general safety inside the workplace These signs remind workers of the different

safety rules and regulations inside the workplace. They help promote general
safety inside the workplace, which helps minimize industrial accidents. There are
different types of General Workplace Safety Signs, including Safety Wall Charts
and Safety Posters for permanent and temporary safety reminders. Double-
Faced or Double-Sided Safety Sings, which display two warning messages, and
Universal Graphic Signs are also available.

general safety signs clearly communicate potential hazards or conditions likely

to cause danger, risk, or injury with the goal of keeping employees and workers
safe.

Traffic lights, also known as traffic signals, traffic lamps, traffic semaphore, signal
lights, stop lights, robots (in South Africa and most of Africa), and traffic control
signals (in technical parlance),[1] are signalling devices positioned at road
intersections, pedestrian crossings, and other locations to control flows of traffic.

The world's first traffic light was short lived. It was a manually operated gas-lit
signal installed in London in December 1868. It exploded less than a month after
it was implemented, injuring[2] its policeman operator. Traffic control started to
seem necessary in the late 1890s and Earnest Sirrine from Chicago patented the
first automated traffic control system in 1910. It used the words "STOP" and
"PROCEED", although neither word lit up.[3]

No Entry Signs. No Access signs are used to show when, where and to whom
access is not allowed. ... No entry signs are in important part of site safety
signage and protecting the security and privacy of your buildings.
Peking opera, or Beijing opera (Chinese: 京剧; pinyin: Jīngjù), is a form of Chinese opera which
combines music, vocal performance, mime, dance and acrobatics. It arose in the late 18th
century and became fully developed and recognized by the mid-19th century.[1] The form was
extremely popular in the Qing dynasty court and has come to be regarded as one of the
cultural treasures of China.[2] Major performance troupes are based in Beijing and Tianjin in the
north and Shanghai in the south.[3] The art form is also preserved in Taiwan (Republic of China),
where it is known as Guójù (traditional Chinese: 國劇; simplified Chinese: 国剧; literally: "National
theatre"). It has also spread to other countries such as the United States and Japan. [4]

Peking opera features four main types of performers. Performing troupes often have several of
each variety, as well as numerous secondary and tertiary performers. With their elaborate and
colorful costumes, performers are the only focal points on Peking opera's characteristically
sparse stage. They use the skills of speech, song, dance and combat in movements that are
symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated
according to the beauty of their movements. Performers also adhere to a variety of stylistic
conventions that help audiences navigate the plot of the production. [5] The layers of meaning
within each movement must be expressed in time with music. The music of Peking opera can be
divided into the Xipi (西皮) and Erhuang (二黄) styles. Melodies include arias, fixed-tune melodies
and percussion patterns.[6] The repertoire of Peking opera includes over 1,400 works, which are
based on Chinese history, folklore and, increasingly, contemporary life.[7]

"Peking opera" is the English term for the art form; the term entered the Oxford English Dictionary
in 1953.[9] Beijing opera is a more recent equivalent.

In China, the art form has been known by many other names in different times and places. The
earliest Chinese name was a combination of the Xipi and Erhuang melodies, and was called Pi
Huang. As it increased in popularity, its name became Jingju or Jingxi, which reflected its start in
the capital city, Jing, and the form of the performance, Xi. From 1927 to 1949, Beijing was known
as Beiping, and Peking opera was known as Pingxi or Pingju (Traditional 平劇, Simplified 平剧) to
reflect this change. Finally, with the establishment of the People's Republic of China, the name
of the capital city was reverted to Beijing, and the formal name of Beijing theatre in Mainland
China was established as Jingju. The Taiwanese name for this type of opera, Guoju, national
theatre style, reflects disputes over the true seat of the Chinese government.[10]

Peking opera and its stylistic devices have appeared in many Chinese films. It often was used to
signify a unique "Chineseness" in contrast to sense of culture being presented in Japanese films.
Fei Mu, a director of the pre-Communist era, used Peking opera in a number of plays, sometimes
within "Westernized", realistic plots. King Hu, a later Chinese film director, used many of the formal
norms of Peking opera in his films, such as the parallelism between music, voice, and gesture. [91]
In the 1993 film Farewell My Concubine, by Chen Kaige, Peking opera serves as the object of
pursuit for the protagonists and a backdrop for their romance. However, the film's portrayal of
Peking opera has been criticized as one-dimensional.[92] Chen returned to the subject again in
2008 with the Mei Lanfang biopic Forever Enthralled. Peking opera is also featured in Peking
Opera Blues by Tsui Hark.
The sakuting dance, originally performed solely by boys, portrays a mock fight using sticks. A
sakuting stick is striped or bamboo and is about 1½ feet long and tapered at the end, like a
candle. Its original use was for combat training. During the playful folk dance, two teams, one
representing each side, circle and clash bamboo sticks in a gentle imitation of martial arts
sparring. Its dance form is the comedia (a theatrical dance, also called moro-moro) and
features a battalla (choreographed skirmish).

History
Sakuting (pronounced seh-KOOH-tihng) comes from the province of Abra, home to the Ilocano
people native to the lowlands and the Tingguian mountain tribes. The Spanish established a
garrison to protect Ilocanos who converted to Christianity, and their capital city, Bangued, from
raids by the mountain tribes. Introduced by Spanish missionaries as religious ritual, the sakuting
dance portrays this struggle between the lowland Christians and the non-Christian mountain
people. Sakuting’s origins, however, appear much older.

Origin
Arnis, the traditional Filipino art of stick fighting, employed readily available weapons by simple
people seeking self-protection. The occupying Spanish banned the practice of Arnis, forcing it
into secret. Filipinos found ways to openly retain the practice by making the Arnis movements
part of folk dances. Sakuting is actually a two-stick Arnis exercise set to music.
The Music

The traditional music styles for sakuting portray the dual influences of China and Spain. Its
staccato inflections and rhythmic tapping suggest a strong Chinese influence. The music itself is
played by a rondalla, a native string ensemble of plectrum (plucked with tortoiseshell
fingerpicks) instruments influenced by Spanish stringed instruments, that includes bandurria, laud,
octavina, mandola, guitarra and bajo de uñas, or double bass.

The Dance

Dancers use one and two sticks throughout the performance to tap the floor and each other’s
sticks. Dance steps are a combination of marching and small forward or sideways shuffle steps
while circling and interchanging positions with other dancers. Some modern interpretations are
more athletically demonstrative of the martial arts, while others add ballet movements. Dancers
twirl the sticks, hitting them against opponents’ sticks, displaying a mock fight.

Performances
The Ilocano people customarily perform the sakuting dance as part of Christmas celebrations.
Performed at the town plaza or from house to house, the dance allows the opportunity for
spectators to give the dancers aguinaldos—gifts of money, drinks, fruits and refreshments
prepared especially for Christmas much like the English custom of caroling.