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KREATIVITAS SARI APRILIANTI DALAM KARYA TARI CAHAYA PIRDI DI SANGGAR SENI NUSA KIRANA KOTA PALEMBANG Wardani, Suci Kesuma; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4224

Abstract

The research entitled Sari Aprilianti's Creativity in the Cahaya Pirdi Dance Work at the Nusa Kirana Art Studio in Palembang City contains the Cahaya Pirdi dance which is a composition of the Pirdi dance by Sari Aprilianti in 2016. The Cahaya Pirdi dance is a new creative dance work that illustrates that humans must strive to achieve something for the sake of survival on earth. At the beginning of the composition, this dance was specifically for children, but in 2020 the Cahaya Pirdi dance was danced for the first time by teenagers to take part in a competition. The problems formulated in this study are the first, what is the form of the Cahaya Pirdi dance, and the second is how is Sari Apriliani's creativity in creating the Cahaya Pirdi dance. Answering the problem about the form of the Cahaya Pirdi dance, Soedarsono's theory of form is used that the form of dance includes interrelated elements including dance movements, floor patterns, dance music, make-up and costumes, properties, time and place of performance. Meanwhile, to answer the problem about Sari Apriliani's creativity, the theory from Rodhes' theory known as 4P (Four P's Creativity) developed by Utami Munandar states that creativity usually has four dimensions, namely personal, process, product, and driver. Based on the object to be studied, the study uses a descriptive analysis method. The results of the study show that Sari Apriliani's creativity is influenced by internal factors, such as her life experiences and artistic vision, and external factors, such as the cultural environment and social support. In addition, this study discusses various supporting elements of the work, such as music, costumes, and stage design. All of these components play an important role in creating an aesthetic experience for the audience
BENTUK DAN FUNGSI TARI RONGGENG PASER DI DESA SESULU GUNUNG BATU KABUPATEN PENAJAM PASER UTARA KALIMANTAN TIMUR Istiani, Lia Sukma; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4695

Abstract

The research entitled Form and Function of Ronggeng Paser Dance in Sesulu Gunung Batu Village, Penajam Paser Utara Regency, East Kalimantan is a form of traditional dance in Sesulu Gunung Batu Village, East Kalimantan. The focus of this research is on the form and function of Ronggeng Paser dance in society. To answer the problems that arise, several theories are used, including: Form theory by Slamet, MD and also function theory by Soedarsono. The research method used is a qualitative method with a descriptive analysis form. While the data used are field data and written data, then described according to the facts in the field. The research stage carried out is the data collection stage which includes observation, interviews, and literature studies, continued with data analysis. The results of this study can be obtained a picture related to the form and function of Ronggeng Paser dance that lives in the Sesulu Gunung Batu Village community, Penajam Paser Utara Regency, East Kalimantan. The Ronggeng Paser dance form in its presentation has 3 (three) movement motifs that match the song, namely the first part Batu Sopang with the song Batu Sopang, the second part Tirik with the song Tirik, and the third part Makinang with the song Makinang. This dance is included in social dances or happy dances danced by six dancers using Malay lenggang movement motifs with dance music of three types of songs, namely Batu Sopang, Tirik, and Makinang. It cannot be separated from the elements that form it and are interrelated such as movement, rhythm, expression or feeling, costume, stage location, and dancers. The function of the Ronggeng Paser dance is divided into three, namely, as a means of ceremony, as personal entertainment, and as a spectacle.
KREATIVITAS YOLANDA PUTRI PROBOSEKAR DALAM KARYA TARI LEDHEK DI SANGGAR GUNTUR KOTA KEDIRI Pramesti, Rory Nur; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4696

