This is the Grade 8 Music Quarter 4, Module 2 self-learning module (SLM), “Performances of Wayang Kulit, Peking Opera, and Kabuki Theater.” It was produced by DepEd Caraga Region (First Edition, 2020) for Alternative Delivery Mode. It shows learners how music helps tell a story in three traditional Asian theater forms: Wayang Kulit of Indonesia, Peking Opera of China, and Kabuki of Japan.
What learners will learn
After going through this module, learners should be able to:
- Describe how a specific idea or story is communicated through music in a particular Asian musical theater (MU8THIVb-h-3).
- Improvise appropriate sound, music, gesture, movements, props, and costume for the performance of a chosen Asian traditional musical and theatrical form (MU8TH-IVb-h-7).
Why music matters in theater
The module explains that music is an integral part of theater. It can reveal a character’s inner emotions, support the mood of a scene, or emphasize the action on stage. Theater itself is described as a broad range of collaborative artistic performances, such as singing, dancing, and acting.
| Theater | Country of origin | Main music features |
|---|---|---|
| Wayang Kulit | Indonesia | Shadow puppetry accompanied by the gamelan; three acts tied to three musical modes |
| Peking Opera | China | Two sets of tunes (Xipi and Erhuang) and rhythmic recitation (Changbai) |
| Kabuki | Japan | Off-stage music (Geza-ongaku), on-stage music (Shosa-ongaku), and the shamisen |
Key ideas from the module
Wayang Kulit
- Wayang Kulit is a shadow puppet performance from Indonesia.
- The Dalang is the puppeteer and storyteller, and he also leads the gamelan.
- The gamelan ensemble accompanies the stage action. It stays silent while the Dalang speaks, except when it rattles and clanks to stress a statement or phrase. The players follow the Dalang’s timing and narration.
- The performance has three acts that follow the mood of three musical modes: Pathet Nem, Pathet Sanga, and Pathet Manyura. These acts also stand for stages in the spiritual growth of the story’s hero.
Peking Opera
- Peking Opera combines stylized action, singing, dialogue, dancing, and acrobatic fighting.
- Its singing mainly follows two sets of traditional tunes:
- Xipi expresses excited moods such as pleasure, rage, or agitation.
- Erhuang expresses low-key moods and deep thought, such as sadness, grief, or melancholy.
- Changbai is the recitation that tells the story. It is unlike normal speech: the actor raises and then muffles his voice and lengthens some syllables to create rhythm.
- Actors deliver their lines in a highly stylized way. Even dialogues follow strict tempos and rhythms, and syllables may be dropped to keep the exact rhythm.
Kabuki Theater
- Kabuki is described as the first dramatic entertainment in Japan designed for the tastes of common people.
- Kabuki music has two main categories:
- Geza-ongaku (off-stage music) is played behind a curtain. It provides background music and sound effects. It uses little or no singing and relies mostly on percussion.
- Shosa-ongaku (on-stage music) is played in view of the audience by the shamisen and Hayashi ensemble. It accompanies the acting, the dancing, and the actors as they describe the scene, and the actors match their lines to its rhythm.
- Ki and Tsuke are “signaling” accents that go with the performers’ actions and mark the change from one scene to the next.
Activities in this module
- What I Know: a 15-item multiple-choice pretest.
- What’s In: a table comparing the country of origin and characteristics of the three theaters.
- What’s New: identifying which theater is shown in three pictures.
- What is It: the discussion of music in each theater, with links to sample performance videos.
- What’s More: unscrambling letters to name key terms, such as Dalang, Gamelan, and Erhuang.
- What I Have Learned: completing sentences about the music of each theater.
- What I Can Do: filling in missing letters of key terms.
- Assessment: a 15-item multiple-choice post-test.
- Additional Activities: designing your own mask inspired by traditional Asian theater.
How to use this module
Learners: Start with the pretest to see what you already know. Then work through each part in order. Write all answers on a separate sheet of paper, not on the module itself. Finish with the Assessment to check your learning. Answer keys are included for each activity and test, so use them honestly, after you answer.
Parents: Help your child read the directions carefully. If your child has trouble with a task, encourage them to ask their teacher or facilitator.
Teachers: The answer key covers the pretest, the post-test, and the activities. Several parts (What’s In, What I Have Learned, and the mask design) have varied answers, so you will need to check these yourself.
