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All Journal Imaji: Jurnal Seni dan Pendidikan Seni Jurnal Pendidikan Seni Rupa Jurnal Ilmiah Desain & Konstruksi Gorga : Jurnal Seni Rupa Ars: Jurnal Seni Rupa dan Desain PROMUSIKA: Jurnal Pengkajian, Penyajian, dan Penciptaan Musik Harmonia: Journal of Research and Education Jurnal Kajian Bali SINEKTIKA: Jurnal Arsitektur ANDHARUPA MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts PRABANGKARA Segara Widya: Jurnal Penelitian Seni International Research Journal of Management, IT & Social Sciences Wikrama Parahita : Jurnal Pengabdian Masyarakat Gondang: Jurnal Seni dan Budaya PRODUCTUM : Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) JURNAL TATA KELOLA SENI Visualita : Jurnal Online Desain Komunikasi Visual Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Demandia : Jurnal Desain Komunikasi Visual, Manajemen Desain, dan Periklanan Jurnal Desain Jurnal Abdimas PHB : Jurnal Pengabdian Masyarakat Progresif Humanis Brainstorming Pantun: Jurnal Ilmiah Seni Budaya VCD (Journal of Visual Communication Design) Journal of Music Science, Technology, and Industry (JOMSTI) Journal of Social Science Jurnal Cahaya Mandalika International Journal of Educational Review, Law And Social Sciences (IJERLAS) calaccitra: jurnal film dan televisi Jurnal Desain Komunikasi Visual Nirmana Journal of Aesthetics, Creativity and Art Management Jurnal Dimensi Seni Rupa dan Desain Jurnal Dimensi DKV Seni Rupa dan Desain Jurnal Riset Rumpun Ilmu Bahasa (JURRIBAH) Bhumidevi : Journal Of Fashion Design Pariwisata Budaya: Jurnal Ilmiah Pariwisata Agama dan Budaya Journal of Social Science Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Retina Jurnal Fotografi Hastagina: Jurnal Kriya dan Indsutri Kreatif Proceeding of International Conference on Humanity Education and Society Prosiding Seminar Nasional Sastra, Bahasa, dan Seni (Sesanti) Global Art Creativity Conference

I Wayan Mudra, I Wayan

Institut Seni Indonesia Denpasar

Author-ID : 575678

Religion Arts Humanities Automotive Engineering Chemistry Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Immunology & microbiology Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mechanical Engineering Physics Public Health Social Sciences Transportation Other

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Fenomena Langgam Penjor Galungan pada Era Kekinian Bali I Wayan Mudra
Jurnal Kajian Bali (Journal of Bali Studies) Vol 8 No 2 (2018): PENGOBATAN DAN TUTUR DALAM TEKS BALI
Publisher : Pusat Kajian Bali Universitas Udayana

The making of penjor for the Hindu holy day of Galungan shows the existence of innovation and excessive creativities. This research was aimed at investigating the phenomenon of penjor Galungan style in the contemporary Bali which viewed from the community involvement, the use of material, and the emergence of spiritual meaning. This study used descriptive qualitative research method. The data collection was carried out through observation and literature review. The analysis shows that the Hindu community in Bali currently prefers buying the elements of penjor for rather than make by themselves; the making of penjor Galungan uses contemporary available material; and the structural spiritual meaning of penjor Galungan is being embellished by the domination of contemporary spiritual meanings.

Dekonstruksi Jacques Derrida pada Arsitektur Sekolah Anak Usia Dini di Jepang dan Korea Teresia Hanna Sanjaya; I Wayan Mudra
Sinektika: Jurnal Arsitektur Vol 19, No 1: Januari 2022
Publisher : Universitas Muhammadiyah Surakarta

