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Yuliarma, Yuliarma
Universitas Negeri Padang
Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Mathematics Social Sciences Other

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STUDI TENTANG DISAIN RAGAM HIAS PAKAIAN PENGANTIN TRADISIONAL LUBUK BEGALUNG PADANG Desmaleni, Rahayu; Efi, Agusti; Yuliarma, Yuliarma
Journal of Home Economics and Tourism Vol 6, No 2 (2014): Periode Juni 2014
Publisher : Faculty of Tourism and Hospitality - Universitas Negeri Padang

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Abstract

The problem in this study is about decorative design of traditional bridal costumein Lubuk Begalung Padang which is undergoing changes. It happens because of the traditional bridal costume is now used as a fashion service industry,   so that many people in Padang, especially the younger generation do not know the bridal costume ranging from traditional bridal costume of brideuntil traditional bridal costume ofbridegroom. This study aims to describe the decorative design of a traditional bridal costumein Padang. The method that used in this study is a qualitative case study method . The type of data is primary that are data from management and employees of businesses and secondary data obtained from the documentation. The technique of collecting data through observation, interview and documentation. The analysis technique is inductive based on the facts that already found and it can be constructedthen into a hypothesis or theory . In order to obtain the valid data, the researchers tested the validity of the data by means of an extension of the observation, diligence research, triangulation and auditing . The results of the study are: the decorative design of a traditional bridal costumein Lubuk Begalung Padang,for the bridal costume ofbridegroom is baju rokiusing a star, a butterfly and a tabua roti motif with taburan loyanglatching, on celana roki and waistcoatusing lace gold thread latching. Motives are used by sisamping: itik pulang patang, bada Mudiak, batang pinang, bungo sikakau, salapah, balah kacang, pucuk rabuang, and salauak laka.Sisamping derived from pandai sikekwoven red base color . The bridal costume ofbride isBaju kurung,known as "baju kurung bajaik". It is using florals located on the front/chest and the surface of baju kurung, phoenix on the surface using gold thread embroidery and suji kapalo samek, decorative patterns found on the baju kurungaresowing pattern, the fringe standspattern, dependent peripherypattern, the periphery runspattern, and decorative patterns fill the triangular fields.Kodekorsarong is red base color of songket came frompandai sikek woven using itik pulang patangmotif, bada mudiakmotif, batang pinangmotif, bungo cukia kaluakmotif, salapahmotif, balah kacangmotif, pucuk rabuangmotif, and salauak lakamotif.   Kata Kunci: Pakaianpengantin tradisional, disain ragam hias, motif, kombinasi warna, teknik hias, pola hias Lubuk Begalung Padang
STUDI TENTANG BUSANA PENGANTIN TRADISIONAL KURAI BUKITTINGGI Yunus, Rona Rahayu; Efi, Agusti; Yuliarma, Yuliarma
Journal of Home Economics and Tourism Vol 6, No 2 (2014): Periode Juni 2014
Publisher : Faculty of Tourism and Hospitality - Universitas Negeri Padang

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Abstract

This research is motivated by socio-cultural developments that occurred among the society and modernization in fashion design which includes models, materials, colors, and embellishments. These cause the changes intraditional fashion that should be conserved by the society who use it, one whichoccurred insociety at Kurai, Bukittinggi. The purpose of this research is to describe the design of traditional wedding dress of Kurai Bukittinggi in terms of models, materials, colors, embellishments and also describe the meaning of the philosophy contained in that traditional wedding dress of Kurai Bukittinggi. The method used in this research is descriptive qualitative method. This research was held in Kurai, Bukittinggi. Data which are collected in this research were taken from the observations, interviews, and documentations. This research also used the techniques of data analysis namely data reduction, data presentation and taking conclusion. To obtain valid data by doing an extension ofobservation, perseverance of observation, triangulation and auditing. The results of the research of traditional wedding dress in Kurai, Bukittinggi consists of the bridal clothes for the bride and bridegroom. The clothes of bridegroom consists of a suit, sarawa lambuak, sisampiang, cawek (waist belt), saluak, tie, karih (dagger), tungkek (stick), kampierokok, and tarompasapik (footwear). The clothes of the bride consists of a dress called bajukuruangbatabua, kodekbalapak, salendangbalapak, tokoksanggua, jewellery, tarompasaruang (footwear), and uncang (purse). The philosophy's meaning from traditional wedding dress generally contain the culture messages and the basic values of Islam teaching as stated in a proverb in Minang“Adaik Basandi Syarak, Syarak Basandi Kitabullah” and one of the wedding dress which is has a philosophy meaning is only the traditional wedding dress in Minang. Meanwhile the suit, shirt, and tie have no philosophy meaning because there is not  in Minang culture traditionally, however Western culture adopted into Minangkabau culture and used as a part of the wedding dress of Kurai, Bukittinggi.   Kata Kunci: Busana pengantin tradisional, desain, makna filosofi, Kurai Bukittingi
STUDI TENTANG BUSANA PENGANTIN MELAYU JAMBI DI KECEMATAN KOTA BARU KOTA JAMBI Sari, Desy Permata; Ramainas, Ramainas; Yuliarma, Yuliarma
Journal of Home Economics and Tourism Vol 8, No 1 (2015): Periode Maret 2015
Publisher : Faculty of Tourism and Hospitality - Universitas Negeri Padang

