Article Per Year (5 Year)
p-Index From 2021 - 2026
3.249
P-Index
This Author published in this journals
All Journal Humaniora Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya HUMANIKA Sosiohumaniora KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE JURNAL PESONA Jurnal Ilmu Komunikasi Jurnal Sosioteknologi Mozaik Humaniora Fon: Jurnal Pendidikan Bahasa dan Sastra Indonesia Wawasan : Jurnal Ilmiah Agama dan Sosial Budaya ATAVISME JURNAL ILMIAH KAJIAN SASTRA Extension Course Filsafat ( ECF ) Panggung Aksara Patanjala : Jurnal Penelitian Sejarah dan Budaya METASASTRA: Jurnal Penelitian Sastra Jurnal Invensi (Jurnal Penciptaan dan Pengkajian Seni) Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya Al-Tsaqafa: Jurnal Ilmiah Peradaban Islam Capture : Jurnal Seni Media Rekam Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Arkhais - Jurnal Ilmu Bahasa dan Sastra Indonesia Suar Betang Metahumaniora Journal Albion : Journal of English Literature, Language, and Culture MEDAN MAKNA: Jurnal Ilmu Kebahasaan dan Kesastraan Jurnal Ide Bahasa AKSARA: Jurnal Bahasa dan Sastra Paradigma: Jurnal Kajian Budaya Wacana: Journal of the Humanities of Indonesia Jurnal Sastra Indonesia Lire Journal (Journal of Linguistics and Literature) Panggung Aksara
Aquarini Priyatna
Universitas Padjadjaran
Religion Arts Humanities Economics, Econometrics & Finance Education Engineering Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Social Sciences

Published : 86 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 86 Documents
Search

 5   6   7   8   9 
Fetisisme Ras Kaukasoid dan Ras Mongoloid Sebagai Strategi Pemasaran dalam Sinetron Indonesia Dimas Yudhistira; Aquarini Priyatna; Dade Mahzumi
PANGGUNG Vol 24 No 4 (2014): Dinamika Seni Tari, Rupa dan Desain
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v24i4.132

Abstract

ABSTRACT Popular culture that rises with industrialization influences the production of film in Indonesia. One of genres of Indonesia’s film is soap opera. Soap opera has two sides, the first side as market com- modity and the second side as popular art, whichcategorized itself as kitsch. As producing their pro- duct, soap opera has to see trough the background of its society. This research used qualitative method. The research resultsmost of Indonesian are Malaya that have colonized by Caucasian and Mongolian before 1945 and after that. It causes effect of fantasies that create the stereotype about Caucasian and Mongolian appearances. Stereotype makes Malaya have fetishism about Caucasian and Mongolian’s appearance. Director of soap opera uses this kind of fetishism as appeal to audiences in Indonesia. Displaying the racial half-bred of body of actress and actor in soap opera is become one of marketing strategy to promote soap opera. This is why half-breed actress and actor always get the important role in Indonesian soap opera. Keywords: soap opera, kitsch, race, fetishism    ABSTRAK Budaya populer yang tumbuh seiring dengan industrialisasi memengaruhi produksi per- filman di Indonesia. Salah satu genre perfilman di Indonesia adalah sinetron. Sinetron yang di- kategorikan sebagai produk seni kitsch memiliki dua kriteria yaitu sebagai komoditi seni yang populer dan sebagai komoditi dagang yang menghasilkan keuntungan ekonomis. Sebagai se- buah produk seni kitsch yang merupakan dasar pembuatan karyanya adalah selera masyarakat kebanyakan maka sinetron harus jeli dalam melihat keadaan dan latar belakang masyarakat. Penelitian ini menggunakan metode kualitatif. Hasil penelitian ini menggambarkan masyara- kat Indonesia yang merupakan ras Melayu telah dijajah oleh ras Kaukasoid dan Mongoloid sebelum tahun 1945 dan setelahnya. Efek dari penjajahan ini adalah ras Melayu telah ditanami fantasi yang menjadi stereotip mengenai ras Kaukasoid dan Mongoloid yang berakhir dengan fetisisme. Fetisisme ini dijadikan sebagai strategi pemasaran oleh produser dan sutradara un- tuk menarik antusiasme calon penonton sinetron. Caranya dengan menampilkan aktor dan aktris Melayu keturunan Kaukasoid dan Mongoloid sebagai pemeran utama. Kata kunci: sinetron, seni kitsch, ras, fetisisme
Modifikasi Wayang Topeng Malangan di Padepokan Asmoro Bangun, Kedungmonggo Pakisaji, Malang Arining Wibowo; Aquarini Priyatna; Cece Sobarna
PANGGUNG Vol 29 No 3 (2019): Transformasi Bentuk dan Nilai dalam Seni Budaya Tradisi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v29i3.1009

