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

 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

, 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.

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

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

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)

3. The system should be able to detect

singers’ abdominal breathing with

suitable sensors.

4. The system shall be able to detect hand

gestures (instrument imitation)/position

and general postures.

5. The system should be able to detect

singers’ facial movements

6. The system should be able to detect

singers’ gaze

7. The system should be able to detect the

reciprocal positions of singers

8. The system should be able to detect the

contacts among the singers

9. The system should be able to capture

several singers (max.4) together and be

able to separate their single voices

10. Sensors should not affect the

performance of singers; sensors

technology should cause no or minimal

disturbance to the singers.

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

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.

). 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

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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