Classes
The classes are presented in the following format. Class names that start with the letter “PH” followed by a number are presented in bold typeface, followed by the description. The “SubclassOf” field indicates the parent class from which the current class inherits properties and characteristics. The “SuperClassOf” field lists any classes that are direct descendants of the current class, inheriting its properties and characteristics. The “Properties” field lists the properties that instances of the class may have, with descriptions of their domains, ranges, and any hierarchical relationships.
PH1 Performance
PH3 Performance Genre
PH4 Theme
PH5 Performance Style
PH6 Performance Element
PH7 Performance Text
PH8 Performance Object
PH9 Staging
PH10 Music Sound
PH11 Movement Gesture
PH12 Performance System
PH13 Experience
PH14 Performance Venue
PH15 Production
PH16 Festival
PH17 Ritual
PH19 Evolution
PH58 Schedule
PH59 Repertoire
PH20 Performer-Person
PH22 Troupe Role
PH23 Character
PH24 Work
PH25 Troupe
PH27 Troupe Organisation
PH28 Training and Recruitment
PH29 Geographical Origin
PH52 Collaboration
PH61 Kinship Relationship
PH62 Performance Role
PH30 Tour
PH33 Route
PH34 Departure City
PH36 Arrival City
PH38 Transportation Mode
PH39 Transportation Line
PH40 Location Factor
PH41 Circulation Mechanism
PH42 Publicity Mode
PH44 Audience
PH45 Social Role and Status
PH46 Societal Influence
PH47 Social Network
PH48 Knowledge Transmission
PH51 Support Agent
PH57 Support Activity
PH60 Reception
PH63 Community and Cultural Group
PH49 Geographic Coverage
PH50 Context
PH54 Source
PH55 Media
PH1 Performance
This class describes a performance as a culturally significant event constrained by time, conducted by one or more agents at a specific location. A performance represents a unique presentation in a defined setting, whether it is staged, ritualistic, musical, theatrical, or improvised, often leaving traces like written records, images, accounts, or oral histories. It can happen alone or as part of larger events such as productions, festivals, or tours, taking various forms including ritual, theatre, puppetry, dance, storytelling, or musical acts. Performances may take place in formal, communal, migratory, or diasporic contexts such as kampungs, schools, temples, and amusement parks. Here, performances are actual events rather than abstract works or repertoires.
Superclass Of:
Subclass Of:
Properties:
- P1 identified by: (i.e. the descriptive name of the performance, including established and alternate names)
- P2 has type: , such as opera, puppet theatre, dance ritual (See Controlled Vocabulary – CV1 Performance Genres)
- P3 has note: that provides an overview of the performance
- P4 has time-span: (i.e. the start and end dates and start and end times, date range or period of the performance when it was presented)
- P7 took place at:
- P9 consists of:
- P9i forms part of:
- P11 had participant: (where the audience plays a significant participatory role in the performance)
- P12 occurred in the presence of: (where the audience was mainly spectators and not “co-performers” in the performance)
- P14 carried out by:
- P15 was influenced by: (i.e. the events, emotions, historical forces, or ideologies that shaped the development of the performance in a general or indirect way)
- P16 used specific object:
- P17 was motivated by: (i.e. the reason or impetus behind the performance)
- P20 has specific purpose:
- P67 refers to: (e.g. the associated media, such as recordings, films, posters or other media of the performance; the interviews, reviews, visual or textual sources that provide details or evidence for the performance’s existence and documentation)
- P70i is documented in:
- P72 has language:
- P148 has component:
- P191 had duration: (i.e. the duration from start and end time/dates of performance)
- P129 is about:
- N5i is performed by:
- N8 has alternate: (i.e. alternative names, aliases, colloquial or regional variations in different languages used by the troupe or better known by the community or audience)
- N24 has event (is event of): , associated events during the performance
- N27 has support:
- N28 has collaboration:
- N31 affects (is affected by): (i.e. tracks how individual performances evolve, adapting to audience expectations, venues, and other factors over time, such as adaptations and innovations)
- N39 has style (is style of):
- N48i is recognised by (recognises): (including local, diasporic, ethnic, linguistic, religious, or community-based groups that recognise the performance as meaningful, representative, or culturally significant)
- N52 has geographic coverage:
- N53 has schedule (is schedule of):
- N54 has reception (is reception of):
PH3 Performance Genre
This classifies the main genre of a performance. Genres represent artistic forms and cultural practices, such as opera, puppet theatre, music, dance, comedy, drama, or rituals. These genres are seen as inherited, hybridised, and adapted locally, reflecting regional and diasporic histories. The class aids in comparative analysis and classification using a controlled vocabulary, while distinguishing between broad canonical traditions and more localised or vernacular forms.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies a subgenre or more specific category within the broader genre, such as “Cantonese Opera” within “Chinese Opera”. (See Controlled Vocabulary – CV1 Performance Genres)
- P3 has note: Description (i.e. a description of the genre, including its defining features, traditions, or historical adaptations)
- P70i is documented in:
- N25 related to:
PH4 Theme
This class identifies the central theme or motif explored or expressed in a performance. Themes may be personal (such as love or grief), political (such as resistance or migration), or spiritual (such as rebirth or cosmology). They often recur across genres, repertoires, and historical periods, serving as conceptual threads within performance histories.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; the category of theme, if any
- P3 has note: Description (i.e. the synopsis or brief description of the theme, explaining its role and significance in the performance)
- P15 was influenced by: (i.e. the historical or cultural references, roots or meanings that the theme symbolises or embodies, such as figures, events, traditions or beliefs)
- P70i is documented in:
- P129i is subject of:
PH5 Performance Style
This class defines the artistic and expressive modality by which a performance is delivered—its “how”. Style includes bodily movement, vocal quality, gesture systems, visual aesthetics, and design traditions. These are often shaped by regional schools, cultural conventions, diasporic formations or personal innovation. A performance may present multiple styles or a fusion of styles, and styles often evolve through adaptation and circulation.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; the category of style, if any
- P3 has note: Description (i.e. the description of the distinctive artistic style)
- P15 was influenced by: (i.e., the cultural, ideological, regional, visual, or pedagogical traditions that shape the performance style)
- P33 used specific technique: Specific artistic techniques employed (e.g. mudra-based expression)
- P67 refers to:
- P70i is documented in:
- P129 is about: (e.g., artistic ideology or principle)
- N39 is style of:
PH6 Performance Element
This class groups the constituent elements that make up or structure a performance. These may include textual materials, performing objects, staging configurations, sonic elements, movement and gesture, and systems of performance knowledge or transmission. It functions as a unifying superclass for modelling the internal components of performance, whether material, enacted, or conceptual.
