Bay Batabor is one of the most important offerings among other offerings, as the old people in the fields often do when preparing offerings for various festivals, large or small, for example, birthday celebrations, funerals, Tes moha cheadok festival, and rainmaking ritual. How to make Bay Batabor may be slightly different from one to the next, it depends on the festival, community, or area. What we are sharing here is how to make rice cakes for cremation in Daun Ov village, Leang Dai commune, Angkor Thom district, Siem Reap province. First, they place ripe bananas and palm sugar which are wrapped in conical banana leaves in a bowl. Then take another bowl and place it on top of the bowl. On top of that bowl, there are 12 pieces of sticky rice and some spread sticky rice. Then, fold 12 banana leaves into a conical shape and put them around the 12 pieces of sticky rice. The top of the sticky rice bowl is called the middle part of Bay Batabor. It is where they place a banana corm right in the middle and they cover it with banana leaves in a conical shape. With that, they also put 12 areca palm nuts on it. On the top of the cone, there are 12 folded betel leave, 12 candles, champa flowers, yellow flowers, a paper bag of the dried areca palm, red and white paper flags, and riel banknotes. According to the elders who make Bay Batabor, they made the rice offering to put on the ceremony’s donation table. However, during the rain-making ritual at Neak Porn temple, the rice offerings are placed on the altar in front of other offerings. Before it can be placed on the table of the ceremony, those female elders, sit around the circle, make three rounds of Batabor bowls to dedicate to the Preah Shak muni stupa, and chanting for 3 times, “Tong Teng Kroleng Bopha Tok Moung Vey Bay Moung Va we are offering candle, incense, betel leaf and areca palm nut to Preah Shak muni stupa. The elders also mentioned that The Batabor rice bowl represents the mother’s body, and the 12 betel leave and the 12 candles represent the mother's breast, which has six holes in each side.

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.

Cấp sắc Ritual - an important ritual in the spiritual life of the Nung ethnic group. The Cấp sắc Ritual of the Nung people is a ritual for people who are capable of becoming shamans. People who are granted the title must meet many different standards (they must have morality, have social knowledge) and be loved, trusted, and recognized by everyone in the community for their maturity. Cấp sắc Ritual is an important, big event in a man's life. People who are granted the title will be allowed to participate in practicing religious ritual activities in the Nung ethnic community. According to the concept of the Nung ethnic group, only people with "roots" can be granted the title. Being granted the title means making the house and oneself proud, so the person granted the title, along with his family and clan, must prepare carefully for months in advance. The first step is to choose a good day, a good month and prepare offerings such as: goat, pig, chicken, rice, wine, white cloth, red cloth, colored paper... Each item has its own regulations on quantity, no shortage, no excess. The main priests performing the ceremony include: Taoist priests, Buddhist priests, sorcerers and assistant priests. The beginning of the ceremony is to report to the ancestors of the family, to report to the saints, and to the heavenly officials about a major event of the family. The Buddhist priest opens the way to heaven to welcome the ancestors and ancestors of the family to attend the ceremony, to pray to dispel conflicts and bad luck for the family through small ceremonies: reporting to the ancestors, reporting to the Jade Emperor, offering gifts, and offering incense. Next are the ceremonies such as: the birth ceremony of the person receiving the ceremony, the ceremony of giving tools to disciples, the ceremony of reading the royal decree, dispelling bad luck, rewarding the army, sending off the saints, the ceremony of thanking the ancestors and the gods for supporting and allowing the priests to perform the ceremony of granting titles and giving gifts to the person receiving the titles. The most important is the birth ceremony of the Huong child (the ceremony for the person receiving the title) which begins at midnight. After the child was born, the monks held a ceremony to worship the ghosts, fed him, cut his hair, combed his hair, and pricked his head with a needle as a warning and instruction to help him understand everything. The Cấp sắc Ritual has great value in the spiritual life of the Nung ethnic group. Because the ceremony has the meaning of educating morality and personality, reminding each person to maintain a respectful and orderly lifestyle in the community and to be grateful to their ancestors and the gods who have protected them. The Cấp sắc Ritual is like a big stage: performing various forms of singing, spirit mediumship, and performances. After receiving the Cấp sắc, the person receiving the Cấp sắc becomes a shaman. With that meaning, the Cấp sắc Ritual of the Nung ethnic group in Thai Nguyen province has been decided by the Ministry of Culture, Sports and Tourism to be listed in the List of National Intangible Cultural Heritage.