Abstract

This research was conducted as a study of the creativity of creating a new work inspired by Tayub folk art. Ledhek dance is a new creative dance of the folk tradition created by Yolanda Putri Probosekar and performed in 2019 at TMII. The problems in this study are first, how is the form of Yolanda Putri Probosekar's Ledek dance and second, how is Yolanda Putri Probosekar's creativity in creating the Ledhek dance. Answering the problem of dance form, the theory of Y. Sumandiyo Hadi is used regarding the elements of group choreography. Meanwhile, to find out the creativity of Yolanda Putri Probosekar, it is explained using the theory using the 4P (Four P's Creativity) theory from Rodhes which includes person, process, product, and press. This study uses a qualitative research method. The data collection techniques used are observation, interviews, and literature studies. This study describes the object of research according to the data in the field in the form of real data. The results of the study obtained are that Yolanda Putri Probosekar's creativity in creating the Ledhek dance is influenced by factors such as experience as a dancer and choreographer. This creativity is manifested in several developments of Tayub dance movements such as lembehan, ukel penthangan, ukel lembehan, and jogetan. Then presented with gamelan music, such as kendang, bonang barong, bonang penyerangabbta, peking, slentem, kempul, kenong, rebab, and gong.
MAKNA SIMBOLIK TARI SESANDURAN DI KABUPATEN TUBAN Yuniar, Ni Ratih Putri; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i2.5423

Abstract

This research aims to reveal the symbolic meaning that exists in the Sanduran Dance. Sesanduran dance is a dance form inspired by Sandur art in Tuban Regency. Using vocal music and accompanied by roof gongs and drums. This study describes and analyzes about: (1) the form of Sesanduran Dance which includes: movement, dancers, costumes, expressions or feelings, place of performance, (2) describes the symbolic meaning of Sesanduran Dance from the view of inner and outer aspects. To answer the form of Sesanduran Dance using theory by Slamet Md. Describing the symbolic meaning of Sesanduran Dance using theory from Allegra Fuller Synder. This research is a descriptive qualitative research. Data collection through documentation of works, literature studies, interviews and observations of Sandur and Sandur Dance. The results of this study show that the form of dance cannot be separated from the dance former consisting of movement, dancers, costumes, expressions or feelings, the place of performance. The symbolic meaning of Sesanduran Dance is seen from the outside aspect looking at the expression side of society. The compiler of Sesanduran Dance was inspired by the bancik scene in Sandur art in Tuban Regency. This section gives the understanding that humans in their lives are full of journeys that must be passed according to the cycle of life. There are nine motion motives that undergo levels of stimulation, transformation, and unity. Seven sets of motion are the foothold of bancik scenes and two motion motifs are typical movements of Sandur art in Tuban Regency.
BENTUK PERTUNJUKAN KESENIAN TIBAN DI DESA SURAT KECAMATAN MOJO KABUPATEN KEDIRI Hayya, Fina Lu'lual; Slamet, Slamet
Greget : Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.5434

Abstract

Tiban Performing art at Desa Surat Kecamatan Mojo Kabupaten Kediri is a research that discusses the form and activity of art in the community.This research aims to explore the form of performance found in the Tiban arts in Surat Village, Mojo District, Kediri Regency. The problems to be discussed are: (1) How is Arriving in Surat Village, Mojo District, Kediri Regency? (2) How is the form of the Tiban show in Surat Village, Mojo District, Kediri Regency? Problems regarding the Tiban were analyzed using Richard Schechner's theory. This study used a qualitative research method, with an ethnoarchaeological approach. Ethnochoreology is one of the branches of science that discusses ethnicity and its various problems. Answering about Tiban in Sur at Village uses Talcott Parsons' theory which explains constitutive, cognitive, moral values, and also expressions, while regarding the form of Tiban uses Richard Schechner's theory which focuses on performance studies. The collection of data and information is carried out by means of observation or observation of research objects, interviews, and library research. The results of this study indicate that the art of Tiban cannot be separated from public trust, knowledge, moral values, and expressions that are embodied in Tiban in Surat Village, Mojo District, Kediri Regency. The form of performance is human activity in the form of Tiban performances which are manifested into games, rituals, and business, as well as the audience that exists as a series of human activities in the form of Tiban art performances.
KREATIVITAS SARI APRILIANTI DALAM KARYA TARI CAHAYA PIRDI DI SANGGAR SENI NUSA KIRANA KOTA PALEMBANG Wardani, Suci Kesuma; Slamet, Slamet
Greget: Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.4224

