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Content uploaded by Kittichai Kasemsarn
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All content in this area was uploaded by Kittichai Kasemsarn on May 09, 2018
Content may be subject to copyright.
A Conceptual Framework for Inclusive
Digital Storytelling to Increase Diversity
and Motivation for Cultural Tourism in
Thailand
Kittichai KASEMSARN1 and Farnaz NICKPOUR
Department of Design, Brunel University London, United Kingdom
Abstract. Cultural tourism is considered to be a niche market and little attention
has been paid to it, as compared with mass tourism. Moreover, visitors have little
motivation to visit actual historical sites and read the story displayed behind the
exhibitions. These issues highlight a good opportunity to increase further potential
extended tourism and increase the motivation of visitors. To broaden and increase
the potential market, this study applies inclusive design principles as
‘understanding and designing for diversity’ and presents reports on the first study.
To increase the motivation of tourists, this study adopts digital storytelling as ‘the
guideline to increase motivation’ and illustrates this in the second study.
Keywords. Universal Design, inclusive design, digital storytelling, cultural
tourism, diversity
1. Introduction
The term ‘cultural tourism’ refers to ‘movements of persons for essentially cultural
motivations such as study tours, performing arts and cultural tours, travel to festivals
and other cultural events, visits to sites and monuments’ [1]. In a world troubled by
conflicts based on misunderstandings, cultural tourism can help improve understanding
among different groups and strengthen cultural harmony. However, cultural tourism is
currently a niche market, with little attention paid to it compared to mass tourism [2].
There is therefore opportunity to increase the audience for cultural tourism by
appealing to other groups of potential customers. To broaden and increase the potential
market, this study draws upon inclusive design principles. Inclusive design refers to
‘the design of mainstream products and/or services that are accessible to, and usable by,
as many people as reasonably possible ... without the need for special adaptation or
specialized design’ [3].
Moreover, at cultural sites, visitors have no motivation to read the story displayed
behind the exhibitions [4]. To increase tourists’ motivation, this study adopts digital
storytelling. By applying digital storytelling, there are a variety of techniques such as
plots, characters, conflict, humour and competition to promote and advertise that are
not hard sell advertising [5]. Digital storytelling is widely used to explain all kinds of
1 Corresponding Author, MCST 361, Michael Sterling Building, Kingston Lane, Uxbridge UB8 3PH;
E-mail: Kittichai.Kasemsarn@brunel.ac.uk
Universal Design 2016: Learning from the Past, Designing for the Future
H. Petrie et al. (Eds.)
© 2016 The authors and IOS Press.
This article is published online with Open Access by IOS Press and distributed under the terms
of the Creative Commons Attribution Non-Commercial License 4.0 (CC BY-NC 4.0).
doi:10.3233/978-1-61499-684-2-407
407
story, narrative, film, and novel in the design process of digital systems [6, 7, 8]. For
this paper, digital storytelling is defined as a medium which “uses personal digital
technology to combine a number of media into a coherent narrative” [6]. These
problems highlight a good opportunity to further facilitate cultural tourism to its
potential to extend its audience in the first study and increase visitors’ motivation in the
second study.
2. The First Study: “Inclusive Design in Cultural Tourism: Identifying Barriers
and Drivers for Five Groups in Bangkok, Thailand”
2.1. Background
Most of the tourism industry focuses upon only 15 per cent of tourists who are already
motivated by cultural tourism [9, 10]. This study tries to seek out the remaining 85 per
cent of tourists who are not interested in cultural tourism to increase diversity by
adopting inclusive design as the understanding and design for diversity, so that drivers
can be supported and barriers can be erased. Therefore, this study draws upon an
inclusive design principle by seeking barriers and drivers to cultural tourism for five
groups of potential customers: 1.) youth (15-24 years); 2.) people uninterested in
cultural tourism (non-cultural tourists); 3.) older adults (over 60 years); 4.) people with
disabilities and 5.) cultural tourists. The aim of this study is therefore to identify the
barriers (why they do not) and drivers (why they do) for cultural tourism among five
groups of potential customers.
