The Red Yao people call the year-end ceremony Quý Héng ceremony. This is the biggest ceremony of the year, taking place from December 23 - 24 to January 5. On the beautiful morning before New Year's Eve, the homeowner sets up an altar consisting of 3 altars - Bứa Héng (ancestor altar); Sáng Chà phin (altar to worship the gods and ghosts of the ancestors of the shaman profession); Sám Háng (altar to worship sentient beings). Each ceremony is led by a priest. The offerings at each herd are different: Bứa Héng - a boiled chicken with the entrails removed, 5 cups of wine, ban paper, two incense sticks, a bowl of rice wrapped in a piece of cloth, a silver ring placed on a piece of cloth; Sáng Chà phin - a boiled chicken, a cup of mineral water, 5 cups of wine, 3 bowls of rice with a silver ring on top; Sám Háng - 5 cups of water, 5 cups of wine, 5 cups of rice with a pair of bamboo chopsticks placed on top, a boiled chicken, incense, candles. Ritual of getting water at the beginning of the year: after New Year's Eve, the homeowner prepares a packet of salt, and a cup of water and departs in a certain direction. Going to the water source, after praying, they put a packet of salt there and then took a cup of water and brought it to the ancestral temple. The fire dancing ritual takes place in each family, from the 2nd to the 5th of January. During the ceremony, firewood is burned, and the priest prays and worships the gods. All village boys participating in fire dancing sit and worship from the beginning of the ceremony, on chairs around the fire. When the firewood burned down into a pile of glowing embers, each couple jumped in, barefoot, jumped up, and rolled over the pile of embers.

Khô già già is a harvest-praying festival, the biggest festival of the year for the Ha Nhi Den people, held in the first 4 days of June, starting on Dragon Day and ending on Goat Day, to give thanks and pray to the gods to bless them. The worshiping ceremony is held in the sacred forest. On Dragon Day, people build a house in the style of a miniature stilt house (about 12 - 14 m2 wide), with a thatched roof. The important ritual is slaughtering buffaloes for sacrifice. The male, pure black, unplowed buffalo must be used as the sacrifice. The village youths kill the buffalo early on the day of the snake and poke its fluids as far and wide as they can in order to disseminate them as much as possible. The buffalo's head and internal organs are preserved as sacrifices to the gods. Families split up the buffalo meat equally to take home and give to their ancestors. The offering tray to ancestors and kitchen gods includes boiled buffalo meat, a bowl of ginger water, a round sticky rice cake, a bowl, and a pair of chopsticks. Then, each family prepares a tray of 8 dishes (boiled buffalo meat, day cake, ginger sticky rice cake, drift cake, sticky rice, sticky rice wine, beans, taro). The shaman's family must prepare 12 dishes (plus dishes made from the head and intestines of the buffalo) and bring them to the sacred forest to worship the gods. After the offering is completed, all participants receive blessings. Horse and Goat Days are festival times with swing activities, love songs, circle dances, blanket dances, group dances, and couple dances. In the custom of "wearing a red blanket", the boys prepare to herd the sheep, the girls prepare dry food, then take each other to the forbidden forest to sit and talk or cover the sheep to confess their love.

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.

Forms of cultural expression, complex beliefs associated with the worship of Mother Goddesses of the Four Palaces. The main components include: Shaman, Thanh Dong, Palace of Literature, Thu incense, Hau Dung. In the past, offerings often included sticky rice, meat, fruits, betel nut, areca, wine, tobacco, and votive paper. Costumes are associated with the behavior of each character. The first is the worshiping ceremony to the Holy Buddha, the most important is the Hau Dong ritual, and the last is the thanksgiving ceremony. One question includes: Asking the Holy Spirit to enter (death), pronounce, bestow and send off. There are 36 copper prices, but mainly the Lords, Quan, Hoang, Adorable, Co, and Uncle will have bronze prices. The dances and props are rich, associated with the characteristics of the region and the characters. Cung Van plays the lute and drums. The songs are rich, changing according to the happenings and order of the saints of the bronze bar. There are different forms of literary singing, including worship singing, thi singing, ho singing, and Van singing at the temple and communal houses.

