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Spatial Distribution Patterns Analysis of Hotspot in Central Kalimantan using FIMRS MODIS Data Adisty Pratamasari; Ni Ketut Feny Permatasari; Tia Pramudiyasari; Masita Dwi Mandini Manessa; Supriatna Supriatna
Journal of Geography of Tropical Environments Vol 4, No 1 (2020): February
Publisher : Open Journal System

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (482.511 KB) | DOI: 10.7454/jglitrop.v4i1.74

Abstract

One of the ways to observe the hotspot created by forest fires in Indonesia is through Remote sensing imagery, such as MODIS, NOAA AVHRR, etc. Central Kalimantan is one of the areas in Indonesia with the highest hotspot data. In this research, MODIS FIRMS hotspot data in Central Kalimantan collected from 2017 – 2019, covering 13 districts: South Barito, East Barito, North Barito, Mount Mas, Kapuas, Katingan, Palangkaraya City, West Kotawaringin, East Kotawaringin, Lamandau, Murung Raya, Pulang Pisau, Seruyan, and Sukamara. That is four aspects that this research evaluated: 1) evaluating the spatial pattern using the Nearest Neighbor Analysis (NNA); 2) evaluate the hotspot density appearance using Kernel Density; and 3) correlation analysis between rainfall data and MODIS FIRMS. As a result, the hotspot in Central Kalimantan shows a clustered pattern. While the natural breaks KDE algorithm shows the most relevant result to represent the hotspot distribution. Finally, the hotspot is low correlated with rainfall; however, is see that most of the hotspot (~90%) appeared in low rainfall month (less than 3000 mm/month).Keywords: Forest fire, Hotspot, NNA, Kernel density, Central KalimantanDOI: http://dx.doi.org/10.7454/jglitrop.v4i1.74
Wilayah Potensi ikan pelagis pada variasi kejadian ENSO dan normal di Selat Sunda Yulianti Nurkhairani; Supriatna Supriatna; Dewi Susiloningtyas
Journal of Geography of Tropical Environments Vol 2, No 1 (2018): February
Publisher : Open Journal System

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (942.041 KB) | DOI: 10.7454/jglitrop.v2i1.32

Abstract

Letak geografis Indonesia mengakibatkan perikanan di Selat Sunda turut terkena dampak dari dinamika iklim global. Salah satunya yaitu fenomena ENSO (El Nino-Southern Oscillation) di Samudera Pasifik yang mempengaruhi musim dan perairan laut di Indonesia. Perikanan di Selat Sunda memiliki komoditi berupa ikan pelagis yang wilayah potensialnya dapat diperkirakan dari parameter-parameter oseanografi berupa suhu permukaan laut (SPL) dan konsentrasi klorofil-a di perairan laut. Dinamika parameter oseanografi secara spasial dan temporal akibat variasi fenomena ENSO dapat diidentifikasi dari citra satelit Aqua yang membawa sensor MODIS. Informasi wilayah potensi ikan pelagis dibutuhkan untuk membantu efektifitas kegiatan perikanan dan menambah produksi perikanan tangkap. Parameter-parameter oseanografi bulanan di Selat Sunda ditampal berdasarkan 4 variasi musim dalam setahun pada setiap variasi fenomena ENSO dan diklasifikasikan berdasarkan kelas potensial sedang, potensial, dan sangat potensial. Hasilnya, wilayah potensi ikan pelagis yang sangat potensial di Selat Sunda pada fenomena La Nina dan El Nino lebih besar dibanding pada kondisi normal dan terjadi pada musim timur hingga peralihan II. Sebarannya berada di Samudera Hindia di sebelah barat Selat Sunda. Kata kunci: Pelagis, Potensial, La Nina, El Nino, Selat Sunda
ANALISIS MAKNA VISUAL WAYANG TAVIP CABANG DEPOK JAWA BARAT DALAM CERITA BERINGIN SETAN Yusrina Zati Bayani; Anis Sujana; Supriatna Supriatna
ATRAT: Jurnal Seni Rupa Vol 8, No 2 (2020): ANALISIS MAKNA KARYA VISUAL DALAM SENI PUBLIK
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v8i2.1524

