Robby Hidajat
Datos Biográficos
| ID | 4973131 |
|---|---|
| NOMBRE | Robby Hidajat |
| NOMBRES | Robby |
| APELLIDO | Hidajat |
| FIRMA | HIDAJAT R |
| AFILIACIONES | State University of Malang |
| ORCID | 0000-0003-4252-1536 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 13 |
| TOTAL DE CITAS | 1 |
| TOTAL COMO AUTOR | 13 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2014 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2026 |
| ÍNDICE H | 1 |
From Cultural Heritage to Classroom
Traditional performing arts have rarely been embedded in early childhood curricula despite their developmental and cultural potential. This study adapted the Panji Laras Mask Dance for kindergarten learners in Malang, Indonesia, to address that gap. Using a descriptive qualitative single-case design, the research involved collaborative workshops with teachers and cultural practitioners, twelve classroom observations, in-depth interviews, and docu…
Commodification of Kecak Ramayana as Tourism Art in Melasti Beach, Ungasan Village, District of Kuta Selatan, Badung, Bali
This research examines the integration of Kecak Ramayana into Balinese traditional tourism art, focusing on the tourism art industry in the Beach of Melasti, Ungasan, Bali. The central theme explores the commodification of art’s role in attracting tourists and enhancing their imaginative experiences, delving into its impact on the ritual values and spiritual aspects of Kecak Ramayana. Utilizing a qualitative approach with interviews, observation …
Educational Strategy for Regeneration of Child Dancers in Satrio Bokor Tumpang Group
Regeneration of traditional arts is an important thing that really needs to be done because it is a strategic step in maintaining the sustainability of local culture. Jaranan thrives in the Tumpang area, but only the Satri Bokor group has a group of children aged 6 to 15 years. This research was specifically conducted to analyse the regeneration strategy for child Jaranan dancers carried out in the Satrio Bokor Tumpang Group, Malang Regency. The …
The Dialectics of the Performance of the Kecak Ramayana in Uluwatu, Bali, Indonesia
The Ramayana kecak is a popular tourist art in Bali that is rich in symbolism. The audience watches only from the front of the stage, which is formalistic in nature, witnessing different scenes, characteristics of figures, structures, and dramatic factors. The performers are not aware that the backstage is the realm of rituals and a part of the deep experience of spiritual beliefs. The front stage and backstage should be viewed as complementary d…
Communication Presentation of Indonesian Identity Figures at the Ramayana Ballet at Prambanan
This study focuses on the performing arts of tourism by examining the identity of performing arts that communicate local culture. Remembering the identity of a country becomes very quickly and easily captured through the performing arts of tourism. This article examines the identity of performing arts that tell the story of the Ramayana, which is characterized by Indonesia. In this communication process, there are two interactive paths, namely fr…
Oglek Tempe Dance as an Attraction to Support Cultural-Based Village Tourism in Sanan, Malang
Sanan village is one of the designated tourist areas in Malang, and it has a special ceremony in welcoming their guests. The tour guide team picks up groups of tourists who enter the Sanan village area and escorts them to see the making of tempeh chips. However, the ceremony itself is rather bland as there is no artistic attraction in its process. Thus, in this community service activity, we packaged art tourism attractions with local characteris…
Aesthetical Transformation of Ramayana Performing Arts in Indonesia and Thailand
Over the years, the methods of preserving traditional performing arts have undergone a transformation in many states of Southeast Asia. In that, the performing art societies in Indonesia and Thailand have also made a shift in their conservation strategy from organizing the performing arts as a sacred rite with few participants to massive shows to entertain bigger audiences. This research intended to review the role of Maecenas (art protector) in …
The Aesthetics of the Hanoman Character in the Performing Arts of the Indonesia-Thailand Ramayana Stories
This article explains the aesthetics of the Hanoman character in the performing arts of the Indonesia-Thailand Ramayana stories. Ramayana stories are written by Valmiki from India, and Hanoman is described as a “white monkey” in these stories. Indonesia and Thailand are two states in Southeast Asia where the characters in the Ramayana stories undergo the so-called adaptation process. Hanoman is one of the characters. Therefore, the objective of t…
Aesthetical Transformation on Ramayana Stories of Indonesia- Thailand Versions
