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All Journal Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Gorga : Jurnal Seni Rupa Harmonia: Journal of Research and Education Panggung Gondang: Jurnal Seni dan Budaya Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni JURNAL PENDIDIKAN TAMBUSAI Journal on Education International Journal of Educational Dynamics (IJEDS) Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni International Conference on Languages and Arts Abdi: Jurnal Pengabdian dan Pemberdayaan Masyarakat Jurnal Pendidikan dan Kebudayaan Suluah Bendang: Jurnal Ilmiah Pengabdian Kepada Masyarakat Science and Environmental Journals for Postgraduate Jurnal Manajemen Pendidikan dan Ilmu Sosial (JMPIS) Jurnal Ilmiah Wahana Pendidikan Jurnal Kata : Penelitian tentang ilmu bahasa dan sastra YASIN: Jurnal Pendidikan dan Sosial Budaya Proceeding International Conference on Malay Identity Populer: Jurnal Penelitian Mahasiswa Langgam International Journal of Social Science Education, Art and Culture Journal of Creative Student Research Student Scientific Creativity Journal Jurnal Bintang Pendidikan Indonesia Ranah Research : Journal of Multidisciplinary Research and Development Jurnal Kajian dan Penelitian Umum Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Seniman: Jurnal Publikasi Desain Komunikasi Visual Cendikia: Jurnal Pendidikan dan Pengajaran Atmosfer: Jurnal Pendidikan, Bahasa, Sastra, Seni, Budaya, Dan Sosial Humaniora Law and Economics Dharma Acariya Nusantara: Jurnal Pendidikan, Bahasa dan Budaya Filosofi: Publikasi Ilmu Komunikasi, Desain, Seni Budaya Misterius: Publikasi Ilmu Seni dan Desain Komunikasi Visual Realisasi: Ilmu Pendidikan, Seni Rupa dan Desain Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain Imajinasi: Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Panggung E-JURNAL AKUNTANSI International Martial Arts and Culture Journal.

Indrayuda Indrayuda

Universitas Negeri Padang

Author-ID : 287208

Religion Arts Humanities Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Materials Science & Nanotechnology Medicine & Pharmacology Public Health Social Sciences Transportation Other

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FENOMENA TARI KONTEMPORER DALAM KARYA TARI Indrayuda --
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.v16i1.432

The aim of this articel is to reveal the contemporary phenomenom of the dance work of the student of Sendratasik UNP and STSI Padang Panjang through last assignment. This research is focused on the phenomenom and studentâ€™s tendency on creating the dance work on a contemporary form. The research method used is descriptive qualitative and for the main instrument is the researcher himself. The collection of data dance through observation, interview and collecting the related literature. The analysis of the data done through conventional analysis. The result of the research shows that there is a tendency from the student on creating each of their work for the last assignment by using contemporary model, such as an the pattern of work, the type of dance, the form of performance and the orientation of creation. The growth of this sympton is caused from high frequency of the student to be involved in many forums of contemporary dance, and thruogh the appreciation of lecturerâ€™s figur and work. This research can be concluded that the sympton and tendency of contemporary is appeared in the studentâ€™s dance work because of: 1) the influence of the lecturer, 2) the influence of dance forum, 3) the influence of dance work of the artists of West Sumatera and 4) the freedom given to the students. It is essential to be suggested from this articel so that there is correct guide from the lecturer available of Sendratasik FBSS UNP and STSI Padang Panjang to pay attention for the monumental dance learning, so that the balance is created on the dance learning in academic field.Â ABSTRAKÂ Tulisan ini bertujuan mengungkap fenomena karya tari kontemporer dari mahasiswa Sendratasik UNP dan STSI Padang Panjang dalam tugas akhir. Penelitian ini difokuskan pada fenomena kecenderungan mahasiswa dalam menciptakan karya tari dalam bentuk kontemporer. Penelitian ini menggunakan metode deskriptif kualitatif dengan instrumen utama adalah peneliti sendiri. Pengumpulan data dilakukan melalui metode observasi, wawancara, dan studi kepustakaan. Data dianalisa secara konvensional. Hasil penelitian menunjukkan ada kecenderungan mahasiswa menciptakan karya mereka dalam tugas akhir (TA) dengan model kontemporer, seperti pada pola tarian, tipe tarian, bentuk pertunjukan, dan orientasi tarian. Pertumbuhan gejala ini disebabkan frekuensi yang tinggi dari mahasiswa untuk terlibat dalam berbagai forum tarian kontemporer dan apresiasi terhadap figure dan karya dosen. Kesimpulan penelitian adalah gejala dan kecenderungan karya kontemporer muncul dalam karya mahasiswa karena 1) pengaruh dosen, 2) pengaruh forum tarian, 3) pengaruh karya tari artis-artis Sumatera, dan 4) kebebasan yang diberikan kepada mahasiswa. Dari penelitian ini sangat disarankan agar ada pedoman yang benar dari dosen Sendratasik FBSS UNP dan STSI Padang Panjang agar memperhatikan dasar-dasar pembelajaran tari sehingga ada keseimbangan pembelajaran tari dalam dunia akademis.