Tắc Xình Dances is a ritual dance during the Harvest Festival. This dance has 9 movements that simulate daily life and production activities: visiting and clearing the way, making decisions, sharpening knives, beating knives, clearing fields, filling in abutments, taking care of rice, harvesting crops, celebrating the season, and paying ceremony for the gods. Only men are allowed to participate in the Tắc Xình dance under the control of the ceremony master (an experienced and reputable shaman or dancer). Tắc Xình Dances is accompanied by musical instruments such as earthen drums, bells, gongs, cymbals, deep totem horns, po le trumpets, pipes, and bamboo sticks. The two basic dance positions are sitting dance and standing dance. Sitting dance position: the base of the bamboo tree is buried firmly in the ground, and the top has a cluster of leaves facing the sky, bent like a fishing rod, thanks to a rope connected to an old apricot tube. Two people sit facing each other, using both hands to hold a bamboo tube (The bamboo tube is 70 - 80cm long, tied tightly with one end of a forest rope, the other end is tied to a bamboo top) and tap hard on the ground to create a "xịch" sound. , tap two bamboo sticks together to create a continuous, rhythmic "tắc" sound. Standing position: The person tapping stands upright, holding a bamboo pipe (diameter 3.5cm, length 180m) in the left hand, and the right hand holding a small, rectangular bamboo stick (length 30cm) to tap horizontally on the body of the pipe. The person tapping the music with one hand uses an old bamboo stick to tap on the apricot tube to create a "tắc" sound. With the other hand, the person tapping the apricot tube strongly on the ground creates a "xịch" sound and the music sounds continuously, one after another, forming a series of sounds. "tắc -tắc- xình" sound.

The obligatory ritual for all men, marking adulthood, is usually held from the end of winter to the end of January of the following year. If the person dies before the ceremony, the family will do it before the funeral. Usually there are 3 levels: 3, 7 and 12 lights. The shaman presides over the ceremony with an interplay of musical instruments, costumes, and offerings. It includes a lot of rituals according to the process: Presenting ceremony of the person receiving the ceremony, Ceremony of giving and lowering of lamps, Ceremony of naming of Dharma names, Ceremony of delivering the sound of soldiers and rice to feed the army, Ceremony of crossing the bridge, Ceremony of granting worshiping tools, The ceremony of imparting the magic power, the ceremony of worshiping the sun god, the ceremony of red silk, also known as the second wedding ceremony, the ceremony of worshiping the rice souls, the ceremony of visiting heaven or the second birth ceremony, the Ascension Ceremony.

“Bủng Kham” means a place for fairies to play. The festival has existed since ancient times, 24 villages held it on January 12 in the field in front of Nà Phái village to commemorate the Gods of Agriculture, Earth Gods and Fairies according to local legends. The ritual is associated with Thất Khê (7 streams), the most sacred is the Nam An stream, with the vestige of "Chẹt Khum" (Mandarin square capturing). Early in the morning, Master Mo and his entourage brought the offering tray to the Land Genie temple to burn incense and perform the ceremony. Master Mo's altar with baskets is displayed in the shack. Three fairy altars on stone mounds with paper dolls, umbrellas, a string of paper clothes, and an offering tray (including 1 boiled castrated chicken, 1 bowl of dry cake, 1 bowl of sli, 1 bowl of rice, 1 bottle of wine, 1 teapot, cups, and chopsticks). In front of the three altars, a pig weighing about 1 quintal is placed as an offering to the gods. During the incense offering ceremony, representatives of 24 villages in the commune present an offering tray of elaborately and attractively prepared products to worship the God of Agriculture (Reverend Fairy), Hoang Trung Great divine king (God of Insects), and Fairy King. After the village elders finished worshiping, the village lion dance team came in to dance to greet the fairies, and Gods of Agriculture, then went to the front of the village to dance to welcome their fellow lion teams to attend the festival. The people of the villages sang Then, sli, lượn, Phong slư, etc, participating in playing "Mandarin square capturing " (chẹt khum), tossing con, and playing chess. The ritual of going to the fields (lồng tồng) is performed by 25 village representatives on a well-tilled field with the hope of a good harvest. The focus of the Bủng Kham festival is the game of sowing and reaping fortune. The fortune was scattered by the shaman standing on the altar, and the villagers caught it and picked up the Holy fortune. People believe that whoever picks up a lot of Holy Fortune will have a prosperous and happy year.