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Abstract

This study aimed to describe the Jambi Malay wedding dress at New TownDistrict of the city of Jambi, which include 1) Fashion Design and 2) Proceduresfor usage. The method used in this research is descriptive qualitative method. Thetechnique of collecting document through observation, interviews anddocumentation. Instruments in which the researcher's own research. The results ofthe study include the Malay wedding dress design wedding dress Track Menwear, under wear sleeveless shirt, vest and pants made of satin, or velvet santungred, blue or yellow. Gloves made from songket songket red, belt / belt made ofcopper gilt and gold, Keris, slippers. Clothing bride wearing braces satin shirt red,blue or yellow, Songket made songket and red, made from pandanus folding bunhair and pandanus, Flower Flower cempako and shake made from copper gilt goldcolored, flower bunch of white fabric, flower potpourri made from white paper,green, yellow and red, chiffon scarf cinde green and yellow, red satin made Lotus,necklace Tread Jayo and necklace chain, Pending / belt, bracelet canoe, jaggedBracelet, Earrings and Bracelet flat tembago made from gold gilt, Slippers.Decoration on clothing to wear gold thread embroideries, sequins and beads. Theprocedure for starting the use of wear songket, wearing braces, wearing a lotus,papyrus and folding bun wearing a headdress (folding bun pandanus, pesangkon,and puncture bun), wear earrings, wear a necklace, wear pending and scarves,wear bracelets hand, wearing slippers and the men wear trousers, wear depth,songket wear gloves, wear peding and dagger, vest, wear gloves and daggersongket, wear track, wearing slippers.Keywords: Jambi Malay Wedding Dress
Studi Tentang Desain Pakaian Pengantin Suku Talang Mamak dikecamatan Rakit Kulim Kabupaten Indragiri Hulu Provinsi Riau Jubaedah, Siti; Efi, Agusti; Yuliarma, Yuliarma
Journal of Home Economics and Tourism Vol 6, No 2 (2014): Periode Juni 2014
Publisher : Faculty of Tourism and Hospitality - Universitas Negeri Padang

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Abstract

This study aimed to documentation , analyze and describe data about wedding apparel designs Talang Mamak tribe as seen from the Bride Outfits design philosophy and meaning. This research is descriptive qualitative. The location of this study in the district of Kulim Raft Indragiri Hulu in Riau Province.  Data collection techniques using three techniques are observation, interview and documentation. The results of the study Talang Mamak tribe clothing Bridal bride and groom men wearing form perempuanya shirts, pants, and cap Salempang . Material shirts of cotton, wool, Salempang, cotton and velvet . Kundur florals and diamonds. Colors used red and black color hiasanya using woven hangings . Bride of using the short form of Kebaya , gloves , and tools Salempang andam, songket woven material , meaning the philosophy of the wedding dress is courage, sanctity became the bride dared to enter the gates of the household and cheerfulness lost all cocky arrogant, originated from the household life flows along to the grave . Keywords : Bridal Apparel Design Talang Mamak Tribe
STUDY ABOUT KENDUHAI SKO TRADITIONAL CLOTHING DESIGN IN SUNGAI PENUH CITY JAMBI PROVINCE Nabila Aprimania; Yuliarma Yuliarma
JURNAL PENDIDIKAN DAN KELUARGA Vol 13 No 02 (2021): Jurnal Pendidikan dan Keluarga
Publisher : Fakultas Pariwisata dan Perhotelan Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/jpk/vol13-iss02/979

