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Rūkada Nātya is a type of drama performed using string puppets, traditionally meant for providing innocuous entertainment and conveying moral lessons to village communities. Themes are chosen from folktales, Buddhist stories, ancient literature, historical narratives, and the trivia with humorous anecdotes from contemporary life or from nādagam, an extinct form of ‘folk opera’. Puppeteers prepare their own handwritten scripts with dialogs and songs, and recite them, while manipulating the puppets. Puppeteers make their own wooden puppets with movable joints that represent either ‘static roles’ with fewer movable joints and of near life-size; or ‘active roles’ with many movable joints and of 3.5’ to 4.5’ in height. Puppets are dressed with colourful costumes that identify the characters they portray. Puppeteers manipulate them using strings tied to single short bars or two crossed-bars held by hand, while standing on an elevated horizontal platform and leaned onto a horizontal bar that is fixed across the stage about the shoulder-height of the puppeteers. A small band of musicians provides accompaniment using a harmonium, a violin, and a drum. Performances are held as community events at public spaces suitable for community gathering, mostly during festive times in the months of May and June, while special shows are held at schools and higher educational institutes. Makeshift stages, made of wooden frames and covered with black curtains on all sides to camouflage the strings to create an in illusion of reality. Performances are held in evenings in a well-covered space under dim light to enhance the illusion.

Kabuki is a Japanese traditional theatre form, which originated in the Edo period at the beginning of the seventeenth century and was particularly popular among townspeople. Originally, both men and women acted in Kabuki plays, but eventually only male actors performed the plays: a tradition that has remained to the present day. Male actors specialized in women’s roles are called onnagata. Two other major role types are aragoto (rough style) and wagoto (soft style). Kabuki plays are about historical events and moral conflict in relationships of the heart. The actors speak in a monotone voice and are accompanied by traditional instruments. The Kabuki stage is equipped with several gadgets, such as revolving stages and trapdoors through which the actors can appear and disappear. Another speciality of the Kabuki stage is a footbridge (hanamichi) that extends into the audience. Important characteristics of Kabuki theatre include its particular music, costumes, stage devices and props as well as specific plays, language and acting styles, such as the mie, in which the actor holds a characteristic pose to establish his character. Keshÿ, the particular make-up, provides an element of style easily recognizable even by those unfamiliar with the art form. After 1868, when Japan opened to Western influence, actors strove to heighten the reputation of Kabuki among the upper classes and to adapt the traditional styles to modern tastes. Today, Kabuki is the most popular of the traditional styles of Japanese drama.

Chapei Dang Veng (hereafter Chapei) is a popular musical tradition found in Cambodian society. The singing of Chapei is accompanied by a long necked lute Chapei from which the tradition takes its name. Chapei is closely interwoven with the life, traditional customs and beliefs of the Cambodian people. The instrument itself is used in two eminent ancient ensembles,'Pleng Araek' (Spirit Music) and 'Pleng Kar Boran' (Traditional Wedding Music) both of which are endangered forms themselves. Chapei performers are generally male, although there are no restrictions regarding gender or social class. Chapei players are not only musically adept, but also witty, intelligent, and quick to adapt and improvise. They should be well-versed in language, literature, and poetry, and a good story teller. From 1975 to 1979, the Khmer Rouge regime systematically annihilated and destroyed any form of intellectual activity including traditional arts. As a result many traditions such as Chapei disappeared from the scene together with the people performing them. Only two grand masters of Chapei survived this gruesome period and together with some other masters and their students are trying to revive the art form today.