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All Journal Dimensi Interior Nirmana Jurnal Siasat Bisnis MAKNA: Jurnal Kajian Komunikasi, Bahasa dan Budaya RUANG: JURNAL LINGKUNGAN BINAAN (SPACE: JOURNAL OF THE BUILT ENVIRONMENT) Techno.Com: Jurnal Teknologi Informasi Product Design Jurnal Sosioteknologi Journal of Visual Art and Design Mozaik Humaniora ANDHARUPA Jurnal Ilmiah Arena Tekstil RITME Journal of Animation & Games Studies JADECS (Journal of Art, Design, Art Education and Culture Studies) MUDRA Jurnal Seni Budaya Panggung SOSIOHUMANIKA Naditira Widya PRODUCTUM : Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Jurnal Desain Idea: Jurnal Desain Produk Industri Institut Teknologi Sepuluh Nopember Surabaya Prosiding Seminar Nasional Pakar Visualita : Jurnal Online Desain Komunikasi Visual Jurnal Telematika Gelar : Jurnal Seni Budaya Jurnal Rupa PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Keluwih: Jurnal Sains dan Teknologi Atrat: Jurnal Seni Rupa Dinamika Kerajinan dan Batik : MAJALAH ILMIAH Prosiding Balai Arkeologi Jawa Barat Wimba: Jurnal Komunikasi Visual Rumoh: Journal of Architecture Jurnal Islam Nusantara Makara Human Behavior Studies in Asia Jurnal Dimensi Seni Rupa dan Desain International Journal of Geotourism Science and Developmen Prosiding Seminar Nasional Rekayasa dan Teknologi (TAU SNAR- TEK) Hastagina: Jurnal Kriya dan Indsutri Kreatif Naditira Widya International Research Journal of Business Studies Panggung Serat Rupa: Journal of Design Dinamika Kerajinan dan Batik: Majalah Ilmiah
Agus Sachari
Faculty Of Art And Design, Institut Teknologi Bandung
Religion Arts Humanities Automotive Engineering Biochemistry, Genetics & Molecular Biology Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Electrical & Electronics Engineering Energy Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Mechanical Engineering Social Sciences Other

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Seni Rupa Pasemah: Arah Hadap dan Orientasi Karya Seni Rupa Pasemah A. Erwan Suryanegara; Agus Sachari
PANGGUNG Vol 26 No 4 (2016): Orientalisme & Oksidentalisme Sebagai Relasi, Dominasi, dan Batasan dalam Esteti
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v26i4.208

Abstract

ABSTRACT In Bukit Barisan of southern Sumatra, exactly in Lahat and Pagaralam, South Sumatra, was found remains of megalithic artifacts. The artifacts in the form ofvisual arts are in larger quantities, particu- larly sculptures other than paintings,reliefs, etc. Surveys and literature studies show that visual arts as those contemporary Pasemah visual arts are not yet discovered in other regions. One ofspecial charac- teristics is Point of the Orientation and the Orientation of sculptures which is not referring to point of the compass, rather to the object of nature surroundings. The Pasemah visual arts are never apart from the underlyingEcocentric concept and in harmony with the worship of ancestral souls in a cosmocentric mystical culture. The uniqueness of Pasemah visual arts is, actually, potential that must be excavated and prolif- erated as learning for citizens and, thus, inspire community surroundings in particular and Nusantara societies in general. Keywords: Pasemah, sculpture, megalithic, point, orientation     ABSTRAK Bukit Barisan bagian selatan Sumatra, tepatnya di Lahat dan Pagaralam, Sumatra Selatan, ditemukan peninggalan artefak-artefak megalitik. Secara kuantitatif memperlihatkan bahwa jumlah artefak berwujud karya seni rupa (visual) lebih banyak, terutama yang berbentuk pa- tung selain lukisan, relief, dan sebagainya. Kajian atas hasil survei dan studi literatur membuk- tikan bahwa seperti karya visual Pasemah itu memang tidak ditemukan di kawasan lain yang sezaman. Satu kekhasannya adalah Arah Hadap dan Orientasi patung yang tidak mengacu ke- pada arah mata angin, tetapi kepada objek alam di sekitarnya. Karya-karya visual Pasemah itu tidak pernah lepas dari konsep ekosentris yang menjadi konsep mendasar dan selaras dengan pemujaan arwah leluhur dalam peradaban mistis yang kosmosentris. Keunikan karya visual Pasemah sesungguhnya merupakan potensi yang harus digali dan ditumbuhkembangkan se- bagai pembelajaran bagi anak bangsa, sehingga dapat menginspirasi masyarakat sekitar khu- susnya maupun masyarakat Nusantara umumnya. Kata kunci: Pasemah, patung, megalitik, arah, orientasi
“Mbok Mase” dan “Mbok Semok”: Reinterpretasi Karakter Perempuan Jawa dalam Kultur Batik Desy Nurcahyanti; Agus Sachari; Achmad Haldani Destiarmand; Yan Yan Sunarya
PANGGUNG Vol 31 No 3 (2021): Budaya Ritual, Tradisi, dan Kreativitas
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v31i3.1096

