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PENGARUH EXPERIENTIAL MARKETING DAN CONTENT MARKETING TERHADAP CUSTOMER ENGAGEMENT PADA INSTAGRAM @KLINIK_KECANTIKAN_LUXURY DI KOTA BIMA Ismunandar, Ismunandar; Alwi, Alwi
Jurnal PenKoMi : Kajian Pendidikan dan Ekonomi Vol 8 No 1 (2025): Jurnal Penkomi : Kajian Pendidikan dan Ekonomi
Publisher : Sekolah Tinggi Keguruan dan Ilmu Pendidikan (STKIP) Bima

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33627/pk.v8i1.2851

Abstract

This research aims to analyze the influence of experiental marketing and content marketing on customer engagement on the Instagram account @klinik_kecantikan_luxury located in Bima City, West Nusa Tenggara. Instagram is a popular social media platform used as a marketing channel. Research data was obtained through a questionnaire distributed to 96 respondents who were followers of the Instagram account @klinik_kecantikan_luxury and had used the services of the Luxury Clinic at least twice. The results of the analysis show that experiential marketing and content marketing have a significant influence on customer engagement at @klinik_kecantikan_luxury. The implication of this research is the importance of companies providing a good experience to consumers and designing and delivering interesting and relevant content to increase customer engagement. An effective content marketing strategy can increase customer loyalty and help companies achieve marketing goals more efficiently.
Social Values in the Tandak Sambas Dance in Sambas Regency West Borneo Aditya, Mega Cantik Putri; Ismunandar, Ismunandar; Muniir, Asfar
Jurnal Pendidikan Sosiologi dan Humaniora Vol 15, No 2 (2024): Edisi Oktober 2024
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/j-psh.v15i2.87249

Abstract

One of the cultures owned by the Malay tribe is customs, beliefs and arts that are carried out as entertainment. Tandak Sambas dance is a traditional dance that functions as entertainment typical of the Malay tribe which still maintains its authenticity. It is necessary to make protection efforts carried out by the state to avoid violations of the Sambas Tandak dance from cultural claims by other countries. The creator of the Sambas Tandak dance movement or choreography of the dance has also not been registered as copyright. Tandak Tambas dance is included in the form of traditional dance (folk dance). Tandak Sambas dance, functions as a means of performance, here dance is useful for entertaining the wider community. This dance comes from a folk game that is very close to the development of community life from various aspects. One of the values contained in the sustainability of Sambas tandak dance performances is social values. The social values of the Malay indigenous people are reflected in several changes and also the overall performance form. By trying to research this, it is hoped that the social values contained in this dance will not be lost and can still be maintained from generation to generation in the Malay indigenous community, especially in the Sambas Regency area.
PELATIHAN DIVERSIFIKASI OLAHAN BAWANG MERAH MENJADI BAWANG GORENG VARIAN RASA UNTUK MENINGKATKAN PRODUKTIVITAS IBU RUMAH TANGGA DI DESA DONGGOBOLO KABUPATEN BIMA Kusumayadi, Firmansyah; Aprianti, Kartin; Yusuf, Muhammad; Muhajirin; Ismunandar
PORTAL RISET DAN INOVASI PENGABDIAN MASYARAKAT Vol. 1 No. 2 (2022): MARCH
Publisher : Transpublika Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55047/prima.v1i2.182

Abstract

The purpose of this community service activity is to provide training related to the manufacture of various flavored fried onions for the community, especially housewives in Donggobolo Village, Woha District, Bima Regency and to find out the response of housewives in Donggobolo Village to training in making packaged fried onions. The method of this community service activity uses the lecture method, demonstration, question and answer method and exercises in the manufacture and processing of fried onions. This training involved members of the Real Work Lecture students who were accompanied by assistant lecturers from the Management Study Program and housewives in Donggobolo Village. There are results from training on making fried onions of various flavors conducted by housewives in Donggobolo Village, namely (1) the results of the evaluation of processed fried onions made by training participants are generally in the good category with an average success of 75%, (2) The response from housewives to the implementation of the training on making fried onions was very enthusiastic, seen from the attendance reaching 90% and participating in the activity from beginning to end.
Analisis Makna Gerak Tari Jepin Loncat Tiung Sembilan Sembilan karya Sabarudin di Desa Pal Sembilan Kabupaten Kuburaya Syafitri, Dolly; Ismunandar, Ismunandar; Putri Aditya, Mega Cantik
Jurnal Cerano Seni : Pengkajian dan Penciptaan Seni Pertunjukan Vol 3 No 2 (2024): Jurnal Cerano Seni | Pengkajian dan Penciptaan Seni Pertunjukan
Publisher : Universitas Jambi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22437/jcs.v3i2.35766

