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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) CaLLs : Journal of Culture, Arts, Literature, and Linguistics Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Jalabahasa: Jurnal Ilmiah Kebahasaan Indonesian Journal of EFL and Linguistics ANDIL Mulawarman Journal of Community Engagement Prosiding Seminar Nasional Sastra, Bahasa, dan Seni (Sesanti) Ruhui Rahayu: Jurnal Pengabdian Kepada Masyarakat

Singgih Daru Kuncara

Universitas Mulawarman

Author-ID : 301071

Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Public Health Social Sciences Other

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MAGICAL REALISM IN NEIL GAIMAN’S THE OCEAN AT THE END OF THE LANE NOVEL Hasanah, Sa'adatil; Kuncara, Singgih Daru; Astuti, Anjar Dwi
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 5, No 2 (2021): April 2021
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v5i2.3896

This research discusses magical realism in Neil Gaiman’s The Ocean at the End of the Lane. The purposes of this research are to find out the characteristics and literary techniques and to explain the role of magical realism that is portrayed in the novel. This research uses theories of characteristics of magical realism by Wendy B. Faris and literary techniques and role of magical realism by Anne C. Hegerfeldt. The method that is applied is descriptive qualitative and the approach is post-structuralism. The data are obtained from the dialogues and narrations that relate to the topics that are being analyzed. The result of the analysis shows that the five primary characteristics of magical realism are found in the novel like the irreducible elements of magic, unsettling doubts, phenomenal world, merging realms, and disruption of time/space/identity. It also shows that the five basic literary techniques of magical realism are represented within the novel such as the adaptation of other genres and modes, magical realist focalizer, paradigm of knowledge, strategies of destabilization, and techniques of literalization. The result also shows the role of magical realism that is portrayed through the influence of magical phenomena in the narrator/protagonist’s life.

THE SHADOW ARCHETYPE OF EMIL SINCLAIR’S CHARACTER IN DEMIAN NOVEL BY HERMANN HESSE Nurhayati, Dewi; Kuncara, Singgih Daru; Astuti, Anjar Dwi
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 6, No 1 (2022): Januari 2022
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v6i1.5308

ABSTRACTThis research analyzed a literary work entitled Demian, written by Hermann Hesse. This research conducted to discover the Shadow Archetype of Emil Sinclair, the main character in the novel. This research used the theory of Individuation Process by Carl Jung. This research conducted with qualitative research as the research design and used Psychological Approach. The result of this study were six shadows found. The shadows were the lie of Emil, the stealing committed by Emil, he doubted Bible, he drifted away from Christianity, Emil’s new lifestyle with Alfons Beck, and when he missed his old self. Every shadow is triggered by different causes.Keywords: shadow archetype, individuation process, psychological approach. ABSTRAKPenelitian ini menganalisis sebuah karya sastra berjudul Demian yang ditulis oleh Hermann Hesse. Penelitian ini dilakukan untuk mengetahui Arketipe Shadow Emil Sinclair, tokoh utama dalam novel ini. Teori yang digunakan dalam penelitian ini adalah teori Proses Individuasi oleh Carl Jung. Penelitian ini dilakukan dengan jenis penelitian kualitatif sebagai desain penelitian dan menggunakan Pendekatan Psikologi. Hasil dari penelitian ini ditemukan enam shadow. Shadow adalah kebohongan Emil, pencurian yang dilakukan oleh Emil, dia meragukan Alkitab, dia menjauh dari agam Kristen, gaya hidup baru Emil dengan Alfons Beck, dan ketika dia merindukan dirinya yang dulu. Setiap bayangan dipicu oleh sebab yang berbeda.Kata kunci: arketipe shadow, proses individuasi, pendekatan psikologi

HEROIC JOURNEY OF WADE WATTS IN ERNEST CLINE’S READY PLAYER ONE Pratama, Zumaidil Arif; Kuncara, Singgih Daru; M., Fatimah
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 5, No 4 (2021): Oktober 2021
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v5i4.4688