The Traditional Bronze Casting of Che village (Tra Dong) has a history of thousands of years and has been preserved, maintained and promoted to this day. According to legend, the profession dates back to the end of the Tien Le dynasty and the beginning of the Ly dynasty, brought to the village by two people with the surname Vu. The mold-making stage with two types of outer molds and molds is the most important. Bronze casting tools include: a pot, a tube and a fire-blowing tank. The main materials are copper and metals mixed according to a secret formula. The fuel for cooking copper is coal. The melting temperature is about 800 to 1000 degrees Celsius. The practitioner is male. When cooking, the craftsman observes by experience to know when to pour it into the mold. When pouring copper into the mold, the copper must flow evenly and pour continuously until it is full. They have experience so that the copper expands and releases gas quickly, does not stick to the mold and cracks the product. The final stage is to cool and polish the product. Many bronze casting products are rich in form and diverse in types and are consumed nationwide and exported abroad. With skillful and talented hands, artisans have restored traditional products such as: casting bronze drums, bronze gongs, bronze statues, worship items, incense burners, animal figures... and the most outstanding is the art of casting Dong Son bronze drums with sophisticated patterns and details according to ancient patterns and designs. Currently, the number of establishments maintaining and developing the bronze casting profession in Tra Dong craft village is more than 130 households. These establishments provide regular jobs for nearly 400 workers. In 2018, The Traditional Bronze Casting of Che village (Tra Dong), Thieu Trung commune, Thieu Hoa district, Thanh Hoa province was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage.

Con Son Pagoda Festival is held from January 15 to 22 every year. Con Son festival originates from the death anniversary of Zen master Huyen Quang (January 22, 1334) - the third ancestor of Truc Lam Zen sect, a Zen sect with the idea of national self-reliance. King Tran Minh Tong gave the field to worship and built the dharma ancestor behind the pagoda, specializing the Tu Thap "Huen Quang false venerable". The traditional festival is held at Con Son pagoda with rituals bearing the imprint of Buddhism. The ritual sequence includes: incense offering ceremony to open the festival on January 16; the procession of water and carpentry is an important ritual of the Con Son festival taking place on the morning of January 16; The Mong Son giving food ceremony took place on the evening of January 17 at the courtyard of Con Son pagoda. The Mong Son alms-giving group includes: the main organ and the altar for making offerings to the Buddha. This ritual has been successfully restored in the project of upgrading Con Son - Kiep Bac festival in the period 2006 - 2010; The sacrifice to heaven and earth on Ngu Nhac mountain: takes place on the morning of January 17 at Trung Nhac temple, on Ngu Nhac mountain, performed by magicians. In addition to Buddhist rituals, folklore activities in the Con Son pagoda festival are also diverse and attractive with their own characteristics such as fairy swings, calligraphy, wrestling, quan ho singing...

