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All Journal Gorga : Jurnal Seni Rupa Bercadik E-Dimas: Jurnal Pengabdian kepada Masyarakat Panggung Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Pendas : Jurnah Ilmiah Pendidikan Dasar Batoboh : Jurnal Pengabdian Pada Masyarakat Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Besaung : Jurnal Seni Desain dan Budaya PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT PROPORSI : Jurnal Desain, Multimedia dan Industri Kreatif Jurnal Abdidas Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences Ranah Seni: Jurnal Seni dan Desain Melayu Arts and Performance Journal ARTCHIVE: Indonesia Journal of Visual Art and Design Bercadik: Jurnal Pengkajian dan Penciptaan Seni Paradigma: Jurnal Kajian Budaya VCode Cinelook: Journal of Film, Television, and New Media SPACEPRO Eduscape: Journal of Education Insight International Journal Multidisciplinary Journal of Social Science Panggung Journal of Learning on History and Social Sciences Journal of Higher Education and Academic Advancement
Rosta Minawati
Institut Seni Indonesia Padang Panjang
Religion Arts Humanities Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Medicine & Pharmacology Physics Public Health Social Sciences Other

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optimalisasi akting Danala melalui gestur pada film fiksi A Lonely Beauty Aulia, Rani; Minawati, Rosta
Cinelook: Journal of Film, Television, and New Media Vol 2, No 1 (2024): Cinelook: Journal of Film, Television, and New Media
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cl.v2i1.3447

Abstract

Penelitian ini dilatar belakangi oleh adanya kasus intimidasi, melalui karya film fiksi yang berjudul A Lonely Beauty ini bertujuan untuk menyampaikan pesan kepada penonton dampak dari tindakan mengintimidasi dapat mengangu mental seseorang baik secara fisik maupun psikis. Skenario dari film ini yaitu Danala seorang wanita yang mengalami intimidasi oleh lingkungan karena penampilanya. Adanya penerapan metode dalam pengarapan film ini yaitu melalui gestur untuk mengoptimalisasikan akting. Gestur yang dipakai yaitu dari teori Eka D Sitorus yang mengelompokan gestur menjadi 4 yaitu (1) ilustratif (2) indikatif (3) empatik (4) autistik.  Penerapan gestur di film A Lonely Beauty yaitu ada 3 macam (1) empatik (2) autistik (3) indikatif. Hasil dari pemakaian gestur ini dapat menghasilkan film kaya akan pesan dengan mengunakan bahasa tubuh dari pada dialog yang dapat meningkatkan efisiensi durasi.                                                               
PALM BRICK AS A MEDIA FOR MALAY ART: AESTHETIC AND FUNCTIONAL DESIGN OF A BRIDAL GIVING PLACE Solehat, Iis; Minawati, Rosta; Mulyadi
Journal of Social Science Vol. 2 No. 1 (2025): Journal of Social Science
Publisher : PT. Antis International Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.61796/ijss.v2i1.32

Abstract

Objective: This study explores the aesthetic and functional design of bridal gift containers crafted from woven palm fronds, emphasizing their potential to sustain and revitalize Malay cultural heritage. Malay art, rich in philosophical and symbolic meaning, serves as the foundation for this exploration, reflecting the life and traditions of the Malay community. Method: A Research and Development (R&D) approach was employed, beginning with cultural exploration through literature reviews and interviews to identify the values embedded in Malay art. Initial design concepts were developed via sketches and material experimentation. The prototypes were tested with users to evaluate their aesthetic and functional qualities, followed by iterative improvements based on feedback. Results: The study produced a bridal gift container that harmoniously integrates traditional Malay aesthetics with modern design innovations. This product not only enhances the wedding procession but also narrates the cultural richness of the Malay community, particularly in Mekar Sari Village, Maro Sebo Ulu District. Novelty: By utilizing palm fronds as a medium, this research bridges traditional craftsmanship and contemporary design, presenting a sustainable and culturally relevant art form that reinforces Malay identity in a modern context.
Kajian Organologi Pembuatan Alat Musik Tradisi Saluang Darek Berbasis Teknologi Tradisional Ediwar, Ediwar; Minawati, Rosta; Yulika, Febri; Hanefi, Hanefi
PANGGUNG Vol 29 No 2 (2019): Konstruksi Identitas Budaya dalam Seni dan Sastra
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v29i2.905