2.2. Method
To gather information, 25 items of barriers and 26 items of drivers are created by
collecting data from literature reviews. The sample sizes for the each group are
calculated using Yamane’s formula [11] with an error margin of 10% and with a
confidence coefficient of 90%. Next, 500 questionnaires (100 for each group) are
distributed in underground train stations, parks, and cultural and historical sites from 1-
30 August 2015. Respondents are asked to indicate the extent to which various barriers
an drivers were important to them on a seven-point Likert scale (1 = not important at
all and 7 = extremely important). Results from this study are used in the second study
to develop the initial framework further.
2.3. Results
According to Table 1, the most common barrier in cultural tourism cited by the five
groups appeared to relate to ‘transportation’ (e.g., ‘difficult public transportation to
access’ and ‘physically difficult to get to’). However, except for disabled people,
barriers about time (e.g., ‘lack of time to attend’ and ‘inconvenient opening hours’)
were also important. Architecture barriers, meanwhile, were identified as a significant
barrier for three groups (older adults, disabled people and non- cultural tourists), but
not for young people and cultural tourists. However, compared to barriers, drivers for
engaging in cultural tourism seem to differ more between groups. Only three items
‘visiting a place that I have not visited before’, ‘just relaxing’ and ‘new experiences
K. Kasemsarn and F. Nickpour / A Conceptual Framework for Inclusive Digital Storytelling408
and different lifestyles’, were included in the top five for the majority of groups. By
contrast, some barriers to cultural tourism in Thailand, such as ‘difficulty accessing
public transportation’, sites being ‘physically difficult to get to’, a ‘lack of time’,
‘architectural barriers’ and ‘inconvenient opening times and activity schedules’, were
common to more groups.
Table 1. Mean scores for barriers and drivers to cultural tourism among five groups
Diversity of people
Youth
Older adults
Disabled
people
Non-cultural
tourists
Established
cultural
tourists
Barriers
1. Lack of
time to
attend
(4.55)
1. Difficult to
access via
public transport
(4.46)
1. Physical
well-being
(5.41)
1. Lack of time
to attend (4.26)
1. Lack of time
to attend (4.11)
2. Difficult
to access
via public
transport
(4.44)
2. Lack of time
to attend (4.30)
2. Difficult to
access via
public transport
(5.24)
2. Difficult to
access via
public transport
(4.20)
2. Inconvenient
opening times
and activity
schedules (4.11)
3.Inconveni
ent opening
times and
activity
schedules
(4.41)
3. Physically
difficult to get
to (4.30)
3. Physically
difficult to get
to (5.04)
3. Physically
difficult to get
to (4.08)
3. Physically
difficult to get
to (3.89)
4.
Physically
difficult to
get to (4.35)
4. Architectural
barriers (e.g.,
cramped seating
areas and
unwieldy doors)
(4.19)
4.Architectural
barriers (e.g.,
cramped seating
areas and
unwieldy doors)
(5.02)
4. Accessibility
of airplanes,
hotels and
restaurants
(4.02)
4. Service of
staff (3.81)
5. Lack of
information
about where
to go (4.22)
5. Inconvenient
opening times
and activity
schedules
(4.04)
5.Accessibility
of airplanes,
hotels and
restaurants
(4.77)
5. Architectural
barriers (e.g.,
cramped seating
areas and
unwieldy doors)
(3.99)
5. Difficult to
access via
public transport
(3.74)
Barriers
for all
Difficult to
access via
public
transport
(22.08)
Physically
difficult to get
to (21.66)
Lack of time to
attend (17.22)
Architectural
barriers (13.20)
Inconvenient
opening times
and activity
schedules
(12.56)
Drivers
for all
Visiting a
place that I
have not
visited
before
(21.34)
Just relaxing
(21.55)
New
experiences and
different
lifestyles
(15.61)
1.