Phù Lãng pottery making was taught to the villagers by the founder of the craft, Mr. Lưu Phong Tú, around the Trần dynasty, 14th century, and has developed to this day. The primary products are pottery with brown glaze and related colors. Product types include religious ceramics, household appliances, and decorative items with the outstanding feature of using the embossing method in the form of bubble engraving, also known as double engraving, with natural, durable, and unique glaze color; The shape of the ceramic is rustic but strong and very bold in shaping sculpture. The production process is specialized with worker teams: furnace team, broaching team, pattern team, enamel team, and cleaning team. The stages include selecting soil and treating clay; shaping on a rotating table (household ceramics and fine art ceramics) and shaping by printing on wooden molds or terracotta molds (worship ceramics); tick, scrape products; glazing (the material used to make glazing is the ash of forest trees, ash as white as lime; currently we use ash from ironwood, bamboo, wood, lime, crushed pebbles, white alluvial mud); fired with wood to create scratches on the ceramic surface (temperature 1000 degrees Celsius, for 3 days and 3 nights continuously). Products made of Phù Lãng ceramics are lustrous, have an echo when tapped, and come in a variety of eel skin tones, including light yellow, dark yellow, brown, and yellow-brown. There are 3 main product lines: altar ceramics (incense burners, altar stands, tops), household ceramics (vases, jars, pipes) and fine art ceramics (paintings, flower pots, vases, animal-shaped kettles). The soul of Phù Lãng ceramic products is created from the rusticity of this eel skin glaze.

Cửa Ông Temple Festival is held on the 3rd and 4th of the 2nd lunar month at Cua Ong Temple to honor the historical figure, the national hero of the Trần Dynasty who contributed to the resistance war against the invading Nguyên Mông army, that is Trần Quốc Tảng, who is still known as Đức Ông by the people. The ritual is solemnly organized with incense offering, flower offering, worship, reenactment of the divine story of the god, and procession of Đức Ông to the Thượng Temple. The Đức Ông palanquin procession is like a parade demonstrating the strength of the community, symbolizing a tour, a march to fight the enemy in the border area of ​​the Fatherland, protecting the country, and maintaining a peaceful life. The festival takes place enthusiastically with folk games such as: tổ tôm điếm, tug of war, cooking rice, betel making, preparing offerings, cockfighting, human chess, blindfolded pot smashing, stick pushing, boat racing, human chess. The festival symbolizes the spirit of fighting against foreign invaders to protect the country and has profound humanistic values.

"Tattoo" a tattoo on the body that uses a needle or a sharp metal with black or red ink to permanently mark on skin. In Cambodia, tattooing on the body is a popular tradition, especially among the army and martial arts practitioners. For them, this tattoo is not for decoration, but a combination of magic to protect themselves in battle. People who know how to get tattoos are usually shaman may be respected elders, or may even be monks who know how to teach magic from their fathers or teachers. Traditionally, almost 100% of the students (who come to get tattoos) are men. It is rare to see women getting tattoos, as mentioned above, most people who get tattoos likely are soldiers or martial art practitioners. Tattooing is done at a shaman's house or at a pagoda if the tattoo artist is a monk because there are altars in those places. They can get a tattoo on any day, but it is believed that getting a tattoo on a holy day or a full moon is even better. The sacrificial offerings for getting tattoos included chom, mlu, betel nut, cigarette, candle, incense sticks, flowers, perfume, white skirt, money, and so on. Before getting a tattoo, the student must state his/her intention to get the tattoo so that the shaman can decide which Balinese to cast. Most of the Balinese chosen for tattooing are self-defense devices, such as bullet-proofing armor, stealth, non-cutting, non-burning, anti-witchcraft, and anti-demon and charms or commercial charms which is Youn Moha Niyum, and so on. During the tattooing process, both the shaman and the student must meditate and concentrate to avoid making mistakes, otherwise, it will be difficult to erase. Not only that, students have to pray constantly to absorb Balinese. As for the shaman, he also recited the Bali word for tattoo. The ink used for the tattoo is extracted from battery ink (some burn car tyres or motorbike inner tubes to make charcoal) and mix it with wine or sugar cane juice. Tiger milk is even more special. The most advanced tattoo artist, would simply draw a line on your body and design the tattoo right away. But those who are not so good at it, need to draw the tattoo first before putting the prepared ink on the drawing. To prevent perspiration, they apply a small amount of powder over the tattoo site. In case the tattoo is complicated and cannot be completed in a day, they have to wait until the skin recover before the tattoo can be continued. After getting the tattoo, you have to recite the blessing immediately without any offerings, just light incense sticks to commemorate the shaman. But if the students want to prepare the offerings again, they can prepare a bowl of water scented with good smell flower or just with perfume smell is enough. There is no need to add any offerings more than this. After the blessing, the teacher should tell the students what to refrain from. That can vary from shaman to shaman. Some people are forbidden to eat taro, banana tree, dog meat or walk under cloth lines, under a house, or under a carambola tree. It is believed that if a student does not respect others, he or she may become insane. If so, they have to invite the tattoo shaman to come and pray for the student to recover. Nowadays, there is a new types of tattoos to beautify the body, not to protect oneself, and even women like to get tattoos. Such tendencies may be influenced by foreign factors. The tattoo is not a Roub Yant, it has all kinds of tattoos to suit your tastes. As for the tattoo, there is no need to pick a time, there is no need to prepare, there is no need to recite magic when getting a tattoo and there is no need to do anything.

