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All Journal Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Gorga : Jurnal Seni Rupa Jurnal Obsesi: Jurnal Pendidikan Anak Usia Dini Gondang: Jurnal Seni dan Budaya IRJE (Indonesian Research Journal in Education) JURNAL PENDIDIKAN TAMBUSAI International Journal of Educational Dynamics (IJEDS) Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni International Conference on Languages and Arts Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Tonika: Jurnal Penelitian dan Pengkajian Seni Science and Environmental Journals for Postgraduate Ranah Seni: Jurnal Seni dan Desain Jurnal Manajemen Pendidikan dan Ilmu Sosial (JMPIS) Melayu Arts and Performance Journal YASIN: Jurnal Pendidikan dan Sosial Budaya Electronic Journal of Education, Social Economics and Technology Ranah Research : Journal of Multidisciplinary Research and Development Jurnal Kajian dan Penelitian Umum Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Atmosfer: Jurnal Pendidikan, Bahasa, Sastra, Seni, Budaya, Dan Sosial Humaniora Bersatu: Jurnal Pendidikan Bhinneka Tunggal Ika Semantik : Jurnal Riset Ilmu Pendidikan, Bahasa dan Budaya JURNAL ILMIAH PENDIDIKAN MUSIK Dharma Acariya Nusantara: Jurnal Pendidikan, Bahasa dan Budaya Filosofi: Publikasi Ilmu Komunikasi, Desain, Seni Budaya Misterius: Publikasi Ilmu Seni dan Desain Komunikasi Visual Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain
Syeilendra Syeilendra
Universitas Negeri Padang
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Educational Values on Dendang Saluang Pauah in the Life of the Kuranji Community, Padang City Caecilia Trisani Lumbantoruan; Syeilendra Syeilendra
Tonika: Jurnal Penelitian dan Pengkajian Seni Vol 5 No 1 (2022): Volume 5 Nomor 1 Tahun 2022
Publisher : Sekolah Tinggi Theologia Abdiel

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37368/tonika.v5i1.355

Abstract

This study aimed to describe and analyze the educational values ​​contained in the poems and stories of Kaba and the community’s understanding of the aesthetics of Dendang Pauah in the Kuranji District. The presentation of the story of Kaba was a story about the life of community behavior that contained an educational value, also to find out the relationship of the story of Kaba in the performance of Dendang Pauah. The type of research was qualitative research with a descriptive analysis approach. The informants of this study are pemain saluang (flautist), tukang dendang (thugs) and the audience ( old and young age) and other community leaders. The data collection techniques were literature study, observation, interviews and documentation. Ensuring the validity of the data obtained, the data was carefully examined and analyzed using data reduction, presentation, and conclusion. The results of this research showed that the story of Kaba can be proven that the Kuranji guided by the expression of Kaba to live a wise life in the attitude to act, prioritize cooperation with neighbors, gotong royong (mutual assistance) by emphasizing the value of beauty/ aesthetics contained in the presentation of Dendang Saluang Pauah. The tukang Kaba tells the story resounding in the rhythm of a pakok limo song Tanjuang Karang and pakok anam with the pado-pado song then closed with lambok malam rhythm with malereang.
Bentuk Penyajian Kesenian Ronggiang di Jorong Rantau Panjang Kecamatan Sasak Ranah Pasisia Yulia Mairoza; Syeilendra Syeilendra
SENDRATASIK UNP Vol 11, No 4 (2022)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v11i4.114348

Abstract

Ronggiang is a traditional performing art found in the Sasak Ranah Pasisia community, West Pasaman Regency. The theoretical basis for the form of presentation from Djelantik. This type of qualitative research with descriptive analysis approach. Data collection techniques through observation, interviews, literature study and documentation. Data analysis is to classify primary and secondary data then arranged systematically and concluded. The results of the study are to describe the supporting elements of the Ronggiang performance such as: artists, musical instruments, songs, costumes/makeup, venues and audiences. So the form of presenting Ronggiang at a wedding ceremony is in the form of a performing arts of music, song, and dance as well as other elements in a single unit in traditional performances in the Sasak Ranah Pasisia community.
The Role of the Saidina Ali Institute in Performances of Dzikir Bermadah on Lengkang Island, Belakang Padang Sub-district Sofia Madonna; Ardipal Ardipal; Syeilendra Syeilendra
Science and Environmental Journal for Postgraduate Vol 5 No 1 (2022): Science and Environmental Journals for Postgraduate (SENJOp)
Publisher : Pascasarjana, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/senjop.v5i1.178