Abstract

This study aims to describe the design characteristics, complements, accessories, how to use traditional clothing, and analyze the meaning contained in Kenduhai Sko traditional clothing in Sungai Penuh City. This research method is descriptive qualitative. Data were collected using observation, interview, and documentation techniques. Data analysis used interactive analysis collection techniques related to the subject matter studied. The results of the study 1) Depati and Rio's traditional clothes consist of a kuhong shirt and long pants, using an H silhouette. Black Japan drill material; 2) Complementary clothing, namely rawo shawl, lita, and lipak; 3) Clothing accessories, namely keris, dasinul and kampeng for Depati and sticks for Rio; 4) How to wear traditional clothes for Depati using a kuhong shirt, long pants, straight-shaped lipak cloth, a rawo scarf, finally insert a keris that has been tied with dasinul and kampeng, then use lita. For Rio, he uses a kuhong shirt, long pants, lipak cloth, rawo shawl, uses a lita and holds a stick; 5) The aesthetic meaning of the kuhong shirt and pants as an identity and the value of modesty, the black color symbolizes power, the rawo shawl means self-control, the lipak cloth means protecting, lita as a symbol of wisdom, the keris which reflects authority, kampeng which functions to store cigarettes, Dasinul means control his power, the stick is to protect.
PERUBAHAN DESAIN BUSANA ADAT PENGANTIN WANITA DI KOTA PARIAMAN SUMATERA BARAT Cindi Harmelia; Yuliarma Yuliarma
Gorga : Jurnal Seni Rupa Vol 10, No 2 (2021): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v10i2.29093