Đào Xá Festival, also known as the elephant procession festival, is held for 3 days, from January 27 to 29, of which the 28th is the main festival day to honor the merits of Tutelary God - Đức Thánh Phụ Hùng Hải Công in teaching people to control water, cultivate, raise livestock, and build prosperous villages. The ritual includes the procession of elephants, incense altars, precious dragons, tablets, royal coffins, and worship of Tutelary God. "Mr. Elephant" is a typical feature of the festival with the shape, size, and color of a real elephant, with very vivid legs, tusks, trunk, ears, and eyes. The festival is organized with many folk games such as wrestling, robbing chickens, fetching water, pounding rice, and competing in fire-making... The festival reflects historical values, cultural activities, agricultural beliefs in wet rice farming, and water god worship of the residents of Phú Thọ. This is an occasion for local people to remember their ancestors who built the country and villages, pray for blessings, good luck, favorable weather, good crops, peace for the people and prosperity of the country.

Trống quân singing in Bình Giang dates back to the Hai Bà Trưng era and developed most brilliantly from the 17th century to the early 20th century. Trống quân singing includes love-making singing (Trống quân singing, mó cá singing, đúm singing, charades) and worship singing (drum teachings, dharma teachings, and incense poems). There are numerous tunes for Trống quân singing in Thúc Kháng commune, Bình Giang district, but the most popular ones are "bồi singing" and "trải singing." There are six to eight lines of poetry in each song, ranging from ten to several dozen. Men sing first, women follow (men sing first, women sing last). In time with the beat, the singer beats his own drum. The steps of a singing session are: open the festival, invite, call, ask, quiz, draw, make love, and part ways. Bình Giang people call Trống quân a barrel drum. The most unique art of Trống quân singing here is the way the drums are created. On a large field of land, dig an egg-shaped hole about 50cm deep. At the bottom of the hole, pour stuffed snail shells to diffuse the sound. On the mouth of the hole, place a sealed wooden tray, bury two bamboo poles about 1 meter high on both sides of the tray, and stretch a string of bamboo poles connecting the two ends of the pole. In the middle of the string, there is a stick - a drum, one end resting on the tray, the other resting on the string. When playing the drum, use a wooden stick to tap on the two ends of the string at the two poles, the drum will hit the drum surface, creating a thumping sound that can be heard far away.

