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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Grenek: Jurnal Seni Musik Gorga : Jurnal Seni Rupa JOGED Jurnal Humanitas: Katalisator Perubahan dan Inovator Pendidikan IJCAS (International Journal of Creative and Arts Studies) AL ISHLAH Jurnal Pendidikan Syntax Literate: Jurnal Ilmiah Indonesia Pendas : Jurnah Ilmiah Pendidikan Dasar Jurnal Kreativitas PKM Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Jurnal Desain GETER : Jurnal Seni Drama, Tari dan Musik Journal of Classroom Action Research Community Development Journal: Jurnal Pengabdian Masyarakat Jurnal Syntax Transformation Jurnal Tarbiyatuna : Kajian Pendidikan Islam JESS (Journal of Education on Social Science) Journal of English Language and Education Transformasi dan Inovasi : Jurnal Pengabdian Masyarakat Jurnal Impresi Indonesia Gesture: Jurnal Seni Tari Jurnal Pengabdian Masyarakat Bidang Sosial dan Humaniora Journal of Innovation and Research in Primary Education Terob : Jurnal Pengkajian dan Penciptaan Seni Jurnal Pengabdian Masyarakat Bangsa Prosiding Seminar Nasional Pascasarjana Riwayat: Educational Journal of History and Humanities Majority Science Journal Arty: Jurnal Seni Rupa Gayatri : Jurnal Pengabdian Seni dan Budaya

INDAR SABRI

Universitas Negeri Surabaya

Author-ID : 367576

Religion Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Energy Environmental Science Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Medicine & Pharmacology Nursing Physics Public Health Social Sciences Other

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JEMEK SUPARDI: BERPOLITIK MELALUI KARYA PANTOMIM indar sabri; Muhammad Jazuli; Totok Sumaryanto; Autar Abdillah
GETER : Jurnal Seni Drama, Tari dan Musik Vol 2 No 1 (2019)
Publisher : Jurusan Sendratasik FBS Unesa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v2n1.p46-54

Keterlibatan seniman di dunia politik sebagai legislatif sejak era reformasi di Republik Indonesia kian marak. Keberadaan seniman dianggap representatif sebagai salah satu perwakilan dari masyarakat oleh partai politik, keterlibatan seniman dalam dunia politik peraktis terkadang menimbulkan berbagai pertanyaan tentang kesenimannya itu sendiri. œSeni yang terlibatdapat diartikan sebagai seni yang memiliki garis lurus yang tegas antara karya dan laku atau menciptakan karya yang bertema politik, sedangkan kehidupan peraktis sehari-hari seniman justru apolitis. Jemek Supardi merupakan salah satu seniman yang banyak menciptakan karya-karya bertemakan politik namun tidak terjun dalam dunia politik praktis. Teknik pengumpulan data dengan studi pustaka, dokumen dan wawancara yang dipaparkan secara diskriptif. hasil yang didapat adalah sejak Indonesia memasuki era reformasi 1997 hingga saat ini, Jemek Supardi banyak menciptakan karya-karya yang bertemakan politik.Kata kunci : Jemek Supardi, Pantomim, Politik

IMPROVISASI TEATER: MATERI KESIAPAN AKTOR indar sabri; autar abdillah; arif hidajad; Welly Suryandoko
GETER : Jurnal Seni Drama, Tari dan Musik Vol 4 No 2 (2021): Oktober 2021
Publisher : Jurusan Sendratasik FBS Unesa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v4n2.p1-14

