Form Implementation of Seating Behaviour based on Kuda

Kepang Cultural Dance Movements

Siti Salwa Isa

, Abu Ali

, Wan Zai

ana

, Zaki

ah Hassan

and Rafeah Legino

Industrial Design Department, Faculty of Arts and Design , Universiti Teknologi MARA, Malayisa

Fine Arts Department, Faculty of Arts and Design , Universiti Teknologi MARA, Malayisa

{ sitisalwa, abuali, zaiyana004, rafeahl, zakiyahasan }@ uitm.edu.my

Keywords: Furniture Design; Form Giving Objects; Connotation; Denotation

Abstract: To understand the place of seating in modern societies, it is useful to understand how it derives its concepts

from relevant elements. Therefore, this research will look into Kuda Kepang dance movements and notations;

how they can be developed and used in creating new seating design and seating posture. The research therefore

aims to provide a study on how to use its movements in developing seating designs. Semiotics is used in this

study as semiotics describe a triangular relationship between “sign”, ”object” and “interpretant”. The sign is

the actual thing being viewed. The object is the article referred to by the sign and the interpretant is the

viewer’s individual concept of the sign. To understand the sign, a review of the related literature and research

of other researcher regarding seating was made. To study the object, several seating prototypes are made,

developed and tested using real materials.

1 INTRODUCTION

The beginning of the twentieth century was a time of

revolt against the patent seating movement. Seating

design was becoming an integral part of the house and

office setting. However, its role today has been

constrained. It is designed as a place to situate

oneself, not for comfort, but to take the strain off

one’s leg and back. Specifically, most mass-produced

chairs have a minimal concern for ergonomics

(Akintilo, 2001; Saul G, 2011). Seating design

focuses on the way it is dissected into a stool, backrest

and the need for elevation. Changes in these three

elements can result in a pleasing or unpleasing

effects, depending on the design intended function

(Carstensdottir et al. 2011). To date, numerous studies

have been carried out to look into seating design over

the years. However, there is lack of specific studies

on seating design based on human movements and

behaviors. This research, therefore, aims to provide

a study on how to use human movements and

behaviors in developing seating design.

The next section presents the Kuda Kepang and its

element, it also reviews previous work done by the

Western designers and architects in relation to

semiotics approach and also describes its influences

on the seating behaviour and furniture design.

1.1 Kuda Kepang

Kuda Kepang is a traditional dance that is very

popular in Malaysia especially in the state of Johor. It

is originated from the Indonesian Island of Jawa and

was introduced to this part of this country by Javanese

immigrants in early 20th century (Ahmad, 2017;

Foley,1985). The dance dramatises tales of holy wars

fought in the name of Islam during the time of Prophet

Muhammad and his followers. Generally it is

performed by 9 to 15 dancers, though the actual

number depends on each group of performers.

Likewise, the attire of the dancers is also up to the

preference of each group performers. However, many

still opt for the traditional Javanese clothes. The

dancers are all males but on certain occasions like the

Malay weddings and cultural events, female dancers

are also featured. When there are both male and

female performers, they will dance separately and

give different presentations of the dance. In the Kuda

Kepang performance each dancer is astride a two

dimensional ‘horse’ made of hide or pleated bamboo

and painted to make it look more attractive (Figure 1).

One of the dancers will act as the leader and is known

as Dayang. He will lead and direct the other dancers

by using a whip. Each performer ‘rides on the horse’

and dances to the beat of traditional music, which

accompanies the dance. The musical instruments used

118

Isa, S., Ali, A., Zaiyana, W., Hassan, Z. and Legino, R.

Form Implementation of Seating Behaviour based on Kuda Kepang Cultural Dance Movements.

DOI: 10.5220/0008527401180124

In Proceedings of the 1st International Conference on Intermedia Arts and Creative Technology (CREATIVEARTS 2019), pages 118-124

ISBN: 978-989-758-430-5

include gongs, tambourines and angklungs (a

percussion instrument made from bamboo). The

dance is believed to have strong links to the spirit

world. It is not uncommon to see a Kuda Kepang

dancer entering a trance during a performance.

Figure 1: Dancers garbed in traditional Javanese clothes

with the two-dimensional mock horse.

1.2 Oskar Schlemmer Influences on

Movement

The most characterized artistic quality in Oskar

Schlemmer’s work is his interpretation of space. He

experienced space not only through mere vision but

with the whole body, with the sense of touch of the

dancer and the actor. He transformed human figure

into abstract terms of geometry or mechanics his

observation of the human figure moving in space. His

figures and forms are pure creations of imagination,

symbolizing eternal types of human character and

their different moods; serene or tragic, funny or

serious. The following Figure 2 can be considered

fundamentally decisive in the transformation of the

human body in terms of this stage costume (Gropius,

1979).

Figure 2: The Metaphysical forms of expression (left) and

The Laws of motion of the human body in space (right).

1.3 Influences on the Seating Behaviour

and Furniture Design

Peter Opsvik is one of the greatest influences to this

research for developing a new way kind of seating

because of his unique furniture designs. He makes

objects desirable beyond their function and it is

creating the basics for personal preference and taste

(Mengshoel, & Opsvik, 1982). In the following

Figure 3, Opsvik designed a system that provides

support for different body parts while standing. The

support members that one might need are plugged

into a base as required. And they are all adjustable to

the desired heights.