Popularitas Tari Piring sebagai Identitas Budaya Minangkabau Indrayuda -
PANGGUNG Vol 23, No 3 (2013): Sejarah, Konseptualisasi, dan Praksis Tradisi Kreatif Seni
Publisher : LP2M ISBI Bandung

ABSTRACTÂ This article aims to explain the existence of Tari Piring dance as a culture identity of Minang- kabau people, both the people who live in the origin area and outside the area. Tari Piring dance is a traditional cultural heritage of Minangkabau people which is used and preserved by Minangkabau people in their life so that it becomes culture identity of Minangkabau people. As the identity of Minangkabau people, Piring dance is able to express attitudes and behaviors as well as the charac- teristics of Minangkabau people. The dance can serve as a reflection of social and cultural life style of Minangkabau society. Through Tari Piring performance, the outsider can understand Minangkabau people and their culture. Tari Piring, therefore, is getting more adhere to the social life of Minang- kabau people in West Sumatra and in the regions overseas. In the spirit of togetherness, Minang- kabau society preserves the existence of Piring dance as the identity and cultural heritage up to the present time.Â Keywords: Piring Dance, Minangkabau cultureÂ Â ABSTRAKÂ Artikel ini bertujuan untuk menjelaskan keberadaan Tari Piring sebagai identitas bu- daya masyarakat Minangkabau, baik yang berada di daerah asal maupun di daerah peran- tauan. Tari Piring merupakan warisan budaya tradisional masyarakat Minangkabau yang digunakan dan dilestarikan oleh masyarakat Minangkabau dalam kehidupannya sehingga menjadi identitas budaya Minangkabau. Sebagai jati diri masyarakat Minangkabau, Tari Piring mampu mengungkapkan sikap dan prilaku serta karakteristik orang Minangkabau. Tari Piring dapat berperan sebagai cerminan dari corak kehidupan sosial budaya masyara- kat Minangkabau. Melalui pertunjukan Tari Piring, masyarakat luar dapat memahami orang Minangkabau dan budayanya. Oleh karena itu, sampai saat ini Tari Piring semakin melekat dengan kehidupan sosial masyarakat Minangkabau di Sumatera Barat maupun di daerah perantauan. Dengan semangat kebersamaan, masyarakat Minangkabau mampu mempertahankan keberadaan Tari Piring sebagai identitas dan warisan budayanya hingga masa kini.Â Kata kunci : Tari Piring, budaya Minangkabau

Symbolic Meaning of Dance Movement of Dagong Tradition of Indigenous People of Liong in the Village of Bantan Tengah Sub-District Yosi Dwi Zulniati; Indrayuda Indrayuda
Science and Environmental Journal for Postgraduate Vol 2 No 1 (2019): Science and Environmental Journals for Postgraduate (SENJOp)
Publisher : Pascasarjana, Universitas Negeri Padang