The Cầu Ngư Whale Worship Festival is held annually for 3 days, at the end of the second lunar month (from February 22 to 24), to pray for calm seas and favorable fishing season for the year. According to the elders, the Cầu Ngư Whale Worship Festival in the ancient Diem Pho and present Ngu Loc regions has appeared since the Le Dynasty, and has been preserved and promoted for many centuries. To prepare for the festival, people organized the making of a Long Chau boat, because this is the sacred object used for the main worship during the festival. Long Chau is a dragon boat, made of bamboo, bamboo, colored paper, foam and dyes, used as a dragon-shaped worship boat, to simulate the functions and powers of the gods of the river and sea regions and to send offerings along with the people's prayers, hoping to bless them in their life at sea. The festival consists of 2 parts: The ceremony part with rituals solemnly organized by fishermen such as: Long Chau boat procession, installation ceremony, peace-praying ceremony, food procession, palanquin procession... Here, offerings are offered to the gods with the purpose of thanking the gods for giving favorable weather, calm seas, full holds of fish and shrimp, good crops, a prosperous and happy life. When all preparations were completed, on the morning of February 21st of the lunar calendar, the temples and pagodas in the commune were opened one by one, the incense offering and worshiping teams began. By the next morning (February 22nd), the worshiping teams, the eight-tone troupe, the palanquin-carrying troupe, the village associations, the council of elders, the dignitaries in the village, and the heads of the clans were present at Thanh Ca temple to carry out the palanquin procession. The procession was organized to start very early from Thanh Ca temple to " Phúc land" (now the cultural center of the commune). After the ceremony to pray for coolness and peace here, the clans, people and tourists from all over the world came to worship and pay homage, until the afternoon of February 24, when it ended with the ceremony to send Long Chau back to the sea. The Cầu Ngư Whale Worship Festival often attracts a large number of people and tourists from all over the world to participate, with 81 clans and 450 fishing boats from Ngu Loc commune coming to participate in the festival, with a procession about 2 km long and hundreds of incense altars of the people worshiping Long Chau along the way to the altar. The Festival is organized in a lively, joyful and healthy manner, with exciting activities imbued with the traditional culture of the coastal area such as: water music performances, lion dances, festival drum performances, Chau Van performances, love songs, chess competitions, squid fishing competitions, net weaving competitions, duet singing competitions, human chess competitions... The Cầu Ngư Whale Worship Festival is an opportunity for people to express their aspirations for the fishing profession, go out to sea to pray for protection, and aim for a prosperous and happy life. The Cầu Ngư Whale Worship Festival is a large festival, especially valuable in the spiritual life of the residents of Thanh Hoa coastal area. At the end of 2017, the Cầu Ngư Whale Worship Festival of Ngu Loc commune was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage.

Y Sơn Temple Festival is held on the full moon day of the first lunar month to honor the victory of Saint Hùng Linh Công, who helped King Hùng defeat the Ân invaders. According to tradition, every 3 years a large festival will be held with the name "Saccumulation of the Holy Mother's Lady". A series of ceremonial rituals are solemnly held, including a Saint welcoming ceremony, palanquin procession ceremony, procession of Mr. Mã from temple to pagoda, incense offering, offerings, statue examination, general ceremony, word drawing, military service, etc. The total procession lineup is up to 217 people. The first ritual of the festival is the Saint's Welcome Ceremony at the harem, asking the Saint to open the festival. The palanquin procession is undertaken by men of the four zodiac signs. On the afternoon of the 15th, the neighbors conducted an incense offering ceremony. Then comes the main ceremony with rituals: cleansing, incense, welcoming gods, presenting titles, reciting wishes, and making wishes. The "Army Exercise" ceremony simulates military training and displays the battle position to fight the enemy to save the country of the soldiers of Saint King Hùng Linh Công. After the "Army exercise" ceremony, there is the custom of pulling words (running words to worship saints). In addition to the host armor, the remaining 3 armors work as elephants and horses, train generals, and train managers to perform the "upper statue and horse" ceremony - the general and manager perform ceremonies on elephants and horses to give thanks to God and Buddha. On the morning of the 17th, the general and his manager boarded elephants, horses, and the holy palanquin to be carried out for the "general examination" ceremony. The most special part of the festival is the "physical examination" ritual. The group to examine General and Quan had 6 palanquins and went 3 times around the rows of elephants, horses, and armor. The examination was hosted by Giap. After 3 rounds of examination, those generals and managers who meet the standards will be rewarded, and those with deficiencies will be punished. The ceremony is the "Rún" ceremony. "Flower spring" is a unique offering of the Y Sơn festival, made of fresh bamboo with a length of more than one meter, one end is shaved into thin buds that look like cotton flower balls, and the pistils are made of a branch of rice and a small spring flower made of banana leaves. Y Sơn Festival also has a game of catching monkeys. The stool is made of woven bamboo to resemble a sitting figure. The game requires health, endurance and distribution of strength at each stage of catching.