Frequently asked questions
What grade and quarter is this Music module for?
It is for Grade 8 Music, Quarter 4, Module 2.
What are the two main categories of Kabuki music?
Geza-ongaku is the off-stage music, which provides background music and sound effects. Shosa-ongaku is the on-stage music played by the shamisen and Hayashi ensemble.
What is the difference between Xipi and Erhuang in Peking Opera?
Xipi tunes express excited moods such as pleasure, rage, or agitation. Erhuang tunes express low-key moods and deep thought, such as sadness, grief, or melancholy.
Who is the Dalang in Wayang Kulit?
The Dalang is the puppeteer and storyteller of a Wayang Kulit performance, and he also leads the gamelan.
Does the module have an answer key?
Yes. It has answers for the pretest, the post-test, and the activities, though some activities have varied answers.
Full text of the module
The text below is a transcription of the PDF above, as printed.
CO_Q4_Music8_Module2
Music Quarter 4 – Module 2: Performances of Wayang Kulit, Peking Opera, and Kabuki Theater
8
[illustration: students and a teacher with a globe, a lantern, and a child reading outdoors]
GOVERNMENT PROPERTY NOT FOR SALE
Music – Grade 8 Alternative Delivery Mode Quarter 4 – Module 2: Performances of Wayang Kulit, Peking Opera, and Kabuki Theater First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them.
Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio
Printed in the Philippines by
Department of Education – Caraga Region Learning Resource Management Section (LRMS) Office Address: J.P. Rosales Avenue, Butuan City, Philippines 8600 Tel. No.: (085) 342-8207 Telefax No.: (085) 342-5969 E-mail Address: caraga@deped.gov.ph
Development Team of the Module
Writers: Ayrene A. Crabajales, Jayson R. Margin
Editors: Paulita L. Vernal, Hilarion A. Galido, Abel N. Galido
Reviewers: Laila F. Danaque, Cecilia M. Saclolo, Delbert U. Dela Calzada, Ryan D. Alferez, Prim Ross L. Eng, Janine L. Abaquita, Lorenzo B. Pantilgan, Raul R. Cabatingan, Renato M. Felias, Valiren J. Torralba
Illustrator: Dave Rey G. Balili, Louie J. Cortez
Layout Artist: Ivan Paul V. Damalerio
Management Team: Francis Cesar B. Bringas, Isidro M. Biol, Jr., Maripaz F. Magno, Josephine Chonie M. Obseñares, Bernard C. Abellana, Ma. Teresa M. Real, Dominico P. Larong, Jr., Gemma C. Pullos, Dulcisima A. Corvera
8
Music
Quarter 4 – Module 2: Performances of Wayang Kulit, Peking Opera, and Kabuki Theater
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear learners, can continue your studies and learn while at home. Activities, questions, directions, exercises, and discussions are carefully stated for you to understand each lesson.
Each SLM is composed of different parts. Each part shall guide you step-by-step as you discover and understand the lesson prepared for you.
Pre-tests are provided to measure your prior knowledge on lessons in each SLM. This will tell you if you need to proceed on completing this module or if you need to ask your facilitator or your teacher’s assistance for better understanding of the lesson. At the end of each module, you need to answer the post-test to self-check your learning. Answer keys are provided for each activity and test. We trust that you will be honest in using these.
In addition to the material in the main text, Notes to the Teacher are also provided to our facilitators and parents for strategies and reminders on how they can best help you on your home-based learning.
Please use this module with care. Do not put unnecessary marks on any part of this SLM. Use a separate sheet of paper in answering the exercises and tests. And read the instructions carefully before performing each task.
If you have any questions in using this SLM or any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator.
Thank you.
What I Need to Know
[illustration: hand touching a circular button]
This module was designed and written with you in mind. It is here that you will be assisted in learning about Musical Theater. The scope of this module permits it to be used in many different learning situations. The language used recognizes the diverse vocabulary level of learners. The lessons are arranged to follow the standard sequence of the course. However, the order in which you read them can be changed to correspond with the textbook you are now using.