SuperClassOf:
SubclassOf:
Properties:
- P2 has type: ; specifies the category of performance element, such as text, object, staging, music and sound, movement and gesture, or performance system
- P3 has note: Description (i.e. the description of the element, including its role, function, or symbolic significance within the performance)
- P15 was influenced by: (i.e. the description of the element, including its role, function, or symbolic significance within the performance)
- P67 refers to:
- P70i is documented in:
- N25 related to (is related to):
- N31 affects (is affected by): (e.g. textual adaptation or reinterpretation)
PH7 Performance Text
This class models the written, recited, chanted, or otherwise language-based textual elements used in a performance, such as scripts, libretti, cue sheets, oral recitations, and chants. These texts may function as formal templates, improvisational frameworks, mnemonic aids, or carriers of narrative, ritual, and poetic meaning. In many Southeast Asian performance traditions, textual transmission may be oral, partially notated, or informally annotated, making this class important for documenting both written and intangible textual practices.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by:
- P2 has type: ; specifies the type of Performance Text, such as “Script,” “Poem,” “Narrative” (See Controlled Vocabulary – CV2 Performance Text Types)
- P3 has note: Description (i.e. the details of the performance text, its content, transmission, and function within the performance)
- P16i was used for:
- P43 has dimension: (physical dimensions, if applicable)
- P67 refers to:
- P70i is documented in:
- P72 has language:
- N31 affects (is affected by): (e.g. updated script for modern context)
PH8 Performing Object
This class represents the tangible objects used in performances, such as puppets, props, masks, costume accessories, and ritual items. These items can serve practical, symbolic, narrative, or ceremonial purposes in a performance. They frequently hold culturally specific meanings, including connections to deities, spirits, character (arche)types, or ritual roles. Additionally, their design, materials, and usage might be highly codified within specific cultural traditions.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by:
- P2 has type: ; specifies the type of performing object, such as “Puppet,” “Mask,” “Prop,” or “Ritual Object” (See Controlled Vocabulary – CV3 Performing Object Types)
- P3 has note: Description (i.e. the details of the performing object, including its form, materials, symbolism, and role in the performance)
- P16i was used for:
- P43 has dimension: (physical dimensions, if applicable)
- P67 refers to:
- P70i is documented in:
- N31 affects (is affected by): (e.g., changes in object design, material, symbolic interpretation, or performance function over time)
PH9 Staging
This class represents the tangible objects used in performances, such as puppets, props, masks, costume accessories, and ritual items. These items can serve practical, symbolic, narrative, or ceremonial purposes in a performance. They frequently hold culturally specific meanings, including connections to deities, spirits, character (arche)types, or ritual roles. Additionally, their design, materials, and usage might be highly codified within specific cultural traditions.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by:
- P2 has type: ; specifies the type of performing object, such as “Puppet,” “Mask,” “Prop,” or “Ritual Object” (See Controlled Vocabulary – CV3 Performing Object Types)
- P3 has note: Description (i.e. the details of the performing object, including its form, materials, symbolism, and role in the performance)
- P16i was used for:
- P43 has dimension: (physical dimensions, if applicable)
- P67 refers to:
- P70i is documented in:
- N31 affects (is affected by): (e.g., changes in object design, material, symbolic interpretation, or performance function over time)
This class models the visual, spatial, and scenographic arrangement of a performance, including sets, backdrops, costumes, lighting, props, and spatial organisation. These elements shape the performance environment and influence how the audience perceives and engages with the event. Staging may be formal, improvised, or ritualised, and can reflect both practical production decisions and symbolic design traditions.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the descriptive name of the staging arrangement)
- P2 has type: ; specifies the type of staging element, such as “Set,” “Sound,” “Lighting,” “Costume”. (See Controlled Vocabulary – CV4 Staging Element Types)
- P3 has note: Description (i.e. the details of how staging elements are arranged and used to shape the visual, spatial, and symbolic environment of the performance)
- P16i was used for:
- P32 used general technique: General staging, design, or technical methods applied
- P33 used specific technique: Specific staging, scenographic, blocking, lighting, or costume techniques employed
- P43 has dimension: (physical dimensions, if applicable)
- P67 refers to:
- P70i is documented in:
PH10 Music Sound
- P1 is identified by:
- P2 has type: ; specifies the type of musical element, such as “Live Music,” “Instrumental Performance,” “Singing” (See Controlled Vocabulary – CV5 Sound and Music Element Types)
- P3 has note: Description (i.e. the details of the music or sound used in the performance and its role in creating atmosphere, rhythm, emotional tone, or ritual significance)
- P16i was used for:
- P32 used general technique: General musical or sonic methods applied
- P33 used specific technique: Specific musical, vocal, rhythmic, or sound-producing techniques employed
- P67 refers to:
- P70i is documented in:
- N5i is performed by (performs):
- N6i is arranged by (arranges):
PH11 Movement Gesture
This class models the structured systems of rules, techniques, pedagogies, and transmission frameworks that underpin performance practices. These systems may be formalised, such as dance notation, codified gesture systems, or martial arts syllabi; community-learnt, such as apprenticeship in ritual theatre; or a combination of both. They connect the transmission of knowledge with the shaping of artistic expression in performance.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by:
- P2 has type: ; specifies the type of system, such as “Dance Grammar,” “Gesture Vocabulary,” “Martial Arts Syllabus,” or “Training Method”
- P3 has note: Description (i.e. an overview of the system, including its rules, techniques, pedagogical structure, transmission mode, and role in shaping performance practice)
- P16i was used for:
- P67 refers to:
- P70i is documented in:
- P129 is about:
- N5i is performed by (performs):
- N6i is arranged by (arranges):
PH12 Performance System
This class models the structured systems of rules, techniques, pedagogies, and transmission frameworks that underpin performance practices. These systems may be formalised, such as dance notation, codified gesture systems, or martial arts syllabi; community-learnt, such as apprenticeship in ritual theatre; or a combination of both. They connect the transmission of knowledge with the shaping of artistic expression in performance.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by:
- P2 has type: ; specifies the type of system, such as “Dance Grammar,” “Gesture Vocabulary,” “Martial Arts Syllabus,” or “Training Method”
- P3 has note: Description (i.e. an overview of the system, including its rules, techniques, pedagogical structure, transmission mode, and role in shaping performance practice)
- P16i was used for:
- P67 refers to:
- P70i is documented in:
- P129 is about:
- N5i is performed by (performs):
- N6i is arranged by (arranges):
PH13 Experience
This class models the experiential dimension of performance as it is enacted and perceived by audiences and participants. It includes sensory, emotional, spatial, and participatory aspects of performance, such as immersion, atmosphere, audience movement, ritual engagement, and co-presence with performers. It is especially useful for describing situations in which audience interaction, multi-sensory environments, or spatial conditions significantly shape how a performance is encountered.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; the category or type of experience