Abstract

The research entitled Sari Aprilianti's Creativity in the Cahaya Pirdi Dance Work at the Nusa Kirana Art Studio in Palembang City contains the Cahaya Pirdi dance which is a composition of the Pirdi dance by Sari Aprilianti in 2016. The Cahaya Pirdi dance is a new creative dance work that illustrates that humans must strive to achieve something for the sake of survival on earth. At the beginning of the composition, this dance was specifically for children, but in 2020 the Cahaya Pirdi dance was danced for the first time by teenagers to take part in a competition. The problems formulated in this study are the first, what is the form of the Cahaya Pirdi dance, and the second is how is Sari Apriliani's creativity in creating the Cahaya Pirdi dance. Answering the problem about the form of the Cahaya Pirdi dance, Soedarsono's theory of form is used that the form of dance includes interrelated elements including dance movements, floor patterns, dance music, make-up and costumes, properties, time and place of performance. Meanwhile, to answer the problem about Sari Apriliani's creativity, the theory from Rodhes' theory known as 4P (Four P's Creativity) developed by Utami Munandar states that creativity usually has four dimensions, namely personal, process, product, and driver. Based on the object to be studied, the study uses a descriptive analysis method. The results of the study show that Sari Apriliani's creativity is influenced by internal factors, such as her life experiences and artistic vision, and external factors, such as the cultural environment and social support. In addition, this study discusses various supporting elements of the work, such as music, costumes, and stage design. All of these components play an important role in creating an aesthetic experience for the audience
BENTUK DAN FUNGSI TARI RONGGENG PASER DI DESA SESULU GUNUNG BATU KABUPATEN PENAJAM PASER UTARA KALIMANTAN TIMUR Istiani, Lia Sukma; Slamet, Slamet
Greget: Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4695

Abstract

The research entitled Form and Function of Ronggeng Paser Dance in Sesulu Gunung Batu Village, Penajam Paser Utara Regency, East Kalimantan is a form of traditional dance in Sesulu Gunung Batu Village, East Kalimantan. The focus of this research is on the form and function of Ronggeng Paser dance in society. To answer the problems that arise, several theories are used, including: Form theory by Slamet, MD and also function theory by Soedarsono. The research method used is a qualitative method with a descriptive analysis form. While the data used are field data and written data, then described according to the facts in the field. The research stage carried out is the data collection stage which includes observation, interviews, and literature studies, continued with data analysis. The results of this study can be obtained a picture related to the form and function of Ronggeng Paser dance that lives in the Sesulu Gunung Batu Village community, Penajam Paser Utara Regency, East Kalimantan. The Ronggeng Paser dance form in its presentation has 3 (three) movement motifs that match the song, namely the first part Batu Sopang with the song Batu Sopang, the second part Tirik with the song Tirik, and the third part Makinang with the song Makinang. This dance is included in social dances or happy dances danced by six dancers using Malay lenggang movement motifs with dance music of three types of songs, namely Batu Sopang, Tirik, and Makinang. It cannot be separated from the elements that form it and are interrelated such as movement, rhythm, expression or feeling, costume, stage location, and dancers. The function of the Ronggeng Paser dance is divided into three, namely, as a means of ceremony, as personal entertainment, and as a spectacle.
KREATIVITAS YOLANDA PUTRI PROBOSEKAR DALAM KARYA TARI LEDHEK DI SANGGAR GUNTUR KOTA KEDIRI Pramesti, Rory Nur; Slamet, Slamet
Greget: Jurnal Kreativitas dan Studi Tari Vol. 21 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v21i2.4696

