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All Journal Jurnal Pendidikan dan Kajian Seni MUDRA Jurnal Seni Budaya Panggung Jurnal Rupa Studi Budaya Nusantara Atrat: Jurnal Seni Rupa Indonesia Berdaya Jurnal Senirupa Warna (JSRW) Arty: Jurnal Seni Rupa Panggung Serat Rupa: Journal of Design
Nagara, Martien Roos
Institut Seni Budaya Indonesia Bandung
Religion Arts Humanities Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Medicine & Pharmacology Nursing Public Health Social Sciences Veterinary Other

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Representasi Karya Instalasi Nia Gautama “The Raped Love” Dalam Seni Rupa Kontemporer Ramadhani, Novia Dwi; Sujana, Anis; Nagara, Martien Roos
ATRAT: Jurnal Seni Rupa Vol 12 No 2 (2024): KREATIVITAS DAN INOVASI SENI VISUAL DALAM KARYA DESAIN
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v12i2.3796

Abstract

This study examines the installation artwork “The Raped Love” by Nia Gautama, which addresses issues of women, trauma, and recovery. With a background in contemporary art as a medium for conveying social messages, this research employs a qualitative method with Roland Barthes’ semiotic approach to analyze signs and symbols within the artwork. The research questions encompass how Nia Gautama represents women’s issues, the meanings of symbols and visual elements in this work, as well as the exploration of themes of female identity, courage, and resilience. The research aims to analyze the visual and narrative aspects of the artwork, understand the symbolism in the context of women’s representation and feminism, and explore themes of female identity, courage, and trauma recovery. The findings indicate that “The Raped Love” effectively utilizes symbolism to convey the complexity of women’s experiences and offers a new discourse on courage and recovery.
Analisis Proses Kreatif Komunitas Artnonymous Visual Dalam Penciptaan Karya Mural Di Cianjur Akhmad Baehaqi, Faiq; Cahyana, Agus; Nagara, Martien Roos; Falah, Asep Miftahul
Studi Budaya Nusantara Vol. 8 No. 2 (2024)
Publisher : Studi Budaya Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21776/ub.sbn.2024.008.02.04

Abstract

Murals, a form of artistic expression that emphasizes creativity in painting on large, expansive, and permanent media such as building walls, fences, streets, and other surfaces. Murals serve as the primary outlet for artists to convey their ideas using various types of paint such as spray paint, water-based paint, or oil paint. The aim of this research is to explore the factors underlying the creative ideas acquisition within the Artnonymous Visual community, referencing Graham Wallas' theory comprising stages of preparation, incubation, illumination, and verification. Additionally, the study aims to deeply understand the process of mural creation undertaken by the Artnonymous Visual community and to analyze the level of creativity in their mural works in Cianjur. The research methodology employed is qualitative descriptive, enabling researchers to describe, analyze, and depict phenomena and events occurring in the context of mural art creation. Murals created by the Artnonymous Visual community feature themes centered around animals and their lives, designed to allow local residents and pedestrians to interact directly with the artwork, fostering profound visual and social experiences in public spaces. This study is expected to significantly contribute to understanding the creative process in mural art and the importance of interaction between artwork and society. The findings aim to provide valuable insights for the development of local visual culture and to inspire mural art practitioners in various community settings.
Edukasi Tourism Branding Berbasis Kearifan Lokal di SMA N 1 Pangandaran, Kabupaten Pangandaran, Jawa Barat Swaradesy, Rufus Goang; Shafanissa, Winna; Nagara, Martien Roos; Fitra, Annisa
Indonesia Berdaya Vol 2, No 2: July 2021
Publisher : UKInstitute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47679/ib.2021106