Teater modern merupakan jenis teater yang tumbuh dan berkembang di tengah keramaian kota dengan adanya pengaruh dari teori Barat. Cerita yang dipentaskan bersumber dari sebuah karya sastra atau peristiwa sehari-hari. Dewasa ini teater modern sedang aktif berinovasi dalam pertunjukannya karena sadar akan adanya kekurangan dalam pertunjukannya. improvisasi dalam metode pelatihan keaktoran yang dilakukan pada proses pelatihan adalah salah satu kekurangan teate modern sehingga membutuhkannya dalam metode pealtihannya. Sejak awal kemunculannya, teater tradisional Indonesia menggunakan teknik improvisasi. Dalam berimprovisasi, pemain berpedoman pada cerita yang sederhana dan mengembangkan menjadi sebuah pertunjukan. Ludruk adalah salah satu bentuk pertunjukan teater tradisional yang meggunakan metode improvisasi didalamnya. Metode pelatihan Ludruk ada empat yaitu nyebeng, sepelam, tedean dan ngelmu. Metode-metode tersebutlah yang digunakan oleh seorang sutradara ludruk untuk berproses dan latihan dalam sebuah pertunjukan Ludruk. Penelitian ini menggunakan metode kualitatif. Pendekatan penelitian yang digunakan dalam penelitian ini adalah fenomenologi. Studi fenomenologi adalah studi yang berupaya mendeskripsikan pemaknaan umum dari sejumlah individu terhadap berbagai pengalaman hidup mereka terkait dengan konsep atau fenomena. Sedangkan tujuan utama dari fenomenologi adalah untuk mereduksi pengalaman individu pada fenomena menjadi deskripsi tentang esensi atau makna universal. Hasil penelitian menunjukan sebagai berikut. Ludruk dengan teknik bermain secara improvisasi merupakan teknik yang dipelajari melalui pengalaman ketika pementasan berlangsung dan ketika sedang berlatih dengan metodenya. Metode pelatihan ludruk ada empat kalsifikasinya nyebeng, sepelan, tedean dan ngelmu. Secara tidak langsung menggunakan improvisasi di dalamnya. Kata Kunci: Teater modern, Ludruk, Improvisasi, Pelatihan Ludruk

Making Promotional Media through YouTube at the Bantengan Turangga Jaya Art Group, Wiyu Village, Pacet District, Mojokerto Regency Indar Sabri; Koko Hari Pramono; Mujib Alfirdaus
Terob : Jurnal Pengkajian dan Penciptaan Seni Vol. 13 No. 1 (2022): October
Publisher : Sekolah Tinggi Kesenian Wilwatikta Surabaya

The Wiyu village's traditional arts have not developed or made much progress in the last two years since the outbreak began. As one of the reinforcements of the village, this traditional art must be revived so that the tourist village can be re-run with more varied programs. For instance, in the form of incentive tourism locations where the village potential is fully developed to support the success of the existing tourist destinations. One of the bantengan arts groups that requires special attention in order to compete is Turangga Jaya, which is located in Wiyu Village, Pacet Subdistrict, and Mojokerto Regency. In this case, researchers packaged the performances for welcoming and also created a Youtube channel as a means of promotion and documentation to increase marketing success. It is necessary to use promotional materials as part of a marketing strategy to connect with art enthusiasts so that the younger generation knows about it. This art will have viewers among the younger generation if it can use social media as a promotional tool. Thus, to assist the survival of the Turangga Jaya bantengan art, this community service strategy was implemented.

SANDUR ANTARA TONTONAN DAN TUNTUNAN Arif Hidajad; Autar Abdillah; Indar Sabri; Welly Suryandoko
GETER : Jurnal Seni Drama, Tari dan Musik Vol 5 No 2 (2022): Oktober 2022
Publisher : Jurusan Sendratasik FBS Unesa

Show Abstract | Download Original | Original Source | Check in Google Scholar

This research tries to express analytically a phenomenon of transformation era with it’s influence and result. The influence relates to value. This new value of selenium can change life of social in structure, and also arranges implementation of public. Artistry of public as stripper public culture product, more or less experiencing friction of either in function and also its existence. This research using sociological theatre tries to analyzes the product existence with modern culture product. Modern idea that producing practical patterned thinking, individualist as a result of system value which transform. The friction is aspect function of from solidarity and emancipation of supporter public to different value. Artistry existence of public as social institute sub hardly determines continuous tradition of the past. Ledok Kulon as a outskirts of course also has arranging value. Influence of television as a product of transformation era of course also brings as result of other in arranging value. Existence of Sandur as public culture product has meaning in transformation era with its globalization. Economic and other social element science of course related to causality generated. Presence of public theatre of Sandur in the middle of public is being experiences friction of the value, be a real interesting study to be expressed. Artistry of public that is full value expressed through phonetic symbol in artistry, returns to emerging and deflecting stays in change to arrange value. Existence of Sandur public theatre is reasoning of importance of value in this transformation era, of course television becomes side effect as media and also as influence to value. Importance function and collective life of public becomes reasoning of this art, in form and also philosophy.

