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All Journal Gorga : Jurnal Seni Rupa Jurnal Sains dan Seni ITS Techno.Com: Jurnal Teknologi Informasi Rekam : Jurnal, Fotografi, Televisi Animasi Harmonia: Journal of Research and Education Visual Communication Design Journal of Urban Society´s Arts Jurnal Sosioteknologi Journal of Visual Art and Design ANDHARUPA Prosiding 2nd Seminar Nasional IPTEK Terapan (SENIT) 2017 MUDRA Jurnal Seni Budaya Jurnal Bahasa Rupa Panggung Halaqa : Islamic Education Journal Patanjala : Jurnal Penelitian Sejarah dan Budaya Capture : Jurnal Seni Media Rekam Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Ultimart: Jurnal Komunikasi Visual Humaniora Demandia : Jurnal Desain Komunikasi Visual, Manajemen Desain, dan Periklanan PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Jurnal SASAK : Desain Visual dan Komunikasi Atrat: Jurnal Seni Rupa Jurnal Titik Imaji Jurnal Minfo Polgan (JMP) Wimba: Jurnal Komunikasi Visual Jurnal Desain Komunikasi Visual Nirmana Journal of Language, Literature, and Arts (JoLLA) Jurnal Ekonomi Kreatif dan Manajemen Bisnis Digital (JEKOMBITAL) VCode Advances In Social Humanities Research Panggung Jurnal Bahasa Rupa JGGAG (Journal of Games, Game Art, and Gamification) Serat Rupa: Journal of Design Majalah Ilmiah Bahasa dan Sastra Jurnal Bahasa Rupa
Hafiz Aziz Ahmad
Visual Communication And Multimedia Research Group, Faculty Of Art And Design, Bandung Institute Of Technology, Indonesia
Religion Arts Humanities Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Social Sciences Other

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PERSEPSI AUDIENS TERHADAP PENERAPAN CIRI GERAK PADA IKLAN CETAK Agustina Kusuma Dewi; Hafiz Aziz Ahmad; Achmad Syarief
Desain Komunikasi Visual, Manajemen Desain dan Periklanan (Demandia) Vol 02, No 02 (September 2017) demandia - Jurnal Desain Komunikasi Visual, Manajemen Desain dan Peri
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/demandia.v2i02.931

Abstract

Iklan merupakan salah satu bauran promosi yang hingga saat ini masih memiliki potensi sebagai sumber informasi bagi konsumen. Seringkali desain iklan yang dibuat dengan beragam teknik visualisasi memiliki pesan komunikasinya sendiri, namun memunculkan keberbedaan dalam persepsi audiens. Dengan tidak mengabaikan keunggulan yang dimiliki oleh iklan audio-visual, iklan cetak dengan karakteristiknya tetap menjadi pilihan untuk menginformasikan pesan terkait produk dan/atau jasa. Ciri Gerak merupakan salah satu pendekatan cara gambar dalam iklan yang selaras dengan perkembangan era kinetik (gerak) saat ini. Meski demikian, sedikitnya penelitian yang pernah dilakukan terkait ciri gerak sebagai paparan stimuli visual dalam iklan cetak memicu pada penelitian yang lebih jauh tentang persepsi konsumen terhadap penerapan sebuah cara gambar sebagai strategi penyajian grafis dalam iklan; sehingga penelitian dengan menggunakan metoda sequential mix-method dan instrumen berbasis computer and web based q’s ini penting dilakukan untuk dapat mengidentifikasi persepsi konsumen pada iklan cetak khususnya dengan penerapan ciri gerak, terutama saat pendekatan ciri gerak diterapkan dalam bidang yang diam; dan lebih jauhnya bagaimana kaitan persepsi tersebut pada kemunculan kognisi dan afeksi audiens. Selain untuk mengetahui persepsi konsumen, penelitian ini bertujuan untuk mengidentifikasi faktor-faktor apa saja yang merupakan visual vocabulary yang secara efektif dapat menarik perhatian audiens. Temuan penelitian ini diharapkan menghasilkan penjelasan logis atas persepsi audiens yang dihadirkan dari stimuli visual yang menerapkan ciri gerak pada iklan cetak sebagai referensi tambahan bagi ilmu pengetahuan Desain Komunikasi Visual, khususnya bagi mereka yang tertarik pada implementasi gambar dalam memperkuat efisiensi penggunaan bahasa kata sebagai strategi komunikasi visual yang dapat meningkatkan kognisi serta afeksi positif audiens.
FAKTOR CUTENESS DALAM FENOMENA KETERTARIKAN BONEKA BERUANG DI INDONESIA (STUDI KASUS DI KOTA BANDUNG) Sistha Ayu Pribadi; Hafiz Aziz Ahmad; Iman Sudjudi
ATRAT: Jurnal Seni Rupa Vol 3, No 3 (2015): DIALEKTIKA RUPA DALAM KEBUDAYAAN KONTEMPORER
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v3i3.371