Abstract

Tavip Puppet of Satanic Banyan is one of the Contemporary Puppets in West Java. Driven by the visual meaning contained in the figure of the Tavip Puppet of Satanic Banyan, this research is a single case study in an area in Depok City that has a contemporary art identity. The formulation of the problem focuses on the background of the visual meaning in the Tavip Puppet of Satanic Banyan. The study uses a qualitative method with a semiotic approach, specifically that of Charles Sanders Pierce’s theory. It is aimed to find out signs and meanings present in the characters of Tavip Puppet of Satanic Banyan. The research results show that each character has a different visual meaning. It can be seen from every sign, color and ornament that belong to each character. Tavip Puppet of Satanic Banyan was crafted by two figures, namely Tavip as its creator and Budi Ros as its developer or script writer.Keywords: Semiotics, Visual Meaning, Tavip Puppet of Satanic Banyan.____________________________________________________________________Wayang Tavip Beringin Setan merupakan salah satu Wayang Kontemporer yang berada di Jawa Barat, penelitian ini dilatar belakangi oleh makna visual yang terdapat pada tokoh Wayang Tavip Beringin Setan. Mengambil studi kasus tunggal di daerah Kota Depok yang memiliki identitas seni rupa kontemporer. Adapun rumusan masalah dalam penelitian ini yaitu bagaimana latar belakang makna visual pada Wayang Tavip Beringin Setan. Metode yang digunakan adalah metode penelitian kualitatif dengan pendekatan semiotika khususnya menggunakan teori Charles Sanders Pierce. Tujuannya yaitu agar dapat mengetahui apa saja tanda dan makna yang terdapat pada tokoh Wayang Tavip Beringin Setan. Berdasarkan hasil penelitian terhadap makna visual Wayang Tavip Beringin Setan ini ditemukan bahwa setiap tokoh memiliki makna masing-masing yang berbeda-beda. Hal ini terbukti dari setiap tanda, warna dan ornament yang dimiliki dari setiap tokoh. Terciptanya Wayang Tavip Beringin Setan ini juga terdiri dari dua orang yaitu Pak M. Tavip sebagai seorang kreator dan Pak Budi Ros sebagai pengembang atau pembuat naskah.Kata Kunci: Semiotika, Makna Visual, Wayang Tavip Beringin Setan
PENGEMBANGAN E-MODUL IPA BERBASIS SCIENTIFIC APPROACH MATERI GAYA KELAS V SEKOLAH DASAR Shenny Nur Khaerunnisa; Arifin Maksum; Supriatna Supriatna
JURNAL PENDIDIKAN DASAR Vol 10, No 1 (2022): Juni 2022
Publisher : STKIP Melawi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.46368/jpd.v10i1.426

Abstract

AbstrakPenelitian dan pengembangan ini bertujuan untuk menghasilkan produk E-Modul IPA Berbasis Scientific Approach Materi Gaya Kelas V Sekolah Dasar. Dari data hasil uji coba menggunakan analisis kebutuhan, peneliti menemukan beberapa permasalahan yang dialami 1) Kesulitannya orang tua dalam membimbing anaknya pada masa pandemi covid-19 yang mengharuskan pembelajaran jarak jauh 2) Materi dalam buku tematik sudah lengkap hanya saja masih diperlukannya buku pelajaran tambahan  untuk menunjang materi 3) Belum tersedianya e-modul IPA. Dapat disimpulkan bahwa guru membutuhkan sebuah pengembangan media pembelajaran yang dapat mempermudah dalam pembelajaran jarak jauh yang dilakukan secara mandiri. Penelitian dari pengembangan ini menggunakan model penelitian ADDIE (Analyze, Design, Development, Implementation, Evaluation). E-Modul ini diuji cobakan pada ahli materi, ahli media, ahli bahasa, uji coba pengguna one to one, small group, dan field test secara online. Hasil uji coba ini memperoleh skor rata-rata 92,5% untuk ahli materi, 78,8% untuk ahli media dan 85% untuk ahli bahasa. Hasil uji coba pengguna 80% untuk tahap one to one, 79% untuk tahap small group dan 98,8% untuk tahap field test. Hal ini menunjukkan bahwa pengembangan e-modul IPA berbasis scientific approach termasuk ke dalam kategori “Sangat Baik (SB)” sehingga layak untuk digunakan dalam pembelajaran Ilmu Pengetahuan Alam (IPA) kelas V Sekolah Dasar.Kata Kunci:E-Modul, Scientific Approach, Sekolah Dasar
Mobile-Based Garbage Bank Empowerment Education in Jambi City Erris Erris; Supriatna Supriatna; Sondang Sondang; VA Irmayanti
Budapest International Research and Critics Institute-Journal (BIRCI-Journal) Vol 5, No 4 (2022): Budapest International Research and Critics Institute November
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v5i4.7322