Abstract

ABSTRACT            This article focuses on the modification of Malangese Mask Puppet, a traditional art that has been developed in Malang, East Java, for long time. This research aims to finds out changes in Malangese Mask Puppet in order to maintain the existence of the art in this era, by which popular culture dominated. The article is written to answer questions, first, how do modifications of Malangese Mask Puppet were done both in performance and crafting aspects, and second, how do the modifications influence the fuction of Malangese Mask Wayang. The research uses a qualitative method with interview, observation, and document analysis as data collection technique. The data analysis is conducted through triangulation technique. The results are that modification is conducted by simplifying and beautifying the form of some elements such as clothes, accessories, and the material of mask crafting. Meanwhile, the modification of ideas are implemented through the changing of some traditional patterns, such as shortening the duration of performance, creating the new rule to involve women and kids as an active artist of Malangese Mask Wayang. The modification of Malangese Mask Wayang influences the function and role of the art as a commodity or product.   Keywords: Modification, Malangese Mask Wayang, Asmoro Bangun Art Center ABSTRAK            Artikel ini membahas perubahan atau modifikasi pada kesenian tradisional Wayang Topeng Malangan yang telah lama berkembang di kota Malang, Jawa Timur. Penelitian ini bertujuan untuk mengetahui perubahan yang terjadi pada Wayang Topeng Malangan yang dilakukan oleh seniman dalam mempertahankan kesenian tersebut pada masa sekarang, yang cenderung didominasi oleh budaya pop. Artikel ini ditulis untuk menjawab beberapa rumusan masalah, yaitu pertama, bagaimana modifikasi Wayang Topeng Malangan dilakukan pada unsur pertunjukan dan kerajinan topeng, dan kedua adalah bagaimana modifikasi tersebut memengaruhi peran dan fungsi kesenian Wayang Topeng Malangan saat ini. Penelitian ini menggunakan metode kualitatif dengan wawancara, observasi dan studi dokumen sebagai teknik pengumpulan data. Data dianalisis menggunakan teknik triangulasi. Hasil penelitian menunjukkan bahwa modifikasi bentuk pertunjukan dan kerajinan topeng dilakukan dengan menyederhanakan dan mempercantik bentuk busana dan ragam hiasan, mengubah material dan proses pembuatan topeng. Sedangkan modifikasi gagasan terimplementasikan pada perubahan pakem (aturan tradisi), seperti mempersingkat waktu pergelaran dan memberikan aturan baru keterlibatan perempuan dalam kesenian Wayang Topeng Malangan.  Modifikasi bentuk pertunjukan dan kerajinan topeng serta gagasan berkaitan dengan Wayang Topeng Malangan memengaruhi peran dan fungsi Wayang Topeng Malangan, yang tidak sekedar sebagai seni, namun juga sebuah komoditas (produk). Kata Kunci: Modifikasi, Wayang Topeng Malangan, Padepokan Asmoro Bangun
SPEAKING BODIES, VISIBLE VOICES: NARRATIVE TENSION IN COPPOLA’S APOCALYPSE NOW: REDUX (2001) Mori, Alifa Syauqina; Priyatna, Aquarini; Adipurwawidjana, Ari J
Lire Journal (Journal of Linguistics and Literature) Vol. 8 No. 2 (2024): Lire Journal (Journal of Linguistics and Literature)
Publisher : Elite Laboratory Jurusan Sastra Inggris Universitas Bangka Belitung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33019/lire.v8i2.315

