Digital Preservation of Microgestures in the Making Process of Indonesian Iconic Traditional Rattan Chair Using Immersive 360° Learning Videos and Photogrammetry

Digital Preservation of Microgestures in the Making Process of Indonesian Iconic Traditional Rattan Chair Using Immersive 360° Learning Videos and Photogrammetry | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Research Article Digital Preservation of Microgestures in the Making Process of Indonesian Iconic Traditional Rattan Chair Using Immersive 360° Learning Videos and Photogrammetry Deny Willy Junaidy, Muhammad Nabil Oktanuryansyah, Khalda Fadhilah Arisya, and 4 more This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-5876603/v1 This work is licensed under a CC BY 4.0 License Status: Posted Version 1 posted You are reading this latest preprint version Abstract Although rattan artifacts have been extensively archived, few studies have focused on documenting the knowledge and craftsmanship of artisans who create traditional rattan chairs. These skills often rely on tacit knowledge, which is challenging to capture and transfer. This study aimed to preserve the creation process of iconic Cirebon rattan chairs—Papasan, Bahama, Kelek, Gentong, and Keong—crafted for over 50 years by leveraging digitization techniques. By combining 360° video technology with photogrammetric techniques, the study produced immersive learning materials that effectively captured artisans' subtle and often difficult-to-observe micro-gestures. The 360° video technology recorded these intricate gestures, while photogrammetry generated realistic three-dimensional visualizations of the furniture and tools used. Visual recall testing demonstrated that these immersive learning videos effectively teach delicate and nuanced techniques unique to rattan chair-making, such as using the chest, knees, armpits, soles, and toes. Furthermore, the methods and findings of this study highlight the potential of 360° video technology in preserving other crafts that involve complex and precise manual skills. Digital preservation Microgesture Rattan chair Chair-making 360° learning videos Photogrammetry Figures Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Figure 12 Figure 13 Figure 14 Figure 15 1 Introduction 1.1 Rattan as an essential commodity in Indonesia Since the seventeenth century, rattan has been a critical international trade commodity and considerably influenced the development of global commerce. Rattan is one of the world’s most crucial nontimber forest products widely used for binding, basketry, house construction, food, and nonmarket products [ 1 ]. Rattan commercialization in Indonesia can be traced to the Dutch colonial era when raw rattan logs were initially used as ship ballast but were subsequently processed into rattan seating materials to satisfy international demand. A study by Cookson [ 2 ], including a literature survey and content analysis of various types of classic rattan-seated chairs from museum collections in England and Indonesia, described coastal styles, such as the coastal chair and Moluccan chair. These styles were typically characterized by dark ebony wood with rattan weaving. They were exported from the East Indies as early examples of rattan industrialization from the East Indies to Europe. In Indonesia, rattan was initially used as a seat material but has gradually evolved into rattan chairs commonly used today [ 3 ]. In Indonesia, Cirebon is the center of rattan craft production. Products produced here are sold in domestic and international markets. According to Asngadi et al. [ 4 ], this industry began in 1936 in Tegalwangi Village, Plumbon District, when an artisan from Bodelor Village ventured into rattan production. The expertise of artisans in weaving and frame making has established Cirebon as the global center for the rattan industry, particularly furniture. Various designs of classic rattan chairs (see Fig. 1), such as Papasan, Kelek, Gentong, Bahama, and Keong chairs, are widely popular in the furniture trade. Since 2011, the rattan furniture industry in Cirebon has been recognized as a commodity under the Regional Core Industry Competencies (KIID/ Kompetensi Inti Industri Daerah ) [ 4 ]. 1.2 Preserving tacit knowledge in rattan chair making through digitization Although various digital documentation of artifacts of rattan chairs have been conducted, limited studies have focused on archiving the skills involved in rattan chair making. The knowledge of bending, binding, and weaving rattan into chairs is yet to be fully documented. These processes embody tacit knowledge—skills and techniques often passed down through hands-on experience and are challenging to convey through spoken or written communication [ 5 – 6 ]. Digitizing the rattan chair-making process into an educational video is one of the initiatives that can address the challenges in revitalizing rattan design, particularly in documenting tacit knowledge. Furthermore, this effort helps preserve rattan crafting skills as an intangible cultural heritage, as highlighted by Lenzerini [ 7 ]. Traditional rattan chair creation involves the use of various body parts. Microgestures such as gripping movements, pressing with the armpits, knee pressing, arches of the feet, and distinct finger positions are essential in rattan chairs' bending and weaving processes (Figs. 2 and 3). Observing these microgestures is challenging and requires detailed digitization methods to help learners understand body positioning at each stage of the rattan chair-making process. The combination of 360° video technology and photogrammetry has the potential to enhance digitization methods that accurately present detailed information and enable micro gesture digitization. The 360° video technology provides a flexible perspective by allowing viewers to adopt the viewpoint of the artisan, enabling an immersive learning experience and minimizing the perception differences between the instructor (artisan) and learner during the knowledge transfer process. Photogrammetry can reproduce the details of rattan chairs and tools as realistic and accurate 3D assets that complement comprehensive 360° learning videos. 2 Literature review 2.1 Rattan chair-making in Indonesia Rattan commodities are abundant in Indonesia, especially in the forests of Sumatra and Kalimantan and in the rugged mountains of Sulawesi. The rattan parts used for crafts and furniture include rattan heartwood (pitrit), rattan skin (lesio), and finely woven rattan skin created with a loom. Siebert [ 1 ] explained that Indonesia’s plentiful rattan resources are harvested and processed into ready-to-use raw materials for the furniture industry, which are used in both domestic and international markets. According to the Association of Indonesian Furniture and Handicraft Industry, cited from Indonesia.go.id [ 8 ], Indonesia accounts for 85% of the world’s rattan production, with approximately USD 2.5 billion in furniture exports in 2022. The annual rattan production in Indonesia is notably high and totals approximately 450,000 tons annually. According to the Food and Agriculture Organization of the United Nations [ 9 ] in the article titled Forest-Based Handicrafts in Indonesia , the rattan furniture-making process involves several stages, namely cutting, heating, bending, binding, weaving, sanding, and polishing. Before processing, thick rattan stems were cut into the required sizes. Rattan flexibility allows for effective bending, but larger-diameter rattan requires heating to achieve the desired shapes, which are held in place until they become permanent. Traditional bending processes typically use artisan legs or tables with metal pipes [ 10 ]. For assembly, separate frame components were joined with nails or tied using rattan skin and filled with weavings made from rattan heartwood (pitrit). This weaving process requires specialized skills, including complex hand movements and microgestures, such as finger curvatures, and distinctive body movements, such as pressing rattan with the thighs or underarms. The rattan bending process encompasses various grip movements, as Feix et al. [ 11 ] categorized in terms of the taxonomy of grip types. These detailed body movements, termed microgestures, are critical for mastering rattan furniture-making. Rattan not only plays a critical role in export–import trade but is also significant culturally and economically for millions of villagers, rattan harvesters, and craftsmen in various regions of Indonesia. The complexity of rattan commodity chains and comprehensive processing steps make this industry highly reliant on artisans’ specialized knowledge [ 1 ]. Siebert [ 1 ] added that the diversity of rattan processing techniques typically requires separate artisans at each stage, enhancing employment opportunities. Since its early development in Tegalwangi Village of Plumbon District, rattan crafting skills have been passed down from generation to generation and local communities in the surrounding villages [ 4 ]. As discussed earlier, the rattan learning process relies heavily on tacit knowledge, which involves intricate microgestures. To address the potential loss of rattan crafting skills due to the declining numbers of skilled artisans, the use of video techniques, especially from a first-person perspective, can be utilised to enhance the transmission of tacit knowledge [ 12 ]. According to Le Bellu [ 12 ], the contextual setting of expert knowledge is a key to conveying an expert's tacit skills. 2.2 Potential of 360° video as a learning medium A 360° video provides an immersive viewing experience with perspectives covering the entire 360° spectrum [ 13 ]. This technology captures detailed body movements, such as fingers, hands, arms, and legs, during the rattan chair-making process. Allowing learners to adjust their perspectives offers a comprehensive understanding of the coordinated movements of rattan artisans. Unlike conventional videos, 360° videos reveal tacit knowledge and microgestures critical to the craft of rattan furniture. This medium enhances engagement and motivation by simulating a physical presence in the environment being studied [ 14 ]. Learners can control their viewpoints, fostering exploration and a deeper understanding of complex concepts. Techniques like bending rattan, weaving heartwood, and securing materials with knees demonstrate the physical coordination required for high-quality furniture, which captures 360° views in unprecedented detail. The information presented in 360° spherical views provides a comprehensive learning resource highlighting essential details overlooked in conventional videos. The immersive nature of 360° videos bridges the design knowledge gap, minimizing misinterpretations common in traditional learning methods [ 15 ]. By positioning learners as active participants, these videos promote the internalization of artisans’ expertise through detailed observation. The visually rich experience simulates on-site crafting, helping learners grasp movement coordination, physical contexts, and production details more effectively than text alone [ 16 ]. 2.3 Photogrammetry technique in creating realistic 3D asset reproduction Photogrammetry can accurately reproduce realistic and accurate 3D assets, making this method particularly advantageous for the digital preservation of cultural artifacts that require complex details of structure, texture, and patterns [ 17 – 19 ]. Its application in digitizing rattan chairs and the traditional tools used in their creation is highly appropriate because these artifacts feature organic textures and complex weaving patterns. Photogrammetry's visual preservation and spatial modeling capabilities allow learners to examine the detailed structure of chairs. This method enriches references for designers and craftsmen, helping maintain the authenticity of traditional techniques and patterns [ 20 ]. Digital technology research typically involves user testing after product development. This testing generally includes at least 15 respondents, focusing on engagement, comprehension, usability, and overall satisfaction with the learning experience [ 21 ]. 3 Objective This study focused on digitizing knowledge and micro-gestures involved in rattan chair-making using 360° video technology and photogrammetry. The output was an immersive and comprehensive 360° learning video documenting the crafting process of five iconic Cirebon rattan chairs (Papasan, Bahama, Kelek, Gentong, and Keong) combined with photogrammetric visual infographics of the chairs and tools used. This 360° learning video enabled the knowledge transfer process in rattan chair making to be conducted independently. 4 Material and methods This study was conducted in four stages, namely pre-data collection, data collection, data processing, and data testing, with a focus on digitizing the rattan chair-making process. Five iconic traditional Indonesian rattan chair types, namely Papasan, Gentong, Kelek, Keong, and Bahama chairs, produced since the 1970s, were selected as the study objects. Data collection involved recording the crafting process of the chair parts, as demonstrated by local artisans in Cirebon. 