This demo encapsulates the possible manifestation of Middle Eastern indigenous dance, Al Ardha, in the form of a serious gaming environment. The presentation also illustrates the interconnection and possible transformation of Intangible Cultural Heritage (ICH) content, such as traditional dances, into a digital kinesthetic learning system. The system is called Mimicry Understanding and Safeguarding Environment (MUSE). It is designed to help museum visitors learn traditional or indigenous dances withthe help of motion-sensing technologies. MUSE is a multidisciplinary research project and is expected to analyze the intricacies of various indigenous dances, particularly the Arabic sword dance. MUSE interface is expected to facilitate museum visitors' awareness, learning, and practice of the Al Ardha dance of the Middle Eastern region. Through its easy-to-learn and user-friendly interface, MUSE can facilitate and foster playfulness and user engagement to enhance the experience of museum visitors.

The field of 3D animation has addressed design processes and work practices in the design disciplines. There are good reasons for considering the development of systematic design processes for the development of 3D animation and it's teaching. Design methodology understood as a general field has developed through cross-disciplinary efforts, primarily involving architecture, engineering design and industrial design. This body of knowledge is not very well known in the development of 3 dimensional animation or computer graphics discipline, but appears to be highly relevant. In this paper, I introduce a number of systematic design methods for teaching and development of 3D animation. I hope that they will prove useful for teachers and professionals in computer graphics. Several methods that I present here are all mainly oriented towards early phases of the design process, where concepts and ideas are the main currencies. The later phases, including implementation and evaluation, are perhaps less problematic. My choice of methods is not meant to be comprehensive, perhaps not even the best possible. Instead I present examples of methods that can be tried out in very simple ways without putting too much effort into the learning process. It is every academic's dream that students can hold their place in the job market or in higher education. Furthermore, schools try their best to acquire equipment and human resources to help students excel. But there are many hurdles and constraints that have to be faced in an academic environment as compared to a production house.

It is every academic's dream that students can hold their place in the job market or in higher education. Furthermore, schools try their best to acquire equipment and human resources to help students excel. But there are many hurdles and constraints that have to be faced in an academic environment as compared to a production house. In order to get the maximum result, an instructor has to set parameters. These parameters are based on two things: Student's capabilities and their background; Resources at hand. Within the above parameters, I formed an expectation from each student. I had to have this expectation well defined because the students I was teaching had no knowledge of three-dimensional graphics at all. It was the first time they had experienced modeling, rendering, and animation, and it was the first time I had taught computer graphics. I created exercises based on design methodology that would separate ideation from the implementation process. This is important in any production related pipeline too. Regardless of required software and hardware capabilities, expectations were set in the beginning and were clear to both instructor and students. Consequently, at the end of the term both, educator and learners were satisfied with the result.