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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
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Eksistensi Topeng Rangda Gaya Singapadu Adesastrawiguna, Iputu; Mudra, I Wayan; Muka, I Ketut
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v5i01.4307

Abstract

In the implementation of the Merdeka Belajar Kampus Merdeka program for the even semester, students took a research program on the Singapadu style Rangda mask. This opportunity was used to explore and understand the Rangda mask in Singapadu, both in terms of history, the manufacturing process, and the form and philosophical meaning of the Singapadu style Rangda mask. In its development, there are still many artists in Singapadu and outside Singapadu who do not know the real history of the Singapadu style Rangda mask. The ignorance and understanding of today's young generation about the history of the Singapadu style Rangda mask is an interesting thing to be studied further. In addition to studying the history of the existence of the Rangda mask Singapadu, also researches the process, form and meaning of philosophy. The method used is a qualitative research method and emphasizes qualitative descriptive analysis. The data collection method used For do study This is method observation, interview in a way in-depth, documentation and study literature. In addition, research This use four method research data analysis qualitative that is method data collection, data reduction, data presentation, and data extraction conclusion. This study uses a historical approach that aims to find out information related to the historical traces of the Singapadu style Rangda mask. The implementation of research on the Existence of the Singapadu Style Rangda Mask resulted in findings related to history, the manufacturing process, and knowing the form and philosophical meaning of the Singapadu style Rangda mask.
Preservation of a Rare Art, Okokan, through the Quality Improvement in Musical Instrument Quality and Merchandise Design Swandi, I Wayan; Julianto, I Nyoman Larry; Mudra, I Wayan
Wikrama Parahita : Jurnal Pengabdian Masyarakat Vol. 9 No. 1 (2025): May 2025
Publisher : Universitas Serang Raya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30656/jpmwp.v9i1.9673

Abstract

An Okokan art group named "Omelan I Kayu Bolong" in Banjar Dinas Kukuh Kangin, Kukuh Village, Kerambitan District, Tabanan Regency, is a partner in the implementation of the Community Partnership Program (CPP). The issues of the partner are that the musical instruments for the Okokan performance have been dull, and the paint has peeled off. Meanwhile, the partner had no merchandise to promote this Okokan art group. CPP aims to improve the capability of this art group, revitalize the Okokan musical instrument by re-coating ornaments, and design merchandise. CPP was implemented with the training to be attended by the partners, which started with a Focus Group Discussion and continued with training for coating the Okokan ornament and designing the merchandise. The CPP improved the partner's skill in re-coating the Okokan musical instrument and merchandise design as the media for promotion, in the form of Okokan miniature, logo, poster, and T-shirt.
TIPOGRAFI DAN ILUSTRASI SKETCHNOTING SEBAGAI PENGUATAN MINAT MEMBACA KONTEN EDUKASI DIGITAL Dewi, Gusti Ayu Nyoman Santhi Kumari Pusya; Larry Julianto, I Nyoman; Mudra, I Wayan
Desain Komunikasi Visual, Manajemen Desain dan Periklanan (Demandia) Vol 10 No 1 (2025): demandia - Jurnal Desain Komunikasi Visual, Manajemen Desain dan Periklanan
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/demandia.v10i1.6919