Abstract

Penelitian ini bertujuan untuk mendeskripsikan dan mendokumentasikan analisis makna gerak Tari Jepin Loncat Tiung Sembilan dalam bentuk tulisan, gambar, serta video. Dilatar belakangi dengan permasalahan bagaimana makna gerak, deskripsi gerak dan klasifikasi gerak. Penelitian ini menggunakan metode deskriptif, bentuk penelitian kualitatif, serta pendekatan koreografi dan semiotik. Teknik pengumpulan data yang digunakan yaitu teknik observasi, teknik wawancara, dan teknik dokumentasi. Teknik menguji keabsahan data yang digunakan adalah perpanjangan pengamatan dan triangulasi sumber, berdasarkan analisis data maka dapat disimpulkan bahwa analisis makna gerak Tari Jepin Loncat Tiung Sembilan sebagai berikut: Tari Jepin Loncat Tiung Sembilan Sembilan merupakan gabungan dari 9 langkah jepin. Ada gerak yang menyimbolkan sebuah alat yang membantu pekerjaan sehari-hari, gerak kegiatan manusia serta gerak imitasi seekor burung. Tari ini berfungsi sebagai tari hiburan, busana yang digunakan baju kurung melayu. Alat musik akordion, biola, beruas, dan gambus tarian ini tidak menggunakan properti, ditarikan oleh laki-laki maupun perempuan. Peneliti berharap hasil penelitian ini dapat bermanfaat bagi pembaca serta menambah wawasan terkait makna gerak tari Jepin Loncat Tiung Sembilan Sembilan, juga menjadi sumber referensi yang akurat.
Pengaruh Store Layout, Kualitas Pelayanan Dan Motivasi Rasional Terhadap Keputusan Pembelian Pada Toko Zam Zam Kota Bima Gafiqi, Abdul; Ismunandar, Ismunandar; Mulyadin, Mulyadin
Jurnal Ilmiah Mahasiswa Perbankan Syariah (JIMPA) Vol 4 No 2 (2024): Jurnal Ilmiah Mahasiswa Perbankan Syariah (JIMPA) - September 2024
Publisher : Sekolah Tinggi Ekonomi dan Bisnis Syariah (STEBIS) Indo Global Mandiri Palembang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36908/jimpa.v4i2.438

Abstract

Penelitian ini bertujuan untuk mengetahui pengaruh store layout, kualitas pelayanan dan motivasi rasional terhadap keputusan pembelian pada toko Zam-Zam Kota Bima. Penelitian ini dilakukan di toko Zam-Zam Jl. Sultan Muhamad Salahuddin, Dara, Kec. Rasanae Barat Kota Bima. Dalam penelitian ini digunakan jenis penelitian asosiatif dengan menggunakan instrument penelitian kuesioner skala likert. Populasi dalam penelitian adalah semua masyarakat yang pernah membeli pada toko Zam-Zam kota Bima yang jumlahnya tidak diketahui pasti jumlahnya. Dikarenakan populasinya tidak diketahui secara pasti maka sampel penelitian sebanyak 96 orang dengan teknik penentuan sampel yaitu purposive sampling. Teknik pengumpulan data menggunakan observasi, kuesioner dan studi pustaka. Data yang telah dikumpulkan kemudian dianalisis dengan teknik uji validitas, uji reliabilitas, uji asumsi klasik, regresi linear berganda, koefisien korelasi berganda, uji determinasi, uji t dan uji f. Hasil penelitian menunjukan bahwa store layout berpengaruh terhadap keputusan pembelian pada toko Zam-Zam Kota Bima, sedangkan kualitas pelayanan dan motivasi rasional tidak berpengaruh terhadap keputusan pembelian pada toko Zam-Zam Kota Bima
FUNGSI TARI BESOGAK DALAM UPACARA ADAT TENTOBUS DAYAK PESAGUAN DI KECAMATAN TUMBANG TITI KABUPATEN KETAPANG Dekapriyo, Fernandus Deo; Ismunandar, Ismunandar; Satrianingsih, Aline Rizky Oktaviari
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 12, No 2 (2023): Februari 2023
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v12i2.62866