Kharphu (The White God Ritual) is celebrated every year on fourth month of Bhutanese calendar. Though meaning of Kharphu cannot be stated clearly but village older bearer believes Kharphu means “white god ritual” where no animal sacrifices are made. There are two types of Kharphu namely Gudpa (Extended) and Chunku (Abridged) which are observed consecutively every year. During a larger kharphu, dish called pan is prepared and served, and is observed for 3 days, while in smaller Kharphu pan (Wild betel leave fried) serving is skipped and is observed for two days. The origin of Kharphu and its story is has been transmitted verbally from generation to generation. Ex.Tshogpa Lhalungla is a descendent of one of the host family, he shared that as per the story he received from the older people of village that when the people settled in Chali as per their karmic action, during those days no matter how much they work, the grains and cereals were not enough to feed their family, food they eat didn’t contain nutrition, cloth they wear don’t provide the warmth, even they can’t sleep soundly. Then people gathered to discuss over it. During meeting one the villager pointed out that we don’t have a god to guide and protect us, and this may be the reason we have been suffering. Then all the villagers agreed that then need a god. Among them there was a man named Sherub, who is farsighted, knowledgeable and reliable man. Then villagers insisted him to go and receive god. He denied, saying he is incapable for this task. He said this task can be only accomplished by Gomchen phawang (Bat). Then sherub went in all the direction in search of bat but met with gods of four directions but couldn’t find bat. Then one of the god from four direction prophesied that bet is inside their village only, inside a cave call Asi-kaure draphy (cave) which shadow falls in water and water splashes on the walls of cave. And this place is believed to be located at the bottom of Kongla bra (Kongla cliff) at the end of Chali and still there are many bats in it. Bat was brought to the village and at first, bat also denied the villagers request but towards end of the day bat accepted but he said gift has to be taken for sons and daughters of god. For sons they arranged three armful of arrows and for daughters three Urka (Lether sack) full of Bakur (square shaped bamboo container). Then, bat made his journey towards north. After a long journey bat reached Tsampa, place believed to be located in Tibet, where god Gung-Lha-Lhapsang Gyelpo resides. Finally he could meet the god and shared his reason for visit. God criticize him about his face, legs and wings, so, he can return him alone, but he changed every criticism in positive way by saying “my rat like face is to sing a song for god father and mother, my skinny leg is to perform dance in front of god father and mother, my lathery wings is to fan your god father and mother. Bad couldn’t send back with all the means and strategies of god, finally promised to send one of his children. Gunglha lhapsang Gelpo has four daughter and four sons. He told to send one the daughter to god mother and she said to god to send one of his son. God father and mother had a very hot discussion over it. And they decided to roll a die, and god father lose the game and had to send his son along with bat to bless Chalipas (Residents of Chali). Here at Chali goat was received by Sherub along with the villagers. Since then Sherub was known as Bonpo pa Sherub, since it was a Bon Lha (God of Bon religion).And his descendent has to perform Bonpo Wanboo (Shaman). And Bonpodpa Sherub became host along with another rich household. And currently there is four household descendent holding as host during Kharphu. But, with passing time and generation Bonpodpa Sherub’s descendent couldn’t shoulder the responsibilities of Wanbu and is appointed one of the interested and capable people from their village. There is no as such rule to appoint Wanbu. There is unique lyric and tune from journey of god’s son of including all the places where till Chali, different household visiting household lyrics and blessing, farewell lyric and unique tones.