Abstract

This research aims to help the community in the Pangandaran region solve problems to developing and promoting cultural tourism based on local wisdom as well as nature tourism. This place of community service is located at SMA N 1 Pangandaran as well as Batu Kalde site in Babakan village, Pangandaran District, Pangandaran Regency, West Java. The students involved are grade X and XI students. The problem in Pangandaran tourism is the focus on natural attractions in the form of beaches, whereas many cultural sites are found in Pangandaran such as batu kalde, Goa Jepang, Lingga Kencana, and others. This is compounded by most students do not yet know the existence of such cultural sites. The purpose of this community service is to help introduce cultural tourism in Pangandaran by providing some tourism branding solutions to facilitate tourism promotion. The cultural tourism promotion solution provided is to introduce several cultural sites, provide documenting materials in the form of photos and videos and provide editing training using gadgets owned to further create branding or tourism icons as a medium of promotion of cultural tourism in Pangandaran.  Abstrak: Penelitian ini bertujuan untuk memenuhi tugas dalam kegiatan pengabdian keapda masyarakat supaya membantu masyarakat di wilayah Pangandaran memecahkan masalah berkaitan kepariwisataan supaya di samping mengembangkan dan mempromosikan wisata alam, dikembangkan juga wisata budaya berdasarkan kearifan lokal. Tempat kegiatan pengabdian masyarakat ini berada di SMA N 1 Pangandaran serta situs kepurbakalan Batu Kalde di desa Babakan, Kecamatan Pangandaran, Kabupaten Pangandaran, Jawa Barat. Siswa yang dilibatkan adalah siswa kelas X dan XI. Permasalahan di pariwisata Pangandaran adalah terfokusnya pada objek wisata alam berupa pantai, padahal banyak situs budaya yang terdapat di Pangandaran seperti situs Batu kalde, Goa Jepang, Lingga Kencana, dan lain-lain. Hal ini diperparah dengan Sebagian besar siswa belum tau keberadaan situs budaya tersebut. Tujuan diadakan pengabdian masyarakat ini adalah membantu memperkenalkan wisata budaya di Pangandaran dengan memberikan beberapa solusi branding kepariwisataan untuk mempermudah dalam hal promosi wisata. Solusi promosi wisata budaya yang diberikan yaitu dengan mengenalkan beberapa wisata budaya, memberikan materi pendokumentasian baik berupa foto dan video serta memberikan pelatihan edit menggunakan gadget yang dimiliki untuk selanjutnya membuat branding atau ikon pariwisata sebagai media promosi pariwisata budaya di Pangandaran.
Transformasi Visual dan Makna Simbolik Motif Batik Parang Rusak dalam Konteks Budaya Modern Nan Quddus, Sang Padi; Cahyana, Agus; Falah, Asep Miftahul; Nagara, Martien Roos
Serat Rupa: Journal of Design Vol 9 No 2 (2025): JULI-2025
Publisher : Faculty of Humanities and Creative Industries, Maranatha Christian University (formerly Faculty of Fine Arts and Design)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.28932/srjd.v9i2.11994

Abstract

The Parang Rusak batik motif is one of Indonesia’s classical cultural heritages, originating from the Javanese royal courts and rich in philosophical values, such as strength, resilience, and the spirit of life’s struggle. Over time, this motif has undergone transformation not only in its visual form but also in its symbolic meaning, especially within the context of commercialization and adaptation in the modern creative industry. This study aims to analyze the transformation of both form and meaning in the Parang Rusak motif, with a particular focus on the works of Batik Hasan Bandung. Employing semiotic and historical approaches, this research explores how traditional motifs are creatively modified while preserving their philosophical essence. The findings reveal that Batik Hasan successfully sustains the symbolic meaning of the Parang Rusak motif through visual innovation that remains rooted in traditional principles. This transformation serves as an example of dynamic cultural adaptation, where the preservation of noble values can coexist with contemporary demands and creative evolution. This study contributes to strengthening public appreciation of batik as a living and evolving symbol of Indonesian cultural identity.
Seni Lingkungan (Environmental Art) dalam Seni Rupa Kontemporer Studi Kasus: Pameran Biennale Jakarta Tahun 2015 Ramli, Zaenudin; Roos Nagara, Martien
PANGGUNG Vol 35 No 3 (2025): Estetika, Identitas, dan Digitalisasi: Praktik Seni dan Budaya Nusantara dalam P
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v35i3.3609