- P3 has note: Description (i.e. an overview of the experience, including its sensory, emotional, spatial, and participatory dimensions)
- P15i influenced: (i.e. how the experience shaped audience engagement, emotional response, or the unfolding of the performance)
- P67 refers to:
- P70i is documented in:
- P148i is component of:
- P11 had participant: (where the audience plays a significant participatory role in the experience of the performance)
- P12 occurred in the presence of: (where the audience was mainly spectators rather than active co-participants in the experience)
- P129 is about:
- N54 has reception (is reception of):
PH14 Performance Venue
This class models the physical, spatial, or socially recognised place where performances occur. Venues may include purpose-built theatres, temple forecourts, streets, private homes, temporary stages, or diasporic community spaces. A venue may carry ritual, political, historical, or emotional significance beyond its function as a site of presentation, and it can help shape both the performance itself and the audience’s experience of it. The class may also record the historical lifecycle of performance venues, including their construction, opening, closure, demolition, or transformation.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name of the venue)
- P2 has type: ; specifies the type of venue (See Controlled Vocabulary – CV7 Performance Venue Types)
- P3 has note: Description (i.e. an overview of the venue, including its form, significance, and use in performance)
- P7i witnessed:
- P15i influenced: (i.e. how the venue shaped the performance, audience interaction, or spatial experience)
- P43 has dimension: (i.e. the physical dimensions of the venue or stage)
- P67 refers to:
- P70i is documented in:
- P94 has created: (i.e. where the venue itself serves as the inspiration, subject, or cultural locus for the emergence of a repertoire associated with that place)
- P89 falls within:
- P168 place is defined by: (i.e. latitude/longitude or other geospatial coordinates of the venue)
- N8 has alternate: (i.e. alternate or historical names of the venue)
- N14 construction start (construction start of): (i.e., the date or period construction began)
- N15 construction end (construction end of): (i.e. the date the venue’s construction or major renovation was completed)
- N16 opened on (opening of): (i.e. the venue’s official opening date)
- N17 closed on (closing of): (i.e. the date the venue permanently ceased operations, if applicable)
- N18 first performance on (first performance of): (i.e. the date of the very first performance staged at this venue)
- N19 last performance on (last performance of): (i.e. the date of the final performance before the venue officially closed its operations, repurposed or demolished)
- N20 demolished or transformed on (demolition or transformation of): (i.e. the date on which the venue was destroyed, demolished or transformed, if relevant)
- N48i is recognised by: (i.e. communities or social groups for whom the venue holds cultural, social, or diasporic significance)
- N55 hosted a performance by (performed at):
PH15 Production
This class models a production as a unified framework of creative, organisational, and presentation efforts that combine one or more performances under a common title, program, direction, cast, artistic concept, or staging strategy. A production is different from a single performance, though it may include multiple realised performances. It can take place across various venues, dates, seasons, or touring routes, and may be revived, restaged, transferred, or adapted over time. The term can refer to a single play, a collection of related works, a season linked to a troupe or star performer, or a branded series of performances presented together. Productions involve planning, coordination, and the management of artistic, material, and social resources, often reflecting collaborative creative efforts.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name of the production)
- P3 has note: Description (i.e. the overview of the production)
- P4 has time-span: (i.e. the start and end date, start and end time, date range or period of the production when it was presented)
- P7 took place at: (i.e. the venues, places, or cities in which the production was presented)
- P9 consists of:
- P9i forms part of:
- P15 was influenced by: (i.e. the historical, cultural, ideological, or social forces that shaped the production)
- P17 was motivated by: (i.e. the reason, occasion or impetus behind the production)
- P20 has specific purpose:
- P67 refers to: (e.g. the associated media, such as brochures, posters or other media of the production)
- P70i is documented in:
- P148 has component:
- P191 had duration: (i.e. the duration from start and end time/dates of production)
- N5i is performed by (performs):
- N8 has alternate: (i.e. alternative names, aliases, colloquial names, or names used in different languages)
- N24 has event (is event of): associated events during the production
- N25 related to (is related to):
- N27 has support (is support of):
- N28 has collaboration (is collaboration of):
- N48i is recognised by (recognises):
- N52 has geographic coverage:
- N53 has schedule (is schedule of):
- N54 has reception (is reception of):
PH16 Festival
This class models a production as a unified framework of creative, organisational, and presentation efforts that combine one or more performances under a common title, program, direction, cast, artistic concept, or staging strategy. A production is different from a single performance, though it may include multiple realised performances. It can take place across various venues, dates, seasons, or touring routes, and may be revived, restaged, transferred, or adapted over time. The term can refer to a single play, a collection of related works, a season linked to a troupe or star performer, or a branded series of performances presented together. Productions involve planning, coordination, and the management of artistic, material, and social resources, often reflecting collaborative creative efforts.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name of the production)
- P3 has note: Description (i.e. the overview of the production)
- P4 has time-span: (i.e. the start and end date, start and end time, date range or period of the production when it was presented)
- P7 took place at: (i.e. the venues, places, or cities in which the production was presented)
- P9 consists of:
- P9i forms part of:
- P15 was influenced by: (i.e. the historical, cultural, ideological, or social forces that shaped the production)
- P17 was motivated by: (i.e. the reason, occasion or impetus behind the production)
- P20 has specific purpose:
- P67 refers to: (e.g. the associated media, such as brochures, posters or other media of the production)
- P70i is documented in:
- P148 has component:
- P191 had duration: (i.e. the duration from start and end time/dates of production)
- N5i is performed by (performs):
- N8 has alternate: (i.e. alternative names, aliases, colloquial names, or names used in different languages)
- N24 has event (is event of): associated events during the production
- N25 related to (is related to):
- N27 has support (is support of):
- N28 has collaboration (is collaboration of):
- N48i is recognised by (recognises):
- N52 has geographic coverage:
- N53 has schedule (is schedule of):
- N54 has reception (is reception of):
PH17 Ritual
This class models ritual enactments that are performed within cultural, religious, spiritual, or ceremonial contexts. Rituals may include liturgies, ceremonies, customary acts, processions, offerings, invocations, or other prescribed practices with symbolic significance. They may occur independently or be embedded within performances, festivals, or related events, and they play an important role in preserving, expressing, and transmitting cultural, spiritual, and community traditions. This class emphasises the performative dimension of ritual and its place within performance history.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name of the ritual)
