A Participatory Approach to Define User Requirements
of a Platform for Intangible Cultural Heritage Education
Francesca Pozzi, Alessandra Antonaci, Francesca Maria Dagnino, Michela Ott and Mauro Tavella
Consiglio Nazionale delle Ricerche, Genova, Italy
Keywords: Intangible Cultural Heritage, User and System Requirements, Participatory Design Approach,
Interdisciplinarity, Collaboration.
Abstract: In the last years the protection and safeguarding of cultural heritage has become a key issue of European
cultural policy and this applies not only to tangible artefacts (monuments, sites, etc.), but also to intangible
cultural expressions (singing, dancing, etc.). The i-Treasures project focuses on some Intangible Cultural
Heritages (ICH) and investigates whether and to what extent new technology can play a role in the
preservation and dissemination of these expressions. To this aim, the project will develop a system, based
on cutting edge technology and sensors, that digitally captures the performances of living human treasures,
analyses the digital information to semantically index the performances and their constituting elements, and
builds an educational platform on top of the semantically indexed content. The main purpose of this paper is
to describe how the user requirements of this system were defined. The requirements definition process was
based on a participatory approach, where ICH experts, performers and users were actively involved through
surveys and interviews, and extensively collaborated in the complex tasks of identifying specificities of rare
traditional know-how, discovering existing teaching and learning practices and finally identifying the most
cutting edge technologies able to support innovative teaching and learning approaches to ICH.
1 INTRODUCTION
In the last decades the protection and promotion of
cultural heritage has become a central topic of
European and international cultural policy. Besides
UNESCO, who has been active in defining cultural
heritage and ensuring its protection, other
institutions and organizations around Europe have
been involved with documenting and providing
access to different forms of cultural heritage
(ranging from archaeological sites and natural parks,
to museum collections and folk traditions). In this
process, a significant body of resources dealing with
the documentation and promotion of cultural
heritage through different technologies has been
developed. There is little doubt that digital
technologies have revolutionized scientific and
public access to cultural heritage (Cameron &
Kenderdine, 2010, Ioannides et al., 2010), and that
these technologies may open the way to innovative
teaching and learning practices in this field (Ott &
Pozzi, 2011).
Moreover, following the adoption of the
Convention for the Safeguarding of Intangible
Heritage in 2003, even the protection of cultural
traditions has become prominent on an international
level, as these are considered threatened by
processes of globalization. According to the 2003
Convention (UNESCO, 2003), it falls upon national
governments, cultural organizations and practicing
communities to transmit these vulnerable cultural
expressions to the next generations. Safeguarding
activities vary according to local and national
contexts (Alivizatou, 2012).
Interestingly, although modern technologies are
sometimes identified as a threat to traditional
expressions, it is these very technological
innovations that frequently play a key part in the
preservation and dissemination of intangible
heritage.
In this vein, the i-Treasures project, funded under
the 7th FP, looks at a number of rare and valuable
living expressions and traditions which are still
transmitted orally or by imitation, and proposes
novel methodologies and new technological
paradigms for the analysis and modelling of these
Intangible Cultural Heritages (ICHs), with the
ultimate aim of preserving and disseminating them
782
Pozzi F., Antonaci A., Dagnino F., Ott M. and Tavella M..
A Participatory Approach to Define User Requirements of a Platform for Intangible Cultural Heritage Education.
DOI: 10.5220/0004873507820788
In Proceedings of the 9th International Conference on Computer Vision Theory and Applications (IAMICH-2014), pages 782-788
ISBN: 978-989-758-004-8
Copyright
c
2014 SCITEPRESS (Science and Technology Publications, Lda.)
by possibly supporting innovative learning
approaches to ICH. To this aim, a complex system
for data capturing, analysis and fusion will be
developed together with a platform with research
and education purposes. In order to build this
system, requirements have been defined using a
participatory approach (Schuler & Namioka, 1993;
Kautz, 2011), where ICH experts, performers and
users have been actively involved through surveys
and interviews.
This paper illustrates the process undertaken by
the project partners towards the definition of the
users’ requirements for the i-Treasures platform. In
the following, a short introduction to the project is
provided, as understanding the context should allow
a better comprehension of the choices taken during
the process of requirements’ definition.
2 THE CONTEXT:
THE I-TREASURES PROJECT
The i-Treasures project makes an extensive use of
cutting edge ICT and sensor technologies with the
aim of developing “an open and extendable platform
providing access to ICH resources, enabling
knowledge exchange between researchers and
contributing to the transmission of rare know-how
from Living Human Treasures to apprentices”
(http://www.i-treasures.eu/). Besides, the project
aims to propose new methods, employ and create
innovative tools able to support and enhance the
passing down of rare know how to new generations.