Myth and Heroes have been a part of humanity’s culture since long time ago. Campbell argues that all myth comes from a single source and dub it as the Monomyth. In these days and age, heroes still exist within the various media that we consume every day and one such work is Ernest Cline’s Ready Player One. The purpose of this study is to prove that monomyth and the characteristics of myth can be found within Ready Player One by examining its main character, Wade Watts. This study used the descriptive qualitative method to explain the story. The study employs two theories to describe Wade’s journey. First, it used the Monomyth by Joseph Campbell as the primary theory to analyze the hero’s journey from the beginning till the end. Second, Northrop Frye’s Theory of Myth is used to analyze the characteristic of myth and determine the work’s genre of myth. The result of the study showed that the monomyth is applicable in this work, all stages of monomyth can be found within the work, except for the refusal to the call. Furthermore, by employing Frye’s theory, the research showed that the most common characteristics of myth that appears in this research belongs to the Summer: Romance. These two analyses were able to successfully describe Wade’s journey and myth.

CHILDREN’S OPPRESSION TOWARD ENDER FROM ENDER’S GAME NOVEL Sofyan, Fitria; Kuncara, Singgih Daru; Asanti, Chris
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya Vol 6, No 1 (2022): Januari 2022
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v6i1.5505

ABSTRACT This study is focused on the children’s oppression experienced by Ender as the main character in a novel entitled Ender’s Game. The novel tells about a child who was training under an army to fight aliens. The research question of this study is what types of oppression that Ender has to experience as portrayed in Ender’s Game novel using Young’s five faces of oppression theory. Under the paradigm of qualitative research design, the findings are descriptively explained. The result of the analysis using Young’s theory showed that Ender experienced three types of oppression. In the total of nine data found, they were classified under violence, cultural imperialism, and powerlessness. Four data found were under violence, three data belonged under cultural imperialism, and two data classified under powerlessness. Lastly, based on the findings, it can be concluded that novel as part of literary work can also function as a reminder and a tool to improve awareness to society about the issues that are still happening. Key words: oppressor, oppression, Ender’s Game novel ABSTRAK Kajian ini difokuskan pada penindasan anak-anak yang dialami oleh Ender sebagai tokoh utama dalam novel berjudul Ender's Game. Novel tersebut menceritakan tentang seorang anak yang sedang berlatih di bawah pasukan untuk melawan alien. Pertanyaan penelitian dari studi ini adalah jenis penindasan apa yang harus dialami Ender seperti yang digambarkan dalam novel Ender's Game menggunakan teori lima wajah penindasan Young. Di bawah paradigma desain penelitian kualitatif, temuan dijelaskan secara deskriptif. Hasil analisis menggunakan teori Young menunjukkan bahwa Ender mengalami tiga jenis penindasan. Dari total sembilan data yang ditemukan, mereka diklasifikasikan dalam kekerasan, imperialisme budaya, dan ketidakberdayaan. Empat data ditemukan berada di bawah kekerasan, tiga data milik imperialisme budaya, dan dua data diklasifikasikan dalam ketidakberdayaan. Terakhir, berdasarkan temuan tersebut dapat disimpulkan bahwa novel sebagai bagian dari karya sastra juga dapat berfungsi sebagai reminder dan alat untuk meningkatkan kesadaran masyarakat tentang isu-isu yang masih terjadi. Kata kunci: penindas, penindasan, novel Ender's Game