- P2 has type: ; specifies the type of ritual (See Controlled Vocabulary – CV8 Ritual Types)
- P3 has note: Description (i.e. an overview of the ritual, including its structure, symbolism, and role in performance or community life)
- P4 has time-span: (i.e. the start and end date, start and end time, date range or period of the ritual when it was presented)
- P7 took place at: (i.e. the venues, places, or cities in which the ritual occurred)
- P9i forms part of:
- P15 was influenced by: (i.e. the historical, cultural, religious, spiritual, or social forces that shaped the ritual)
- P16 used specific object:
- P17 was motivated by: (i.e. the reason, belief, obligation, vow, or ritual purpose behind the enactment)
- P20 has specific purpose:
- P67 refers to:
- P70i is documented in:
- P191 had duration: (i.e. the duration from start and end time/dates of ritual)
- P129 is about:
- N8 has alternate: (i.e. alternative, historical, colloquial, regional, or multilingual names of the ritual)
PH19 Evolution
This class models processes of transformation, adaptation, and change affecting performances and performance-related entities over time. These changes may involve repertoire, staging, style, performance elements, performer identity, organisational structure, or audience interaction. Evolution reflects cultural, political, social, and aesthetic shifts across different periods and places, and helps trace how performance traditions are maintained, modified, or reinterpreted.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by:
- P2 has type: ; specifies the nature of the evolution, such as adaptation, innovation, theme development, or organisational change (See Controlled Vocabulary CV9 Evolution Types)
- P3 has note: Description (i.e. the details of the transformation, including what changed, how it changed, and its significance)
- P4 has time-span: (i.e. the date, period, or range during which the change occurred)
- P15 was influenced by:
- P17 was motivated by: (i.e. the internal and external drivers of change, such as cultural shifts, audience response, technology, policy, or artistic intention)
- P20 had specific purpose: (i.e. the intended purpose or rationale of the change, such as modernisation, preservation, localisation, or experimentation)
- P67 refers to:
- P70i is documented in:
- N31 affects:
- N31i is affected by: Effects of the evolution on (e.g., artistic impact, theme reinterpretation) or (e.g., changes in identity, repertoire, or themes) and on and
- N36 introduced by:
PH20 Performer-Person
This class models an individual human agent who performs, contributes to, or helps shape a performance or related event. It includes a broad range of culturally and contextually situated roles, such as dancer, puppeteer, singer, narrator, ritual specialist, musician, director, and choreographer. The class supports the modelling of personal identity, biographical history, roles in performance, and affiliations with troupes, communities, or networks. It also accommodates changing, multiple, hereditary, symbolic, or honorary roles across time and place, as often found in Southeast Asian and diasporic performance traditions.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name of the person)
- P3 has note: Description (i.e. the biographical information, background, career history, or contextual notes on the performer)
- P14i performed: (i.e. the performance-related event or entity in which the person performed or contributed)
- P14.1 in the role of: (i.e. the type of role undertaken in a performance or production)
- P67 refers to:
- P70i is documented in:
- P98i was born:
- P100i died in:
- P107i is current or former member of:
- P107.1 has type: (i.e. the type of affiliation such as “apprentice”, “honorary member”, “hereditary role”)
- N5 performs (is performed by):
- N8 has alternate: (i.e. alternative names, aliases, stage names, honorific names, or regional/language variants)
- N22 has role (is role of):
- N23 has work (is work of):
- N27 has support (is support of):
- N29 collaborate with: (i.e. the direct “collaborating” partner)
- N47 travelled on (is travelled by):
- N48i is recognised by: (i.e the communities or social groups that recognise, value, or identify with the performer)
- N54 has reception (is reception of):
- N56 has debut date (is debut date of): (i.e. the date or period when the performer first became active or is first known to have performed)
- N57 has last active date (is last active date): (i.e. the date or period of the performer’s last known or last active professional performance)
- N60 involves person:
PH22 Troupe Role
This class models the role or position an individual holds within a performance troupe or related organisational structure. Such roles may be formal or informal, permanent or temporary, hereditary, ritual, artistic, or administrative. They may be assigned through skill, seniority, lineage, social standing, or ritual status. This class helps distinguish organisational and functional positions within troupes, such as lead actor, musician, assistant, stage manager, or ritual specialist, and supports the documentation of a performer’s affiliation and changing responsibilities over time.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name or title of the troupe role)
- P3 has note: Description (i.e. a description of the role, including its duties, status, and responsibilities within the troupe)
- P4 has time-span: (i.e. the start and end date, year, or period during which the performer held this role or affiliation)
- P9i forms part of:
- P17 was motivated by: (i.e. reasons for taking up, changing, or leaving the role, such as recruitment, apprenticeship, artistic development, contract change, creative difference, ritual obligation, or retirement)
- P67 refers to:
- P70i is documented in:
- P191 had duration: (i.e. the duration for which the performer held the role or was affiliated with the troupe in that capacity)
- N22i is role of:
PH23 Character
- P1 is identified by: (i.e. the official, canonical, or commonly known name of the character, such as “Xu Xian”, “Monkey King”, or “Garuda”)
- P2 has type: , specifies the character type, such as “Hero”, “Warrior”, “Protector”, “Villain”, “Demonic Figure”, “Loyal Companion”, or “Comic Figure” (See Controlled Vocabulary – CV12 Character Types)
- P3 has note: Description (i.e. an overview of the character, including narrative role, symbolic meaning, cultural significance, or contextual notes)
- P67 refers to:
- P70i is documented in:
- N22i is role of:
- N8 has alternate: (i.e. alternative names, vernacular names, epithets, transliterations, or regional/language variants used by performers, troupes, or communities)
PH24 Work
- P1 identified by: (i.e. the name or title of the work)
- P2 has type: ; specifies the type of work, such as “Recording,” “Writing,” “Composition,” “Film,” or “Choreography”. (See Controlled Vocabulary – CV32 Work Types)
- P3 has note: Description (i.e. an overview of the work, including its form, content, purpose, or relation to performance practice)
- P4 has time-span: (i.e. the date when the work was created, published, recorded, or issued)
- P67 refers to:
- P70i is documented in:
- P129 is about:
- N3 hasLocation (isLocationOf):
- N23i is work of:
PH25 Troupe
This class models a performing troupe, company, ensemble, or other collective body involved in the creation, organisation, and presentation of performance. It captures the troupe’s identity, organisational structure, membership, artistic profile, and cultural presence. Troupes may operate locally or across regions and may be kinship-based, community-organised, state-sponsored, commercially managed, or independent. Their composition, governance, repertoire, touring practices, and affiliations often reflect social networks, religious ties, linguistic communities, and historical conditions. This class supports linking the troupe to performances, productions, collaborations, places of origin, support structures, festivals, and communities of recognition.