4.1 Pre-data collection The pre-data collection stage involved discussions with artisans, equipment feasibility testing, and setting up a studio chamber for filming. First, discussions with artisans were conducted to identify each chair's unique crafting techniques and signature elements. This information was sorted based on the urgency and complexity of processes requiring tacit knowledge and microgestures. Detailed technical information on the chair parts, specific body parts for crafting, and camera positioning and equipment needed for the recording process were discussed (see Table 1). In the second step, equipment feasibility testing was conducted by simulating various conditions for capturing rattan chair parts following the guidelines in Table 1. The equipment tested included a DSLR camera, an Insta360 X3 camera, lighting equipment, and a photogrammetry setup. These tests were conducted by simulating the positions of the artisan and the placement of the objects used to avoid technical problems such as inaccurate video angles or improper settings. The third stage involves setting up a 3 m × 3 m × 2 m video recording chamber (Fig. 4). The cubic room was lined with white 2-m high fabric walls and a white fiber floor to create a clean, neutral background. The arrangement considers rattan materials' movement, artisans' workflow, and placement of production tools such as burners and compressors. The lighting in the chamber incorporated a three-point lighting configuration: a key light for the main subject, a fill light to soften shadows, and a backlight to create depth and separate the subject and objects from the background. The camera was placed at an overhead angle with a clearance height of 1.5 m from the subject, enabling a 360° perspective to capture details from every side. The camera frame was set at a medium close-up to focus on the artisan and rattan chairs and simultaneously minimize distractions from the surrounding objects. Area markings included the positions of the actor, camera, and main object to ensure complete control during data recording. This setup focused on optimizing the conditions for modeling and ensuring data precision. 4.2 Data collection Two primary methods, 360° video recording and photogrammetry, were used for data collection. The 360° video method captures the crafting process of rattan chair parts by an artisan, whereas photogrammetry generates realistic 3D models of the chairs and tools used. The two datasets were integrated using time codes to record the minutes and seconds (Table 2) precisely. This integration facilitated segment-cutting and expedited editing. Combining the 360° video and photogrammetry data produced a cohesive visual narrative. The integrated videos underwent post-production processes, including color grading and texture adjustments, to ensure consistency between the 360° video and 3D models. 4.3 Data processing The data processing stage involved sorting 360° video recordings and photogrammetry data. The videos were evaluated based on the clarity of the crafting process, camera angles, and lighting. Photogrammetry data were reviewed for image quality, labeled, and matched to the time codes to ensure contextual relevance within the 360° video (see Table 3). After sorting and labeling, the data were edited to produce a complete 360° learning video. Photogrammetric data were processed into 3D models to obtain detailed information about the chairs and tools in the 360° learning video. 4.4 360° learning video testing method Testing was conducted using a quantitative approach through an experiment involving 15 respondents, comprising students and lecturers from furniture-related fields. This test evaluated the effectiveness of the 360° learning video in enhancing the understanding of rattan chair-crafting techniques (cognitive resource: recall) and assessed user experience with the 360° learning video. The test procedure consisted of two stages. 1) Watching the 360° learning video Each participant was guided to watch 360° learning video clips showing the crafting process of rattan chair parts two times by using Oculus VR devices. The number of views was determined to help respondents adapt to the 360° video format. The components of the chair were randomly selected for each respondent from five iconic rattan chair types. a) Papasan chair: Making of the corner joint creeper b) Bahama chair: Making of the diamond weaving decoration c) Keong chair: Making of the semi-oval ring d) Gentong chair: Making of the supporting beam e) Kelek chair: Making of the diamond weaving decoration. 2) Questionnaire completion After watching the video, the participants were asked to complete a questionnaire divided into the following two sections: a) Section 1 (Cognitive resource: recalling) The questionnaire assessed respondents’ ability to retain the information in the video, including crafting techniques, micro-gestures, and tool usage in the rattan chair-making process. Data from this section were used to evaluate the effectiveness of the 360° learning video in conveying knowledge about the rattan chair-making process. b) Section 2 (Evaluation) This questionnaire measured the respondents’ experiences using a 360° learning video for rattan chair crafting as an educational medium. The evaluation focused on content clarity (clarity of information and infographics), ease of learning, enjoyment, and perceived engagement level while watching the videos. 3) Data analysis Data collected from the questionnaires were analyzed using descriptive statistics to determine the respondents’ understanding of the rattan chair-making process. The data were used to evaluate the effectiveness of 360° learning media in independently transferring knowledge from rattan artisans to learners. 5 Results 5.1 Making process of 360° learning videos The 360° learning video was produced by combining sorted 360° video clips (Table 3 ) using Adobe Premiere Pro software. The final 360° learning video was enhanced with supporting elements, such as text, graphics, and photogrammetry-generated 3D models. The key technical steps in the editing process are as follows: 1. Converting video format: This phenomenon ensures a uniform video format when data are captured from two devices to standardize the resolution and aspect ratio of the combined footage. 2. Logging footage: Relevant clips are selected through trimming, splitting, and cutting processes to create a cohesive 360° learning video. 3. Framing: Adjusting the primary orientation of the video post-rendering. In Adobe Premiere Pro, orientation was achieved using VR Projection and VR Projection Sphere features (Fig. 5), enabling angle adjustments along the X-, Y-, and Z-axes without altering the view. The composition of the visual elements in the 360° rattan chair-making video incorporated the VR rotation sphere effect, enabling viewers to direct their 360° video perspective flexibly. Additionally, keyframes for axis rotation created smooth transitions in view, helping to focus on critical details such as weaving, bending, and craftsmen’s microgestures. 4. Motion-tracking setting: Infographic placement was aligned using the motion-tracking feature to ensure that the supporting graphics accurately followed the movement of the objects. Infographic elements, including 3D motion graphics and detailed text, were structured according to a timecode table (Table 4 ) to streamline the production process and prevent problems such as overlapping elements. The placement of the supporting components, such as text, icons, and 3D motion graphics of the chairs and traditional tools, followed a layout similar to that in Fig. 6. This placement helped viewers navigate additional information in the 360° learning video. Graphic elements such as headlines, sub-headlines, lower thirds, and icons convey information about chair names, components, tools, and materials. Alternative arrow-shaped icons guided the viewers to locate the positions of the 3D motion graphics of the rattan chairs and tools on the left and right sides of the 360° display. 5.2 Making process of 3D model using photogrammetry technique as the infographic asset Photogrammetry was used to reconstruct the rattan chairs and tools into realistic 3D models. The reconstructed 3D mesh assets were processed into 3D motion compositions to supplement the information displayed in the 360° video. The 3D motion visualization highlighted the characteristics of the objects, providing an understanding of the anatomical structure of the chairs from multiple angles. Table 5 compares the visual data for the five types of rattan chairs before and after object reconstruction based on point-cloud and 3D mesh formats from the photogrammetry data. Table 6 provides a visualization of the four types of tools used by the craftsmen during rattan chair production. Photogrammetry was used to capture these tools' unique details and functions, such as the clamp for bending processes, the rattan stands for cutting specific lengths, and a specialized saw for precision cutting. Photogrammetry data processing workflow included three stages: generating point clouds, generating polygons, and 3D post-processing. Figure 7 illustrates the reconstruction workflow, demonstrating each step in Fig. 8. 1. Generating point cloud: This step converted the physical rattan chair into a digital point-cloud format consisting of two main steps. First, alignment and scaling were performed using Reality Capture software, which arranged a series of photographs into a cohesive 3D point-cloud representation by automatically detecting coordinate points. The point cloud was then scaled to match the chair's dimensions on a 1:1 scale. Second, dense cloud construction refined the point cloud, capturing intricate details like rattan weaving and chair bends, essential for converting it into a 3D mesh. 2. Generating polygons: This stage transformed point-cloud data into a complete 3D polygonal model. First, we cleaned up unwanted noise and background objects and remeshed the vertices to form a cohesive polygonal mesh using 3D Blender software. The process then continued by adjusting the vertex model to capture intricate details such as rattan weaving and chair curves. The process was then finalized by applying natural textures and colors by mapping the original photograph data onto the 3D mesh to ensure a realistic rattan-like appearance. 3. Postprocessing: This stage ensures the final 3D model is refined and error-free. Sculpting involved using 3D clay tools to enhance details like curves, shape deformation, and volume, achieving an accurate and natural representation of the rattan chair. Finally, the model was rendered into .fbx and .jpeg formats to ensure compatibility with 3D design and animation applications. Videos of traditional rattan chair-making combined with photogrammetry were uploaded to a YouTube channel [ 22 – 26 ]. 5.3 Result of 360° learning video testing The results of the first test (cognitive resource: recall) revealed the distribution of the respondents’ understanding (see Fig. 9). The trial results showed that the majority of respondents could grasp information regarding techniques, the use of micro-gestures, and the tools and materials presented in the 360° learning video for rattan chair making. The strong understanding among the majority of respondents indicates the effectiveness of the video in conveying practical knowledge, supporting the study's objective of creating a comprehensive learning medium. The positive results from the first test, which demonstrated a solid understanding of the rattan chair-making processes, were supported by data from the evaluation of respondents’ experiences while accessing the 360° learning video, as depicted in Fig. 10. 6 Discussion This study demonstrated the effectiveness of 360° learning videos in enhancing the learning process through immersive experiences, particularly when observing complex processes like rattan chair-making. Selecting around 15 participants for usability testing in learning media balances meaningful feedback with resource efficiency. This sample size allows researchers to assess engagement, comprehension, usability, and satisfaction while identifying learner behaviors, preferences, and challenges. The insights inform instructional design improvements, ensuring practical and accessible learning experiences [ 21 ]. The high recall test scores and positive feedback on information clarity confirm the potential of 360° videos as practical educational tools. Consistent with findings by Lampropoulos et al. [ 13 ], the videos allowed learners to view processes from multiple perspectives, facilitating the observation of intricate details. Additionally, 68% of respondents reported precise information delivery, while 52% appreciated the detailed illustration of micro-gestures. The integration of photogrammetry further enriched the clarity of infographic assets, enhancing the comprehensiveness of the learning medium. The results also revealed that the videos provided a pleasant learning experience (78%) and fostered an immersive impression (82%), aligning with Ranieri et al. [ 16 ], who emphasized the engaging nature of 360° video technology. Unlike conventional learning videos, 360° technology captures microgesture often overlooked, such as the precise finger movements during weaving or the use of the knee to stabilize larger rattan pieces during bending (see Fig. 11). These representations allow learners to thoroughly understand the physical techniques involved in rattan chair-making. This advantage highlights the potential of 360° video in bridging the gap between artisan skills and modern learning technologies. Beyond their technical advantages, 360° videos offer a scalable model for preserving other traditional crafts with tacit knowledge. 360° videos can serve as detailed records for future restorations and research in heritage conservation. Furthermore, this technology could produce interactive museum exhibits, allowing visitors to engage with cultural artifacts in novel and meaningful ways. The practical applications of this work extend beyond preservation. 