Abstract
Currently, the digitization of heritage has become a research hotspot, but there remain gaps in evaluating the effectiveness of its digital dissemination. This qualitative study explores the indicators influencing the effectiveness of digital dissemination of intangible cultural heritage (ICH), with a special focus on Shu brocade weaving techniques, which is the national ICH item of China and has a high cultural, economic, and artistic value. Original data for this study was collected through semi-structured interviews with the most representative stakeholders. Based on the grounded theory, interviews were further analyzed through NVivo software 14, and 30 indicators were identified. The results of this study reveal the importance of indicators related to the authenticity and integrity of cultural connotations as well as the transmission of traditional skills, especially through stakeholder participation, in the digital dissemination of ICH. This study emphasizes the significance of improving the effectiveness of digital dissemination for the sustainable development of ICH and the preservation of precious culture for future generations.
1. Introduction
Intangible cultural heritage (ICH) refers to nonmaterial cultural manifestations, which include human wisdom, skills, festivals, artistic creations, expressions, and so on [1]. In the context of globalization and urbanization, ICH not only plays a vital role in maintaining cultural pluralism and diversity [2], but its digital development is also an indispensable force for cultural sustainability [3].
Sustainable Development Goals (SDGs) 11.4 proposes “Strengthen efforts to protect and safeguard the world’s cultural and natural heritage” (refer to Goal 11 | Department of Economic and Social Affairs), which emphasizes the importance for local communities to protect their precious cultural heritage [4] and promote community sustainability [5]. Meanwhile, digital dissemination of ICH caters to SDG 17’s call for increased research and dissemination of technology (refer to Technology | Department of Economic and Social Affairs). ICH is community-based, relies on local traditions and unique cultures, and is rich in humanistic connotations and emotional themes, making it particularly important to local communities [6]. In addition, as a fragile asset, ICH relies heavily on the oral transmission of individual inheritors and practitioners [7], and UNESCO has repeatedly emphasized the importance of community participation in the safeguarding of ICH [8], contributing to SDG 4, which aims to ensure learners acquire skills and knowledge [9,10]. Therefore, the digital dissemination of ICH requires smooth communication and in-depth participation of stakeholders.
According to the Lists of Intangible Cultural Heritage certified by UNESCO, China holds 43 ICH items, which is close to 6% of the world’s ICH [11]. Among them, more than ¼ belong to the category of traditional techniques and skills (refer to Intangible Cultural Heritage—Grid). However, studies on the digital dissemination of this vital category of ICH remain insufficient, especially for the indicators affecting the effectiveness of its digital dissemination. Currently, related studies focus on the separate micro perspectives of the inheritors [12], regulatory organization [13,14], or audience [15,16]. Research gaps in the determination of indicators affecting the effectiveness of digital dissemination from the perspective of multiple stakeholders in the specific category of “traditional techniques” are evident.
As a precious representative of traditional techniques of Chinese ICH, Shu brocade weaving techniques were first recorded between 356 B.C. and 311 B.C. and have been a witness to Chinese trade and diplomacy as well as an embodiment of traditional techniques and aesthetics for more than 2000 years [17]. The complexity and sophistication of the craftsmanship can be seen in Figure 1. Chengdu (also named “Shu” in ancient times) is known as the “City of Brocade” because of the abundance of brocade in the city. The brocade weaving technique is rooted in the “Shu” culture with distinctive regional characteristics, which contribute to economic development, social stability, and national unity [18]. It has witnessed history as a carrier of cultural exchange and trade in the world-famous “Silk Road” and has unique cultural value [19].
Figure 1.
National ICH inheritor He Bin is demonstrating Shu brocade weaving techniques (from the Guardians of Cultural Heritage program, co-produced by China Soong Ching Ling Foundation and Baidu, 2018; refer to https://baike.baidu.com/item/%E8%9C%80%E9%94%A6%E7%BB%87%E9%80%A0%E6%8A%80%E8%89%BA/8087818, accessed on 17 December 2024).
The use of multiple digital technologies and methods in the process of ICH dissemination has attracted significant attention from researchers [20,21]. The digital dissemination of traditional techniques is not only a manifestation of national characteristics and cultural diversity but also consistent with China’s policies and development directions, such as “cultural self-confidence” (first proposed by Chinese president Xi Jinping in 2014, which has become an important statement of socialism with Chinese characteristics) and “Internet +”, and has strong research value and significance of the times [22]. Although the government and some cultural institutions of Chengdu have made active attempts at cultural dissemination, including the establishment of Chengdu’s ICH database, the development of online shopping, study, and travel, and the pushing of ICH pictures and videos through official websites and social media, these dissemination means are unclassified and lack targeted evaluation indicators of different categories of ICH; thus, comprehensive and efficient cultural dissemination is hard to achieve (excerpted from an interview with the staff of Chengdu Intangible Cultural Heritage Protection Center; refer to http://www.cdich.cn/index.html. for more information, accessed on 17 December 2024).