Suasana kelas formal dengan aturan desain baku, tidak berarti menjadi sekolah ramah anak. Ruang dan suasana pembelajaran yang bebas dari dogma/langgam arsitektur tertentu, bisa membantu anak untuk berpikir di luar kotak. Tujuan penelitian ini adalah untuk mengkaji Arsitektur Sekolah Anak Usia Dini Tomoe Gakuen di Jepang dan APAP Open School di Korea, dengan teori Jacques Derrida dalam hal makna, fungsi, dan bentuk. Tujuan penelitian adalah manfaat nilai sosial atau praktis, yakni sekolah/pembelajaran tidak harus di gedung/ruang - ruang formal. Penelitian ini menggunakan pendekatan kualitatif. Teknik pengumpulan dilakukan dengan observasi dan dokumentasi secara online. Hasil penelitian menunjukkan analisa sekolah di Jepang dilihat dari dekonstruksi makna dari kereta menjadi sekolah dan dekonstruksi fungsi dari kendaraan menjadi ruang belajar. Sedangkan, sekolah di Korea mengunakan dekonstruksi makna dari container box menjadi sekolah dan dekonstruksi bentuk di mana peletakan container box disusun sedemikian rupa. Berdasarkan kedua perbandingan studi kasus terdapat perbedaan dekonstruksi yaitu dekonstruksi makna, dekonstruksi fungsi dan dekonstruksi bentuk.

MOTIF TRADISI WAYANG KHAS BALI PADA PENCIPTAAN SENI KERAMIK I Wayan Mudra; I Gede Mugi Raharja; I Wayan Sukarya
Gorga : Jurnal Seni Rupa Vol 8, No 2 (2019): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v8i2.14813

AbstrakPara pencipta karya keramik di Indonesia terlihat telah berusaha mengangkat muatan tradisi khas Indonesia untuk mengimbangi dominasi kuasa produk keramik image Cina yang ada di Indonesia. Wayang khas Bali adalah salah satu motif tradisi yang sering dipilih dalam menciptakan karya-karya kriya keramik ini. Penulisan atikel ini bertujuan untuk membahas penciptaan karya-karya keramik yang terinspirasi dari motif wayang khas Bali. Penelitian ini memfokuskan bahasan pada jenis-jenis karya yang diwujudkan, teknik pembentukan, teknik penerapan ornamen, tokoh-tokoh wayang khas Bali yang divisualkan dan kualitas garapan dari karya-karya tersebut. Metode pengumpulan data dilakukan dengan observasi dan dokumentasi, analisis data dilakukan dengan deskriptif kualitatif. Hasil penelitian menunjukkan bahwa karya-karya yang diwujudkan pada penciptaan keramik ini jenisnya terdiri dari guci dalam berbagai variasi dan ukuran, tempat lampu, dan dalam bentuk lukisan. Teknik pembentukan karya dikerjakan dengan teknik putar dan slab, dan penerapan ornamen dikerjakan dengan teknik lukis, ukir, dan toreh. Tokoh-tokoh wayang yang dominan dipilih dalam penciptaan ini, diambil dari seri ceritera Ramayana maupun Mahabrata, misalnya tokoh Rama, Sinta, Laksmana, Anoman, Bima, dan Arjuna. Kualitas garapan karya masing-masing pencipta cukup baik. Hal ini bisa dilihat dari kerapian garapan dan kerumitan bentuk ornamen. Simpulan yang dapat disampaikan bahwa karya-karya keramik hasil ciptaan ini mampu menjadi pembeda ditengah maraknya keramik bernuansa Cina di Indonesia.Kata Kunci: ornamen; wayang; penciptaan; seni; keramik.AbstractThe ceramic creators in Indonesia seems to have tried to lift the content of the typical Indonesian tradition to offset the power dominance of the Chinese image ceramic products in Indonesia. The Balinese puppets were one of the traditional motifs often chosen to creating these ceramics crafts. The article writing aims discussed the ceramic work's creation inspired by Balinese puppet motifs. This research focused on the types of works that are realized, the formation techniques, the applying ornaments techniques, the character figures that visualized and the quality of the works. The data collection method was done by observation and documentation, data analysis done with qualitative descriptive. The results showed that the ceramic works embodied consisted of jars in various variations and sizes, places of lights, and in the form of paintings. The technique forming work is done with swivel and slab techniques, and the ornaments application was done by painting, carving, and incising techniques. The dominant puppet characters chosen in this creation were taken from the Ramayana and Mahabharata stories, for example, the characters Rama, Sinta, Laksmana, Anoman, Bima, and Arjuna. The work quality of each creator was quite good. This can be seen from the neatness of the claim and the form complexity of the ornaments. The conclusions that can be conveyed were that the ceramics produced were able to make a difference in the midst of the rise of Chinese nuanced ceramics in Indonesia.Keywords: ornaments; puppet; creation; art; ceramic.