Abstract

Belakang Padang is one of the sub-districts in Batam City which is famous for having various types of art that are different from other regions and are a hallmark of the region. One of the traditional arts originating from Belakang Padang Sub-district and very famous for its uniqueness, skill, skill and second to none is Dzikir Bermadah from Lengkang Island. Dzikir Bermadah art is a Malay performing art that is highly developed at this time and has become the pride of the community, especially in Belakang Padang Sub-district as a medium for conveying aspirations through poetry that will be conveyed in this Dzikir Bermadah performance. As an island directly facing Singapore, this art is expected to be an asset that can attract tourists to always come to the islands in the Belakang Padang Sub-district. In preserving and developing the Dzikir Bermadah art, an institution that plays an important role is needed, namely the Saidina Ali Institute. The Saidina Ali Institute as a cultural institution has the role of managing local cultural diversity, preserving Malay culture in society as a legacy left behind, and passing on and developing Malay culture from generation to generation. In addition, the Saidina Ali institution also plays a role in the development of existing culture, both for development and as a regional asset in Belakang Padang Sub-district.
The Role of the Saidina Ali Institute in Staging the Dzikir Bermadah Education on Lengkang Island, Belakang Padang Sub-district Sofia Madonna; Ardipal Ardipal; Syeilendra Syeilendra
International Journal of Educational Dynamics Vol 4 No 2 (2022): International Journal of Educational Dynamics (IJEDs)
Publisher : Postgraduate School, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ijeds.v4i2.392

Abstract

Belakang Padang is one of the sub-districts in Batam City which is famous for having various types of art that are different from other regions and are a hallmark of the region. One of the traditional arts originating from Belakang Padang Sub-district and very famous for its uniqueness, skill, skill and second to none is Dzikir Bermadah from Lengkang Island. Dzikir Bermadah art is a Malay performing art that is highly developed at this time and has become the pride of the community, especially in Belakang Padang Sub-district as a medium for conveying aspirations through poetry that will be conveyed in this Dzikir Bermadah performance. As an island directly facing Singapore, this art is expected to be an asset that can attract tourists to always come to the islands in the Belakang Padang Sub-district. In preserving and developing the Dzikir Bermadah art, an institution that plays an important role is needed, namely the Saidina Ali Institute. The Saidina Ali Institute as a cultural institution has the role of managing local cultural diversity, preserving Malay culture in society as a legacy left behind, and passing on and developing Malay culture from generation to generation. In addition, the Saidina Ali institution also plays a role in the development of existing culture, both for development and as a regional asset in Belakang Padang Sub-district.
Talempong Kayu: From the Forest to the Performance Stage (Natural Education) Nurhayati Nurhayati; Syeilendra Syeilendra
International Journal of Educational Dynamics Vol 4 No 2 (2022): International Journal of Educational Dynamics (IJEDs)
Publisher : Postgraduate School, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ijeds.v4i2.393

Abstract

Talempong Kayu is a traditional art in Nagari Batu Bajanjang, Solok Regency. Used as entertainment in cooking activities in the kitchen in preparation for Alek and barAlek events. Initially, the art of Talempong Kayu was born from the habit of the people of Nagari Batu Bajanjang when looking for firewood in the middle of the forest. Then the wooden Talempong art was brought into the kitchen as a means of entertainment for women when cooking for the preparation of Alek. This is why the performers of the wooden Talempong art are played by women. The emergence of food service providers caused the wooden Talempong art to lose its performance space, this resulted in the almost extinction of the wooden Talempong art. The leadership of the Nagari Batu Bajanjang took the initiative to hold Alek Nagari as a performance space for all traditional arts in Nagari Batu Bajanjang. Alek Nagari Batu Bajanjang had an impact on the Talempong Kayu art, the Talempong performance space changed to a stage for performances. Now, the performance space for Talempong art departs from the forest to the stage.
Jejak falsafah Alam Takambang Jadi Guru dalam repertoar musik tradisional Minangkabau Ayuthia Mayang Sari; Syeilendra Syeilendra; Hengki Armez Hidayat
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 7 No. 1 (2023): April
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v7i1.25242