Abstract

This study aims to determine the perceptions, participation, knowledge of housewives in managing the Garbage Bank and provide education on empowering mobile-based Garbage Banks to sort organic and inorganic waste where the management of the Garbage Bank emphasizes. The research method by collecting perceptual data is carried out before being given education to housewives preparing instruments in the form of observations, checklists, interviews and documentation before collecting data conducting discussions and common perceptions about the content of the instrument then expected to have mobile-based application outcomes and making bank empowerment educational materials Garbage that is entered into the google form, the technique of spreading it empowers the Head of the Neighborhood Association, Head of the Garbage Bank, Young Women with the results of the answers of Housewives and Young Women on the Google form, data analysis is carried out. This research is a quantitative study with the Dependent T Test and Paired-Samples T-Test with a 95% confidence level, alpha = 0.05. If the calculated value is less than 0. The statistical test results obtained a value of 0.000, so it can be concluded that there is a significant difference between perception, participation and knowledge before and after mobile-based education on empowering housewives,The statistical test results obtained a value of 0.049, so it can be concluded that there is a significant difference between good knowledge and poor educationin community empowerment through the management of a Waste Bank by means of 3R (reduce, reuse, recycle).As for the conclusions of the study, there are differences in perception, participation, differences in knowledge of housewives before and after education on empowering mobile-based Garbage Banks in Jambi City, the influence of knowledge of housewives on education on empowering Garbage Banks with the use of mobile-based applications in Jambi City.
ASPEK VISUAL PADA KESENIAN KUDA LUMPING WAHYU TURONGGO JATI SEBAGAI KESENIAN TRADISI MASYARAKAT KUWARU KEBUMEN Anggita Ayu Anjani; Supriatna Supriatna; Martien Roos Nagara
ATRAT: Jurnal Seni Rupa Vol 10, No 2 (2022): ESTETIKA DALAM MAKNA, MEDIA, DAN TEKNIK VISUAL
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v10i2.2111

Abstract

Lumping horse art also called jaran braid or jathilan is a traditional dance from Java that features a group of soldiers riding horses. This dance uses horses made of bamboo or other materials woven and cut to resemble the shape of a horse, decorated with artificial hair from plastic rope or the like that is curled or braided. Through further search, there is a visual aspect that exists in this art. The visual aspect of the art of lumping horse Wahyu Turonggo Jati has a characteristic that is certainly different from other lumping horse arts, especially from visual ebeg (woven lumping horse) which has its own meaning and values. The research method used is a qualitative method with a semiotic descriptive approach through a direct interview of the leader of lumping horse art Wahyu Turonggo Jati, Kuwaru, Kebumen. It is hoped that the results of research from the visual aspects of lumping horse art can provide insight for researchers, art education, the community and readers can also attract interest in lumping horse art.Keywoard: Visual Aspect, Lumping Horse Art, Wahyu Turonggo Jati-------------------------------------------------------------------------------Kesenian kuda lumping disebut juga jaran kepang atau jathilan merupakan tarian tradisional dari Jawa yang menampilkan sekelompok prajurit tengah menunggang kuda. Tarian ini menggunakan kuda yang terbuat dari bambu atau bahan lainnya yang dianyam dan dipotong menyerupai bentuk kuda, dengan dihiasi rambut tiruan dari tali plastik atau sejenisnya yang digelung atau dikepang. Melalui penelusuran lebih lanjut, terdapat aspek visual pada kesenian ini. Aspek visual yang ada pada kesenian kuda lumping Wahyu Turonggo Jati memiliki ciri khas yang tentunya berbeda dari kesenian kuda lumping lainnya, terutama dari visual ebeg (anyaman kuda lumping) yang memiliki makna dan nilai-nilai tersendiri. Metode penelitian yang digunakan adalah metode kualitatif dengan pendekatan deskriptif semiotik melalui wawancara langsung terhadap pemimpin kesenian kuda lumping Wahyu Turonggo Jati, Kuwaru, Kebumen. Diharapkan hasil penelitian dari aspek visual pada kesenian kuda lumping dapat memberikan wawasan bagi peneliti, pendidikan seni, masyarakat dan pembaca juga dapat menarik minat terhadap kesenian kuda lumping.Kata Kunci: Aspek visual, Kesenian Kuda Lumping, Wahyu Turonggo Jati
STUDI TEKNIK DAN KARAKTERISTIK PADA LUKISAN EKSHIBISI ‘FROM ME, TO YOU’ SUANJAYA KENCUT Kirana Kusuma Wicitra; Supriatna Supriatna; Martien Roos Nagara
ATRAT: Jurnal Seni Rupa Vol 10, No 2 (2022): ESTETIKA DALAM MAKNA, MEDIA, DAN TEKNIK VISUAL
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v10i2.2112