Abstract

This research background was based on the researcher's interest when watching the performance of traditional ceremonial in Tumbang Titi Sub-District Ketapang District. Seeing from the part of the process in Tentobus traditional ceremony, one of them was Tari Besogak. Tari Besogak has meanings in the dance and it contained honorable value of life between the Dayak Pesaguan society. In the beginning, there were many people of Dayak Pesaguan in Tumbang Titi Sub-District that believe Tari Besogak was only a mere show. Therefore, this research intended to know the function of Tari Besogak in Tentobus traditional ceremony of Dayak Pesaguan in Tumbang Titi Sub-District Ketapang District. This research was using qualitative research method using anthropology approach. The data collection technique was interview and documentation study. Tentobus ceremony functioned as bad reinforcements rejection and redemption that had been done in the past. Based on the results of this researcher, it could be concluded that the function of Tari Besogak was as one of ceremony process to reject bad reinforcements. Tari Besogak as a ceremonial dance had characteristics such as the chosen dancers, offerings, outfits, place, and time that had been decided.
KAJIAN NILAI ESTETIS TARI JEPIN TALI BINTANG DI DESA KALIMAS KECAMATAN SUNGAI KAKAP KABUPATEN KUBU RAYA Putri, Suci Adelia; Ismunandar, Ismunandar; Tindarika, Regaria
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 12, No 2 (2023): Februari 2023
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v12i2.63471

Abstract

Jepin Tali Bintang Dance is a dance that is based on elements of Malay movements. The beauty of this dance needs to be known because there are several objective and subjective assessments. This study aims to describe the aesthetic value contained in the Jepin Tali Bintang Dance through writing and pictures. The method used in this study is a descriptive method with a form of qualitative research and a choreographic aesthetic research approach, as well as semiotic. Data collection techniques using observation techniques, interview techniques, and documentation studies. The technique for testing the validity of the data in this study is the extension of observations and triangulation of sources. Based on the data analysis, it can be concluded that the aesthetic value of the Jepin Tali Bintang Dance can be seen through the harmony of movements, make-up, clothing, and properties used. The tempo of the movements, which tend to be medium and fast, combined with the varied volume of motion and the same energy used, make this dance look dynamic. The harmony of the colors of the clothes and make-up used make this dance look balanced and fulfill the character of a dancer on stage. The beauty of the property is depicted with shapes, colors, and messages that teach kindness to Muslims.
ANALISIS BENTUK GERAK TARI HADRAH DI SANGGAR JAYA RAYA KOTA RANAI KABUPATEN NATUNA KEPULAUAN RIAU Fitri, Rosa Elisa; Ismunandar, Ismunandar; Aditya, Mega Cantik Putri
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 13, No 6 (2024): Juni, 2024
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v13i6.73265

Abstract

This study aims to provide a comprehensive description and analysis of the Hadrah dance movement in Sanggar Jaya Raya, Ranai, Natuna Regency, Riau archipelago using textual information, photos, and videos. The issue arises from the manner in which the movements and components of the Hadrah dance are executed in Sanggar Jaya Raya in Ranai. This study employs the descriptive qualitative method, in addition to utilizing semiotic and ethnochoreological methodologies. The methods employed for data collection are observation, interviews, and documentation. Extended observation and triangulation are methods used to evaluate the accuracy of data. According to the data analysis, it can be inferred that the Hadrah dance style in Sanggar Jaya serves as a hospitable dance for esteemed guests or as an introductory dance during an event. Sanggar Jaya Raya offers a Hadrah dance variation that comprises an initial greeting movement, followed by a sequence of "bunga silet ukel" movements leading to "bercocok tanam" movements, and concludes with a closing greeting movement. This dance showcases an equal number of female and male dancers, with both even and odd numbers. The floor features a horizontal pattern. The researcher anticipates that the results of this study will be highly beneficial to readers, offering profound insights into the analysis of the Hadrah dance movement, and serving as a reliable and precise reference.
PROSES KREATIF PENCIPTAAN TARI TIGA SERANGKAI OLEH KUSMINDARI TRIWATI DI SANGGAR ANDARI KOTA PONTIANAK Putri, Selly Yulia; Ismunandar, Ismunandar; Satrianingsih, Aline Rizky Oktaviari
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 13, No 11 (2024): November 2024
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v13i11.89341