This module contains:
- Module 2 – Performances of Wayang Kulit, Peking Opera, and Kabuki Theater
After going through this module, you are able to:
- Describe how a specific idea or story is communicated through music in a particular Asian Musical Theater; (MU8THIVb-h-3) and
- Improvise appropriate sound, music, gesture, movements, props, and costume for performance of a chosen Asian traditional musical and theatrical form. (MU8TH-IVb-h-7)
What I Know
[illustration: hand holding a pencil]
Directions: Choose the letter of the correct answer. Write your answer on a separate sheet of paper.
What country in Southeast Asia did Wayang Kulit originate?
- A. China
- B. Indonesia
- C. Malaysia
- D. Singapore
Who is the puppeteer in a Wayang Kulit performance?
- A. Balang
- B. Dalang
- C. Puppeteer
- D. Galang
What is the major function of the Gamelan orchestra?
- A. Accompany the singers during the performance
- B. Accompany stage action during the performance
- C. Accompany ritualistic prayers before the play
- D. Accompany the narrator after the performance
Which of the following is not part of Peking Opera?
- A. Percussion instruments
- B. Gamelan ensemble
- C. String instruments
- D. Wind instruments
What is the first dramatic entertainment that was designed for the tastes of common people in Japan?
- A. Sakura
- B. Noh
- C. Kabuki
- D. Yakuharai
What musical instrument plays a significant role in a Kabuki performance?
- A. Shamisen
- B. Jinghu
- C. Bangu
- D. Tzusumi
Which is considered as a broad range of collaborative artistic performances such as singing, dancing, and acting?
- A. Naugata
- B. Orchestra
- C. Theater
- D. Changbai
What is a recitation of the dialogues produced with rhythm by the actor of Peking Opera?
- A. Dalang
- B. Changbai
- C. Balang
- D. Puppeteer
What is a synthesis of stylized action, singing, dialogue, dancing, and acrobatic fighting?
- A. Peking Opera
- B. Kabuki
- C. Wayang Kulit
- D. Geza-ongaku
What is a background music and sound effects in Kabuki performance?
- A. Peking Opera
- B. Kabuki
- C. Wayang Kulit
- D. Geza-ongaku
What are the acts in Wayang Kulit performance which symbolize stages and spiritual developments in the life of the story’s hero?
- A. Pathet Manyura, Pathet Nem, Pathet Sanga
- B. Pathet Mayuri, Pathet Name, Pathet Sung
- C. Puppet, Puppeter, Puppetest
- D. Puppet Doll, Puppet Name, Puppet Soul
This category of Kabuki performance is located on stage by the Shamisen and Hayashi ensemble. It is also considered visibly accompanying the acting and dancing.
- A. Geza-ongaku
- B. Shosa-ongaku
- C. Taizo-ongaku
- D. Wutzo–ongaku
How do actors of Peking Opera Performance release their lines?
- A. It is governed by strict tempos and rhythms.
- B. It is not strictly regulated by a community of people.
- C. It is pantomime.
- D. It covers monotone in every dialogue.
What are the musical terms of Kabuki Performance which are considered as “signaling” accents?
- A. Al and Buke
- B. Bik and Sue
- C. Ki and Tzuke
- D. Ge and Wue
What are the sets of tunes that are to be followed in a Peking Opera Performance?
- A. Hei and Bores
- B. Roe and Cuet
- C. Tis and Duer
- D. Xipi and Erhuang
Lesson 1 – Performances of Wayang Kulit, Peking Opera, and Kabuki Theater
Have you witnessed a stage play or a theater play? How was it performed? Did you enjoy watching? In this module, you will discover how a certain story is communicated through music in a particular Performances of Wayang Kulit, Peking Opera, and Kabuki Theater.
Furthermore, in this module, you will learn to demonstrate and improvise ways how to perform on stage including employment of music as a vital part of the performance.
Music greatly influenced the lives of the people all over the world. All of us have the creativity in our own ways performing music depending on our culture and traditions.
The pictures below show the examples of performances of Wayang Kulit, Peking Opera, and Kabuki Theater.
[photo: Kabuki stage performance with performers in costume] Source: James Mattiske / kabukiteam.weebly.com/performance-style.html
[photo: Peking Opera performance with performers in elaborate costumes on stage] Source: 陈文 flickr.com/photos/univers-finder/
[photo: Wayang Kulit shadow puppet performance with a puppeteer and a hanging puppet] Source: ladderdream.blogspot.com/
What’s In
Directions: Compare the three Traditional Asian Theater by filling in the information in the table.
| Traditional Asian Theater | Country of Origin | Characteristics |
|---|---|---|
| Wayang Kulit | ||
| Peking Opera | ||
| Kabuki |
What’s New
Traditional kind of theater became the foremost successful theater entertainment in Asia. Performances of the theater actors and actresses can show the beauty and life of the story or idea through music in particular Asian musical theatre.
