Those who could afford to erected monuments to themselves along the route so that even in the afterlife they would still be able to participate in the festival. Performance in Egypt persisted for another millennia as described by the Rhind mortuary papyri which records the burial ceremonies of Menthesuphis and his wife who perished circa 9 BCE entailing a "dramatic performance, with the priests assuming the roles of the gods." In these instances ritual is enacted through performance in order to join the realms of the living with the dead and also to create a space where the worlds of the living and dead could simultaneously merge as "this complex festival culture connect(s) heaven, the earth, and the world of the dead". Recurring festival performances were held annually or seasonally. As festival culture emerged, so too did the ritual performances or 'festival plays' that served the purpose of both associating the ruling king with the gods as exemplified in the Luxor feast which was annually performed as a "cultic affirmation of the king as son of god (Amun)", as well as during the Festival of Valley when the king associated himself with his forefathers in the cult of the 'ancestor gods' in order to "assure himself of their blessings as the legitimate son of his bodily ancestors". Traces of the Osiris Myth as performance archaeology have endured and can be seen in modern stories such as Hamlet and The Lion King. In Classical India, theatre was used as a way to both provide a source of entertainment as well as to relay moral advice from their epic poetry. The Natya Shastra is a Sanskrit text dating back to the 5th century describing the performing arts. Episodes of the performances are depicted in sixty-two reliefs found within Prambanan temple located in Java. Music, dance and theatre were all closely interwoven within both the Hindu and Buddhist cultures. Kabuki  Ancient Greek tragedy has been linked to rituals stemming from the cult of Cult of Dionysus. Musicians and Dancers played important roles in ancient Egyptian performance. Elite women in ancient Egypt adorned their hips with trinkets including not only aesthetically pleasing ornamental gold, shells and jewels, but also noise-making trinkets that were thought to both ward off evil spirits and invoke the goddess Hathor and appeal to her sexual nature in order to promote fertility. Modern belly dance is thus a derivative of this older Egyptian practice. Through the archaeological record dancers can be seen in artwork such as the Tomb of the Dancers painting in Thebes.