Abstract

Understanding the process of creating the Kusmindari Triwati dance and the choreography of the Tiga Serangkai Dance is the driving force for this research. This type of research uses a choreographic approach with a qualitative and descriptive approach. Interviews with informants, documentation studies, and observations were used to collect data in this research. Source triangulation is a method for evaluating the reliability of data. Kusmindari Triwati's creative process in creating the Tiga Serangkai Dance and its choreography is the subject of this research. Based on the research results, it can be said that Kusmindari Triwati created the Tiga Serangkai Dance in 2003 for the Kalimantan Cultural Festival. The creation of the Tiga Serangkai Dance went through the exploration stages of Dayak movements such as kenyalang, stomping, sirang, and ngajat iban. Malay tiung jumping and gersik steps. and Chinese movements si liu bu, fu hu bu or pu bu, and xuun ji bu or xiu bu. develop traditional movements that have a unified subject. The improvisations are based on the activities of the Dayak, Malay and Chinese communities. The Tiga Serangkai dance has a theme of inter-ethnic unity and unity, which is danced by an even number of female dancers accompanied by the musical instruments sape, tuma, kubeh, soleng, beruas, tambourine, accordion, gambus, tar, Chinese drum and cymbals.
BENTUK PENYAJIAN TARI PERSEMBAHAN MELAYU DI KOTA RANAI KABUPATEN NATUNA KEPULAUAN RIAU Sephia, Nur Malika; Ismunandar, Ismunandar; Aditya, Mega Cantik Putri
Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) Vol 12, No 2 (2023): Februari 2023
Publisher : Universitas Tanjungpura