This research aims to reveal, explain and analyze about: the symbolic meaning of the motion of Dagong dance, and the reason why the people still maintain the dance of Dagong tradition to date. This study uses a qualitative approach with a descriptive method. Data collection is done by observation, documentation and library study. Based on the research findings shows that (1) the symbolic meaning in the Dagong dance can be seen from each of the movements that have meaning and intent in it in the village of Bantan Tengah Sub-district of Bengkalis. Can be reviewed from the historical aspects of Dagong dance There is no change of movement from the past to the present, this dance is already empty because of the absence of dancers anymore. This dance is commonly performed by the indigenous peoples who were married and the event of seventeen Augustusan in the village to enliven. Then from the customary aspect of the existence of Dagong dance makes one that must be done if there is a ceremony of indigenous peoples Liong wedding party because this dance in the Sacred tribe think B Agi Indigenous Liong and there is a ritual process. (2) The process of implementation in the Ritual first by Bomo or the chief of the tribe, then when finished the event of new Ritunya dancers and musicians began to perform the dance. (3) The reason that society still maintains because this dance is a hereditary dance that is considered sacred by the indigenous people, although it is now almost extinct because of the absence of dancers anymore. And this dance is also a distinctive characteristic or self-identity, the original public ID of the tribe liong in village Bantan Central District BantanBengkalis District Riau Province

Public Perception of Piriang Dance with Lampu Cogok Performances Viska Nanggita; Indrayuda Indrayuda
Science and Environmental Journal for Postgraduate Vol 3 No 2 (2021): 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.v3i2.103

This article aims to reveal people's perceptions of the Piriang (Plate) dance with Lampu Cogok (Oil Lamp)in Nagari (Village) Taratak, Lubuak Sikarahsub-district, Solok City. The Piriang dance with Lampu Cogok has a distinctive characteristic: the existence of a lamp placed above the dancer's head, where the local community calls the light by the name Lampu Cogok. Above the dancer's head, a lamp set has led to various comments by the audience about the light. This study used a qualitative approach, while the research object was the Piriang dance with Lampu Cogok,which originated from the Nagari Taratak, Tanah Garam sub-district, Solok City. The subjects of this study were artists and the general public who watched the dance performance Piriang dance with Lampu Cogok. Techniques of data collection were done through observation, interviews, and documentation. The data analysis technique was carried out with procedures, namely data reduction, data display, and data verification. The results found were that the community's perception, the Nagari Taratak, Especially the traditional elders and the elderly, considered the dance to Piriang dance with Lampu Cogok to be a cultural heritage preserved, especially in the village. Taratak because this dance is a cultural icon in the Nagari Taratak. ThePiriang dance with Lampu Cogok is considered exciting and unique by the community through the presentation of the dance using lights. Besides, the level of complexity and skill, and vigilance of this dance attract and amazes the audience. The lamp above the head becomes the center of attention of the audience. Every time there is a performance of this Piriang dance with Lampu Cogok, it creates debate among the audience about the existence of the lamp. The discussion focuses on whether or not the light is dangerous for the dancers.

Pembelajaran Praktik Teknik Pengolahan Gerak Legaran Galombang Randai Hendri Yusuf; Indra Yuda
Jurnal Ilmiah Wahana Pendidikan Vol 6 No 4 (2020): JURNAL ILMIAH WAHANA PENDIDIKAN
Publisher : Peneliti.net

Randai is a miniature traditional Minangkabau performing art which has complete elements of traditional performing arts. As a complete miniature of Minangkabau performing arts, in the randai performance there are elements of literary art in the form of a script containing dialogues expressed in Minangkabau language and literature, music art expressed by chanting sounds of chanting or classical Minangkabau saluang songs, movement arts or dance which is expressed through the movements of the pasambahan, the motion of galombang legaran Randai which originates from the basic movements of the Minangkabau style of pencak silat, and the art of teter which is expressed by. Apart from the main elements of the performing arts in randai, there is also visual art as a supporting element for the perfection of the randai performance. Movement is the most important element in carrying out the randai performance. The randai show begins with motion, in the middle contains motion, the closing part of the randai show ends with motion. Along with the development of science, the accommodation of local arts becomes a part of which is studied at formal education centers, such as elementary, junior high, high school and even higher education in West Sumatra. As an art that is studied in formal education, of course, it is necessary to provide written media in the form of tutorials to help or as a companion in learning the techniques of clever movements in colleges and the wider community. Based on this background, the writer tries to parse the problem of how or the technique of processing the galombang randai motion. Although randai motion is dynamic and has a wide variety and richness of motion motives, this tutorial is a technical guide, not uniform.

