Metadata for Intangible Cultural Heritage

The Case of Folk Dances

Stamatios Giannoulakis

, Nicolas Tsapatsoulis

and Nikos Grammalidis

Department of Communication and Internet Studies, Cyprus University of Technology,

30, Arch. Kyprianos str., Limassol, Cyprus

Information Technologies Institute, Centre for Research and Technology Hellas, Thessaloniki, Greece

Keywords: Intangible Cultural Heritage, Metadata, Folk Dances, Digitization, FRBR.

Abstract: It is a fact that states and international organizations are trying to protect and promote intangible cultural

heritage. According to UNESCO intangible cultural heritage includes traditions or living expressions

inherited from our ancestors and passed on to our descendants. Folk dances are an important part of our

intangible cultural heritage, so there is a need to promote and protect them to inherit to the next generations.

Beyond digitization of various elements of the dance, proper documentation requires to analyse them (either

manually or automatically) and describe all important elements using appropriate metadata. However,

although different metadata schemas have been defined in the area of cultural heritage, most are suitable only

for tangible heritage, and cannot properly describe elements of intangible cultural heritage. The present study

proposes a new metadata schema for describing different elements of folk dance.

1 INTRODUCTION

In the area of cultural heritage, a number of metadata

standards have been defined allowing the

documentation and indexing of cultural information,

thus facilitating search and providing access to the

information for researchers, experts and/or the

general public.

Metadata information can either be generated

either manually by expert annotation or by automated

multimedia analysis. In the cultural heritage domain,

automated extraction of metadata has been

extensively used in the past decades as a means of

automatic indexing the multimedia cultural content.

This necessity, grows even, more these days

considering the popularity of digitizing cultural

content for purposes such as safeguarding, capturing,

visualizing and presenting both tangible and

intangible resources that broadly define that heritage.

Especially for Intangible Cultural Heritage, the task

of metadata extraction becomes even more

challenging, since the significance of heritage

artefacts extends also to the preservation of the

background knowledge that puts these artefacts in

proper perspective.

Terpsichore is a European Research Project that

focuses on the analysis of Intangible Cultural

Heritage. The main purpose of Terpsichore project

(A. Doulamis et al., 2017) is to digitize, model,

archive, e-preserve and present Intangible Cultural

Heritage content related to folk dances. The project

aims to develop Web-based cultural server/viewer

with the purpose to allow user’s interaction,

visualization, interface with existing cultural

libraries. Moreover, the proposed framework should

address many different needs of the potential users,

i.e. dance professionals, dance teachers, creative

industries, general public, researchers and media

producers. For instance, we should consider the needs

of these different users e.g. to search for information

on a particular dance, learn how to dance, have the

possibility to view the technical details of the

digitization process. In addition, users want to

retrieve dances with specific criteria such as steps,

lyrics, rhythm, region. Metadata play a vital role in

achieving all these goals because they encode the

aforementioned data and allow the user to retrieve

and view structured information from the cultural

server.

The Terpsichore project is about Intangible

Cultural Heritage. Organizations such as UNESCO

and the European Union try to preserve and

disseminate Intangible Cultural Heritage. UNESCO

adopted in 2003 the Convention for the Safeguarding

Giannoulakis S., Tsapatsoulis N. and Grammalidis N.

Metadata for Intangible Cultural Heritage - The Case of Folk Dances.

DOI: 10.5220/0006760906340645

In Proceedings of the 13th International Joint Conference on Computer Vision, Imaging and Computer Graphics Theory and Applications (VISAPP 2018), pages 634-645

ISBN: 978-989-758-290-5

of the Intangible Cultural Heritage to protect and

promote intangible cultural heritage. Among the

cultural items included in the UNESCO lists of

Intangible Cultural Heritage are traditional dances.

To maintain the choreography of the traditional

dances, especially in the era of the Internet, it is

necessary for transmitting these dances in the next

generations.

The paper describes the meaning of metadata and

Intangible Cultural Heritage focusing on folk dances.