Figure 3 : Supporter prototypes developed during the

Studio Håg period

2 STATEMENT OF PROBLEM

There are many researches and works being done

regarding culture in the western country. However,

their theories regarding product and culture is less

adapted to Malaysia case. Therefore, a study

regarding product and culture should be done to

establish a theory of product and culture that can be

further developed to promote creative and cultural

industry in Malaysia especially the furniture industry.

Since not many sources can be referred to for further

research and the researcher is not able to gather

detailed furniture design from other literatures and

designers in Malaysia and also due to lack of

information on seating design and implementation in

relation to culture, this study would only give

attention to the context relationship between “sign”,

”object” and “interpretant”.

3 AIM & OBJECTIVES

The aim of this study is to transform Malaysian

Culture Dances with special reference to Kuda

Kepang movements into seating design and the main

objectives of the research are as follows:

Form Implementation of Seating Behaviour based on Kuda Kepang Cultural Dance Movements

119

1. To create a new kind of seating behaviour

based on the movement of Kuda Kepang

Dances;

2. To explore the influences of movement in

dances and culture in Kuda Kepang movement

towards a new furniture creation; and

3. To assess these findings and influences, and

demonstrate how it can be applied in a

practical design.

4 METHOD

The aim of this study is to transform culture dances

with special reference to Kuda Kepang dance into a

seating design therefore, the stages involved in

designing are as illustrated in figure 4 . Through these

research activities, several criteria for seating models

are established. The concept stage uses sketches,

models and existing related furniture studies besides

several criteria questions were established during the

research process that led to possibilities for the

research direction

(

Goldschmidt, & Rodgers, 2013).

The design stage gives a physical form in terms of

how it looks, how it is to be made, what it is to be

made of, how it functions and its interactivity with

users (Hyland, 2010 & Bing et al. 2011). Based on the

review of the related literature and research, and the

study of Kuda Kepang elements, several seating

prototypes are made. The prototypes of the proposed

designs have been developed and tested using real

materials. It is aimed to provide different notions on

how the Kuda Kepang elements can be transformed

into a seating design. The following sections present

three different types of seating designs. Each design

is to be used at a different location with different

kinds of usage.

Figure 4: Research Design

Since the study is to transform the Kuda Kepang

dances elements into seating design, semiotics are

found to be useful to interpret the dances movement

as a sign. Hjelm (2002) and Hu et al (2019) pointed

out that the study of semiotics can assist us to become

more aware of reality as a construction and the roles

played by ourselves in constructing or designing it

and semiotics provide the theoretical underpinning

for art and design. Parsons (2009) cited the American

father of semiotics, Charles Sanders Pierce who

described that there was a triangular relationship

between “sign”, ”object” and “interpretant”. The sign

is the actual thing being viewed. The object is the

article referred to by the sign and the “interpretant” is

the viewer’s individual concept of the sign. Semiotics

describe three ways by which meaning is

communicated by signs. These are: (1) Denotation-

covers the literal reading of it and it includes

recognition of the object and literally reminds us of

how it should be used. (2) Connotation- refers to an

object’s associative meaning including its form,

material, construction, colour and texture. (3) Myth-

concerns the beliefs surrounding the object, these

may include stories surrounding its creation, who

may have owned it or others like it, and what it has

been used for. (Hu et al , 2019; Ventura & Shvo,

2016; Umetani set al. 2012)

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5 RESULTS AND DISCUSSION

5.1 Denotation: Kuda Kepang

Movement 1

The first study on the first movement can be observed

in Figure 5. Meanwhile, Figure 5 also shows the

transformation of kuda kepang model on how the

dancers move their body posture onto kneel step

posture and how the posture of the movement 1 can

be transformed into a kneel sit seater.

Figure 5: Transformation of the Kuda Kepang Dance

Movement 1.

Meanwhile, a proposed study of a new way of seating

is shown in Figure 6. This research has also found

similar existing furniture that can be used for further

research. The following Figure 7 shows the existing

furniture that is already in the market.

Figure 6 : A new way of seating derived from kuda kepang

dance movement 1.

Figure 7 : Zocker (left), Allievo E Scolaro (middle)

Easy ride (right)

5.2 Connotation: Proposed Dual sit

Furniture from Movement 1

An ergonomic testing is carried out with two ways of

seating. The two ways of seating are tested by several

testers with different weights and heights. The

prototype dual seat furniture has some characteristics

as the existing furniture is designed by the existing

designers. The proposed prototype can provide a

cross-culture of seating behaviour. Users will be able

to sit in different kinds of ways as per their sitting

preferences (Figure 8). The proposed prototype chair

can be used at restaurants and public waiting areas

such as airport and train station.

Figure 8 : A new way of seating derived from kuda kepang

dance movement 1.