AN ANALYSIS OF SMEAGOL’S CHARACTER INFLUENCED BY THE ONE RING IN LORD OF THE RINGS: RETURN OF THE KING FILM USING JUNG ARCHETYPES Eko Hardanto; M. Natsir; Singgih Daru Kuncara
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 3, No 1 (2019): Januari 2019
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Lord of the Rings: Return of The King film was adapted from a novel with the same title by J.R.R. Tolkien. This film was directed by Peter Jackson and aired in 2003. This film was a fantasy-adventure genre film. It tells the journey of the Hobbits and their friends to save Middle Earth from dark master Sauron. The purpose of this research is to find out Smeagol archetypes and how the One Ring influences Smeagol’s personality. In this research, the researcher used Carl Gustav Jung analytical psychology theory which contains ego, personal unconscious, and the collective unconscious. In this research, the researcher focused on Jung Archetypes theory, which Archetypes is part of the collective unconscious. The researcher used twelve archetypes in this research: persona, shadow, anima, animus, the great mother, the wise old man, hero, child, hermaphrodite, trickster, and self. The researcher used those twelve archetypes to find Smeagol archetypes and used that to analyze how the One ring influenced Smeagol personality. In this research, the researcher used a qualitative method to collect the data. The data collected from dialogue, narration, and monologue which was related to Smeagol’s. the data presented in quotations and pictures. The result of this research, the researcher found five archetypes in Smeagol and one in the One Ring. Five archetypes that found in Smeagol are the persona, shadow, the hero, hermaphrodite and the trickster, and for the One Ring is the mana. The major archetypes in Smeagol were the trickster, which was the most influenced on changing Smeagol personality. Lord of the Rings: Film Return of The King diadaptasi dari novel dengan judul yang sama dari karya J.R.R. Tolkien. Film ini disutradarai oleh Peter Jackson dan ditayangkan pada tahun 2003. Film ini adalah film bergenre fantasi-petualangan. Di film ini menceritakan perjalanan para Hobbit dan temannya untuk menyelamatkan Middle Earth dari penguasa kegelapan yaitu Sauron. Tujuan penelitian ini adalah untuk mengetahui arketipe yg ada di Smeagol dan bagaimana One Ring mempengaruhi kepribadian Smeagol. Dalam penelitian ini, peneliti menggunakan teori psikologi analitik Carl Gustav Jung yang berisikan ego, personal unconscious, dan collective unconscious. Dalam penelitian ini, peneliti memfokuskan pada salah satu teori Jung, yaitu arketipe, yang mana arketipe adalah bagian dari collective unconscious. Peneliti menggunakan dua belas arketipe dalam penelitian ini: persona, shadow, anima, animus, the great mother, the wise old man, hero, child, hermaphrodite, trickster dan self. Peneliti menggunakan kedua belas arketipe ini untuk menemukan arketipe yang berada pada Smeagol dan juga menggunakan ke dua belas arketipe itu untuk menganalisis bagaimana One Ring mempengaruhi kepribadian Smeagol. Dalam penelitian ini, peneliti menggunakan metode kualitatif untuk mengumpulkan data. Data yang di kumpulkan berasal dari dialog, narasi, dan monolog yang berkaitan dengan Smeagol. data yang disajikan dalam bentuk kutipan dan gambar. Hasil dari penelitian ini, peneliti menemukan lima arketipe di Smeagol dan satu arketipe di One Ring. Lima arketipe yang ditemukan di Smeagol adalah persona, shadow, hero, hermaphrodite dan trickster, dan untuk One Ring adalah mana. Arketipe yang paling menonjol di Smeagol adalah trickster, yang mana arketipe tersebut yang paling mempengaruhi perubahan kepribadian pada Smeagol.

SELF-ESTEEM DEVELOPMENT OF LILLIE’S CHARACTER IN THE POKÉMON SUN AND MOON VIDEO GAMES Edo Edryananda; Singgih Daru Kuncara; Indah Sari Lubis
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 4, No 2 (2020): April 2020
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