Abstract

Stuffed bear hasbecome popular culture in Indonesia and this is confusing. Stuffed bear character is inspired by the big and wild American Black Bear that was usually a hunted animal in the United States. Bear is not a familiar animal for Indonesian people, and can only be seen in zoo. This phenomenon motivated researchersto find cuteness factors of stuffed bear that became visual appeal to consumers.Prior to the main research, author did preliminary research by collecting selling records from stores and data from questioners given to stuffed bear collectors to show that stuffed bears have been popular and become a phenomenon in Indonesia. Cuteness factors identified by feature of baby schema of stuffed bear.This research showed that consumers’ interest to stuffed bear is driven by visual display such as the big size for comfort hug, cute shape like baby and brown color tone that is warm and strong. Keywords: Bear Stuffed, Cuteness, Baby Schema___________________________________________________________________Boneka beruang telah menjadi budaya populer yang cukup membingungkan ketika kita menelusuri mengapa boneka ini dapat menjadi fenomena di Indonesia. Berdasarkan asal-usulnya, karakter beruang inspirasi boneka ini berasal dari jenis beruang hitam Amerika yang buas dan besar.Beruang bukan hewan yang akrab bagi masyarakat Indonesia dan hanya bisa dilihat di kebun binatang. Fenomena ini yang mendorong penulis melakukan penelitian untuk menemukan faktor-faktor cutenessapa saja yang menjadi daya tarik konsumen terhadap boneka beruang. Sebelum penelitian utama, dilakukan penelitian pendahuluan dengan mengumpulkan data penjualan dan kuesioner kepemilikan boneka beruang kepada responden untuk menunjukkan bahwa boneka beruang populer dan menjadi fenomena di Indonesia. Identifikasi faktor-faktor yang menjadi daya tarik boneka beruang secara visual, dilakukan analisis terhadap faktor cuteness melalui pendekatan fitur skema bayi terhadap boneka beruang. Dari penelitian ini didapatkan hasil bahwa tampilan visual yang mempengaruhi ketertarikan konsumen pada boneka beruang adalah ukuran besar karena nyaman dipeluk, bentuk yang lucu seperti bayi, dan tone warna coklat yang hangat dan kuat.Kata Kunci: Boneka Beruang, Cuteness, Skema Bayi
MUSIK, MEDIA, DAN KARYA : PERKEMBANGAN INFRASTRUKTUR MUSIK BAWAH TANAH (UNDERGROUND) DI BANDUNG (1967-1990) Teguh Vicky Andrew; Riama Maslan Sihombing; Hafiz Aziz Ahmad
Patanjala: Journal of Historical and Cultural Research Vol 9, No 2 (2017): PATANJALA VOL. 9 NO. 2, JUNE 2017
Publisher : Balai Pelestarian Nilai Budaya Jawa Barat

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (902.722 KB) | DOI: 10.30959/patanjala.v9i2.18

