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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Grenek: Jurnal Seni Musik Solah APRON JOGED KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Harmonia: Journal of Research and Education LOKABASA E-Dimas: Jurnal Pengabdian kepada Masyarakat JADECS (Journal of Art, Design, Art Education and Culture Studies) Gondang: Jurnal Seni dan Budaya Empowerment Pendas : Jurnah Ilmiah Pendidikan Dasar PEDAGOGIK : JURNAL PENDIDIKAN Lectura : Jurnal Pendidikan Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Jurnal Pemberdayaan: Publikasi Hasil Pengabdian Kepada Masyarakat Jurnal Seni Tari JSM (Jurnal Seni Musik) JIKAP PGSD: Jurnal Ilmiah Ilmu Kependidikan Tonil, Jurnal Kajian Sastra, Teater dan Sinema Jurnal Abdi: Media Pengabdian Kepada Masyarakat GETER : Jurnal Seni Drama, Tari dan Musik Community Development Journal: Jurnal Pengabdian Masyarakat Jurnal Tarbiyatuna : Kajian Pendidikan Islam Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Jurnal Wawasan Pendidikan Jurnal Impresi Indonesia Jurnal Pendidikan Sendratasik Gesture: Jurnal Seni Tari Jurnal Pendidikan dan Pembelajaran JPLED Majority Science Journal Maneggio Madania: Jurnal Kajian Keislaman Jurnal Seni Tari Journal of Pedagogi
Setyo Yanuartuti
Department of Music, Dance, and Drama Education Faculty of Languages and Arts, State University of Surabaya Lidah Wetan Campus, Surabaya 60213, Indonesia
Religion Arts Humanities Biochemistry, Genetics & Molecular Biology Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Public Health Social Sciences Other

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PERGESERAN FUNGSI KESENIAN REOG CEMANDI DI DESA CEMANDI KECAMATAN SEDATI KABUPATEN SIDOARJO ALDINOV GUSTIANI, NINDIA; YANUARTUTI, SETYO
APRON Jurnal Pemikiran Seni Pertunjukan Vol 1, No 15 (2020)
Publisher : APRON Jurnal Pemikiran Seni Pertunjukan

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

Abstract

Abstract Reog Cemandi is an authentic traditional art from Sidoarjo. Reog Cemandi was founded in 1922, telling about two teenagers who came from one of the boarding schools in the village of Cemandi, which Kyainya sent to fight against the Dutch armed with rattan wood. The function of Reog Cemandis performance during its establishment was as a spiritual means to ward off the danger that disturbed the residents of Cemandi Village. The development of the era has an impact on the shift in the function of the show, for this research aims to explain the form of presentation of Reog Cemandi in Cemandi Village; explain the shift in the function of Cemog Reog to the people of Cemandi Village and explain the factors that influence the shift of function of Cemog Reog. This research is a descriptive qualitative research with the object of Reog Cemandi art research in Cemandi Village. Data collection techniques are done by observation, interviews and documentation with taxonomic analysis techniques. The results showed that the form of Reog Cemandis presentation did not change in the presentation of the show both from the elements of motion, accompaniment, makeup, fashion, staging, and property. The shift of the Reog Cemandi performance function from the ritual function to the entertainment function. Shifting functions are influenced by internal (funding) and external (modernization) factors. Keywords: shift, function, art, Reog Cemandi
Pengalaman Fenomenologis Pertunjukan Reog Ponorogo dan Relevansinya terhadap Pendidikan Karakter Sriana, Fina Yuni; Trisakti, Trisakti; Yanuartuti, Setyo
LOKABASA Vol 11, No 1 (2020): Vol. 11 No. 1, April 2020
Publisher : UPI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.17509/jlb.v11i1.25193