Abstract

Stigma masyarakat tentang karakter perempuan Jawa digambarkan sebagai sosok marginal yang tunduk pada kekuatan laki-laki, pengabdi, penurut, pelayan, bertutur kata lemah lembut, dan bergerak pelan dengan wajah menunduk. Deskripsi tersebut berubah secara dinamis dan mengalami reinterpretasi melalui peristiwa sejarah terkait peran perempuan Jawa dalam perjuangan penyetaraan hak dengan kaum laki-laki. Pemaknaan ulang karakter perempuan Jawa terjadi pada lingkup pengrajin batik di Girilayu, Karanganyar, Jawa Tengah. Mereka bersepakat membentuk pencitraan untuk ciri khas produk batik dengan istilah “Mbok Semok”. Analisis perspektif sosio-kultural memperlihatkan bahwa karakter, kekuatan, dan peran para perempuan pengrajin batik tersebut sebagai motor penggerak perekonomian di Girilayu. Uraian tersebut memiliki kesamaan dengan karakter, kekuatan, dan peran perempuan juragan di Laweyan, Surakarta (Solo) dengan sebutan “Mbok Mase”, sebagai kunci keberhasilan perjalanan sebuah usaha batik keluarga. Penelitian ini bersifat kualitatif dengan pendekatan antropologi budaya, analisis menggunakan metode komparatif berdasarkan konsep teori reinterpretasi dari Melville J. Herskovits. Hasil penelitian berupa deskripsi, latar belakang serta bentuk-bentuk reinterpretasi karakter perempuan Jawa dengan komparasi antara “Mbok Mase” di Laweyan, Surakarta dengan “Mbok Semok” di Girilayu, Karanganyar. Temuan penelitian adalah karakter, kekuatan, peran, sikap bahkan sistem di Girilayu dan Laweyan yang mereinterpretasi karakter perempuan Jawa merupakan etos kultur batik.
Kedudukan Workstation Canting pada Tata Ruang Workshop Batik Tulis Oey Soe Tjoen Rachmi Kumala Widyasari; Agus Sachari; Andar Bagus Sriwarno; G. Prasetyo Adhitama
PANGGUNG Vol 31 No 1 (2021): Eksistensi Seni Budaya di Masa Pandemi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v31i1.1173

Abstract

Rumah batik Oey Soe Tjoen adalah salah satu workshopbatik tulis tradisional Nusantara yang mempertahankan orisinalitas dalam menghasilkan kain batik secara turun temurun. Proses produksi kain batik dengan canting memegang peranan penting dalam rumah batik Oey Soe Tjoen.  Tujuan penelitian ini adalah untuk meninjau kedudukan proses pembuatan kain batik dengan canting pada usaha batik tulis tradisional, baik dalam lingkup proses kerja maupun dalam lingkup tatanan ruang. Penelitian ini menggunakan pendekatan etnografi melalui studi literatur, observasi dan wawancara langsung kepada nara sumber. Data dipaparkan secara deskriptif dan dianalisis sehingga menghasilkan temuan bahwa, proses produksi kain batik dengan canting adalah sebuah proses yang signifikan dalam menghasilkan batik tulis secara tradisional. Sehingga ruang yang mewadahi proses ini menjadi ruang penting dalam tata ruang sebuah workshop batik tulis tradisional yang perlu dipertimbangkan guna mendukung kelancaran produktivitas kerja. Kata kunci: batik tulis, canting, hirarki, Oey Soe Tjoen, workstation
PERANCANGAN PRODUK FASHION BAGI MASYARAKAT URBAN INDONESIA DENGAN PEMANFAATAN TENUN LURIK JAWA PEDAN Wenny Anggraini Natalia; Dian Widiawati; Agus Sachari
Serat Rupa: Journal of Design Vol 3 No 2 (2019): SRJD-JULY
Publisher : Faculty of Humanities and Creative Industries, Maranatha Christian University (formerly Faculty of Fine Arts and Design)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.28932/srjd.v3i2.1002