360° learning videos can be incorporated into design and craftsmanship curricula, providing students with an immersive tool to learn traditional techniques. Socio-culturally, digitizing traditional craftsmanship supports preserving knowledge systems, ensuring artisans’ expertise endures amidst modernization. This approach empowers artisan communities by showcasing their skills, inspiring future craftsmen, and fostering cultural heritage appreciation. It also creates economic opportunities through education and tourism initiatives. Sections below are the detailed, technical, and expanded explanations of the role of delicate micro-gestures in rattan chair production, integrating terms from physiology, ergonomics, and artisanal techniques. 6.1 Micro-Gestures in Rattan Chair Production: A Technical Perspective 6.1.1 Armpit (Ketiak): Stabilization and Pressure Application Role and Technique The armpit is used as a natural clamp to stabilize rattan during bending or shaping. For example, when forming the Big Ring of Papasan chairs or the curved vertical legs of Gentong chairs, artisans use the armpit to anchor the rattan against the body while applying pressure with the hands (see Fig. 12). Physiological Mechanics : The pectoralis major (chest muscle) and latissimus dorsi (back muscle) engage to create inward pressure. The soft tissue of the axilla (armpit region) provides a high-friction surface, enabling control without damaging the rattan’s surface. Ergonomic Advantage : This gesture minimizes the need for external tools, reducing strain on the hands and wrists. The body’s natural leverage points distribute force evenly, improving efficiency. Impact on Craft : This technique ensures stability during high-stress bending, essential to maintaining the rattan’s structural elasticity and preventing cracking. 6.1.2 Chest (Dada): Counterpressure and Force Distribution Role and Technique The chest is primarily used to apply counterpressure during shaping and assembly. For example, while forming the Seat Ring in Bahama chairs, the rattan is pressed against the sternum to maintain its position while both hands work on fine adjustments (see Fig. 13). Physiological Mechanics : The sternum is a rigid support structure, while the pectoralis major and serratus anterior muscles stabilize the chest and shoulders. This allows the artisan to exert controlled, bilateral force. Ergonomic Insight : Using the chest as a counterbalance reduces strain on the upper limbs. The ergonomic advantage lies in allowing both hands to work freely while maintaining the material's position. Impact on Craft : The uniform force distribution across the chest ensures precise bends and consistent tension, which is critical for forming significant, symmetrical components like rings or frames. 6.1.3 Soles and Toes (Telapak dan Jempol Kaki): Anchoring and Tension Control Role and Technique : The soles and toes are actively engaged in anchoring rattan during weaving and bending. For instance, in Pitrit Weaving 2:1 or Diamond Weaving Decoration , the soles stabilize the material, while the toes—particularly the hallux (big toe)—are used for precise tension control (see Fig. 14). Physiological Mechanics : The flexor hallucis longus (big toe flexor) and plantar muscles in the sole of the foot provide grip and stability. The toes act as fine manipulators, controlling small shifts in rattan tension. Ergonomic Insight : Artisans free their upper body for finer motor tasks, such as intricate weaving, by anchoring the material with their feet. This dual engagement reduces overall physical fatigue by distributing the workload. Impact on Craft : The controlled application of tension ensures uniform weaving patterns and prevents sagging or uneven surfaces, which is vital for the aesthetic and structural integrity of the chair. 6.1.4 Inner Elbows (Bagian Dalam Siku): Cradling and Dynamic Stabilization Role and Technique The inner elbows are a natural cradle for holding rattan in place during tasks like forming the U-shaped Supporting Structures in Keong chairs or assembling the Backrest Main Structure of Kelek chairs (see Fig. 15). Physiological Mechanics : The biceps brachii and brachioradialis muscles stabilize dynamically, while the antecubital fossa (inner elbow crease) acts as a soft yet firm contact point. This allows the artisan to hold the material securely without slippage. Ergonomic Insight : The inner elbow reduces strain on the wrist and forearm by transferring the stabilizing load to a larger joint. This is particularly advantageous during prolonged handling of heavy or flexible rattan pieces. Impact on Craft : This technique allows for precise alignment and secure positioning of components during assembly, ensuring structural accuracy and preventing misalignment. 6.1.5 Inner Thighs (Bagian Dalam Paha): Clamping and Hands-Free Stability Role and Technique The inner thighs are employed as clamps during bending or assembly of more significant components, such as the Corner Joint Creeper in Papasan chairs or the Kelek Bend (see Fig. 13). Physiological Mechanics : The adductor group of thigh muscles (adductor longus, Magnus, and brevis) exerts lateral pressure to hold the rattan securely. The thigh muscles’ strength and endurance are critical for maintaining stability over extended periods. Ergonomic Insight : This hands-free stabilizing method allows artisans to focus on detailed handwork, reducing the risk of material slippage. The use of lower-body strength also minimizes fatigue in the upper body. Impact on Craft : This gesture enhances precision in bending, ensuring smooth curves and consistent shaping, particularly for significant, load-bearing components. 6.2 The Role of Micro-Gestures in Ergonomic and Physiological Contexts Micro-gestures like these are not just functional but are also an essential part of the artisan’s ergonomic workflow. These small, deliberate movements are designed to optimize body mechanics, minimize physical strain, and maximize control over the rattan—a material that requires both strength and delicacy to manipulate. Physiological Efficiency : Micro-gestures engage specific muscle groups in isolation, reducing the likelihood of overuse injuries while maintaining precision. For example, using the chest for counterpressure reduces wrist and hand fatigue. Ergonomic Design : The natural interaction between the artisan’s body and the material eliminates the need for complex machinery, making the process both sustainable and adaptable. Craftsmanship Impact : These gestures preserve the artisanal authenticity of the craft, ensuring that the chairs maintain their unique handmade quality—a hallmark of Cirebon rattan furniture. Using armpits, chest, feet, toes, inner elbows, and thighs reflects the intricate and technical mastery required in rattan chair production. These micro-gestures are not random but are informed by centuries of artisanal knowledge, physiological efficiency, and ergonomic practicality. Documenting and digitizing these movements are crucial for preserving this heritage craft and ensuring its continuation for future generations. 6.3 Challenges and limitation Several technical challenges were encountered during data collection, affecting production quality and efficiency. Continuous single-take recordings required precise camera placement and coordination with artisans to capture the process without interruptions. Equipment problems, such as the 360° camera overheating during extended recordings, resulted in filing errors and necessitated repeated data collection. The solution was to introduce breaks between recording sessions. However, camera placement presents additional challenges. The optimal points were limited to chest-level or ceiling-mounted positions above the artisan because head-mounted placements produced unstable results because of dynamic head movements. Although chest-level placement was the most stable and optimal option, this placement resulted in a lower perspective and distorted images. Future studies should focus on developing effective camera positioning methods to produce optimal 360° videos of rattan chair-making processes. The user testing of this video was conducted with a small number of participants. Although it is appropriate in any general user testing studies, we suggest that future studies involve more participants to obtain more precise and generalizable results. 7. Conclusions This study demonstrated the effectiveness of 360° learning videos in enhancing learners’ understanding through immersive experiences while observing complex processes such as rattan chair-making. 360° video technology is an effective medium for digitizing the traditional rattan chair-making process. This potential is supported by the ability of 360° camera technology to highlight microgestures and provide multi-perspective views. Learners can observe and understand how to position their body movements (hands, feet, knees, fingers, and underarms) at each stage of rattan chair production. Photogrammetry plays a critical role in accurately presenting the physical details of rattan chairs. Beyond clarity and precision, 360° videos for skill digitization support immersive practical skill training, enriching the learning experience. Furthermore, the advantages of 360° videos and the making process of the 360° video conducted in this study can be utilized as a medium for preserving other traditional skills that contain tacit knowledge that require deep visual understanding and comprehensive information, for instance, the conventional process of tenun fabric making and traditional pottery. Declarations Author contributions Deny Willy Junaidy, Muhammad Nabil Oktanuryansyah, Khalda Fadhilah Arisya, and Linda Mawali were responsible for the writing and initial conception of the manuscript. Material preparation, data collection, and analysis were conducted by Deny Willy Junaidy, Muhammad Nabil Oktanuryansyah, Khalda Fadhilah Arisya, Linda Mawali, and Muhammad Dhani. Intan Rizky Mutiaz and Deni Suwardhi provided support and consultation on 360° video and photogrammetry. All co-authors contributed to reviewing and commenting on previous versions and approved the final manuscript. Acknowledgments The authors extend their gratitude to the Institute for Research and Community Services, Bandung Institute of Technology (ITB), for supporting the experiment process. Funding This work was supported by the Faculty of Art and Design ITB Grant number PPMI-F 2024 no. 923.2/IT.CO3/SPP-FSRD-TA/2024 Data availability No datasets were generated or analysed during the current study. Conflict of Interests The authors declare none. Informed Consent Informed consent was obtained from all participants involved in the study, ensuring their understanding of the research purpose, procedures, and rights. References Siebert SF (2012) The nature and culture of rattan. University of Hawaii Press. Cookson AJ (2010) The development of the English chair splat was influenced by Chinese chair design on English rattan chairs. In: Proceedings of the annual conference of JSSD, The 57th Annual Conference of JSSD (Japanese Society for the Science of Design), pp 1660–1700. Junaidy, D. 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Eur J Int Law 22(1):101–120. https://doi.org/10.1093/ejil/chr006 Indonesia.go.id (2024) Industri rotan butuh revitalisasi. https://indonesia.go.id/kategori/editorial/8728/industri-rotan-butuh-revitalisasi?lang=1 Food and Agriculture Organization of the United Nations (n.d.) Case study three: Forest based handicrafts in Indonesia. Food and Agriculture Organization. https://www.fao.org/4/X5860E/x5860e06.htm Setyo Indartono, Y., Willy Junaidy, D., Rakhmata Mukti, R., & Farid, M. (2023) Budaya ilmiah unggul: Teknologi pemberdaya (I. Pempasa, Ed.; 1st ed., Vol. 1). ITB Press. Feix T, Romero J, Schmiedmayer HB, Dollar AM, Kragic D (2015) The GRASP taxonomy of human grasp types. IEEE Trans Hum Mach Syst 46(1):66–77. https://doi.org/10.1109/THMS.2015.2470657 Le Bellu, S. (2016). Learning the Secrets of the Craft Through the Real-Time Experience of Experts: Capturing and Transferring Experts’ Tacit Knowledge to Novices. Perspectives Interdisciplinaires Sur Le Travail et La Santé , 18–1 . https://doi.org/10.4000/PISTES.4685 Lampropoulos G, Barkoukis V, Burden K, Anastasiadis T (2021) 360-degree video in education: an overview and a comparative social media data analysis of the last decade. Smart Learn Environ 8(1):8. https://doi.org/10.1186/s40561-021-00165-8 Kim, J., Kim, K., & Kim, W.