Therefore, this study aims to address the following research question: What indicators influence the effectiveness of digital dissemination of traditional techniques? In order to find a response to this question, this study selected the renowned Shu brocade weaving technique as the study case and adopted semi-structured interviews to assess the effectiveness of dissemination from the perspective of stakeholders to identify their precious view on the status and challenges of the digital dissemination of ICH. Based on that, the NVivo software was used to explore the indicators affecting the effectiveness of digital dissemination of traditional techniques of ICH.
2. Methods and Data Collection
2.1. Method
Currently, research on the digital dissemination of ICH mainly focuses on the field of digital technology and less on stakeholder perspectives. At the same time, Shu brocade weaving techniques are different from ordinary cultural heritage products, and the effectiveness of digital dissemination of its techniques and connotations is difficult to quantify, meaning it is difficult to apply the method of scale to measure the research.
The interview method has good flexibility and applicability, is suitable for studies with fewer interviewees, and can be adjusted at the right time for in-depth data collection. Semi-structured interviews are the most common and applicable. Researchers can draw up an outline of the interview in advance, but it is not necessary to follow it completely, and it can be adjusted flexibly according to the interview subjects, the process, and content [4].
Therefore, this study adopted semi-structured interviews with highly representative stakeholders as well as official public information to obtain the most direct and honest perception of the local communities on the current status and shortcomings of the digital dissemination of Shu brocade weaving techniques.
As a methodology for social phenomena, grounded theory provides a way to generate theories through the study of data [23]. Meanwhile, as a qualitative data analysis software widely used in the social sciences, NVivo is capable of efficiently processing and analyzing unstructured data, such as interview text and audio [24]. Therefore, collected data in this research were analyzed by NVivo 14, based on the grounded theory; three steps of open coding, axial coding, and selective coding were conducted step by step to derive preliminary evaluation indicators that influence the current digital dissemination of Shu brocade weaving techniques to expand the advantages and void the risks in digital dissemination.
2.2. Population and Sample Size
The population of Shu brocade weaving technique stakeholders is sparse, especially those who have been in the field for more than five years and have a high degree of authority and credibility. According to the staff of Chengdu Intangible Cultural Heritage Protection Center, there are currently no more than 30 stakeholders in total, including inheritors, management staff, apprentices, staff of the enterprise “Chengdu Shu Brocade and Embroidery Co., Ltd.”, researchers of related scientific research institutes, and staff of the “Shu Brocade Weaving Museum” (the only museum dedicated to Shu brocade weaving techniques in China), which is characterized by a small number of people in general and complex internal differences.
Therefore, this study divided these stakeholders into three categories under the guidance of the Chengdu Intangible Cultural Heritage Protection Center: managers, researchers, and industry participants of Shu brocade weaving techniques.
For qualitative research, especially purposive sampling, an appropriate sample size is sufficient [25]. On the basis of the categorization, the purposive sampling method of non-probability sampling was used to select the most representative respondents among the three categories as the sample, and an interview outline was designed to conduct semi-structured interviews.
In grounded theory, theoretical saturation focuses more on sample adequacy than sample size [26]; interviews can be stopped when the data collected begin to be repeated in large amounts of information [4]. During an actual interview, when the new information threshold is less than 5%, it means that the data has reached sufficient saturation [27]. In this study, after eight interviews with nine respondents, the data collection reached saturation. Detailed information is shown in Table 1 below. For ease of calculation, the first three interviews were used as the base, and the % change over the base was calculated by dividing the number of new themes added in the subsequent interviews by this base.
Table 1.
The number of interviews reached saturation.
Therefore, the final sample of the research contained 10 respondents: two administrators of the Sichuan Intangible Cultural Heritage Protection Center and Chengdu Intangible Cultural Heritage Protection Center, one representative inheritor of Shu brocade weaving techniques, three museum staff from the Shu brocade weaving technique exhibition of Chengdu Museum and Chengdu Shu Brocade Weaving Museum, two researchers from Chengdu Textile College and Shu Brocade Research Center of Chengdu, one skilled Shu brocade practitioner, and one industry representative from Shu Jiang Jin Yuan (the only Shu brocade enterprise that preserves and exhibits complete Shu brocade weaving techniques); detailed information on the interviewees and the selection criteria are shown in Table 2 and Table 3.