Abstract

AbstrakTren musik populer dari tahun ke tahun semakin mengguntungkan aliran musik bawah tanah (underground). Infrastruktur musik yang mandiri dan fleksibel, baik dalam tataran produksi, distribusi, dan konsumsi, menjadi kunci sukses aliran musik bawah tanah. Hal ini berlaku pula di Bandung. Namun pencapaian musik bawah tanah saat ini sebenarnya telah dirintis sejak 1970. Oleh karena itu, penelitian ini mencoba menelaah rintisan infrastruktur musik bawah tanah yang memiliki kontribusi bagi generasi sekarang. Untuk itu, penelitian ini dilakukan dengan menggunakan metode sejarah dengan pisau analisis skena musik dan musik bawah tanah. Berdasarkan telaah yang dilakukan, infrastrukstur musik yang dibangun pada periode 1967-1990 tidak saja terkait dengan aliran dan grup musik belaka, tetapi juga beragam media (cetak dan radio) dan album independen. Infrastruktur ini kemudian dijadikan model dan dikembangkan dalam sistem yang lebih kompleks sesuai dengan tren musik bawah tanah di Bandung.Kata kunci: skena, musik, bawah tanah, infrastruktur AbstractPopular music trend from year to year more prospering for underground music. Independent and flexibel musical infrastructure, in term of production, distribution, and consumption, becomes key success for underground music. This also applies in Bandung. However, the current achievement of underground music acctually was began since 1970. Therefore, this research tries to analyze infrastructure formation in underground music that has contributed for the current generation. For that reason, this research was conducted by using historical method with music scene and underground music concept. Based on the analysis, the musical infrastructure that built in 1967-1990, not only related to the genre and music grup, but also various media (print and radio) and independent album. The infrastructure subsequently became raw model and developed in more complex system in accordance with the underground music trend in Bandung.Keywords : scene, music, underground, infrastructure
Perancangan Konsep Adaptasi Permainan Tradisional Bas-Basan Sepur dalam Permainan Digital "Amukti Palapa" Khamadi Khamadi; Riama M. Sihombing; Hafiz Aziz Ahmad
Wimba : Jurnal Komunikasi Visual Vol. 5 No. 2 (2013)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1153.733 KB) | DOI: 10.5614/jkvw.2013.5.2.1

Abstract

Bas-basan Sepur is a traditional board game, commonly played by teenagers that challenge the strategy skills of two players. Like the other traditional games, the existence of bas-basan Sepur is forgotten due to disconnection of cultural inheritance from parents to their children and also the loss of children’s playground and play time. Children nowadays are more interested in modern digital games such as video games and mobile games. Accordingly, the effort to reintroduce bas-basan Sepur into a digital game design is quite effective to attract children. The game design includes the process of data collecting, data analyzing, and game designing. With ATUMICS methode (Artefact, Technology, Utility, Material, Icon, Concept, Shape), data on bas-basan Sepur were analyzed to obtain the components of traditional culture, which can be transformed into a digital game. In the process of designing digital games, bas-basan Sepur will be combined with historical narrative, Amukti Palapa - the events of Nusantara unification under the influence of the Majapahit kingdom - to provide the motivation of playing which is more attractive to players. Data on Amukti Palapa were analyzed based on chronological events, places, and characters as the basic level design and visualization of the characters and the game environment assets. As a result, an adventure-board digital game of bas-basan Sepur that brought the chronological story of Amukti Palapa.
Silent Scenes in Manga as the Powerful and Universal Visual Languages Hafiz Aziz Ahmad
Wimba : Jurnal Komunikasi Visual Vol. 4 No. 1 (2012)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1711.356 KB) | DOI: 10.5614/jkvw.2012.4.1.2

Abstract

Comics as the popular medium of communication, especially medium for the children due to its capabilities in telling stories with its visual narrative has been known for quite long. Manga as the form of comic medium that came from Japan is also well known for its uniqueness. Due to the strong relation within the Japan cultural background, manga has integrated its own distinctive way in telling the stories, visually. One of the methods is known as the silent sequences. The silent sequences term is used to mention the scene in comics that told using minimal sequence and with very little -if any- text or narration. Some even used several of unconnected scenes to create a specific mood or a sense of place. Such scenes could be found in abundance in various manga works, notably in the works of Osamu Tezuka or Mitsuru Adachi. Scott McCloud "“a comic scholar- relates these sequences as the solid example of moment-to-moment and aspect-to-aspect type of panel transition. By using mostly visual images with less text and narration as the way of telling stories and creating the exact mood for the scenes, the silent sequences could serve as a good example of the universality and power of comic language. This paper is intended to take further analysis behind the context of the silent sequences and the possibilities in using it as a more universal way in visual communication as part of the power in children's literature.
Manga: Invisible Cultural 'Imperialism' Through Popular Medium Hafiz Aziz Ahmad; Alvanov Zpalanzani Mansoor
Wimba : Jurnal Komunikasi Visual Vol. 1 No. 1 (2009)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2057.99 KB) | DOI: 10.5614/jkvw.2009.1.1.4