Abstract

ABSTRACTThe music of Saluang Darek wind instrument is Minangkabau traditional music that uses the musical instrument of aerophone classification (air as the main source of vibration) and the kind of end-blown without-block flutes musical instrument, and this musical instrument is used to accompany Minangkabau songs or dendangs. Saluang Darek is made of bamboo. The best bamboos for making Saluang Darek are (1) Talang bamboo (Schizostachyum brachycladum kurz), (2) Buluah Kasok bamboo (Gingantocholoa apus), (3) Tamiang bamboo (Schizostachyum zollingeri steud), and (4) Cimanak bamboo (Schizostachyum longispiculatum). The production of Saluang Darek musical instrument uses the traditional technology by still maintaining the quality of instrument that's ready to be used for the performing arts particularly in accompanying dendang. The method used in this research was the qualitative method by using the approach of organology study. Data were collected through the library research, observation, interview, and documentation. This study found the importance of the musical instrument study in order to give information for the musicologists' and ethnomusicologists' works, at once conserve the musical culture in West Sumatera.Keywords: Saluang Darek, Organology, Aerophone, Traditional technology ABSTRAKMusik tiup Saluang Darek adalah musik tradisional Minangkabau yang menggunakan alat musik klasifikasi Aerophone (udara sebagai sumber getaran utama) dan alat tiup jenis end-blown without-block flutes digunakan untuk mengiringi nyanyian atau dendang Minangkabau. Alat musik Saluang darek terbuat dari bambu, yang paling baik untuk alat musik Saluang adalah (1) bambu  talang ( Schizostachyum brachycladum kurz), (2) bambu buluah kasok (Gingantocholoa apus), (3) bambu tamiang (scizostachyum zollingeri steud), (4) bambu cimanak (Schizotachyum longispiculatum). Pembuatan alat musik Saluang darek menggunakan teknologi tradisional dengan tetap menjaga kualitas alat yang siap dipakai untuk seni pertunjukan dalam mengiringi dendang. Metode yang dipakai dalam penelitian ini adalah metode kualitatif dengan pendekatan kajian organologi. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Kajian ini mendapati pentingnya   kajian instrumen musik untuk memberikan infomasi dalam pekerjaan musikolog dan etnomusikolog, sekaligus pelestarian budaya musikal di Sumatera Barat. Kata kunci: Saluang darek, Organology, Aerophone, Teknologi tradisional ABSTRACTThe music of Saluang Darek wind instrument is Minangkabau traditional music that uses the musical instrument of aerophone classification (air as the main source of vibration) and the kind of end-blown without-block flutes musical instrument, and this musical instrument is used to accompany Minangkabau songs or dendangs. Saluang Darek is made of bamboo. The best bamboos for making Saluang Darek are (1) Talang bamboo (Schizostachyum brachycladum kurz), (2) Buluah Kasok bamboo (Gingantocholoa apus), (3) Tamiang bamboo (Schizostachyum zollingeri steud), and (4) Cimanak bamboo (Schizostachyum longispiculatum). The production of Saluang Darek musical instrument uses the traditional technology by still maintaining the quality of instrument that's ready to be used for the performing arts particularly in accompanying dendang. The method used in this research was the qualitative method by using the approach of organology study. Data were collected through the library research, observation, interview, and documentation. This study found the importance of the musical instrument study in order to give information for the musicologists' and ethnomusicologists' works, at once conserve the musical culture in West Sumatera.Keywords: Saluang Darek, Organology, Aerophone, Traditional technology ABSTRAKMusik tiup Saluang Darek adalah musik tradisional Minangkabau yang menggunakan alat musik klasifikasi Aerophone (udara sebagai sumber getaran utama) dan alat tiup jenis end-blown without-block flutes digunakan untuk mengiringi nyanyian atau dendang Minangkabau. Alat musik Saluang darek terbuat dari bambu, yang paling baik untuk alat musik Saluang adalah (1) bambu  talang ( Schizostachyum brachycladum kurz), (2) bambu buluah kasok (Gingantocholoa apus), (3) bambu tamiang (scizostachyum zollingeri steud), (4) bambu cimanak (Schizotachyum longispiculatum). Pembuatan alat musik Saluang darek menggunakan teknologi tradisional dengan tetap menjaga kualitas alat yang siap dipakai untuk seni pertunjukan dalam mengiringi dendang. Metode yang dipakai dalam penelitian ini adalah metode kualitatif dengan pendekatan kajian organologi. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Kajian ini mendapati pentingnya   kajian instrumen musik untuk memberikan infomasi dalam pekerjaan musikolog dan etnomusikolog, sekaligus pelestarian budaya musikal di Sumatera Barat. Kata kunci: Saluang darek, Organology, Aerophone, Teknologi tradisional 
Analisis Struktur Pertunjukan Opera Batak Sisingamangaraja XII: Episode Tongtang I Tano Batak Sulaiman, Sulaiman; Minawati, Rosta; Alamo, Enrico; Novalinda, Sherli
PANGGUNG Vol 29 No 2 (2019): Konstruksi Identitas Budaya dalam Seni dan Sastra
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v29i2.908