Abstract

This research was conducted as a study of the creativity of creating a new work inspired by Tayub folk art. Ledhek dance is a new creative dance of the folk tradition created by Yolanda Putri Probosekar and performed in 2019 at TMII. The problems in this study are first, how is the form of Yolanda Putri Probosekar's Ledek dance and second, how is Yolanda Putri Probosekar's creativity in creating the Ledhek dance. Answering the problem of dance form, the theory of Y. Sumandiyo Hadi is used regarding the elements of group choreography. Meanwhile, to find out the creativity of Yolanda Putri Probosekar, it is explained using the theory using the 4P (Four P's Creativity) theory from Rodhes which includes person, process, product, and press. This study uses a qualitative research method. The data collection techniques used are observation, interviews, and literature studies. This study describes the object of research according to the data in the field in the form of real data. The results of the study obtained are that Yolanda Putri Probosekar's creativity in creating the Ledhek dance is influenced by factors such as experience as a dancer and choreographer. This creativity is manifested in several developments of Tayub dance movements such as lembehan, ukel penthangan, ukel lembehan, and jogetan. Then presented with gamelan music, such as kendang, bonang barong, bonang penyerangabbta, peking, slentem, kempul, kenong, rebab, and gong.
MAKNA SIMBOLIK TARI SESANDURAN DI KABUPATEN TUBAN Yuniar, Ni Ratih Putri; Slamet, Slamet
Greget: Jurnal Kreativitas dan Studi Tari Vol. 22 No. 2 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i2.5423

Abstract

This research aims to reveal the symbolic meaning that exists in the Sanduran Dance. Sesanduran dance is a dance form inspired by Sandur art in Tuban Regency. Using vocal music and accompanied by roof gongs and drums. This study describes and analyzes about: (1) the form of Sesanduran Dance which includes: movement, dancers, costumes, expressions or feelings, place of performance, (2) describes the symbolic meaning of Sesanduran Dance from the view of inner and outer aspects. To answer the form of Sesanduran Dance using theory by Slamet Md. Describing the symbolic meaning of Sesanduran Dance using theory from Allegra Fuller Synder. This research is a descriptive qualitative research. Data collection through documentation of works, literature studies, interviews and observations of Sandur and Sandur Dance. The results of this study show that the form of dance cannot be separated from the dance former consisting of movement, dancers, costumes, expressions or feelings, the place of performance. The symbolic meaning of Sesanduran Dance is seen from the outside aspect looking at the expression side of society. The compiler of Sesanduran Dance was inspired by the bancik scene in Sandur art in Tuban Regency. This section gives the understanding that humans in their lives are full of journeys that must be passed according to the cycle of life. There are nine motion motives that undergo levels of stimulation, transformation, and unity. Seven sets of motion are the foothold of bancik scenes and two motion motifs are typical movements of Sandur art in Tuban Regency.
BENTUK PERTUNJUKAN KESENIAN TIBAN DI DESA SURAT KECAMATAN MOJO KABUPATEN KEDIRI Hayya, Fina Lu'lual; Slamet, Slamet
Greget: Jurnal Kreativitas dan Studi Tari Vol. 22 No. 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/grt.v22i1.5434