INOVASI PRODUK KRIYA DI BALI I Wayan Mudra; Mercu Mahadi; Ni Kadek Karuni
Gorga : Jurnal Seni Rupa Vol 9, No 1 (2020): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v9i1.17796

AbstrakBali merupakan daerah destinasi wisata dunia yang dikunjungi wisatawan asing dari berbagai negara. Bali sebagai tujuan wisata menyediakan produk-produk kriya inovatif untuk disuguhkan kepada wisatawan asing dan wisatawan nusantara. Tujuan penelitian ini adalah untuk mendiskripsikan produk-produk kriya inovatif yang telah dihasilkan perajin Bali dalam memenuhi kebutuhan pariwisata. Penelitian ini merupakan penelitian sampel menggunakan pendekatan proposive sampling dan teknik pengumpulan data dilakukan dengan observasi, wawancara, dan dokumentasi. Dokumentasi juga dilakukan melalui media on line. Lokasi pengambilan sampel dilakukan tahun 2020 di beberapa tempat di Bali sesuai keberadaan subjek penelitian. Hasil penelitian menunjukkan produk-produk kriya inovatif yang dihasilkan perajin di Bali pada era global ini adalah produk-produk yang terbuat dari kayu, bambu dalam bentuk anyaman, logam, kain, dan keramik. Perajin melakukan inovasi produk dalam bidang bentuk, bahan, ornamen dan finishing. Inovasi yang dikembangkan perajin masih berakar pada budaya dan tradisi Bali, sehingga produk-produk kriya inovatif yang dihasilkan kental dengan identitas budaya lokal yaitu Bali. Peneliti berharap inovasi terus bisa dilakukan oleh perajin tanpa merusak akar budaya Bali, sehingga pelestarian budaya Bali tetap ajeg sepanjang masa.Kata Kunci: inovasi, kriya, perajin, bali, global.AbstractBali was a world tourist destination visited by foreign tourists from various countries. Bali as a tourist destination provides innovative craft products to be presented to foreign tourists and domestic tourists. The purpose of this research to describe the innovative craft products that have been produced by Bali craftsman in meeting tourism needs. This research was a sample study using a proposive sampling approach and data collection techniques carried out by observation, interviews, and documentation. Documentation also done through online media. Sampling locations were carried out in 2020 in several places in Bali according to the research subjects. The results showed that the innovative craft products produced by craftsman in Bali in this global era were products made from wood, bamboo in the form of woven, metal, fabric, and ceramics. Crafmans innovate products in the fields of form, materials, ornamentation and finishing. The innovations developed by craftsman ware still rooted in Balinese culture and traditions, so that innovative craft products produced are thick with local cultural identity, namely Bali. Researchers hope that innovation can continue to be carried out by craftmans without damaging the cultural of Bali, so that the preservation of Balinese culture remains unchanged for all time. Keywords: innovation, craft, crafter, bali, global..

The Meaning Of Bali Aesthetic Code In The Animated Film Si Uma Hasbullah Hasbullah; I Wayan Mudra; I Wayan Swandi
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol 16, No 2 (2021)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v15i2.3164