Abstract

The existence of Javanese Pedan lurik weaving which is one of the Indonesian cultural heritages that needs to be preserved in this modern era. Using the method of observation, visual analysis and experimentation, it is designed to revitalize fashion products by utilizing Javanese lurik woven cloth intended for Indonesian urbanites with a character of young spirit, full of locality, and love of culture. Sustainable design methods become a solution by considering the impact on the natural and social environment at each stage, which will later be related to the economy of the community. Through this article, it is hoped that it will enrich the development of fashion products with Indonesian cultural nuances that will increase the selling power of Javanese lurik woven into the wider community. In addition, using revitalized Javanese Pedan motifs and patterns that have been revitalized, it is hoped that the public will become more aware that there are still regional motifs and patterns that are still unexplored and is expected to be more known and awake sustainability.
PEMANFAATAN SAMPAH KERTAS SEBAGAI BAHAN BAKU PAPERBOARD UNTUK MEMPRODUKSI BENDA FUNGSI DAN ESTETIK Firman Hawari; Agus Sachari; Adhi Nugraha
Serat Rupa: Journal of Design Vol 4 No 1 (2020): SRJD-JANUARY
Publisher : Faculty of Humanities and Creative Industries, Maranatha Christian University (formerly Faculty of Fine Arts and Design)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.28932/srjd.v4i1.1929

Abstract

The direction of the implementation of this study is to reduce dependence on natural resources and preserve them from extinction, especially timber natural resources. Green design content is a systematic implementation in each stage. An initial idea was to find an alternative building material that was environmentally friendly. One of the implementations is conducting experiments on panel production from paper waste materials. Paper panels that have the same capabilities as pre-existing panel products. The aim is to make it an interior design material for building, both for construction and aesthetic functions. The consideration of the selection of panel materials is the wide scope of utilization, flexibility, easy treatment, and factors of people who are used to it. In full, this type of paper waste contains forms that are fatty, limp and fragile. This character strongly supports the implementation of that perception. Furthermore, this character becomes a stimulus to bring up the manufacturing method, which is a vertical cross-configuration, which uses limp and fragile sheet paper and then arranged into a panel area with a thickness of 20 mm which requires hard, sturdy, and strong properties.
Perbandingan Busana Arca Harihara Era Klasik Akhir (Koleksi State Hermitage Museum, Museum Nasional Jakarta, dan Balai Lelang Christie’s) Muthi'ah, Waridah; Sachari, Agus
Gelar: Jurnal Seni Budaya Vol. 19 No. 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3533

Abstract

Harihara is the amalgamation of two great gods in Hinduism, Siva and Vishnu. During the Late Classical Era (Majapahit period, 13th-15th centuries AD) three deification statues which portrayed the kings as Harihara have been found. Out of these three, two of them are not located in Indonesia anymore, one is part of the collection of Hermitage Museum, St. Petersburg, and one is in Christie’s Auction Gallery. Since these two statues are not widely known, they are barely mentioned or studied in the field of classical archaeology and art. This research focuses on the physical attributes of those two statues, particularly the clothing elements and divine attributes, in comparation to the deification statue of Raden Wijaya as Harihara, which is originated from Candi Simping and now is located in National Museum, Jakarta. The research was conducted using a qualitative-comparative method with iconographic and historical approach. It is found that while these statues show the amalgamation of Siva and Vishnu’s attributes, the depiction of Harihara in those statues are not exactly following Harihara iconography as regulated in the canons of Silpasastra and Manasara. While the canon physical attributes of Shiva and Vishnu side by side equally, in the depiction of Harihara in Java, those attributes are mixed and not always follows a rigid pattern. It is suggested that the depiction of  kings as Harihara show an attempt to project them as the unifier of different factions and religious sects. The inequal depiction of Vishnu and Siva’s attributes in king’s deification statues indicates not only the dynamics of the religion in the era, but also as mean to build king’s image in the image of the God.
MAKNA ILUSTRASI SAMPUL MAJALAH TEMPO EDISI ‘KEJARLAH DAKU, KAU KUBEKAP’ Ahdiyat, Azhar Natsir; Saidi, Acep Iwan; Sachari, Agus
Wimba : Jurnal Komunikasi Visual Vol. 15 No. 1 (2024)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/jkvw.2024.15.1.4