Abstract

This study discusses the relevance of character education through traditional arts in Indonesia, in this case, Reog in Ponorogo Regency. Furthermore, this research also explores character education through the phenomenology of the body and the transformation of experience into character education that occurs when individuals appreciate the performance of Reog Ponorogo. This research method uses naturalistic qualitative, with a phenomenological approach to the Reog Ponorogo phenomenon and its relationship to character education. The limitations of this research are asphalt in this study are Ponorogo Regency, temporal limits in July-December 2019, and the content limit lies in the aspect of aesthetic experience and transformation that occurs in its relevance to character education. Data obtained from observations, interviews, and subsequent documentation studies were analyzed descriptively about the history of Reog Ponorogo, its performances, experiences, and its relevance to character education. The results show that the phenomenological experience of the Reog Ponorogo show has relevance to character education and cultural education through education which plays a major role in cultural transmission. The education of local wisdom nationalism can also be well explained by the Reog Ponorogo show through the metaphors in the show as a symbol of aspects that will be explained to the public. There is character education in the Reog Ponorogo performance which creates an atmosphere of the transformation of cultural arts and culture towards character education by developing an environment in which cultural approaches are highly considered and prepared with cultural skills and practices as supporting the learning media of the younger generation. AbstrakPenelitian ini membahas tentang relevansi pendidikan karakter melalui seni tradisi di Indonesia, dalam hal ini adalah Reog di Kabupaten Ponorogo. Lebih lanjut, penelitian ini juga mengeksplorasi pendidikan karakter melalui fenomenologi penubuhan dan transformasi pengalaman ke dalam pendidikan karakter yang terjadi ketika individu mengapresiasi pertunjukan Reog Ponorogo. Metode penelitian ini menggunakan kualitatif naturalistik, dengan pendekatan fenomenologis terhadap fenomena Reog Ponorogo dan keterkaitannya dengan pendidikan karakter. Batasan penelitian ini aspasial dalam penelitian ini adalah Kabupaten Ponorogo; batasan temporal pada bulan Juli-Desember 2019; dan batasan isi terletak pada aspek pengalaman estetik dan transformasi yang terjadi dalam relevansinya terhadap pendidikan karakter. Data yang didapatkan dari observasi, wawancara, dan studi dokumentasi selanjutnya dianalisis secara deskriptif tentang kesejarahan Reog Ponorogo, pertunjukannya, pengalaman-pengalaman, dan relevansinya terhadap pendidikan karakter. Hasil menunjukkan bahwa pengalaman fenomenologis atas pertunjukan Reog Ponorogo memiliki relevansi terhadap pendidikan karakter dan pendidikan budaya melalui pendidikan yang memainkan peran utama dalam transmisi budaya. Pendidikan nasionalisme kearifan lokal juga dapat dijelaskan dengan baik oleh pertunjukan Reog Ponorogo melalui metafor-metafor dalam pertunjukannya sebagai simbol aspek yang akan dijelaskan kepada masyarakat. Terdapat pendidikan karakter di dalam pertunjukan Reog Ponorogo yang menciptakan suasana transformasi seni budaya menuju pendidikan karakter dengan mengembangkan lingkungan di mana pendekatan budaya sangat dipertimbangkan dan dipersiapkan dengan keterampilan serta praktik budaya sebagai pendukung media belajar generasi muda.
ANALISIS TEKNIK GERAK TARI TRADISIONAL DENGAN MENGGUNAKAN ILMU KINESIOLOGI Mangoensong, Hasprina Resmaniar Boru; Yanuartuti, Setyo
Jurnal Seni Tari Vol 9 No 1 (2020): Vol 9 No 1 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (200.771 KB) | DOI: 10.15294/jst.v9i1.39181

Abstract

Dancing knowledge in Indonesia is evolving. In the beginning, dance was used as a ritual. But with formal education dance interdisciplinary with other subject, such as science. Positivistic dance science is contrary with Indonesian traditional dance which is dominant with ethnicity, and that makes kinesiology not too well developed in Indonesia. The aim of this article is to study traditional dance movement through kinesiology. The author uses qualitative method with critical and creative analytical, also studying the theory regarding traditional dance movement and kinesiology. The finding of this article is kinesiology can be used to analyze traditional dance movement technique regarding the joint movement and the driving muscle. Traditional dance movement practicing also about 'feel management' training, so the particular 'feel' is still enjoyable for the audience. Identical movement with different appreciation will produce different movement, so it takes balance in practicing movement technique and 'feel management' training. In order to support movement technique training, artist and dance teacher can study it through kinesiology. Keywords: Traditional dance, kinesiology, analysis, and movement technique
Adaptation of The Wiruncana Murca Play in The Wayang Topeng Jatiduwur (Jatiduwur Mask Puppet) Jombang Performance Yanuartuti, Setyo; Juwariyah, Anik; Puspito, Peni; Winarko, Joko
Harmonia: Journal of Arts Research and Education Vol 20, No 1 (2020): June 2020
Publisher : Department of Drama, Dance and Music, FBS, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v20i1.24807