Abstract

This study analyzes the representation of environmental art in the context of Indonesian contemporary art, using the Jakarta Biennale 2015 as its main case study. This research addresses the problem of how contemporary artworks in the exhibition reflect a critique of relevant ecological and social issues. The study employs a descriptive-interpretative analysis method of selected artworks, supported by data from the exhibition catalog and related literature. The findings indicate that the environmental artworks in the Jakarta Biennale 2015 not only function as aesthetic expressions but also serve as a powerful medium for social critique and public agitation. This finding contributes to the understanding of the role of contemporary art exhibitions as critical platforms for sustainability discourse in Indonesian art.
Metodelogi Turun Bawah Lembaga Keboedajaan Rakyat Untuk Produksi Karya.: Methodology Turun Bawah Lembaga Keboedajaan Rakjat To Produce Work. fauzi, mochamad; Agus, Cahayana; Asep Miftahul , Falah; Roos Nagara, Martien
Arty: Jurnal Seni Rupa Vol. 13 No. 2 (2024): Regular Issue
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/arty.v13i2.7463

Abstract

Metode berkesenian adalah suatu kegiatan yang diterapkan oleh seniman untuk menggapai sebuah visi tertentu dalam keseniannya metode sering kali menyatu dalam sebuah manifesto yang digagas seniman atau organisasi kelompok, di Indonesia sendiri memiliki satu manifesto yang teguh ber-irisan dengan sifat politis dan ideologis, pada tahun  1959 dalam kongres mengemukakan pernyataan penolakan terhadap slogan “seni untuk seni” hal tersebut dikemukakan oleh Njoto yang berkembang menjadi manifesto organisasi seni budaya yaitu Lembaga Keboedajaan Rakjat atau Lekra. Lekra memiliki manifesto atau panduan yang harus diteladani tiap seniman yaitu TURBA (Turun Bawah), tetapi dengan perkembangan negara Indonesia yang mengalami banyak peristiwa politik membuat TURBA luput untuk diterapkan oleh para seniman terutama setelah Indonesia mengalami peristiwa 1965 dan berimbas pada gaya kesenian Indonesia yang menghilangkan unsur politis dalam karyanya, hal tersebut juga mendapatkan otokritik terutama di era seni rupa kontemporer yang dirasa para seniman tidak mempunyai akar yang kuat dan landasan yang mendasar untuk mempresentasikan karyanya, lalu apakah metode berkarya TURBA akan selalu diperlukan pada tiap seniman, dalam tulisan ini akan mengulas bagaimana perkembangan TURBA dan korelasinya dengan dunia seni rupa sekarang.
MODEL PENGEMBANGAN TEKNIK DAN POLA ANYAM SEBAGAI STRUKTUR DASAR KARYA SENI RUPA EKSPRESI Rohandi, Teten; Nagara, Martien Roos; Noor Zaman, Farid Kurniawan
ATRAT: Jurnal Seni Rupa Vol 9 No 3 (2021): EKSPLORASI DAN IMPLEMENTASI POTENSI RUPA
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v9i3.1767