Abstract

Cases of corruption involving well-known figures in Indonesia always draw public attention. One such figure is the politician Setya Novanto, who was embroiled in the e-KTP corruption case in 2017. This case was considered a significant corruption case, thus the topic also expanded and became a concern for the society. Due to the importance of this case, Setya eventually became the main figure in the cover illustration of Tempo Magazine's edition titled "Kejarlah Daku, Kau Kubekap" (Chase Me, I'll Smother You) which indicates certain implicit elements including signs and meanings that are interesting to uncover. The purpose of this study is to analyze the visual sign structure and reveal the meanings contained in the cover illustration of Tempo Magazine's edition "Kejarlah Daku, Kau Kubekap". Unveiling the meanings behind the signs present in the magazine cover illustration is made possible using a visual semiotics approach, specifically Barthes' semiotics concept. This study concludes that the meaning contained in the cover illustration of Tempo Magazine is Tempo highlighting news about indications of Setya Novanto's dramatic steps using the central government as a hiding tool from the pursuit of the Corruption Eradication Commission (KPK) related to the e-KTP corruption case. keywords: illustration, magazine cover, visual semiotics, signs, meanings.
“Mbok Mase” dan “Mbok Semok”: Reinterpretasi Karakter Perempuan Jawa dalam Kultur Batik Nurcahyanti, Desy; Sachari, Agus; Destiarmand, Achmad Haldani; Sunarya, Yan Yan
PANGGUNG Vol 31 No 3 (2021): Budaya Ritual, Tradisi, dan Kreativitas
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v31i3.1096

Abstract

Stigma masyarakat tentang karakter perempuan Jawa digambarkan sebagai sosok marginal yang tunduk pada kekuatan laki-laki, pengabdi, penurut, pelayan, bertutur kata lemah lembut, dan bergerak pelan dengan wajah menunduk. Deskripsi tersebut berubah secara dinamis dan mengalami reinterpretasi melalui peristiwa sejarah terkait peran perempuan Jawa dalam perjuangan penyetaraan hak dengan kaum laki-laki. Pemaknaan ulang karakter perempuan Jawa terjadi pada lingkup pengrajin batik di Girilayu, Karanganyar, Jawa Tengah. Mereka bersepakat membentuk pencitraan untuk ciri khas produk batik dengan istilah “Mbok Semok”. Analisis perspektif sosio-kultural memperlihatkan bahwa karakter, kekuatan, dan peran para perempuan pengrajin batik tersebut sebagai motor penggerak perekonomian di Girilayu. Uraian tersebut memiliki kesamaan dengan karakter, kekuatan, dan peran perempuan juragan di Laweyan, Surakarta (Solo) dengan sebutan “Mbok Mase”, sebagai kunci keberhasilan perjalanan sebuah usaha batik keluarga. Penelitian ini bersifat kualitatif dengan pendekatan antropologi budaya, analisis menggunakan metode komparatif berdasarkan konsep teori reinterpretasi dari Melville J. Herskovits. Hasil penelitian berupa deskripsi, latar belakang serta bentuk-bentuk reinterpretasi karakter perempuan Jawa dengan komparasi antara “Mbok Mase” di Laweyan, Surakarta dengan “Mbok Semok” di Girilayu, Karanganyar. Temuan penelitian adalah karakter, kekuatan, peran, sikap bahkan sistem di Girilayu dan Laweyan yang mereinterpretasi karakter perempuan Jawa merupakan etos kultur batik.
Penggunaan Motion Capture Untuk Identifikasi Gerak Pada Budaya Kerja Tradisi Batik Tulis Widyasari, Rachmi Kumala; Sachari, Agus; Sriwarno, ⁠Andar Bagus; Adhitama, Gregorius Prasetyo
Jurnal Sosioteknologi Vol. 23 No. 2 (2024): JULY 2024
Publisher : Fakultas Seni Rupa dan Desain ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/sostek.itbj.2024.23.2.7