Abstract

Wiruncana Murca play is the only Panji play in the Mask Puppet Performance in Jatiduwur Jombang which still performances its dramatic structure after the Mask Puppet is extinct. Wiruncana Murca play in the Wayang Topeng Jatiduwur Performance in the past was used for nadzar rituals. When the Mask Puppet was rebuilt, the Wiruncana Murca play was performed in a different context, the Panji Festival. This study aims to analyze the transformation process of the Wiruncana Murca play with an adaptation approach. The scope of this research includes text and context. The research method is descriptive qualitative analytical. The data collection used is observation, interview, and document study. The analysis uses an analytical descriptive method. The results performance that the adaptation of Wiruncana Murca in the Wayang Topeng Jatiduwur performance was carried out because there was a different contextuality from the ritual cultural context of the Jatiduwur village community to the context of the National Panji Festival performance in 2017 in Kediri. The transformation was carried out by the stages of identification of story ideas, the embodiment of the text, the embodiment of the dramaturgy, and staging. Adaptation to the process of intellectual transformation is based on a new contextual approach using fidelity or maintaining the originality of the source. The original uniqueness of the existing art is still used as a source of inspiration or a source of reference used as material to develop new performance products. The adaptation of the Wiruncana Murca play in the context of the Wayang Topeng Jatiduwur performance at the 2017 National Panji Festival performances the creative process of mask artists. While the result is a manifestation of a new product from Mask Puppet in Jatiduwur Jombang.
Negosiasi Performativitas Pedagogis Pembelajaran Musik Generasi Z Bahaudin, Imam; Juwariyah, Anik; Yanuartuti, Setyo
Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Vol 4, No 1 (2021)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/vt.v4n1.p1-10

Abstract

Abstract: This study identifies and explores the negotiations that occur as pedagogical performativity in learning music in the digital era for Generation Z. This study also looks at the performativity of conventional to modern music learning. Furthermore, it can be known and clarified the position of music learning and its flexibility in learning modern music for generation Z. This type of research is qualitative with a case study approach. Data were obtained with questionnaires in qualitative research, and interviews, which were taken from April 2020 to January 2021. The data sources were 100 music teachers in Surabaya and Sidoarjo, East Java. The research point of view uses the concept of children's musical aspects popularized by Schu-Fang Lin and Helena Gaunt (2016) about the pedagogy of 21st Century music learning. The results show that performativity and pedagogical negotiation in Generation Z music learning begins with awareness and learning innovations carried out by teachers. The teacher realizes that the entry of technology has a significant role in the learning process of music. Negotiation of performativity and pedagogy ultimately leads to a multidimensional learning model that has a reciprocal effect on students. Multidimensional learning highlights the advantages of embracing technology for music learning for Generation Z without obscuring the traditional and other essential aspects of music and conventional learning. The use of technology and the negotiations that occur in it raises multidimensional learning, which aims to include aspects of the face-to-face classroom learning experience with technology-based learning experiences to become an attraction for Generation Z in music learning.Keywords: negotiating, performativity, pedagogy, music learning, Generation Z   
PERAN PENULISAN KARYA ILMIAH DAN PTK BAGI PROFESIONALISME GURU SENI BUDAYA Trisakti, Trisakti; Juwariyah, Anik; Yanuartuti, Setyo; Handayaningrum, Warih
Jurnal ABDI: Media Pengabdian Kepada Masyarakat Vol 5, No 1 (2019)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/ja.v5n1.p51-57