Abstract

Gambaran Faktor Kejadian ISPA pada Balita di Wilayah Kerja Puskesmas Pijoan Baru Kecamatan Tebing Tinggi Kabupaten Tanjung Jabung Barat Tahun 2019 Sondang Siahaan; Supriatna Supriatna
Jurnal Ilmiah Universitas Batanghari Jambi Vol 22, No 3 (2022): Oktober
Publisher : Universitas Batanghari Jambi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33087/jiubj.v22i3.2241

Abstract

ISPA in Indonesia often occupies the first sequence of todler pain.  Data of P2 ISPA management in Puskesmas Tanjung Jabung Barat in January-August 2018, the number of ISPA cases found in the city was quite high, namely in Puskesmas Pijoan Baru with a total of 1,132 visitors.  The aim of this research is to find out the impact of the ISPA on toddlers which include the occupancy of sleep, ventilation, air conditioning, humidity, room humidity, smoking habits, family habits and the use of burned-mosquito repellent. The type of research was descriptive research with a survey approach. This research was implemented in March until May 2019. The population in this researh were toddlers who were positive infected with ISPA and recorded in Puskesmas Pijoan Baru during October-December 2018 that addresed at the work area of Puskesmas Pijoan Baru. The results of the study showed that 80 respondent homes, the occupancy density of sleeping rooms that filled the population was as big as 3.75%, the habit of ventilation which filled the population as much as 15% of the patients, the total age was as much as 65% of the patients, the majority of patients were filled with 25% of total age, and as much as 3.75% of toddlers did not have ISPA. The community is advised to open windows every morning regularly, not smoke inside the house, provide adding ventilation such as fan, using mosquito nets or anti-comfort packages as replacements for burned-mosquito repellent.
MAPPING BURNT AREAS USING THE SEMI-AUTOMATIC OBJECT-BASED IMAGE ANALYSIS METHOD Fitriana, Hana Listi; Suwarsono, Suwarsono; Kusratmoko, Eko; Supriatna, Supriatna
International Journal of Remote Sensing and Earth Sciences (IJReSES) Vol 17, No 1 (2020)
Publisher : National Institute of Aeronautics and Space of Indonesia (LAPAN)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30536/j.ijreses.2020.v17.a3281

Abstract

Forest and land fires in Indonesia take place almost every year, particularly in the dry season and in Sumatra and Kalimantan. Such fires damage the ecosystem, and lower the quality of life of the community, especially in health, social and economic terms. To establish the location of forest and land fires, it is necessary to identify and analyse burnt areas. Information on these is necessary to determine the environmental damage caused, the impact on the environment, the carbon emissions produced, and the rehabilitation process needed. Identification methods of burnt land was made both visually and digitally by utilising satellite remote sensing data technology. Such data were chosen because they can identify objects quickly and precisely. Landsat 8 image data have many advantages: they can be easily obtained, the archives are long and they are visible to thermal wavelengths. By using a combination of visible, infrared and thermal channels through the semi-automatic object-based image analysis (OBIA) approach, the study aims to identify burnt areas in the geographical area of Indonesia. The research concludes that the semi-automatic OBIA approach based on the red, infrared and thermal spectral bands is a reliable and fast method for identifying burnt areas in regions of Sumatra and Kalimantan.
KAJIAN SIMBOLIK MOTIF BATIK BANDRONG LISUNG CIKADU KABUPATEN PANDEGLANG BANTEN Aufa Fadillah; Deni Yana; Supriatna Supriatna
ATRAT: Jurnal Seni Rupa Vol 11, No 1 (2023): INOVASI DAN APLIKASI PADA KARYA VISUAL
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v11i1.2330