Abstract

Teknologi berpengaruh kuat dalam pembelajaran masa kini. Kuatnya pengaruh teknologi menjadikan pembelajaran dihadirkan dalam konten-konten digital dengan beragam strategi menarik. Visual sebagai indikator penting dalam strategi penyampaian pesan, tentu berdampak besar terhadap minat baca sehingga penting untuk mengetahui juga pengaruh tipografi dan ilustrasi. Sketchnoting merupakan metode visualisasi pembelajaran yang sedang tren dan berkembang di Luar Negeri, sehingga Instagram infodkv dipilih sebagai objek penelitian. Infodkv juga cukup diminati, dilihat dari pengikut dan suka. Pengumpulan data dilakukan melalui kuesioner, wawancara, dan dokumentasi, pendekatannya dengan mix methods. Responden umum yang tertarik terhadap informasi desain komunikasi visual, diambil acak melalui kuesioner, dan wawancara menjadi sumber data penelitian. Hasilnya adalah tipografi dan ilustrasi memiliki pengaruh yang signifikan terhadap minat baca apabila memaksimalkan prinsip tipografi dan visualisasi, serta indikator minat baca. Prinsip legibility dan visibility wajib diperhatikan karena keterbacaan teks berpengaruh dalam membangkitkan minat baca. Ilustrasi sebagai konten visual dinilai cukup spesifik, mudah dimengerti, menjadi elemen penting, dan mendominasi daripada tipografi terhadap variabel minat baca. Simpulannya, tipografi dan ilustrasi pada visual sketchnoting berpengaruh baik sebesar 76,6% terhadap minat membaca konten infodkv. Penelitian ini diharapkan dapat menjadi referensi dalam penerapansketchnoting sebagai pendekatan konten edukasi digital.
The Art Ecocsystem of Gamelan Yuganada Community in Taman Kaja Village Bhumi, I Made Bayu Puser; Mudra, I Wayan; Sariada, I Ketut
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 1 (2025): GONDANG: JURNAL SENI DAN BUDAYA, JUNE 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i1.64653

Abstract

Gamelan Yuganada, an art community based in Ubud, Bali, was founded in 2015 by I Wayan Sudirana with the aim of preserving Balinese gamelan while encouraging innovation through cross-disciplinary collaboration. This research aims to explain the activities of this group and map the art ecosystem that supports the preservation and development of their creativity. This study adopts a qualitative netnographic approach, conducting five months of digital participant observation on YouTube and Spotify, in-depth online interviews, and analysis of digital artifacts to uncover Gamelan Yuganada’s art ecosystem in the era of globalization. Data Analysis uses the theory of social practice by Pierre Boourdieou. The results of the study showed that Gamelan Yuganada was not only active in traditional performances but also created new compositions that combined traditional and contemporary elements. Various elements such as cultural, social, economic, legal, educational, and technological modalities have mutual implications for each other and form a good art ecosystem. Collaborations with various international artists and the use of digital technology are integral parts of the art ecosystem they build. The conclusion of this study emphasizes the importance of an adaptive and collaborative art ecosystem in maintaining the relevance of Balinese gamelan in the modern era, as well as providing a model for other art communities to develop works in a sustainable manner.
Ekosistem Seni Perhimpunan Fotografer Bali Perspektif Pierre Bourdieu Prastiti, Ni Putu Suci; Mudra, I Wayan; Sariada, I Ketut
JURNAL TATA KELOLA SENI Vol 11, No 1 (2025): Juni 2025
Publisher : Graduate School of Indonesia Institute of the Arts Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jtks.v11i1.14850