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26418/jppk.v12i2.62221

Abstract

This study aims to describe and document the form of the presentation of Persembahan Dance in Ranai City, Natuna Regency, Riau Archipelago in the form of writing, pictures, and videos. The background of the research is the problem of how the form of Persembahan Melayu Dance. This study used descriptive method with qualitative research and choreographic approach. The technique of data collection used in this research are observation techniques, interview techniques, and documentation studies. The data validation testing used are the extension of observations and triangulation source. Based on the data analysis, it can be concluded that the form of Persembahan Melayu Dance is as follows: Persembahan Melayu Dance is a welcoming dance for guests of honor or opening dance at various events. There are 11 movements of Persembahan Melayu Dance which are initial movement, the variety of junjung tepak to the variety of opening greeting, the middle movement, the variety of meracik pinang to the variety of sari beni, and the final movement, the variety of close greeting. This dance is only danced by the female dancer and it must be an odd number, also there are six floor patterns. Musical instruments used are drum, violin, accordion, and it do not use vocal. The make-up used is realist make-up. The make-up used is realist make-up, the clothes used are clothes for brackets, skirts, tapeh cloth, obi, sebai and use andam head accessories, crowns, Malay editing, jurai, tudung mantu, and bun. Also, this dance uses tepak sirih as the property.
Co-Authors Abdul Malik, Supriadi Abdul Sakur Adalia, Sephira Adipratama, Restu Malo Aditya, Mega Cantik Putri Adyatma Fadilah Afilla, Mutia Agus Maulana Agus Syahrani Agus Wahyudi Agus Wartiningsih Agusrianto, Agusrianto Agusta, Maulingga Ahmad Aida Zulwahidah Aina, Qorry Aini, Hizratun Ainun Jariah Ais, Nahdatul ALINE RIZKY OKTAVIARI SATRIANINGSIH aloysius mering Alwi Alwi Amal, Mukhlisul Ambarita, David Morison Aminuddin Aminuddin Aminuyati Amir Amirulmukminin Amirulmukminin Amirulmukminin, Amirulmukminin Amyadin Amyadin, Amyadin Anak Agung Gede Sugianthara Anastasia, Indrayani Andang Sanjaya Andini Ramadani Anesta, Flora Anfani Anfani Anggara, Rama Anisa Anisa Anisa Safitri, Nur Annisa Annisa Anshari, M. Alfian Apong, Apong Arahim Arahim Arifuddin Arifuddin Arya, Angga Bima Asfar Muniir, Asfar Aska, Muhammad Aska Al Varo Asri, Muhamad As’ad, Muhammad Atida, Icha Asih Augustine, Karina Azhari, A.Rahman Bagus Shaburu Baiq Emy Nurmalisa Basrin Haryanto Batubara, Herlina Merdekawati Billah, Mu’tashim Bohari M. Yamin Brendan J. Kennedy Bumadius, Bumadius Canigia, Diego Antoni Cantik Putri Aditya, Mega Cendi, Indah Putri Chatika, Anggelina Condeng, Baharuddin Dalamus, Renny Basajo Darmawan, Imam Darwin Ismail Debi Setiawan, Debi Dede Suhendar Defis Purnama Sari Dekapriyo, Fernandus Deo Delta, Juliana Diecky Indrapraja, Diecky Diecky Kurniawan Indrapraja Dila Saputri Dina Mariana Dirgahani Putri Dita Amelia, Dita Djau, Nurmala Sari Djulia Onggo Djulia Onggo Dwi Oktariani Dwi Yogyo Suswinarto, Dwi Yogyo Edi Mikrianto Egi Putri Grandena Eka Kurniati eka rahmawati Emelia, Mela Ernawati, Sri Ernawati Esther Jacoba Martha Vertelman Fahmi Hafid Fahraiji, M Irgi A Fajar, Adroit T. N. Fajrilah Kolombo Faruq, Zidni Tammal Fatari Fatmawati Fatmawati Febi Berliana Febriyanti, Yuyun Fertisari, Imma Firda Utami, Silvia Firdaus Hi. Yahya Kunoli Firman, Ridho Fitri, Rosa Elisa Fitria Masulili Fitriani, Reza Fitrina, Yola Fitriyanti, Della Gafiqi, Abdul Gew, Dorotea Rebika Gifaris, Aditia Rahmat Grandprix T. M. Kadja Gunawan, Arisko Gustini Gustini Hairunisa Hairunisa, Hairunisa Hairusanti, Famela Halim, Idris Haryadin, Muhammad Nur Haryanti, Intisari Haryanti, Intisari sari Hasanuddin, Fitria Hasna, Hasna Fidelya Hawaria Hawaria Hayril Hayril Henny Sanulita Hidayanti, Mawar Hijratunnisa, Laili HUSNUL KHOTIMAH I Made ARCANA I Nyoman Marsih I Wayan Supetran, I Wayan Ibadatur Rahman Ichsan, Moh Ichsan Iftitah, Ita Iis Siti Jahro Ilham, Gusti Muhamad