This study aims to analyze the meaning of aesthetic code in the animated film "Si Uma." The animated film "Si Uma" needs to be investigated because the reanimated film shows Balinese culture's beauty and has a unique character shape. Visualization of Balinese culture in this animated film contains a meaningful message for the life of the universe hitch conveyed through the form of code. The problem is what is the meaning of the Balinese aesthetic code represented in the animated film "Si Uma." The method used in this research is qualitative with data collection techniques through observation, interviews, and documentation. The technique of determining the source of data in this study is the Snowball sampling technique. Data sources were collected through interviews with Ida Bagus Surya Manuba, I Nyoman Suci Rasika, and Gede Pasek Putra Adnyana Yasa. Data analysis was carried out through data reduction, presentation, and conclusion drawing based on Ferdinand de Saussure's semiotic theory and Roland Barthes' postmodern aesthetic code. The results of this study indicate that the aesthetic code in the animated film "Si Uma" in the form of a semantic code is associated with a black and white patterned fabric sign (poleng) which contains the meaning of life balance in the universe; the cultural code is associated with a headband (udeng) containing meaning to concentrate thoughts or views (concentration) in every activity in Bali. In conclusion, the meaning of the aesthetic code in the animated film "Si Uma" is seen from two perspectives such as : the semantic code in the form of Poleng Cloth is ideological containing the meaning of balance in life in the universe; cultural code in the form of a headband (udeng)is connotative which means to focus attention/thought, aesthetic, and cultural identity in worship and daily activities.

Estetika Visual Kriya Keramik Berornamen Wayang Khas Bali I Wayan Mudra; I Gede Mugi Raharja; I Wayan Sukarya
Gondang: Jurnal Seni dan Budaya Vol 5, No 1 (2021): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2021
Publisher : Universitas Negeri Medan

The Balinese puppets in the traditional paintings as a cultural heritage has inspired Balinese craftsmen created ceramic works of aesthetic value. The efforts these craftsmen can be read as resistance to entry the ceramic works from outside and the production of the ceramic art in Indonesia that ignore Indonesian characters. This study aims to discuss the aesthetics of visuals ceramic works that apply Balinese puppets ornaments. The data collection method by observation and documentation. The results showed that the aesthetics of the ceramic craft products with Balinese puppets ornaments seen from unity, harmony, symmetry, balance, and contrast are quite good, although not yet optimal. Besides, the visual aesthetics of the ceramic works have not displayed good complexity, so the beauty that obtained was not optimal. The visual aesthetic assessment of this work was subjective in nature, so it was possible that there will be different judgments. The conclusion that aesthetics can be achieved by elevating the cultural traditions of the past and at the same time as a form of appreciation for that culture and become a differentiator amid the rise of Chinese ceramics in Indonesia.

Estetika Film Animasi 2D “ Bawang dan Kesuna” I Gede Adi Sudi Anggara; I Wayan Mudra; I Ketut Sariada
PANTUN Vol 3, No 1 (2018): Estetika Budaya Urban
Publisher : Pascasarjana ISBI Bandung

2D Animation flm of Bali folktale “Bawang and Kesuna” tells about two sisters, Bawang and Kesuna. Bawang is a girl who is lazy, jealousy, and sly. Meanwhile, Kesuna is a kind, calm, honest, and hardworking girl. The folktale is from Sengkidu village, Karangasem. The paper is aimed to reveal the aesthetics of 2D “Bawang and Kesuna” flm approached by Djelantik Aesthetic theory. It discusses the form and structure, the mood, idea and message, as well as the presentation. The study applies qualitative method. The data are collected from interview and documentation of related literatures. The result shows that the form comprises illustration, typography, and colour, meanwhile the structure applies flm structure, namely shot, scene, and sequence. The mood shares village atmosphere giving traditional impression shown from the accessories of costumes and buildings. The film is full of moral messages useful for children character education.Keywords: Aesthetics, 2D Animation Film, Balinese Folktale, Bawang and Kesuna

PENERAPAN MAKE UP SPESIAL EFEK DALAM FILM “GERING” Kadek Meishya Paraswari Putri; I Wayan Mudra; I Gusti Ngurah Wirawan
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 2 (2021): Jurnal Calaccitra Agustus 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (704.363 KB)