Abstract

 Penelitian ini bertujuan untuk mengetahui ruang lingkup kegiatan ekosistem seni Perhimpunan Fotografer Bali (PFB) dilihat dari perspektif Pierre Bourdieu. Penelitian ini penting dilakukan karena PFB merupakan perhimpunan fotografer tertua di Bali dan memiliki prestasi kegiatan regional maupun nasional. Metode penelitian yang digunakan adalah kualitatif dengan metode pengumpulan data melalui observasi, wawancara, dan studi dokumentasi. Analisis data menggunakan pendekatan teori Pierre Bourdieu. Hasil penelitian ini didapatkan bahwa ruang lingkup kegiatan PFB diklasifikasikan berdasarkan sumber pendanaan di antaranya sumber dana publik, swasta, dan swadaya. Ekosistem seni PFB dapat dilihat dari ranah pendidikan, ekonomi, organisasi, dan seni. Setiap anggota berperan mendukung keberlanjutan ekosistem seni yang terdapat dalam PFB tercermin pada interaksi modal yang dimiliki para anggotanya terdiri dari modal ekonomi, modal sosial, modal budaya, dan modal simbolik. Simpulan penelitian ini yaitu PFB mampu bergerak sebagai kelas dominan karena memiliki modal sosial, modal ekonomi, modal budaya, dan modal simbolik yang kuat. Hasil penelitian ini dapat memberikan informasi tentang pengelolaan komunitas fotografi yang komprehensif dan efektif sehingga dapat menjadi panutan (role model) bagi keberlanjutan komunitas fotografi lainnya di Bali. Bali Photographer Association Art Ecosystem Pierre Bourdieu's PerspectiveABSTRACTThis study aims to explore the scope of activities within the art ecosystem of the Perhimpunan Fotografer Bali (PFB) through the theoretical lens of Pierre Bourdieu. The research is particularly significant as PFB represents the oldest photography association in Bali, with notable achievements at both regional and national levels. A qualitative research design was employed, utilizing data collection methods such as observation, interviews, and document analysis, with data interpretation grounded in Bourdieu’s theoretical framework. The findings indicate that the scope of PFB’s activities can be categorized based on funding sources, including public funding, private sponsorship, and self-funding. The art ecosystem within PFB is manifested across the domains of education, economy, organization, and the arts. Each member contributes to the sustainability of the ecosystem, as reflected in the interaction of various forms of capital—economic, social, cultural, and symbolic—possessed by its members. This study concludes that PFB has successfully positioned itself as a dominant class by leveraging strong social, economic, cultural, and symbolic capital. The outcomes of this research offer valuable insights into the comprehensive and effective management of photography communities and may serve as a model for promoting the sustainability of other photography communities in Bali.  
PRODUK KERAMIK STONEWARE DENGAN KONSEP FRONTO DI THE FRONTIER HOUSE Satrio Hutomo, Adam; Mudra, I Wayan; Muka, Muka
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v4i01.3419

Abstract

Fronto is a concept to create a functional ceramic work for the needs of the coffee shop at The Frontier House which is a partner in completing an independent project in the Merdeka Learning Independent Campus (MBKM) program. Fronto is a mascot from The Frontier House in which Fronto is a dinosaur (T-Rex). Fronto is embodied by an upright posture and holding a cup in his right hand, has a simplified shape, wears a raglan shirt with the F logo on his chest and complete with his pants and shoes. The costume from Fronto is inspired by the costume of American students in the 70s, with the hope that The Frontier House's coffee shop business can remain standing, become big, and everlasting. Based on this, the author got the idea to create a functional ceramic product that can be directly applied to The Frontier House coffee shop business, as a realization of an agreement with MBKM partners. Using creation methods such as observation methods for introduction, exploration methods for exploring ideas, design design methods to illustrate clearly, and work creation methods for the execution stage, with embodiment techniques applying rotation techniques, pinching techniques, and cast printing techniques. The result is the creation of two types of incense holders, glasses, ashtrays, and succulent pots by applying the elements contained in Fronto into the form of ceramic works, by applying vintage colors, namely olive green and orange in accordance with the color concept applied by The Frontier House, thus producing harmony between ceramic products made with The Frontier House concept which can provide comfort and interest for visitors.
Strategi Pemasaran Kripik Pelepah Pisang Dèbong Melalui Instagram Julianto, I Nyoman Larry; Mudra, I Wayan; Suparthana, I Putu; Permadi, Giovanni Brewijaya Putra; Andreani, Ni Putu Elvian
Jurnal Pengabdian Masyarakat Progresif Humanis Brainstorming Vol 6, No 1 (2023): Jurnal Abdimas PHB : Jurnal Pengabdian Masyarakat Progresif Humanis Brainstormin
Publisher : Politeknik Harapan Bersama