Abstract

ABSTRACTOpera Batak is a “traditional” performance genre from the Toba Batak ethnic group. Opera Batak is staged based on oral tradition through acting, music and dance. The creation of works aims to preserve Sisingamangaraja XII's historical values. The method is carried out beginning with research through observation, interviews, literature studies with steps to work on the search phase, the stage of giving content, the development stage, and the stabilization stage.Transitions of performers and sections are accompanied musical instruments including gondang, suling, serunai, kedapi, hesek, odap and garantung. This mixture is intended to bring the drama to life and entertain the audience. The figures in Opera Batak are Sisingamangaraja XII, Patuan Anggi, Putri Lopian, Boru Sagala, Somaling, Panglima Sarbut and Panglima Amandopang. his episode tells how the war against the Dutch company in the Batak land for about 30 years. Arranged with a flow, dramatic, and conflicting conflict to show Sisingamangaraja's humanity and kinship side in the face of war.Key Word: Opera Batak, Theater, Sisingamangaraja XII, Tongtang I Tano BatakABSTRAKOpera Batak merupakan seni pertunjukan ‘tradisi’ dalam masyarakat Batak.Opera Batak ditampilkan melalui sastra lisan, pemeranan, musik, dan tarian. Penciptaan karya bertujuan untuk melestarikan nilai-nilai kesejarahan Sisingamangaraja XII. Metode dilakukan diawali dengan riset melalui observasi, wawancara, studi pustaka dengan langkah garap; tahap pencarian, tahap memberi isi, tahap pengembangan, dan tahap pemantapan. Opera Batak dipandu pencerita dalam mengenalkan tema, menyapa penonton, menggambarkan kisah, dan menggenalkan pemain. Peralihan pemain dan bagian diiringi musik yang terdiri atas: gondang, suling, sarunai, kecapi, hesek, odap, dan garantung. Tokoh Opera Batak dalam episode Tongtang I Tano Batak adalah Sisingamangaraja XII, Patuan Anggi, Putri Lopian, Boru Sagala, Somaling, Panglima Sarbut, dan Panglima Amandopang. Episode ini menceritakan bagaimana perperangan melawan kompeni Belanda di tanah Batak yang kurang lebih 30 tahun lamanya. Disusun dengan alur, dramatik, dan konflik yang rapat untuk memperlihatkan sisi kemanusian dan kekeluargaan Sisingamangaraja dalam menghadapi perperangan.Kata Kunci: Opera Batak, Teater, Sisingamangaraja XII, Tongtang I Tano Batak 
Saluang Dendang Sirompak dalam Tradisi Ritual Magis di Payakumbuh: Satuan Kajian Karakteristik Musikal Ediwar, Ediwar; Hanefi, Hanefi; Minawati, Rosta; Yulika, Febri
PANGGUNG Vol 30 No 4 (2020): Kearifan Lokal dalam Metode, Model dan Inovasi Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v30i4.1369