Abstract

Alam Takambang Jadi Guru merupakan falsafah yang melandasi cara berpikir masyarakat Minangkabau. Falsafah ini juga sebagai norma-norma adat dan turunannya untuk menjalankan kehidupan yang diatur dalam adat Minangkabau. Jejak  Alam Takambang Jadi Guru atau "segala sesuatu yang ada di ‘alam’ dapat dijadikan guru" terlihat jelas dari penggunaan kata-kata yang berasal dari “alam” (sifat, tumbuhan, hewan, benda, tempat dan kegiatan maupun peristiwa atau kejadian) sebagai bagian dari norma adat yang mengatur setiap tindakan masyarakat Minangkabau baik individu maupun kelompok. Penggunaan kata maupun tutur yang merujuk kepada “alam” dalam setiap falsafah dan norma adat mengacu pada makna kiasan, sehingga falsafah dan norma adat tersebut mampu untuk memunculkan arti serta maknanya. Filosofi Alam Takambang Jadi Guru juga berdampak pada kesenian khususnya musik tradisional Minangkabau. Hal ini terlihat dalam syair dendang dan penamaan repertoar-repertoar musik tradisional Minangkabau. Penelitian ini bertujuan untuk melihat sejauh mana falsafah Alam Takambang Jadi Guru digunakan dan bagaimana munculnya dalam kesenian ksususnya musik tradisional Minangkabau sebagai representatif dari falsafah itu sendiri. Metode yang digunakan pada penelitian ini adalah kualitatif deskriptif dengan pendekatan fenomenologi. Pengumpulan data dilakukan dengan teknik wawancara, observasi serta studi literatur. Hasilnya adalah ditemukannya beberapa repertoar kesenian tradisional Minangkabau dengan menggunakan kata maupun tutur yang merujuk kepada “alam” sebagai jejak dari falsafah Alam Takambang Jadi Guru. Nama maupun tutur tersebut hadir dalam repertoar-repertoar musik tradisional Minangkabau yang sesuai dengan interpretasi masyarakat Minangkabau dalam melihat fenomena “alam”.   Alam Takambang Jadi Guru is a philosophy that underlies the way of thinking of the Minangkabau people as customary norms and derivatives to carry out a life regulated in custom. The traces of Alam Takambang Jadi Guru, or "everything in nature can be used as a teacher", is seen from the use of words derived from “nature” (Characteristic, plants, animals, objects, places and activities or events) as part of customary norms that regulate every action of the Minangkabau community both individuals and groups. The use of names and speech that refer to "nature" in every philosophy and customary norm refers to figurative meanings so that these traditional philosophies and standards can bring out their meanings. The Philosophy of Alam Takambang Jadi Guru also impacts art, mainly traditional Minangkabau music. This can be seen in the dendang poetry and the naming of traditional Minangkabau music repertoire. This study aims to know the extent to which the philosophy of Alam Takambang Jadi  Guru is used and how the emergence in the arts, especially Minangkabau traditional music, represents the philosophy itself. The method used in this study is descriptive qualitative with a phenomenological approach. Data collection is carried out by interview, observation and literature study techniques. The result was the discovery of several repertoires of traditional Minangkabau arts using words and words that refer to "nature" as traces of the philosophy of Alam Takambang Jadi Guru. The name and speech are present in the repertoire of traditional Minangkabau music following the interpretation of the Minangkabau people in seeing the phenomenon of nature.
Struktur Penyajian Diki Asrakal dalam Acara Ptang Balimau di Kesultanan Nopugho Desa Indrapura Kecamatan Pancung Soal, Pesisir Selatan Revo Bramasta; Syeilendra Syeilendra
SENDRATASIK UNP Vol 12, No 1 (2023)
Publisher : FBS Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/js.v12i1.118531