Direction: Identify what kind of theater is in the picture. Write your answer on a separate sheet of paper.
[photo: performer in an ornate costume holding a long sword on a stage with a red-curtained backdrop]
[photo: shadow puppets silhouetted against a light screen]
[photo: two performers in elaborate costumes beside a painted pine tree on a stage]
- __________________ 2. ___________________ 3. _____________________
What is It
Music has been an integral part of theater. It can reveal the inner emotional life of a character, support the mood of the scene on stage, or emphasize on the action onstage. As it is one of the elements that make up theater, the role of music is significant in every culture that utilizes it in the form of theater.
Role of Music in Wayang Kulit
Wayang Kulit is a shadow puppet performance in Indonesia. The Gamelan is used to accompany Wayang Kulit. The gamelan is silent when the Dalang is speaking, except when it rattles and clanks to emphasize a statement or phrase. Gamelan players react instinctively to the Dalang’s timing and narration, and play music accordingly.
The three acts in Wayang Kulit performance parallel the mood progression of the three modes of music: Pathet Nem, Pathet Sanga, and Pathet Manyura. These three acts also symbolize stages and spiritual developments in the life of the story’s hero.
[photo: shadow puppet projected on a screen with puppets on either side and a puppeteer at the bottom]
Watch an example of a Wayang Kulit performance through this link:
Role of Music in Peking Opera
The music of Peking Opera is based on sets of traditional, codified songs, with the singing primarily following two sets of tunes. The tunes referred to as ‘Xipi’ are used to express an ecstatic mood such as pleasure, rage, or agitation. The tunes known as ‘Erhuang’ are used to convey a low-key mood and deep thought, such as sadness, grief, or melancholy.
There is also recitation, or ‘Changbai,’ in which the story is told, but it is not at all like real-life conversation. The technique is very different from normal speech, with a rhythm produced by the actor raising and then muffling his voice, as well as lengthening some syllables.
The release of lines by actors is strictly regulated by a community of people. Each component has its own vocal pitch and timbre. When it comes to the conference act, syllables are often omitted to keep the exact rhythm. Even dialogues are governed by strict tempos and rhythms. Chanting and sung texts can be openly incorporated into monologues and dialogues. As a result, lines are passed on in a highly stylized manner.
[photo: performer in an ornate costume holding a long sword on a stage with a painted backdrop]
Watch an example of a Peking Opera performance through this link:
Role of Music in Kabuki Theater
The music of Kabuki can be divided into two main categories: “Geza-ongaku” which means Off-Stage Music and “Shosa-ongaku” which means On-Stage Music. There are also musical terms such as “Ki” and “Tsuke” which are “signaling” accents complementing the action of the performers and transition of one scene to the other.
The Geza-ongaku is located offstage behind a curtain. It is assigned to play background music and sound effects. It may also set the mood with a connotative popular tune. However, it usually uses little to no vocals, and is generally more percussion-related.
The Shosa-ongaku is located onstage by the Shamisen and Hayashi ensemble, visibly accompanying the acting and dancing. This music accompanies actors as they describe scenic settings. The actors synchronize their lines with the rhythm of the music. This music also accompanies the dances and scenic music.
[photo: two performers in elaborate costumes beside a painted pine tree on a stage]
Watch an example of a Wayang Kulit performance through this link:
What’s More
Directions: Analyze the statements for each number then rearrange the letters to form a correct answer. Write it on a separate sheet of paper.
It is a form of traditional Chinese Theatre which combines music, vocal performance, mime, dance, and acrobatics.
G N P E K I E R A P OIt is the specific name for puppeteer and storyteller and conducting the Gamelan.
G N A L A DIt is means “signaling” accents complementing the action of the performers and transition of one scene to the other.
I K AND E K S U T
4-6. It is the three acts in Wayang Kulit performance parallel the mood progression of the three modes of music.
M N E T E H T A P
T E H T A P A G N A S
A R Y N U M A P T E H A T
The music of Kabuki which means “Off-Stage Music”.