Abstract

The medium of comics is mostly known as popular culture medium, kids’ stuff with their spandex superheroes, often sneered and looked down. However, through its long history, comics had proven to be contagious and influential medium toward the society, but unfortunately in the negative side. In United States of America (USA), the anti-comics movement led by Dr. Frederick Wertham accused that comics had bad and dangerous influence towards its young readers. This movement had brought comic in becoming public enemy number one in the past. Although people seem to see only the negative impact of this medium, on the contrary there is also the positive side. The power within comic is enormous, but unlike the tsunamilike power that could devastate anything on its path, comic’s power is unlikely otherwise: powerful yet penetrate in silent even to other culture and society as shown through the expansive ‘export’ of Japanese comics, known as manga. Manga nowadays is known in most part of the world, especially in the South East Asia region. Imported as entertainment medium, manga influence could easily be seen in these countries, especially in Indonesia. Not only it proved to be booming in sales in these ‘foreign’ countries, manga also succeeded in penetrating to their culture, by creating devoted readers turn artists with manga-esque style and storytelling. The majority of young people in Indonesia now draw in this popular manga-esque style, following their favorite manga artists. Furthermore, it also changed how these people ways of reading: from left to right becoming right to left, creating the pretty boys genre in another medium and in the society itself. Unlike other popular culture medium (such as television) that its influence is clearly shown and catch the attention of people who rise against it, comic had proved otherwise. This paper is intended to observe how this phenomenon happened through qualitative analysis of comic culture (especially manga), the content within manga and its powerful and cultural influence with a case study of Indonesia.
Ragnarok Online, Reality of Virtual Phenomenon Alvanov Zpalanzani Mansoor; Hafiz Aziz Ahmad
Wimba : Jurnal Komunikasi Visual Vol. 1 No. 1 (2009)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1122.409 KB) | DOI: 10.5614/jkvw.2009.1.1.5

Abstract

Originated from South Korea, Ragnarok Online is an entertainment product in comics and games which is popular in the world especially South-East Asia. Ragnarok in Nordic Mythology described as the doom of the gods. In the case above, Ragnarok is used as a background setting of a comic, which created, by Lee Myung Jin and Ragnarok MMORPG based on that comic. Internet is described as a many-to-many medium. Games turn out to be one of the first popular settles in the Internet among e-commerce, portals, free advertisers, and sexual exploitation sites. Online Game becomes a new frontier that could connect people to interact and play similar game on the same time and Massive Multiplayer Online Role Playing Game of Ragnarok is one of the best and successful Online Game worldwide. It is one of the phenomena in online gaming today. Recently, official Ragnarok Online Characters (NPC, Monsters and Players Characters) have developed in quantity approximately 200 and still have possibility to increase. In international Ragnarok Online provider, more than 120,000 customers connected in 12 servers on real time basis at the same time everyday and this exclude local Ragnarok Server provided by several countries with similar number of player.Ragnarok Online is a virtual representation of reality, it creates and represents visual social semiotics, which became very important element of communication in recent years. As one of visual product in modern culture, the distance between reality and virtual realm become closer and sometimes it blurred and formed new realm. A new dawn of community born in virtual realm and develop in some way that many though it would consume the community it represented. Is it possible that the characters and environmental design, which is built, really has the enormous attraction? Or is there something else work behind the surface such as the representation and online culture. Although there are many contradictions about the impacts of Ragnarok Online, this paper is endeavors a new insight of Ragnarok Online, which may have not being researched by others. The combination of online culture and virtual media design with interactive and inviting visual interface may open wide the possibilty of encountering new methods and keys of success in designing digital media through descriptive analysis.
WEB SERIES ANIMASI NUSSA SEBAGAI MEDIA PENDIDIKAN ISLAMI PADA ANAK Fathin Hanifah Langga; Hafiz Aziz Ahmad; Alvanov Zpalanzani Mansoor
Wimba : Jurnal Komunikasi Visual Vol. 10 No. 1 (2019)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (422.573 KB) | DOI: 10.5614/jkvw.2019.10.1.5