Abstract

This research aims to describe changes in the design of brides' clothes in Pariaman City including silhouettes, shapes, materials, colors, motifs and ornamental techniques. In addition there are complements, accessories, ways of use and, aesthetic meaning contained in it. This research method is qualitative descriptive research with primary and secondary data types. Data is collected using observation, interview and documentation techniques. Data analysis uses interactive analysis collection techniques related to the subject matter being studied. The results showed that 1) Women's traditional top clothes are called kuruang basiba clothes and lower clothes with racing fabrics undergo design changes in terms of silhouettes that were once I is now silhouette A. The shape is in the form of airy and loose clothes, but now changed with clothes that show"of the body. Materials that used to be satin and songket Pandai Sikek, replaced with velvet, mikado and songket silungkang. Traditional clothes are red and gold to be dark red, or blue with gold decorations. The original clothing motif that is bungo batabua turned into a flora and decorative motif. Ornamental techniques that used to use gold thread embroidery and pinheads, are now embroidery and sequins; 2) The complement of clothes consists of tokah that was onceshaped like a shawl, now has a triangular-like shape that hangs in the shoulder. Suntiang, traditionally has seven separate types now assembled into one whole unified unity. Columnelop also undergoes slight changes in the color, material, and addition of rights; 3) Traditional bridal accessories consistingof 5 necklaces, 5 bracelets, and a ranai, now using only one type of necklace, a ranai and bracelet with the latest model; 4) How to wear clothes undergo changes such as the installation of top clothes, tokah, and suntiang. While on the bottom shirt, the column and installation accessoriesare the same as traditional clothing and; 5) The aesthetic meaning that exists in the bride's fashion at this time that has undergone changes becomes lost, this is due to the change in components of each part of the fashion.Keywords: design change, bride's attire, Pariaman. AbstrakPenelitian ini bertujuan untuk mendeskripsikan perubahan desain baju pengantin wanita di Kota Pariaman meliputi siluet, bentuk, bahan, warna, motif serta teknik hias. Selain itu terdapat pelengkap, aksesoris, cara pakai dan makna estetis yang terkandung didalamnya. Metode penelitian ini adalah penelitian deskriptif  kualitatif dengan jenis data primer dan sekunder. Data dikumpulkan dengan menggunakan teknik observasi, wawancara dan dokumentasi. Analisis data menggunakan teknik pengumpulan analisis interaktif yang berkaitan dengan pokok permasalahan yang diteliti. Hasil penelitian menunjukkan bahwa 1) Baju atas tradisional wanita disebut dengan baju kuruang basiba serta baju bawah dengan kain balapak mengalami perubahan desain dari segi siluet yang dahulunya I sekarang menjadi siluet A.Bentuknya berupa baju lapang dan longgar, namun sekarang berubah dengan baju yang memperlihatkan”lekuk tubuh. Bahan yang dahulu satin dan songket Pandai Sikek, diganti dengan bahan beludru, mikado dan songket silungkang. Baju tradisional berwarna merah dan emas menjadi merah tua, maupun biru dengan hiasan berwarna emas.Motif baju asli yaitu bungo batabua berubah menjadi motif flora dan dekoratif.Teknik hias yang dahulunya menggunakan sulaman benang emas dan kepala peniti, sekarang adalah bordiran dan payet; 2) Pelengkap baju terdiri dari tokahyang dahulu berbentuk seperti selendang, sekarang memiliki bentuk seperti segitiga yang menggantung dibahu. Suntiang, tradisional memiliki tujuh jenis terpisah sekarang ini dirangkai menjadi satu kesatuan utuh yang menyatu. Selop kolom juga mengalami perubahan sedikit pada bagian warna, bahan, dan penambahan hak; 3) Aksesoris pengantin tradisional terdiri dari 5 kalung, 5 gelang, dan sebuah ranai, sekarang hanya menggunakan satu jenis kalung, sebuah ranai dan gelang dengan model terkini; 4) Cara pakai busana mengalami perubahan seperti pemasangan baju atas, tokah, dan suntiang. Sedangkan pada baju bawah, selop kolom dan aksesoris pemasangannya sama dengan busana tradisional dan; 5) makna estetika yang ada pada busana pengantin wanita saat masa sekarang yang telah mengalami perubahan menjadi hilang, ini dikarenakan berubahnya komponen dari setiap bagian busana.Kata Kunci: perubahan desain, busana pengantin, Pariaman. Authors:Cindi Harmelia : Universitas Negeri PadangYuliarma : Univeritas Negeri Padang References:Aminuddin. (2003). Semantik Pengantar Studi tentang Makna. Malang: Sinar Baru Agesindo.Arifah. (2009).  Dasar Desain Mode. Bandung: Universitas Pendidikan Indonesia.Asnan, Gusti. (2003). Kamus Sejarah Minangkabau. Padang: Pusat Pengkajian Islam dan Minangkabau (PPIM).Eisenstadt, S.N. (1986). Revolusi dan Transformasi Masyarakat. Terjemahan Chandra Johan. Jakarta: CV. Rajawali.Ernawati, dkk.  (2008).  Tata Busana Jilid 2.  Jakarta: Direktorat Pembinaan Sekolah Menengah Kejuruan. Gusparini, Rela. (2014). Tinjauan Pakaian Adat Bundo Kanduang di Kanagarian Koto Tinggi Kecamatan Baso Kabupaten Agam Sumatra Barat. (Skripsi). Padang: Program Strata I Universitas Negeri Padang.Koentjaraningrat. (1994).Kebudayaan Mentalitas Dan Pembangunan. Jakarta: Gramedia Pustaka Utama.Pateda, Mansoer. (2001). Semantik Leksikal. Jakarta: Rineka Cipta.Rostamilis. (2005).  Tata Kecantikan Rambut Jilid 3.  Jakarta: Direktorat Pembinaan Sekolah Menengah Kejuruan.Sawitri, Sicilia. (1994). Tailoring. Yogyakarta: IKIP Yograkarta.Sawitri, Sicilia. (1994). Tailoring. Yogyakarta: IKIP Yograkarta.Widarwati, Sri. (1993).  Desain Busana1. Yogyakarta: IKIP Yogyakarta.Yasin, Sulchan. (1997). Kamus Pintar Bahasa Indonesia. Surabaya: Amanah.Yuliarma. (2016).  The Art of Embriodery. Jakarta: KPG.________ . (2016). Dasar-Dasar Teknik Pembuatan Busana. Edisi Pertama. Jakarta: Perpustakaan Nasional Katalog Dalam Terbitan (KDT).
PENINGKATAN KREATIVITAS MAHASISWA MELALUI PEMBELAJARAN TRAINING MODEL DAN PORTOFOLIO Yuliarma --
Jurnal Pendidikan dan Kebudayaan Vol. 16 No. 1 (2010)
Publisher : Badan Standar, Kurikulum, dan Asesmen Pendidikan, Kemendikbudristek