Starting from ‘capturing’ the key aspects and
features of the different ICHs, within the project a
process of data modelling is carried out, which relies
on advanced Semantic Multimedia Analysis
techniques. The new data acquired thus give life to a
knowledge base containing a wealth of information
never available before, in such a way that it is
possible to shape a variety of different
teaching/learning paths, serving different scopes and
specific educational needs, all aimed at contributing
to the transmission of these peculiar artistic and
cultural expressions.
Thus, the i- Treasures platform is expected to
take learners beyond the concept of “learning by
imitation”; besides offering the opportunity to
acquire a variety of new information on the ICHs in
different formats, it will also allow learners to be
exposed to multi-modal and multi-sensory learning
experiences, carrying out individual trials and
receiving appropriate feedback, so to reach increased
levels of competence in an easier, more direct,
quicker and effective way (Dias et al., 2014).
Table 1: List of the ICHs considered in the project.
Use
Case
Sub Use
case
Listed by
UNESCO
Country
RARE SINGING
Byzantine
music
Not listed Greece
Cantu in
Paghjella
List of Int.
Cult. Her. in
Need of
Urgent
Safeguarding
Corse-
France
Canto a
Tenore
Representative
List of the
Intangible
Cultural
Heritage of
Humanity
Sardinia-
Italy
Human
Beat Box
Not listed worldwide
RARE DANCING
Căluş
dance
Representative
List of the
Intangible
Cultural
Heritage of
Humanity
Romania
Tsamiko
Greek
dance
Not listed Greece
Walloon
traditional
dance
Not listed
Belgium
Contempor
ary dance
Not listed Worldwide
CRAFT
SMAN-
SHIP
The art of
pottery
not listed Greece
France
Turkey
CONTEMPORARY
MUSIC COMPOSITION
Based on
music
patterns of
Beethoven
Haydn or
Mozart
not listed Worldwide
In the wide panorama of the existing ICHs, the
project examines in detail four use cases (areas of
ICH), namely: 1) rare singing 2) dancing 3)
craftsmanship and 4) contemporary music
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composition. Each use case has been further
instantiated in different “sub-use cases”. Table 1
contains the list of the sub-use cases tackled by the
project and for each of them, the table specifies:
whether the sub-use case is included in one of the
UNESCO lists of Intangible Cultural Heritage and
the country of origin. The variety of the ICHs taken
into consideration by the project represents one of
the main challenges for the requirements’ definition.
The main purpose of this paper is to describe
how the user requirements of the i-Treasures
platform were defined. The requirements definition
process was based on a participatory approach
(Schuler & Namioka, 1993; Kautz, 2011), where
experts, performers and users were actively involved
through surveys and interviews, and extensively
collaborated in the complex tasks of identifying
specificities of rare traditional know-how,
discovering existing teaching and learning practices
and finally identifying the most cutting edge
technologies able to support innovative learning
approaches to ICH.
3 METHOD
Any software development process goes through the
phase of requirements engineering, which is the
process of discovering, analyzing, documenting and
validating the requirements of the system to be
developed (IEEE, 2004). Usually, defining the user
and system requirements implies to identify all the
stakeholders (users, customers, developers, etc.),
take into account all their needs and negotiate with
them what the system will be able to offer (Wiegers,
1996).
Analysts can employ several methods and
techniques to elicit the requirements from the
users/customers. As matter of fact, often this is a
collaborative and participatory process, envisaging a
continuous and intensive dialogue among the
stakeholders. Such dialogue may be based on the
development of ‘scenarios’ and/ or ‘use cases’ (as it
happens in the agile methods – Beck et al., 2001),
the use of focus groups, workshops, interviews,
questionnaires with the users/customers, more
ethnographic approaches based on the direct
observation of the users’ actions/needs, the study of
the documentation of previous systems, etc. So,
defining the requirements may be a very complex
process, encompassing the use of more than one
method or technique (Sommerville & Sawyer,
1997). The outcome of this complex process of
elicitation is a list of requirements, stating what the
system will do (rather than how it will do this)
(IEEE, 1998).
In the context of the i-Treasures project, the
stakeholders include: experts of the various ICHs
(performers); apprentices/students of the various
ICHs; basic users of the system (teachers, amateurs,
academics, etc.); researchers (in various fields);
system developers; all the partners of the i-Treasures
consortium (who in some cases play one or more of
the above mentioned roles). To be noted, that the
partnership in itself is internally characterized by a
high level of interdisciplinarity, as it consists of
people from various research fields, including
anthropology, ICT, bio/physical, educational, etc.