Then we review the corresponding state-of-the-art in

metadata schemes for Intangible Cultural Heritage,

especially in folk dance case. We conclude with the

proposed metadata schema, properly adapted to the

Terpsichore’s data and to the user’s needs.

2 METADATA

Analysing the word metadata, meta and data, we can

conclude that metadata is data about data. In other

words, metadata is documentation that describes data

(Research Data Management Service Group, no

date). According to Merriam-Webster online

dictionary metadata are data that provides

information about other data (metadata, 2017).

Greenberg (Greenberg, 2003) gives a functional

definition of metadata and describe as structured data

about an object that supports functions associated

with the designated object. The definition mentioned

above about metadata includes the aspect of structure,

with a meaning of information organized

systematically, usually with the use of metadata

schemas (Sicilia, 2014). As a metadata schema,

according to ISO 23081, we can define a logical plan

showing the relationships between metadata

elements. The schemes are the basis for metadata

standard because we are based on metadata scheme to

develop to a metadata standard.

Libraries first used metadata to retrieve and locate

the material in their collection. So, metadata main

purpose is to assist users to locate information and

discover resources. Moreover, metadata are vital in

electronic resource organization and digital

preservation of resources and information.

In addition to these, metadata play an important

role in the cultural heritage world. Libraries, archives

and museums create and use structured metadata.

Archives use metadata in order to describe their

collections and document with historical information.

Libraries focus on bibliographic metadata and

museums use them to interpret collections and

explain the relation between the objects (Riley, 2017).

Furthermore, information professionals, creators and

users of digital content recognize that metadata can

ensure accessibility, interoperability and

preservability of cultural heritage information and

record-keeping systems. Cultural heritage

information professionals use metadata to enhance

access to information objects (Baca, 2016).

According to Library of Congress, we can

distinguish three types of metadata: descriptive,

structural, and administrative. Descriptive metadata

have as a purpose to help users to identify, search and

locate information and objects like title, author.

Structural metadata are used to describe the

relationship between the part of a resource.

Administrative metadata provides information to help

manage a resource, such as when and how it was

created, file type and other technical information, and

who can access it (Library of Congress, no date).

Moreover, metadata may include another two types

that contain information about access rights and

restrictions that ensure the long-term preservation and

access to the information resources. The preservation

metadata can include details about format migration

and data refreshment (Hillmann, Marker and Brady,

2008).

3 INTANGIBLE CULTURAL

HERITAGE

The Convention for Safeguarding the Intangible

Cultural Heritage defines it as the practices,

representations, expressions, knowledge, skills – as

well as the instruments, objects, artefacts and cultural

spaces associated therewith – that communities,

groups and, in some cases, individuals recognize as

part of their cultural heritage. This intangible cultural

heritage, transmitted from generation to generation, is

constantly recreated by communities and groups in

response to their environment, their interaction with

nature and their history, and provides them with a

sense of identity and continuity (Stefano and Davis,

2017)

Moreover, intangible cultural heritage covers the

domains of:

 Oral traditions

 Performing arts

 Social practices

 Rituals

 Festive events

Knowledge and practices concerning nature and

the universe or the knowledge and skills to produce

traditional crafts (UNESCO, no date).

UNESCO give attention to dance as a part of

Intangible Cultural Heritage, so dances are included

either in the Representative List or the Urgent

Safeguarding List. The UNESCO lists include dances

like Argentinean tango, Spanish flamenco, Chhau

dance from India, Bigwala music and dance from

Uganda, Huaconada from Peru (Iacono and Brown,

2016). From the above, we can conclude the

importance of protecting and transmit to other

generations the intangible cultural and especially the

dance. The World Intellectual Property Organization

(World Intellectual Property Organization, 2017)

point the importance of promoting and respecting

traditional cultures and expressions will benefit

people, local communities and nations. The

protection of cultural expressions could contribute

toward the promotion of innovation.