Aesthetical transformation of Ramayana stories in Indonesia and Thailand has a power that can substantiate the existence of each entity in developing their own culture. Aesthetical aspect are presented in various expression media, including visual art (fine art) and performing art. Ramayana performing arts in Indonesia and Thailand is leaning on Hindu spirituality and has been adapted as a part of local expression. Both Indonesia and Thailand ver…
Peran Aktor Di Balik Penggung Terhadap Tandhak Tayub Di Malang Jawa Timur
Tandhak atau teledek di Malang Jawa Timur masih tergantung pada peran aktor di balik panggung,yaitu pelandang, Pengendang atau ketua Paguyuban. Peran yang dimainkan oleh para aktor di balik penggung itu memiliki dampak tersendiri bagi tandhak. Penelitian ini mengkaji peran aktor di balik panggung dalam penyelenggaraan pementasan tayub. Metode penelitian menggunakan pendekatan diskriptif kualitatif. Data yang dikumpulkan terdiri dari teknik wawanc…
Wayang Topeng Malang Dalam Perubahan Kebudayaan
Musk puppet in Malang has a very special and distinctive presentation, that is consisting of some parts or acts in the forms of scenes: the Gending Giro traditional music, follwed with an opening dance Tari Patih, Jejeran, Grebek, Tari Bapang and Tari Gunungsari, ended with the scene of the meeting between Panji Asmarabangun and Candrakirana. The development of mask puppet in Malang as a cultural expression is very much influenced by the aspects …
Sungai sebagai Transmisi Ritual Urban Kesuburan melalui Pertunjukan Wayang Topeng
Sungai pada saat ini sudah mulai tidak mendapatkan perhatian masyarakat terutamadalam masyarakat urban, kebersihannya sudah tidak ada yang bersedia menjaga.Sampah dan cairan deterjen menjadi bahan yang mengotori kebersihan. Akibatnyaair menjadi tidak lagi bersih, membawa bibit penyakit, dan mengakibatkan bencanabanjir. Sungai bagi masyarakat desa di Malang pada waktu yang lampau memilikiarti penting, seperti tempat tertentu di antara bilik-bilik …
The Popularity of Waranggana Tayub Malang through Body Exploitation
Tayub is a ronggeng type of dance performance. It is widely performed in Javanese regions.Originally, Tayub functioned as a fertility ritual; then it developed as entertainment. The growth of Tayub in Malang in the 1950s was intended for identity and the main dancer called tandak was changed to Waranggana . As a result, there was a transformation in the form of the dancer’s body: (1) exploring body-initiating identity, (2) manipulating the body t…
The Popularity of Waranggana Tayub Malang through Body Exploitation
Tayub is a ronggeng type of dance performance. It is widely performed in Javanese regions.Originally, Tayub functioned as a fertility ritual; then it developed as entertainment. The growth of Tayub in Malang in the 1950s was intended for identity and the main dancer called tandak was changed to Waranggana . As a result, there was a transformation in the form of the dancer’s body: (1) exploring body-initiating identity, (2) manipulating the body t…
The Popularity of Waranggana Tayub Malang through Body Exploitation
Tayub is a ronggeng type of dance performance. It is widely performed in Javanese regions.Originally, Tayub functioned as a fertility ritual; then it developed as entertainment. The growth of Tayub in Malang in the 1950s was intended for identity and the main dancer called tandak was changed to Waranggana . As a result, there was a transformation in the form of the dancer’s body: (1) exploring body-initiating identity, (2) manipulating the body t…
Wayang Topeng Malang Dalam Perubahan Kebudayaan
Musk puppet in Malang has a very special and distinctive presentation, that is consisting of some parts or acts in the forms of scenes: the Gending Giro traditional music, follwed with an opening dance Tari Patih, Jejeran, Grebek, Tari Bapang and Tari Gunungsari, ended with the scene of the meeting between Panji Asmarabangun and Candrakirana. The development of mask puppet in Malang as a cultural expression is very much influenced by the aspects …
Sungai sebagai Transmisi Ritual Urban Kesuburan melalui Pertunjukan Wayang Topeng
Sungai pada saat ini sudah mulai tidak mendapatkan perhatian masyarakat terutamadalam masyarakat urban, kebersihannya sudah tidak ada yang bersedia menjaga.Sampah dan cairan deterjen menjadi bahan yang mengotori kebersihan. Akibatnyaair menjadi tidak lagi bersih, membawa bibit penyakit, dan mengakibatkan bencanabanjir. Sungai bagi masyarakat desa di Malang pada waktu yang lampau memilikiarti penting, seperti tempat tertentu di antara bilik-bilik …
Peran Aktor Di Balik Penggung Terhadap Tandhak Tayub Di Malang Jawa Timur
Tandhak atau teledek di Malang Jawa Timur masih tergantung pada peran aktor di balik panggung,yaitu pelandang, Pengendang atau ketua Paguyuban. Peran yang dimainkan oleh para aktor di balik penggung itu memiliki dampak tersendiri bagi tandhak. Penelitian ini mengkaji peran aktor di balik panggung dalam penyelenggaraan pementasan tayub. Metode penelitian menggunakan pendekatan diskriptif kualitatif. Data yang dikumpulkan terdiri dari teknik wawanc…
Aesthetical Transformation of Ramayana Performing Arts in Indonesia and Thailand