Clearly, acquiring knowledge about the ten
application domains (i.e., the ten sub-use cases of
the project, see Table 1) of the system that will be
developed, is an essential step in i-Treasures, where
we deal with very different and very complex
domains (from singing to dancing and even to
craftsmanship), which are very often based on tacit
knowledge still belonging to experts/performers. As
a consequence of this, a participatory design
approach was adopted, envisaging continuous
interactions among the various stakeholders. In
particular, this occurred at two levels: within the
partnership, and between the partners and the
experts/performers. User and expert groups in the
various sub-use case communities were set up, who
will constitute the main interlocutors in all the
following phases of the project.
Due to the high level of interdisciplinarity, early
in the process a need emerged to share terminology
and meanings, so to avoid inconsistences and
misunderstandings. Besides, given that the ICH
preservation and education research field in itself
still needs to be consolidated and its research
community is still to be shaped, the building up of a
common Glossary was proposed as a means for
everyone (experts, researchers, developers, etc.) to
define concepts and boundaries. Thus, the Glossary
is conceived as a working tool, which will be
enriched through time during the project life span,
and will remain as a legacy for the ICH communities
after the end of the project.
Given that the project addresses ten different
sub-use cases, it was also necessary to allow the
analysis of the various cultural expressions in a
homogenous way, at the same time respecting the
peculiarities of each context. This led us to conceive
a common framework for the description of the
ICHs, which was then taken up and customized by
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the different sub-use case leaders
1
, according to the
specificities of each context and target population.
The common framework encompassed a number of
dimensions:
the General information about a specific artistic
expression identifies the domain where the
expression is rooted (dancing, singing, etc.) and
gives an overview of its main characteristics (in
terms of historical and geographical origins, etc.);
the Physical dimension is aimed to describe how
the performer should use the body, what specific
parts of the body are involved, how, etc.;
the Emotional dimension is related to the
performer’s feelings during the performance,
her/his affective states, etc.;
the Social dimension has to do with the
relationships (if any) the performer has with the
other people involved in the performance (other
performers, audience, etc.);
the Knowledge and meta-knowledge dimension
includes both the theories (notions, techniques,
styles, etc.) and practice the performer needs to
master, and those s/he will need to keep under
control during the performance itself;
the Context/environment dimension describes the
place where the artistic expression is usually
carried out, its main characteristics and the
tools/costumes, etc. the performer needs to use;
the Teaching and learning dimension investigates
how the cultural expression is traditionally ‘taught’
or ‘transmitted’, if there is an official training path
to be followed (with schools, teachers, etc.) or if
learning occurs through informal methods
(observation, apprenticeship, etc.);
lastly, the Value should highlight the aspects of
each cultural tradition that experts and local
communities consider valuable and the reasons
why they think it is important to safeguard and
preserve that specific cultural expression.
As already mentioned, these dimensions were
taken up by each sub-use case and customized; such
customization process was carried out at two levels:
through online interactions among the project
partners (in forums) and, in parallel, through
interactions with the various ICH experts to
guarantee correctness and consistency.
The result of this customization process was the
construction of ten questionnaires (one for each sub-
use case), which are all based on the common
framework, but contain specific questions.
1
Partners of the project responsible for a certain sub-use case.
The following table (Table 2) presents examples of
questions conceived for the Canto a Tenore sub-use
case.
Table 2: Examples of questions for the Canto a Tenore.
DIMENSION
Exemplar questions for one specific sub-use
case (i.e., Canto a Tnore)
General info
What is the Canto a Tenore (genre, basic
features, etc.)
What are the main distinctive traits
characterizing this artistic expression?
What are the origins of the Canto a Tenore?
What is the diffusion of this singing? […]
Physical
dimension
What are the typical positions (if any) taken
by the singer while singing?
What are the main body movements that
activate when the singer sings?
What are the main gestures (fingers / hands)
(if any) put in place by the singer when he
sings?
What internal organs are involved during
the performance? […]
Emotional
dimensions
Is there any mental or emotional attitude
required by the performer during the
performance?
What are the performer’s feelings while
performing? […]
Social
dimension
Does the performer usually perform alone
or together with other people?
What kind of relationship (if any) does the
performer need to have with the other
performers/with the audience? […]
Knowledge and
meta-knowledge
dimension
What theoretical aspects/notions are
important for the performance?
What practical skills are important for the
performance? […]
Context
/environment
dimension
Where does the performer usually perform?
Does the environment need to be specifica-
lly configured for the performance?