The Bun huột nặm Water Splashing New Year's Festival of the Lào is held to welcome the New Year of the Lao people in Dien Bien province. The main festival is the traditional New Year of the Lao people - April 13, 14 and 15 every year according to the Buddhist calendar. In Lao, “Bun” means festival or New Year, or also means blessing; “Huot” means to splash, “Nam” means water. “Bun Huot Nam” means Water Festival or Water Splashing New Year's Festival. The “Bun Huot Nam” festival consists of 2 parts: the ceremony and the festival. The ceremony usually begins with rituals to worship the village and ancestors to send off the dry season, wash away the bad luck of the old year and show gratitude to the gods and ancestors for giving favorable weather, good crops, healthy and lucky people. After the ceremony ends, the shaman will use a fragrant water made from herbs and sprinkle it on everyone present at the ceremony to pray for good luck. Offering to the village and the gods is a profound spiritual ritual of the Lao people. After the ceremony of offering to the gods, the celebrant will lead everyone to the bank of Nặm Núa stream to pray for rain. The celebrant will thank the river god and the stream god and pray for favorable weather for the villagers. All the offerings will then be divided equally among everyone for good luck. After the rain-praying ceremony, everyone goes down to the stream to splash water on each other to wish for good health and the villagers will bring water back to splash on their houses, worship items, livestock and production tools, because they believe that water will help wash away bad things, diseases and wish for a long, clean and healthy new year. The celebrant leads the group of people around the village, stopping by all the families to wish them a happy new year and good luck, especially those families that are successful in business and have prestige in the community to "ask for luck". The elderly will perform the ritual of praying for luck, the “wrist-tying” ceremony for everyone. This ritual prays for everyone’s luck, health, and peace. The festival includes many unique traditional folk games of the Lao people, such as: Turtle hatching eggs (tấu phá sắc - táu lasa), tiger catching pig (xưa khốp mu), snake catching vine (ngù kin khiết), foot-catching dance (phăn viêng), picking ripe melons (pít mắc tanh), lam vông dance... These are folk games that recreate the settlement and village-building process of the Lao people. The Bun huột nặm Water Splashing New Year's Festival is associated with the settlement and village-building process, and has been preserved and conserved by the Lao people in Na Sang 1 village, Nua Ngam commune, Dien Bien district for a long time. Bun huột nặm Water Splashing New Year's Festival is also an opportunity for the villagers to be creative, perform folk games, traditional dances, and especially the water-splashing custom of the Lao people. The Bun huột nặm Water Splashing New Year's Festival of the Lào in Na Sang 1 village, Nua Ngam commune, Dien Bien district was recognized as a National Intangible Cultural Heritage by the Ministry of Culture, Sports and Tourism in 2017.

"Pút" is dance, "tồng" is together, held on the first day of the new year according to the lunar calendar - a way of performing when celebrating their ancestors, associated with legends. The choice of date is decided by the head of the family, avoiding the taboo days of the family. The venue is the family head of the family. The chief will take care of the main. Offerings include chicken, wine, rice, and fruit cakes. Ceremonial items include worship paintings, sword charms, shaman costumes, flags, and weapons. The process includes 11 steps and most of the rituals are performed through dance movements practiced by men. While dancing, they always mouthed to the god. Instruments include drums, rods, and brains. Music does not have a strict methodical rigor but is expressed in different abnormally fast and slow emotional states. Music and dance blend very naturally. The main words are the whispering vows of the shaman, the loud shouts of the dancers. This is a ritual of praising ancestors and gods to ask for care and protection from the supernatural being of the Red Dao people. The practice of Putong ritual has the effect of encouraging the spirit of those living in the face of the pain of losing a loved one, and at the same time, it also helps them strengthen their faith in life with the support of the deceased, etc.

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 ceremony is usually held by the tribes that have soldiers in the ancient Paracels on the occasion of their "marriage service", around March 15-16. They made 5 models of boats, sacrifices, tablets of soldiers and gods who ruled the sea. The village communal house sanctuaries held the sacrifice ceremony the night before and the ceremony to pray for the spirits of the soldiers of the Hoang Sa team. The ceremony is held in the courtyard of the communal house and is performed by the clans and the shaman. 05 models of fishing boats placed in front of 3 altars. After the shaman performs the rituals of catching the exorcism seal, the blessing is a ritual reading. Then, they performed the ritual of releasing the sacrificial boat into the sea. During the ceremony, there is a festival of lanterns, boi singing, lion dance, procession and traditional boat racing festival.