Table 2.
Inclusion and exclusion criteria for stakeholders selected for the semi-structured interview.
Table 3.
Interviewee information.
2.3. Data Collection Procedure
The process of data collection from November 2023 to March 2024 was divided into the following four stages. These semi-structured interviews were conducted with consent and under the supervision of the Research Ethics Committee UKM (RECUKM, approval code: JEP-2024-002).
Stage 1: Before selecting the specific samples and designing the research methodology, instead of conducting formal interviews at this stage, this study consulted and communicated with the staff of Chengdu’s ICH management department to understand its organizational structure, management mode, and relevant department heads and jointly determine the selection of the specific research case, which was Shu brocade weaving techniques, so as to lay the foundation for selecting suitable interviewees and formulating targeted interview questions.
Stage 2: After confirming with the specific interviewees of Shu brocade weaving techniques, the questionnaires for these semi-structured interviews were originally designed and separated into five parts, covering the perspectives of three categories: government, academic (from research institutes, colleges, and cultural institutes), and industry (includes inheritor, company manager, and practitioner) representatives. At the same time, considering that this research was conducted in Chengdu, China, a bilingual version of the questionnaires was utilized in both English and Chinese and was further reviewed by two social science experts, followed by being eventually vetted and pre-tested prior to official use.
Stage 3: After selecting the interviewees and drawing up the interview outline, the formal semi-structured interviews were conducted with 10 highly representative and authoritative stakeholders from all three categories of practitioners, managers, and researchers of Shu brocade weaving techniques. These respondents were interviewed one by one and fully understood this research as well as their positions and roles in the process.
The average length of each interview was about two hours, and all interviews at this stage were recorded for later organization. On-site notes were taken to cross-check the audio recording. In addition, to enrich the data sources and ensure that the data analysis was reasonable, relevant information and resources were collected on the digitalization of Shu brocade weaving techniques and previous dissemination activities released by various departments related to Shu brocade weaving techniques of Chengdu; these were used to verify the interview responses.
Meanwhile, as the semi-structured interviews were conducted in Chengdu, China, interviewees were more familiar with Chinese, especially the Sichuan dialect; therefore, the language used in the interview process was based on the interviewees’ self-selected language they were comfortable with, including Mandarin and the Sichuan dialect. This was carried out so that interviewees could be interviewed in a stress-free environment, to avoid concerns and resistance, and to ensure the authenticity and credibility of the interviews.
Stage 4: NVivo software was used to process and analyze the collected interviews, pictures, and text data. To improve efficiency and to ensure the data analysis was of a scientific nature and objective [28], this research chose to use the most advanced qualitative research and analysis software, NVivo 14 for Windows, for data processing based on grounded theory.
The original version of these interview data was imported into the NVivo software after transcription and translation for the next step of analysis. The coding was based on the “labels”, which consisted of ideas or concepts. NVivo 14 was used to disrupt the collected interviews and text data following the inductive three steps of coding of grounded theory to process the data, as shown in Figure 2. This was followed by a summarization of the indicator influencing the digital dissemination of Shu brocade weaving techniques of Chengdu’s ICH.
Figure 2.
Coding process.
Labeling involved segmenting the raw data and assigning “labels” to it using an open coding approach, which is the process of conceptualizing and abstracting the data collected to form core themes or categories [23]. This process takes the form of word-by-word coding [24]. During the initial conceptualization stage, these labels were grouped into classes based on their shared characteristics. In the core conceptualization stage, these initial groupings were further refined to identify deeper commonalities, to discover and establish various links between the concepts obtained, to extract the “main categories” [29], and to show the organic connection of the content of the material, ultimately forming the final concepts. The process of selective coding sorted out different main categories and summarized the core categories through continuous comparison to cover or dominate all the main categories, which is a crucial step for theoretical construction [30]. These steps ensured that the raw data were systematically analyzed and organized into meaningful conceptual categories.
This research utilized NVivo 14 software as an auxiliary tool for data processing, while the theoretical analysis and establishment of the set of influencing indicators were primarily conducted through manual evaluation. Before commencing data processing and analysis, a thorough review of highly relevant literature on indicators affecting the digital dissemination of cultural heritage was conducted. This included a macro perspective on the comprehensive evaluation model of the communication effects of ICH [31] as well as micro perspectives on specific dissemination subjects [12] and traditional techniques of ICH [32] within the context of digital dissemination.
To minimize conceptual bias during the coding process and ensure that the evaluation indicators were both generalized and reasonable, managers and experts from the Chengdu Intangible Cultural Heritage Protection Center and the Shu Brocade Weaving Museum, along with research scholars in the field, were repeatedly consulted. This collaborative approach helped to refine the understanding of key terms and ensure the accuracy and rationality of the coding results.