Outstanding
1. Visiting a
place that I
1. Prestige,
pride and
1. Spending
time with
1. Increasing
knowledge
K. Kasemsarn and F. Nickpour / A Conceptual Framework for Inclusive Digital Storytelling 409
Drivers
scenery
(5.50)
have not visited
before (5.14)
patriotism
(5.89)
family/friends
(5.48)
about foreign
destinations,
people and
things (5.69)
2. Spending
time with
family/frien
ds (5.41)
2. Getting away
from home or
mundane
environment
(5.07)
2. Personal
rewards (5.84)
2. Just relaxing
(5.46)
2. Outstanding
scenery (5.60)
3. Visiting a
place that I
have not
visited
before
(5.36)
3. Just relaxing
(5.01)
3. Just relaxing
(5.84)
3.Interesting/uni
que culture or
environment
(5.46)
3.Interesting/uni
que culture or
environment
(5.54)
4. New
experiences
and
different
lifestyles
(5.32)
4. New
experiences and
different
lifestyles (4.96)
4. Getting away
from home or
mundane
environment
(5.68)
4. Visiting a
place that I have
not visited
before (5.36)
4.Education/lear
ning (5.49)
5. Just
relaxing
(5.24)
5.Interesting/un
ique culture or
environment
(4.93)
5. Increasing
knowledge
about foreign
destinations,
people and
things (5.59)
5. New
experiences and
different
lifestyles (5.33)
5. Visiting a
place that I have
not visited
before (5.48)
3. The Second Study: “Guidelines of Digital Storytelling to Increase Motivation in
Cultural Tourism for Five Groups in Thailand”
3.1. Background
At cultural sites, visitors have no motivation to read the stories displayed behind
exhibitions and visit actual sites [4]. This problem highlights a good opportunity to
facilitate further cultural tourism to increase the motivation of visitors by using digital
storytelling. Additionally, a number of cultural and heritage sites around the world
have been widely digitized as virtual museums or applications with digital storytelling,
making difficult stories or subjects seem more alive and connected to viewers [12,13].
However, in order to create digital storytelling, there is no guideline focusing
specifically on cultural tourism and for potential viewers, especially for older adults
and disabled people who are not target groups. Most guidelines regarding digital
storytelling focus on educational purposes in classrooms and game designs. Moreover,
for most general guidelines, there are a variety of redundant elements. Therefore, the
aim of this study is to create and propose a digital storytelling guideline to motivate all
five groups for cultural tourism.
K. Kasemsarn and F. Nickpour / A Conceptual Framework for Inclusive Digital Storytelling410
3.2. Method
This study collects and creates 12 elements from eight digital storytelling guidelines.
The criterion by which to select each guideline is to have more than 10 citations. Next,
each element in common is clustered according to similarity of definitions by three
multiple coders. In addition, the elements that do not match will not be considered in
this guideline. Next, 15 face-to-face interviews are applied and set up from December
2015 to March 2016. Before interviewing, experts will be presented with the results of
the first study about the barriers and drivers of five groups for cultural tourism to
understand these users. The structured interviews focus on how to use each element of
digital storytelling to motivate cultural tourism for the five groups based on the data
from the first study. In addition, 15 interviews are separated into three groups: (a) Thai
academic experts with academic positions (i.e., assistant professor, associate professor
and professor) or a doctoral degree in a related area; (b) Thai industrial experts with
more than five years of experience in digital storytelling; and (c) international academic
and industrial experts with at least five international publications or worldwide
broadcast experience in digital storytelling.
3.3. Results
Raw data from the interviews were coded by three multiple coders and categorised into
themes and subthemes. The results of the interview are presented in Table 2 below in
order to summarise experts’ recommendations concerning 12 elements for five groups.
Table 2. Digital Storytelling Guidelines for Cultural Tourism from 15 Experts
Digital
Storytelling
Elements
Diversity of People
Youth
Older adults
Disabled
people
Non-cultural
tourists
Established
cultural
tourists
1. The
storyteller’s
point of view
What is the main
point of the story
and what is the
perspective of
the author? [14]
The 1st person
point of view
of a young
person
The 1st person
point of view
of an older
adult
The 1st person
point of view
of disabled
person
The 1st person
point of view
of celebrities,
movie stars or
famous
people
The 1st person
point of view
of real
famous
travellers
2. A key
question
A key question
that keeps the
viewer's attention
and will be
answered by the
end of the story
[14].