-S. (2022). Impact of immersive virtual reality content using 360-degree videos in undergraduate education. IEEE Transactions on Learning Technologies, 15, 1-1. https://doi.org/10.1109/TLT.2022.3157250 Junaidy, D. W., Adharamadinka, M., Kusumah, G. K., Darmakusuma, R., Ginalih, C. T., Sakya, K. A., & Mawali, L. (2024). Examining the Spatial Perception of Users of Verbally Generated 3D Virtual Space Visualizations. Archives of Design Research, 37(1), 61-83. Ranieri M, Bruni I, Luzzi D (2020) Introducing 360°-degree video in higher education: an overview of the literature. JECP 1(1):345–353. https://doi.org/10.38069/edenconf-2020-ac0032 Rabosh EV, Balbekin NS, Mezhenin AV, Petrov NV (2022) Application of photogrammetry for digitizing information about cultural heritage in the form of display holograms. Int Arch Photogramm Remote Sens Spat Inf Sci XLIII-B2-2022:869–875. https://doi.org/10.5194/ISPRS-ARCHIVES-XLIII-B2-2022-869-2022 Teruggi S, Grilli E, Fassi F, Remondino F (2021) 3D surveying, semantic enrichment and virtual access of large cultural heritage. ISPRS Ann Photogramm Remote Sens Spat Inf Sci VIII–M:155–162. https://doi.org/10.5194/isprs-annals-VIII-M-1-2021-155-2021 Amato G, Muzzupappa M, Bruno F (2020) A novel framework for the immersive virtual presentation of complex 3D models using photogrammetry. J Cult Herit 44:340–350. https://doi.org/10.1016/j.culher.2020.03.012 Reljić, I., & Dunđer, I. (2019) Application of photogrammetry in 3D scanning of physical objects. TEM Journal, 8(1), 94–101. https://doi.org/10.18421/TEM81-1 Smedsrud, J. H., Bungum, B., & Egeland Flø, E. (2024). Gifted students’ experiences with participation in enrichment programs at talent centers in Norway. Scandinavian Journal of Educational Research, 1–17. https://doi.org/10.1080/00313831.2024.2394388 Pembuatan Kursi Rotan Papasan Khas Cirebon (2024) https://youtu.be/0f4CgqzJh8w?si=wUwKHSpeCMJBj569. Accessed 1 December 2024 Pembuatan Kursi Rotan Bahama Khas Cirebon (2024) https://youtu.be/GeHZpbTyEa0?si=IWTMvREC5vGIkom6. Accessed 1 December 2024 Pembuatan Kursi Rotan Kelek Khas Cirebon (2024) https://youtu.be/jX_XcxT8QUc?si=uAFX0UQbhMxwMo4N. Accessed 1 December 2024 Pembuatan Kursi Rotan Gentong Khas Cirebon (2024) https://youtu.be/0xv6GlIW0NY?si=9VlhggW91WiZ-uVY. Accessed 1 December 2024 Pembuatan Kursi Rotan Keong Khas Cirebon (2024) https://youtu.be/8kJKnwLHVDo?si=JmDd93OQLNmGtvoF. Accessed 1 December 2024 Tables Tables are available in the Supplementary Files section. Additional Declarations No competing interests reported. Supplementary Files CombineTables.pdf Cite Share Download PDF Status: Posted Version 1 posted You are reading this latest preprint version Research Square lets you share your work early, gain feedback from the community, and start making changes to your manuscript prior to peer review in a journal. As a division of Research Square Company, we’re committed to making research communication faster, fairer, and more useful. We do this by developing innovative software and high quality services for the global research community. Our growing team is made up of researchers and industry professionals working together to solve the most critical problems facing scientific publishing. Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-5876603","acceptedTermsAndConditions":true,"allowDirectSubmit":true,"archivedVersions":[],"articleType":"Research Article","associatedPublications":[],"authors":[{"id":406245356,"identity":"6c2f693c-1f29-44ea-b0e3-b905fa9265cc","order_by":0,"name":"Deny Willy 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01:53:12","currentVersionCode":1,"declarations":"","doi":"10.21203/rs.3.rs-5876603/v1","doiUrl":"https://doi.org/10.21203/rs.3.rs-5876603/v1","draftVersion":[],"editorialEvents":[],"editorialNote":"","failedWorkflow":false,"files":[{"id":75144059,"identity":"ff3a8226-95fb-4b22-b3e0-2a993b90dbea","added_by":"auto","created_at":"2025-01-31 06:05:49","extension":"png","order_by":1,"title":"Figure 1","display":"","copyAsset":false,"role":"figure","size":380822,"visible":true,"origin":"","legend":"\u003cp\u003eTraditional \u0026nbsp;\u0026nbsp;classic rattan chairs popularly produced in Cirebon over the past 50 years, \u0026nbsp;\u0026nbsp;including (\u003cstrong\u003ea\u003c/strong\u003e) Papasan, (\u003cstrong\u003eb\u003c/strong\u003e) Kelek, (\u003cstrong\u003ec\u003c/strong\u003e) Gentong, (\u003cstrong\u003ed\u003c/strong\u003e) \u0026nbsp;\u0026nbsp;Bahama, and (\u003cstrong\u003ee\u003c/strong\u003e) Keong chairs\u003c/p\u003e","description":"","filename":"Figure1.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/d34c236021dffc789c12a467.png"},{"id":75144550,"identity":"a750dd72-c95e-4778-9d03-6ae3b9150d7b","added_by":"auto","created_at":"2025-01-31 06:13:51","extension":"png","order_by":2,"title":"Figure 2","display":"","copyAsset":false,"role":"figure","size":1029266,"visible":true,"origin":"","legend":"\u003cp\u003eIllustration \u0026nbsp;\u0026nbsp;of specific techniques and microgesture involved during the bending process.\u003c/p\u003e","description":"","filename":"Figure2.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/668046e0053ff90c77f27e61.png"},{"id":75144069,"identity":"f22f4d8d-9b12-46b8-91f3-d172934808fe","added_by":"auto","created_at":"2025-01-31 06:05:51","extension":"png","order_by":3,"title":"Figure 3","display":"","copyAsset":false,"role":"figure","size":250053,"visible":true,"origin":"","legend":"\u003cp\u003eHighlights the techniques and craftsmanship required for assembling joints, creating frames, and weaving rattan into finished designs.\u003c/p\u003e","description":"","filename":"Figure3.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/cc32f645708f34ff6400da6e.png"},{"id":75144072,"identity":"41c4340b-1119-417a-bc6a-cc47714a7a7c","added_by":"auto","created_at":"2025-01-31 06:05:52","extension":"png","order_by":4,"title":"Figure 4","display":"","copyAsset":false,"role":"figure","size":2456451,"visible":true,"origin":"","legend":"\u003cp\u003eSquare studio setup with a white background and floor, designed to provide a controlled environment for data collection.\u003c/p\u003e","description":"","filename":"Figure4.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/916c29492a4d5e3b8da24ded.png"},{"id":75144068,"identity":"e108251b-36f0-4e28-9208-1d57a01fcacb","added_by":"auto","created_at":"2025-01-31 06:05:51","extension":"png","order_by":5,"title":"Figure 5","display":"","copyAsset":false,"role":"figure","size":1664540,"visible":true,"origin":"","legend":"\u003cp\u003eEffect controls in Adobe Premiere for: a. Virtual Reality (VR) Rotate Sphere – used to adjust the orientation of a spherical VR video. b. VR Projection – used to modify the projection settings for VR content.\u003c/p\u003e","description":"","filename":"Figure5.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/ccec74a570dc4d219bc2fa7a.png"},{"id":75144060,"identity":"1b708efe-7f96-432e-afeb-94cc885f104c","added_by":"auto","created_at":"2025-01-31 06:05:50","extension":"png","order_by":6,"title":"Figure 6","display":"","copyAsset":false,"role":"figure","size":4288435,"visible":true,"origin":"","legend":"\u003cp\u003eThe layout of a 360° learning video, including an interface integrated with photogrammetry-based 3D assets to enhance the interactive learning experience.\u003c/p\u003e","description":"","filename":"Figure6.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/a5881e13edd15be4392d93e6.png"},{"id":75144563,"identity":"257a3e1c-8246-4783-8e7c-98a30054db6d","added_by":"auto","created_at":"2025-01-31 06:13:53","extension":"png","order_by":7,"title":"Figure 7","display":"","copyAsset":false,"role":"figure","size":163652,"visible":true,"origin":"","legend":"\u003cp\u003eThe workflow for object reconstruction using photogrammetry is structured to ensure accuracy, efficiency, and the production of high-quality 3D models\u003c/p\u003e","description":"","filename":"Figure7.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/939340f4559fb90550bb19e8.png"},{"id":75144083,"identity":"b1e32b19-9a2d-471d-877b-9a30ae6ddb30","added_by":"auto","created_at":"2025-01-31 06:05:52","extension":"png","order_by":8,"title":"Figure 8","display":"","copyAsset":false,"role":"figure","size":4449740,"visible":true,"origin":"","legend":"\u003cp\u003eThe process of turning a point cloud into a 3D mesh, including building the dense cloud, cleaning and remeshing, defining vertices, adding color textures, and refining details through sculpting.\u003c/p\u003e","description":"","filename":"Figure8.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/c1535c8994e43c115e8569d6.png"},{"id":75144061,"identity":"658cea94-452d-47f0-8a2c-f8ec80bd5e5a","added_by":"auto","created_at":"2025-01-31 06:05:50","extension":"png","order_by":9,"title":"Figure 9","display":"","copyAsset":false,"role":"figure","size":157363,"visible":true,"origin":"","legend":"\u003cp\u003eThe \u0026nbsp;\u0026nbsp;correct recall accuracy is 51% negatively affected by high cognitive load. \u0026nbsp;\u0026nbsp;This could imply that cognitive resources are limited and that as more \u0026nbsp;\u0026nbsp;resources are required for other tasks, the ability to recall information \u0026nbsp;\u0026nbsp;diminishes.\u003c/p\u003e","description":"","filename":"Figure9.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/0d9466285985b998004cf07a.png"},{"id":75144645,"identity":"96b33c8a-5bb2-4df1-9379-fda9702b45a5","added_by":"auto","created_at":"2025-01-31 06:21:52","extension":"png","order_by":10,"title":"Figure 10","display":"","copyAsset":false,"role":"figure","size":1326854,"visible":true,"origin":"","legend":"\u003cp\u003eLearning experience to 360° video concludes better comprehension and retention of the learning process.\u003c/p\u003e","description":"","filename":"Figure10.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/5ffbfb018c52f5fa1be591a8.png"},{"id":75144091,"identity":"13e0ebe1-6613-451c-92a1-c01c0a8dacb5","added_by":"auto","created_at":"2025-01-31 06:05:52","extension":"png","order_by":11,"title":"Figure 11","display":"","copyAsset":false,"role":"figure","size":7191398,"visible":true,"origin":"","legend":"\u003cp\u003eThe use of body parts to stabilize rattan pieces during bending\u003c/p\u003e","description":"","filename":"Figure11.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/1f760569587c1472d875bc3f.png"},{"id":75144106,"identity":"8bdce2ba-8007-43b0-a44e-215f4764464d","added_by":"auto","created_at":"2025-01-31 06:05:53","extension":"png","order_by":12,"title":"Figure 12","display":"","copyAsset":false,"role":"figure","size":7815978,"visible":true,"origin":"","legend":"\u003cp\u003eThe use of the armpit to add pressure in the use of \u003cem\u003estock\u003c/em\u003e during the bending process\u003c/p\u003e","description":"","filename":"Figure12.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/35fbc25ef995ddf9e3a01806.png"},{"id":75144649,"identity":"a382f632-a594-4dbc-861f-5d2bccd594c4","added_by":"auto","created_at":"2025-01-31 06:21:55","extension":"png","order_by":13,"title":"Figure 13","display":"","copyAsset":false,"role":"figure","size":6759349,"visible":true,"origin":"","legend":"\u003cp\u003eForce distribution from the chest during the bending process\u003c/p\u003e","description":"","filename":"Figure13.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/c8127f1e6d9a744c9a459559.png"},{"id":75144093,"identity":"e5dbef6e-f51e-4307-8ffc-1111b07a4bb0","added_by":"auto","created_at":"2025-01-31 06:05:53","extension":"png","order_by":14,"title":"Figure 14","display":"","copyAsset":false,"role":"figure","size":8597330,"visible":true,"origin":"","legend":"\u003cp\u003eThe use of soles and toes to control the rattan during the bending process\u003c/p\u003e","description":"","filename":"Figure14.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/78230c1f8bb08140e70cdf0b.png"},{"id":75144092,"identity":"0425a191-ac14-4f56-9309-26ff992c8b27","added_by":"auto","created_at":"2025-01-31 06:05:53","extension":"png","order_by":15,"title":"Figure 15","display":"","copyAsset":false,"role":"figure","size":7788649,"visible":true,"origin":"","legend":"\u003cp\u003eThe use of inner elbows to add pressure during the bending process\u003c/p\u003e","description":"","filename":"Figure15.png","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/8ca451e0c6a5791677728b08.png"},{"id":78718322,"identity":"1010175e-8b11-4106-b05c-804e50a38e90","added_by":"auto","created_at":"2025-03-18 03:47:02","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":48955962,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/46aaeb13-c5ec-4ab2-9e90-9594d4f68d93.pdf"},{"id":75144065,"identity":"947708d1-c6a6-4a5e-84dd-796cde4e17f6","added_by":"auto","created_at":"2025-01-31 06:05:51","extension":"pdf","order_by":1,"title":"","display":"","copyAsset":false,"role":"supplement","size":419909,"visible":true,"origin":"","legend":"","description":"","filename":"CombineTables.pdf","url":"https://assets-eu.researchsquare.com/files/rs-5876603/v1/02160a2e541483c618179c48.pdf"}],"financialInterests":"No competing interests reported.","formattedTitle":"Digital Preservation of Microgestures in the Making Process of Indonesian Iconic Traditional Rattan Chair Using Immersive 360° Learning Videos and Photogrammetry","fulltext":[{"header":"1 Introduction","content":"\u003cdiv id=\"Sec2\" class=\"Section2\"\u003e \u003ch2\u003e1.1 Rattan as an essential commodity in Indonesia\u003c/h2\u003e \u003cp\u003eSince the seventeenth century, rattan has been a critical international trade commodity and considerably influenced the development of global commerce. Rattan is one of the world\u0026rsquo;s most crucial nontimber forest products widely used for binding, basketry, house construction, food, and nonmarket products [\u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e1\u003c/span\u003e]. Rattan commercialization in Indonesia can be traced to the Dutch colonial era when raw rattan logs were initially used as ship ballast but were subsequently processed into rattan seating materials to satisfy international demand. A study by Cookson [\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e2\u003c/span\u003e], including a literature survey and content analysis of various types of classic rattan-seated chairs from museum collections in England and Indonesia, described coastal styles, such as the coastal chair and Moluccan chair. These styles were typically characterized by dark ebony wood with rattan weaving. They were exported from the East Indies as early examples of rattan industrialization from the East Indies to Europe. In Indonesia, rattan was initially used as a seat material but has gradually evolved into rattan chairs commonly used today [\u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e3\u003c/span\u003e].