Abstract

The knowledge of producing batik has been passed down from generation to generation. This research uses a motion capture device to document the batik-making activities using canting to yield accurate movement patterns of the batik artisans in digital form. The study aims to identify the hand movements of the batik artisans as they work with canting, which will serve as the basis for teaching the traditional batik-making process to beginners. This study starts with an ethnographic approach: observations and interviews conducted at several batik houses in Central Java, followed by ergonomic and human factors laboratory experiments. By analyzing the motion captures, we learn that a batik artisan makes a specific hand movement pattern known as Pola Layangan. Pola Layangan forms a cycle comprising four phases: the malam phase, the blowing phase, the drawing phase, and the finishing phase. The digital documentation of this hand movement pattern can serve as a reference for studying batik-making activities. It can also serve as a basis for teaching beginners the traditional batik-making process.
VARIASI PERHIASAN KEPALA ARCA PARWATI KOLEKSI MUSEUM NASIONAL DI INDONESIA Waridah Muthi’ah; Agus Sachari; Pindi Setiawan
Naditira Widya Vol. 15 No. 2 (2021): Naditira Widya Volume 15 Nomor 2 Oktober Tahun 2021
Publisher : National Research and Innovation Agency (BRIN)

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

Abstract

Pemujaan terhadap Parwati mendapatkan tempat yang penting pada era Hindu-Buddha di nusantara, sehubungan dengan kedudukan Parwati sebagai śakti dari dewa tertinggi dalam Śiwaisme, Dewa Śiwa. Hal ini ditunjukkan oleh keberadaan arca-arca dewi dan arca perwujudan ratu, yang beberapa di antaranya menjadi koleksi Museum Nasional di Indonesia. Akan tetapi, asal waktu dan identitas tokoh pada kebanyakan arca ini belum dapat diidentifikasi. Mahkota atau hiasan kepala sebagai bagian dari atribut (lakṣana) arca dapat digunakan sebagai sumber informasi melalui kajian terhadap gaya atau langgam estetika. Penelitian ini merupakan upaya untuk memahami variasi mahkota arca Parwati yang berasal dari era Majapahit, khususnya abad ke-14 M dan 15 M, berdasarkan identifikasi gaya seni dan kecenderungan penggambaran pada masa tersebut. Penelitian dilakukan menggunakan metode deskriptif-komparatif dengan pendekatan ikonografi dan morfologi estetis. Hasil penelitian menunjukkan bahwa ada dua kecenderungan penggambaran mahkota Parwati. Patung dari Kediri dan Blitar cenderung menggambarkan mahkota Parwati dengan bentuk yang mendekati langgam Klasik Awal (Jawa Tengah), dengan menampilkan mahkota semata-mata sesuai kanon Manasara, seperti jatāmakuta, kesabandha, dan kuntala. Kecenderungan kedua menampilkan Parwati mengenakan kirīṭamakuta, yang merupakan atribut Wisnu, dan penyejajaran sifat dan kedudukannya sebagai sosok pemelihara. The worship of Parvati has an important place in the Hindu-Buddhist era in the Indonesian archipelago, with regard to Parvati's position as the spouse of the supreme god in Shivaism, Shiva. This is indicated by the presence of goddess statues and statues of the embodiment of a queen, which some are in the collections of the National Museum in Indonesia. However, the chronology and identity of the National Museum statues collection have not been distinguished. Information