PELATIHAN SENI KARAWITAN DALAM RANGKA PELAYANAN KEPADA LANJUT USIA DI PERSATUAN WREDATAMA REPUBLIK INDONESIA (PWRI) Indar Sabri; Joko Winarko; Trisakti Trisakti; Eko Wahyuni Rahayu; Subiyanto Karoso
Transformasi dan Inovasi : Jurnal Pengabdian Masyarakat Vol 3 No 1 (2023): Vol. 3 No. 1 (2023): Volume 3, Nomor 1, Januari 2023
Publisher : Program Studi S1, S2, S3 Mananajemen Pendidikan Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jpm.v3n1.p35-39

This increase in the number of elderly people does not only occur in every group of people. This is also the case for retirees, who are now members of the United Wredatama Republik Indonesia (PWRI) organization in Tandes District. The fate of retirees often experiences boredom towards monotonous organizational turmoil and adds to the burden of suffering for them in enjoying old age. So there is a need for activities that can be used as a spirit in living a quality life. The Wredatama Association of the Republic of Indonesia (PWRI) Tandes District has a special policy to provide quality services and uphold the dignity and dignity of the elderly, especially for retirees. One of the impacts of the success of social services is to influence the increase in life expectancy for retirees in the city of Surabaya. Most of the residents in the Persatuan Wredatama Republik Indonesia (PWRI) Kecataman Tandes have a desire to be able to carry out artistic activities as a generator of enthusiasm and at the same time entertaining interactions with fellow residents. Departing from this, the Community Service team of the Department of Ballet, Faculty of Language and Arts, Surabaya State University worked together with the Wredatama Association of the Republic of Indonesia (PWRI) Tandes District to conduct an art training program focused on the type of karawitan art. The activity of presenting karawitan, both tembang and gending music, can entertain and raise the spirit for a quality life.

JEMEK SUPARDI, MIME ARTIST INDONESIA (A Study of Life History) Indar Sabri; Muhammad Jazuli; Totok Sumaryanto; Autar Abdillah
Humanus: Jurnal Ilmiah Ilmu-ilmu Humaniora Vol 18, No 1 (2019)
Publisher : Pusat Kajian Humaniora FBS Universitas Negeri Padang

This study aims to examine the biography of pantomime figures named Jemek Supardi, who is known as the maestro of Indonesian pantomime, which includes: life history, way of thinking and his roles in developing pantomime in Indonesia. This study uses biographical theory, by telling the life of a character. This study also uses some supporting theories: life history theory, creativity theory, and role theory. This research is a qualitative research with a biographical study approach to describe the history of one's life (life history). Data collection techniques are carried out by observation, interviews and documentation. Jemek Supardi Supardi's research as subject of study. Data analysis by arranging, sorting, categorizing and grouping the results of observations, interviews, and documentation studies that have been collected. Data analysis is process by reducing the data become a logical and systematic the description. The results and the discussions from The Background of Jemek Supardi Life History is a tenacious person who dares to try new things. Flowing movement is the initial capital in practicing pantomime. His family and environment made Jemek Supardi confident in his abilities. Emotional memories, internal press creativity and external press creativity were the foundation thinking of Jemek Supardi. Jemek Supardiworks as an artist and resource person is a manifestation of his role in the existence of mime in Indonesia.Keywords: Jemek Supardi, Pantomime, Life History.JEMEK SUPARDI, MIME ARTIST INDONESIA (Sebuah Kajian Sejarah Hidup)Penelitian ini bertujuan mengkaji biografi tokoh pantomime bernama Jemek Supardi yang dikenal sebagai maestro pantomim Indonesia, yang meliputi: sejarah hidup, pemikiran dan peran dalam mengembangkan pantomim di Indonesia. Penelitian ini menggunakan teori biografikal yaitu penceritaan tentang kehidupan tokoh. Penelitian ini juga menggunakan teori pendukung yaitu: teori sejarah hidup, teori kreativitas, teori peran. Penelitian ini merupakan penelitian kualitatif dengan pendekatan studi biografikal untuk memaparkan tentang sejarah hidup seseorang (life history). Teknik pengumpulan data dilakukan dengan cara observasi, wawancara dan dokumentasi. Subjek penelitian Jemek Supardi. Analisis data dengan cara mengatur, mengurutkan, mengkategorikan serta mengelompokkan hasil observasi, wawancara, dan studi dokumentasi yang telah terkumpul. Analisis data dengan mereduksi kumpulan data menjadi perwujudandeskripsi yang logis dan sistematis. Hasil dan pembahasan Latar belakang Sejarah Hidup Jemek Supardi merupakan peribadi yang ulet dan berani mencoba hal baru. Gerakan mengalir adalah modal awal dalam berlatih pantomim. Keluarga dan lingkungannya membuat Jemek Supardi yakin dengan kemampuannya. Ingatan emosi, kreativitas internal press dan kreativitas external press menjadi landasan pola piker Jemek Supardi. Jemek Supardi berkarya sebagai seorang seniman dan narasumber merupakan wujud peranya dalam eksistensi pantomim di Indonesia.Kata Kunci: Jemek Supardi Supardi, Pantomim, Life History.