Superclass Of:
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name of the troupe)
- P3 has note: Description (i.e a description or historical overview of the troupe, including its background, activities, or artistic identity)
- P67 refers to: (e.g. the associated media, such as recordings, films or other media of the Troupe)
- P70i is documented in: (e.g. interviews, reviews, visual or textual sources that document the troupe’s history, organisation, or performances)
- P107 has current or former member:
- N8 has alternate: (i.e. alternative names, aliases, colloquial names, historical names, or regional/language variants used by the troupe or known to communities and audiences)
- N27 has support (is support of):
- N29 collaborate with:
- N47 travelled on (is travelled by):
- N48i is recognised by: (i.e. the communities or social groups that recognise, identify with, or culturally sustain the troupe)
- N54 has reception (is reception of):
- N56 has debut date (is debut date of): (i.e. the date or period when the troupe first became active or is first known to have performed)
- N57 has last active date (is last active date): (i.e. the date or period when the troupe ceased activity, retired, dissolved, or was last known to perform)
PH27 Troupe Organisation
This class models the internal organisational structure and governance of a troupe, including leadership arrangements, role distribution, recruitment systems, training responsibilities, funding models, and decision-making practices. It supports the documentation of how authority, responsibility, and membership are organised within a troupe, including hereditary, elective, kinship-based, guild-based, temple-based, or other community-rooted forms. In many Southeast Asian performance traditions, troupe organisation reflects wider social and cultural frameworks, such as lineage, religious stewardship, patronage, or communal affiliation.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the type of organisational structure, such as “Guild-based,” “Family-run,” “Temple-affiliated,” or “Commercial Company”
- P3 has note: Description (i.e. a description of the troupe’s organisational structure, internal dynamics, authority relations, and modes of coordination)
- P67 refers to: (e.g. the associated media, such as images the troupe organisation)
- P70i is documented in:
- P107 has current or former member:
PH28 Training and Recruitment
This class models the structured and informal processes through which performers are identified, recruited, trained, initiated, and authorised within performance traditions. It includes oral transmission, apprenticeship, ritual initiation, institutional training, mentorship, and other culturally situated forms of performer development. Training and recruitment may involve embodied repetition, ethical discipline, spiritual guidance, lineage-based transmission, or formal pedagogical curricula. This class recognises that performer formation is not merely technical, but also social, relational, and often shaped by community responsibility and intergenerational knowledge exchange.
Superclass Of: None
Subclass Of:
Properties:
- P3 has note: Description (i.e. the details of the troupe’s training and recruitment practices, including how performers are identified, selected, trained, or authorised)
- P4 has time-span: ; the date, range, or period during which recruitment or training took place
- P7 took place at: (i.e. the place where training or recruitment occurred)
- P9i forms part of: (where recruitment or training occurs during touring activity)
- P14 carried out by:
- P11 had participant: (i.e. the person being recruited, trained, initiated, or instructed)
- P32 used general technique: General training or recruitment methods applied
- P33 used specific technique: Specific pedagogical, ritual, apprenticeship, or assessment techniques employed
- P67 refers to:
- P70i is documented in:
- N27 has support:
PH29 Geographical Origin
- P1 is identified by: (i.e. the name of the place of origin)
- P3 has note: Description (i.e. an overview or contextual note on the geographical, cultural, or historical roots associated with the origin place)
- P67 refers to:
- P70i is documented in:
- P168 place is defined by: (i.e. the latitude/longitude or other geospatial coordinates)
- N30i is origin of:
PH30 Tour
This class models the temporally organised movement of performers, troupes, or productions across one or more locations for the presentation of performance. Tours may be commercial, ritual, diplomatic, promotional, or migratory in nature, and often reflect the intersection of artistic labour, mobility, patronage, spiritual itinerancy, and social networks. A tour may involve a single destination or extend across multiple cities, regions, or countries over time. This class supports the modelling of routes, geographic coverage, transport, support structures, collaborations, and the circulation of performance across space.
Superclass Of:
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name of the tour)
- P2 has type: ; specifies the type of tour, such as festival circuit, cultural exchange tour, promotional campaign, fundraising tour, colonial sponsorship tour, regional tour, or international tour. (See Controlled Vocabulary – CV15 Tour Types and CV16 Geographic Tour Types)
- P3 has note: Description (i.e. an overview of the tour, including its scope, purpose, itinerary, and organisation)
- P4 has time-span: (i.e. the start and end date, time, range, or period of the tour)
- P7 took place at:
- P9 consists of:
- P67 refers to: (e.g. tour posters, brochures, itineraries, tickets, or other associated media)
- P70i is documented in:
- P148 has component:
- P191 had duration: (i.e. the duration derived from the tour’s temporal extent)
- N8 has alternate: (i.e. alternative, historical, colloquial, or multilingual names of the tour)
PH33 Route
This class models the planned or realised itinerary of movement within a tour, including the sequence of places, timings, and transport pathways through which performers, troupes, or productions travel. It may reflect logistical, economic, ritual, political, or customary patterns of circulation, such as trade-based touring circuits, pilgrimage routes, or established entertainment networks. This class supports the spatial-temporal modelling of how tours move through and connect places.