This study was conducted with the purposes to identify the self-esteem of Lillie in the Pokémon Sun and Moon video games as presented in the plot and the motives behind her self-esteem development. This study was based on qualitative research and used psychological approach. Therefore, this study focused on the psychological phenomenon of self-esteem. The data are the dialogues that convey Lillie’s self-esteem and the motives behind her self-esteem development. The data sources are Pokémon Sun and Moon video games and two other sources as data triangulation. The theories of self-esteem by Maslow and Branden were used to analyze the self-esteem of Lillie. The results of this study have shown that Lillie has low self-esteem in the exposition up to the rising action. Shortly after rising action starts, she has developed the high self-esteem. The Lillie’s high self-esteem remains up to the falling action and resolution. The first motive behind her low self-esteem development are the problems between she and her family. Lillie lost her family in the past. Secondly, it relates with her own self alone. She lacks of strength and has an unfavorable idea about Pokémon Trainer and Pokémon battle. These problems thwart her esteem desires and develop her low self-esteem. The motives behind her high self-esteem are related with her problems but resolved. She finds the supports from various characters along her journey. She gains independency and confidence. She fulfills her wish to save Nebby. Her thwarted desires are satisfied and her high self-esteem is developed then.

CLASS STRUGGLE IN ALITA: BATTLE ANGEL FILM Soffan Soffa; Singgih Daru Kuncara; Indah Sari Lubis
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 5, No 2 (2021): April 2021
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v5i2.3295

This research aimed to describe the classes struggle conducted by the five main characters of Alita: Battle Angel film (Dr. Ido, Alita, Dr. Chiren, Hugo, and Nova) by using two theories of Tyson about social class and class struggle. The form of research design was qualitative with content analysis as its approach. Words in the forms of narrations and dialogues were the data of this research and taken from Alita: Battle Angel film script. The findings of this research showed three different social classes identified from the five main characters. (1) Dr. Ido, Alita, and Dr. Chiren were identified to come from the middle class. (2) Hugo was identified from the low class. (3) Nova was identified as the one from the upper class. Furthermore, the forms of class struggled conducted by each character was different. Yet, this finding did not apply to Dr. Ido character since he did not conduct any form of class struggle due to his desire of wanting to live in Iron City only. On one hand, for Alita, Dr. Chiren, and Hugo posed one similar strong reason of conducting their class struggle which was that to change their life condition into the better ones by living in Zalem. On the other hand, Nova’s reason of conducting his class struggle because he wanted to defend the status quo as the highest leader of Zalem.

SYMBOLISM IN ALEXANDER PUSHKIN’S THE QUEEN OF SPADES SHORT STORY Dina Friskaliana; Singgih Daru Kuncara; Anjar Dwi Astuti
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 4, No 4 (2020): Oktober 2020
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/jbssb.v4i4.3189

This study examines the symbols that used, the meanings of symbol, and the roles of symbol in The Queen of Spades short story. To identify the symbol, the researcher used the theory by Griffith; public symbol and private symbol. To reveal the meanings of symbol, the researcher used the theory of ‘symbolic reference’ by Whitehead. Then, to find out the roles of symbol in building the story, the researcher analyzed through plot, character, setting, and theme in the story. The method of this study used descriptive qualitative method and the data of this study based on words, sentences, and narration which reflected symbols throughout the story. Furthermore, the result of the research showed cards of three, seven, aces categorized as public symbol and the queen of spades categorized as private symbol. The number three reflected to love triangle which happened between Hermann, Lizaveta, and Lizaveta’a husband. Then, seven reflected Hermann who obsessed to know the secret of lucky card. At last, aces reflected to karma that must be accepted by Hermann and the Countess. Meanwhile, the queen of spades as private symbol reflected to the Countess Anna Fedotovna and as a symbol of the key issue on the secret of lucky cards in the story. Then, the roles of symbols reflected through plot that showed to express the disquieting effect, character that showed to express the strength qualities, setting that showed to express the strength atmosphere, and theme that showed to express the wisdom lessons.