Abstract

For moslems, Islamic education becomes a guide in life. The main purpose of Islamic education is to build moslems personalities so that human beings are moral or noble. Animation web series is a choice as well as a medium for information and community education in Indonesia. There is Nussa animation web series that takes up stories about the teachings of Islam. The purpose of this study is to determine the quality of Nussa's animation as a medium of Islamic education that is in accordance with the function of the film, the criteria for educational media based on national education goals and interpretation of the Qur'an, efforts to build the potential for religious awareness in children, and benefits as educational media. This study used descriptive qualitative method. The results of this study prove that Nussa animation has been able to meet the criteria as a medium of Islamic education in accordance with the function of the film, the criteria for educational media based on national education goals, the interpretation of the Qur'an, and its benefit. The ease of access and material on Nussa's animation as a web series is uploaded consistently every week, continuously and gradually, so that the loyal animation fans of Nussa are not stopped to get a message about Islamic education. This makes Nussa animation a very popular animation, often this animation is trending and viral in various social media. However, there are still efforts in facilitating children's development in building the potential for religious awareness that has not been fulfilled.Keywords: film, web series, animation, cinematography, Islamic education, children education medium
Kezia Clarissa Langi STUDI LAPANGAN: TRADISI BAJU PERANG NIAS MASA KINI DI KOTA GUNUNGSITOLI DAN DESA BAWOMATALUO Kezia Clarissa Langi; Setiawan Sabana; Hafiz Aziz Ahmad
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 2 (2019): Seni, Teknologi, dan Masyarakat #4
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v2i0.95

Abstract

For centuries the title ‘warrior’ is embedded in Nias society. As a warrior, the person, their duty, and its costumecannot be separated. To become the protector of a village, a series of task are needed. Therefore, being awarrior is a prestigious status. Today, Nias and its war costume are on the edge of modernity. The thin linebetween tradition and attraction is created due to globalization and its tourism purpose. To understand theimportance of the tradition of Nias war costume, it is crucial to analyze the history through literature and theimpact of globalization in Nias today. The result of this research could adapt into creating future Nias warcostume that is suitable for the Ono Niha (term for the people of Nias). To fully understand about the conditionof this tradition, field research is needed. This research aims to obtain data from Gunungsitoli city andBawomataluo village regarding the tradition of Nias war costume. The results of this research are the untoldstory of Nias and the needs of the society regarding Nias tradition in the future.
The Sundanese Comic Ririwa Nu Mawa Pati - An Intertext of Sundanese - Islam Cosmology Kankan Kasmana; Setiawan Sabana; Iwan Gunawan; Hafiz Aziz Ahmad
Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i3.520

