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.

In the past, Tày families often grew their own cotton, spun yarn, and had looms to make products for their daughter's dowry to her husband's family, exchange, and sell to increase income and meet food needs. Many processes are needed to make a textile product, including as rolling, popping, wrapping, spinning, sizing, and spreading yarn. A loom, spinning wheel, bobbin, and cloth are some of the tools used in brocade weaving. card, card, pan. The Tày people have two types of weaving, plain weaving and patterned weaving (brocade weaving). To create a pattern, one must make a "card" to arrange the warp threads in a predetermined sequence: spread the threads on the loom, thread the cover, install the threads on the goblet - a jute shell material standing perpendicular to the plane of the fabric spread. Depending on the width of the pattern to be woven, the number of hemmed threads corresponds to the number of warp threads of that part. Each warp thread is installed with 1 heath thread and the middle clamp is made of a small bamboo stick (slẻ) installed across the wooden board. The system of "khau" and "slẻ" is the "recessed" design of each pattern motif designed by the weaver on the loom. When weaving a pattern, the worker steps on one side of the shoe to remind the warp threads, corresponding to each time the shuttle (mặc thẩu) pulls the weft thread, and 1 time the colored thread is inserted into the pattern motifs prescribed by the hem. In the layout of a brocade, there are usually two basic types of patterns: background flowers (frame borders, background lines alternating between pattern boxes and often using dark colors) and embossed flowers (pear flowers, star anise, eight-petal flowers, areca fruit flowers, and nhội flowers). Final products include a blanket cover (nả phà), canopy (phứn mản), sling cover (nả đa), and bag (thông lài). Typical patterns include cane leaf patterns used for curtains and baby diapers; Lake patterns are used when making scarves; Types of patterns used when making sling faces, blanket faces, etc.

Batu Seremban is well-known in Kedah, Selangor, Kelantan and Johor. Also known as Permainan Batu Selambut or Serembat, it is played individually in groups of two to four people. Five objects named as ‘buah’ are required, consisting of rubber seed, glass marble, bean bag, pebbles or small wrapping of cloth as some of them. Batu Seremban is well-known in Kedah, Selangor, Kelantan and Johor. Also known as Permainan Batu Selambut or Serembat, it is played individually in groups of two to four people. Five objects named as ‘buah’ are required, consisting of rubber seed, glass marble, bean bag, pebbles or small wrapping of cloth as some of them. Issues that may cause a ‘defunct game’ status is that, among others, if there is a ‘buah’ that touches another one when the player spread them onto the playing surface like the ground, floor and the like. Apart from the hand, other body parts such as the feet, the knees and the like are not allowed to be touched by the rest of the ‘buah’.