IMAM GHOZALI Imelda Elizabeth Belseran Imelda, Brigita Imma Fretisari indah asikin nurani Intisari Haryanti Intisariharyanti, Intisariharyanti Irawan Haryanto Irawan, Ikbal Irma Mardian Irma Suryani, Indri Irsanty Collein Ita Purnama Ivon, Maria Jayawarsa, A.A. Ketut Jelita, Bela Anggun Jumriani Jumriani Jumriani Jumriani Junaidi Junaidi Junaidin, Junaidin Junita, Ellmy Lia Juwani Juwani Juwani Kadja, Grandprix T. M. Kadja, Grandprix Thomryes Marth Kalba, Milda Putri Kamaluddin Kamaluddin Kamaluddin Kartin Aprianti Khaerul Anam Khaira, Nuswatul Kharimah, Siti Kuantani, Irma Maira Kudun, Oktavanus Kurniawan, Ya Kusumayadi, Firmansyah Laksmi, Nadya Ayu Lalu Izam Hikmawan Lestari, Yuyun Ayu Lewirato Lewirato Lita M. Yudha Trisna Hadi Maharani Maharani, Maharani Mahsup, Mahsup Mangemba, Dg Mangundap, Selvi Alfrida Mardian, Irma Mardiana, St Marlin, Marlin Mar’atin Amalia Rizkiah Mastri Dihita Sagala Masulilli, Fitria Maulana Muslimin Mawarni, Rizka Rina Mega Cantik putri Aditya Meilania, Meilania Melina, Trivena Milda Mita Rilyanti Mochammad Imron Awalludin Moh. Mualliful Ilmi, Moh. Mualliful Mohammad Jailani Monika Handayani, Monika Muhaimin Muhaimin Muhajirin Muhajirin Muhajirin Muhamad Abdulkadir Martoprawiro Muhammad Afwan Riadin Muhammad Badar Muhammad Firdaus Muhammad Rizki Bima Putra Muhammad Yusuf Mukti, Rino Rahmata Mulyadin Mulyadin Mulyadin, Mulyadin Muni ir, Asfar Murni Murni Murti, Elis Syahira Nabilasari, Imanada Nabilasari, Imanda Nadya Nurdini Namirah, Pipin Nasrul Nasrul Nasrul Ndama, Metrys ndama, metyrs Nirva Rantesigi Nirvana Agil Nisa, Sholichatun Nitro Galenso Novianti Novianti Nufus, Shinta Z H Nuir Khusnul Hamidah Nunung Andriani Nur Anisa NUR ARIFAH Nur Ayu Nur Iklimah Nur Khusnul Hamidah Nur, Muhammad Purqan Nurarifah Nurarifah Nurdin, Jurana Nurfajriah, Putri Nurfitrah Nurfitrah Nurhaidah Nurlailah Umar Nurlayli Istiqomah Nurmelisa Nurmelisa Nurmila Sari Djau Nursalam Rahmatullah Nurul Afrianti Nurul Hidayanti Nurul Huda Nurul Putri okiria, Nova Oktaviari, Aline Rizky Oshin, Oshin Ovriyadin Ovriyadin Ovriyadin Ovriyadin, Ovriyadin Ovryadin Ovryadin Pangaribuan, Helena Permatasari, Risda Pancha Petra van Koningsbruggen Pindi Setiawan Poniran Pratiwi, Aliah PUJI LESTARI Purnamasari, Defis Purnamasari Purnamasari, Esti Purwati, Kresensia Putri Aditya, Mega Cantik Putri Nabila Putri, Fakhrani Anugrah Putri, Indah Risa Putri, Meitika Kaping Putri, Selly Yulia Putri, Suci Adelia Radiansyah Radiansyah Rafly, Muhammad Rahmatia Rangga Kautsar Triananda Raodah Raodah Raodatun Nadita, Nurbaity Ra’bung, Alfrida Semuel Rebeka, Modesta Regaria Tindarika Renaldi, Reno Reni Reni Riandi, M. Inas Ricki, Ricki Rimawan, M. Rimawan, Muhamad Rino R. Mukti Riri, Linovia Risman Risman Rizky, Masita Rosdiana Rosdiana RR. Ella Evrita Hestiandari Rutjuhan, Arta S. F. Nanda, Arxhel Sahrul Sahrul Salsabila, Salsabila Santi Dewi Saputri, Suri Sari, Ratih Mulia Sephia, Nur Malika Shofarul Wustoni Siahaya, Asty Putri Pratiwi Army Silaban, Chiristianly Silaban, Chiristianly Yeri Silaban, Chiristianly Yery Silaban, Christianly Yeli Silaban, Christianly Yely Silaban, Christianly Yeri Silaban, Christianly Yery Sinta, Emeliana Sintayana Muhardini Slamet, Deni Sri Ernawati sri wardah ST. Farida St. Suarniati St.Nursaqinah Sudarwo, Raden Suffiah sukmawati Sulistianingsih Sulistianingsih Sumiati Sumiati Supirno, Supirno Supriadi Abdul Malik Susanto Imam Rahayu Susanto Imam Rahayu Susi Susanti Syafitri, Dolly Taufan E. P, Muhammad TAUFIKURRAHMAN, M Tecla, Susana Timia, Timia Toto, Widina Karma Triati Putri Ulan, Ulan Ulhasanah, Nida Ummu Aiman Uyun, Salimatul Violeta, Veronica Mega Wahyu Ramadhan Wahyuni, Sinta Seri Widya Ayu Lestari Wilhilmina Tanema, Sesilia Wynni Winda Istiandini Wirawan, Dony Eko Wita Yulianti, Wita Wiwin Wiwin, Wiwin Wulandar, Yukarie i Ayu Yaningsyah, Yaningsyah yarso, Varulian Yasmin Yasmin Yery Silaban, Chiristianly Yery, Christianly Yoan Maria Agusta Yuary Farradia Yundari, Yundari Yunisa Is Yuniarti, Tria Yusnia Ayusari Yusthinus T. Male Yuwono, Dian Kurniasari Zaaria, Ainun Zaaria Zainul, Zainul Zakarias Aria Widyatama Putra