Aesthetic Experience in Theatre in Non-Formal Education: a Review of Creativity Theory Syina Dalila; Setyo Yanuartuti; Indar Sabri
Jurnal Kreativitas Pengabdian Kepada Masyarakat (PKM) Vol 6, No 7 (2023): Volume 6 No 7 2023
Publisher : Universitas Malahayati Lampung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33024/jkpm.v6i7.10002

ABSTRACT Failure to foster creativity in learners from an early age will complicate their development at the next age level. This failure can occur due to misconceptions that art teaching should be oriented towards the process and aesthetic experience of learners, but also leads to the demand to become proficient in certain areas of art. An interesting phenomenon is found in the case of non-formal education which is more flexible in managing learning. This study focuses on the review of creativity theory on aesthetic experience in theater distribution in non-formal education. This study aims to find patterns of creation in students in theater learning and the role of educators in providing aesthetic experiences of students through theater learning. Aesthetic experiences in learners are essential to provide in order to achieve meaningful learning. This study uses a qualitative approach to obtain a comprehensive picture of the subject matter, with techniques of collecting data on interviews, observations, and documentation about theater learning in the Banyuwangi Courtyard Theater community. By applying the approach of Miles and Huberman, data analysis techniques are carried out to bring up facts that can provide a more specific view of the phenomenon discussed. Activities in qualitative data analysis are carried out interactively and take place continuously until complete. As a result, the pattern of creation in students in theater learning is a spontaneous response they get in a fun learning. While the role of educators in providing aesthetic experiences to students through theater learning is by fostering student creativity through a psychic approach and recognizing their potential and weaknesses. After educators understand the character of students, then educators can develop appropriate learning strategies, methods, and theories to create a meaningful learning process for maximum outcomes. Keywords: Aesthetic Experience, Theatre, Learning, Creativity, Non-formal Education

Ritual Pange Manuk Sebagai Dasar Pendidikan Karakter di Suku Walan Maria Prisilya Purnamalon; Indar Sabrib; Autar Abdullah
Journal of Classroom Action Research Vol. 5 No. SpecialIssue (2023): Mei
Publisher : Program Studi Magister Pendidikan IPA, Universitas Mataram

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29303/jcar.v5iSpecialIssue.4089

Pange Manuk is a community ritual in Manggarai, East Nusa Tenggara Province. The purpose of this ritual is to pray or invoke the ancestral spirits or the universe through an animal intermediary, such as a rooster. The Pange Manuk ritual is held for every experience or event in human life: birth, social life, education, agriculture, health and death. This study aims to analyze the values of character education in the Pange Manuk ritual. The results found through this research indicate that the ritual contains tangible and intangible local wisdom values. In addition, this ritual also contains moral values that should be learned and preserved as a basis for behavior for future generations. This proves that character education taught in schools must start from the family. To preserve this ritual, the education system must be based on local wisdom values. The method used in this study is qualitative by linking ethnographic data. This article can be a source of learning for the community