Digitization with the help of new technology

offers the possibility to document, record the

intangible cultural heritage, due to the fact that

heritage elements that are not so visible and disappear

we can preserve in a visual and digital format (Yang,

2015). However, digital documentation of intangible

heritage, data formats and standards, metadata and

semantics, linked data, crowdsourcing and cloud, the

use and reuse of data and copyright issues are the

rising challenges (Doulamis et al., 2017).

Taking forward this idea, i-Treasures project

(Dimitropoulos et al., 2014) explored the challenges

and opportunities that emerge when considering the

safeguarding of intangible heritage from a

technological perspective. I-Treasures developed an

open and extendable platform to provide access to

intangible cultural heritage resources for research and

education. The system is based on the identification

of specific features or patterns (e.g. postures, audio

patterns, etc.) using multi-sensor technology (e.g.

cameras, microphones, EEG etc.) from different ICH

forms. Subsequently, data fusion analysis is applied

to exploit information across different modalities,

while context and content are integrated for mapping

the set of low or medium-level multimedia features to

high-level concepts using probabilistic inference, i.e.

transforming the extracted data into a level of

interpretation that is understandable by humans. This

information, coupled with other cultural resources, is

accessible via the i-Treasures platform (an open-

source CMS), in order to enable the widest possible

participation of communities, groups and individuals

in the safeguarding of ICH. The platform gives access

to different types of content (e.g. text, audio, images,

video, 3D graphics) from different types of heritage

or educational institutions. Furthermore, using the

latest advances in web-based game engines, a

learning environment is developed to enhance

training and evaluation of the learner’s performance

by means of sensorimotor learning.

In addition to these, safeguarding intangible

heritage should include locating the heritage and pay

attention to heritage elements that are in a danger of

disappearing. Another step is to catalogue and deposit

in a local or national digital platform in order to

spread the knowledge to the internet, also to preserve

and conserve for the society (Artese and Gagliardi,

no date)

As mentioned before, folk dance is an essential

part of Intangible Cultural Heritage. It is important to

define dance and especially folk dance more

definitively. According to Merriam-Webster a folk

dance is a dance that originates as a ritual among and

is characteristic of the common people of a country

and that is transmitted from generation to generation

(‘folk dance’, no date). In addition, we can define

dance (as cited in Wong, 2013) as rhythmic or

patterned movement. Royce expands the

aforementioned definition and describes dance as

patterned movement performed as an end in itself

(Royce, 1977). From the above we can conclude that

dance movements or choreography is the basis for a

dance.

It is a fact that it is not easy to define the meaning

of folk dance. Folk dance was part of a community

life and had an important function. According to

Hoerburger (Hoerburger, 1968), folk dance had as a

purpose the pleasure or the recreation. In addition to

these, we can broaden the definition of folk dance and

include a variety of dance forms which survive as, or

are based on, local or national tradition. These dances

with their music, which may be sung or played upon

'folk' instruments, have been passed from generation

to generation and have acquired through tradition the

stable and identifiable forms that we know today

(Hoerburger, 1968).

Furthermore, Encyclopaedia Britannica

(Kealiinohomoku, 2017) defines the term folk dance

and analyse examples of folk dances from European

countries, also Hawaiian dance and Korean dance

focusing on the movements of the dance, the rhythm

of the music and the clothes the dancers wear. In an

extended analysis of Snodgrass (Snodgrass, 2016)

about the folk dances across the world, the author

describes the history and origin of each and

summarize the same features of each dance as the

Encyclopaedia Britannica.

4 INTANGIBLE CULTURAL

HERITAGE METADATA

Various research efforts are focusing on digitization,

archiving and preservation of intangible cultural

heritage and performing-art content. I-Treasures was

a European project that had as a purpose to develop

an open and extendable platform to provide access to

ICH resources. On that framework, the project had as

a purpose to propose novel methodologies and new

technological paradigms for the analysis and

modelling of ICH. The project focused on four

different cases of ICH a) Rare Traditional Songs, b)

Rare Dance Interactions, c) Traditional

Craftsmanship and d) Contemporary Music

Composition (Adistambha et al., 2012). In the i-

Treasures project, the metadata schema for their

platform used a combination of Dublin Core

Metadata Element Set, i-Treasures Model, ESE –

Europeana Semantic Elements (Manitsaris, 2015).