\u003c/p\u003e \u003cp\u003eIn Indonesia, Cirebon is the center of rattan craft production. Products produced here are sold in domestic and international markets. According to Asngadi et al. [\u003cspan citationid=\"CR4\" class=\"CitationRef\"\u003e4\u003c/span\u003e], this industry began in 1936 in Tegalwangi Village, Plumbon District, when an artisan from Bodelor Village ventured into rattan production. The expertise of artisans in weaving and frame making has established Cirebon as the global center for the rattan industry, particularly furniture. Various designs of classic rattan chairs (see Fig.\u0026nbsp;1), such as Papasan, Kelek, Gentong, Bahama, and Keong chairs, are widely popular in the furniture trade. Since 2011, the rattan furniture industry in Cirebon has been recognized as a commodity under the Regional Core Industry Competencies (KIID/\u003cem\u003eKompetensi Inti Industri Daerah\u003c/em\u003e) [\u003cspan citationid=\"CR4\" class=\"CitationRef\"\u003e4\u003c/span\u003e].\u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec3\" class=\"Section2\"\u003e \u003ch2\u003e1.2 Preserving tacit knowledge in rattan chair making through digitization\u003c/h2\u003e \u003cp\u003eAlthough various digital documentation of artifacts of rattan chairs have been conducted, limited studies have focused on archiving the skills involved in rattan chair making. The knowledge of bending, binding, and weaving rattan into chairs is yet to be fully documented. These processes embody tacit knowledge\u0026mdash;skills and techniques often passed down through hands-on experience and are challenging to convey through spoken or written communication [\u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e5\u003c/span\u003e\u0026ndash;\u003cspan citationid=\"CR6\" class=\"CitationRef\"\u003e6\u003c/span\u003e]. Digitizing the rattan chair-making process into an educational video is one of the initiatives that can address the challenges in revitalizing rattan design, particularly in documenting tacit knowledge. Furthermore, this effort helps preserve rattan crafting skills as an intangible cultural heritage, as highlighted by Lenzerini [\u003cspan citationid=\"CR7\" class=\"CitationRef\"\u003e7\u003c/span\u003e].\u003c/p\u003e \u003cp\u003eTraditional rattan chair creation involves the use of various body parts. Microgestures such as gripping movements, pressing with the armpits, knee pressing, arches of the feet, and distinct finger positions are essential in rattan chairs' bending and weaving processes (Figs.\u0026nbsp;2 and 3). Observing these microgestures is challenging and requires detailed digitization methods to help learners understand body positioning at each stage of the rattan chair-making process. The combination of 360\u0026deg; video technology and photogrammetry has the potential to enhance digitization methods that accurately present detailed information and enable micro gesture digitization. The 360\u0026deg; video technology provides a flexible perspective by allowing viewers to adopt the viewpoint of the artisan, enabling an immersive learning experience and minimizing the perception differences between the instructor (artisan) and learner during the knowledge transfer process. Photogrammetry can reproduce the details of rattan chairs and tools as realistic and accurate 3D assets that complement comprehensive 360\u0026deg; learning videos.\u003c/p\u003e \u003c/div\u003e"},{"header":"2 Literature review","content":"\u003cdiv id=\"Sec5\" class=\"Section2\"\u003e \u003ch2\u003e2.1 Rattan chair-making in Indonesia\u003c/h2\u003e \u003cp\u003eRattan commodities are abundant in Indonesia, especially in the forests of Sumatra and Kalimantan and in the rugged mountains of Sulawesi. The rattan parts used for crafts and furniture include rattan heartwood (pitrit), rattan skin (lesio), and finely woven rattan skin created with a loom. Siebert [\u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e1\u003c/span\u003e] explained that Indonesia\u0026rsquo;s plentiful rattan resources are harvested and processed into ready-to-use raw materials for the furniture industry, which are used in both domestic and international markets. According to the Association of Indonesian Furniture and Handicraft Industry, cited from Indonesia.go.id [\u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e8\u003c/span\u003e], Indonesia accounts for 85% of the world\u0026rsquo;s rattan production, with approximately USD 2.5\u0026nbsp;billion in furniture exports in 2022. The annual rattan production in Indonesia is notably high and totals approximately 450,000 tons annually.\u003c/p\u003e \u003cp\u003eAccording to the Food and Agriculture Organization of the United Nations [\u003cspan citationid=\"CR9\" class=\"CitationRef\"\u003e9\u003c/span\u003e] in the article titled \u003cem\u003eForest-Based Handicrafts in Indonesia\u003c/em\u003e, the rattan furniture-making process involves several stages, namely cutting, heating, bending, binding, weaving, sanding, and polishing. Before processing, thick rattan stems were cut into the required sizes. Rattan flexibility allows for effective bending, but larger-diameter rattan requires heating to achieve the desired shapes, which are held in place until they become permanent. Traditional bending processes typically use artisan legs or tables with metal pipes [\u003cspan citationid=\"CR10\" class=\"CitationRef\"\u003e10\u003c/span\u003e]. For assembly, separate frame components were joined with nails or tied using rattan skin and filled with weavings made from rattan heartwood (pitrit). This weaving process requires specialized skills, including complex hand movements and microgestures, such as finger curvatures, and distinctive body movements, such as pressing rattan with the thighs or underarms. The rattan bending process encompasses various grip movements, as Feix et al. [\u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e11\u003c/span\u003e] categorized in terms of the taxonomy of grip types. These detailed body movements, termed microgestures, are critical for mastering rattan furniture-making.\u003c/p\u003e \u003cp\u003eRattan not only plays a critical role in export\u0026ndash;import trade but is also significant culturally and economically for millions of villagers, rattan harvesters, and craftsmen in various regions of Indonesia. The complexity of rattan commodity chains and comprehensive processing steps make this industry highly reliant on artisans\u0026rsquo; specialized knowledge [\u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e1\u003c/span\u003e]. Siebert [\u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e1\u003c/span\u003e] added that the diversity of rattan processing techniques typically requires separate artisans at each stage, enhancing employment opportunities. Since its early development in Tegalwangi Village of Plumbon District, rattan crafting skills have been passed down from generation to generation and local communities in the surrounding villages [\u003cspan citationid=\"CR4\" class=\"CitationRef\"\u003e4\u003c/span\u003e]. As discussed earlier, the rattan learning process relies heavily on tacit knowledge, which involves intricate microgestures. To address the potential loss of rattan crafting skills due to the declining numbers of skilled artisans, the use of video techniques, especially from a first-person perspective, can be utilised to enhance the transmission of tacit knowledge [\u003cspan citationid=\"CR12\" class=\"CitationRef\"\u003e12\u003c/span\u003e]. According to Le Bellu [\u003cspan citationid=\"CR12\" class=\"CitationRef\"\u003e12\u003c/span\u003e], the contextual setting of expert knowledge is a key to conveying an expert's tacit skills.\u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec6\" class=\"Section2\"\u003e \u003ch2\u003e2.2 Potential of 360\u0026deg; video as a learning medium\u003c/h2\u003e \u003cp\u003eA 360\u0026deg; video provides an immersive viewing experience with perspectives covering the entire 360\u0026deg; spectrum [\u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e13\u003c/span\u003e]. This technology captures detailed body movements, such as fingers, hands, arms, and legs, during the rattan chair-making process. Allowing learners to adjust their perspectives offers a comprehensive understanding of the coordinated movements of rattan artisans. Unlike conventional videos, 360\u0026deg; videos reveal tacit knowledge and microgestures critical to the craft of rattan furniture.\u003c/p\u003e \u003cp\u003eThis medium enhances engagement and motivation by simulating a physical presence in the environment being studied [\u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e14\u003c/span\u003e]. Learners can control their viewpoints, fostering exploration and a deeper understanding of complex concepts. Techniques like bending rattan, weaving heartwood, and securing materials with knees demonstrate the physical coordination required for high-quality furniture, which captures 360\u0026deg; views in unprecedented detail. The information presented in 360\u0026deg; spherical views provides a comprehensive learning resource highlighting essential details overlooked in conventional videos.\u003c/p\u003e \u003cp\u003eThe immersive nature of 360\u0026deg; videos bridges the design knowledge gap, minimizing misinterpretations common in traditional learning methods [\u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e15\u003c/span\u003e]. By positioning learners as active participants, these videos promote the internalization of artisans\u0026rsquo; expertise through detailed observation. The visually rich experience simulates on-site crafting, helping learners grasp movement coordination, physical contexts, and production details more effectively than text alone [\u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e16\u003c/span\u003e].\u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec7\" class=\"Section2\"\u003e \u003ch2\u003e2.3 Photogrammetry technique in creating realistic 3D asset reproduction\u003c/h2\u003e \u003cp\u003ePhotogrammetry can accurately reproduce realistic and accurate 3D assets, making this method particularly advantageous for the digital preservation of cultural artifacts that require complex details of structure, texture, and patterns [\u003cspan additionalcitationids=\"CR18\" citationid=\"CR17\" class=\"CitationRef\"\u003e17\u003c/span\u003e\u0026ndash;\u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e19\u003c/span\u003e]. Its application in digitizing rattan chairs and the traditional tools used in their creation is highly appropriate because these artifacts feature organic textures and complex weaving patterns. Photogrammetry's visual preservation and spatial modeling capabilities allow learners to examine the detailed structure of chairs. This method enriches references for designers and craftsmen, helping maintain the authenticity of traditional techniques and patterns [\u003cspan citationid=\"CR20\" class=\"CitationRef\"\u003e20\u003c/span\u003e]. Digital technology research typically involves user testing after product development. This testing generally includes at least 15 respondents, focusing on engagement, comprehension, usability, and overall satisfaction with the learning experience [\u003cspan citationid=\"CR21\" class=\"CitationRef\"\u003e21\u003c/span\u003e].\u003c/p\u003e \u003c/div\u003e"},{"header":"3 Objective","content":"\u003cp\u003eThis study focused on digitizing knowledge and micro-gestures involved in rattan chair-making using 360\u0026deg; video technology and photogrammetry. The output was an immersive and comprehensive 360\u0026deg; learning video documenting the crafting process of five iconic Cirebon rattan chairs (Papasan, Bahama, Kelek, Gentong, and Keong) combined with photogrammetric visual infographics of the chairs and tools used. This 360\u0026deg; learning video enabled the knowledge transfer process in rattan chair making to be conducted independently.\u003c/p\u003e"},{"header":"4 Material and methods","content":"\u003cp\u003eThis study was conducted in four stages, namely pre-data collection, data collection, data processing, and data testing, with a focus on digitizing the rattan chair-making process. Five iconic traditional Indonesian rattan chair types, namely Papasan, Gentong, Kelek, Keong, and Bahama chairs, produced since the 1970s, were selected as the study objects. Data collection involved recording the crafting process of the chair parts, as demonstrated by local artisans in Cirebon.\u003c/p\u003e\n\u003cdiv id=\"Sec10\"\u003e\n \u003ch2\u003e4.1 Pre-data collection\u003c/h2\u003e\n \u003cp\u003eThe pre-data collection stage involved discussions with artisans, equipment feasibility testing, and setting up a studio chamber for filming. First, discussions with artisans were conducted to identify each chair\u0026apos;s unique crafting techniques and signature elements. This information was sorted based on the urgency and complexity of processes requiring tacit knowledge and microgestures. Detailed technical information on the chair parts, specific body parts for crafting, and camera positioning and equipment needed for the recording process were discussed (see Table 1). In the second step, equipment feasibility testing was conducted by simulating various conditions for capturing rattan chair parts following the guidelines in Table 1. The equipment tested included a DSLR camera, an Insta360 X3 camera, lighting equipment, and a photogrammetry setup. These tests were conducted by simulating the positions of the artisan and the placement of the objects used to avoid technical problems such as inaccurate video angles or improper settings.