Abstract

Batik is one of the fabrics that is closely related to the cultural values of a society and stores meaning in it through symbols and ornaments. For this reason, researchers examine the symbolic meaning of the Bandrong Lisung motif, Cikadu, Pandeglang Regency, Banten. This study uses a qualitative research method with a symbol theory approach from Susanne K Langer, namely discursive symbols and presentational symbols. A discursive symbol is a symbol that can be broken down into several elements in the motif for later analysis of its meaning. Meanwhile, presentational symbols provide an overall interpretation of a work. The results of this study indicate that every ornament contained in the Bandrong Lisung batik motif has a symbolic meaning. The ornaments are: women playing Bandrong Lisung art, lisung and pestle, plants/flowers, rhinoceros, curved edge decoration patterns, and triangle patterns. The meaning of the whole ornament is don't be afraid to walk in a strange place, if we continue to be brave, together and have strong determination it will produce beautiful things. Bandrong Lisung batik motif also has a message that no matter how tough a human's life is, he will return to his God. Keywords: Batik, Bandrong Lisung, Cikadu, Symbolic ------------------------------------------------------------------------- Batik menjadi salah satu kain yang erat kaitannya dengan nilai budaya dari suatu masyarakat dan menyimpan makna di dalamnya melalui simbol dan ornamen. Untuk itu peneliti mengkaji mengenai makna simbolik pada motif Bandrong Lisung, Cikadu Kabupaten Pandeglang Banten. Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan teori simbol dari Susanne K Langer, yaitu simbol diskursif dan simbol presentasional. Simbol diskursif merupakan simbol yang dapat dipecah menjadi beberapa elemen pada motif tersebut untuk kemudian ditelaah maknanya. Sedangkan simbol presentasional memberikan penafsiran secara keseluruhan pada suatu karya. Hasil penelitian ini menunjukkan bahwa setiap ornamen yang terdapat dalam motif batik Bandrong Lisung memiliki makna simbolik. Ornamen-ornamen tersebut ialah: ibu-ibu memainkan kesenian Bandrong Lisung, lisung dan alu, tumbuhan/ bunga, hewan badak, garis pola hiasan tepi berliuk-liuk, dan pola segitiga. Makna dari keseluruhan ornamen tersebut adalah jangan takut untuk berjalan di tempat yang asing, jika kita terus berani, bersama-sama dan memiliki tekad kuat maka akan menghasilkan hal yang indah. Motif batik Bandrong Lisung juga memiliki pesan bahwa setangguh apapun kehidupan manusia, ia akan kembali kepada Tuhannya. Kata Kunci: Batik, Bandrong Lisung, Cikadu, Simbolik
Co-Authors A.A. Ketut Agung Cahyawan W Abdul Wafi Abdullah Ali Achmad Rifani Adani, Muhammad Nathan Adi Wibowo Adidharma, Mohammad Afdhal Adisty Pratamasari Afifa, Dewi Sarirotul Agus Muharam Ahmaddien, Iskandar Ainun Nizar Kurniawan, Ainun Nizar Alam, Bening Cipta Aldiansyah, Septianto Alfrianto, Andi Bagus Alim, Novan Purnama Alindra, Afridha Laily Amal, Khairul Ananta, Nofti Andi Kurniawan Andri Setiawan Andria Sukmawati, Vika Anggita Ayu Anjani Anis Sujana Anjani, Anggita Ayu Annisa, Illa Arief Darmawan Arifin Maksum Arifin Muslim Arsyadi, Sulastri Asus Maizar Suryanto H Athiek, Alief Kurnia Aufa Fadillah Ayu, Farida Azahra, Resa Azidin, Raja Mohamed Firhad Raja