Another European research project related to ICH

and especially to dance is Wholodance. Wholodance

has a purpose to develop and apply breakthrough

technologies to Dance Learning. The result of the

project will benefit dance practitioners ranging from

Researchers and Professionals to Dance Students and

the Interested Public. In the project, they will

investigate bodily knowledge by applying techniques

for the automated analysis of dance movements.

Moreover, they will capture the dance motion in order

to create virtual bodies that will enhance the teaching

of a dance and give the choreographers the

opportunity to create new choreographies

(Wholodance website Official, no date). To achieve

the aforementioned goals in their research about

ontological representation of dance movement El

Raheb et.al. (Raheb et al., 2016) (Raheb et al., 2017)

use OWL to assign annotations representing

movement sequences of a dance-recording video.

In an extended research about metadata in digital

folklore collections, Lourdi (Lourdi, 2010)

concluded that main metadata standards used for

cultural heritage collections are Dublin Core

Metadata Element Set (DC), Dublin Core Collections

Application Profile (DCCAP), Metadata Encoding

and Transmission Standard (METS), Categories for

the Description of Works of Art (CDWA), VRA Core

Record (VRA Core Record), Machine Readable

Cataloguing (MARC), Text Encoding Initiative

(TEI), Encoded Archival Description (EAD),

Metadata Object Description Schema (MODS),

RSLP Collection Description (RSLP), CIDOC/CRM.

Dublin Core Metadata Element Set has the

purpose to exchange and retrieve information for the

digital objects in the web. The Dublin Core consists

of 15 metadata elements and with the help of Dublin

Core Qualifiers we can extend the prototype to adjust

the needs of the collection it is necessary to describe

(Dublin Core Metadata Initiative, 2000). In a research

(Ye and Zhou, 2013) to suggest a metadata standard

for Chinese Intangible Cultural Heritage, the

scientists analysed the mainstream metadata

standards systems such as ISAD (G), Encoded

Archival Description, International Standard

Archival Authority Record, Encoded Archival

Description, Text Encoding Initiative and Dublin

Core. Furthermore, they examined the parameter that

metadata standard should reflect the cultural value of

intangible cultural heritage and the UNESCO

guidelines for the world heritages convention they

suggested a scheme based on Dublin Core with 14

metadata elements and 67 filed names.

Kettula and Hyvönen (Kettula and Hyvönen,

2012) in their study to describe with metadata a video

that contains a craft process of shoemaking, moved

from an object-oriented approach to an event-centric

approach. The crafting process was presented in six

main sequences which were annotated with a

keyword at the start and at the end of the film. The

metadata schema that they used to describe the

shoemaking process is based on an RDF ontology.

The RDF graph gives the possibility to link to other

digital objects such as nails and leather objects.

Kannan et al. (Kannan, Andres and Guetl, 2010)

(Kannan et al., 2011) in their research they developed

a dance information system, called DanVideo, that

gives users the opportunity to retrieve dance videos

from semantic metadata. In order to build the

architecture of the system, the researchers used the

MPEG-7 metadata standard to annotate dance videos.

Moreover, they examined what users wish to search

for in the system and they concluded that dance

learners and viewers would like to have the

possibility to search for emotions expressed by the

dancers, the history of the dance, recording location,

the origin country of the dance, the song that

accompanies the dance and the costumes of the

dancers.

Mallik et al. (Mallik et al., 2013) (Mallik,

Chaudhury and Ghosh, 2011) in their research

focused on annotation in MPEG video on Indian

dances. In their approach, they created an ontology

that correlates heritage resources and multimedia

data. In order to construct the ontology, they used the

Multimedia Web Ontology Language (MOWL) to

annotate new multimedia objects.