Abstract

Francis Ford Coppola’s Apocalypse Now: Redux (2001), a 2001 re-release of his 1979 Vietnam War epic, sparked significant discussions among both academic scholars and mainstream media. The extended version, which features almost an hour-long addition of new scenes, challenged the question of the film’s continued relevance within the evolving Hollywood industry. While the original version may have highlighted the horror and dehumanization of the Vietnam War, it was also criticized for depicting women as one-dimensional sexual objects and effectively silencing their voices. However, by utilizing Verstraten’s notion of filmic narrative, Mulvey’s visual pleasure, and Stark’s narrative voicelessness, this research aims to show how narrative tension is displayed in Apocalypse Now: Redux and how it highlights the representation of the female characters’ subjectivity. We argue that the Redux version offers a notable difference from the stereotypical portrayal of women in war film. By incorporating the newly added scenes, Apocalypse Now: Redux provides the female characters with more agency and individuality, allowing them to move beyond the limitation of being mere decorations.
REPRESENTASI GENDER DALAM PORTRAIT KELUARGA: KAJIANVISUAL PADA MEDIA SOSIAL FACEBOOK Mecca, Ali; Priyatna, Aquarini; Mulyadi, R.M
Capture : Jurnal Seni Media Rekam Vol. 7 No. 2 (2016)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (966.008 KB) | DOI: 10.33153/capture.v7i2.1691

Abstract

Family portraits represent gender ideology of a family,and even more widely or asocio-culturally construct society.Family portraits are usually saved and displayed in aconcrete space, on the media wall of a living room, or a family room. Advances intechnology information, bearing new space called the virtual space or cyberspace,havemade it possible for family portraits be displayed in the cyberspace. The researchexplains how gender constructions is displayed through the representation of the familyportraits.This research uses qualitative methods and semiotic approach for its analysis.The results show that gender ideology,normative values,and heteronormativity in thefamily portrait are represented by the position, gestures, clothing, photography, andphotographic composition (aesthetics).Furthermore,is also shown that cyberspace hasbecome a space that manifests gender ideology as well contributes to the familyconstruction. Family portraits do not always display the representation of normativegender roles,but also a family portrait can negotiate with the values that are considerednon-normative ideology.Keywords : Family portrait, representation, and gender
KONSTRUKSI GENDER LAKI-LAKI HOMOSEKSUAL DALAM SERIAL TELEVISI QUEER AS FOLK Primiani, Nurrahma; Zakaria, Mumuh Muhsin; Priyatna, Aquarini
Capture : Jurnal Seni Media Rekam Vol. 9 No. 1 (2017)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (780.184 KB) | DOI: 10.33153/capture.v9i1.2055

Abstract

This study entitled “Gender Construction on Homosexual Men in Television Series ‘Queer as Folk’” investigates how gender on homosexual men is portrayed and constructed in various scenes and dialogues depicted in the television series. By taking the discourse of [homo]sexual practice and fashion, homosexual men are shown to have different gender roles on each occasion. It is performed by them to survive, both in their homosexual community and in [hetero]normative neighborhood. This article argues that homosexual men at the same time are shown to perform by following two different standards. The data used in this study are textual and visual data (screenshots) captured from the series. After analyzing the data, this study finds non-normative gender views performed by homosexual men which tied and related to [hetero]normative gender roles.Key words: Homosexual, gender, heteronormativity, and Queer As Folk
THE IMAGE OF PRESIDENT CANDIDATE JOKO WIDODO IN CAMPAIGN ADVERTISEMENT IN THE PRESIDENT ELECTION 2019 Ridwan, Muhammad Fauzi; Priyatna, Aquarini; Meilinawati, Lina
Capture : Jurnal Seni Media Rekam Vol. 11 No. 2 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i2.2706

Abstract

This research focuses on Joko Widodo's and KH Maruf Amin's campaign in the 2019 presidential election. The purpose of this study is to find out how Joko Widodo imaged himself in his political campaign adverts, and how ideas and meanings are articulated in political advertisements. The study uses a descriptive qualitative research with Roland Barthes's Semiotic analysis approach. The results showed that Joko Widodo was represented as a simple leader, populist, and close to a low society, and could bring Indonesia forward and prosper through some of his programs are Kartu Prakerja or the Pre-Employment Card, Kartu Indonesia Pintar Kuliah or Indonesia Smart College Card, and Kartu Sembako Murah or Cheap Basic Food Cards.
ALIENATED FEMALE ANGLO-IRISH YOUTH IN ELIZABETH BOWEN’S THE LAST SEPTEMBER Nita, Ida Ayu Eka Vania Cahya; Priyatna, Aquarini; Adipurwawidjana, Ari Jogaiswara
Metahumaniora Vol 15, No 1 (2025): METAHUMANIORA, APRIL 2025
Publisher : Universitas Padjadjaran