THE REVEALING OF CHARACTERS THROUGH SOLILOQUIES IN WILLIAM SHAKESPEARE’S A MIDSUMMER NIGHT’S DREAM DRAMA Imelda Intan Safitri; Singgih Daru Kuncara; Nita Maya Valiantien
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 3, No 2 (2019): April 2019
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

This research aimed to reveal the characters’ personality traits by reference to Costa and McCrae (1992) through one of the characterization devices called soliloquy and knowing about the role of characters soliloquy in A Midsummer Night’s Dream drama. The method of this research was qualitative content analysis. The data of this research were the characters’ soliloquies in the drama. After analyzing, the result showed that soliloquies had important roles in A Midsummer Night’s Dream drama. The roles were to reveal about the characters development and the drama plot; although there was no narration in the drama, but soliloquies could show and describe the characters’ personality traits, each character had one till five personality traits through telling their true thoughts and intentions by using soliloquies in A Midsummer Night’s Dream drama. Penelitian ini bertujuan untuk memaparkan ciri-ciri kepribadian berdasarkan teori Costa dan McCrae (1992) melalui salah satu jenis karakterisasi yaitu solilokui sekaligus untuk mengetahui peranan solilokui pada karakter dalam drama A Midsummer Night’s Dream. Metode yang digunakan untuk penelitian ini adalah kualitatif konten analisis. Data yang digunakan berupa solilokui dari tiap-tiap karakter di dalam drama. Hasil penelitian ini menunjukan bahwa solilokui memiliki peran penting pada drama A Midsummer Night’s Dream. Peran penting solilokui di dalam drama tersebut adalah untuk mengungkapkan perkembangan karakter dan jalan cerita; meski tidak ada narasi namun solilokui dapat menunjukkan dan menjelaskan ciri-ciri kepribadian karakter di dalam drama. Masing-masing karakter memiliki satu hingga lima ciri-ciri kepribadian melalui penyampaian pola pikir dan tujuan mereka yang sebenarnya melalui penggunaan solilokui di drama A Midsummer Night’s Dream.

THE JOURNEY OF MAGNUS CHASE’S CHARACTER AS MYTHICAL HERO IN THE SWORD OF SUMMER NOVEL BY RICK RIORDAN Hera Erliani; Singgih Daru Kuncara; Indah Sari Lubis
Ilmu Budaya: Jurnal Bahasa, Sastra, Seni dan Budaya Vol 3, No 2 (2019): April 2019
Publisher : Fakultas Ilmu Budaya Universitas Mulawarman

This research focuses on the journey of Magnus Chase’s character as the mythical hero in The Sword of Summer novel by Rick Riordan. This research has two purposes. The first is to identify the stages of Monomyth that appear in the journey of Magnus Chase’s character in The Sword of Summer novel. The second is to identify kind of Mythoi of The Sword of Summer novel. The researcher applied Joseph Campbell’s theory of Monomyth and Northrop Frye’s theory of Mythoi to answer the research questions. There are two results of this research. First, Magnus Chase’s character undergoes fifteen out of seventeen stages that proper with Campbell’s Monomyth. These fifteen stages are The Call to Adventure, Refusal of the Call, Supernatural Aid, The Crossing of the First Threshold, The Belly of the Whale, The Road of Trials, The Meeting with the Goddess, Woman as Tempress, Atonement with the Father, Apotheosis, The Ultimate Boon, Refusal of the Return, The Crossing of the Return Threshold, Master of Two World and Freedom to live. Second, the kind of Mythoi of The Sword of Summer novel is The Mythos of Summer: Romance. That is because Magnus Chase undergoes all the phases of The Mythos of Summer: Romance. These phases are the emerge of the hero, the innocent youth of the hero, the completion of an ideal, the theme of maintaining the hero’s integrity, the innocent youth of the hero and the end of the adventure. Penelitian ini berfokus pada perjalanan karakter Magnus Chase sebagai pahlawan mitos dalam novel The Sword of Summer karya Rick Riordan. Penelitian ini memiliki dua tujuan. Tujuan pertama adalah mengidentifikasi tahapan Monomyth yang muncul dalam perjalanan karakter Magnus Chase dalam novel The Sword of Summer. Tujuan kedua adalah mengidentifikasi jenis Mythoi dari novel The Sword of Summer. Peneliti menerapkan teori Monomyth yang dipopulerkan oleh Joseph Campbell dan teori Mythoi yang diperkenalkan oleh Northrop Frye untuk menjawab pertanyaan penelitian. Terdapat dua hasil dari penelitian ini. Pertama, karakter Magnus Chase mengalami lima belas dari tujuh belas tahapan yang sesuai dengan teori Monomyth dari Joseph Campbell. Lima belas tahap ini adalah The Call to Adventure, Refusal of the Call, Supernatural Aid, The Crossing of the First Threshold, The Belly of the Whale, The Road of Trials, The Meeting with the Goddess, Woman as Tempress, Atonement with the Father, Apotheosis, The Ultimate Boon, Refusal of the Return, The Crossing of the Return Threshold, Master of Two World dan Freedom to live. Kedua, jenis Mythoi dari The Sword of Summer novel adalah The Mythos of Summer: Romance. Hal tersebut terjadi karena karakter Magnus Chase mengalami semua fase dari The Mythos of Summer: Romance. Fase-fase ini adalah the emerge of the hero, the innocent youth of the hero, the completion of an ideal, the theme of maintaining the hero’s integrity, the innocent youth of the hero dan the end of the adventure.