The Covid-19 pandemic is a phenomenon that is happening all over the world, especially in Bali, the Covid-19 disease that causes the virus to suddenly enter the human body. Currently, the government is actively trying to vaccinate evenly to all people. The phenomenon of the Covid-19 pandemic became the basic idea in the film entitled "Gering". The author applies make-up using special effects techniques to exaggerate a character in a scene in the film and can build the emotional level of players in a scene mechanically and psychologically so that it looks real when shooting in turning human characters into monsters. The make-up theory used by the author to make the film “Gering” is aesthetics and mise en scene in terms of make-up. The aesthetic value in the film "Gering" is that the audience can feel the value of the horror of the monster in one of the scenes. The value of mise en scene in the film "Gering" is found in the makeup that can distinguish humans and monsters in a scene. The method used to make the film “Gering” is a qualitative method with a phenomenological approach. The source of the data obtained to complete the making of the film “Gering” is the observation of the fungus ophiocordysecps which can support the realization of special effects makeup. The application of make-up special effects is a technique to make a scene or event real and used in an injury scene without injuring the player. The process of making mustard makeup starts from mutation changes in the form of rashes to the appearance of rooted bumps. The results of the special effects makeup in the movie "Gering" show several forms of wounds on each monster, including abrasions, bruises, bloodstains, lumps filled with roots, and changes in the structure of the eyes. Outcome Film "Gering" with a duration of 25 minutes is a thriller drama genre, which has a message for people to be more introspective and always take care of their health and the environment.

Logo “Petitenget Festival 2018” Dalam Budaya Postmodern I Made Dwiarya Swandi; I Wayan Swandi; I Wayan Mudra
Jurnal Desain Komunikasi Visual Nirmana Vol. 19 No. 1 (2019): JANUARY 2019
Publisher : Institute of Research and Community Outreach - Petra Christian University

Postmodernisme adalah suatu pergerakan ide yang menggantikan ide-ide zaman modern. Dalam logo “Petitenget Festival 2018” memiliki konteks postmodern. Penelitian ini bertujuan untuk menganalisis logo “Petitenget Festival 2018” dalam budaya postmodern. Penelitian ini juga diharapkan dapat memberikan manfaat untuk memberikan informasi tentang nilai estetika postmodern dan makna yang terdapat pada logo. Teori yang digunakan adalah teori postmodern, dan estetika postmodern. Penelitian ini menggunakan metode deskriptif kualitatif. Hasil dari penelitian ini berupa bagaimana penerapan logo “Petitenget Festival” dalam konteks postmodern. Postmodern itu sendiri dapat diliht melalui nilai estetika yang memiliki idiom idiom yang terkandung di dalam logo tersebut. Idiom estetika postmodern yang paling kuat terkait kasus diatas terdapat pada idiom pastiche. Selain itu, terdapat makna denotasi dan konotasi pada logo “Petitenget Festival 2018”.

Balinese Puppet Style As An Idea Of Ceramic Art Creation I Wayan Mudra; I Gede Mugi Raharja; I Nyoman Wiwana; I Wayan Sukarya
Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i3.516

Ceramic art products distributed in Indonesia are dominantly found as Chinese identity. This creation is aimed to create the art ceramics by Balinese style puppet ornaments. The creation method followed Gustamiâ€™s theory, namely exploration, improvisation, and embodiment. At the exploration stage, the data collection wasconducted through observation, interviews, and documentation. The design process was conducted in the improvisation stage, while the process of forming, burning, and finishing were conducted in the embodiment stage. The partners involved in this creation are UD Tri Surya Keramik and Bali Technology Center of Creative Ceramic Industry (BTIIK). The results of the creation show several works which have been created were inspired by the forms of potteries from Bali, Lombok, and Java which are marketed in Bali, namely sangku (rice bowl) and vase with various ornaments and sizes. This ceramic artwork was made using rotary technique and burned to a temperature of 1250oC. Balinese puppet style ornaments were applied using painting techniques.Produk Seni keramik yang dibuat dan dijual di Indonesia dominan ditemukan berindentitas Cina. Tujuan dari penelitian ini adalah untuk menciptakan produk seni keramik berornamen wayang style Bali. Metode penciptaan mengikuti teori Gustami, yaitu eksplorasi, improvisasi, dan perwujudan. Tahap eksplorasi, dilakukan pengumpulan data melalui observasi, wawancara, dan dokumentasi. Tahap improvisasi dilakukan proses desain dan pada tahap perwujudan dilakukan proses pembentukan, pembakaran dan finishing. Mitra yang dilibatkan dalam perwujudan adalah UD Tri Surya Keramik di Desa Kapal, Badung Bali dan Balai Teknologi Industri Kreatif Keramik (BTIKK) Bali. Hasil penciptaan menunjukkan beberapa karya seni keramik tercipta terinspirasi dari bentuk-bentuk gerabah Bali, Lombok, dan Jawa yang dipasarkan di Bali, seperti sangku dan guci. Karya seni keramik ini dibuat dengan teknik putar dan dibakar sampai mencapai suhu 1250oC. Karya seni keramik yang diciptakan berbentuk sangku dan guci dengan beberapa variasi ornamen dan ukuran. Wayang style Bali menjadi ornamen karya seni keramik ini, dibuat dengan teknik lukis.Â