Abstract

This study aims to find out and describe how the Presentation Structure of Diki Asrakal in the Ptang Balimau Event in the Nopugho Sultanate, Indrapura Village, Pancung District, South Coast Regency. This type of research is qualitative research using descriptive methods of analysis. The instrument is the researcher himself and uses several additional instruments such as stationery and mobile phones. Data collection techniques are carried out by means of literature studies, observations, interviews and documentation. The steps to analyze data are to collect data, describe data and infer data. The results showed that Diki Asrakal's art was preserved from the past until now, although to continue the art of Diki Asrakal requires harder efforts because Diki Asrakal's art is only played by men.Diki Asrakal has from several sides regressed and on the other hand has also made progress. The decline is due to the small number of enthusiasts to learn Diki Asrakal art from among young people who are rarely interested in traditional music, especially since Diki Asrakal art is only played by men, the progress has been that there have been several groups that have raised the art of Diki Asrakal both in the local nagari and outside the local nagari, especially the studios in Indrapura village. So in the performances Diki Asrakal always goes to the local traditional rituals where the presentation structure is led by the Sultan of Indrapura (Rusdal Inayatsah).
Pelaksanaan Pembelajaran Seni Budaya (Musik) di Kelas VIII.2 SMPN 3 Sungai Geringging Fajar Friatma; Syeilendra Syeilendra
Ranah Research : Journal of Multidisciplinary Research and Development Vol. 5 No. 3 (2023): Ranah Research : Journal Of Multidisciplinary Research and Development (Mei 202
Publisher : Dinasti Research

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (812.415 KB) | DOI: 10.38035/rrj.v5i3.750

Abstract

The purpose of this study was to describe the implementation of learning arts and culture (music) in class VIII.2 at SMP Negeri 3 Sungai Geringging. Researchers used qualitative research that is descriptive. The main instrument in this study was the researcher himself observing the learning process for class VIII.2 on the subject matter of music at SMP Negeri 3 Sungai Geringging. The type of data used is primary and secondary data. Data collection techniques were carried out by means of literature study, observation, interviews, and documentation. The steps to analyze the data are data collection, data reduction, data presentation, and drawing conclusions. The results of the study concluded that the process of implementing art and culture learning for music material in class VIII.2 had not gone well. This is because there are obstacles in which there are no learning media, and there is no infrastructure for musical instruments, as well as practice rooms so the teacher does not teach in accordance with the existing syllabus and lesson plan (RPP). Learning the art of music in class VIII.2 is one of them only fulfilling the core competency indicators in the syllabus, namely "understanding" traditional musical instrument material. Then the problems that occur in the class are the visible attitudes of students when participating in learning the art of music, students look bored and bored participating in learning traditional musical instruments, then there are some students who are seen often having permission to go in and out of class, chatting with their peers, ignoring the material provided teachers, so that they do not respond well to learning. Based on the results that have been concluded by researchers, students feel bored, experience boredom, and do not respond well to the material taught by the teacher, because learning the art of music is mostly done in theory only, while practice is never carried out and taught to students because there is no infrastructure. -musical instruments available, and a room for practicing musical art. In the teaching and learning process, there is no learning media available, then the methods taught by the teacher do not vary, the teacher more often uses the lecture and question and answer method only. So that in reality the learning objectives that must be achieved in the teaching materials owned by the teacher have not been achieved optimally.
Minangkabau Traditional Music Practice Learning Strategies; Student Competency Achievement In The Impact Of Pandemic Hengki Armez Hidayat; Syeilendra Syeilendra; Marzam Marzam; Uswatul Hakim
Gondang: Jurnal Seni dan Budaya Vol 7, No 1 (2023): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i1.46826