Abstract

Weaving patterns for craftsmen are molds for mass-producing products, while in fine art, patterns are used as the basic structure for the formation of a more expressive work. The focus of this research is the search for basic weaving techniques and patterns, whether based on tradition or the results of self-exploration which are used as the basic structure for the formation of works of art that are more subject to expression by exploring aesthetic values that are in the area of pure art science with the aim of developing fine arts. at the same time the art of traditional weaving, thus creating a novel pattern that has its own characteristics and increases the value of appreciation. Researchers used descriptive qualitative methods and went directly to the field in collecting data as material for analysis and interpretation. The results of the study were 5 pieces of artistic expression creation models based on weaving patterns commonly used by Tasikmalaya craftsmen. It is hoped that this research can be used as a reference as an alternative in creating fine arts that can be appreciated by a wide audience and provide inspiration as well as help preserve Indonesian traditional art. Keywords: exploration, weaving technique, weaving pattern, basic structure, artistic expression------------------------------------------------------------------------------------------Pola anyam bagi perajin adalah cetakan untuk memproduksi produk secara masal, sedangkan dalam fine art, pola dijadikan sebagai struktur dasar pembentukan karya yang lebih ekspresif. Fokus penelitian ini adalah pencarian teknik dan pola anyam dasar, baik yang berpijak dari tradisi atau hasil eksplorasi sendiri yang dijadikan struktur dasar pembentukan karya seni rupa yang lebih bersifat ekspresi subjek dengan penggalian nilai estetik yang berada di wilayah keilmuan seni rupa murni dengan tujuan mengembangkan seni rupa sekaligus seni anyam tradisi, sehingga menciptakan pola baru yang memiliki ciri khas serta peningkatan nilai apresiasi. Peneliti menggunakan metode kualitatif deskriptif dan terjun langsung ke lapangan. Hasil penelitian berupa 5 buah model kreasi seni ekspresi berdasarkan pola-pola anyam yang biasa digunakan oleh perajin Tasikmalaya. Diharapkan penelitian ini dapat menjadi acuan sebagai alternatif dalam berkarya seni rupa yang dapat diapresiasi oleh khalayak luas dan memberi inspirasi sekaligus ikut melestarikan seni rupa tradisi Indonesia. Kata kunci: eksplorasi, teknik anyam, pola anyam, struktur dasar, karya seni rupa ekspresi
ASPEK VISUAL PADA KESENIAN KUDA LUMPING WAHYU TURONGGO JATI SEBAGAI KESENIAN TRADISI MASYARAKAT KUWARU KEBUMEN Anjani, Anggita Ayu; Supriatna, Supriatna; Nagara, Martien Roos
ATRAT: Jurnal Seni Rupa Vol 10 No 2 (2022): ESTETIKA DALAM MAKNA, MEDIA, DAN TEKNIK VISUAL
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v10i2.2111

Abstract

Lumping horse art also called jaran braid or jathilan is a traditional dance from Java that features a group of soldiers riding horses. This dance uses horses made of bamboo or other materials woven and cut to resemble the shape of a horse, decorated with artificial hair from plastic rope or the like that is curled or braided. Through further search, there is a visual aspect that exists in this art. The visual aspect of the art of lumping horse Wahyu Turonggo Jati has a characteristic that is certainly different from other lumping horse arts, especially from visual ebeg (woven lumping horse) which has its own meaning and values. The research method used is a qualitative method with a semiotic descriptive approach through a direct interview of the leader of lumping horse art Wahyu Turonggo Jati, Kuwaru, Kebumen. It is hoped that the results of research from the visual aspects of lumping horse art can provide insight for researchers, art education, the community and readers can also attract interest in lumping horse art.Keywoard: Visual Aspect, Lumping Horse Art, Wahyu Turonggo Jati-------------------------------------------------------------------------------Kesenian kuda lumping disebut juga jaran kepang atau jathilan merupakan tarian tradisional dari Jawa yang menampilkan sekelompok prajurit tengah menunggang kuda. Tarian ini menggunakan kuda yang terbuat dari bambu atau bahan lainnya yang dianyam dan dipotong menyerupai bentuk kuda, dengan dihiasi rambut tiruan dari tali plastik atau sejenisnya yang digelung atau dikepang. Melalui penelusuran lebih lanjut, terdapat aspek visual pada kesenian ini. Aspek visual yang ada pada kesenian kuda lumping Wahyu Turonggo Jati memiliki ciri khas yang tentunya berbeda dari kesenian kuda lumping lainnya, terutama dari visual ebeg (anyaman kuda lumping) yang memiliki makna dan nilai-nilai tersendiri. Metode penelitian yang digunakan adalah metode kualitatif dengan pendekatan deskriptif semiotik melalui wawancara langsung terhadap pemimpin kesenian kuda lumping Wahyu Turonggo Jati, Kuwaru, Kebumen. Diharapkan hasil penelitian dari aspek visual pada kesenian kuda lumping dapat memberikan wawasan bagi peneliti, pendidikan seni, masyarakat dan pembaca juga dapat menarik minat terhadap kesenian kuda lumping.Kata Kunci: Aspek visual, Kesenian Kuda Lumping, Wahyu Turonggo Jati
STUDI TEKNIK DAN KARAKTERISTIK PADA LUKISAN EKSHIBISI ‘FROM ME, TO YOU’ SUANJAYA KENCUT Wicitra, Kirana Kusuma; Supriatna, Supriatna; Nagara, Martien Roos
ATRAT: Jurnal Seni Rupa Vol 10 No 2 (2022): ESTETIKA DALAM MAKNA, MEDIA, DAN TEKNIK VISUAL
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v10i2.2112