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24832/jpnk.v16i1.433

Abstract

The formulation of research subject is to determine if the student creativity can be improve through training model studies and portfolio examination in the making of fashion design modification in traditional attire major. The purpose of the research is to discover that the training model study method and portfolio examination can improve the student learning creativity in the tradition apparel major. These developments are class action research, which was held in 3 cycles, the actions were completed by training model method application and portfolio examination. In each cycles, the application of training model method and portfolio examination were given twice, with 3 times schools practice, 3 times homework’s and 3 evaluations. The research was held at KK FT UNP faculty. The instruments used are observation guide, interview guide and test. The result shows that the average of student creativity and learning process can be improved through training and portfolio studies. Each cycles display student creativity improvement, with the average score of the 1 cycle of design fashion illustration practice 1.70, 2nd cycle 2.27, 3rd cycle 3.19; decorative variation design 1st cycle 1.33, 2nd cycle 2.34, and 3 cycle 3.17; drawing presentation practice 1st cycle 1.27, 2nd cycle 2.26, and 3rd cycle 3.23. ABSTRAKRumusan masalah penelitian adalah Apakah kreativitas mahasiswa dapat ditingkatkan melalui pembelajaran training model dan penilaian portofolio dalam pembuatan desain busana modifikasi pada mata kuliah busana daerah. Penelitian bertujuan untuk mengungkapkan bahwa metode pembelajaran training model dan penilaian portofolio dapat meningkatkan kreativitas belajar mahasiswa pada mata kuliah busana daerah. Pengembangan ini merupakan penelitian tindakan kelas, dilaksanakan 3 siklus, tindakan dilakukan dengan penerapan metode pembelajaran training model dan penilaian portofolio. Pada setiap siklus, penerapan metode training model dan penilaian portofolio diberikan selama 2 kali pertemuan, dengan 3 kali tugas latihan di sekolah dan 3 kali latihan di rumah dan 3 kali penilaian. Penelitian dilaksanakan di jurusan KK FT UNP. Instrumen yang digunakan adalah pedoman observasi, pedoman wawancara, dan tes. Hasil penelitian rata-rata kreativitas dan hasil belajar mahasiswa dapat ditingkatkan melalui pembelajaran training dan portofolio. Pada setiap siklus terdapat peningkatan kreativitas mahasiswa. 
Kombinasi Warna Sulaman Suji Cair pada Produk Selendang di Daerah Koto Gadang Sumatera Barat Yuliarma Yuliarma
Jurnal Kajian Seni Vol 9, No 1 (2022): Jurnal Kajian Seni Vol 9 No 1 November 2022
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.77237

Abstract

Penelitian ini bertujuan untuk mendeskripsikan kombinasi warna sulaman suji cair pada produk selendang di daerah Koto Gadang Sumatera Barat. Penelitian ini menggunakan metode deskriptif kualitatif dengan sumber data primer dan sekunder, serta teknik pengumpulan data melalui observasi, wawancara, dan dokumentasi. Hasil penelitian ditemukan 3 jenis kombinasi warna yaitu kombinasi warna analog dan monokromatik pada motif, dan kombinasi warna polikromatik dalam satu produk selendang dengan jumlah warna yang berbeda-beda. Selendang model 1 ditemukan 13 jenis warna, meliputi orange tua, orange, orange muda, orange kekuningan, kuning, kuning muda, pink tua, pink, pink muda, pink keputihan, putih, hijau muda, dan hijau kekuningan. Selendang model 2 ditemukan 16 jenis warna, meliputi merah keorangean, orange tua, orange, orange muda, orange kekuningan, kuning, merah hati, merah tua, merah muda, pink tua, pink, pink muda, pink keputihan, putih, hijau tua, dan hijau muda. Sedangkan selendang model 3 ditemukan 12 jenis warna, meliputi orange tua, orange, orange muda, orange kekuningan, kuning, pink tua, pink, pink muda, pink keputihan, putih, hijau tua, dan hijau lumut.
Decorative Decorations in Gold Thread Shown on Aisles and Women's Bride Clothes in Naras, Pariaman City Dilla Annisa Putri; Yuliarma Yuliarma
JURNAL PENDIDIKAN DAN KELUARGA Vol 14 No 02 (2022): Jurnal Pendidikan dan Keluarga
Publisher : Fakultas Pariwisata dan Perhotelan Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/jpk/vol14-iss02/1005