Abstract

The background for conducting the training comes from the teachers’ need in fulfilling the obligation tocompose scientific works for job promotion matters and teachers’ achievement documentation. Thisactivity is aimed at improving the understanding and the skills of Arts and Culture teachers in composingscientific works and Classroom Action Research through training. Furthermore, it was carried out throughlecture, discussion, task giving and guidance. The results of the questionnaire showed thatthe ability of theparticipants in composing the Classroom Action Research is 92% very good. Also, with regard tocomposing the Classroom Action Researchand scientific works, it was found that based on the aspect ofunderstanding the contents of the materials presented, the ability of the participants reaches 84,6%percentage. Besides, the easinessof generating ideas in writing Classroom Action Research achieves69%, while the ability of developing Classroom Action Research writing well obtains 69%. In addition, theresponse onthe Classroom Action Research aspect supporting the learning process is 61,5%. Meanwhile,opinion on the Classroom Action Research donethat can be applied gets 69% percentage. The averagescore of the participants in writing proposal is 78. In general, the average score is satisfactory, consideringthat there were some participants who previously did not understand aboutClassroom Action Researchbecause their specialty ispure art. Additionally, the percentage of the participants achieving score above70 is 69%, while the rest 30% got 60 and below. It indicates that the trainingonscientific works andClassroom Action Research writing has been successlly run and shown a noticable result.
Interdisiplin: Pembelajaran Seni Tari Melalui Aplikasi Tik Tok Untuk Meningkatkan Kreativitas Anak Luisandrith, Desella Rasida; Yanuartuti, Setyo
Jurnal Seni Tari Vol 9 No 2 (2020): Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jst.v9i2.42085

Abstract

Pembelajaran pada saat ini banyak yang menggunakan pembelajaran sistem daring. Pembelajaransistem daring dilakukan melalui berbagai media dan teknologi. Hal ini dikarenakan keterpisahanantara peserta didik dengan guru. Dengan demikian, sistem pembelajaran dirancang sedemikianrupa dalam rangka mengatasi pembatasan ruang dan waktu ini dikarenakan untuk memutuspenyebaran virus corona (COVID-19). Sejalan dengan pernyataan tersebut untuk membantu agarpembelajaran seni tari tidak dibatasi waktu dan tempat, maka dikembangkan sebuah inovasi baruberupa video yang dikemas kedalam aplikasi Tik Tok. Tujuan penelitian ini meningkatkankreatitvitas seni tari pada peserta didik. Metode penelitian yang digunakan adalah Research andDevelopment (R & D) dan pendekatan interdisplin. Pendekatan interdisiplin (interdisciplinapproach) ialah pendekatan dalam pemecahan suatu masalah dengan menggunakan tinjauanberbagai sudut pandang ilmu serumpun yang relevan secara terpadu. Pendekatan interdisiplin padapembelajaran seni tari melalui aplikasi tik tok secara efektif dapat meningkatkan kreativitas pesertadidik dalam pembelajaran seni tari. Pelaksanaan media video pembelajaran seni tari melaluiaplikasi Tik Tok, beberapa tahapan dengan menggunakan istilah siklus, siklus pertama, gurumenyampaikan materi pelajaran dengan menggunakan pendekatan interdisiplin, siklus kedua, gurumemberikan proses apresiasi dengan cara memberikan media video pembelajaran kepada pesertadidik melalui WhatsApp, siklus ketiga siswa diminta mengekspresikan kembali video yang sudahdilihat peserta didik berdasarkan ide, konsep dan secara kreatif peserta didik.
REINTERPRETASI TOKOH EMBAN DALAM KARYA TARI TOPENG MBANMBAN Yanuartuti, Setyo; Winarko, Joko
GETER Vol 4, No 1 (2021)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v4n1.p105-120