Abstract

Education is one sector that plays an important role in building the nation and forming a complete human being. The impact of the pandemic condition makes the learning process at all levels of school to college feel very less enthusiastic. This is because the teaching and learning process which was initially carried out directly / face to face shifted to the learning and teaching process which was carried out through platforms that were integrated into internet-based networks (e-learning). The purpose of this study was to find and design a learning strategy for the Minangkabau Traditional Music Practice Course, FBS UNP Sendratasik Department. From the situation and conditions seen through the GAP analysis, several techniques/procedures must be passed so that the learning objectives can be achieved. The research method was carried out through several stages, including; 1) observation, 2) design of learning devices, 3) implementation of learning, and 4) tests, evaluations and revisions. This research is proven through stages; 1) learn the basic principles of the technology under study, 2) use the formulation of technology concepts; and 3) proof-of-concept of important functions and/or characteristics analytically and experimentally regarding learning strategies for Minangkabau Traditional Music Practice to achieve student competence.
SENI TRADISIONAL DALAM SENI RUPA MODREN: ANALISIS BERDASARKAN NILAI PENDIDIKAN Budiwirman Budiwirman; Syeilendra Syeilendra; Ary Ramadhan; Syafei Syafei
Gorga : Jurnal Seni Rupa Vol 12, No 1 (2023): 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.v12i1.27135