Co-Authors Agus Kastama Putra Ali, Saheriah Ananda, Hairani Alfi Anggarwani, Nidya Anjar Dwi Astuti, Anjar Dwi Annisa, Awaliah Nur Apriliani, Feby Aries Utomo, Aries Arifin, M Bahri Armyla Armyla Auliya, Salsabila Gina Bahtiar Bahtiar Biatrik, Desy Cahyarani, Alya Chris Asanti Chris Asanti, Chris Dewi Nurhayati Dianto, Julia Dina Friskaliana Diyan Puspa Wahyuni Dominilla, Abigail Flavia Edo Edryananda Eko Hardanto erna wati Fatimah M Fatimah M. Gunawan, Ryanshan Hafiz Naufal Anshoor Hardiantoro, Baruna Haryanti, Regzi Sri Hasanah, Sa'adatil Hera Erliani Imelda Intan Safitri Indah Sari Lubis Indah Sari Lubis Indah Sari Lubis, Indah Sari Jonathan Irene Sartika Dewi Max Kumala Sari Kurniasari, Erna Pitri Latifah, Siti Noor Lusi, Monica M. Natsir M. Natsir M., Fatimah Madula, James Maghfirah, Monika Dwi Manalu Yerico Calvin Margiana, Ruspika Marselina Mistin Asmiaty Mubarok, Ahmad Much. Eko Wahyu Rianto Mudmainah, Dewi Muhajir, Fatimah Muhammad Alim Akbar Nasir Nasrullah Nasrullah Nisah, Septiana Hairul Nita Maya Valiantien Novita Sari Nurman, Muniralizah NURUL AZIZAH Pertiwi, Hanna Prabowo, Dio Chandra Pratama, Zumaidil Arif Purnawati, Novita Diah Purwanti Puspita, Tiara Yessy Rabbiyani, Sari Rahayu, Famala Eka Sanhadi Rahmah, Nor Rahmatillah, Yusrina Ramadhan, Jalo Patra Ririn Setyowati Rizakiah, Syarifah Rizkianty, Lana Rasita Safa Rohmah, Henny Romlah, Imas Rosianah, Rosianah Rozzan, Alya Rusmini Rusmini Sabiela, Nur Laili Saferi Yohana Sagita Octavia Samantha, Rey Al Hendaweyah Santi Rahmawati Sari, Noor Laila Sari, Putri Indah Sari, Yuli Eka Purnia Setya Ariani Silalahi, Selvy Risma Asmianty Sili, Surya Soffan Soffa Sofyan, Fitria Sudirman, Eka Pratiwi Syaputri, Yoshsyta Eka Ahdiyat Virzinia Theodorick Ardavid Manullang Togatorop, Sonia Truman AM, Yohanes Valentine, Always Happy Woolyanto, Vincent Yofi Irvan Vivian, Yofi Irvan Yunadi, Akbar Yunita, Ira Alifia Yusriansyah, Eka Zamrud Whidas Pratama

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