a stu`dy case on johor kuda kepang`s motif and shapes

UNIVERSITITEKNOLOGI MARA
KUDA KEPANG THE TRADI IONAL PERFROMING ART:
A STU'DY CASE ON JOHOR KUDA KEPANG'S MOTIF
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AND SHAPES
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NUR SYAFIQAH BINTI MOHO HERMANCHER
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Thesis submitted in fulfilment
of the requlrernentsfor the 'd egree of
Bachelo r Degree (Hans)
Facult y of Art & Design
June 20 14
AUTHOR'S DECLARATION
I declare that the work in this thesis was carried out in accordance with the regulations of
University Teknologi MARA. Itis original and is the result of my own work, unless otherwise
indicated or acknowledged as referenced work. This thesis has not qeen submitted to any
other academic institution or non-academic institution for any other degree or qualification.
II hereby, acknowledge that I have been supplied with the Academic Rules and Regulations
for Post Graduate, Universiti Teknologi MARAI regulating the conduct of my study and
research.
Name of Student
Nur Syafiqah Binti Mohd Herman Cher
Student's ID No
2012471472
Programme
Graphic Design and Media Digital
Faculty
Art & Design
Thesis Title
Kuda Kepang the Traditional Performing Art: A Study
Case on Johor Kuda Kepang's Motifs And Shapes
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Signature of Student
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Date
June 201
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ABSTRACT
Kuda Kepang also known as kuda lumping or jaran kepang is a traditional
Javanese dance depicting a group of horsemen. The Kuda Kepang is a very
interesting dance from Johor, The dance was once a form of totemic worship. The
dance had strong links with spirit possession andoften dancers went into a trancelike state. However with the Islamisation of Malaysia, this dance now generally
renders the tale 0 f nine Javanese men who spread the -Islamic faith in the interior
of Java. The nine Muslim evangelists rode on horseback and dramatized stories of
the battles waged and won for the cause of Islam to draw and hold the attention of
the congregation. Kuda Kepang is performed by nine dancers who are seated
astride a two dimensional 'horse' made of hide -or pleated rattan. The dancers -reenact the early Islamic battles in enthusiastic gestures and vigorous action.
Naturally as time as moved this dance is seen very much more for its
entertainment value. This dance is performed in accompaniment to a rich and
exotic rendition of traditional music played with indigenous instruments such as
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gongs, tambourines and angklungs. The horse 'w er e exclusively made from
bamboo arid decorated with colourful paints and cloth. These shown how creative
our ancestor are. This dance started in Javanese, Indonesia but with the
. immigrants from Javanese to Malaysia made Malaysia have this dance too.
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TABLE OF CONTENTS
Author's Declaration
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Acknowledgements
Abstract
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Table ofContent
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List offigures
List of appendices
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Chapter I: Introduction
1'.1 Introduction
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1.2 Problem Statement
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1.3. Research Question
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1.4 Aim ofthe study
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1.5 Objectives of Study
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1.6 Scope an.d Limitation
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1.7 Methodology
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Chapter II: Literature Review
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2.1 Introduction
2.2 Motifs, Meanings and Colours
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2.3 Conclusion.,
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Chapter III: Research Methodology
3. 1 Introduction
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3.2 Research Design
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3.3 Research Target Respondents and Setting ..
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3.4 Data Collection Process
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3.4.1 Interview
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3.4.2 Observation
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3.4.3 Questionnaire
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3.4.3.1 Section A: Demographic Information
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3.4.3.2 Section B: Background Lifestyle
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3.4.3.3 Section C: To Determine the Knowledge and Experience of
the Public on The Art ofKuda Kepang
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3.4.3.1 Section D: Johor Kuda Kepang's Motifs and Shapes
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Chapter IV: Analysis Data and Findings
4.1 Introduction
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4.2 Methods of data analysis and presentation of data
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4.3 Discussion for Findings
4.3..1 Observation
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4.3.2 Interview
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4.3.3 Questionnaires
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4.3.3.1 Section A: Personal information and demographic
4.3 . 3.2 Section B: Background Lifestyle..
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4.3.3.3 Section C: Knowledge and Experience on the Art Performance
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of Kuda Kepang
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4.3.3.4 Section D: Johor Kuda Kepang Motifs and Shapes
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4.3.3.5 Open-ended QuestionAnalysis.. ~
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4.4 Conclusion
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