Superclass Of:
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name of the route, itinerary, or circuit)
- P3 has note: Description (i.e. remarks or details about the route taken, including sequence, purpose, or conditions of travel)
- P9i forms part of:
- P46 is composed of:
- P67 refers to:
- P70i is documented in:
- P191 had duration: (i.e. the duration of the route, derived from its departure and arrival dates or otherwise documented)
- N3 hasLocation (isLocationOf):
- N62 has departure date (is departure date of): (i.e. the departure date or departure period of the route)
- N63 has arrival date (is arrival date of): (i.e. the arrival date or arrival period of the route)
PH34 Departure City
This class models the starting point for a tour, troupe, production, or performer at the beginning of a journey or travel segment. It stores the departure location linked to a route and may include historical place names, colonial-era names, local vernacular forms, and multilingual variants, reflecting how naming practices have changed over time and across regions.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the official or commonly used name of the departure city or place)
- P3 has note: Description (i.e. descriptive notes or contextual information about the departure location)
- P70i is documented in:
- P168 place is defined by: (i.e. the latitude/longitude or other geospatial coordinates of the departure place)
- N8 has alternate: (i.e the alternative, historical, vernacular, colonial, or multilingual names of the departure city or place)
PH36 Arrival City
This class models a destination point during a tour or route, whether as an intermediate stop or the final destination. Arrival cities serve not only as logistical stops but also as cultural, commercial, ritual, or strategic locations chosen for reasons like audience engagement, patronage, accessibility, political circumstances, or ritual importance. It allows recording of multilingual and historical place names, venue containment, and factors that influence why a location is part of a touring plan.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the official or commonly used name of the arrival city or place)
- P3 has note: Description (i.e. descriptive notes or contextual information about the arrival location)
- P17 was motivated by: (See Controlled Vocabulary – CV19 Location Factors)
- P70i is documented in:
- P89i contains: (i.e. performance venues located within the city or arrival place)
- P168 place is defined by: (i.e. the latitude/longitude or other geospatial coordinates of the arrival place)
- N8 has alternate: (i.e. the alternative, historical, vernacular, colonial, or multilingual names of the arrival city or place)
PH38 Transportation Mode
This class models the mode of transportation used in a route or tour, such as road, rail, air, maritime, or inland water transport. It may also record a specific named carrier or vehicle where known, such as a ship, train, or flight service. This class helps document how performers or troupes travelled and how transport conditions shaped logistics, accessibility, timing, and touring experience.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e the specific name or identifier of the transport carrier, vehicle, or service, if known, such as a vessel name, train number, or flight name)
- P2 has type: ; specifies the type of transportation used, such as road, rail, air, maritime, or inland water transport. (See Controlled Vocabulary – CV17 Transportation Modes)
- P3 has note: Description (i.e. description or additional information about the transportation used, such as ownership, capacity, route conditions, or notable logistical features)
- P67 refers to:
- P70i is documented in:
- P9i forms part of:
- P148 has component:
- N8 has alternate: (i.e. the alternative, historical, abbreviated, or colloquial names of the carrier, vehicle, or service)
- N47i is travelled by:
PH39 Transportation Line
This class models the transportation lines, services, or operator networks used in routes and tours, such as shipping lines, railway lines, ferry services, coach routes, or air services. It captures the organised transport systems that enabled performers, troupes, or productions to move between places. Transportation lines may be associated with particular operators, corridors, schedules, or infrastructures, and are useful for tracing recurring circuits of performance mobility.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name of the transportation line, route service, or operating company)
- P2 has type: ; specifies the type of transportation line, such as “Shipping Line”, “Railway Line”, “Ferry Service”, “Coach Route”, or “Air Route” (See Controlled Vocabulary – CV18 Transportation Line Types)
- P3 has note: Description (i.e. the details of the transportation line, including its route coverage, operator, service pattern, historical significance, and operational context)
- P4 has time-span: (i.e. the operational dates or active period of the transportation line or service)
- P67 refers to: (e.g., timetables, maps, promotional materials, photographs)
- P70i is documented in: (documents, records, or references providing information about the transportation line)
- P9i forms part of: (specific routes covered by shipping or rail lines)
- P148i is component of:
- N8 has alternate: (i.e. the alternative, historical, abbreviated, or colloquial names of the transportation line or service)
- N47i is travelled by:
PH40 Location Factor
This class models the non-spatial factors that influence why a performer, troupe, production, or tour selects or stops at a particular location. Such factors may include audience demographics, economic opportunity, linguistic affinity, religious networks, political circumstances, patronage, or cultural significance. This class helps explain the strategic, social, or symbolic reasoning behind location choice in touring and performance mobility.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: specifies the type of factor, such as “Language,” “Audience Base,” “Economic Opportunity,” or “Religious Network” (See Controlled Vocabulary – CV19 Location Factors)
- P3 has note: Description (i.e. the details of how the factor shaped or influenced the choice of location)
- P70i is documented in:
- N25 related to (is related to):
PH41 Circulation Mechanism
This class models the systems, channels, and enabling structures through which troupes, performers, productions, or repertoires circulate across places and communities. These may include patronage systems, market dynamics, logistical infrastructures, diasporic networks, commercial circuits, clan or lineage ties, and other distribution channels that support performance mobility and visibility. Such mechanisms help explain how cultural exchange, touring, and translocal performance connections are sustained over time.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the type of circulation mechanism, such as “Patronage System,” “Merchant Network,” “Clan-based Distribution,” or “Commercial Circuit” (See Controlled Vocabulary – CV20 Circulation Mechanism Types)
- P3 has note: Description (i.e. the details of how the circulation mechanism operates, including the social, economic, logistical, or cultural processes through which performances, troupes, productions, or repertoires move across places and communities)
- P70i is documented in:
- N25 related to (is related to): (i.e. the performance entities, communities, or networks whose circulation or mobility is enabled, shaped, or sustained by the mechanism)
- N27 has support (is support of):
PH42 Publicity Mode
This class models the media channels and publicity forms used to promote performances, productions, tours, and related performance activities. These may include print advertisements, posters, telegrams, radio broadcasts, recordings, television, oral announcements, and community-based communication networks. Publicity modes reflect changing technologies, media ecologies, and cultural practices of promotion, and may target local, regional, or diasporic audiences.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the publicity channel or mode, such as “Newspaper,” “Radio,” “Television,” “Poster,” “Recording,” “Telegram,” or “Oral Announcement” (See Controlled Vocabulary – CV21 Publicity Modes)
- P3 has note: Description (i.e. the details of the publicity mode, including how it was used, through which media or networks, and for which audiences or purposes)
- P67 refers to:
- P70i is documented in:
- N25 related to (is related to): (i.e., the performances, productions, festivals, performers, troupes, tours, communities, or networks to which the publicity mode is connected through promotion, dissemination, or audience targeting)