Abstract

An overview of the characteristics of motif design, including motif design, decorative patterns, placement of motifs, color combinations, and gold thread embroidery techniques on wedding dresses and aisles in Naras Kota Pariaman, is presented in this study. The method used is descriptive qualitative with the main data needed in the form of primary data and secondary data. Data were collected through observation, interview, and documentation techniques. Data analysis was carried out through data reduction, data presentation, and drawing conclusions. To get the validity of the data obtained through triangulation. The results of this study are 1) The design characteristics of the motifs used in gold thread embroidery products sourced from nature (naturalists) are clam flowers which are stilasid into ornamental shapes, other motifs used are roses, jasmine flowers, orchids, kaladi leaves, sunflowers, kaluak paku, animal motifs such as lions and peacocks. The decorative patterns used include standing edge decorative patterns, climbing edge decorative patterns, roadside decorative patterns, hanging edge decorative patterns, rectangular fillings, triangular field fillings, and sowing patterns. The placement of motifs on the wedding dress includes the neck, sleeves, bottom of the shirt, the back of the shirt, tokah, while on the aisle the placement of gold thread embroidery motifs on banta gadang, lansia, tabia, lidah-lidah, ondas-ondas, angkin, and Dalamak. 2) The color combination in this embroidery product uses a primary base color, and a combination of neutral colors, monochromatic color combinations, and complementary color combinations. 3) The gold thread embroidery technique used is first to prepare the tools and materials, make the motif on paper/directly on the cloth, trace the motif, embroider the motif using gold or silver thread and then wrap it with ordinary thread using the sewing technique , then done. The materials used for wedding dresses are satin, velvet, and bridal, while for the aisle the materials are satin and velvet used
Makna Filosofis pada Busana Pengantin Wanita Tradisional Suku Rejang di Kabupaten Kepahiang Annisah Fitriani Tanjung; Yuliarma Yuliarma
Jurnal Pendidikan Tambusai Vol. 7 No. 1 (2023): April 2023
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

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Abstract

Penelitian ini bertujuan mendeskripsikan makna filosofis busana pengantin wanita tradisional suku Rejang di Kabupaten Kepahiang. Menggunakan metode penelitian kualitatif yang menghasilkan data deskriptif. Teknik pengumpulan data berupa wawancara, obeservasi dan dokumentasi. Informan penelitian yaitu ketua adat suku Rejang, induk inang dan budayawan. Teknik analisis data dengan reduksi, penyajian data, dan penarikan kesimpulan. Hasil penelitian ditemukan bahwa, 1) Baju kurung tabur (kurung nyawe) bermakna keindahan; 2) Kain songket bermakna kebijaksanaan; 3) Sunting beringin bermakna beratnya beban yang akan ditangggung wanita saat menjadi istri dan ibu; 4) Motif mato ponoi bermakna harapan berhasil dalam kehidupan; 5) Tusuk burung-burung bermakna seorang wanita sudah mendapatkan tempat kehidupan; 6) Pita-pita bermakna kemakmuran; 7) Kalung bandoak bermakna kehidupan berumah tangga perlu adanya uang; 8) Ke’is (keris) bermakna senjata dalam menjaga diri; 9) Selop bermakna wanita harus menjaga serta merahasiakan kehidupan berumah tangganya.
Co-Authors Afifa, Sukma Agusti Efi Annisah Fitriani Tanjung Arvany, Yolanda Putri Ayu, Putri Cindi Harmelia Desmaleni, Rahayu Dilla Annisa Putri Dita, Riri Rahma Febiola, Natasya Anggia Febryanti, Dira Ihsania, Nadia Ismalita, Villia Nur Jannah, Ashabul Maysara, Sherena Asrofah Melfiana, Melfiana Muhammad Agus Muljanto Nabila Aprimania Rada Natalia Putri Ramainas Ramainas Refi Norita Sahira, Yara Sari, Desy Permata Sari, Yesi Novita Sherena Asrofah Maysara Villia Nur Ismalita Yeyen Julaini Yunus, Rona Rahayu