3. Results
3.1. Open Coding
Firstly, the original data were analyzed by original statements of respondents of the semi-structured interviews. In total, 308 labels were formed, and 101 initial conceptualizations and 45 core conceptualizations were obtained according to the principle of step-by-step influence and homogeneity. It should be noted that repetition does not mean that the content was exactly duplicated; rather, the conceptualization could affect several different objects at the same time. Finally, core conceptualizations were preceded by “B+”. Examples of this process are shown in Table 4 and Table 5.
Table 4.
Examples of the conceptualization process.
Table 5.
Open coding process.
3.2. Axial Coding
In this research, based on the core conceptualization of open coding, we adhered to the principles of hierarchical influence and homogeneity. Through repeated reflection and refinement, we identified 30 main categories, which served as the final evaluation indicators for assessing the effectiveness of Shu brocade weaving techniques. These categories are denoted by “A+” preceding each main category, as presented in Table 6.
Table 6.
Axial coding results.
3.3. Selective Coding
In this research, based on the 30 indicators, five dimensions were identified as influencing the construction of the evaluation indicators for Shu brocade weaving techniques. These dimensions included technology, culture, communication, transmission, and policy. The core conceptualizations are denoted by “S+” preceding each dimension, as shown in Table 7.
Table 7.
Selective coding process.
4. Discussion
Based on the collected semi-structured interview data and the analysis of NVivo software, 30 indicators were explored, referred to as the “main categories” summarized in the previous section, affecting the effectiveness of the digital dissemination of traditional techniques of ICH. Indicators were categorized into five dimensions: technology, culture, communication, transmission, and policy. Together, these indicators contribute to the sustainable development of the traditional techniques of ICH.
4.1. Technology vs. Cultural Connotation
The digital dissemination of traditional techniques of ICH, which is an important asset of human civilization, has become a relatively emerging multidisciplinary research area [32]. Currently, most of the relevant studies focus on the updating, application, and promotion of digital technology [33]. Admittedly, digital technology does promote the enhancement of cultural heritage protection and dissemination capacity, providing a strong guarantee for the cultural diversity of mankind. However, more effort needs to be made to ensure the authenticity and integrity of the heritage are not infringed upon in dissemination and to promote the sustainable development of cultural heritage.
Out of 101 initial labels in this study, 33 belonged to the technology dimension, 22 to the communication dimension, 20 to the cultural dimension, 14 to the policy dimension, and 12 to the transmission dimension. The result shows the great importance of cultural connotation in the digital dissemination process of traditional techniques of ICH, which includes cultural, communication, and transmission dimensions, as shown in Figure 3.
Figure 3.
The number of labels in each core category mentioned in semi-structured interviews.
Firstly, the technology dimension provides technical guarantees for effective and accurate digital dissemination of information. Institutions fully utilize the power of their cultural resources through digital technologies. The accessibility, vividness, and affordability of digital technologies and platforms ensure that the dissemination of traditional techniques of ICH is carried out by the updating of technology and digital platforms.
Secondly, communication and cultural dimensions are direct factors affecting the effectiveness of digital dissemination of traditional techniques of ICH. Management, research institutions, and practitioners contribute to multi-party synergistic cooperation and play their respective irreplaceable roles. It is not only vital to guarantee the efficient participation of stakeholders but also to guarantee that all dissemination processes can be executed to ensure that digital dissemination can be carried out. It is necessary to allow the authenticity of ICH culture and the embedded scientific, technological, artistic, historical, and humanistic values to be completely recorded and disseminated.
Furthermore, the policy dimension plays a role in the overall situation. The formulation of forms of digital dissemination of ICH, the implementation of decision-making, feedback on the effectiveness of dissemination,; the formulation of the entire dissemination norms, the work responsibilities of various departments (which require the government to issue relevant regulations and policies and other official documents), and financial and technological support are vital to ensure that the digital dissemination of traditional techniques is carried out in a legitimate and standardized manner.
Lastly, the transmission dimension is another key dimension affecting the digital dissemination of traditional techniques of ICH. In the pre-digital dissemination of Shu brocade weaving techniques, the proper collection, recording, and archiving of the complete process, including traditional techniques demonstrated by the inheritor and their experiences and emotions, ensure authenticity and integrity in the subsequent digital display and dissemination. This approach promotes the continuation and inheritance of traditional techniques of ICH.