on both aspects of a statue can be achieved by means of the study of style or aesthetic of a crown or headdress as a feature of lakṣana (statue attribute). This research is an attempt to understand the varieties of the crowns of the Parwati statue from the Majapahit era, especially the 14th and 15th centuries, based on the identification of the art style and depiction tendencies during this period. This research was conducted using a descriptive-comparative method with approaches of iconography and aesthetic morphology. The results indicate that there are two trends in depicting Parwati’s crown. The statues from Kediri and Blitar tend to depict Parvati's crown in a form similar to those of the Early Classical (Central Javanese) style, by displaying the crown solely according to the scripture of Manasara, such as jatāmakuta, kesabandha, and kuntala. The second trend presents Parvati wearing the kirīṭamakuta, which is an attribute of Vishnu, which correlates to her nature and position as a guardian.
Co-Authors A. Erwan Suryanegara A. Erwan Suryanegara A.A. Ketut Agung Cahyawan W Acep Iwan Saidi Achmad Haldani Achmad Haldani Destiarmand Achmad Haldani Destiarmand Achmad Syarif Adhi Nugraha Adhi Nugraha Adhitama, Gregorius Prasetyo Agung EBW Agung Eko Budi Waspada Agung Eko Budi Waspodo Agung Eko Budi Waspodo Agung Eko Budiwaspada Agustianto, Merdy Ahmad Haldani Destiarman Al Hazmi Indrapasca Yoga Aldy Rizqi Kasatia Rama Alfian Candra Ayuswantana Alvanov Zpalanzani Andar Bagus Sriwarno Andry - Andry -, Andry Andryanto Rikrik Kusmara Annisa Lutfia Ardhyaska Amy Ariani . Arianti Ayu Puspita Arianti Ayu Puspita Ayu Puspita Arini Arumsari Astrid Kusumowidagdo Azhar Natsir Ahdiyat Azhar Natsir Ahdiyat Budi Isdianto Busratul Mukmin Sjahroeddin Cama Juli Rianingrum Cicilia Larasati Rembulan D, Achmad Haldani Daffi Ranandi desy nurcahyanti Desy Nurcahyanti Desy Nurcahyanti Dhika Yuan Yurisma Diah Natarina Diah Natarina Dian Widiawati Dicky Rezaldy Munaf EBW, Agung Endah Oktaviani Fajar Ciptandi Fakhruddin, Dimas Fakhruddin, Dimas Firman Hawari Firman Hawari Fred Soritua Manurung Fred Soritua Rudiyanto G. PRASETYO ADHITAMA Gregorius Prasetyo Adhitama Hendhy Nansha I Nyoman Larry Julianto Imam Santosa Imam Santosa Indah Septi Intan Rizky Mutiaz Ira Adriati Irfansyah Irfansyah Kahfiati Kahdar Kahfiati Kahdar Kahfiati Kahdar Kemala Montesa Faizul Komarudin Kudiya, Komarudin Mansoor, Alvanov Z. Meirina Triharini Mohamad Zaini Alif Muhammad Ihsan DRSAS Mustikasari, Hany Muthi'ah, Waridah Muthi?ah, Waridah Naomi Haswanto Natarina, Diah Nisa Putri Rachmadani Noor Hasyim Nurcahyanti, Desy Oktaviani, Endah Pindi Setiawan Pindi Setiawan Pindi Setiawan Pindi Setiawan Pindi Setiawan Pribadi Widodo Pribadi Widodo Prizilla, Aquamila Bulan Rachman, Ariani Rachmi Kumala Widyasari Rahmatsyam Lakoro Rahmatsyam Lakoro Rahmatsyam Lakoro Rahmatsyam Lakoro Robby Firmansyah Ronald Marthen Pieter Kolibu S Suciati Sadah, Khozinatus Santoso, Sandi Setiawan Sabana Setiawan Sabana Setiawan Sabana Setiawan Sabana Setiawan Sabana Setiawan Sabana Setiawan Sabana Suciati Suciati Suciati Suciati Triana Hapsari Wantoro, A M Waridah Muthi'ah Waridah Muthiah Waridah Muthiah Waridah Muthi’ah Waridah Muthi’ah Wenny Anggraini Natalia Y. Martinus Pasaribu Yan Yan Sunarya Yan Yan Sunarya Yannes Martinus Pasaribu Yusita Kusumarini