Stavrakis et al. (Stavrakis et al., 2012) (Aristidou,

Stavrakis and Chrysanthou, 2014) in their effort to

digitize Cypriot folk dances so local community and

especially young people to learn folk dances created

a dance database schema and for each dance entry the

metadata they used was the name of the dance, the

type of the dance, the region the dance originates and

a description.

Kim (Kim, 2011) developed ChoreoSave, a

prototype online system by analysing a dance work

into components that are then represented using the

EPrints software (http://software.eprints.org). In

order to define the metadata standard for the

ChoreoSave online system, Kim conducted a research

in 14 digital library programs and concluded that the

most common metadata standards mentioned were

METS, Dublin Core and combinations of metadata

standards. The metadata fields for the ChoreoSave

included the name of the choreographer, the title of

the dance, a set of performers, musical or sound

accompaniment and a movement vocabulary.

The PREMIS Data Dictionary for Preservation

Metadata (The Library of Congress, 2016c) is an

international standard for metadata that was

developed to support the preservation of digital

objects/assets and ensure their long-term usability.

PREMIS metadata standard has been adopted

globally in various projects related to digital

preservation. It supports numerous digital

preservation software tools and systems. The CIDOC

Conceptual Reference Model (CRM) (International

Organization for Standardization, 2014a), an official

standard since 9/12/2006, provides the ability to

describe the implicit and explicit relationships of

cultural heritage concepts in a formalized manner.

Thus, CIDOC CRM is intended to promote a common

understanding of cultural heritage information by

providing a common and extensible semantic

framework that can represent any cultural heritage

information. It is designed to be a common language

for cultural knowledge domain experts to formulate

user requirements for information systems, and thus,

facilitating in this way the interoperability between

different sources of cultural heritage information in a

semantic level.

Tan et al. (Tan, Sun and Zhong, 2009) in an effort

to represent the knowledge comes from the dance

called “Funeral Dance” they created an ontology

based on CIDOC CRM. Moreover, according to the

system the designed, the concepts and properties of

this filed can be selected from CRM. In addition to

these, to construct their domain ontology, all

concepts, properties and instances are designed by

using Web Ontology Language (owl).

5 DATA FOR DIGITAL

CHOREOGRAPHIC MODEL

From the metadata definition, we can conclude that it

is important to define the data accurately in order to

construct the metadata schema. The main goal of the

Terpsichore project is the digitization and 3D

representation of traditional dances performances.

These performances include elements such as the

dancer and the dance it is performed (music, lyrics,

choreography, etc.). A proposed categorization of the

data elements that are essential for the project are

illustrated in Fig. 1. From the figure, we can observe

that it is necessary to deal with complex and a variety

of data including both descriptive data about the

traditional dance being performed, as well as data

from recording and 3D representation. Specifically, if

we examine Figure 1, as seen above onwards, the

dance include data about the country/region of origin

and its history, the music, including the rhythm, the

score, as well as the lyrics, and the choreography

described by the Labanotation (Hatol, 2006). In

addition to these for recording, it is important to

collect data such as the number and the kind of

sensors, the calibration parameters, the recording

software and the data from recording. The next

category includes the 3D environment of the digital

representation and the data from that category are the

description of the scene, the lighting, as well as

objects (e.g. stick, sickle) that may be present or used

during the performance of the dance. Finally, the data

for the dancer digital representation, include the

gender, the costume of the dancer, the body shape,

body motion features and the face expressions.

6 PROPOSED METADATA FOR

DIGITAL CHOREOGRAPHIC

MODEL

After the analysis of the data, it is important to define

the metadata elements that will describe this data. The

Table 1 is an initial attempt to determine the metadata

in the metadata scheme.