4.2. Differences Between the Perceptions of Each Stakeholder Type
In this research, the interviewed stakeholders were categorized into three types: managers, researchers, and practitioners. Different types of respondents had different perceptions on the indicators affecting the effectiveness of digital dissemination of traditional techniques, as shown in Figure 4. Managers (the government) gave the most attention to the technology dimension while neglecting the role of communication. This is due to the highly centralized government that is closely related to the national policy and social trend of building a strong science and technology country and responding to the development of the Internet in China [34].
Figure 4.
The number of labels for different types of stakeholders in each core category.
The significant difference was that researchers paid more attention to the culture and communication dimensions. The authenticity and integrity of cultural connotations, the sustainable transmission of cultural heritage, and the high level of stakeholder involvement in the digital dissemination process are important for the promotion of the digital dissemination of traditional techniques of ICH. This demonstrates the importance of communication and sharing of work between museums, universities, and craft institutes, as well as participation in craft communities [35,36], to disseminate skills and ICH content to younger generations [37].
Similarly, for practitioners, the most important concern was the communication dimension, followed by the technology dimension. This result shows that inheritors and craft practitioners who carry the historical memory and unique skills of ICH not only realize the importance of communication among various dissemination subjects but have also started facing up to the value of digital dissemination. This shift enhances the initiative of cultural communication and is a strong guarantee for the smooth dissemination of traditional techniques of ICH in the future [32].
5. Conclusions
Due to various reasons, ranging from climate disasters to multiple emergencies, the on-site preservation and offline dissemination of local traditional techniques of intangible cultural heritage (ICH) have been significantly hindered, leaving emerging cultural needs unmet. Against this backdrop, this study captured the perspectives of stakeholders and used them as a foundation to identify key indicators influencing the effectiveness of digital dissemination of traditional ICH techniques. The goal is to promote scientific dissemination and achieve digital sustainability. This research is timely and practically significant, as it emphasizes raising awareness of cultural diversity and encouraging community participation in the digital preservation and sustainable development of cultural heritage in the context of digitization.
ICH represents a wealth of knowledge and skills passed down through generations, relying heavily on community involvement [2]. Through semi-structured interviews with local communities and analysis using NVivo software, this study identified 30 indicators grouped under five dimensions that influence the effectiveness of digital dissemination of traditional ICH techniques. These dimensions also revealed the varied concerns and priorities of different stakeholders. While government managers focused on the application and regeneration of technologies from a macro perspective, researchers prioritized heritage authenticity and community communication, and practitioners emphasized skill inheritance and practical policies. Community experiences, emotions, and memories are pivotal in studying heritage [6].
The case study of Shu brocade weaving techniques highlights that, beyond digital technology, policy, and skill inheritance, the cultural connotations of ICH and transparent communication between stakeholders—where engagement is free, autonomous, and equitable—must be considered as critical indicators of effective ICH dissemination. Identifying these indicators has profound implications for enhancing the digital dissemination of ICH, fostering community participation in its preservation, and ensuring its sustainable development and intergenerational transmission.
However, this study did not test or confirm the relationships between the identified indicators. Moreover, the sample selection focused solely on the dissemination subjects and content of Shu brocade weaving techniques, lacking a comprehensive analysis and comparison of audiences and consumers. Future research should aim to test these relationships and validate the identified indicators. Additionally, subsequent studies could analyze social media trends to better assess how digital dissemination fosters public interest in cultural heritage and promotes the digital preservation and sustainable development of various types of ICH.
Author Contributions
Conceptualization, Z.Y. and C.K.L.; data curation, L.L.; formal analysis, M.F.A.; funding acquisition, Z.Y. and K.L.T.; investigation, L.L.; methodology, Z.Y. and C.K.L.; resources, Z.Y.; software, K.L.T.; supervision, C.K.L. and S.A.H.; validation, S.A.H.; visualization, M.F.A.; writing—original draft, Z.Y.; writing—review and editing, C.K.L., M.F.A. and S.A.H. All authors have read and agreed to the published version of the manuscript.
Funding
This research received no external funding.
Institutional Review Board Statement
This study was conducted in accordance with the Declaration of Helsinki and was approved by the Ethics Committee of the National University of Malaysia (UKM) OF RECUKM (protocol code JEP-2024-002; date of approval: 15 April 2024).
Informed Consent Statement
Informed consent was obtained from all subjects involved in this study. Written informed consent was obtained from the respondents to publish this paper.
Data Availability Statement
The datasets used and analyzed during the current study are available from the corresponding author upon reasonable request.
Conflicts of Interest
The authors declare no conflicts of interest.
Abbreviations
The following abbreviations are used in this manuscript:
| ICH | intangible cultural heritage |
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