5.3 Denotation: Kuda Kepang

Movement 2

The second study on the second movement can be

observed as the transformation of the movement into

sketch in Figure 9. The figures show the dancers

move their body posture onto right leg kneel step

posture and how the posture from the step 2 dances

can be transformed into a kneel sit seater as shown in

figure 9. A proposed study of a new way of seating

and seater is shown in Figure 10. The paper also

shows several existing furniture that are already in the

market for further study. See Figure 11.

Figure 9: Study on Kuda Kepang Movement 2

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Figure10: Study form from step 2 Kuda Kepang dance.

Figure 11 : Garden Stokke (left) and Supporter Hag (right

5.4 Connotation: Proposed Prototype

Outdoor Furniture from Movement 2

The furniture uses a combination of wood and metal

that can produce a strong and long lasting seat. It can

be used at a railway station, airport, bus station or

public waiting area. The researcher has carried out

several testings prior to developing the final product

to ensure its effectiveness as shown in Figure 12.

Based on the final product as shown in Figure 12,

some kuda kepang elements can be seen from its

design and structure.

Figure 12 : A testing is carried out on ergonomic aspects.

The testing is carried out using weaving techniques.

Based on the testing feedback from the tester, they

revealed that the design is really user friendly. It is

really convenient to use by people. It also changes

people’s behaviour towards non conservative design.

The designs are not just about its function or object’s

sculptural quality. In fact, it can make people realize

the way it is being used as compared to the existing

designs. The design is part of popular arts or

performing arts where people can enjoy using it and

appreciate its design.

5.5 Denotation: Kuda Kepang

Movement 3

The third study on the third movement can be

observed in Figure 13 and the transformation of the

movement into sketch can be seen in the figure. The

figures show the dancer move the body posture onto

seating step posture and how the posture from the step

3 dances can be transformed into a seater. A proposed

study of a new way of seating and seater is shown in

Figure 14.

Figure 13: Study on Kuda kepang Movement 3

Figure 14: Study from Kuda kepang Movement 3

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5.6 Connotation: Seating Design

Approach and Height from

Movement 3.

The prototype furniture consists of a combination of

wood and aluminium frame. The furniture uses

welded stands steel forms a curved surface, supported

by a base. The chair is remarkably light; both visually

and physically. This chair is appropriate for informal

seating in cafeterias, reception areas, lecture rooms,

and other domestic settings. (see Figure 15)

Figure 15 : testing on the ergonomic kneel sit for the

level of seating

Based on the findings and the prototype product, the

paper finds the design concept provided by the

seaterseaters can make the user feels most

comfortable when moving on the seaterseater or even

when sitting down. The seaterseaters are designed to

encourage movement and frequent changes in sitting

position. It allows the body to find its natural point of

balance - both in a forward working position and in

reclining, relaxed position. Also, when sitting on the

seaterseaters, users will be able to use it to distribute

their body weights. This automatically straightens up

and balances the spine properly over the pelvis.

However , the setback of the prototype seaterseater is

it will not be able to provide a long term sitting

comfort as compared to the existing kneeling

seaterseaters. The prototype seaterseater does not

provide a stable sitting position for the user. The

sitting base has 30 degrees angle where users need to

constantly force their legs to support their body from

sliding forward.

5.7 Myth : Combination Series of Kuda

Kepang Dance Movements as Wall

Sit Furniture

This section shows a series of every Kuda Kepang

dance movement as discussed in the previous section.

It is combination of the whole kuda kepang dance

movements. This final furniture design uses a

combination of metal / aluminium and composite.

The use of the materials can last long for outdoor use.

The furniture can be used as a phone booth or kiosk

at railway station, airport, bus station or public

waiting area. The seaterseater will be able to change

people’s behaviour towards sitting methods. This

design also provides multi-functions. It is not only

about the function or the objects’ sculptural quality.

It can also produce a performing art of exhibiting the

furniture. Different user who uses the furniture may

have a different kind of sitting style. This indirectly

creates the furniture to look unique like a small

puppet theatre or one kind of a dance movement.

Besides, the furniture can be seen as a rock climbing

concept as shown in Figure 16. The combination of

all kuda kepang movements is transformed into the

series of seating.

(See Figure 16. )

Figure 16 : each set represents a kuda kepang movement

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6 CONCLUSIONS

The furniture can be used as a phone booth or

kiosk at railway station, airport, bus station or public

waiting area. Seating design based on Kuda Kepang

dance and similar dances using horses will be able to

address ergonomics issues. Although it does not

produce a total comfort solution in seating posture

and design, it can transform conservative seating

designs into contemporary and unique seating design.

It definitely improves seating behaviour and trend.

The study reveals that the relationships between Kuda

Kepang movements and seating design. The findings

and proposed prototype seating should be viewed as

preliminary and a further study is necessary to

establish appropriate transformations for seating

design. In the future , this research will expect

original furniture and it will give people the

opportunity to have unique pieces on the idea. The

final furniture from this research is expectantly :

 Should fulfil the practical needs of modern

life

 Should express the spirit of our times

 Should benefit by contemporary advances in

the fine arts and pure sciences.

 Should take advantages of new materials

and techniques and develop familiar ones.

 Should develop the forms, textures, and

colours that spring from direct fulfilment of

the requirement in appropriate materials and

technique.

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