Specifically, it is important to mention that dance

can be performed in different places, for example, we

may have a performance of the traditional Greek

dance Kalamatianos in a theatre or in a festival. In

both circumstances, the dance is the same, but the

recording and the 3D representation is totally

different. From the above, we can conclude that

for the proposed metadata schema we can follow the

Figure 1: Dance data description scheme.

logic of the FRBR schema. FRBR is a conceptual

entity-relationship model that is oriented to achieve a

more holistic approach to retrieval and access from a

user’s perspective. The main group entities are work,

expression, manifestation, and item. Work is a

distinct intellectual or artistic creation. Expression is

the specific intellectual or artistic form that a work

takes each time it is realized. Manifestation is the

physical embodiment of an expression of a work.

Item is a single exemplar of a manifestation (IFLA

Study Group on the Functional Requirements for

Bibliographic Records, 1998). In our case the work is

the dance, the expression is the varieties of the dance

and the manifestation is the recording of a venue a

dance is performed. Moreover, we use the FRBR

logic because we can create a record three levels

work, expression, manifestation. The logic of three

levels gives the possibility to create a record that

describes the metadata of the dance and in that record

to embody all the records referring to that dance.

From our previous example we can create a record

that describes the traditional Greek dance

Kalamtianos and in that record the user can find all

the recordings of the project Terpsichore.

From the previous analysis we have the structure

of the proposed metadata schema. Moreover, it is

important to define the encoding of the metadata.

Here we should examine the metadata schemas that

can be used in ICH. We can conclude that METS is

focused on encoding descriptive, administrative, and

Table 1: The proposed metadata for the metadata scheme.

Dance

Recording

3D Environment

Dancer

Title

Venue description

Gender

History

Description

Objects and their

description

Face Expression

Country/Region of

Origin

Location in GPS format

and human readable

Description of the

lightning

Traditional costume

description

Time of origin

Number of sensors

Dance variations

Sensor type and

characteristics

Music motif

Calibration

Lyrics

Software

Dance annotation

structural metadata usually in a digital library, so it is

not oriented to describe intangible cultural Heritage

(Library of Congress, 2016). From the examples

(The Library of Congress, 2016b) of the

implementation of METS by the Library of Congress,

we can clearly understand that METS orientation is

on tangible items than intangible, so it is not an

appropriate metadata schema to encode our metadata

elements. MODS and MARC are schemes that are

widely used by libraries and have as a purpose to

describe bibliographic elements. According to the

guidance of the Library of Congress (The Library of

Congress, 2016a) we can easily understand that

MODS is not suitable for encode metadata elements

for the case of traditional dances. EAD is focused on

describing archival collections. From the best practice

guideline of EAD (Research Libraries Group, 2002)

we can easily conclude that EAD is referring to

archive description and not to describe intangible

cultural heritage. RSLP is a metadata model for the

description of collections and is a prototype that can

replace EAD based on DC (Lourdi, 2010). CDWA is

a metadata set that contains guidelines for the

description of art, architecture, and other cultural

works. CIDOC/CRM is a metadata for the exchange

of information between cultural heritage institutions

(International Organization for Standardization,

2014b).

Hence, it is necessary to define a new metadata

standard to that will encode all the metadata elements

previously referred to the table 1. Since we have a

variety of metadata elements it is not easy to cover the

encoding of all these elements with a single metadata

schema. The Dublin Core is a metadata schema that

can be used as interoperable metadata standard and

structural framework. Dublin Core is widely used in

digital libraries and used by the OAI-PMH standard

as a protocol (Kennedy, 2008). The OAI-PMH is a

protocol that used by many digital libraries and the

Europeana (Europeana, no date) to harvest metadata

from other digital libraries. With the help of Dublin

Core, we can encode elements of the dance such as

title, history, country/region of origin, time of origin.

Moreover, we can use MusciXML (Makemusic,

2017) to describe and encode musical motifs. Text

Encoding Initiative (TEI) (TEI: Text Encoding

Initiative, no date)is a metadata standard we can use

to encode the lyrics of the traditional dance song. TEI

is a standard for the representation of texts in digital

form.