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24198/metahumaniora.v15i1.60769

Abstract

Elizabeth Bowen’s The Last September (1929), a novel about an Anglo-Irish gentry family in Danielstown, Cork in the middle of the war for Irish independence from England, portrays the fate of the youths of the Anglo-Irish. By referring to Warhol’s feminist narratological approach, this research aims to display the portrayal of Lois Farquar’s as a representation of a female member of the Anglo-Irish society. The Last September, as a modernist novel, portrays Lois’s gendered experience through actions, dialogue and narrations. Lois Farquar, teenage protagonist of the novel, is depicted to be grappling with her own struggle with self-realization and the expectations set by her Anglo-Irish family. Lois’s struggle with her identity is, in part, a consequence of the repression and alienation she and fellow members of the Anglo-Irish society experience, stunting the development of Lois’s identity and agency. Thus, we propose that the novel, with its modernist narrative that centers around female Anglo-Irish interiority, presents Lois, and the youths of the Anglo-Irish, as aliens frozen in time, lacking the ability to inherit their legacy or undergo transformation.
SUBJEKTIVITAS PEREMPUAN DALAM HAIR JEWELLERY KARYA MARGARET ATWOOD DAN THE BLUSH KARYA ELIZABETH TAYLOR/FEMALE SUBJECTIVITY IN TWO SHORT STORIES BY MARGARET ATWOOD AND ELIZABETH TAYLOR Aquarini Priyatna; Rasus Budhyono
Aksara Vol 32, No 2 (2020): AKSARA, Edisi Desember 2020
Publisher : Balai Bahasa Provinsi Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29255/aksara.v32i2.421.191-208

Abstract

Abstrak Artikel ini membahas dua cerita pendek, yakni Hair Jewellery karya Margaret Atwood dan The Blush karya Elizabeth Taylor. Kedua cerpen menunjukkan bagaimana tokoh perempuan menegosiasi dan mengupayakan subjektivitasnya dalam suatu konteks kultural dan sosial tertentu. Penelitian ini bertujuan untuk menunjukkan bagaimana subjektivitas perempuan ditampilkan melalui deskripsi fisik tokoh utama, perilaku serta pandangan tokoh tersebut terhadap dirinya, serta bagaimana tokoh mempersepsi tubuh dalam membentuk subjektivitasnya di dalam konteks budaya yang berkelindan. Dengan berfokus pada isu tubuh dan penubuhan para tokoh perempuan, isu kelas, relasi personal para tokoh perempuan, serta bagaimana mereka melakukan perlintasan yang terus-menerus antara ranah domestik dan publik, artikel ini berargumentasi bahwa kedua cerpen menampilkan tokoh perempuan yang berusaha merangkul dan membangun subjektivitas perempuan yang feminin dan feminis. Kedua cerpen menampilkan berbagai bentuk subjektivitas yang tidak ajek dan senantiasa berproses. Subjektivitas juga digambarkan berimplikasi kepatuhan, penolakan, dan transgresi terhadap norma gender. Kata kunci: cerpen, perempuan, subjektivitas, Elizabeth Taylor, Margaret Atwood Abstract This article examines two short stories, namely Hair Jewellery by Margaret Atwood and The Blush by Elizabeth Taylor. The two stories show how the female characters negotiate and develop their subjectivities within a certain cultural and social context. The article aims to elaborate on how woman’s subjectivity is presented through the physical descriptions of the main characters, their attitude and behavior toward themselves, and how their perception of how their body contributes to the formation of their subjectivity within a cultural and social context. By focusing on the issues of woman’s body and embodiment, the female characters’ personal relations, and the continuous traversion between domestic and public spheres, the article argues that both stories present women who strive to embrace and develop feminine and feminist woman’s subjectivity. Both stories present a varied forms of subjectivity, all of which is not fixed and is always in-process. Subjectivity is also portrayed to imply different degrees of acceptance, rejection, and transgression of gender norms. Keywords: short stories, women, subjectivity, Elizabeth Taylor, Margaret Atwood 
DAMAR KAMBANG: RESISTANSI PEREMPUAN MADURA ATAS BUDAYA NORMATIF Hermawati, Diyana Mareta; Priyatna, Aquarini; Saleha, Amaliatun
Fon : Jurnal Pendidikan Bahasa dan Sastra Indonesia Vol 20 No 1 (2024): Fon: Jurnal Pendidikan Bahasa dan Sastra Indonesia
Publisher : Program Studi Pendidikan Bahasa dan Sastra Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25134/fon.v20i1.8888