Abstract

Tokoh emban merupakan tokoh abdi yang dimaknai sebagai pembantu atau pengasuh seorang pangeran dan atau putri. Dalam pertunjukan Wayang Topeng Jatidhuwur tokoh Emban dihadirkan dalam setiap adegan kerajaan atau keputren. Tokoh emban ini memiliki karakter gecul, dan endel (orang Jatidhuwur menyebutnya dengan jalang). Gerak-gerik dan penampilan tokoh emban ini menarik peneliti untuk dijadikan sebuah tari. Oleh karena itu, tulisan ini bertujuan untuk mendeskripsikan proses reinterpretasi dan bentuk tari topeng Mbanmban sebagai wujud visual tokoh Emban dalam pertunjukan Wayang Topeng Jatidhuwur. Penelitian ini merupakan penelitian penciptaan seni, adapun metode penciptaan enggunakan konstruksi. Hasil penelitian berupa satu karya seni tari yang diberi judul Topeng Mbanmban. Proses konstruksi tari dilakukan dengan tahapan penggalian ide, eksplorasi, komposisi, dan perwujudan tari. Bentuk visual tari topeng Mbanmban dibangun melalui wujud topeng berwarna putih dengan bentuk wajah bulat, dengan ornamen rambut hitam disisir rapi di atas dahi, bentuk alis kecil yang bersambung antara alis kiri dan kanan. Bentuk hidung pesek bentuk mata kecil seperti kolikan, dan bentuk bibir senyum dengan mulut terkatup. Topeng ini dilengkapi dengan anting-anting kayu yang dibuat terpisah berbentuk seperti palu kecil. Disamping wujud topeng, pengembangan gerak tari juga diambil dari gaya gerak tokoh emban, seperti gaya jalan lembeyan, cara duduk, dan gerakan-gerakan ekspresi yang selalu muncul ketika dalang melakukan dialog. Elemen pendukung gaya gerak tari Topeng Mbanban ini adalah tata busana dengan pendekatan warna kuning kecoklatan dalam bentuk kebaya dan kain motif bledag. Penataan gending yang dinamis memperkuat wujud karakter tokoh emban yang endel.
Hadrah Ishari Art: Ethnomusicological Study At Sirojul Huda Islamic Boarding School In Purwosari Pasuruan Regency Larashati, Bunga Widiya; Yanuartuti, Setyo; Lodra, I Nyoman
Jurnal Seni Musik Vol 10 No 2 (2021): December, 2021
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jsm.v10i2.52333

Abstract

This research aims to analyze the ethnomusicological study of hadrah ishari musical art. The type of research used is descriptive qualitative with an ethnomusicological approach. The data collection techniques are through observation, interviews, and documentation. Interviews were done with an informant who is competent in the art of hadrah ishari is Ichwan Mu'jizat. The data analysis steps are data reduction, presentation, and conclusions. The data validity was obtained through triangulation techniques of data sources and techniques. The results of the study show history, the form of presentation of this hadrah music consists of the introduction, the core, and the final presentation. The elements that make hadrah ishari music consist of tempos, rhythm, expressions, dynamics, and tone scales, while the elements that make the vocals of hadrah music are articulation, respiration, intonation, and tones. The movement of the head and hands also has a deep meaning about the symbol writing of Allah SWT and Muhammad SAW. The function of hadrah ishati itself has developed from the beginning for da'wah media, now it has begun to develop into entertainment, communication, commercial and creative media. Based on the results of the research, it is hoped that there are further researches and they can improve the results of the research, especially in the ethnomusicology study of the hadrah musical art. Keywords : History, Presentation Form, Elements of Music, Functions of Music
The Life of Mask Puppet in Jombang: Its Functions and Continuity Yanuartuti, Setyo
Komunitas Vol 6, No 2 (2014): September 2014
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/komunitas.v6i2.3302