Over the years, the methods of preserving traditional performing arts have undergone a transformation in many states of Southeast Asia. In that, the performing art societies in Indonesia and Thailand have also made a shift in their conservation strategy from organizing the performing arts as a sacred rite with few participants to massive shows to entertain bigger audiences. This research intended to review the role of Maecenas (art protector) in …
The Aesthetics of the Hanoman Character in the Performing Arts of the Indonesia-Thailand Ramayana Stories
This article explains the aesthetics of the Hanoman character in the performing arts of the Indonesia-Thailand Ramayana stories. Ramayana stories are written by Valmiki from India, and Hanoman is described as a “white monkey” in these stories. Indonesia and Thailand are two states in Southeast Asia where the characters in the Ramayana stories undergo the so-called adaptation process. Hanoman is one of the characters. Therefore, the objective of t…
Aesthetical Transformation on Ramayana Stories of Indonesia- Thailand Versions
Aesthetical transformation of Ramayana stories in Indonesia and Thailand has a power that can substantiate the existence of each entity in developing their own culture. Aesthetical aspect are presented in various expression media, including visual art (fine art) and performing art. Ramayana performing arts in Indonesia and Thailand is leaning on Hindu spirituality and has been adapted as a part of local expression. Both Indonesia and Thailand ver…
Communication Presentation of Indonesian Identity Figures at the Ramayana Ballet at Prambanan
This study focuses on the performing arts of tourism by examining the identity of performing arts that communicate local culture. Remembering the identity of a country becomes very quickly and easily captured through the performing arts of tourism. This article examines the identity of performing arts that tell the story of the Ramayana, which is characterized by Indonesia. In this communication process, there are two interactive paths, namely fr…
Oglek Tempe Dance as an Attraction to Support Cultural-Based Village Tourism in Sanan, Malang
Sanan village is one of the designated tourist areas in Malang, and it has a special ceremony in welcoming their guests. The tour guide team picks up groups of tourists who enter the Sanan village area and escorts them to see the making of tempeh chips. However, the ceremony itself is rather bland as there is no artistic attraction in its process. Thus, in this community service activity, we packaged art tourism attractions with local characteris…
The Dialectics of the Performance of the Kecak Ramayana in Uluwatu, Bali, Indonesia
The Ramayana kecak is a popular tourist art in Bali that is rich in symbolism. The audience watches only from the front of the stage, which is formalistic in nature, witnessing different scenes, characteristics of figures, structures, and dramatic factors. The performers are not aware that the backstage is the realm of rituals and a part of the deep experience of spiritual beliefs. The front stage and backstage should be viewed as complementary d…
Educational Strategy for Regeneration of Child Dancers in Satrio Bokor Tumpang Group
Regeneration of traditional arts is an important thing that really needs to be done because it is a strategic step in maintaining the sustainability of local culture. Jaranan thrives in the Tumpang area, but only the Satri Bokor group has a group of children aged 6 to 15 years. This research was specifically conducted to analyse the regeneration strategy for child Jaranan dancers carried out in the Satrio Bokor Tumpang Group, Malang Regency. The …
Commodification of Kecak Ramayana as Tourism Art in Melasti Beach, Ungasan Village, District of Kuta Selatan, Badung, Bali
This research examines the integration of Kecak Ramayana into Balinese traditional tourism art, focusing on the tourism art industry in the Beach of Melasti, Ungasan, Bali. The central theme explores the commodification of art’s role in attracting tourists and enhancing their imaginative experiences, delving into its impact on the ritual values and spiritual aspects of Kecak Ramayana. Utilizing a qualitative approach with interviews, observation …
From Cultural Heritage to Classroom
Traditional performing arts have rarely been embedded in early childhood curricula despite their developmental and cultural potential. This study adapted the Panji Laras Mask Dance for kindergarten learners in Malang, Indonesia, to address that gap. Using a descriptive qualitative single-case design, the research involved collaborative workshops with teachers and cultural practitioners, twelve classroom observations, in-depth interviews, and docu…
Cultural and Artistic Studies (13 obras) · Art (8 obras) · Visual arts (8 obras) · Aesthetics (5 obras) · Dance (5 obras) · Environmental Engineering and Cultural Studies (5 obras) · History (5 obras) · Child Development and Education (4 obras) · Sociology (4 obras) · The arts (4 obras)