Does the performer need any specific tool
/instrument to carry out the performance?
[…]
Teaching and
learning
dimension
So far, how do people learn this ICH (by
imitation, through dedicated training
initiatives, etc.)?
Where does this mainly happen (in informal
settings, in formal educational settings, etc.)?
What is the typical learning path to be
followed by a leaner (stages, duration,
apprenticeship, etc.)?
Are there people officially entitled to teach
(‘teachers’) or is this delegated to
practitioners (for example Living Human
Treasures)? […]
Value
What is the real ‘value’ of this artistic
expression (historical value, economic
value, innovation value, uniqueness value,
cultural value, etc. …)?
What is the reason why you think this
artistic expression is deemed to be
safeguarded and preserved? […]
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The ten questionnaires were then delivered to the
performers with different modes, according to the
local contexts and needs. In particular, while in
some contexts the direct contact with the performers
was preferred and the questionnaires were delivered
either in the form of paper questionnaires (Canto a
Tenore), or as one-to-one interviews (Canto in
Paghjella), in other contexts the questionnaires were
delivered through mailing lists and online surveys
(Human Beat Box) and lastly in other contexts a
blended approach was adopted to reach the highest
number of people (rare dancing).
Overall, the delivery of the questionnaires to the
various communities of experts/performers, allowed
the project to collect a huge amount of data on the
ten sub-use cases. Nonetheless, it is worth
mentioning the fact that not all the communities
responded in the same way, so while for some sub
use cases the project could count on high rates of
respondents, in other cases the rate was pretty low.
To explain this phenomenon, various barriers have
been identified, including psychological barriers (for
some of the experts it was difficult to accept the idea
to use new technologies for the preservation and the
transmission of their skills and know-how) and
practical problems (geographical distance, low
availability of persons, etc.).
The result of this effort consists of a detailed
account for each sub-use case, containing
information about the main features of these cultural
expressions.
The analysis of these data, together with an
exhaustive state of the art review which was
conducted in parallel by the project consortium,
allowed to define a first set of user requirements for
the i-Treasures system (Pozzi et al., 2013). The
analysis contains also germs of the ontologies that
the project will build in the next few months for
each sub-use case.
4 RESULTS
Drawing on the analysis of the data derived from the
questionnaires distributed to the communities of
experts/performers, it was possible to define basic
user requirements for the i-Treasures system. Of
course there are requirements that are common to
various sub-use cases, others are peculiar only to one
(or some) of them.
The various dimensions of the questionnaires
served to identify a set of requirements, which were
then grouped into ‘categories’, which will constitute
the ‘sub-systems’/modules of the i-Treasures
platform. Thus, the system will encompass 4 sub-
systems, i.e., the data capture and analysis sub-
system, the data fusion and semantic analysis sub-
system, the 3D module for sensorimotor learning
and the web platform for research and education
2
.
The following table (Table 3) shows an excerpt
of the overall list of the i-Treasures requirements
(Data capture and analysis for the Canto a Tenore
sub-use case).
Table 3: Examples of requirements for the Canto a Tenore
(data capture and analysis sub-system).
DATA CAPTURE AND ANALYSIS
M/D
1. The system shall be able to capture the
sound in a high quality in order to
produce the related spectrogram and to
identify fundamental frequencies,
ornamentations, consonants, utter, and
improvisations
M
2. The system shall be able to detect the
singer’s vocal tract engagement (e.g.
tongue, mandibles, lips, anterior
pharyngeal wall, vocal folds and vocal
track constriction)
M
3. The system should be able to detect
singers’ abdominal breathing with
suitable sensors.
D
4. The system shall be able to detect hand
gestures (instrument imitation)/position
and general postures.
M
5. The system should be able to detect
singers’ facial movements
D
6. The system should be able to detect
singers’ gaze
D
7. The system should be able to detect the
reciprocal positions of singers
D
8. The system should be able to detect the
contacts among the singers
D
9. The system should be able to capture
several singers (max.4) together and be
able to separate their single voices
D
10. Sensors should not affect the
performance of singers; sensors
technology should cause no or minimal
disturbance to the singers.
D
M = Mandatory requirement, D = desirable requirement.
As to the main functionalities envisaged for the i-
Treasures system, one affordance will be to allow
the detection and capturing of the ICH main
features. In particular this will include capturing any
2
The categories originally identified were five, but then, in the
sub-sequent phases of the process, it was agreed that two of
them could be merged (D2.2: First Report on System
Specification).