- N43 has audience (is audience of): (i.e. the audience groups targeted, reached, or addressed by the publicity mode, including linguistic, regional, cultural, or diasporic audiences)
PH44 Audience
This class models the individuals or groups who watch, experience, respond to, or participate in performances. It includes both spectators and more actively engaged audience formations, such as congregational, ritual, interactive, or co-present participants, where audience members may contribute to the atmosphere, reception, or unfolding of the event. Audiences may be characterised by demographic, social, cultural, linguistic, religious, or community-based traits.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. descriptive name or label for the audience)
- P2 has type: ; specifies the type of audience, such as “General Audience”, “Religious Followers”, “Festival Crowd”, “Diasporic Community Audience”, or “Interactive Participants”
- P3 has note: Description (i.e. details of the audience’s demographic profile, social composition, cultural or linguistic background, religious affiliation, expectations, behaviour, or mode of participation)
- P11i participated in:
- P67 refers to:
- P70i is documented in:
- N25 related to (is related to):
- N43i is audience of:
PH45 Social Role and Status
- P2 has type: ; specifies the category of role or status, such as “Religious”, “Professional”, “Familial”, “Hereditary”, “Community Leadership”, or “Ritual Specialist”
- P3 has note: Description (i.e. the details of the role or status, including how it is understood, conferred, or expressed within a community or tradition)
- P15 was influenced by: (i.e. the historical, social, cultural, or ritual contexts that shaped the role or status)
- P70i is documented in:
- N25 related to (is related to):
PH46 Societal Influence
This class models the reciprocal relationship between performance and society, capturing how performances, performers, troupes, and related entities shape and are shaped by social structures, values, institutions, and historical change. It may include cultural exchange, social expectation, economic impact, colonial or postcolonial conditions, urban transformation, identity formation, and other forms of societal interaction. This class supports the documentation of the broader social forces and effects connected to performance history.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the type of societal influence. (See Controlled Vocabulary – CV22 Societal Influence Types)
- P3 has note: Description (i.e. the details of how performance-related entities influence society, and how social conditions in turn shape them)
- P15i influenced:
- P17 was motivated by: (i.e. the historical, broader social, political, economic, colonial, or cultural conditions that gave rise to the influence or shaped its operation)
- P70i is documented in:
- N25 related to (is related to):
- N31 affects (is affected by):
PH47 Social Network
This class models organised community-based networks that support, sustain, and circulate performance practices, such as clan associations, religious societies, educational guilds, dialect associations, social clubs, or other collective formations. These networks often express community identity and play important roles in support, training, mobility, publicity, and the preservation or transmission of cultural knowledge.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the type of community network, such as “Clan Association”, “Religious Society”, “Educational Guild”, “Dialect Association”, or “Social Club” (See Controlled Vocabulary – CV23 Community Network Types)
- P3 has note: Description (i.e. details of the network’s structure, role, operations, and relationship to performance activity)
- P15i influenced:
- P67 refers to:
- P70i is documented in:
- N4 has method (is method of):
- N25 related to (is related to):
- N27 has support (is support of):
PH48 Knowledge Transmission
This class models the processes and channels through which performance-related knowledge is passed across time, generations, and communities. It includes technical, artistic, ritual, cultural, and embodied forms of knowledge, transmitted through both formal and informal means such as oral tradition, apprenticeship, schools, guilds, print, or other pedagogical and communal practices. This class helps document how performance knowledge is preserved, taught, adapted, and sustained.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the method of transmission, such as “Oral Tradition”, “Apprenticeship”, “Written Text”, “School-based Instruction”, or “Guild Training” (See Controlled Vocabulary – CV24 Knowledge Transmission Methods)
- P3 has note: Description (i.e. the details of the knowledge transmitted, the mode of transmission, and the contexts in which transmission took place)
- P15i influenced:
- P67 refers to:
- P70i is documented in:
- N4 has method (is method of):
- N25 related to (is related to):
- N27i is support of: (e.g. schools, guilds, associations, or other collective structures that facilitate knowledge transmission)
PH49 Geographic Coverage
- P2 has type: ; specifies the type of geographic coverage, such as “Colonial Territory”, “Cultural Region”, “Administrative Region”, “Port Network”, or other territorial grouping (See Controlled Vocabulary – CV29 Geographic Coverage Types)
- P3 has note: Description (i.e. details of the spatial scope, extent, or significance of the geographic coverage)
- P70i is documented in:
- P89i contains:
- N52i is geographic coverage of:
PH50 Context
This class captures the symbolic, cultural, historical, and thematic frameworks that define or shape other entities (e.g., performances, persons, productions, festivals, rituals, etc.). Contexts include significant events, belief systems, ideologies, or conditions that motivate, influence, or frame artistic acts.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (may use named values from Controlled Vocabulary – CV10 Historical Contexts where relevant)
- P2 has type: (may be used for broader context categories such as colonial, wartime, postcolonial, diasporic, religious, etc.)
- P3 has note: Description (i.e. an overview of the historical, cultural, social, political, ideological, or thematic context relevant to the entity)
- P4 has time-span: (i.e. the start and end date, start and end time, date range or period of the context)
- P15i influenced:
- P70i is documented in:
- N24 has event (is event of): (i.e. an associated event that forms part of or exemplifies the context, such as the Japanese Occupation of Malaya – 1942–1945)
- N25 related to (is related to):
- N3 hasLocation (isLocationOf):
PH51 Support Agent
This class models the individuals, organisations, groups, patrons, intermediaries, or other actors that provide financial, logistical, symbolic, social, political, or cultural support to performances and related entities. Support agents may include sponsors, patrons, clan associations, impresarios, brokers, colonial officials, community organisations, local businessmen, or informal benefactors. They may fund performances, arrange logistics, secure venues, organise performances, host visiting troupes, support mobility, and shape artistic or organisational opportunities.
Superclass Of: None
Subclass Of:
Properties:
- P1 is identified by: (i.e. the name of the commissioner, supporter or patron)
- P2 has type: ; specifies the type of support agent, such as “Individual Patron”, “Agent or Middleman”, “Clan Association”, “Small Business”, “Colonial Official”, or “Sponsor” (See Controlled Vocabulary – CV13 Supporter Types)
- P3 has note: Description (i.e. the details of the support provided, including its nature, terms, significance, or historical impact)
- P15i influenced: (i.e. the performance entities whose activities, organisation, or opportunities were shaped by the support agent)
- P67 refers to:
- P70i is documented in:
- N3 has location (is location of): (i.e. the city, region, or country in which the support agent is based or operates)
- N8 has alternate: (i.e. alternative, historical, colloquial, or multilingual names of the support agent)
- N25 related to (is related to):
- N27i is support of:
PH52 Collaboration
This class captures structured or ad hoc collaborative arrangements among performers, troupes, or institutions. Examples include multiple troupes mounting a joint performance or a guest performer collaborating with a host troupe. The nature of a collaboration is usually for a limited or specific duration. This class centralises information about the type of collaboration, the collaborating partners, dates and timeframes, and any descriptive notes on how and why the collaboration was undertaken.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the nature of the collaboration, such as “Artiste–Artiste”, “Troupe–Troupe”, or “Artiste–Troupe” (See Controlled Vocabulary – CV25 Collaboration Types)
