Visualising and revitalising traditional Chinese martial arts

2019 ◽  
Vol 37 (2) ◽  
pp. 273-292
Author(s):  
Patrick Lo ◽  
Holly H.Y. Chan ◽  
Angel W.M. Tang ◽  
Dickson K.W. Chiu ◽  
Allan Cho ◽  
...  

Purpose The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong. Design/methodology/approach A questionnaire survey in both online and paper-based formats was used for identifying visitors’ experiences in the interactions with the multimedia technologies. For this research study, a questionnaire, consisting of 26 items, was set out to measure the visitors’ experiences at the Exhibition. Since the Exhibition was about presenting a centuries-old Chinese cultural heritage, Hakka Kungfu via the use multimedia technologies, in the context of establishing a dialogue between the past and present, the researchers included questionnaire items that were devoted to enquire about the level of understanding, knowledge and enjoyment, and visitors’ new knowledge about Hong Kong history and culture was successfully disseminated to the respondents at the end of the questionnaire. Findings A total of 209 completed questionnaires were collected at this Hakka Kungfu Exhibition. The findings reveal that the exhibits did attract people at all ages. This Exhibition gave the visitors a sense of interest and wonder in the object and information presented in the Exhibition. Findings of this study also reveal that this Exhibition has successfully attracted a large number of female visitors, as well as visitors who have never taken any martial arts training. In addition, visitors’ Exhibition experience was found to be memorable, as well as enjoyable. Furthermore, visitors’ experience within the Exhibition suggested that it was entertaining, as well as educational. By creating a long-lasting impact on the minds of these Exhibition visitors about the connections between and relevance of traditional Chinese Kungfu, their collective cultural identity, as well as the contemporary society we live in. The Exhibition exemplified the successful integration of the presentation of Kungfu as a form of cultural heritage with engagement-creating technology, in which technology is unobtrusive but effective. Originality/value Although it is already a global trend for the museums to integrate multimedia technologies into their exhibitions, research on the situation and feedback of multimedia technology used in the museum exhibitions in Hong Kong is scarce as well as scattered. Findings of this study could help identify various factors involved in audience participation, thereby exploring the possibility of building a contact point/space for traditional Chinese Kungfu as an intangible cultural heritage, via the integration of the latest media technologies. In particular, the development of multimedia technologies has become increasingly important to museums, and museum professionals have been exploring how digital and communication technologies can be developed to offer visitors a more interactive, personalized museum experience. In general, despite the growing interest in deploying digital technology as interpretation devices in museums and galleries, there are relatively few studies that examine how visitors, both alone and with others, use new technologies when exploring the museum contents.

1998 ◽  
Vol 14 (53) ◽  
pp. 20-42 ◽  
Author(s):  
Lizbeth Goodman ◽  
Tony Coe ◽  
Huw Williams

The relationship between live theatre and the rapidly developing multimedia technologies has been ambiguous and uneasy, both in the practical and the academic arena. Many have argued that such technologies put the theatre and other live arts at risk, while others have seen them as a means of preserving the elusive traces of live performance, making current work accessible to future generations of artists and scholars. A few performance and production teams have entered the fray, deliberately pushing the technology to its limits to see how useful it may (or may not) be in dealing with the theatre. One such team – comprising Lizbeth Goodman, Tony Coe, and Huw Williams – forms the Open University BBC's Multimedia Shakespeare Research Project, and on 4 September 1997 they presented their work as the annual BFI Lecture at the Museum of the Moving Image on London's South Bank. What follows is an edited and updated transcript of the lecture – which was itself a ‘multimedia performance’ – intended to spark debate about the possibilities and limitations of using multimedia in creating and preserving ‘live’ theatre. Lizbeth Goodman is Lecturer in Literature at the Open University, where she chairs both the Shakespeare Multimedia Research Project and the new ‘Shakespeare: Text and Performance’ course. Tony Coe is Senior Producer at the OU/BBC, where Huw Williams was formerly attached to the Interactive Media Centre, before becoming Director of Createc for the National Film School, and subsequently Director of Broadcast Solutions, London. Together the team has created a range of multimedia CD-ROMs designed to test the limits and possibilities of new technologies for theatre and other live art forms – beginning with Shakespeare


2020 ◽  
Vol 38 (5/6) ◽  
pp. 905-918
Author(s):  
Ivana Tanasijević ◽  
Gordana Pavlović-Lažetić

Purpose The purpose of this paper is to provide a methodology for automatic annotation of a multimedia collection of intangible cultural heritage mostly in the form of interviews. Assigned annotations provide a way to search the collection. Design/methodology/approach Annotation is based on automatic extraction of metadata and is conducted by named entity and topic extraction from textual descriptions with a rule-based approach supported by vocabulary resources, a compiled domain-specific classification scheme and domain-oriented corpus analysis. Findings The proposed methodology for automatic annotation of a collection of intangible cultural heritage, applied on the cultural heritage of the Balkans, has very good results according to F measure, which is 0.87 for the named entity and 0.90 for topic annotation. The overall methodology enables encapsulating domain-specific and language-specific knowledge into collections of finite state transducers and allows further improvements. Originality/value Although cultural heritage has a significant role in the development of identity of a group or an individual, it is one of those specific domains that have not yet been fully explored in case of many languages. A methodology is proposed that can be used for incorporating natural language processing techniques into digital libraries of cultural heritage.