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relevant performer’s posture and movements
(especially: total body, feet, leg, hand and fingers,
vocal tract, gaze, face, etc.), capturing sounds
(through recordings, etc.), capturing contextual
conditions (i.e., accessories and tools of any kind
used by the performer), capturing any interactions
with others, capturing single roles, single styles, and
detect synchronization aspects (among performers,
among different ‘actions’ by the same performer,
etc.).
To do this, the system will need to include a
variety of sensors, including: optical sensors, depth
sensors, inertial sensors, electroglottographs sensors
(EGG), electroencephalograms sensors (EEG),
ultrasound sensors and other sensors (such as for
example piezoelectric accelerometer, universal
breathing belt, etc.
3
). Given that the system will use
all these sensors, it is an issue that these sensors
shall not disrupt or influence the performance.
Besides, the system shall be able to operate
directly on the output of the aforementioned sensors;
in particular, since the system will perform
multimodal data capture and analysis, it will need to
perform early data fusion covering the following
areas: facial expressions, body and gestures, EEG
signals, vocal tract and sound.
The system shall also be able to detect basic
features/sequences/patterns of a performance,
categorize improvisation patterns, as well as detect
deviations from standard performance, so that the
3D visualization for sensorimotor learning module is
able to support users to learn, practice and master
one specific ICH.
Another important category of functionalities of
the i-Treasures system has to do with its ability to
guarantee access to data and information concerning
the ICHs. This means that the system will allow the
storage of multi-media information (video, audio,
images, text, etc.) and provide adequate and multi-
searching functionalities to allow easy retrieval of
this information. The system shall guarantee multi-
lingual data.
Another affordance of the system has to do with
providing support to teaching and learning
processes. This means that the system will offer the
teacher the possibility to design innovative learning
activities for a specific sub-use case, while the
student will be able to carry them out and will be
assessed. In particular, the system will allow to set
up and deliver standard learning paths, as well as
personalized ones, and the learning path will
3
The latter category of sensors has been identified in D2.2: First
Report on System Specification.
possibly adapt dynamically based on the student
performance in previous activities. The system will
support individual activities, as well as group work,
offering also communication tools; besides activities
may include: readings, exercises (quizzes, etc.),
imitation, listening/looking at performances
(focusing on roles/styles/sequences/patterns, etc.),
3D visualization of models/sounds/movements, etc.,
practicing and receiving immediate feedback, etc.
The requirements for the i-Treasures platform,
which have been synthesized above, represent one of
the main output of the complex process the project
underwent in the past few months. The overall
requirement definition process and the participatory
approach adopted turned out to be very fruitful, as
they allowed the definition of a set of requirements
which can be considered ‘common’ to all the use-
cases, while others are specific for the single sub-use
cases. At the same time, the participatory approach
required a great effort in terms of coordination and
management: in particular, the effort to negotiate a
common vocabulary among people coming from
very different fields and with different competences
and needs, as well as the idea of building a common
framework for describing all the ICHs, although
necessary, were particularly challenging. At the
same time, adopting other, less participative
approaches to define the users’ requirements, would
have been a non-sense in the unexplored field of
ICH, where capturing the experts’ know-how is an
essential step of the process.
5 CONCLUSIONS
In this paper we have presented the complex work
that has led to the preliminary definition of the user’
requirements for the i-Treasures system. The process
has been highly collaborative and inter-disciplinary,
with a strong effort devoted to involve all the main
stakeholders, including not only the various partners
with their variety of competences, but also the
communities around the single ICHs considered by
the project. The effort has given very good results, in
terms of sub-use case analysis and knowledge
domain definition, which have then nurtured the
process of requirements’ definition.
One of the main outcome of such process has
been the development of a deep understanding of the
sub-use cases, especially if we consider that for most
of the sub-use cases, this represents the first real
attempt to derive a knowledge representation model.
The deriving list of requirements is certainly
another important result of such effort, but this is
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still preliminary and will need to be further refined
in the future.
Lastly, the direct involvement of the experts/
performers should be regarded per se as one of the
most outstanding outcome of this stage of the
project. The collaboration process just started with
them will certainly be further reinforced and other
interactions with the experts will be planned in the
near future, with the main aim to enrich the already
available data; in particular this will lead to develop
ontologies for the considered ICHs and possibly to
design innovative teaching/learning paths exploiting
the possibilities offered by the i-Treasures system.
ACKNOWLEDGEMENTS
The research leading to these results has received
funding from the European Community's Seventh
Framework Programme (FP7-ICT-2011-9) under
grant agreement no FP7-ICT-600676 ''i-Treasures:
Intangible Treasures - Capturing the Intangible
Cultural Heritage and Learning the Rare Know-How
of Living Human Treasures''.
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