\u003c/p\u003e\n \u003cp\u003eThe third stage involves setting up a 3 m \u0026times; 3 m \u0026times; 2 m video recording chamber (Fig.\u0026nbsp;4). The cubic room was lined with white 2-m high fabric walls and a white fiber floor to create a clean, neutral background. The arrangement considers rattan materials\u0026apos; movement, artisans\u0026apos; workflow, and placement of production tools such as burners and compressors. The lighting in the chamber incorporated a three-point lighting configuration: a key light for the main subject, a fill light to soften shadows, and a backlight to create depth and separate the subject and objects from the background.\u003c/p\u003e\n \u003cp\u003eThe camera was placed at an overhead angle with a clearance height of 1.5 m from the subject, enabling a 360\u0026deg; perspective to capture details from every side. The camera frame was set at a medium close-up to focus on the artisan and rattan chairs and simultaneously minimize distractions from the surrounding objects. Area markings included the positions of the actor, camera, and main object to ensure complete control during data recording. This setup focused on optimizing the conditions for modeling and ensuring data precision.\u003c/p\u003e\n\u003c/div\u003e\n\u003cdiv id=\"Sec11\"\u003e\n \u003ch2\u003e4.2 Data collection\u003c/h2\u003e\n \u003cp\u003eTwo primary methods, 360\u0026deg; video recording and photogrammetry, were used for data collection. The 360\u0026deg; video method captures the crafting process of rattan chair parts by an artisan, whereas photogrammetry generates realistic 3D models of the chairs and tools used. The two datasets were integrated using time codes to record the minutes and seconds (Table 2) precisely. This integration facilitated segment-cutting and expedited editing. Combining the 360\u0026deg; video and photogrammetry data produced a cohesive visual narrative. The integrated videos underwent post-production processes, including color grading and texture adjustments, to ensure consistency between the 360\u0026deg; video and 3D models.\u003c/p\u003e\n\u003c/div\u003e\n\u003cdiv id=\"Sec12\"\u003e\n \u003ch2\u003e4.3 Data processing\u003c/h2\u003e\n \u003cp\u003eThe data processing stage involved sorting 360\u0026deg; video recordings and photogrammetry data. The videos were evaluated based on the clarity of the crafting process, camera angles, and lighting. Photogrammetry data were reviewed for image quality, labeled, and matched to the time codes to ensure contextual relevance within the 360\u0026deg; video (see Table 3). After sorting and labeling, the data were edited to produce a complete 360\u0026deg; learning video. Photogrammetric data were processed into 3D models to obtain detailed information about the chairs and tools in the 360\u0026deg; learning video.\u003c/p\u003e\n\u003c/div\u003e\n\u003cdiv id=\"Sec13\"\u003e\n \u003ch2\u003e4.4 360\u0026deg; learning video testing method\u003c/h2\u003e\n \u003cp\u003eTesting was conducted using a quantitative approach through an experiment involving 15 respondents, comprising students and lecturers from furniture-related fields. This test evaluated the effectiveness of the 360\u0026deg; learning video in enhancing the understanding of rattan chair-crafting techniques (cognitive resource: recall) and assessed user experience with the 360\u0026deg; learning video. The test procedure consisted of two stages.\u003c/p\u003e\n\u003c/div\u003e\n\u003cp\u003e1) \u0026nbsp; \u0026nbsp;Watching the 360\u0026deg; learning video\u003c/p\u003e\n\u003cp\u003eEach participant was guided to watch 360\u0026deg; learning video clips showing the crafting process of rattan chair parts two times by using Oculus VR devices. The number of views was determined to help respondents adapt to the 360\u0026deg; video format. The components of the chair were randomly selected for each respondent from five iconic rattan chair types.\u003c/p\u003e\n\u003cp\u003ea) \u0026nbsp; \u0026nbsp;Papasan chair: Making of the corner joint creeper\u003c/p\u003e\n\u003cp\u003eb) \u0026nbsp; \u0026nbsp;Bahama chair: Making of the diamond weaving decoration\u003c/p\u003e\n\u003cp\u003ec) \u0026nbsp; \u0026nbsp; Keong chair: Making of the semi-oval ring\u003c/p\u003e\n\u003cp\u003ed) \u0026nbsp; \u0026nbsp;Gentong chair: Making of the supporting beam\u003c/p\u003e\n\u003cp\u003ee) \u0026nbsp; \u0026nbsp; Kelek chair: Making of the diamond weaving decoration.\u003c/p\u003e\n\u003cp\u003e2) \u0026nbsp; \u0026nbsp;Questionnaire completion\u003c/p\u003e\n\u003cp\u003eAfter watching the video, the participants were asked to complete a questionnaire divided into the following two sections:\u003c/p\u003e\n\u003cp\u003ea) \u0026nbsp; \u0026nbsp;Section 1 (Cognitive resource: recalling)\u003c/p\u003e\n\u003cp\u003eThe questionnaire assessed respondents\u0026rsquo; ability to retain the information in the video, including crafting techniques, micro-gestures, and tool usage in the rattan chair-making process. Data from this section were used to evaluate the effectiveness of the 360\u0026deg; learning video in conveying knowledge about the rattan chair-making process.\u003c/p\u003e\n\u003cp\u003eb) \u0026nbsp; \u0026nbsp;Section 2 (Evaluation)\u003c/p\u003e\n\u003cp\u003eThis questionnaire measured the respondents\u0026rsquo; experiences using a 360\u0026deg; learning video for rattan chair crafting as an educational medium. The evaluation focused on content clarity (clarity of information and infographics), ease of learning, enjoyment, and perceived engagement level while watching the videos.\u003c/p\u003e\n\u003ch3\u003e3) Data analysis\u003c/h3\u003e\n\u003cdiv\u003e\n \u003cp\u003eData collected from the questionnaires were analyzed using descriptive statistics to determine the respondents\u0026rsquo; understanding of the rattan chair-making process. The data were used to evaluate the effectiveness of 360\u0026deg; learning media in independently transferring knowledge from rattan artisans to learners.\u003c/p\u003e\n\u003c/div\u003e"},{"header":"5 Results","content":"\u003cdiv id=\"Sec18\" class=\"Section2\"\u003e\n \u003ch2\u003e5.1 Making process of 360\u0026deg; learning videos\u003c/h2\u003e\n \u003cp\u003eThe 360\u0026deg; learning video was produced by combining sorted 360\u0026deg; video clips (Table \u003cspan class=\"InternalRef\"\u003e3\u003c/span\u003e) using Adobe Premiere Pro software. The final 360\u0026deg; learning video was enhanced with supporting elements, such as text, graphics, and photogrammetry-generated 3D models. The key technical steps in the editing process are as follows:\u003c/p\u003e\n \u003cp\u003e\u003cspan\u003e1. Converting video format: This phenomenon ensures a uniform video format when data are captured from two devices to standardize the resolution and aspect ratio of the combined footage.\u003cbr\u003e\u003c/span\u003e\u003cspan\u003e2. Logging footage: Relevant clips are selected through trimming, splitting, and cutting processes to create a cohesive 360\u0026deg; learning video.\u003cbr\u003e\u003c/span\u003e\u003cspan\u003e3. Framing: Adjusting the primary orientation of the video post-rendering. In Adobe Premiere Pro, orientation was achieved using VR Projection and VR Projection Sphere features (Fig.\u0026nbsp;5), enabling angle adjustments along the X-, Y-, and Z-axes without altering the view. The composition of the visual elements in the 360\u0026deg; rattan chair-making video incorporated the VR rotation sphere effect, enabling viewers to direct their 360\u0026deg; video perspective flexibly. Additionally, keyframes for axis rotation created smooth transitions in view, helping to focus on critical details such as weaving, bending, and craftsmen\u0026rsquo;s microgestures.\u003cbr\u003e\u003c/span\u003e\u003cspan\u003e4. Motion-tracking setting: Infographic placement was aligned using the motion-tracking feature to ensure that the supporting graphics accurately followed the movement of the objects.\u003cbr\u003e\u003c/span\u003e\u003c/p\u003e\n \u003cp\u003eInfographic elements, including 3D motion graphics and detailed text, were structured according to a timecode table (Table \u003cspan class=\"InternalRef\"\u003e4\u003c/span\u003e) to streamline the production process and prevent problems such as overlapping elements. The placement of the supporting components, such as text, icons, and 3D motion graphics of the chairs and traditional tools, followed a layout similar to that in Fig. 6. This placement helped viewers navigate additional information in the 360\u0026deg; learning video. Graphic elements such as headlines, sub-headlines, lower thirds, and icons convey information about chair names, components, tools, and materials. Alternative arrow-shaped icons guided the viewers to locate the positions of the 3D motion graphics of the rattan chairs and tools on the left and right sides of the 360\u0026deg; display.\u003c/p\u003e\n\u003c/div\u003e\n\u003cdiv id=\"Sec19\" class=\"Section2\"\u003e\n \u003ch2\u003e5.2 Making process of 3D model using photogrammetry technique as the infographic asset\u003c/h2\u003e\n \u003cp\u003ePhotogrammetry was used to reconstruct the rattan chairs and tools into realistic 3D models. The reconstructed 3D mesh assets were processed into 3D motion compositions to supplement the information displayed in the 360\u0026deg; video. The 3D motion visualization highlighted the characteristics of the objects, providing an understanding of the anatomical structure of the chairs from multiple angles. Table\u0026nbsp;\u003cspan class=\"InternalRef\"\u003e5\u003c/span\u003e compares the visual data for the five types of rattan chairs before and after object reconstruction based on point-cloud and 3D mesh formats from the photogrammetry data.\u003c/p\u003e\n \u003cp\u003eTable \u003cspan class=\"InternalRef\"\u003e6\u003c/span\u003e provides a visualization of the four types of tools used by the craftsmen during rattan chair production. Photogrammetry was used to capture these tools\u0026apos; unique details and functions, such as the clamp for bending processes, the rattan stands for cutting specific lengths, and a specialized saw for precision cutting. Photogrammetry data processing workflow included three stages: generating point clouds, generating polygons, and 3D post-processing. Figure 7 illustrates the reconstruction workflow, demonstrating each step in Fig. 8.\u003c/p\u003e\n \u003cp\u003e\u003cspan\u003e1. Generating point cloud: This step converted the physical rattan chair into a digital point-cloud format consisting of two main steps. First, alignment and scaling were performed using Reality Capture software, which arranged a series of photographs into a cohesive 3D point-cloud representation by automatically detecting coordinate points. The point cloud was then scaled to match the chair\u0026apos;s dimensions on a 1:1 scale. Second, dense cloud construction refined the point cloud, capturing intricate details like rattan weaving and chair bends, essential for converting it into a 3D mesh.\u003cbr\u003e\u003c/span\u003e\u003cspan\u003e2. Generating polygons: This stage transformed point-cloud data into a complete 3D polygonal model. First, we cleaned up unwanted noise and background objects and remeshed the vertices to form a cohesive polygonal mesh using 3D Blender software. The process then continued by adjusting the vertex model to capture intricate details such as rattan weaving and chair curves. The process was then finalized by applying natural textures and colors by mapping the original photograph data onto the 3D mesh to ensure a realistic rattan-like appearance.\u003cbr\u003e\u003c/span\u003e\u003cspan\u003e3. Postprocessing: This stage ensures the final 3D model is refined and error-free. Sculpting involved using 3D clay tools to enhance details like curves, shape deformation, and volume, achieving an accurate and natural representation of the rattan chair. Finally, the model was rendered into .fbx and .jpeg formats to ensure compatibility with 3D design and animation applications.\u003cbr\u003e\u003c/span\u003e\u003c/p\u003e\n \u003cp\u003eVideos of traditional rattan chair-making combined with photogrammetry were uploaded to a YouTube channel [\u003cspan class=\"CitationRef\"\u003e22\u003c/span\u003e\u0026ndash;\u003cspan class=\"CitationRef\"\u003e26\u003c/span\u003e].\u003c/p\u003e\n \u003cdiv id=\"Sec20\" class=\"Section2\"\u003e\n \u003ch2\u003e5.3 Result of 360\u0026deg; learning video testing\u003c/h2\u003e\n \u003cp\u003eThe results of the first test (cognitive resource: recall) revealed the distribution of the respondents\u0026rsquo; understanding (see Fig.\u0026nbsp;9). The trial results showed that the majority of respondents could grasp information regarding techniques, the use of micro-gestures, and the tools and materials presented in the 360\u0026deg; learning video for rattan chair making. The strong understanding among the majority of respondents indicates the effectiveness of the video in conveying practical knowledge, supporting the study\u0026apos;s objective of creating a comprehensive learning medium.\u003c/p\u003e\n \u003cp\u003eThe positive results from the first test, which demonstrated a solid understanding of the rattan chair-making processes, were supported by data from the evaluation of respondents\u0026rsquo; experiences while accessing the 360\u0026deg; learning video, as depicted in Fig.