Abstract

Tiban Performing art at Desa Surat Kecamatan Mojo Kabupaten Kediri is a research that discusses the form and activity of art in the community.This research aims to explore the form of performance found in the Tiban arts in Surat Village, Mojo District, Kediri Regency. The problems to be discussed are: (1) How is Arriving in Surat Village, Mojo District, Kediri Regency? (2) How is the form of the Tiban show in Surat Village, Mojo District, Kediri Regency? Problems regarding the Tiban were analyzed using Richard Schechner's theory. This study used a qualitative research method, with an ethnoarchaeological approach. Ethnochoreology is one of the branches of science that discusses ethnicity and its various problems. Answering about Tiban in Sur at Village uses Talcott Parsons' theory which explains constitutive, cognitive, moral values, and also expressions, while regarding the form of Tiban uses Richard Schechner's theory which focuses on performance studies. The collection of data and information is carried out by means of observation or observation of research objects, interviews, and library research. The results of this study indicate that the art of Tiban cannot be separated from public trust, knowledge, moral values, and expressions that are embodied in Tiban in Surat Village, Mojo District, Kediri Regency. The form of performance is human activity in the form of Tiban performances which are manifested into games, rituals, and business, as well as the audience that exists as a series of human activities in the form of Tiban art performances.
Co-Authors -, Sutriyanto A.A. Ketut Agung Cahyawan W Abdul Hamid Budiman Abdul Malik Karim Amrullah Abdur Rahim, Abdur Achmad Rasyid Ridha Achmad Vandian Nur, Achmad Vandian Ade Eka Anggraini Adharani, Salza Kartika Adhim, Muhammad Maslukil Affifatuzahara, Affifatuzahara Agung Sri Hendarsa, Agung Sri Agus Salim Afrozi, Agus Ahdiansyah, Muhammad Hafidz Ainun Muthoharoh, Ainun Akbarahma, Mardika Alaiya, Syekha Vivi Alam, Nurayatul Alfien, Moh. Fajrul Ali Mandan, Ali Ali Multazam Alimandan, Alimandan Amran Jaenudin Anastasia Lidya Maukar Andrianto, Arya Anik Herwati Anik Vega Vitianingsih Anjelica, Benedikta Anjik Sukmaaji Aqmarina, Nur Ardiah Juita Ardianto, Risko Aris Aref Vai, Aref Arif Setia Sandi A. Arifianto, Rokhmat Asmuni, Hadiqoh Astuti, Diah Atikah Anindyarini AUNUR ROFIQ Azmala, Ilya Bachri, M. Febriansyah Bagaskara, Doni Yusuf Baig, Maughal Ahmed Ali Baliputra, Gigih Army Buana Balqis, Fadia Indah Bambang Heru Susanto, Bambang Heru Banun Sri Haksasi Barokatun Hasanah, Barokatun BAYU PRASTOWO Bayu Setiawan Bekti Wulandari Besi, Yovita Budi Murtiyasa Budi Santoso Budi Sungkawa, Hendra Cahyati, Angela Raisya Putri Cahyono, Erik Catur Nitya V.N., Catur Nitya Chaesar, Ari Suryawati Secio Chintia, Vika Chusniyah, Dina Asmaul Ciputra, Roni Cahya Dahliatul Hasanah Daryanto Daryanto Dea Sari, Khafifah Defi, Defi Denni Kartika Sari Desi Heltina Dewanta, Bagaskara Gita Dewanto, Satriyo Agung Dewi, Vera Melinia Dj, Herlinda Djohan Djohan, Herlinda