Abstract

ABSTRAK: Tulisan ini mendiskusikan perempuan Madura dalam novel Damar Kambang karya Muna Masyari, penulis asal Madura, yang melakukan perlawanan atas budaya normatif. Muna Masyari dikenalsebagai penulis Madura dengan karakteristik karya yang mengangkat budaya Madura. Dalam novel Damar Kambang, Muna Masyari menarasikan tiga perempuan dengan sudut pandang “aku” narator perempuan dalam pergulatan pernikahan. Metode close reading dengan teknik membaca dan mencatat digunakan untuk mengurai permasalahan penelitian. Data yang dikumpulkan berfokus pada sudut pandang “aku” narator perempuan, keterkaitan tokoh, peristiwa, dan alur yang menunjukkan bahwa novel Damar Kambang menempatkan perempuan Madura tidak sebagai objek. Perempuan Madura dalam institusi pernikahan pada novel Damar Kambang secara berulang ditampilkan mempertanyakan dan menunjukkan diri sebagai subjek. Protes terhadap norma mengenai peran dan identitas perempuan Madura serta tengka (tatakrama Madura) ditampilkan melalui penggambaran karakter perempuan yang memutuskan melakukan hubungan seksual di luar pernikahan, dominasi hubungan seksual dalam pernikahan terhadap laki-laki, dan penyerahan diri pada laki-laki yang tidak dicintai sebagai bentuk pelunas utang.KATA KUNCI: Damar Kambang; gender; perempuan Madura; resistansi DAMAR KAMBANG: MADURESE WOMEN’S RESISTANCE TO NORMATIVE CULTURE ABSTRACT: This article discusses Madurese women in the Damar Kambang novel by Muna Masyari, a writer from Madura, who fights against normative culture. Muna Masyari is known as a Madurese writer with works highlighting Madurese culture. In the Damar Kambang novel, Muna Masyari narrates three women from the perspective of the female narrator’s “I” in their marriage struggles. The close reading method and note-taking techniques are used to analyze the issues in the novel. The data collected focuses on the female narrators “I” point of view, the relationship between characters, events, and plot, which shows that Damar Kambang’s novel places Madurese women not as objects. Madurese women in the institution of marriage in the Damar Kambang novel repeatedly display judgment and show themselves as subjects. Protests against Madurese norms for women’s roles and indentity as well as “tengka” (Madurean etiquette) are represented by the portrayal of the characters’ decision to have sexual relations outside of marriage, the dominance of sexual relations within marriage over men, and surrendering herself to a men she doesn’t love as a form of paying off her debt.KEYWORDS: Damar Kambang; gender; Madurese womens; resistance
KONSTRUKSI IBU DALAM SERIAL TELEVISI DRAMA KOREA BIRTHCARE CENTER Amalia, Sira Kamila Dewanti; Priyatna, Aquarini; Rahayu, Lina Meilinawati
PANGGUNG Vol 35 No 2 (2025): Representasi, Transformasi, dan Negosiasi Budaya dalam Media, Seni, dan Ruang So
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v35i2.3910