2019 ◽  
Vol 10 (2) ◽  
pp. 81-94 ◽  
Author(s):  
Jesús Claudio Pérez-Gálvez ◽  
Gema Gomez-Casero ◽  
Juan Choque Tito ◽  
Carol Angélica Jara Alba

Purpose The purpose of this paper is to characterize the international tourists who visit a cultural event, such as the Oruro Carnival (Bolivia), that is catalogued as Intangible Cultural Heritage of Humanity by UNESCO. Design/methodology/approach To achieve this purpose, a segmentation is made based on the combination of two theoretical models used and contrasted in similar research: the model of McKercher (2002), based on the cultural motivations to go to a destination, and that of Poria et al. (2003), based on the emotional perception of the visitor in relation to the heritage they visit. Findings Four types of tourists are thus identified: alternative, cultural, emotional and patrimonial. Likewise, the research includes an assessment of the most relevant tourist attributes linked to the Oruro Carnival, which is much more positive among international tourists with greater cultural motivation and emotional bonding. Originality/value The principal originality factor and innovation is analysing the cultural motivations and the emotional perception of the visitor in relation to the heritage they visit.


2020 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
David Heesom ◽  
Paul Boden ◽  
Anthony Hatfield ◽  
Sagal Rooble ◽  
Katie Andrews ◽  
...  

PurposeThe purpose of this paper is to report on the development of a collaborative Heritage Building Information Modelling (HBIM) of a 19th-century multi-building industrial site in the UK. The buildings were Grade II listed by Historic England for architectural and structural features. The buildings were also a key element of the industrial heritage and folklore of the surrounding area. As the site was due to undergo major renovation work, this project was initiated to develop a HBIM of the site that encapsulated both tangible and intangible heritage data.Design/methodology/approachThe design of the research in this study combined multiple research methods. Building on an analysis of secondary data surrounding HBIM, a community of practice was established to shape the development of an HBIM execution plan (HBEP) and underpin the collaborative BIM development. The tangible HBIM geometry was predominantly developed using a scan to BIM methodology, whereas intangible heritage data were undertaken using unstructured interviews and a focus group used to inform the presentation approach of the HBIM data.FindingsThe project produced a collaboratively generated multi-building HBIM. The study identified the need for a dedicated HBEP that varies from prevailing BIM execution plans on construction projects. Tangible geometry of the buildings was modelled to LOD3 of the Historic England guidelines. Notably, the work identified the fluid nature of intangible data and the need to include this in an HBIM to fully support design, construction and operation of the building after renovation. A methodology was implemented to categorise intangible heritage data within a BIM context and an approach to interrogate these data from within existing BIM software tools.Originality/ValueThe paper has presented an approach to the development of HBIM for large sites containing multiple buildings/assets. The framework implemented for an HBEP can be reproduced by future researchers and practitioners wishing to undertake similar projects. The method for identifying and categorising intangible heritage information through the developed level of intangible cultural heritage was presented as new knowledge. The development of HBIM to bring together tangible and intangible data has the potential to provide a model for future work in the field and augment existing BIM data sets used during the asset lifecycle.


2019 ◽  
Vol 6 (2) ◽  
pp. 273-296
Author(s):  
Selina Ching Chan

Ever since the classification of Hong Kong’s Chaozhou Hungry Ghosts Festival as a national-grade intangible cultural heritage in 2011, a series of conservation activities have been initiated by some local Chaozhou communities, ngos, and the Hong Kong government. One of these activities is the Chaozhou Hungry Ghosts Cultural Festival, and this paper discusses the heritagization of religious festivals by examining the invention of this festival. The Cultural Festival reveals how the elite-cum-businessmen attempt to educate the general public, to promote the festival so as to reverse its decline in popularity, and to celebrate ethnic culture and Chinese culture. To overwrite the old-fashioned stereotypical creepy images associated with the traditional Hungry Ghosts Festival, new programs featuring spectacular and fun elements have been invented. This paper delineates how these newly invented programs highlight and promote moral and cultural meanings and capture the attention of the general public, especially the younger generation, thereby attracting wider participation in the festival. I will discuss how the spectatorial, participatory, and educational aspects of the Cultural Festival are meant to attract domestic visitors as well as international tourists. Nevertheless, the majority of worshippers and local organizers do not have a significant role in the Cultural Festival.


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