Idealisme Seniman Berdampak pada Marginalisasi Kesenian Indang Tradisi Indrayuda Indrayuda
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 2 (2019): November 2019
Publisher : Institut Seni Indonesia Yogyakarta

This article aims to reveal and analyze the problem of the artistry of traditional art in Padang Pariaman district. Today the existence of Indang art less popular in the cultural life of the community Padang Pariaman. In turn, Indang art is rarely used and functioned by Padang Pariaman society today. The research was done by explanation method, and the research data is qualitative. Data collected throughout the interview process, observation of socio-cultural symptoms of society, and the existence of Indang. The analysis was done by ethnography approach, by determining component analysis and determining the cultural theme. The result of the research obtained is that the structure and shape of Indang have not changed until now. Indang art form and structure is less suitable to the taste of today’s society so that Indang art is less popular to the public for entertainment activities. The activities of artists on stage often disturb the artistic and aesthetic performances, i.e. the artists often create any activities that spoil the atmosphere of the show.Keywords: Indang tradisi; form and structure; ethnographic approach; explanation method

Makna Tari Inai Dalam Prosesi Malam Berinai Pada Adat Perkawinan Masyarakat Desa Teluk Majelis Kecamatan Kuala Jambi Nurul Annisa Syafwan; Indrayuda Indrayuda
SENDRATASIK UNP Vol 11, No 3 (2022)
Publisher : FBS Universitas Negeri Padang

This research is viewed from the meaning of dance about Tari Inai in the Malam berinai procession at the marriage custom of the Teluk Majelis village community, Kuala Jambi district. This type of research is qualitative and uses descriptive methods. The research instrument is the researcher himself and is assisted by supporting tools such as stationery and camera. By using literature study, observation, interviews and documentation is expected to collect the required information. Technique Source triangulation technique is a technique used to ensure the validity of this data. To analyze the data requires steps such as data collection, data presentation and drawing conclusions. The results showed that the Tari Inai is one of the traditional wedding ceremony processions of the East Malay ethnic group in Tanjung Jabung Timur. The meaning of the Tari Inai is as a night of giving blessings to the bride and groom who will lead a new life, as a night for a large family gathering, as a night to introduce the groom to the entire big family of the bride, and as a night of expressing welcome to the groom. who has entered the ranks of the bride's extended family. Tari Inai is also interpreted as a symbol of the willingness of both parents and family members to let go of the bachelors of their sons and daughters.

Democracy as the Basis for Cultural Education in the Malay Traditional Pre-Wedding Procession in Batam, Riau Islands Rini Suardi; Indrayuda Indrayuda; Fuji Astuti
International Journal of Educational Dynamics Vol 4 No 1 (2021): 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.v4i1.397

Cecah Inai is one of the processions performed in the Batam Malay Traditional Pre-wedding. Before the procession is carried out, usually in reaching a consensus, democracy is carried out, between Mak-Andam and the bride and groom's family. With the development of the democratic era that occurred in this marriage experienced a shift, where in the democratic era it was carried out through an agreement between the family and community leaders in the form of barter, and if the family did not carry out this Cecah Henna event, social sanctions would be received in society. At this time, democracy is undergoing changes that are only agreed upon by the families of the prospective bride and groom and are adjusted to economic factors or strata in society. If the family has the financial capacity, the family will carry out the pre-wedding procession as a whole and if not, then the procession will only carry out the most important parts, namely Curi Inai and Berandam.