\u0026nbsp;10.\u003c/p\u003e\n \u003c/div\u003e\n\u003c/div\u003e"},{"header":"6 Discussion","content":"\u003cp\u003eThis study demonstrated the effectiveness of 360\u0026deg; learning videos in enhancing the learning process through immersive experiences, particularly when observing complex processes like rattan chair-making. Selecting around 15 participants for usability testing in learning media balances meaningful feedback with resource efficiency. This sample size allows researchers to assess engagement, comprehension, usability, and satisfaction while identifying learner behaviors, preferences, and challenges. The insights inform instructional design improvements, ensuring practical and accessible learning experiences [\u003cspan citationid=\"CR21\" class=\"CitationRef\"\u003e21\u003c/span\u003e].\u003c/p\u003e \u003cp\u003eThe high recall test scores and positive feedback on information clarity confirm the potential of 360\u0026deg; videos as practical educational tools. Consistent with findings by Lampropoulos et al. [\u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e13\u003c/span\u003e], the videos allowed learners to view processes from multiple perspectives, facilitating the observation of intricate details. Additionally, 68% of respondents reported precise information delivery, while 52% appreciated the detailed illustration of micro-gestures. The integration of photogrammetry further enriched the clarity of infographic assets, enhancing the comprehensiveness of the learning medium.\u003c/p\u003e \u003cp\u003eThe results also revealed that the videos provided a pleasant learning experience (78%) and fostered an immersive impression (82%), aligning with Ranieri et al. [\u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e16\u003c/span\u003e], who emphasized the engaging nature of 360\u0026deg; video technology. Unlike conventional learning videos, 360\u0026deg; technology captures microgesture often overlooked, such as the precise finger movements during weaving or the use of the knee to stabilize larger rattan pieces during bending (see Fig.\u0026nbsp;11). These representations allow learners to thoroughly understand the physical techniques involved in rattan chair-making. This advantage highlights the potential of 360\u0026deg; video in bridging the gap between artisan skills and modern learning technologies. Beyond their technical advantages, 360\u0026deg; videos offer a scalable model for preserving other traditional crafts with tacit knowledge. 360\u0026deg; videos can serve as detailed records for future restorations and research in heritage conservation. Furthermore, this technology could produce interactive museum exhibits, allowing visitors to engage with cultural artifacts in novel and meaningful ways.\u003c/p\u003e \u003cp\u003eThe practical applications of this work extend beyond preservation. 360\u0026deg; learning videos can be incorporated into design and craftsmanship curricula, providing students with an immersive tool to learn traditional techniques. Socio-culturally, digitizing traditional craftsmanship supports preserving knowledge systems, ensuring artisans\u0026rsquo; expertise endures amidst modernization. This approach empowers artisan communities by showcasing their skills, inspiring future craftsmen, and fostering cultural heritage appreciation. It also creates economic opportunities through education and tourism initiatives. Sections below are the detailed, technical, and expanded explanations of the role of delicate micro-gestures in rattan chair production, integrating terms from physiology, ergonomics, and artisanal techniques.\u003c/p\u003e \u003cdiv id=\"Sec22\" class=\"Section2\"\u003e \u003ch2\u003e6.1 Micro-Gestures in Rattan Chair Production: A Technical Perspective\u003c/h2\u003e \u003cdiv id=\"Sec23\" class=\"Section3\"\u003e \u003ch2\u003e6.1.1 Armpit (Ketiak): Stabilization and Pressure Application\u003c/h2\u003e \u003cp\u003e \u003cstrong\u003eRole and Technique\u003c/strong\u003e \u003cp\u003eThe armpit is used as a natural clamp to stabilize rattan during bending or shaping. For example, when forming the \u003cb\u003eBig Ring\u003c/b\u003e of Papasan chairs or the curved vertical legs of Gentong chairs, artisans use the armpit to anchor the rattan against the body while applying pressure with the hands (see Fig.\u0026nbsp;12).\u003c/p\u003e \u003c/p\u003e \u003cp\u003e \u003cul\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003ePhysiological Mechanics\u003c/em\u003e: The \u003cem\u003epectoralis major\u003c/em\u003e (chest muscle) and \u003cem\u003elatissimus dorsi\u003c/em\u003e (back muscle) engage to create inward pressure. The soft tissue of the axilla (armpit region) provides a high-friction surface, enabling control without damaging the rattan\u0026rsquo;s surface.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eErgonomic Advantage\u003c/em\u003e: This gesture minimizes the need for external tools, reducing strain on the hands and wrists. The body\u0026rsquo;s natural leverage points distribute force evenly, improving efficiency.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eImpact on Craft\u003c/em\u003e: This technique ensures stability during high-stress bending, essential to maintaining the rattan\u0026rsquo;s structural elasticity and preventing cracking.\u003c/p\u003e \u003c/li\u003e \u003c/ul\u003e \u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec24\" class=\"Section3\"\u003e \u003ch2\u003e6.1.2 Chest (Dada): Counterpressure and Force Distribution\u003c/h2\u003e \u003cp\u003e \u003cstrong\u003eRole and Technique\u003c/strong\u003e \u003cp\u003eThe chest is primarily used to apply counterpressure during shaping and assembly. For example, while forming the \u003cb\u003eSeat Ring\u003c/b\u003e in Bahama chairs, the rattan is pressed against the sternum to maintain its position while both hands work on fine adjustments (see Fig.\u0026nbsp;13).\u003c/p\u003e \u003c/p\u003e \u003cp\u003e \u003cul\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003ePhysiological Mechanics\u003c/em\u003e: The \u003cem\u003esternum\u003c/em\u003e is a rigid support structure, while the \u003cem\u003epectoralis major\u003c/em\u003e and \u003cem\u003eserratus anterior\u003c/em\u003e muscles stabilize the chest and shoulders. This allows the artisan to exert controlled, bilateral force.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eErgonomic Insight\u003c/em\u003e: Using the chest as a counterbalance reduces strain on the upper limbs. The ergonomic advantage lies in allowing both hands to work freely while maintaining the material's position.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eImpact on Craft\u003c/em\u003e: The uniform force distribution across the chest ensures precise bends and consistent tension, which is critical for forming significant, symmetrical components like rings or frames.\u003c/p\u003e \u003c/li\u003e \u003c/ul\u003e \u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec25\" class=\"Section3\"\u003e \u003ch2\u003e6.1.3 Soles and Toes (Telapak dan Jempol Kaki): Anchoring and Tension Control\u003c/h2\u003e \u003cp\u003e \u003cem\u003eRole and Technique\u003c/em\u003e: The soles and toes are actively engaged in anchoring rattan during weaving and bending. For instance, in \u003cb\u003ePitrit Weaving 2:1\u003c/b\u003e or \u003cb\u003eDiamond Weaving Decoration\u003c/b\u003e, the soles stabilize the material, while the toes\u0026mdash;particularly the hallux (big toe)\u0026mdash;are used for precise tension control (see Fig.\u0026nbsp;14).\u003c/p\u003e \u003cp\u003e \u003cul\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003ePhysiological Mechanics\u003c/em\u003e: The \u003cem\u003eflexor hallucis longus\u003c/em\u003e (big toe flexor) and \u003cem\u003eplantar muscles\u003c/em\u003e in the sole of the foot provide grip and stability. The toes act as fine manipulators, controlling small shifts in rattan tension.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eErgonomic Insight\u003c/em\u003e: Artisans free their upper body for finer motor tasks, such as intricate weaving, by anchoring the material with their feet. This dual engagement reduces overall physical fatigue by distributing the workload.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eImpact on Craft\u003c/em\u003e: The controlled application of tension ensures uniform weaving patterns and prevents sagging or uneven surfaces, which is vital for the aesthetic and structural integrity of the chair.\u003c/p\u003e \u003c/li\u003e \u003c/ul\u003e \u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec26\" class=\"Section3\"\u003e \u003ch2\u003e6.1.4 Inner Elbows (Bagian Dalam Siku): Cradling and Dynamic Stabilization\u003c/h2\u003e \u003cp\u003e \u003cstrong\u003eRole and Technique\u003c/strong\u003e \u003cp\u003eThe inner elbows are a natural cradle for holding rattan in place during tasks like forming the \u003cb\u003eU-shaped Supporting Structures\u003c/b\u003e in Keong chairs or assembling the \u003cb\u003eBackrest Main Structure\u003c/b\u003e of Kelek chairs (see Fig.\u0026nbsp;15).\u003c/p\u003e \u003c/p\u003e \u003cp\u003e \u003cul\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003ePhysiological Mechanics\u003c/em\u003e: The \u003cem\u003ebiceps brachii\u003c/em\u003e and \u003cem\u003ebrachioradialis\u003c/em\u003e muscles stabilize dynamically, while the \u003cem\u003eantecubital fossa\u003c/em\u003e (inner elbow crease) acts as a soft yet firm contact point. This allows the artisan to hold the material securely without slippage.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eErgonomic Insight\u003c/em\u003e: The inner elbow reduces strain on the wrist and forearm by transferring the stabilizing load to a larger joint. This is particularly advantageous during prolonged handling of heavy or flexible rattan pieces.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eImpact on Craft\u003c/em\u003e: This technique allows for precise alignment and secure positioning of components during assembly, ensuring structural accuracy and preventing misalignment.\u003c/p\u003e \u003c/li\u003e \u003c/ul\u003e \u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec27\" class=\"Section3\"\u003e \u003ch2\u003e6.1.5 Inner Thighs (Bagian Dalam Paha): Clamping and Hands-Free Stability\u003c/h2\u003e \u003cp\u003e \u003cstrong\u003eRole and Technique\u003c/strong\u003e \u003cp\u003eThe inner thighs are employed as clamps during bending or assembly of more significant components, such as the \u003cb\u003eCorner Joint Creeper\u003c/b\u003e in Papasan chairs or the \u003cb\u003eKelek Bend\u003c/b\u003e (see Fig.\u0026nbsp;13).\u003c/p\u003e \u003c/p\u003e \u003cp\u003e \u003cul\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003ePhysiological Mechanics\u003c/em\u003e: The \u003cem\u003eadductor group\u003c/em\u003e of thigh muscles (adductor longus, Magnus, and brevis) exerts lateral pressure to hold the rattan securely. The thigh muscles\u0026rsquo; strength and endurance are critical for maintaining stability over extended periods.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eErgonomic Insight\u003c/em\u003e: This hands-free stabilizing method allows artisans to focus on detailed handwork, reducing the risk of material slippage. The use of lower-body strength also minimizes fatigue in the upper body.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eImpact on Craft\u003c/em\u003e: This gesture enhances precision in bending, ensuring smooth curves and consistent shaping, particularly for significant, load-bearing components.\u003c/p\u003e \u003c/li\u003e \u003c/ul\u003e \u003c/p\u003e \u003c/div\u003e \u003c/div\u003e \u003cdiv id=\"Sec28\" class=\"Section2\"\u003e \u003ch2\u003e6.2 The Role of Micro-Gestures in Ergonomic and Physiological Contexts\u003c/h2\u003e \u003cp\u003eMicro-gestures like these are not just functional but are also an essential part of the artisan\u0026rsquo;s ergonomic workflow. These small, deliberate movements are designed to optimize body mechanics, minimize physical strain, and maximize control over the rattan\u0026mdash;a material that requires both strength and delicacy to manipulate.\u003c/p\u003e \u003cp\u003e \u003cul\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003ePhysiological Efficiency\u003c/em\u003e: Micro-gestures engage specific muscle groups in isolation, reducing the likelihood of overuse injuries while maintaining precision. For example, using the chest for counterpressure reduces wrist and hand fatigue.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eErgonomic Design\u003c/em\u003e: The natural interaction between the artisan\u0026rsquo;s body and the material eliminates the need for complex machinery, making the process both sustainable and adaptable.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003e \u003cem\u003eCraftsmanship Impact\u003c/em\u003e: These gestures preserve the artisanal authenticity of the craft, ensuring that the chairs maintain their unique handmade quality\u0026mdash;a hallmark of Cirebon rattan furniture.\u003c/p\u003e \u003c/li\u003e \u003c/ul\u003e \u003c/p\u003e \u003cp\u003eUsing armpits, chest, feet, toes, inner elbows, and thighs reflects the intricate and technical mastery required in rattan chair production. These micro-gestures are not random but are informed by centuries of artisanal knowledge, physiological efficiency, and ergonomic practicality. Documenting and digitizing these movements are crucial for preserving this heritage craft and ensuring its continuation for future generations.