Co-Authors A. A. Gde Bagus Udayana Adesastrawiguna, Iputu Adiartha, I Komang Adiputra, Komang Anak Agung Ayu Oka, Saraswati Andreani, Ni Putu Elvian Artawan, Cokorda Alit Asra, Rezky Gustian Ayu Krisna Gayatri Sari Dewi Bhumi, I Made Bayu Puser Deviyani, Ni Kadek Siska Dewa Gede Ardawa Putra Wicaksana Dewa Made Dermawan Dewi, Ayu Krisna Gayatri Sari Dewi, Gusti Ayu Nyoman Santhi Kumari Pusya Elsye Andriani Delfi Faisal, Yusuf Febrian Putra Hasbullah Hasbullah I Gede Adi Sudi Anggara I Gede Mugi Raharja I Gede Mugi Raharja I Gede Yudarta, I Gede I Gusti Ngurah Ardana I Ketut Muka I Ketut Sariada, I Ketut I Komang Arba Wirawan I Komang Sudirga I Made Dwiarya Swandi I Made Radiawan I Made Saryana I Made Suparta I Made Suparta I Nyoman Larry Julianto I Nyoman Widhi Adnyana I Nyoman Wiwana I Nyoman, suardina I Putu Adi Sanjaya I Putu Bagus Restu Pratama Wiwaha I Putu Putra Suryadana I Putu Putra Suryadana I Putu Suparthana I Wayan Adnyana I Wayan Sukarya I Wayan Sukarya I Wayan Sukarya I Wayan Swandi Julianto, I Nyoman Larry Kadek Dwiyani Kadek Meishya Paraswari Putri Kaiway, Yudhi Aji Ristanto Karuni, Ni Kadek Kuswandari, Ni Kadek Diah Nanta Larry Julianto, I Nyoman Made Gana Hartadi Marina Wardaya Mercu Mahadi Muliawati, Ni Putu Muliawati, Ni Putu Ngidep Wiyasa, I Nyoman Ni Gusti Ayu Paramita Ni Luh Desi In Diana Sari, Ni Luh Desi In Ni Luh Sustiawati Ni Made Arshiniwati Ni Made Rai Sunarini, Ni Made Rai Ni Putu Desy Sonnya Suandhari Nina Eka Putriani Nurlaeli Dwi Safitri Ongkowidjojo, Maria Christina Paramartha, I Putu Adi Surya Permadi, Giovanni Brewijaya Putra Prasetya, Ignasius Gede Aldo Dani Prastiti, Ni Putu Suci Pratama, Putu Angga Putriani, Nina Eka Rai, Sunarini Ratna Cora Sudharsana, Tjok Istri Ratnamaya, A. A. Ista Remawa, Anak Agung Gede Rai Ricky Fernando Rosaline, Nelly Rosaline, Nelly Samuel Samuel Sarjani, Ni Ketut Pande Satrio Hutomo, Adam Shienny Megawati Sutanto Simanjuntak, Yessica Yosia Virginia Soelistyowati Soelistyowati Sri Marwati Sri Marwati Sudibya, I Gusti Ngurah Suharto, I Sukajaya, I Komang Supandi, Fajar Persada Sutrisnayanti, Ni Nyoman Syahrian, Alfin Teresia Hanna Sanjaya Wasista, I Putu Udiyana Wayan Karja Wicaksana, Dewa Gede Ardawa Putra Wirawan, I Gusti Ngurah Yanti Heriyawati Yogantara, Wayan Arfian

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