Azizi, Albert Ikhwan Azizi Azzahra, Elvyn Kemala Budianto Budianto Bustamam, Alhadi Chandra, Emilia Charlos Togi Stevanus, Charlos Togi Deni Yana Dewayany Dewayany, Dewayany Dewi Susiloningtyas Dzulhajjah, Rahmah Efendi, Chairun Nisa Efriana, Anisya Feby Efriana, Feby Eko Kusratmoko Emiyarti Emiyarti, Emiyarti Eneng Dian Nurwulan Enok Wartika, Enok Erdilanita, Ulma Erris Erris Erris Erris Fadillah, Aufa Fadillah, Hanifah Tri Nur Fakhrida, Fakhrida Faqih, Achmad Fauziah, Rina Firdaus, Dzulfa Nur Gracia, Enrico Gunawan, Agun Gunawan, Dino Hana Listi Fitriana, Hana Listi Handayani, Sri Hari Prayogi, Hari Hendi Suhendraya Muchtar Heri Ariadi Herlina, Pani Hilman Cahya Kusdiana Ida Royani Ilham, Muhamad Imam Hariadi Insan Muhtadawan Ramadhan Irsan Yunus Woretma Iskandar Iskandar Ismail, Azwar Jaenal Arifin Janika, Sulistia Karma Iswasta Eka Karma Iswasta Eka Khoirunnisa, Anis Kholisoh, Siti Nur Kirana Kusuma Wicitra Kuncoro Teguh Setiawan, Kuncoro Teguh Kurniati Rahayuni Laksono Trisnantoro Maheswari, Searsa Nur Aulia Mahya, Faradilla Ainun Mandini Mannesa, Masita Dwi Mardalena, Ayu Maria, Salsa Martono, Dwi Nowo Masita Dwi Mandini Manessa MASITA DWI MANDINI MANESSA, MASITA DWI MANDINI Masruri Masruri Maulidina, Kintan Miftah, Reina Farhanah Mohammad Mahmudi Muhammad Dimyati Muhammad Haidar Muhammad Musa Muhammad Putra Ramadhan Muhammad, Farrel Febrian Mukhtar, Mutia Kamalia Mulyanti, Febrilia Putri Mulyanto Mulyanto Nagara, Martien Roos Nanik Retno Buwono Ni Ketut Feny Permatasari Noverita Dian Takarina Dian Takarina Novica Dimar Azizah Novitasari, Jessy Nur Fauziyah, Nisa Nurdiansyah Nurdiansyah Nurhikmah, Juliana Nurkhairan, Yulianti Nuroh, Rofatan Nursyahbani, Andini Pamungkas, Fajar Dwi Permatasari, Ni Ketut Feny Prabowo, Salsabila Alifia Prakarsa, Geraldo Nazar Pramiasari, Apdika Dwi Pramudiyasari, Tia Prastiwi, Agita Devi Pratama, Giar Anugrah Pratamasari, Adisty Pratikino, A. Ginong Prisca Widiawati Puspaningrum, Dian Putri, Edis Eriansya Qodria, Lailatul Racmadi, Gustiyan Rahma, Ayang Ranisa Rakasiwi, Neng Putri Rasidyanto, Akbar Ratnawati, Aryanti Renaldo, Ilham Meiyoga Restuti, Ratri Candra Retno Lestari Riesnandar, Ariq Anggaraksa Rina Rina Rofatannuroh, Rofatannuroh Rohimah, Rina Rosmana, Primanita Sholihah Rudy P. Tambunan Safitri, Ikraeni Saputra, Tri Hardi Sarwinda, Devvi Setiadi, Hafid Setya Widi Ayuning Shenny Nur Khaerunnisa Shidiq, Iqbal Putut Ash Siahaan, Sondang Siti Aisyah siti nurlela Sofyan Iskandar, Sofyan Sondang Sondang Sondang, Sondang Sri Dewi Sartika Sri Sudaryanti, Sri Stevanuse, Charlos Togi Sukaenah, Sukaenah Sukmawati, Vika Andria Sulistyorini Sulistyorini, Sulistyorini Suparman, Bintang Muhibuttobari Suparmi Suparmi Susetyo, Novi Adi Sutrisno, Bagas Gagat Rahina Asihing Sutriyadi, Entris Suwarsono Suwarsono Syarifudin, M B Syarifudin, M. B. Tambunan, Mangapul Parlindungan Tangeb, I. Gede Yussupiartha Sas Taqyudin, Taqyudin Tia Pramudiyasari Tito Latif Indra Tri Wahyuningtyas, Tri Trinita Gultom Tufahati, Ninis Andini Wafa Umi Sa'adah Umi Zakiyah, Umi USWATUN KHASANAH Utomo, Nugroho Putra Uzair, Hafiz Muhammad VA Irmayanti Wicitra, Kirana Kusuma Widodo S Pranowo Wina Mustikaati Wulandari, Aliza Yayan M.A Nurbayan Yulianti Nurkhairani Yulingga Nanda Hanief Yundari, Yundari Yunus Subagyo Swarinoto Yusrina Zati Bayani Zumroh Hasanah ZUNIDRA, ZUNIDRA