MovementXML (Hatol, 2006) is based on

LabanXML (Nakamura and Hachimura, 2006) and

has as a purpose to represent in XML-based the

semantics of Labanotation. MovementXML is the

ideal xml schema to encode the dance annotation.

With the help of MovementXML and especially with

the element define-movement we can put smaller

movements together to form a higher-level

movement. Furthermore, it is important to consider

one of the goals of the Terpsichore project is the

extraction of semantic signatures and ontologies.

Ontologies will be created by folk dance experts to

model the domain knowledge. The domain

knowledge is, in essence, the elementary and high-

level concept properties and relationships definition

and it will be defined in a structured and principled

manner using an ontology. Domain experts (e.g. folk

dance experts/teachers) will provide the necessary

domain knowledge, which in turn will be translated

to formalized knowledge in the form of an ontology.

These ontologies will be very useful for knowledge-

assisted of the recorded dance performance. The

Ontology Web Language (OWL) can be used to this

end with input taken from the use case experts (OWL

2 Web Ontology Language Document Overview

(Second Edition), no date).

In addition to these, the description of the

traditional costume of the dancer we propose to use

the VRA standard. VRA (The Library of Congress,

2014) is data standard suitable to describe and encode

metadata for paintings, drawings, sculpture,

architecture, photographs, as well as book,

decorative, and performance art. Furthermore, in a

project (Zeng, 1999) about cataloguing 42 fashion

objects the researchers compared three metadata

schemas USMARC, Dublin Core and VRA and

concluded that VRA is the suitable metadata schema

for the description of the fashion objects.

Finally, in order to encode the metadata of the

recording and the 3D environment, it is necessary to

create new metadata fields to encode these metadata

elements. Also, gender and face expression of the

dancer, are important to encode with some new and

appropriate metadata elements. It is vital to develop

our metadata fields for the aforementioned cases due

to the fact that the existing metadata schema does not

cover those cases.

In order to fully understand the proposed metadata

schema, we give an example of the folk dance

Kalamatianos in XMl format. Kalamatianos is a

popular folk dance in Greece, Cyprus and

internationally, often performed at many social

gatherings worldwide. It is a circle dance performed

in a counterclockwise rotation with the dancers

holding hands. It’s a twelve steps dance and the

musical beat is 7/8.

<?xml version="1.0" encoding="UTF-

8"?>

<rdf:RDF

<xmlns:rdf=http://www.w3.org/1999/02

/22-rdf-syntax-ns#

xmlns:dc=http://purl.org/dc/elements

/1.1/

rdaSimple

xmlns:rda="http://rdvocab.info/Elements

xmlns:rdg2="http://rdvocab.info/Elem

entsGr2/"

xmlns:rdg3="http://rdvocab.info/Elem

entsGr3/"

xmlns:frbr="http://iflastandards.info/n

s/fr/frbr/frbrer/"

xmlns:role=http://rdvocab.info/roles/

xmlns: MusicXML=

http://www.musicxml.org/dtds/partwise.d

xmlns:tei="http://www.tei-

c.org/ns/1.0">

<dance>

<dc:title>Kalamatianos </dc:title>

<dc:subject> Folk dancing, Greek

</dc:subject>

<dc:description> The Kalamatianós is

one of the best known dances of Greece.

It is a popular Greek folkdance

throughout Greece, Cyprus and

internationally and is often performed

at many social gatherings worldwide. As

is the case with most Greek folk

dances, it is danced in circle with a

counterclockwise rotation, the dancers

holding hands. The roots of

Kalamatianos can be found in antiquity.