U K A G N O – A Z E GThe music of Kabuki which means “On-Stage Music”.
K U A N G O – A S H O SIt is a tune to convey a low-key mood and deep thought, such as sadness, grief, or melancholy.
G N A E R H UIt is the ensemble used to accompany Wayang Kulit.
N A L E M A G
What I Have Learned
Directions: Complete the following sentences.
- The music of Wayang Kulit is _____________________________________________.
- The music of Peking Opera is _____________________________________________.
- The music of Kabuki is ___________________________________________________.
What I Can Do
Directions: Fill in the blanks with the correct word/s. Write it on a separate sheet of paper.
- The Indonesian theater which showcases shadow puppetry is W _ _ _ _ g _ _ l _ t.
- _ h _ _ t_ _ encompasses a broad range of collaborative artistic performances such as singing, dancing and acting.
- _ _ b _ ki is the first dramatic entertainment that was designed for the tastes of common people in Japan.
- The musical instrument S _ a _ _ s _ _ plays a significant role in a Kabuki performance.
- The tunes X_p_ in Peking Opera are used to express an ecstatic mood such as such pleasure, rage or agitation.
Assessment
Directions: Choose the letter of the correct answer. Write your answer on a separate sheet of paper.
What musical instrument plays a significant role in a Kabuki performance?
A. Shamisen
B. Jinghu
C. Bangu
D. TzusumiWhich is considered as a broad range of collaborative artistic performances such as singing, dancing, and acting?
A. Naugata
B. Orchestra
C. Theater
D. ChangbaiWhat is a recitation of the dialogues produced with rhythm by the actor of Peking Opera?
A. Dalang
B. Changbai
C. Balang
D. PuppeteerWhat is a synthesis of stylized action, singing, dialogue, dancing, and acrobatic fighting?
A. Peking Opera
B. Kabuki
C. Wayang Kulit
D. Geza-ongakuWhat is a background music and sound effects in Kabuki performance?
A. Peking Opera
B. Kabuki
C. Wayang Kulit
D. Geza-ongakuWhat country in Southeast Asia did Wayang Kulit originate?
A. China
B. Indonesia
C. Malaysia
D. SingaporeWho is the puppeteer in a Wayang Kulit performance?
A. Balang
B. Dalang
C. Puppeteer
D. GalangWhat is the major function of the Gamelan orchestra?
A. Accompany the singers during the performance
B. Accompany stage action during the performance
C. Accompany ritualistic prayers before the play
D. Accompany the narrator after the performance
[transcriber’s note: printed page 11 of the module is not among the supplied pages, so the sequence jumps from printed page 10 to printed page 12]
Which of the following is not part of Peking Opera?
A. Percussion instruments
B. Gamelan ensemble
C. String instruments
D. Wind instrumentsWhat is the first dramatic entertainment that was designed for the tastes of common people in Japan?
A. Sakura
B. Noh
C. Kabuki
D. YakuharaiWhat are the set of tunes that are to be followed in a Peking Opera Performance?
A. Hei and Bores
B. Roe and Cuet
C. Tis and Duer
D. Xipi and ErhuangWhat are the musical terms of Kabuki Performance which are considered as “signaling” accents?
A. Al and Buke
B. Bik and Sue
C. Ki and Tsuke
D. Ge and WueHow do actors of Peking Opera Performance release their lines?
A. It is governed by strict tempos and rhythms.
B. It is not strictly regulated by a community of people.
C. It is pantomime.
D. It covers monotone in every dialogue.This category of Kabuki Performance is located onstage by the Shamisen and Hayashi ensemble. It is also considered visibly accompanying the acting and dancing.
A. Geza-ongaku
B. Shosa-ongaku
C. Taizo-ongaku
D. Wutzo-ongakuWhat are those acts in Wayang Kulit performance which symbolize stages and spiritual development in the life of the story’s hero?
A. Pathet Manyura, Pathet Nem, Pathet Sanga
B. Pathet Manyuri, Pathet Name, Pathet Sung
C. Puppet, Puppeter, Puppetest
D. Puppet Doll, Puppet Name, Puppet Soul
Additional Activities
Direction: Create your own design inspired by the characteristics of traditional Asian Theater using the masks below.
