Shagzo or the traditional art of woodturning is an ancient art that has been passed down for generations. Shagzo is vibrantly practised in Bhutan and the master artisans are known as Shagzopa. Bhutan’s abundant and wide range of woods like tashing (Juglans regia), hashing (Taxus baccata), baashing (Picea spinulosa), tsenden shing (Cupressus corneyana), sermaling shing (Acer camphellii) and etometo (Rhododendron arboretum) have enabled the Bhutanese Shagzopa to create a variety of exquisite functional and decorative products like turned wooden bowls, cups, plates, and containers of various shapes, sizes and colours unique to Bhutan. Skilled wood turners also craft traditional hand drums that are beaten during religious ceremonies. Since Bhutanese tradition is deeply rooted in the teachings of the Buddha, use of drums and drum sticks are a part of the rituals performed everywhere. Used in all religious ceremonies and rituals, the Bhutanese traditional drum known as Nga, and the Nge-tog (drumstick) are indispensable articles found in every temple, monastery and home. An ancient instrument of musical offering, the beatings of the Nga symbolizes the subjugation of evil, indicates the fluctuation of tunes and wordings, and regulates the pace of other instruments during rituals and propitiation ceremonies.

Gold and silver smithy or metal carving had flourished in the country for a long time as evident from the ornaments worn by women and religious artefacts in monasteries and temples. This art is still being practiced and transmitted. It is a highly specialized art form. A special class of craftsmen called Troe-ko make jewelry of gold and silver and other items such as swords, boxes, teapots, and various ornaments of silver, often thinly plated with gold. Traditional symbols such as the dragon and other beautiful motifs are engraved on the objects. Silverwork is also found on the pillars of temples, altar tables, jewelry and other religious items. Using precious stones and metals such as coral, turquoise, silver and gold, these artisans make brooches, necklaces, bracelets, earrings, rings, amulets with religious content, traditional vessels (Chaka and Trimi) for carrying the much-chewed beetle nut, ritual objects and much more.

Generally, there is three wrathful tantric rituals; Nen (suppression), Seg (burn) and Phang (throw), exorcize and overcoming destructive evil spirits which the rituals reveal to be our own negative thoughts. In the Norbugang village community there are only a few households who organize the Se-nen ritual, which is performed along with the annual ritual called Lha-sey (lha gsol). Locally called Se-dam-pey, “burying the evil spirits,” the power of blessing of this annual ritual suppresses the source of ill-luck, famine, drought, diseases, quarrels, untimely deaths, and other unfavorable circumstances for the forthcoming year. It bestows peace and tranquility to the members of the family and the community as well. Se-dam-pey is performed according to the Lama Nor-jam liturgy text of the Pema Lingpa tradition, and it also includes local variations and worldly activities such as using household items to suppress the spirits and cheering with songs while dragging the Se to be buried. Locals believe this ritual was performed by Guru Padmasambhava while building the majestic Samye monastery in Lhasa, Tibet in the 8th century. Padmasambhava was invited by the Tibetan King Trisong Detsen to build Samye monastery after Vairocana, the eminent translator, could not control the evil activities at the construction site through compassionate acts. When Guru Padmasambhava arrived he used his unique accomplishment in tantric methods to summon the soul of the evil spirits and gather the country’s bad fortune which he suppressed into the ground and buried underneath the foundation of the building, concealed by vajra seal. Thereafter, the construction of the monastery proceeded without unfavourable circumstances or evil accidents. The final monastery was magnificent and could propagate the tantric teachings. Those teachings were brought to Bhutan by Guru Padmasambhava himself in the mid-eight century, and propagated by numerous eminent Vajra practitioners. Se-nen is revered as one of the most grand and powerful blessing rituals. In contemporary practice, the ritual is conducted by a community for the benefit of the people and is dedicated to all sentient beings. The power of the ritual is believed to suppress negativity and evil spells and leave blessings of peace, happiness and tranquillity. Prerequisite tools to prepare Se: -\tSe-ama or Se-lud (effigy representing the evil spirit), a painted human face on a boiled egg. -\tChong (gourd) to conceal the effigy. Although the original text requires a monkey skull to conceal the Se-ama, villagers use a gourd. -\tThe anchor is inserted through the knot and the rope is fastened to drag the Se ama into the Se-ga gang hole. -\tGo-tham shum (Egg shell to draw the face of the Se-ama -\tNab-sang (black cloth) for wrapping the gourd -\tKud-pa ney-nga (five colored thread) to bind -\tLa-cha (lacquer) for sealing -\tTek-pa (anchor) for clinching -\tRong-shong (rope) for pulling -\tThag-chey (all the traditional weaving tools) -\tNye-shing (pestle) -\tTok-tsi (small mortar and pestle) -\tGu-ga gang-che (drum handle) -\tRol-moi gang-che (cymbal handle) -\tSe-ga wang (hole to bury the Se-ama). The hole is usually dug just outside the threshold of a door. It is believed that the Se ama buried there will always remain underneath people’s feet.