Abstract

Birthcare Center merupakan serial televisi drama korea yang mendiskusikan beragam tokoh ibu, yakni ibu bekerja, ibu rumah tangga, ibu dengan usia tua, dan ibu dengan usia muda. Para tokoh ibu menarasikan gagasan mengenai peran, identitas, serta ruang bagi ibu. Penelitian ini bertujuan untuk menguraikan cara Birthcare Center mempermasalahkan pengategorian ibu berdasarkan konstruksi ibu normatif dan konstruksi ibu nonnormatif melalui sudut pandang konstruksi gender. Penelitian ini menggunakan teori struktur narasi film dan teori konstruksi ibu. Metode penelitian ini adalah metode interpretatif. Serial televisi drama Korea Birthcare Center menarasikan konstruksi ibu normatif, konstruksi ibu nonnormatif, dan gagasan alternatif dalam konstruksi ibu. Melalui sudut pandang tokoh, Birthcare Center menentang gagasan biner antara standar ibu yang baik dan ibu yang buruk. Birthcare Center menawarkan gagasan alternatif dalam konstruksi ibu yang dapat memberikan kuasa kepada tokoh ibu untuk mengambil keputusan atas dirinya sendiri. Serial televisi ini memberikan ruang bagi ekspresi ibu dengan mengakui adanya perbedaan pengalaman tokoh ibu.
Co-Authors Aceng Abdullah Aceng Abdullah Acep Iwan Saidi Adi Kurniawan Adipurwawidjana, Ari J Adji, Muhammad Ageza, Gorivana Aida Anwariyatul Fuadah Aksa, Yati Amalia, Sira Kamila Dewanti Amaliatun Saleha Anastasia Dewi Wulandari Anastasia Dewi Wulandari Ani Rostiyati Aprilia, Nurul Hanifa Ari J. Adipurwawidjana Ari J. Adipurwawidjana Ari Jogaiswara Adipurwawidjana Arining Wibowo Asep Yusup Hudayat Cece Sobarna Cece Sobarna Dadan Suwarna Dade Mahzumi Dade Mahzumi, Dade Darmawan, Adam Dessyratna Putry Dimas Yudhistira Dimas Yudhistira, Dimas Dzulfikar Al-anbiya Eka Ayu Wahyuni Ekaning Krisnawati Endah Istiqomah Apriliani Ezzah Fathinah Fauziah Ismi Desiana Faza Fauzan Azhima Gian Nova Sudrajat Nur Hanifah Puji Utami Hary Ganjar Budiman Hazbini, Hazbini Heri Isnaini Hermawati, Diyana Mareta Hilda Septriani Ikeh, Tri Sulapmi Dolina Indrawan Dwisetya Suhendi, Indrawan Dwisetya Indriyani Rachman Jordy Satria Widodo Lilis Suryani Lina Meilinawati Rahayu Lina Meilinawati Rahayu Lina Meilinawati Rahayu Lina Meilinawati Rahayu Lina Meilinawati Rahayu, Lina Meilinawati Lina Meilinawati, Lina Luqman, Arief Mecca, Ali Mega Subekti Mia Dwianna Widyaningtyas Mori, Alifa Syauqina Muhamad Adji Muhtadin, Teddi Mulyadi, R.M Mumuh Muhsin Zakaria Nisa'ul Fithri Mardani Shihab Nita, Ida Ayu Eka Vania Cahya Novia Nurul Ulfah Nurhayati, Nita Nurullah, Maria Fiducia Permata, Denti Primiani, Nurrahma Probowati, Andarini Rani R. M. Mulyadi R. M. Mulyadi R.M. Mulyadi R.M. Mulyadi Raden Mohamad Herdian Bhakti Raden Muhammad Mulyadi Rahayu, Lina Meilinawati Rani, Seni Melia Rasus Budhyono Renti Mahkota Resa Restu Pauji Ridwan, Muhammad Fauzi Rifki Zamzam Mustafa Rifki Zamzam Mustaffa Rikma Dewi, Nenden Rojak, Mohamad Abdul Rosyidah Antoni, Cheryl Desyanti Safrina Noorman, Safrina Sartika Sari Siti Karlinah Sri Rijati Wardiani syukur, andi abd khaliq Teddi Muhtadin Tisna Prabasmoro Tri Sulapmi Dolina Ikeh Wibowo, Arining wibowo, arining Yovela, Stasya Yuris Fahman Zaidan Zhafirah, Faizzah Shabrina