\u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec29\" class=\"Section2\"\u003e \u003ch2\u003e6.3 Challenges and limitation\u003c/h2\u003e \u003cp\u003eSeveral technical challenges were encountered during data collection, affecting production quality and efficiency. Continuous single-take recordings required precise camera placement and coordination with artisans to capture the process without interruptions. Equipment problems, such as the 360\u0026deg; camera overheating during extended recordings, resulted in filing errors and necessitated repeated data collection. The solution was to introduce breaks between recording sessions.\u003c/p\u003e \u003cp\u003eHowever, camera placement presents additional challenges. The optimal points were limited to chest-level or ceiling-mounted positions above the artisan because head-mounted placements produced unstable results because of dynamic head movements. Although chest-level placement was the most stable and optimal option, this placement resulted in a lower perspective and distorted images. Future studies should focus on developing effective camera positioning methods to produce optimal 360\u0026deg; videos of rattan chair-making processes.\u003c/p\u003e \u003cp\u003eThe user testing of this video was conducted with a small number of participants. Although it is appropriate in any general user testing studies, we suggest that future studies involve more participants to obtain more precise and generalizable results.\u003c/p\u003e \u003c/div\u003e"},{"header":"7. Conclusions","content":"\u003cp\u003eThis study demonstrated the effectiveness of 360\u0026deg; learning videos in enhancing learners\u0026rsquo; understanding through immersive experiences while observing complex processes such as rattan chair-making. 360\u0026deg; video technology is an effective medium for digitizing the traditional rattan chair-making process. This potential is supported by the ability of 360\u0026deg; camera technology to highlight microgestures and provide multi-perspective views. Learners can observe and understand how to position their body movements (hands, feet, knees, fingers, and underarms) at each stage of rattan chair production. Photogrammetry plays a critical role in accurately presenting the physical details of rattan chairs. Beyond clarity and precision, 360\u0026deg; videos for skill digitization support immersive practical skill training, enriching the learning experience. Furthermore, the advantages of 360\u0026deg; videos and the making process of the 360\u0026deg; video conducted in this study can be utilized as a medium for preserving other traditional skills that contain tacit knowledge that require deep visual understanding and comprehensive information, for instance, the conventional process of tenun fabric making and traditional pottery.\u003c/p\u003e"},{"header":"Declarations","content":"\u003cp\u003e\u003cstrong\u003eAuthor contributions\u0026nbsp;\u003c/strong\u003eDeny Willy Junaidy, Muhammad Nabil Oktanuryansyah, Khalda Fadhilah Arisya, and Linda Mawali were responsible for the writing and initial conception of the manuscript. Material preparation, data collection, and analysis were conducted by Deny Willy Junaidy, Muhammad Nabil Oktanuryansyah, Khalda Fadhilah Arisya, Linda Mawali, and Muhammad Dhani. Intan Rizky Mutiaz and Deni Suwardhi provided support and consultation on 360\u0026deg; video and photogrammetry. All co-authors contributed to reviewing and commenting on previous versions and approved the final manuscript.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eAcknowledgments\u003c/strong\u003e The authors extend their gratitude to the Institute for Research and Community Services, Bandung Institute of Technology (ITB), for supporting the experiment process.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eFunding\u0026nbsp;\u003c/strong\u003eThis work was supported by the Faculty of Art and Design ITB Grant number PPMI-F 2024 no. 923.2/IT.CO3/SPP-FSRD-TA/2024\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eData\u0026nbsp;\u003c/strong\u003e\u003cstrong\u003eavailability\u0026nbsp;\u003c/strong\u003eNo datasets were generated or analysed during the current study.\u003c/p\u003e\n\u003cp\u003e\u003cstrong\u003eConflict of Interests\u0026nbsp;\u003c/strong\u003eThe authors declare none.\u003c/p\u003e\n\u003cp\u003e\u0026nbsp;\u003cstrong\u003eInformed Consent\u0026nbsp;\u003c/strong\u003eInformed consent was obtained from all participants involved in the study, ensuring their understanding of the research purpose, procedures, and rights.\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\n\u003cli\u003eSiebert SF (2012) The nature and culture of rattan. University of Hawaii Press. \u003c/li\u003e\n\u003cli\u003eCookson AJ (2010) The development of the English chair splat was influenced by Chinese chair design on English rattan chairs. In: Proceedings of the annual conference of JSSD, The 57th Annual Conference of JSSD (Japanese Society for the Science of Design), pp 1660\u0026ndash;1700. \u003c/li\u003e\n\u003cli\u003eJunaidy, D. W (2011) A Short History of Early Rattan Furniture Design (A Research of Dr. Andrew J. Cookson). Rattan Icon Magazine, Vol. 2.\u003c/li\u003e\n\u003cli\u003eAsngadi N, Surachman N, Indrawati NK, Sumiati N (2017) Redeveloping competitive advantage of rattan Smes cluster in Cirebon. Russ J Agric Socio Econ Sci 65(5):92\u0026ndash;99. https://doi.org/10.18551/rjoas.2017-05.13\u003c/li\u003e\n\u003cli\u003eChang, J.-C., Luh, D.-B., Kung, S.-F., \u0026amp; Ueda, A. (2014). Theory and Application of Tacit Knowledge Transfer. \u003cem\u003eCreative Education\u003c/em\u003e, \u003cem\u003e05\u003c/em\u003e(19), 1733\u0026ndash;1739. https://doi.org/10.4236/CE.2014.519193\u003c/li\u003e\n\u003cli\u003eJosephine Oranga. (2023). Tacit Knowledge Transfer and Sharing: Characteristics and Benefits of Tacit \u0026amp; Explicit Knowledge. \u003cem\u003eJournal of Accounting Research, Utility Finance and Digital Assets\u003c/em\u003e, \u003cem\u003e2\u003c/em\u003e(2), 736\u0026ndash;740. https://doi.org/10.54443/JARUDA.V2I2.103\u003c/li\u003e\n\u003cli\u003eLenzerini F (2011) Intangible cultural heritage: the living culture of peoples. Eur J\u003cem\u003e \u003c/em\u003eInt\u003cem\u003e \u003c/em\u003eLaw 22(1):101\u0026ndash;120. https://doi.org/10.1093/ejil/chr006\u003c/li\u003e\n\u003cli\u003eIndonesia.go.id (2024) Industri rotan butuh revitalisasi. https://indonesia.go.id/kategori/editorial/8728/industri-rotan-butuh-revitalisasi?lang=1\u003c/li\u003e\n\u003cli\u003eFood and Agriculture Organization of the United Nations (n.d.) Case study three: Forest based handicrafts in Indonesia. Food and Agriculture Organization. https://www.fao.org/4/X5860E/x5860e06.htm\u003c/li\u003e\n\u003cli\u003eSetyo Indartono, Y., Willy Junaidy, D., Rakhmata Mukti, R., \u0026amp; Farid, M. (2023) Budaya ilmiah unggul: Teknologi pemberdaya (I. Pempasa, Ed.; 1st ed., Vol. 1). ITB Press.\u003c/li\u003e\n\u003cli\u003eFeix T, Romero J, Schmiedmayer HB, Dollar AM, Kragic D (2015) The GRASP taxonomy of human grasp types. IEEE Trans Hum Mach Syst 46(1):66\u0026ndash;77. https://doi.org/10.1109/THMS.2015.2470657\u003c/li\u003e\n\u003cli\u003eLe Bellu, S. (2016). Learning the Secrets of the Craft Through the Real-Time Experience of Experts: Capturing and Transferring Experts\u0026rsquo; Tacit Knowledge to Novices. \u003cem\u003ePerspectives Interdisciplinaires Sur Le Travail et La Sant\u0026eacute;\u003c/em\u003e, \u003cem\u003e18\u0026ndash;1\u003c/em\u003e. https://doi.org/10.4000/PISTES.4685\u003c/li\u003e\n\u003cli\u003eLampropoulos G, Barkoukis V, Burden K, Anastasiadis T (2021) 360-degree video in education: an overview and a comparative social media data analysis of the last decade. Smart Learn Environ 8(1):8. https://doi.org/10.1186/s40561-021-00165-8\u003c/li\u003e\n\u003cli\u003eKim, J., Kim, K., \u0026amp; Kim, W.-S. (2022). Impact of immersive virtual reality content using 360-degree videos in undergraduate education. IEEE Transactions on Learning Technologies, 15, 1-1. https://doi.org/10.1109/TLT.2022.3157250\u003c/li\u003e\n\u003cli\u003eJunaidy, D. W., Adharamadinka, M., Kusumah, G. K., Darmakusuma, R., Ginalih, C. T., Sakya, K. A., \u0026amp; Mawali, L. (2024). Examining the Spatial Perception of Users of Verbally Generated 3D Virtual Space Visualizations. Archives of Design Research, 37(1), 61-83.\u003c/li\u003e\n\u003cli\u003eRanieri M, Bruni I, Luzzi D (2020) Introducing 360\u0026deg;-degree video in higher education: an overview of the literature. JECP 1(1):345\u0026ndash;353. https://doi.org/10.38069/edenconf-2020-ac0032\u003c/li\u003e\n\u003cli\u003eRabosh EV, Balbekin NS, Mezhenin AV, Petrov NV (2022) Application of photogrammetry for digitizing information about cultural heritage in the form of display holograms. Int Arch Photogramm Remote Sens Spat Inf Sci XLIII-B2-2022:869\u0026ndash;875. https://doi.org/10.5194/ISPRS-ARCHIVES-XLIII-B2-2022-869-2022\u003c/li\u003e\n\u003cli\u003eTeruggi S, Grilli E, Fassi F, Remondino F (2021) 3D surveying, semantic enrichment and virtual access of large cultural heritage. ISPRS Ann Photogramm Remote Sens Spat Inf Sci VIII\u0026ndash;M:155\u0026ndash;162. https://doi.org/10.5194/isprs-annals-VIII-M-1-2021-155-2021\u003c/li\u003e\n\u003cli\u003eAmato G, Muzzupappa M, Bruno F (2020) A novel framework for the immersive virtual presentation of complex 3D models using photogrammetry. J Cult Herit 44:340\u0026ndash;350. https://doi.org/10.1016/j.culher.2020.03.012\u003c/li\u003e\n\u003cli\u003eReljić, I., \u0026amp; Dunđer, I. (2019) Application of photogrammetry in 3D scanning of physical objects. TEM Journal, 8(1), 94\u0026ndash;101. https://doi.org/10.18421/TEM81-1\u003c/li\u003e\n\u003cli\u003eSmedsrud, J. H., Bungum, B., \u0026amp; Egeland Fl\u0026oslash;, E. (2024). Gifted students\u0026rsquo; experiences with participation in enrichment programs at talent centers in Norway. Scandinavian Journal of Educational Research, 1\u0026ndash;17. https://doi.org/10.1080/00313831.2024.2394388\u003c/li\u003e\n\u003cli\u003ePembuatan Kursi Rotan Papasan Khas Cirebon (2024) https://youtu.be/0f4CgqzJh8w?si=wUwKHSpeCMJBj569. Accessed 1 December 2024\u003c/li\u003e\n\u003cli\u003ePembuatan Kursi Rotan Bahama Khas Cirebon (2024) https://youtu.be/GeHZpbTyEa0?si=IWTMvREC5vGIkom6. Accessed 1 December 2024\u003c/li\u003e\n\u003cli\u003ePembuatan Kursi Rotan Kelek Khas Cirebon (2024) https://youtu.be/jX_XcxT8QUc?si=uAFX0UQbhMxwMo4N. Accessed 1 December 2024\u003c/li\u003e\n\u003cli\u003ePembuatan Kursi Rotan Gentong Khas Cirebon (2024) https://youtu.be/0xv6GlIW0NY?si=9VlhggW91WiZ-uVY. Accessed 1 December 2024\u003c/li\u003e\n\u003cli\u003ePembuatan Kursi Rotan Keong Khas Cirebon (2024) https://youtu.be/8kJKnwLHVDo?si=JmDd93OQLNmGtvoF. Accessed 1 December 2024\u003c/li\u003e\n\u003c/ol\u003e"},{"header":"Tables","content":"\u003cp\u003eTables are available in the Supplementary Files section.\u003c/p\u003e\n"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":true,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true},"keywords":"Digital preservation, Microgesture, Rattan chair, Chair-making, 360° learning videos, Photogrammetry","lastPublishedDoi":"10.21203/rs.3.rs-5876603/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-5876603/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eAlthough rattan artifacts have been extensively archived, few studies have focused on documenting the knowledge and craftsmanship of artisans who create traditional rattan chairs. These skills often rely on tacit knowledge, which is challenging to capture and transfer. This study aimed to preserve the creation process of iconic Cirebon rattan chairs\u0026mdash;Papasan, Bahama, Kelek, Gentong, and Keong\u0026mdash;crafted for over 50 years by leveraging digitization techniques. By combining 360\u0026deg; video technology with photogrammetric techniques, the study produced immersive learning materials that effectively captured artisans' subtle and often difficult-to-observe micro-gestures. The 360\u0026deg; video technology recorded these intricate gestures, while photogrammetry generated realistic three-dimensional visualizations of the furniture and tools used. Visual recall testing demonstrated that these immersive learning videos effectively teach delicate and nuanced techniques unique to rattan chair-making, such as using the chest, knees, armpits, soles, and toes. Furthermore, the methods and findings of this study highlight the potential of 360\u0026deg; video technology in preserving other crafts that involve complex and precise manual skills.\u003c/p\u003e","manuscriptTitle":"Digital Preservation of Microgestures in the Making Process of Indonesian Iconic Traditional Rattan Chair Using Immersive 360° Learning Videos and Photogrammetry","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2025-01-31 06:05:43","doi":"10.21203/rs.3.rs-5876603/v1","editorialEvents":[{"type":"communityComments","content":0}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true}}],"origin":"","ownerIdentity":"a06c0e18-55db-41e6-a001-39d1ce33b8b1","owner":[],"postedDate":"January 31st, 2025","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"posted","subjectAreas":[],"tags":[],"updatedAt":"2025-03-18T03:38:32+00:00","versionOfRecord":[],"versionCreatedAt":"2025-01-31 06:05:43","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-5876603","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-5876603","identity":"rs-5876603","version":["v1"]},"buildId":"8U1c8b4HqxoKbykW_rLl7","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}