Dwi Budi Santoso Dwi Ningsih, Yuni Astuti E.G. Lestari Edy Suryanto Eko Mugiyanto, Eko Eniya Listiani Dewi Eny Kusrini Erdiana, Luthfi Widad Esha, Muhammad In'am Evindra, Jodi Fachry Abda El Rahman Fadhilah, Isna Fahmi, Nasrina Nur Faizal Rizky Yuttama Faris, Sukron Fauzi, Chamda Fauzi, Chamdan Fauziah, Nadia Kurnia Febrian Tri Adhi Wibowo Febrianti, Aprilia Fidarohman, Fidarohman Firdaus, Predi Firmanlindo, Dimas Satria Fitria, Mulajimatul Fitrulloh, Moch. Jassar Aqsal Frederikus Dian Indrastomo, Frederikus Dian Friarcha, Adly Fuad, Asfal Ghafur, Okta Abdul Guspari, Weldi H Sinaga, Rinaldo Agus Hakim, Arif Lukman Hamidan, Rusdi Hardhita, Rizki Septa Hardiyanti, Dwi Harini Harini Hariyanto, Dian Harjanti, Agnes Isti Harsono Harsono Haryadi Wibowo Haryono Haryono hasan, dahlawi Hasanah, Euis Uswatun Hayya, Fina Lu'lual Hendriana, Benny Heri Hermansyah Hidayah, Laila Fitri Nur Hidayati, Suci Himmah Taulany Husaini Usman Hutabarat, Ricard Parulian Ignatius Adrian Mastan Ihsan, Bagus Muhammad Iistiklaili, Fifti Ika Sartika Ikha Muliawati, Ikha Imam Rofiki Imam Santoso Imami, Nor Ali Sukkron Imma Fatayati Indar Kustiningsih Indra, Abel Indrawati, Iin Dyah Indriati Nurul Hidayah Indriyani, Puspa Irdyansah, Andry Irmayanti Hasan Irnawati Irnawati Irwan, Wahyurrahman Ferbiansyah Adha Muhammad Isnaini Isnaini Istiani, Lia Sukma Jaenudin, Erik Jamilah, Zahrotul Jessica Tanuwijaya, Jessica Kamaludin Kamaludin Karjo, Karjo Kesuma Wardanie, Debleng Puja Khasanah Khasanah kholia, Amalia Khusna Santika Rahmasari Komala, Laura Kusmanto, Adi Kusrini, Kusrini Kustiningsih, Indar Labunda, Aura Iqlima Laili, Afrohatul Lambok Manurung Laula, Laula lenny kurniati, lenny Lestari, Juniarti Wulan Lestari, Wahyu Fajar Lianti Putri, Puspita Lili Marliyah Liza Choirun Nisa Lukman Subekti Luluk Elyana Luswandari, Wulan Fatikhah M. Ibadurrohman M. Rizki C, M. Rizki C Maaliki. H, Maulana Danar Made Sudana, I Mafruroh, Mafruroh Maretha Ika Prajawati Marhaeni Dwi Satyarini Maria Denok Bekti Agustiningrum Masrukhi Masrukhi Maulana, Yoppy Meti Fatimah Miftahul Huda Miftakhul Rohman, Muhammad Yasin, Iwan Marwan, Miftakhul Rohman, Milatun Khanifah Minggow, Lingua Franca Septha Misbahul Munir Mochamad Syamsiro Mochammad Arifin Mochammad Facta Moedrik, Irwan Mohamad Erihadiana, Mohamad Muarofah, Siti Najatun Muchammad Ajhi Romadhon Muhamad Ibadurrohman, Muhamad Muhammad Ibadurrohman Muhammad Noor Fitriyanto Muhammad Syaifudin Muhammad Triyogo Adiwibowo Muhklasin, Ahmad Mulyadi Mulyadi Mulyadi, Tubagus Mulyani Mulyani Mulyani, Rahmatika Munardi, Fhatia Natasya Murfiah Dewi Wulandari Musaidah, Siti Mutiarani Pionera Nana Noviada Kwartawaty Nasution, Muhammad Ali Nawab, Muhammad Ni Putu Nita Wijayanti Niam, Siti Khozinatun Nida, Khairun Ningrum, Wulan Agustin Nizar, Yusuf Bahrudin Nova, Fifit Noviana, Titik Noviyanti, Shobihatul Fitroh Novriyan, Grace Nugraha, Rizaldi Nugroho, Citra Maulidyah Rahmawati Nungki Marlian Yuliadarwati Nur Azmi Ainul Bashir Nur Rohmawati, Yuli Nur Yasin Nurhayati, Etiek Nurhidayah, Larasati Sukma