lamp, money, water, flowers, etc. Master Then wears traditional costumes to worship at the Then altar. Báo Khỏa plays the piano, Sao Chay assists him and shakes the bell. After performing the purification and blessing ceremony, Mr. Then asked the patriarch for permission to perform the ceremony. Master Then went to Then village to invite Then to come down and play, celebrate the adopted children's ceremony, and bless the adopted children with good health, prosperous business, and good harvests. After offering offerings to Then, Master Then, Sao Chay, Báo Khỏa, and their adopted children became monks. The next morning, the Then family slaughtered chickens, and pigs, and prepared sticky rice for the offering ceremony. One offering tray is placed at the ancestral worship place (clọ hóng) and one offering tray is placed at the Then altar (hỉnh một). In case Then's parents are still alive, they must ask Then's father to make offerings to their ancestors at the Clọ hóng pavilion. After worshiping the ancestors, Master Then made offerings to each adopted child. The adopted child's offerings include chicken, wine, sticky rice, Chung cake, and 1 piece of white cloth, arranged on separate trays. During the worshiping ceremony, Mr. Then worshiped while resting, drinking wine, drinking water, smoking, and singing back and forth with Báo Khỏa and Sao Chay. After offering offerings to the adopted children, Master Then and Sao Chay performed folk games and had fun with the adopted children.

The Minh thệ Oath-taking Festival (also known as the Minh Thề Festival) in Hoa Lieu village has existed for more than 500 years, and is an opportunity for people to commemorate the merits of the Empress Dowager Vũ Ngọc Toàn, who founded Lan Hiểu hamlet (today's Hoa Lieu hamlet) and review the content of the "Hịch Văn Hội Minh Thề" (oath). The festival takes place at the Hoa Lieu Temple - Pagoda Historical and Cultural Relic Site (Hoa Lieu hamlet, Thuan Thien commune, Kien Thuy district), Hai Phong city on January 14-16 every year. According to history, this ritual dates back to the Mac Dynasty, in 1561, Empress Dowager Vu Thi Ngoc Toan (wife of the Supreme Emperor Mac Dang Dung) founded Lan Nieu hamlet (now Hoa Lieu village, Thuan Thien commune). She donated to renovate the ancient Thien Phuc Tu pagoda (now Hoa Lieu pagoda). After the renovation, with the remaining donated funds, she bought more than 47 hectares of rice fields to divide among the farmers and make public land. The village called this field “Holy Field”. To prevent selfish interests, the Queen Mother and the villagers established the Proclamation of the Minh The Oath with an oath to take public property as the most important and not to encroach on public property. The Minh The Oath Festival was born from that time and has been passed down to this day. In the 19th century, the Nguyen Dynasty decreed the four golden words “My tuc kha phong” for the Minh The Oath Festival. In 1993, the Hoa Lieu temple complex was recognized as a national historical site, and the Minh The Oath Festival was restored. On the main day of the festival, the villagers set up an oath platform in front of the Hoa Lieu pagoda. The altar was solemnly arranged, with the highlight being the mandarin’s hat placed solemnly on the front of the altar. During the ceremony, the celebrant used a knife to perform the gesture of “pointing to the sky and drawing the ground” (“thiết linh trích địa”) in a large circle with a diameter of about 2 mét in the middle of the temple yard, called the The Oath Platform. The celebrant sticks a knife in the middle of the circle to show his determination to fulfill the oath. After that, the village officials and elders perform the incense offering ceremony to pray to heaven, earth, and the gods. After the rituals: offering incense, flowers, wine, and water to the gods, the celebrant stands in front of the oath platform and reads the Proclamation of the Oath. The content of the oath is that people must be upright, use public property for public purposes, and if they are greedy for private purposes, they will be punished. After the reading and oath-taking part, the ritual of cutting the chicken's throat and drinking "Kim Ke Huyet Tuu" takes place according to tradition. Everyone in the village drinks the oath wine (rooster's blood mixed with white wine) to wish for good luck and a clear conscience and participates in activities: tug of war, chess, rowing, cockfighting, etc. The Minh The Festival not only has historical and cultural value, but also contributes to educating the tradition of patriotism, ethics, lifestyle, village love, and neighborliness for generations of local people. In 2017, the Ministry of Culture, Sports and Tourism recognized the Minh thệ Oath-taking Festival as a National Intangible Cultural Heritage.