Abstract

Saluang dan Dendang Sirompak merupakan bagian tidak terpisahkan dari pertunjukan Sirompak.Pertunjukan difungsikan untuk mempengaruhi orang lain melalui kekuatan magi. Tradisi ba-Sirompak diidentifikasi sebuah komposisi musik bersifat free rhythm. Mantera disajikan melaluikalimat yang disusun untuk mendatangkan kekuatan gaib. Ba-sirompak difungsikan untuk‘mengguna-gunai’ wanita secara ilmu kebatinan (magis). Penelitian ini dilakukan denganmenggunakan metode kualitatif, yaitu data dikumpulkan melalui observasi, wawancara, dandokumentasi. Dalam pengumpulan data digunakan tiga tahap penelitian. yaitu: Pertama,studi kapustakaan untuk mengumpulkan bahan tertulis yang diperlukan sesuai masalah yangditeliti. Kedua, penelitian lapangan untuk mungumpulkan data dengan teknik observasidan wawancara langsung secara mandalam, dengan difokuskan pada rekonstruksi ritual Basirompak.;Ketiga, pengolahan data, dilakukan berupa transkripsi music dalam bentuk notasi,deskripsi, dan analisis data yang siap dijadikan laporan. Tujuan penelitian adalah untukmengetahui karakteristik musical Saluang Dendang Sirompak dengan mengkaji unsur-unsurmusikal pada pusaran motif, frase, dan periode melodis.Kata Kunci: Ba-sirompak, Karakter musikal, Ritual Magi.
Makna Media Kampanye Bagi Pemilih Pasangan Mahyeldi Dan Audy Joinaldy Pada Pilkada Sumatera Barat Tahun 2020 Ilham, Muhammad; Minawati, Rosta; Yulika, Febri
Besaung : Jurnal Seni Desain dan Budaya Vol. 8 No. 1 (2023)
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36982/jsdb.v8i1.2827

Abstract

Penelitian ini tentang“Makna Media Kampanye Bagi Pemilih Pasangan Mahyeldi Dan Audy Joinaldy Pada Pilkada Sumatera Barat Tahun 2020”. Penelitian ini bertujuan untuk menganalisis media kampanye pasangan Mahyeldi dan Audy Joinaldy pada pilkada Sumatera Barat tahun 2020. Metode penelitian yang digunakan adalah penelitian kualitatif. Data dikumpulkan melalui observasi, wawancara, dokumentasi dan studi pustaka. Data dianalisis menggunakan analisis teori desain komunikasi visual, SWOT dan teori semiotika Roland Barthes. Hasil penelitian ini menunjukkan bahwa; pertama, media kampanye menjadi salah satu faktor penentu dalam upaya mendapatkan raihan suara terbanyak, terutama dalam mengkomunikasikan pesan dan tujuan personal branding kepada para pemilih. Adanya logo khusus (MA) pada media kampanye sebagai personal branding kedua pasang calon menjadi daya tarik tersendiri dalam proses kampanye yang dilakukan. Logo MA (Mahyeldy Audy) selalu muncul dalam setiap media kampanye yang dipublikasikan seperti spanduk, baliho, umbul-umbul dan media kampanye lainnya; Kedua, terdapatnya bentuk media utama dan media pendukung, saling berkaitan serta konsisten bentuk media kampanye yang digunakan. Media utama seperti logo, adanya keunikan simple, sederhana, elegant, identitas minangkabau, serta menarik perhatian sedangkan media pendukung seperti baliho, umbul-umbul, spanduk saling konsisten, keseragaman, unik dari segi figure atau foto, tagine, ikon logo, tipografi, dan warna. Makna media terdapat dari segi beberapa pandangan diantaranya komunikasi politik, antropologi politik, sosiologi politik dan lainnya.
Pembelajaran Tari Pagar Pengantin untuk Siswa di Daerah Sumatera Selatan: Sebuah Kajian Literature Review Citra Emalia; Suci Fajrina; Rosta Minawati; Iswandi
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 04 (2025): Volume 10 No. 04 Desember 2025 Terbit
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i04.35361