Nuryanti Nuryanti nuryanti, nuryanti nur Oktavia, Endah Oktaviani, Riska Kurnia Oktiawati, Unan Yusmaniar Pambudi, Dwi Bagus Pamudi Pamudi, Pamudi Pamungkas, Maulana Al Bana Pantjawati Sudarmaningtyas Pardal, S.J. Perez, Albert Yaser Permadi, Hendro Pinurti, Hayu Pradana, Adlan Bagus prajawati, mareta Prajnawati, Maretha Ika Pramesti, Rory Nur Pramudya, Stansa Senia Pranoto, Ponco Wali Prasetya, Candra Dwi Prasetya, Johan Praswasti PDK Wulan, Praswasti PDK Prihandoko, Tri Leksono Puguh Darmawan Pujiastuti, Hendrini Purnomo, Muhammad Sidiq Pusnawati, Yeni Putra, Fredriex Pramana Putra, I Gusti Ngurah Alit Widana Putri, Berliana Tristati Putri, Martina Reza R. Arbianti R. Soelistijanto Rachmanto, Wahyudi Rafinci, Ari Septia RAGAPADMI PURNAMANINGSIH Rahayu, Ardita Isnanda Rahayu, Suwasti Rahmadina, Shiva Nur Aulia Rahman, Fatchur Rahmita, Rahmita Ramli, Nurleli Ratnawati Ratnawati Riadi, Bagus Riani, Quensy Richie, Enrico Rifaldi, Ridho Rini Nurhakiki Rita Arbianti Riyadi Syakur, Riyadi Rizqial, Farchan Ananda Rofiqi, Rofiqi Romanto, Romanto Roy Ardiansyah, Roy Rozi, Fajrul RR. Ella Evrita Hestiandari Rusdi, Jack Febrian Rustanto Rahardi Sabarudin Sabarudin Saddam Husein, Saddam Salim, Maulidyah Sandika, I Kadek Budi Sani, Mutiara Sanjaya, David Julius Sari, Mada Sumringah Sari, Ratih Ayu Puspita Sayidatu Zahrok, Firlia Setianto, Gigih Setiyowati, Supami Wahyu Setyaningsih, Sri Shafira, Siti Nur Azizah Shofiyyah Taqiyyah sinaga, Bandarudin Welman Sindyana, Amanda Putri sirait, ramsyuren putra Siti Amina siti Nurindah Sari Soebandriyo, Soebandriyo Sohri, Moch. Sopyan, Iis SRI RAHAYU Sri Rahayuningsih Sri Sayekti Sri Wahyuni Sri Widayati Sri Yulaikah, Sri Srihadi Srihadi Sugito - Sugiyanto - Sugiyono Sugiyono Suhono Suhono, Suhono Sujatmiko, Amin Sulaiman, Robi Sulastio, Agus Sulastio, Agus Sulatio, Agus Sumardi . Sumarwati Supiat Supriyanto Supriyanto Suprizal, Suprizal sururi, endri Susy Kuspambudi Andaini Sutriswanto, Sutriswanto Suwadji, Suwadji Suwandi, Edy Suwasono, Prayitno Ribut Syafriadinata, Ridho Syafriwan, Dio Syahdilla, Ade Syaiful Hamzah Nasution Syamsiar, Syamsiar Syamsul Arifin Syamsul Rizal Syarifah, Dewi Tamaulina Br Sembiring Teguh Widodo Titik Susiatik Tri Suminar Trianingsih Eni Lestari Triyantoro, Haris Tugino, Tugino Tuti Mutia Ulhaq, M Daffa’ Dhiya’ Ulul Azmi Ulum, Mazro’atul Ulung, Ridwan Printis Umarella, Novel Umi Trisnaningsih Ummie Masrurah Urmatul Waznah Utari, Dewi Vicky Andria Kusuma victoria, yeni Vitandi, Immellia Novitasari Viviyanti Johar, Intan Wahyu Danumulyo, Wahyu Wardani, Suci Kesuma Wasino Wasino Wicaksono, Dandy Widia Yanti, Widia Widiyanti, Leonita Wijayanti, Ni Putu Putu Nita Winarni, Dyah Setyaningrum Winarno, Andhika Sarfatra Wiranata, Agus Wirasti, Wirasti Wuryanto, Nareswari Hidayah YM. Indarwati Rahayu Yudi Kristyawan, Yudi Yundari, Yundari Yuniar, Ni Ratih Putri Yusrilia, Yusrilia Yustiana Putri, Naimatul Jannah Yusuf, Adrian Edoardo Zenda Christian Adhiatama Zidni Imanurrohmah Lubis Zubaidah R, Zubaidah Zuhri, Muchammad Syaifudin Zusrotin, Zusrotin