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30591/japhb.v6i1.4390

Abstract

Tim Penggerak Pemberdayaan dan Kesejahteraan Keluarga merupakan organisasi kemasyarakatan yang memberdayakan perempuan untuk berpartisipasi dalam pembangunan di Desa. Salah satu Program PKK adalah berupaya meningkatkan kelompok dan kualitas Usaha Peningkatan Pendapatan Keluarga (UP2K) PKK. Mendukung perihal tersebut, maka pihak Desa bekerjasama dengan UPTD LLK Kabupaten Tabanan mengadakan Pelatihan Keterampilan Kerja Berbasis Kompetensi tentang pembuatan kripik pelepah pisang. Pasca kegiatan pelatihan tersebut, mengakibatkan kelompok UP2K PKK (Mitra PKM) memiliki permasalahan lanjutan, yakni adanya keterbatasan kemampuan dalam mendesain media promosi untuk pemasaran produknya. Tujuan kegiatan pengabdian ini adalah meningkatkan kemampuan mendesain media promosi yang sesuai dengan karakteristik khalayak sasaran. Metode workshop yang diawali dengan FGD untuk penentuan elemen desain, dilaksanakan sebagai tahapan melatih kemampuan Mitra dalam mendesain poster digital sebagai media promosi dengan aplikasi Canva. Kegiatan ini menghasilkan peningkatan kemampuan mendesain poster digital untuk meningkatkan strategi promosi DèBong pada media sosial berupa instagram dalam upaya meningkatkan brand value produk.
VISUAL NARATIF LUKISAN WAYANG KAMASAN PADA BALE KAMBANG TAMAN GILI PURI KLUNGKUNG-BALI Cahyadi, I Wayan Agus Eka; Adnyana, I Wayan; Mudra, I Wayan; Swandi, I Wayan
Jurnal Cahaya Mandalika ISSN 2721-4796 (online) Vol. 3 No. 2 (2022)
Publisher : Institut Penelitian Dan Pengambangan Mandalika Indonesia (IP2MI)

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

Abstract

Lukisan wayang Kamasan adalah seni lukis tradisional yang berasal dari Desa Kamasan di Kabupaten Klungkung, Bali, Indonesia. Lukisan ini menggambarkan cerita epik atau mitologi Hindu. Lukisan wayang Kamasan memiliki sistem hierarki yang ketat dalam penyusunan elemen visualnya. Setiap elemen lukisan memiliki makna simbolis, dan komposisi keseluruhan menggambarkan nilai-nilai religius dan filosofis yang mendalam. Seni lukis wayang Kamasan telah menjadi bagian integral dari warisan seni dan budaya Bali. Meskipun diciptakan sebagai hiasan, lukisan ini juga dinilai sebagai karya seni yang memiliki nilai estetika tinggi dan kaya akan makna simbolis.Artikel ini menganalisis visual naratif dari lukisan wayang Kamasan yang terdapat pada Bale Kambang Taman Gili Puri Klungkung-Bali. Penelitian ini menggunakan metode kualitatif, data penelitian dikaji dengan menggunakan teori bahasa rupa Primadi Tabrani yang menyebutkan lukisan tradisional termasuk lukisan wayang kamasan merupakan media komunikasi visual.Hasil penelitian menunjukkan bahwa lukisan wayang Kamasan di Bale Kambang tidak hanya merupakan ekspresi seni visual, melainkan juga memiliki peran signifikan dalam kehidupan masyarakat Bali. fungsinya meliputi pendidikan, ramalan, hiburan, sejarah, identitas budaya, dan ekspresi seni. Artikel ini berkontribusi dalam pemahaman bahwa keseluruhan lukisanwayang Kamasan menjadi bagian integral dari warisan budaya Bali, yang terus dilestarikan dan dihargai oleh masyarakatnya.
SACRED NARRATIVES UNVEILED: EXPLORING THE SYMBOLISM OF LINTANG GOWANG IN WAYANG KAMASAN PAINTINGS AT BALE KAMBANG TAMAN GILI KERTHA GOSA Cahyadi, I Wayan Agus Eka; Adnyana, I Wayan; Mudra, I Wayan; Wasista, I Putu Udiyana; I Wayan Swandi
International Journal of Educational Review, Law And Social Sciences (IJERLAS) Vol. 4 No. 1 (2024): January
Publisher : RADJA PUBLIKA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54443/ijerlas.v4i1.1293