[illustration: blank outline of a face mask with two almond-shaped eyes]
[illustration: blank outline of a second face mask with two almond-shaped eyes]
Answer Key
WHAT I KNOW
- B
- B
- B
- B
- C
- A
- C
- B
- A
- D
- A
- B
- A
- C
- D
WHAT’S IN
Varied answers.
WHAT’S NEW
- Peking Opera
- Wayang Kulit
- Kabuki
WHAT’S MORE
- Peking Opera
- Dalang
- Ki and Tsuke
- Pathet Nem
- Pathet Sanga
- Pathet Manyura
- Geza-ongaku
- Shosa-ongaku
- Erhuang
- Gamelan
WHAT I HAVE LEARNED
Varied answers
WHAT I CAN DO
- Wayang Kulit
- Theater
- Kabuki
- Shamisen
- Xipi
ASSESSMENT
- A
- C
- B
- A
- D
- B
- B
- B
- B
- C
- D
- C
- A
- B
- A
ADDITIONAL ACTIVITIES
Varied answers
References
Book:
Anido, Belinda R., Baldoz Augusro R., Parakikay Myrna T., et. al. (2013) Music and Arts of Asia, Learner’s Module for Grade 8. DepEd – IMCS
Websites:
http://filipinofestival.files.wordpress.com/2012/03/kabuki2.jpg
http://www.ebeijing.gov.cn/BeijingInformation/BeijingsHistory/t1137406.htm
http://3.bp.blogspot.com/ebRBApm97dE/T1mupumi9ZI/AAAAAAAAAFs/ppmWaNJnHa4/s1600/wayang_kulit.jpg
unesco. “Kabuki Theatre.” YouTube. YouTube, September 28, 2009. https://www.youtube.com/watch?v=67-bgSFJiKc.
GBTIMES. “Peking Opera | An Introduction (Hello China #13).” YouTube. YouTube, July 2, 2012. https://www.youtube.com/watch?v=PnMRIzpO4nU.
UNESCO. “The Wayang Puppet Theatre.” YouTube. YouTube, September 28, 2009. https://www.youtube.com/watch?v=pfydro4X2t0.
“Pangalay Is My Most Fave Moro Dance…look at That They Are so Gorgeous. Follow My Blogpost at Flongology….: Traditional Dance, Filipino Culture, Travel Pictures.” Pinterest, January 18, 2021. https://fi.pinterest.com/pin/410249847297807781/.
“Chinese Theater and Opera.” Advantour. Accessed April 28, 2021. https://www.advantour.com/china/culture/theater-opera.htm.
“Chamber Concert Version of the Peking Opera Classic to Debut in Shanghai.” SHINE. Accessed April 28, 2021. https://www.shine.cn/feature/art-culture/1712027242/.
“Caredivas.” Starbucks Coffee Company. Accessed April 28, 2021. https://www.starbucks.ph/about-us/newsroom/responsibility-feature/caredivas-peta.
“Wayang.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed April 28, 2021. https://www.britannica.com/art/wayang.
“Gamelan.” Wikipedia. Wikimedia Foundation, April 23, 2021. https://en.wikipedia.org/wiki/Gamelan.
“Encyclopédie Mondiale Des Arts De La Marionnette.” World Encyclopedia of Puppetry Arts. Accessed April 28, 2021. https://wepa.unima.org/en/dalang/.
http://www.slideshare.net/iamcarloluna/mapeh-8-music-4th-quarter-indonesian-theatre
http://int.search.myway.com/search/AJimage.searchfor=wayangkulit performance
Kabuki Theatre. Accessed April 28, 2021. https://japanesetradmusic.blogspot.com/p/kabuki-theatre-nagauta.html.
“Kabuki.” Encyclopædia Britannica. Encyclopædia Britannica, inc. Accessed April 28, 2021. https://www.britannica.com/art/Kabuki.
“Beijing Opera.” Beijing Opera, History, Music, Costumes, Facial Make-up, Best Places to Enjoy the Beijing Opera. Accessed April 28, 2021. https://www.chinahighlights.com/travelguide/beijing-opera/.
For inquiries or feedback, please write or call:
Department of Education – Bureau of Learning Resources (DepEd-BLR) Ground Floor, Bonifacio Bldg., DepEd Complex Meralco Avenue, Pasig City, Philippines 1600 Telefax: (632) 8634-1072; 8634-1054; 8631-4985 Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph
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