Related to
tastes and
trends
Related to
religion
Related to
Religion
Benefits of
cultural
tourists
Unseen
information
K. Kasemsarn and F. Nickpour / A Conceptual Framework for Inclusive Digital Storytelling 411
3. The core idea
and purpose
Established a
purpose early on
and maintains a
clear focus
throughout [15].
To understand
the meaning of
cultural
tourism
To
understand
the meaning
of cultural
tourism
To
understand
the meaning
of cultural
tourism
To
understand
the meaning
of cultural
tourism
To
understand
the meaning
of cultural
tourism
4. Emotional
Content
Good stories
include essential
elements such as
conflict,
transformation,
and closure [16].
High
Comedy
movies,
optimistic and
positive
thinking
Moderate
To remind of
the past,
nostalgia and,
travelling into
the past
Moderate
Funny and
comedic
theme
High
Comedy
movies,
optimistic
and positive
thinking
Moderate
Comedy
movies,
optimistic
and positive
thinking
5. Story
structure
What are the
major events or
challenges during
the narrative? [5]
Innovative
Fun, amusing
and exciting
Conservative
Friends and
family
Conservative
Relationship
of family
Complicated
About finding
themselves:
who they are?
Simple
Focus on
highlighting
information
6. Economy
Using just
enough content
to tell the story
without
overloading the
viewer [14].
Low
Use a hidden
story &
gimmick
Low
Use a hidden
story &
gimmick
Low
Present
information
about
accessibility
Low
Use a hidden
story &
gimmick
Low
Use a hidden
story &
gimmick
7. The rhythm
of the story
The rhythm of
the story and
how slowly or
quickly it
progresses [14].
Fast
Like a
Hollywood
movie or
advertising
they are
familiar with
Slow
Adventure
movie: fast
rhythm
Romantic or
dramatic
movie: slow
rhythm
Slow
Adventure
movie: fast
rhythm
Romantic or
dramatic
movie: slow
rhythm
Fast
Such as
advertising,
music videos,
Hollywood
movies or
movie trailers
Standard
Like a
Hollywood
movie
8. The
storyteller’s
voice
Storyteller gives
the narrative the
appropriate
amount of focus
[6].
Necessary
Present
positive or
funny tone
Necessary
Present
positive or
funny tone
Necessary
Present
positive or
funny tone
Necessary
Present
positive or
funny tone
Not
Necessary
Present
positive or
funny tone
9. Soundtrack
Music or other
sounds that
Popular
Funny,
contemporary
Easy-
listening
Simple and
Depends on
their ages
This group is
Depends on
their ages
This group is
Easy-
listening
Simple and
K. Kasemsarn and F. Nickpour / A Conceptual Framework for Inclusive Digital Storytelling412
support and
embellish the
story [14].
or popular
music, such as
pop
easy-listening
too broad. It
depends on
their ages
too broad. It
depends on
their ages
easy-listening
10. Quality of
media
What is the
medium (e.g.,
mobile phones,
TV or the
Internet)? [5]
Mobile
devices
Television
Television
Mobile
devices
Mobile
devices
11. Background
and characters
What is the
world and where
is it set? [5]
Fantasy
Use characters
that relate and
are popular to
this group
The real
world
Use real older
characters
who are
popular with
this group
The real
world
Use real older
characters
who are
popular with
this group
The real
world
Use real older
characters
who are
popular with
this group
The real
world
Use real and
professional
presenters
who are
popular with
each group to
make them
believe
12. Interaction
The degree to
which the
storytelling
activity takes
place in the real
environment of
the user or in a
virtual world [8].
High
Freely
customise
Low
Should not let
them choose
freely
Low
Freely
customise
High
Freely
customise
High
Freely
customise
According to this table, some results are interesting. For example, for the first
element, ‘the storyteller’s point of view’, experts recommend that the 1st person point
of view should be used for all groups because telling stories via this perspective is the
main issue of digital storytelling. For ‘the core idea and purpose’ element, experts
suggest that storytellers should inform all groups about basic information of cultural
tourism, such as the meaning of cultural tourism. They recommend that the term
‘cultural tourism’ is very new for Thai people. Therefore, we should present to them
what it is and how it is important. In regards to the ‘economy’, experts suggest that,
due to shortened form of digital storytelling, using small amounts of information will
be enough for all groups. In terms of the ‘storyteller’s voice’, this element is still
necessary for all groups except cultural tourists. The next interesting point is that
‘quality of media’ answered only two main mediums: mobile devices and television.