There is a view that Viên Khê Five Perfomances originated from the period of Northern domination (the Tùy Dynasty) associated with the name of Cả Lãng Đại Vương - the son of the leader Le Ngoc. Legend has it that he often went to the villages to join in the fun with the people, thereby teaching and popularizing to the community the songs, chants, and dances he created. Another opinion is that the heritage originated from the Later Le Dynasty, taught to the people by the Ministry of Rites official Nguyen Mong Tuan (originally from Vien Khe). Viên Khê Five Perfomances (Đông Anh Folk Songs) is a system of performances held during festivals in Vien Khe village, Dong Anh commune (Dong Son district - Thanh Hoa province) reflecting the daily life and feelings of farmers, with the wish to pray for rain, pray for sunshine, fight against natural disasters, epidemics, wild animals, and natural forces to protect agricultural production and maintain the growth and prosperity of humans and animals. Over hundreds of years of cultural exchange and acculturation, the system of performances has been enriched, so that today's Viên Khê Five Perfomances has been restored with 12 plays: the Lamp Dance, the Drum and Gong Play, the Ngo Quoc Play (belonging to the Ngu Tro Rủn Dong Khe), the Xiêm Thành Play (Champa), the Tiger Catching Play (Vằn Vương), the Tien Cuoi Play, the Ha Lan Play, the Thủy Play, the Nu Quan Play, the Tú Huần Play (Dong Anh), the Thiếp Play, the Ai Lao Play accompanied by folk songs, creating a unique cultural feature of the Dong Son countryside in general and Dong Khe in particular. The system of performances of Viên Khê Five Perfomances is extremely unique, the most popular is the Lamp Dance: a comprehensive performance with many layers of ancient culture, related to the calendar of wet rice agricultural production. The lantern dance is a dance with lyrics performed by 12 girls in white pants, red shirts, green belts, red scarves, and a lighted lamp on their heads, singing and dancing with graceful movements. The lantern dance refers to the production work of farmers during the year: lighting lamps, planting cotton and bean beds, sowing seedlings, splitting bamboo strips, weaving bamboo, pulling seedlings, transplanting, spinning, weaving, sewing, and harvesting. The performance ends with three dances of “fighting boiled chicken, offering new rice, and offering cakes” to express the gratitude of the people to the gods for a year of bountiful and abundant crops. The performances depict a panoramic picture of the material and spiritual life and aspirations for a better future of the people, imbued with profound humanistic values. The songs and dances in the Viên Khê Five Perfomances system still exist in the people's consciousness, expressing feelings and aspirations for life and indirectly condemning bad habits that existed in the old feudal society. Up to now, Viên Khê Five Perfomances has been restored relatively intact. In 2017, Viên Khê Five Perfomances (Đông Anh Folk Songs) was officially included in the list of national intangible cultural heritage by the Ministry of Culture, Sports and Tourism with a system of 12 performances (dance and singing).

The Nàng Hai Festival, also known as the Moon Praying Festival, begins in January and lasts until mid-March with the symbolic meaning of mothers and fairies on earth going to heaven to welcome Mother Moon and fairies down to earth. The Ngan ethnic group believes that on the Moon there is Mother Moon and 12 fairies, her daughters, who always take care of and protect the crops of all people. They choose a mother to be Mother Moon, and the girls play the role of fairies, including two unmarried girls who play the two moon sisters. The characters all wear traditional costumes according to regulations. They set up a "moon tent" as a place for Mother Moon and the fairies to sit during the ceremony. Before the ceremony, the people playing the role of Mother Moon (Mụ Cốc) and the girls stand in front of the altar so that Mr. Tào can perform the transformation ceremony for the souls of Mother Moon and the fairies to enter. From then on, they must abstain according to regulations. The ceremony is held on a large field with the rituals of "worshiping the local land princess" at the communal temple to ask permission for the villagers to organize the Moon-praying festival the following night. According to tradition, the ritual of carrying offerings from Thanh An communal house to the outdoor altar is a very important part to invite the gods to witness. The procession consists of 8 young people carrying the palanquin, including 4 men and 4 women, led by the shaman and the dancers, followed by trays of offerings including a pig's head, 4 pig's feet, chicken, duck, wine, cakes, and five-color dyed sticky rice. The shaman worships the local land goddess and the gods, the artists perform the rituals of dancing around the altar when the Moon-welcoming festival opens. After completing the ritual of reporting to Mother Moon and the 12 fairies, the village elder performs the rituals of praying for blessings, good luck, favorable weather, good crops; inviting Mother Moon and the fairies to bring crops and blessings to the villagers. The ceremony lasts for twelve nights. Each night, a Mother is invited. After that, they held a ceremony to send the moon ladies back to heaven. As for the festival, the shaman blew the trumpet and opened the festival. Villagers and commune residents participated in traditional sports activities such as: men's and women's volleyball; blindfolded duck catching; and pond fishing. In addition, the festival featured performances of folk songs, then singing, coi singing, folk games, and traditional cuisine of the Ngan ethnic group such as bamboo-tube rice, wild vegetable dishes, pork fish sauce, field carp fish sauce, salted plums, five-color sticky rice, pickled bamboo shoots, black plums dipped in sesame salt. This is a unique folk festival imbued with spiritual colors, with a positive and highly educational nature in the Ngan community. With its unique cultural values, the Ngan ethnic group's Moon Praying Festival was recognized as a national intangible cultural heritage by the Ministry of Culture, Sports and Tourism in 2018.