Abstract

This research is based on the writer’s curiosity about the results achieved in the painting processes. In this case, the main object of the author’s research is the works of Suanjaya Kencut in his exhibition entitled ‘From Me, To You’ at the end of 2021. Inspired by the Balinese traditional customs of Sajen, as well as his memory of Kencut’s childhood experience, which make the exhibition so interesting. After conducting an observation and documentation study, it was found that the works of Suanjaya Kencut did not clearly show the tradition of offerings. Apart from the fact that the subjects in the painting are flower dolls, and the colors are so contrasting, the ideas and gestures shown by the dolls raise social issues and the peace of others. Traditionally, Balinese people have always observed this symbiosis in their timeless ritual offerings as a small but meaningful movement, which recognizes all forms of life as something sacred, part of human daily life. Using a pointillist style in his work, each point symbolizes an element of the vast universe. Based on this background, this research also shows some of the painting techniques used by Suanjaya Kencut which are the characteristics of his works. In addition, the overall visual characteristics of the work, both from the aspect of visual composition and its basic meanings. Based on the observations that have been made, the painting technique, the use of contrasting colors and the choice of the subject of the painting—the button-eyed doll has become an icon in the name of Suanjaya Kencut itself. The author hopes that the existence of this journal will have a good impact on Indonesian art education, especially art friends who are currently in the process of searching for icons or characteristics in their artworks.Keywords: art technique, art characteristics, Suanjaya Kencut-------------------------------------------------------------------------------Penelitian ini didasari atas rasa keingintahuan penulis terhadap hasil yang dicapai pada prosesproses melukis. Yang dalam hal ini, objek utama dalam penelitian penulis merupakan karya-karya milik Suanjaya Kencut pada ekshibisinya yang berjudul ‘From Me, To You’ dipenghujung tahun 2021. Terinspirasi dari adat tradisi masyarakat Bali—Sajen, serta memorinya pada pengalaman masa kecil Kencut, yang membuat ekshibisi tersebut begitu menarik. Setelah melakukan studi observasi dan pendokumentasian, ditemukan fakta bahwa karya-karya milik Suanjaya Kencut sama sekali tidak memperlihatkan tradisi sajen secara gamblang. Selain karena subjek pada lukisan yang merupakan boneka-boneka bunga, serta pewarnaan yang begitu kontras, gagasan dan gestur yang ditunjukan oleh boneka tersebut yang mengangkat permasalahan sosial dan kedamaian sesama. Secara tradisional, orang Bali selalu memperhatikan simbiosis ini dalam ritual abadi mereka sesajen sebagai gerakan kecil tapi bermakna, yang mengakui semua bentuk kehidupan sebagai sesuatu yang suci, bagian dari keseharian manusia. Menggunakan gaya pointilis pada karyanya, yang setiap titik melambangkan unsur alam semesta yang luas. Dengan dasar latar belakang tersebut pula penelitian ini menujukkan pada beberapa teknik lukis yang digunakan Suanjaya Kencut yang menjadi kekhasan karya-karyanya. Selain itu, karakteristik yang dihasilkan secara keseluruhan visual karya tersebut, baik dari aspek komposisi visual maupun makna-makna dasarnya. Berdasarkan hasil observasi yang telah dilakukan pula, teknik melukis, penggunaan warna kontras serta pemilihan subjek lukisannya—boneka bermata kancing tersebut menjadi sebuah icon atas nama Suanjaya Kencut itu tersendiri. Besar harapan penulis dalam terdapatnya jurnal ini membawa dampak baik bagi pendidikan seni rupa Indonesia, terutama para kawan-kawan seni yang pada saat ini sedang dalam masa pencarian icon ataupun ciri khas pada karya seninya.Kata Kunci: teknik seni, karakteristik seni, Suanjaya Kencut
SENI LUKIS KONTEMPORER KARYA ANDIE ARADHEA DALAM PENDEKATAN KRITIK SENI Damayanti, Anandhita Alvina; Nagara, Martien Roos
ATRAT: Jurnal Seni Rupa Vol 10 No 2 (2022): ESTETIKA DALAM MAKNA, MEDIA, DAN TEKNIK VISUAL
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v10i2.2224