The last interesting issue is ‘background and characters’, wherein experts
recommended that for all groups except youth, storytellers should present only real
locations, not fantasy to attract visitors. They recommend that most viewers need to see
the real, interesting and beautiful locations, not fantasy or animation.
K. Kasemsarn and F. Nickpour / A Conceptual Framework for Inclusive Digital Storytelling 413
4. Conclusion
This paper integrates principles of inclusive design and digital storytelling in order to
explore, suggest links and illustrate the initial framework of three factors: inclusive
design, digital storytelling and cultural tourism. From the first study, the link between
inclusive design and cultural tourism, advocating the increase of diversity by
researching barriers and drivers in cultural tourism among different groups,
demonstrates how the industry and government organizations may be better able to
recognise the significance of neglected groups and increase accessibility for these
people. Such a new perspective requires inclusive design, conceived as understanding
and designing for diversity. In addition, tourists have a wide variety of needs, including
the terms of the barriers and drivers for engaging in cultural tourism. In order to design
effective marketing strategies, marketers need to be aware of these barriers and aim to
remove them.
According to the second study, the link between digital storytelling and cultural
tourism, advocating increased motivation, centralises many general guidelines of
digital storytelling into a single guideline. As stated previously, there is no guideline in
digital storytelling focusing specifically on cultural tourism, especially for Thailand.
From these interviews, storytellers or researchers can use these data to understand
digital storytelling that matches each group in the context of Thailand. Finally, it
creates a new digital storytelling guideline from expert interviews for five groups
representing specifically the motivation for cultural tourism in Thailand.
These issues highlight a good opportunity to increase further potential extended
tourism and increase the motivation of visitors. The outcomes of this analysis are to (a)
create a new conceptual framework for inclusive digital storytelling to increase
diversity and motivation for cultural tourism in Thailand; (b) suggest a link between
digital storytelling, inclusive design and cultural tourism; and (c) provide the tourism
industry and researchers an understanding of the future trends of cultural tourism and
prepare them to face the new challenges by applying digital storytelling and inclusive
design.
5. Future Plans
For my future plans, a third study will be the link between inclusive design and digital
storytelling. According to previous research data, digital storytelling is useful and
motivated; however, what if people (especially older adults and disabled people) cannot
access and understand this form of technology? Therefore, the next study will provide
insights into diverse audiences in terms of reaching out to (accessibility and
understanding) and engaging with (usefulness, usability, desire) digital storytelling in
order to increase motivation in cultural tourism. Lastly, the fourth study will evaluate
and refine the framework from the previous three studies to answer the main research
question: “Could the use of inclusive design and digital storytelling help increase the
motivation and diversity in cultural tourism, and how?” These four studies will be
combined to illustrate a conceptual framework for inclusive digital storytelling in
cultural tourism as part of my PhD research.
K. Kasemsarn and F. Nickpour / A Conceptual Framework for Inclusive Digital Storytelling414
6. Implications
From a marketing perspective, these five groups can be targeted more effectively if the
tourism industry can develop advertising campaigns that reflect the different barriers
and drivers of each group. Moreover, tourism marketers need to understand the digital
storytelling guidelines about how to create a story for all five groups. Therefore, they
can increase both the diversity and motivation of potential customers.
Moreover, the results of the first study could also contribute to management within
government and tourism organisations in Thailand. For example, issues related to
transportation (e.g., difficulty accessing sites via public transportation) were identified
by all five groups, while four groups also highlighted concerns about a lack of free time
and inconvenient opening hours. Architectural barriers were further identified as
significant by three groups (older adults, disabled people and non-cultural tourists).
This information could be used to inform government decisions about improving
transportation to historical sites so that the tourism industry can establish appropriate
programmes for their customers.
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