Abstract

The Pagar Pengantin Dance is a traditional cultural heritage from South Sumatra that contains profound aesthetic, moral, and social values. This dance originally functioned as part of the traditional wedding procession for the bride-to-be, symbolizing purity, gentleness, and readiness to enter married life. In the current educational context, the Pagar Pengantin Dance has begun to be integrated into arts and culture learning activities in schools. This learning not only plays a role in preserving regional dance arts, but also contributes to character formation, instilling moral values, and developing student creativity. This article discusses the urgency of implementing the Pagar Pengantin Dance learning in South Sumatran schools as a medium for cultural preservation, character building, and aesthetic education for the younger generation. This article is a literature review that discusses the implementation and urgency of learning the Pagar Pengantin Dance for students in the South Sumatra region. The Pagar Pengantin Dance as a traditional cultural heritage has high aesthetic, moral, and social values, which originally functioned as part of the traditional wedding procession symbolizing purity, gentleness, and readiness to live married life. Through a review of various literature, this study examines how the Pagar Pengantin Dance is integrated into arts and culture learning in schools as a means of preserving local culture, strengthening character, and developing student creativity. This study also highlights various pedagogical approaches and learning strategies used in transferring cultural values ​​through traditional dance. The review results indicate that learning the Pagar Pengantin Dance not only plays a role in maintaining the existence of regional culture but is also effective in shaping students' aesthetic sensitivity, morality, and cultural identity in the modern era.
STUDI LITERATUR : EFEKTIVITAS VIDEO TUTORIAL BERBASIS ART-BASED LEARNING DALAM PEMBELAJARAN SENI TARI Khosy Berlian Putry; Suci Fajrina; Rosta Minawati; Iswandi
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 04 (2025): Volume 10 No. 04 Desember 2025 Build
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i04.35394

Abstract

This study aims to analyze the effectiveness of using Art-Based Learning (ABL)-based video tutorials in dance learning through a literature review approach. Limited practice time and students’ difficulties in understanding and memorizing dance movement sequences pose challenges in the process of dance education in schools. Video tutorials are considered a learning medium that can provide flexible, engaging, and contextual learning experiences, while the ABL approach emphasizes artistic experiences that encourage reflection, imagination, and creativity among students. The research method employed is a literature review, involving the examination of various scientific articles, books, and relevant research reports. The review procedure includes topic selection, literature search, analysis and synthesis of previous research findings, and systematic presentation of results. The findings indicate that ABL-based video tutorials are effective in improving movement technique skills, understanding aesthetic values, and enhancing appreciation of dance culture. Furthermore, the application of ABL through digital media provides opportunities for students to learn independently, create, and internalize artistic values through personal experiences. Therefore, ABL-based video tutorials represent a potential learning medium to strengthen dance education in the digital era
Special Effect Make Up melalui Pendekatan Art Based Learning menggunakan Model Project Based Learning Nabilla Khansa; Suci Fajrina; Rosta Minawati; Mega Kencana Saliman
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 04 (2025): Volume 10 No. 04 Desember 2025 Build
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i04.35427

Abstract

Special Effect Make Up (SFX Makeup) learning is one of the fields within artistic makeup studies that possesses a multidimensional character. The learning process is not only oriented toward mastering technical skills but also involves artistic exploration, the use of technology, and the understanding of aesthetic meanings within cultural and performance contexts. This study aims to identify and synthesize various scholarly perspectives related to SFX Makeup learning strategies through the Art-Based Learning approach using the Project-Based Learning model, in order to formulate a more comprehensive conceptual learning framework. The method employed is qualitative descriptive and literature review, involving five relevant scientific articles discussing topics such as artistic makeup design adaptation, the effectiveness of video tutorial media, innovations in web-based learning media, and the aesthetic exploration of makeup in performance art. The synthesis results indicate that SFX Makeup learning is effective when it integrates four main aspects: (1) artistic and symbolic exploration, (2) pedagogical innovation through interactive learning media, (3) utilization of digital technology for independent learning, and (4) understanding of aesthetics and representational functions within performance contexts. The study concludes that the Art-Based Learning approach is highly relevant to SFX Makeup education as it emphasizes processes of creation, exploration, reflection, and appreciation of artistic works. This approach is expected to cultivate learners who are creative, adaptive, aesthetic, and professionally competent in the field of artistic makeup
PEMBELAJARAN BARZANJI MELALUI MODEL COLLABORATIVE LEARNING DALAM PENGEMBANGAN PENDIDIKAN SENI BUDAYA BERBASIS KEARIFAN LOKAL: SEBUAH KAJIAN LITERATURE REVIEW Fadel Muhammad; Suci Fajrina; Rosta Minawati; Nursyirwan
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 10 No. 04 (2025): Volume 10 No. 04 Desember 2025 Terbit
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v10i04.35553