Abstract

This study addresses the need for more documentation systematically analyzing the significance of wayang kamasan illustrations in Bale Kambang Taman Gili Kertha Gosa. Despite historical actors passing away and lacking comprehensive studies on these illustrations, the article examines the iconographic meaning of lintang gowang. Researchers are intrigued by this phenomenon, especially considering the absence of empirical evidence supporting the conscious self-beheading capacity, a crucial aspect from a medical perspective. The incorporation of limb offerings and blood rituals in Hinduism strengthens the motivation to explore the illustration's meaning, particularly in evolving offering traditions in Bali. This visual narrative holds distinct significance, requiring extensive scholarly inquiry. Using an iconographic approach, qualitative research reveals narrative motifs in Tantri Kamandaka stories and tantra yana teachings involving head offerings, symbolizing a surrender act reaching the pinnacle of consciousness. The dramatized beheading and voluntary surrender underscore the doctrinal essence of self-offering, transcending dualities and the human ego, aiming for the highest consciousness levels.
YEN DIELEM ATIMU OJO MEMPER: ANALOGI KUE LEMPER PADA BUSANA EDGY Sutrisnayanti, Ni Nyoman; Mudra, I Wayan; Radiawan, I Made
BHUMIDEVI: Journal of Fashion Design Vol. 1 No. 2 (2021): Bhumidevi
Publisher : Pusa Penerbitan LP2MPP Institut Seni Indonesia Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1420.269 KB) | DOI: 10.59997/bhumidevi.v1i2.744

Abstract

Kue lemper dalam bahasa jawa merupakan singkatan dari kalimat “Yen dielem atimu ojo memper” yang memiliki arti “jangan sombong saat dipuji” mengajarkan kita tentang pentingnya sikap rendah hati serta banyak nilai filosofis lainnya. Kue lemper memiliki beberapa komponen yaitu pembungkus dari daun pisang, ketan dan juga suwiran atau potongan daging, beberapa komponen tersebut dituangkan kedalam rancangan busana yang dibuat semenarik mungkin guna menarik perhatian masyarakat sehingga menumbuhkan rasa kepedulian terhadap kebudayaan Indonesia khususnya kue tradisional lemper. Tujuan penciptaan ini untuk mewujudkan ide atau konsep dari kue lemper menjadi suatu busana hingga proses penjualan, promosi, branding serta proses produksi dan bisnis dari koleksi busana tersebut. Proses penciptaan karya busana menggunakan metode penciptaan “Frangipangi dari disertasi karya Tjok Istri Ratna Cora Sudharsana yang memuat delapan (8) tahapan penciptaan yang terdiri dari ide pemantik (design brief), riset dan sumber (research and sourching), pengembangan desain (design development), (sample, prototype, and contruction), koleksi akhir (the final collection), promosi (promotion, sales, and branding), produksi (production), dan bisnis (the business) dengan menggunakan pendekatan analogi serta penerapan unsur-unsur dan prinsip-prinsip desain. Busana yang dihasilkan berupa busana ready to wear, ready to wear deluxe, dan semi haute couture dengan gaya feminim dan look edgy. Busana dipromosikan melalui pagelaran busana yang dipasarkan berdasarkan target kalangan pecinta fashion kelas menengah atas dengan merk atau brand Manakala wears dan dijual dengan mempersiapkan kartu nama, label, pricetag dan packaging sebagai komponen pendukung. Tahap bisnis menghasilkan sebuah rancangan Business Model Canvas (BMC) sebagai pemetaan strategi bisnis.
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