"Trud" Dance is originated in rural communities and is now only found in Siem Reap and some villages of Battambang adjacent to Siem Reap. "Trud" in Sanskrit means “The act of cutting, detachment) The locals play this dance only during the Khmer New Year, in the sense of cutting off the old year to move on to the new year, as well as expelling evil spirits in order to get good fortune. However, during the dry season, this dance is also performed to pray for rainfall. In addition, the importance of playing this dance is to raise funds to build and repair communal infrastructures in the community, especially in the pagoda, which is not for personal gain. This dance can be joined by more or fewer dancers according to the preferences of the village or the number of volunteers. The equipment also depends on the number of dancers. The equipment is also doubled as the props and accompaniment to the dance. The complete Trud Dance can consist of instruments such as: Kanh Chhe (bamboo mast with bells on top), Changkrang Dombe, ChangKrang Rong, Sko Arak (hand drum), Bei Pok (flute), Tro Ou, Tro Sor (bowed strings) and Dang Santuch or Dang Doy (pulling bar of an ox cart) attached with an open bag for retrieving the donations. The main accessories for the Trud Dance are clown masks and crowns made of paper mache and lacquer, real deer and banteng antlers or artificial antlers made of paper mache, peacock feathers,s and fake long nails made of rattan. When performing, there are two or three priests leading the group and holding a fundraising bowl, and giving blessings to those who Donate. If it is played in rain asking ritual, the priest who leads the ceremony is called “Dangkhao”. The lyrics are not the same, it depends on the preference of the group or the village because some lyrics can be created immediately according to the actual situation in order to convince the donor to give more donations. But the interesting thing is that most of the "songs" contain 4 syllables in each line. 6 The following are some excerpts from the lyrics in the document of Samdech Preah Vanroth Iv Tuot, Chief of Monk from Battambang Province: Lyrics on arrival at the ceremonial ground I arrive outside your gate, calling out to you. My respected master Can I come inside? (Vocalizing) oh na neang na Can I come inside? Permit or not, Please let us know. We can come in or not, Please quickly tell us. (Vocalizing) oh na neang na Please quickly tell us. Fellow team! Fellow team! That the fire is lit Means that we are welcomed. (Vocalizing) oh na neang na Means that we are welcomed. Lyrics when asking for alms This Trud is not from here. This Trud is not from here. The master ordered us That we came here to play. (Vocalizing) oh na neang na That we came here to play. Big house with sculptures Stair steps made of silver Suiting his wealth (Vocalizing) oh na neang na sa ra mom bong. Lyrics when collecting the scattered alms Some hide, some throw, Some scoop up, Don’t talk, lads! Catch the money quietly (Vocalizing) Yeur chhai nao nao neang nan a na oun euy. Lyrics to bless the givers Fellow team! His silk and thread He gave us all We shall bless him. To have a son She weaves silk to bless regularly Officials He gave us all To get a mouthful for a daughter Soup for money. We bless him. Children as well. Sculpture land. Before performing, people prepare an offering for Lord Vishvakarman and the spirits of the land and nature. Then the priest ties holy thread to the wrists of the dancers and puts on the masks and horns for the performers. Mr. Pol Sam Oeun researched this dance in Battambang province and choreographed it as a performance on stage and performed for the first time by Mr. Meas Kok, who was the first singer to hold the Dang Santuch, and the following performers: Mr. Ros Lon, Mr. Meas Sam El, Ms. Mom Hoy, Mrs. Sieng Sivhun, Mrs. Kaing Steng, Mrs. Ok Leung, Mr. Hing Tim, Mr. Moeung Chandara, Mr. Kong Samith, Mr. Pen Lon, Mr. Put Lon, Mr. Suon Sareth, Mr. Eam Sean, Mr. Pen Yet. The dance ceased to be performed in 1975 and resumed in December 1979. Today, Trud Dance is very popular because during the period before the New Year. It is performed in government institutions, companies, or private houses to ward off evil spirits and bring prosperity.