Abstract

Cultural arts education in the 21st century requires innovation that can integrate traditional values with collaborative, creative, and communicative skills. The Barzanji tradition, as a form of Islamic religious music, has great potential to be developed in the context of education as a medium for preserving cultural and spiritual values. This article is a literature review that aims to examine the application of the Collaborative Learning model in Barzanji learning and its role in fostering awareness of the preservation of traditional Islamic music among students. The study was conducted through an analysis of various scientific sources, such as journals, proceedings, and research reports discussing the integration of Collaborative Learning in arts learning based on local wisdom. The results show that teaching Barzanji through the Collaborative Learning model can increase students' active participation, responsibility, and sense of togetherness, while strengthening religious, social, and aesthetic values. Thus, collaborative learning based on the Barzanji tradition has the potential to be an effective alternative strategy in the development of local wisdom-based cultural arts education in the 21st century
Co-Authors Ade Moussadecq Adi Krisna Agung Eko Budi Waspada Agung Eko Budi Waspada Agung Eko BW Ahmad Bahrudin Ahmad Nafis Ajawaila, Gerzon Andiko, Benny Ary Leo Bermana Asral, Kairul Asril Aulia, Rani Ayu Soraya Benny Andiko Bermana, Ary Leo Choiru Pradhono Citra Emalia Dani Manesah Dela Puspita Riza Desmiati Desmiati Desmiati, Desmiati Edi Satria Ediwar Ediwar EMRI, EMRI Enrico Alamo Enrico Alamo Enrico Alamo Enrico Alamo Fadel Muhammad Fadhilatul Khaira Febri Yulika Febriano, Gilang Gerzon Ajawaila Hanefi Hanefi Hanefi Hanefi Hanefi, Hanefi Harisman Harisman Harisman Harisman, Harisman Heldi Heldi Heldi Heldi, Heldi Hery Sasongko Hidayat, Hengki Armez Hidayat, Hengki Armez Ilham, Muhamad Iskandar, Riki Iswandi Kairul Asral Khairi, Ilhamul Khairul Layali Kholilah, Anni Khosy Berlian Putry Koes Yuliadi Layali, Khairul Lidiantari, Aulini Loravianti, Susasrita Mahdi Bahar Mahdi Bahar Martion Martion Martion Martion Mega Kencana Saliman Meria Eliza Miswar Miswar Muhammad Ilham MULYADI Nabilla Khansa Nafis, Ahmad Nilawati Nilawati Nilawati Nilawati Nilawati Nilawati, Nilawati Nilawati Novesar Jamarun Novina Yeni Fatrina Nursyirwan Nursyirwan Nursyirwan Nursyirwan Nursyirwan Nursyirwan Nursyirwan Nursyirwan Nursyirwan Olvyanda Ariesta Prakarti, Vicia Dwi Pratama, Wendo Afriyoma Rajab, Junaidi Riki Iskandar Roza Muliati Sahrul, Sahrul Satria, Edi Sherli Novalinda Sofia Yosse Solehat, Iis Sri Wahyuni SUCI FAJRINA Suherni Suherni Suherni Suherni, Suherni Sulaiman Sulaiman sulaiman sulaiman Sulaiman Sulaiman Sulaiman Sulaiman Sulaiman Sulaiman Sulaiman Sulaiman Sumanti, Titik Surya Darma Suryanti Suryanti Suryanto Suryanto Syafriadi, Syafriandi Syafriandi Syafriadi Syafriandi Syafriandi Vani Sasri Wahyuni Vicia Dwi Prakarti Wa'afini Wahyono Wahyono Wahyuni, Vani Sasri Widdiyanti Widdiyanti Yandri Yandri Yeni Ruseli Yeni Ruseli Yogian Hutagama Yogian Hutagama Yosi Ramadona Yosi Ramadona Yosse, Sofia Yusfil Yusfil Yusfil, Yusfil Zulhelman Zulhelman Zulhelman Zulhelman