Abstract

“Contemporary Painting by Andie Aradhea”. This issue focuses on the background of Andie Aradhea contemporary painting, why Andie Aradhea is decorative and contemporary, and the aesthetic forms of contemporary painting by Andie Aradhea. The purpose of this research is to understand and explain the background of contemporary paintings by Andie Aradhea, to understand and to explain and analyze the aesthetics of contemporary paintings by Andie Aradhea. The method of this research uses qualitative methods. Research location at Painting Studio & Creative Art Wening 459 Cimahi, West Java. Data is obtained through observation, interviews and documentation. Data analysis uses the interaction of analysis with Dharsono Soni Kartika’s art criticism approach, to find out the anesthetics using Monroe Beardsley’s aesthetic theory. The results of the research show the concern of the adventure of an artist to the people.Keywords: Background, Contemporary, Decorative, Aesthetics.----------------------------------------------------------------------------------Seni lukis kontemporer karya Andie Aradhea ini memfokuskan permasalahan pada bagaimana latar belakang seni lukis kontemporer, mengapa seni lukis Andie Aradhea bergaya dekoratif dan kontemporer, bagaimana bentuk estetik seni lukis kontemporer karya Andie Aradhea. Tujuan penelitian ini untuk memahami dan menjelaskan latar belakang seni lukis kontemporer, memahami dan menjelaskan serta menganalisis estetika seni lukis kontemporer Andie Aradhea. Metode atau langkah-langkah penelitian ini menggunakan pendekatan kualitatif. Lokasi penelitian di Studio Lukis & Ruang Seni Cipta Wening 459 Cimahi, Jawa Barat. Data yang diperoleh melalui observasi, wawancara dan dokumentasi. Analisis data menggunakan dan interpretasi analisis dengan pendekatan kritik seni Dharsono Sony Kartika, untuk mengetahui makna estetiknya menggunakan teori estetika Monroe Beardsley. Hasil penelitian menunjukkan kepedulian rasa cinta perjalananseorang seniman.Kata Kunci: Latar belakang, Kontemporer, Dekoratif, Estetika.
Co-Authors Agus Cahyana Agus, Cahayana Aji, Widianto Satrio Akhmad Baehaqi, Faiq Anandhita Alvina Damayanti Anggita Ayu Anjani Anis Sujana Anjani, Anggita Ayu Asep Miftahul Falah Damayanti, Anandhita Alvina Dudi Muhammad, Rizziq Ramadhan Fauzi, Mochamad Fitra, Annisa Gabriel Aries Setiadi Gabriel Aries Setiadi, Gabriel Aries Hadianto Hadianto Hadianto, Hadianto Islami, Natsira Isnaini Putri Kirana Kusuma Wicitra Kurniawan, Dede Ananta Malena Wati Putri Matin, Sella Sabrina Muhamad Rafli Ramdan Nan Quddus, Sang Padi Natsira Isnaini Putri Islami Nisa Restu Rahayu Perangin-Angin, Dede Ananta K Putri, Malena Wati Rahayu, Nisa Restu Ramadhani, Novia Dwi Ramdan, Muhamad Rafli Ramli, Zaenudin Rufus Goang Swaradesy Sella Sabrina Matin Shafanissa, Winna Sri Mulyati, Evi Supriatna Supriatna Teten Rohandi Wicitra, Kirana Kusuma Widianto Satrio Aji