Model Pembelajaran Tari dalam Program “Belajar Bersama Maestro” untuk Meningkatkan Kreativitas Siswa Mellany Octa Salsabila Sugiarto; Setyo Yanuartuti; Indar Sabri
Jurnal Kreativitas Pengabdian Kepada Masyarakat (PKM) Vol 6, No 7 (2023): Volume 6 No 7 2023
Publisher : Universitas Malahayati Lampung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33024/jkpm.v6i7.10337

ABSTRAK Belajar Bersama Maestro merupakan sebuah program pembelajaran yang memberikan kesempatan kepada siswa untuk belajar secara langsung dari maestro atau seseorang yang memiliki kompetensi di bidang seni. Program ini memungkinkan siswa untuk terlibat dalam proses pembelajaran secara kreatif. Tujuan penelitian ini untuk memaparkan model pembelajaran tari dan kreativitas siswa dalam program Belajar Bersama Maestro. Metode yang digunakan deskriptif kualitatif dengan sumber data diperoleh dari ibu Retno Maruti dan siswa yang mengikuti program tersebut. Analisis data menggunakan pengumpulan data, pengelompokan data dan pemeriksaan keabsahan data. Hasil penelitian menunjukkan bahwa model pembelajaran menggunakan ekspositori dan berbasis proyek untuk mencapai hasil yang optimal. Dalam menggunakan model pembelajaran ekspositori, siswa belajar gerakan dasar tari Rantaya dan tari Kumolo Bumi dengan cara yang sistematis dan terstruktur. Maestro sebagai instruktur menyampaikan materi dengan jelas dan bertahap kepada siswa. Sementara itu, model pembelajaran berbasis proyek diimplementasikan melalui pementasan akhir program. Pementasan ini melibatkan penggunaan materi yang telah diajarkan oleh maestro, serta penampilan tarian daerah masing-masing siswa. Model pembelajaran ini berhasil mendorong kreativitas siswa untuk tetap mengapresiasi seni. Bukti keberhasilannya terlihat dari statistik peserta program Belajar Bersama Maestro, 30% siswa memilih melanjutkan pendidikan tinggi di bidang seni, 20% siswa tetap aktif dalam kegiatan seni setelah program berakhir, dan 50% siswa terus mengapresiasi dan menikmati seni. Program Belajar Bersama Maestro mampu memotivasi siswa untuk melanjutkan pendidikan dalam bidang seni, tetap terlibat secara aktif dalam kegiatan seni, atau menjadi penggemar seni yang menghargai karya-karya seni. Kata Kunci: Model Pembelajaran, Tari, Belajar Bersama Maestro, Kreativitas ABSTRACT Belajar Bersama Maestro is an educational program that provides students with the opportunity to learn directly from maestros or individuals who are competent in the field of arts. This program enables students to engage in the learning process creatively. The purpose of this research is to describe the dance learning model and the creativity of students in the Belajar Bersama Maestro program. The research method used is qualitative descriptive with data sources obtained from Ms. Retno Maruti and the students participating in the program. Data analysis involves data collection, data grouping, and data validity checking. The research findings show that the learning model utilizes both expository and project-based approaches to achieve optimal results. In the expository learning model, students learn the basic movements of Rantaya and Kumolo Bumi dances in a systematic and structured manner. The maestro, as the instructor, delivers the material clearly and gradually to the students. On the other hand, the project-based learning model is implemented through the final performance of the program. This performance involves the utilization of the material taught by the maestro, as well as the presentation of regional dances by the students. This learning model successfully stimulates students' creativity and encourages them to appreciate art. The success of the program is evident in the statistics of Belajar Bersama Maestro participants: 30% of students choose to pursue higher education in the field of arts, 20% remain actively involved in artistic activities after the program ends, and 50% continue to appreciate and enjoy art. The Belajar Bersama Maestro program motivates students to pursue education in the arts, actively engage in artistic activities, or become art enthusiasts who appreciate artistic works. Keywords: Learning Model, Dance, Belajar Bersama Maestro, Creativity