- P3 has note: Description (i.e. contextual or background information about the collaboration, including how it was formed and why it was undertaken)
- P4 has time-span: (i.e. the start and end dates, times, range, or period of the collaboration)
- P20 had specific purpose: ; i.e., the purpose or intended outcome of the collaboration, such as joint performance, co-production, training, exchange, or special event participation (See Controlled Vocabulary – CV26 Collaboration Purpose)
- P70i is documented in:
- P191 had duration: (the length of the collaboration)
- N28i is collaboration of:
- N29 collaborate with:
PH54 Source
- P1 is identified by: (i.e. the title of the source)
- P2 has type: ; specifies the type of source, such as “Archival Record”, “Photograph”, “Interview”, “Article”, “Painting”, or “Digital Media” (See Controlled Vocabulary – CV27 Source Types)
- P3 has note: Description (i.e. a summary or contextual description of the source and its relevance)
- P4 has time-span: (i.e. the date or period when the source was created, issued, recorded, or published)
- P53 has current location: (i.e. where the source is stored, held, or accessed, such as an archive, museum, library, or digital repository)
- P67 refers to:
- P94 was created by: (i.e. the person, organisation, or entity that created the source)
- N8 has alternate: (i.e. a formatted bibliographic citation, alternate title, catalogue reference, or other identifying citation form)
- N25 related to (is related to): any relevant entity documented, evidenced, or discussed by the source
PH55 Media
- P1 is identified by:
- P2 has type: ; specifies the type of media, such as “Photograph”, “Film”, “Audio Recording”, or “Video” (See Controlled Vocabulary – CV28 Media Types)
- P3 has note: Description (i.e. a summary or contextual description of the media and its relevance)
- P4 has time-span: (i.e. the date or period when the media was created, recorded, issued, or published)
- P43 has dimension: (physical dimensions, duration, or file extent, if applicable)
- P70i is documented in: (e.g. sources that provide information about the media, its production, provenance, or use)
- N25 related to (is related to): any relevant APHon entity
PH57 Support Activity
This class models specific acts of support that enable, sustain, or facilitate performance and related activities, such as sponsorship, fundraising, talent scouting, venue booking, hosting, logistics, publicity assistance, or other formal and informal forms of support. These activities may be carried out by supporters, community organisations, networks, or other agents and can affect both single events and longer-term performance activity.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the type of support activity (See Controlled Vocabulary – CV14 Support Types)
- P3 has note: Description (i.e. details of the support function, including what was done, for whom, and with what effect)
- P4 has time-span: (i.e. the date, duration, or period of the support activity)
- P14 carried out by:
- P70i is documented in:
- P191 had duration: (i.e. the duration of the support activity)
- N27i is support of:
PH58 Schedule
This class models a programme, plan, or procedural arrangement that defines the timing, sequence, and structure of performance-related events. A schedule may include dates, running orders, intervals, assigned venues or stages, and the ordered arrangement of performances, productions, or segments. It can apply to a single performance, a festival line-up, a playbill, a repertory plan, or a touring itinerary.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the type of schedule, such as “Playbill”, “Performance Timetable”, “Tour Itinerary”, “Festival Programme”, or “Repertory Plan”
- P3 has note: Description (i.e. details of the schedule, including its structure, sequence, timing, or organisational logic)
- P4 has time-span: (i.e. the date, time, or temporal span covered by the schedule or by a scheduled segment)
- P67 refers to:
- P70i is documented in:
- P46 is composed of: (i.e. other schedule segments)
- N3 has location (is location of):
- N53i is schedule of:
- N59 has schedule number (is schedule number of):
PH59 Repertoire
- P2 has type: ; specifies the type of repertoire, such as “Seasonal”, “Ritual”, “Classic”, “Touring”, or “Institutional”
- P3 has note: Description (i.e. details of the repertoire’s scope, contents, organisation, origin, or significance)
- P17 was motivated by: (i.e. the reason, rationale, lineage, occasion, or cultural basis behind the repertoire)
- P94i was created by:
- P148i is component of:
- P67 refers to:
- P70i is documented in:
- N25 related to (is related to):
PH60 Reception
This class models the socially situated responses of audiences, critics, institutions, or communities to a performance or related entity. Reception may include live, immediate, delayed, or mediated reactions, such as applause, reviews, commentary, censorship, protest, endorsement, or communal remembrance. It is understood as an act of interpretation and meaning-making that takes place within particular historical, cultural, political, and social contexts.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the type of reception, such as “Audience Response”, “Critical Review”, “State Censorship”, “Community Endorsement”, or “Protest”
- P3 has note: Description (i.e. a summary or narrative of the response, including its tone, form, and significance)
- P4 has time-span: (i.e. when the reception took place)
- P7 took place at:
- P14 carried out by:
- P15 was influenced by:
- P67 refers to:
- P70i is documented in:
- N25 related to (is related to):
- N54i is reception of:
PH61 Kinship Relationship
This class models a familial or socially recognised relationship between two or more individuals, whether by blood, marriage, adoption, affinity, or fictive kinship. It captures relationships that shape life course, social connection, inheritance, training, or performance history, including parent-child, sibling, spousal, generational, sworn, or mentor-apprentice ties. The class is intended for kinship as socially recognised relationship, including culturally specific forms of relatedness.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the type of kinship relationship, such as “Biological”, “Adoptive”, “Marital”, “Affinal”, “Fictive”, or “Mentorship” (See Controlled Vocabulary – CV30 Kinship Types)
- P3 has note: Description (i.e. contextual or background information about the relationship and the factors that shaped or defined it)
- P4 has time-span: (i.e. the date or period during which the relationship was recognised, active, or socially relevant)
- P70i is documented in:
- P191 had duration: (i.e. the duration for which the relationship was recognised or relevant, where known)
- N60 involves person:
- N61 has kinship role: (i.e. the specific role occupied by each participant in the relationship, such as “Sworn Brother”, “Husband”, “Adoptive Parent”, “Godchild”, “Mentor”, or “Apprentice”. See Controlled Vocabulary – CV31 Kinship Roles)
PH62 Performance Role
- P1 is identified by: (i.e. the label or name of the performance role, such as lead actor, comic performer, singer, dancer, narrator, musician, ritual officiant, or stage assistant)
- P2 has type: ; specifies the broader type or classification of the performance role, including genre-specific, function-specific, or tradition-specific role categories where relevant
- P3 has note: Description (i.e. a description of the role, including its function, duties, significance, or performance context)
- P70i is documented in:
- N22i is role of:
PH63 Community and Cultural Group
This class models a social or cultural collectivity that shares forms of identity, affiliation, locality, language, ethnicity, religion, origin, diasporic connection, practice, status, or common interest, and that may shape, support, receive, or be shaped by performance. It includes communities, publics, constituencies, diasporic groups, and other social collectivities that form part of the wider social worlds in which performance takes place.
Superclass Of: None
Subclass Of:
Properties:
- P2 has type: ; specifies the type of community or social group, such as “Hokkien Community”, “Tamil Muslim Community”, “Peranakan Chinese Community”, “Eurasian Catholic Community”, “Malay Royal Court”, or “Teochew Diaspora”
- P3 has note: Description (i.e. details of the group’s identity, characteristics, role, or significance in relation to performance)
- P15i influenced:
- P67 refers to:
- P70i is documented in:
- N25 related to (is related to):
- N27 has support (is support of):