The Trò Chiềng Festival is held in Trinh Xa village, Yen Ninh commune, Yen Dinh district, Thanh Hoa province from the 10th to the 12th of the first lunar month, to commemorate the great contributions of Tam Công Trịnh Quốc Bảo - the village's tutelary god - the founder and teacher of Trò Chiềng, and to pray for a peaceful and happy new year. Trò Chiềng was originally an elephant war game (also known as elephant fighting), which later developed into a festival with 12 performances. The founder of Trò Chiềng was Thanh Hoang Tam Cong Trinh Quoc Bao (998 - 1085). Thanh Hoang Tam Cong Trinh Quoc Bao also had the name Trịnh Bạn, a native of Định Xá village (Chiềng village). Trinh Quoc Bao was an official under the Ly dynasty, and had contributed to helping King Ly Thanh Tong defeat the Song army in the North and pacify the Champa invaders in the South, so he was given the title of Dong Phuong Hac Quang Dai Vuong. The Trò Chiềng Festival is organized in 2 parts: The ceremony begins with the Phụng Nghinh worship ceremony, incense offering, and elephant procession from Trinh Xa communal house to the commune stadium to report to the village's tutelary god about a year of labor and production of the local people. The festival takes place with 12 special performances such as: Golden neck procession, chicken neck procession, tutelary god procession, son-in-law selection, horse racing, elephant fighting, dragon fighting, carp transforming into dragon, Phung Hoan procession, fireworks... The toys are made of materials: bamboo, rattan, fabric... In which, elephant fighting is considered special and has become a cultural beauty of the people of Trinh Xa village. The fighting elephants are woven from bamboo and rattan, carried by 4 strong young men on 4 legs and a strong, experienced old farmer holds the stick to control the elephant's head for fighting. When "Thượng Soạn" gives the order, the 2 elephants will charge at each other, fighting with 2 tusks; The old custom stipulates that elephants will fight in 2 rounds, each round has 3 rounds, the one that is pushed back will lose. After the performance ends, all elephants, horses, and dragons will be transformed and announced to heaven and earth, to show gratitude for the merits of their ancestors and predecessors. The festival also takes place enthusiastically with competitions: making longan cakes, and banh la rang bua - traditional products of the locality. After the performance ends, all elephants, horses, and dragons will be transformed and announced to heaven and earth, to show gratitude for the merits of their ancestors and predecessors. The Trò Chiềng Festival reenacts all aspects of life, working, fighting, playing... guiding people back to history, their roots, and a good life. The festival is a cultural activity, meeting the spiritual needs of the people, praying for the people's health, prosperity, and good crops; it is an opportunity for people to express their respect and gratitude to the gods and ancestors who have built and defended the country. This is a typical festival in the cultural life of the residents of the Mã River Delta. With its unique values and historical significance, the Tro Chieng Festival was recognized as a National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism in 2017.

According to the traditional culture of the Ede community, every person from birth is worshiped and given a ring 7 times, from low to high, equivalent to each jar of wine. In which, the seventh jar worshiping ritual is the biggest ceremony and that person is considered mature and grown up. Here, many unique cultural features of the Ede people are expressed such as: worship of Giang, Mountain God, River God; worshiping the water wharf, worshiping the village head, wearing a ring; gong culture, cuisine, Chinh Krư dance; costumes, pants, shirts, hats; musical instruments such as flutes, horns; objects showing hunting strength such as knives, khiel, water gourds... Mpú toh kong - a sacred ritual, marking the community's recognition of an adult man. The time to hold the ritual is when a man reaches adulthood or later. The Initiation Ritual is organized by the family and is attended by all villagers to share the joy. On the first day, the person being offered goes to the village's water wharf in front of the witness of Yang (heaven) and the wharf god. This person will wash his hair and collect water in a gourd to bring back to perform the Yang worship ritual. They organize it for 5 consecutive days with the main offerings being rice wine and chicken. After the ritual, the shaman puts a bronze ring prepared by relatives on the hand of the person being offered to confirm that they are strong enough and can take on the work. During the ritual, gongs are performed along with traditional dances. The Ê đê people in Phu Yen believe that each person who can perform all these ceremonies will feel secure and the offerings will increase with age. The coming-of-age ceremony in particular as well as the life cycle rituals of the Ede people in Phu Yen demonstrate the connection between family and community. Through these rituals, customs, social practices, traditional costumes are maintained, gong culture is also practiced, creating unique cultural values of the Ede people in Phu Yen. With typical values, the Initiation Ritual of the Ê đê people in Phu Yen was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage in 2018.