Abstract

Wayang Topeng (Mask Puppet) in Jombang is a folk performance whose presence is needed by the society. Along with the development of the society, it experiences downturn. Currently, various attempts have been made by artists in Jombang to preserve the performance. The study aims to investigate the function and continuity Wayang Topeng functions in today’s society. Observation, interviews and literature studies were used to collect the data. The interactive analysis was used as the data analysis model. The result of the study shows that Wayang Topeng in Jombang still has manifest functions such as a vow ritual, a giver of inner experience, a breadwinner, and an entertainment; and latent function which is to form social solidarity. The life of Wayang Topeng after being raised by Purwa has received good response from the people and gained popularity. However, because the regeneration process is not well managed, the existence of this art performance is at the tip of torpor and deterioration. The revival of Wayang Topeng in Jombang is realized soon after a primary school teacher has tried to revitalize it.Wayang Topeng di Jombang merupakan pertunjukan rakyat yang kehadirannya dibutuhkan oleh masyarakat.Seiring dengan perkembangan masyarakat wayang topeng ini mengalami kegoncangan sehingga hilang. Berbagai usaha telah dilakukan oleh seniman-seniman di Jombang hingga saat ini telah muncul kembali. Penelitian ini dilakukan untuk mengetahui fungsi wayang topeng di masyarakat saat ini dan mengetahui kontinuitas kehidupannya. Teknik pengumpulan data menggunakan observasi, wawancara dan studi pustaka, dan analisis interaktif sebagai model analisis datanya. Hasil penelitian menunjukkan bahwa wayang topeng di Jombang masih memiliki fungsi manifes yaitu fungsi ritual nadzar, sebagai pemberi pengalaman batin, sebagai pencari nafkah dan sebagai hiburan; serta fungsi laten yaitu pembentuk solidaritas sosial. Kehidupan wayang topeng setelah dimunculkan oleh Purwa mendapatkan tanggapan yang baik oleh masyarakat sehingga cukup eksis, namun karena proses regenerasi tidak dilakukan menyebabkan kesenian ini mati suri dan kemerosotan.Kebangkitan kembali telah dialami oleh wayang topeng di Jombang setelah ada seseorang guru SD berusaha untuk melakukan revitalisasi.
Co-Authors Abda Abda ALDINOV GUSTIANI, NINDIA almanda, hafi hilmiah Anggoro, Raden Roro Maha Kalyana Mitta Anik Juwariyah ARI PUJOSUSANTO ARIF HIDAJAD Arifin, Syaiful Bahaudin, Imam Bambang Sugito Basri, Syaiful Qadar Biantoro, Aditya Putra Candra Anggraini, Estu CHUURUN IIN JANNAH, AINA DARMAWANTI, ANIS Didik Nurhadi Djuli Djatiprambudi Emil Tegar Salas Efendi Fahrian Noor, Muhammad Gemilang, Victor Bintang Gumilang, Mochammad Galih Handayani, Enie Wahyuning Handayaningrum , Warih HAPPY LUPITASARI, ARLINA HARDINA CANDRA WULAN, YULAI Hasyimy, Muhammad 'Afaf Hayati, Ainin Nurul I NENGAH MARIASA I Nyoman Lodra INDAR SABRI Joko Saputra, Joko JOKO WINARKO, JOKO Karoso, Subianto Karunia, Adinda Rhizky Kholidiah, R`ofiqoh Larashati, Bunga Widiya Luisandrith, Desella Rasida MANGGARRANI PRATIWI, GESTI Mangoensong, Hasprina Resmaniar Boru MARTADI Martadi, Martadi NADYA ASMARA, GLADIS Naufal, Romzi Akram Al NURIANA, ERVIN Oktaviani, Nur Azizah Partiyah PENI PUSPITO Putra A.I.M, Ega Putro, Ragil Anggoro Rahayu, Eko Wahyuni Ridwan, Ira Putri Amalia Rizqa Anisa Hillan Robby Hidajat Sani, Muhammad Budi Zaki Sari, Novia Eka Permata Sasanadjati, Jajuk Dwi Savitri, Apriliandini Sriana, Fina Yuni Sugiarto, Mellany Octa Salsabila Sujarwati, Ani Supratno, Haris Surasak Jamnongsarn, Surasak Suratno, Kharisma Suwarjiya, Suwarjiya Syamsul Arifin Tri Indrahastuti Trisakti Trisakti Trisakti Wahyuni, Elsa Ajeng Warih Handayaningrum WELLY SURYANDOKO Wicaksono, Bayu Aji Wuri Handayani Yohana Pratiwi Yuwana, Setya