"Zarah-Kubo" Tradition on Eidul Fitri Day in Koto Jayo Village, Tanah Tumbuh, Bungo Regency, Jambi Province (Study: Processes, Cultural Education, Development And Meaning) Prihan Pangemba; Indrayuda Indrayuda
International Journal of Educational Dynamics Vol 4 No 1 (2021): 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.v4i1.398

This study aims to describe and analyze and examine the Zarah-Kubo procession, the development of Zarah-Kubo and the meaning of Zarah-Kubo on Eid al-Fitr in Koto Jayo Tanah Tumbuh Village, Bungo Regency, Jambi Province. This study uses a qualitative method. Informants in this study were the people of Bungo Regency Generally and Koto Jayo Tanah Tumbuh Village. The instruments in this study were the researchers themselves and assisted with supporting instruments in the form of stationery and cameras. Data collection techniques were carried out using literature study, observation, interviews, and documentation. To ensure the validity of the data, the data was checked using extended participation techniques, observer persistence, and triangulation. The steps to analyze the data are data reduction, data presentation, and conclusion. The results of this study are 1) the development of the Zarah-Kubo Tradition is the result of the thoughts, contents of the heart and what is believed by the executors of the Zarah-Kubo Tradition who are played to read the prayer readings of the Zarah-Kubo tradition where the prayer comes from holy verses Al-Qur'an; 2) the procession of the Zarah-Kubo Tradition in Koto Jayo Tanah Tumbuh Village has a sequence of processions starting from the beginning or preparing for the event starting from the annual meeting of the Koto Jayo village community led by the village head, Ninik Mamak and the Community The village to decide which son will lead the prayers during the pilgrimage, choose the gathering place, determine the community for Badua (to eat together) after the Grave Pilgrimage is over; and 3) The Meaning of the Zarah-Kubo Tradition which was carried out in Koto Jayo Tanah Tumbuh Village which has a very strong meaning in the Koto Jayo Village community because the people there really believe that the meaning of the Zarah-Kubo Tradition is not just a spectacle and also not just a tradition the people of the Growing Land, the meaning of the Zarah-Kubo Tradition itself is also a form of community gratitude to Allah SWT for giving him a long life to be able to feel the Eid al-Fitr and give prayers to relatives who have been left behind.

Randai as a Social Representation Minangkabau Society of the Past Indrayuda Indrayuda; Marzam Marzam; Mohd. Effindi Samsudin
Humanus: Jurnal Ilmiah Ilmu-ilmu Humaniora Vol 19, No 1 (2020)
Publisher : Pusat Kajian Humaniora FBS Universitas Negeri Padang

Randai Arts is a cultural heritage used by the Minangkabau community as an entertainment which is called Pamenan in Minangkabau language means game. This article will reveal the social representation of the Minangkabau people in the past through the Randai show. As part of traditional Minangkabau performance art, Randai is packaged in a comprehensive form of performance, including motion, music, literature, and theater. Usually the stories shown are about the life stories of people from the past Minangkabau community. This research is a qualitative research using ethnographic and descriptive methods. Informants were selected using the purposive sampling technique, and used complementary instruments namely interview and observation guidelines. Data was collected through interviews, direct observation, and literature studies, as well as documentation studies. The analysis was carried out by adopting ethnographic methods, namely: (1) determining the object of study; (2) conducting domain analysis; (3) conducting taxonomic analysis; (4) conducting part analysis; (5) analyzing cultural themes; and (6) interpreting and concluding. The results of the research revealed that the art of Randai has never presented a story outside of humanitarian issues, namely the story of the social problems of the Minangkabau people of the past until now. This social problem is caused by social crises that often occurred in the past, in social life in Minangkabau. The problem revolves around love, household, and social status. To be cultural learning for the audience, the social issues in the past are brought up again in the story that is delivered in the Randai show.