Abstract

Ririwa nu Mawa Pati, the Sundanese strip comic with horror genre, published by “Mangle”, a Sundanese cultural magazine in West Java, 1922. The comic consist of material about belief in the supernatural being in the Sundanese society at that time. This research attempts to find expressions of Sundanese human death journey conception derived from oral literature of selected informants in the comics as an intertext in an effort to understand and interpret the comics in depth. This is a qualitative research, intertextual analysis is used to find representations of cultural texts embodied in selected comic elements. The results of the analysis reveal the existence of oral literature absorption (hypogram) in the form of core and development in the comic as transition work, present explicitly through storyline, comic element in the form of dialogue in word balloons, description panel, and visual scene of the characters. Comics become a representation of the view of the comic artist about the world around the visible (or tangible) and invisible (or intangible).Ririwa nu Mawa Pati, komik strip Sunda bergenre horor diterbitkan oleh majalah sastra dan budaya Sunda Mangle di Jawa Barat tahun 1992. Komik ini sarat materi mengenai kepercayaan akan mahluk halus di masyarakat Sunda saat itu. Penelitian berupaya menemukan ungkapan konsep fase perjalanan kematian manusia Sunda yang berasal dari sastra lisan informan terpilih yang ada dalam komik sebagai sebuah interteks sebagai upaya agar dapat memahami dan memaknai komik secara mendalam. Penelitian bersifat kualitatif, analisis intertekstual digunakan untuk menemukan representasi teks budaya yang mewujud dalam unsur komik terpilih. Hasil analisis mengungkapkan adanya serapan satra lisan (hypogram) baik berupa inti maupun pengembangan dalam komik ini sebagai karya transisi, hadir secara tersurat melalui alur cerita, unsur teraga komik berupa dialog balon kata, panel keterangan, serta visual adegan para tokohnya. Komik menjadi representasi kosmologi Sunda dan pandangan komikus mengenai dunia sekitarnya baik yang kasat mata maupun yang tak terlihat. Kosmologi Sunda tidak hanya dipandang sebagai pemisahan dunia, namun difahami pula sebagai fase perjalanan kehidupan dan kematian manusia Sunda. 
Co-Authors Acep Iwan Saidi Achmad Syarief Adhitama, Gregorius Prasetyo Agustin, Senja Aprela Agustina Kusuma Dewi Ahmad Ramdhani Aldian, Aisha Azalia Alvanov Z. Mansoor Alvanov Zpalanzani Alvanov Zpalanzani Alvanov Zpalanzani Mansoor Anastasia Anette Djauhari Bagus Handoko Biosa, Sito Fossy Cintya Dwi Hastuti Cintya, Hedi Amelia Bella Dana Waskita Deny Willy Dhara Alim Cendekia Dian Widiawati Dianing Ratri Dibda, Angga Dwinita Larasati Dyah Gayatri Puspitasari, Dyah Gayatri Dzuha Hening Yanuarsari Fadhila Zahra Humaira Faradilla, Nada Fathin Hanifah Langga Fiona Priscilla Tambunan, Fiona Priscilla Grahita, Banung Hermanudin, Danika I Gusti Agung Rangga Lawe Iman Sudjudi Imaniar Rizki Waridha Iqbal Baihaqi Irfansyah Irfansyah Irfansyah Irfansyah Irma Damajanti Irma Damajanti Iwan Gunawan Iwan Gunawan Iwan Gunawan Kahfiati Kahdar Kankan Kasmana Kankan Kasmana Kankan Kasmana Kezia Clarissa Langi Khamadi Khamadi Khamadi Kiki Rizky Soetisna Putri, Kiki Rizky Langga, Fathin Hanifah latifah safarina latifah safarina Lidya Permata Sari Mansoor, Alvanov Z. Mansoor, Alvanov Z. Mazaya Muftiya Al Farabi Mohamad Dzikri Alhamdi Munggarsari, Annisa Amalia Myung-Gong Park Nuning Yanti Damayanti Puspitasari, Dyah Gayatri Ratri, Dianing Riama M. Sihombing Riama Maslan Riama Maslan Sihombing Riana Cyndar Bumi Toar Riyo Ramadhan Rizki Taufik Rakhman Ruly Darmawan Sabana, Setiawan Saffanah Azka Adie Senja Aprela Agustin Setiadipura, Kayla Seraphine Setiawan Sabana Setiawan Sabana Setiawan Sabana Setiawan Sabana Setiawan Sabana Setiawan Sabana Sistha Ayu Pribadi Sitompul, Surya Habibi Sundah, Johanna Ratuwani Teguh Vicky Andrew Tisna Sanjaya Tri Sulistyaningtyas Vincentia Valentine Pascadian Wibowo, Yosephien Reynalda Prananda Wikayanto, Andrian Yahya Mumtazuddin Yan Yan Sunarya Yasraf Amir Piliang Yusuf, Vanessa Zulkifli, Ahmad