Homer, in the Iliad, describes three

performances made around the spear of

Achilles that depict a dance in an open

circle. The ancient Spartans had a

dance called ὅρμος hormos, which was a

syrto style dance described in detail

by Xenophon where a woman led a male

into dance using a handkerchief. Lucian

states that the ormos dance was

performed in an open circle and was

done by young men and women. The men

would dance vigorously while the women

danced with modest movements. In the

19th century, this dance was called

Syrtos O Peloponisios. It is believed

to have acquired the name kalamatianos

from the town of Kalamata in southern

Greece; most Greek dances are commonly

named after the villages or areas from

which they are considered to have

originated. </dc:description>

<dc:coverage>Ελλάδα</dc:coverage>

</dance>

<music>

<score-partwise>

<movement-title>Milo mou

kokkino</movement-title>

<creator type="lyricist">Tous aux

Balkans !</creator>

<encoder>abc2xml version

63</encoder>

<encoding-date>2017-10-05</encoding-

date>

</encoding>

</identification>

<credit-type>origin</credit-type>

<credit-words>Grece</credit-words>

</credit>

<credit-type>rhythm</credit-type>

<credit-words>Kalamatiano</credit-

words>

</credit>

<part-list>

<score-part id="P1">

<part-name/>

</score-part>

</part-list>

<key>

<mode>major</mode>

</key>

<time>

<beat-type>8</beat-type>

</time>

</attributes>

<root>

<root-step>C</root-step>

</root>

<kind>major</kind>

</harmony>

<note>

<pitch>

</pitch>

<beam number="1">begin</beam>

</notations>

</note>

</music>

<l>My red apple, my scarlet

pomegranate,</l>

<l>why have you made me wilted and

bitter?</l>

</lg>

<l></l>

<l>I come and go, but cannot find

you</l>

<l>I try your door, and it's always

locked.</l>

</lg>

<l>Your windows are always

lighted</l>

<l>I ask your door, "Where is your

lady?"</l>

</lg>

<l>"My lady is not here, she is at

the wellspring</l>

<l>She's gone to bring water".</l>

</lyrics>

<repeat count="1" repeat-

type="exact" exclude-path="true'>

<measure beats="7" beat-type="note"

beat-duration="0.125'"

meter="96">

</move>

<description><forward

/></description>

</move>

<description><forward

/></description

</move>

<description><forward

/></description

</move>

</support>

<set-path start""0" duration="4"

type-"circular"

Strict=”true" direction""clockwise">

</description>

</set-path>

</location>

</measure>

</repeat>

</choreography>

<vra:title>Woman

dressing</vra:title>

<vra:measurements>….</vra:measuremen

ts>

<vra:description> The women's

costume presents a very wide variety

with bright colors, embroidery and

ornaments </vra:description>

<vra:title>Men dressing</vra:title>

<vra:measurements>….</vra:measuremen

ts>

<vra:description> The male costume

is lighter than the female one, and the

main types of it are bruce and

fustanella.</vra:description>

</costumes>

<dance.variance> Kalamatianos in

Macedonia </dance.variance>

<recording.title> Kalamatianos

performance in the wine festival

</recording.title>

<recording.description> 50 dancers

danced Kalamatiano on September 5, 2015

in Veroia at wine festival which took

place in the square in the

center</recording.description>

<recording.place> Βέροια

</recording.place>

<sensors.number>2</sensors.number>

<title>Kinect depth camera</title>

<calibration> 1.2, 2.3, 3.5, 4.3,

8.9 </calibration>

<software> Kinect software v1.7

</software>

</sensor>

<title>GoPro camera</title>

<resolution> 2000x2000

</resolution>

<calibration> 1.2, 2.3, 3.5, 4.3,

8.9 </calibration>

<software> GoPro software

</software>

</sensor>

</recording>

<rdf:RDF/>.

7 CONCLUSIONS

In that paper, we have presented our recommendation

for a metadata schema for description of folklore

dance. From the analysis of the metadata necessary to

describe folklore dances we can conclude that

encoding ICH is complicated because we have to

consider factors such as the environment and the

emotions. The next step is the creation of the cultural

server/viewer to implement the proposed metadata

and investigate the problems and configurations

necessary for the metadata schema.

ACKNOWLEDGEMENTS

This work was supported by the EU H2020

TERPSICHORE project “Transforming Intangible

Folkloric Performing Arts into Tangible

Choreographic Digital Objects” under the grant

agreement 691218.

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