Problematika Kreativitas Anak Usia 5-6 Tahun dalam Kegiatan Menggambar Bebas Tika Awalini; Setyo Yanuartuti; Indar Sabri
Syntax Literate Jurnal Ilmiah Indonesia
Publisher : Syntax Corporation

The purpose of writing this article is to examine the problems that affect the creativity of children aged 5-6 years in drawing activities. This topic is important because children's creativity in drawing needs to be nurtured from an early age as a provision for them to be able to think critically and creatively when attending the next level of education. Many educators or parents do not understand the importance of drawing activities for children so that this activity is underestimated. Whereas through free drawing activities it can be seen that children have creative abilities which can be seen from how children express their ideas or imagination naturally without getting pressure from outside. The research conducted was library research using primary and secondary data sources, with data collection techniques: literature. Writing this article concludes that there are problems caused by two factors, namely internal and external factors that affect children's creativity in free drawing. On the internal factor there is the readiness of the child in learning and the introduction of tools, materials, media and free drawing techniques. While the external factors are factors that come from parents, the school environment, and also the social environment including the provision of motivation, creativity support facilities, and opportunities for exploration given to children

Co-Authors Abdillah , Autar Agista, Yoga Adhi Agista, Yogha Adhi Alhaqqi, Soumi Aulia Alif Sukma Muclisin Anbie Haldini Muhammad Anggraini, Estu Candra Anik Juwariyah Anik Juwariyah Anisaluh, Anisaluh_1999 Arif Hidajad AUTAR ABDILLAH Autar Abdillah Autar Abdillah Autar Abdillah Autar Abdillah Autar Abdullah Basri, Syaiful Qadar Cindy Wahyuningsih Cristina Handayani Damayanti, Dwi Yuningtyas Devi Anggraini Didik Nurhadi Dimas Bagus Setiyawan Dinata, Riki Rahmat Djatirambudi, Djuli Djuli Djatiprambudi Eko Wahyuni Rahayu Eko Wahyuni Rahayu Eko Wahyuni Rahayu Estu Candra Anggraini Faradila, Nita Dian Gemilang, Victor Bintang Hari Pramono, Koko HENDRATNO Indyana, Luth Istiq'faroh, Nurul jamila, roro Joko Saputra, Joko Joko Winarko Juwairiyah, Anik Karoso, Subiyanto Khairul Fahmi Kusuma, Rizqi Fajar Kusuma, Rizqi Fajar Larashati, Bunga Widiya Mahendra, Andika Agustino Wella Maria Prisilya Purnamalon MARTADI Martadi, Martadi Martadi, Martadi Mellany Octa Salsabila Sugiarto Meta Liana MOH MUJIB ALFIRDAUS Muhammad Jazuli Muhammad Jazuli Niken Ayu Permata Nita Dian Faradila Nugraha, Testa Adi Oktaviani, Nur Azizah Paramacitha, Ni Luh N. Jeylita Pratiwi, Sekti Rahayu, Eko Wahyuni Sadhana, Senyum Salman Alfarisi Sani, Muhammad Budi Zaki Sekti, Retnayu Prasetyanti Setyawan, Katon Galih Setyo Yanuartuti Setyo Yanuartuti Setyo Yanuartuti SETYO YANUARTUTI Shofi Sotya Sinarawatti Siswati Siswati Siti Khoiriyah Subiyanto Karoso Sumarsono, Sony Supeni Saputri Supratno, Haris Suryandoko, Welly Suwarjiya, Suwarjiya Suyandoko, Welly Syaiful Qadar Basri Syina Dalila Tegar, Emil Tika Awalini Totok Sumaryanto Totok Sumaryanto Totok Sumaryanto F Tri Laksono, Yunanto Trisakti Trisakti , Trisakti Trisakti Trisakti Trisakti Trisakti Tutur Jatmiko ULIL AMRI, DEVA Warih Handayaningrum WELLY SURYANDOKO Welly Suryandoko WELLY SURYANDOKO Welly Suryandoko Wicaksono, Bayu Aji Windarti, Wiwik Wulandari, Reny Catur Yanuartati, Setyo Yuwana, Setya

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