Co-Authors Abdullah, Nagoor Meeara Afiatri Gelurena Afifah Asriati Agustina Ahmad Damhuri Aksara, Anggi Al-Syurgawi, Dahlia Amellia, Marisa Angge Pratiwi Vitri Anugrah Prima Insani Ardipal Ardipal Ariep Bijaksana Aysah Nur Rahma Ayu Nara Sati Aziz, Nur Azizah Abdul Bunga Lovesky Bunga Maharani Bunga Naselia Chelina Dewi Dara Ardilla Darmawati Darmawati Darmawati Darmawati Dede Putri Perdani Della Natasia Gunita Piska Dendi Chairi Desfiarni Desfiarni Dewi Fiolinda Dibba Gazwami Diye Chania Dwi Witri Anggraini Efriyanti, Dian Rahma Eke Febrianti Elida Ella Miftah Aulia Endang Nuryani Esy Maestro Eva Pauziah Fadhila Saktia Feby Try Rahmanda Fingki Novi Arsita Fitrah Hayati Fitri, Levina Frisilia Yulisianti Fuby Candani Fuji Astuti Fuji Astuti Gusnia hadi, Harisnal Hafizatul Ismi Hana Shilfia Iraqi Handayani, Bella Fitri Hasanuddin WS Helfira Helfira Hendri Yusuf Herlinda Mansyur Hestilia, Wina Hidayatunnisa Hidayatunnisa Husna Febri Andika Putri I Made Sukartha Idol Fatria Ildiea Fitri Indah Novita Sari Indri Mayangsari Intan Milanda Intan Sani Ashari Junita Fitri Kassim, Rezian-na Muhammed Lanifa, Rani Lidya Indrawati Liza Azoni Lola Murnianti Maidilla Siska Putri Mardiana - Marzam Marzam Marzam Marzam Maya Endah Rahayu Meisa Adila Meizul Ofriananda Mia Fahmiati Miftahul Rizka Mohd. Effindi Samsudin Muhammad Afif Nashiwa Natania Salsabilla Nawai, Nasru Syazwan Nela Majesti Nerosti Nia Putri Jelita Nia Rahmadani Niken Ayu Astuti Nindi Aulia Safira Ningsih, Lisa Wahyu Nor, Mohad Anizu Mohd Novelis, Puput Nurhana Nurhana Nurul Annisa Syafwan Nurul Intan Pratiwi Oktania, Rahma Pebrina Sapitri Poppy Lisafri Yolanda Prihan Pangemba Puti Aryanti Soleha Putri Amriana Putri Aulia Rahmawati Putri Novrialni Putri Yunengsih Quinta Dianda Voneline Radisma Suziyanti Rahim, Mohamad Rahizam Abdul Rahmat Adriyanto Rahmat Hidayat Rahmi Ul Fadhilah Raju Gunawan Rama Dona E Rana Arisma Valeves Rani, Destia Ranti Lestari Raudhatul Fadillah Regia Amelia Putri Resha Gustina Putri Reza Trinanda Rini Suardi Rita Syofyan Rizka Annisa Rizka Janarsi Samsuddin, Mohd Effindi Samsudin, Hazim Sandika Sadema, Ayu Sari, Maya Novita Sari, Nurima Sevi Sovia Shamsuddin, Mohd Effindi Bin Shapie, Muhamad Nizam Mohamad Shinta Jayanti Silvani, Shindy Siti Aisyah Jasmin SITI KHODIJAH Sri Muryenti Suci Okta Rahmadani Susi Evanita Susi Evanita Susmiarti Syafitri, Mahdalena Syahrel Syahrel Syofyan, Rita Tiara Virginia Aulia Tulus Handra Kadir Tuttriana Tuttriana Ukie Winaranti Vincent Parnabas Virginia Aulia, Tiara Viska Nanggita Vuja Syafrianti Alhidayah Wahyuni, Irfi Sri Widya Novitri Wilya Aryana Putri Wina Hestilia Wina Hestilia Windi Novrianti Yeni Yeni Yoni Sesilia Yos Sudarman Yosi Dwi Zulniati Yusman, Ahmad Fauzan Zora Iriani Zul Asri Zul Fahmi

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