Abstract

Traditional arts that have high artistic value must always be preserved from extinction. In order to maintain the popularity of traditional art in Indonesia, it is necessary that artists, teachers, and society understand it deeply. Every fine arts artist, teacher, and community must have a sense of nationalism towards traditional art in order to be able to maintain and become a stronghold of traditional art itself. This study aims to rediscover the values of traditional culture that are spread in several regions in Indonesia with the hope that it can be absorbed into modern art so that the value of traditional art is not completely eroded. This research uses Spradley's qualitative research method or ethnographic qualitative research with the aim of systematically describing deeper cultural characteristics. This research produces a description of the characteristics of traditional culture contained in several traditional arts and crafts spread across Indonesia, each region has cultural characteristics that are different from other regions which are influenced by several diverse factors. The characteristics of each artistic value are maintained and absorbed into modern art for maintained and taught in the world of education so that art saviors are born who are able to transform traditional arts into modern artistic values. As art saviors, artists need awareness of a sense of "nationalism" in each of them which is obtained through an understanding of these traditional arts.Keywords: high art, education, culture, nationalism. AbstrakKesenian tradisional yang memiliki nilai seni tinggi harus selalu dilestarikan dari kepunahan. Untuk mempertahankan popularitas seni tradisional di Indonesia, diperlukan seniman, guru, dan masyarakat yang memahaminya secara mendalam. Setiap seniman seni rupa, guru dan masyarakat harus memiliki rasa nasionalisme terhadap seni tradisional agar mampu menjaga dan menjadi benteng kesenian tradisional itu sendiri. Penelitian ini bertujuan untuk menemukan kembali nilai nilai kebudayaan tradisional yang tersebar di dibeberapa daerah di Indonesia dengan harapan dapat dilakukan penyerapan kedalam seni modern agar nilai dari kesenian tradisional tidak terkikis sepenuhnya. Penelitian ini menggunakan metode penelitian kualitatif Spradley atau penelitian kualitatif  etnografi dengan tujuan mendeskripsikan karakteristik kultural lebih mendalam secara sistematis. Penelitian ini menghasilkan deskripsi karakteristik kebudayaan tardisional yang terkandung dari beberapa kerajinan seni tradisional yang tersebar di wilayah Indonesia, setiap daerah memiliki karakterstik kebudayaan yang berbeda dari daerah lain yang dipengaruhi oleh beberapa factor yang beragam, Karakteristik dari setiap nilai kesenian dipertahankan dan diserap kedalam kesenian modern untuk dipertahankan dan diajarkan dalam dunia Pendidikan agar terlahir penyelamat kesenian yang mampu melakukan transformasi seni tradisional menjadi nilai seni modern. Sebagai penyelamat seni, seniman membutuhkan kesadaran akan rasa “Nasionalisme” pada diri masing-masing yang diperoleh melalu pemahaman akan kesenian tradisional tersebut.Kata Kunci: seni tinggi, pendidikan, budaya, nasionalisme. Authors:Budiwirman : Universitas Negeri PadangSyeilendra : Universitas Negeri PadangAry Ramadhan : Universitas Negeri PadangSyafei : Universitas Negeri Padang References:Yoeti, O. K. 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Co-Authors Adi Suhendra Adip, Ahmad Aditya Putra Yunaldo Afri Dino Afri Rozi Fernandes Afrialdo Sardova Al Arif Puji Putra Andri Saputra Ardipal Ardipal Arisma Arisma Ary ramadhan Asma Ulhusna Aulia Putra Aulia, Hia Ayulasti, Armila Azzara Rahtu Keyoza, Refika Belirda Wulan Dhari Budiwirman Budiwirman, Budiwirman Budiwirman, Budiwirman Caecilia Trisani Lumbantoruan Cahya Ain Ramadhani Chairiah, Fadilla Cici Trinika Damayanti, Elok Daryusti Datmi, Rezki Ridho Deby Cloveando Mondely Devika Duri Dewi Martha Dilla Apriamanda Dinda Kamara Dion Marcelindo Dodi Febrian Dwi Mutia Sari Elvin Martius Endah Puji Astuti Erfan Erfan Esy Maestro Eva Yulia Mariati Fadhila Rizky Maharani Fadhila Yoelian Fadhilla Tirrahmah Fajar Friatma Fauza, Fauza Abdillah Fauziah Rahman Galih Rakasiwi Gia Widi Ayuni Gian Jenifer Gusti Rahayu hadi, Harisnal Haifa, Siti Hartono Hartono Hasyim Asyary Heri Heri Hidayat Alkara Hidayat, Hengki Armez Hike Purwanti Wahyudani Inka Aglisda Irdhan Epria Darma Putra Irman, Resky Nur Isman, Marisa j Lumbantoruan Jagar Lumbantoruan Lidia Nusir M. Nasrul Kamal Mailani Putri, Diva Mantila, Fanysa Marchel, Qonita Hesthia Marzam Marzam Melia Septri Melisa Herman Monica Novriyenti Muhammad Hadi, Fitriah Azizah Neti Lestari Niki Adian Nita Nikmatuz Zuhro Aminin Noni Veronika Noverina, Yelsi Nur Azimah Nurhayati Nurhayati Nurnela Hardi Nuzula Mustika Parmadi, Bambang Putri Ana Finata Putri, Willa Maidia Rahmi, Resti Rama Kurniawan Ramadhan Andy Nugraha Randi Suriandi Randi Yolanda Relly Dyona Resmi Agusti Restu Putra Rio Ilham Revo Bramasta Rhiyan Anosya Bahtera Rhodiya Rhodiya Rifaldi, Muhammad Ichsan Rini Dias Risa Febriani Rita Ratna Putri Rizki Ramadhan Sabrina Martha, Sherly Salsa Bila Nakiah Sandra Syarif Sari, Ayuthia Mayang Shadila Deykisy Shelliana Putri Shilvi Yunita Silahudin, Syafa’atussara Silvia Merlin Siregar, Happy Siregar, Lindasari Sofia Madonna Sonya Cintya Suciana Ramadhani Syafa’atussara Silahudin Syafei Syafei Syahrel Syahrel Syaiful Hayatunnufus Sylvia Oktari Toruan, Jagar Tri Rahayu Zulfiana Tulus Handra Kadir Uswatul Hakim Varenina Salsabila Walid Zakki, Mh. Wansah, Faisal Wewet Monica Fitri Willa Maida Putri Wimbrayardi Wimbrayardi Winda Marselina Windy Rezkia Julita Wulan Larasaty Yensharti Yos Sudarman Yoza Delvianita Yulia Mairoza Yuliani Lestari Yulianti Rahayu Nengsih Zikri, Afriza Aidil