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All Journal Jurnal Civics: Media Kajian Kewarganegaraan ILMU KELAUTAN: Indonesian Journal of Marine Sciences Prosiding KOMMIT Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa Gorga Jurnal Seni Rupa Pembelajaran Matematika Paedagogia Jurnal Pendidikan Matematika SoLuSi ( Tersohor Luas dan Berisi ) Atom Indonesia Journal Jurnal Radioisotop dan Radiofarmaka Jurnal Iptek Nuklir Ganendra Jurnal Pendidikan Teknik Mesin Jurnal Manajemen Pelayanan Kesehatan Gaung Informatika Journal of Education and Learning KOMUNITAS: INTERNATIONAL JOURNAL OF INDONESIAN SOCIETY AND CULTURE Abdimas Jurnal S2 Pendidikan Matematika YUSTISIA Jurnal Penelitian Hasil Hutan Jurnal Ilmu-Ilmu Perikanan dan Budidaya Perairan Jurnal Akuntabilitas Manajemen Pendidikan Seminar Nasional Teknik Kimia Kejuangan The Journal of Pure and Applied Chemistry Research Indonesian Journal of Pharmaceutical Science and Technology Journal of Mathematics and Mathematics Education BERITA BIOLOGI Sari Pediatri Catharsis The Journal of Educational Development Sekolah Dasar: Kajian Teori dan Praktik Pendidikan EDUHUMANIORA: Jurnal Pendidikan Dasar Proceeding of International Conference on Art, Language, and Culture Jurnal Pembelajaran Matematika Jurnal ASPIKOM Indonesian Journal of Chemistry Jurnal Perikanan Universitas Gadjah Mada Indonesian Aquaculture Journal Indonesian Fisheries Research Journal Jurnal Community Res Judicata Waskita: Jurnal Pendidikan Nilai dan Pembangunan Karakter Jurnal Jatiswara Jurnal Kesehatan Jurnal Salaka Sastra Indonesia
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Journal : Catharsis

MASJID JAMI’ PITI MUHAMMAD CHENG HOO PURBALINGGA: REFLEKSI AKULTURASI BUDAYA PADA MASYARAKAT PURBALINGGA

Catharsis Vol 5 No 2 (2016)
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Masjid Cheng Hoo Purbalingga memiliki bentuk yang unik dan menarik, serta berada di tengah-tengah muslim Jawa yang secara umum memiliki kepercayaan/keyakinan dan budaya berbeda dengan muslim Cina Purbalingga. Masalah yang dikaji dalam penelitian ini: (1) bagaimana perwujudan akulturasi pada bentuk masjid; (2) bagaimana pola-pola hubungan dan keterlibatan muslim Jawa dan Cina; dan (3) bagaimana fungsi Masjid Cheng Hoo Purbalingga. Metode penelitian ini adalah kualitatif dengan pendekatan interdisiplin (sosial, budaya, dan seni). Teknik pengumpulan data dengan observasi, wawancara, dan studi dokumen. Pemeriksaan data dengan triangulasi, member checking, dan rich and thick description. Prosedur analisis data dengan reduksi, penyajian data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa Masjid Cheng Hoo Purbalingga merefleksikan akulturasi budaya pada masyarakat Purbalingga. Refleksi tampak pada hal-hal sebagai berikut. Pertama, Masjid Cheng Hoo Purbalingga benar-benar hasil akulturasi budaya, yaitu antara nilai-nilai Islam, unsur budaya Arab, Jawa, Cina, dan Hindu. Kedua, terdapat pola-pola hubungan dan keterlibatan muslim Jawa dan Cina dalam memunculkan gagasan tentang Masjid Cheng Hoo Purbalingga berkaitan dengan pengembangan ide/gagasan, pendirian, dan pemilihan nama masjid, baik yang berada di dalam maupun luar Purbalingga. Ketiga, Masjid Cheng Hoo Purbalingga memiliki fungsi berkaitan dengan ekspresi, fungsi individu, sosial, dan budaya.

PATUNG PANTAK DAYAK KANAYATN Kajian Bentuk dan Fungsi dalam Perubahan Sosial Budaya

Catharsis Vol 5 No 2 (2016)
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Patung Pantak merupakan karya seni yang hadir dari hasil produk budaya Suku Dayak Kanayatn. Keberadaan patung Pantak dalam kehidupan masyarakat Suku Dayak Kanayatn merupakan tindakan sosial masyarakat untuk mengekpresikan budaya melalui sebuah patung. Berubahnya budaya bertani masyarakat memberikan dampak terhadap bentuk dan fungsi patung Pantak. Penelitian ini bertujuan menganalisis dan memahami masalah bentuk dan fungsi pada patung Pantak dalam konteks perubahan sosial budaya masyarakat Suku Dayak Kanayatn. Metode penelitian menggunakan pendekatan penelitian kualitatif. Data penelitian dikumpulkan dengan teknik pengamatan, wawancara mendalam, dan dokumentasi. Hasil penelitian menunjukan perubahan sosial budaya masyarakat Suku Dayak Kanayatn dari beberapa aspek kehidupan mempengaruhi aspek yang berhubungan dengan budaya serta orientasi nilai budayanya. Salah satu aspek kebudayaan yang dipengaruhi dengan terjadinya perubahan sosial budaya itu adalah karya seni, termasuk disini karya seni patung. Tegasnya bentuk dan fungsi karya seni patung Pantak Dayak Kanayatn berubah seiring dengan tejadinya perubahan sosial budaya masyarakatnya. Tampaknya peran budayawan dan bidang pendidikan yang sejatinya menjaga, mempertahankan serta melestarikan suatu produk budaya belum terlihat jelas, sehingga dalam hal ini Perlu memberikan pengetahuan kepada masyarakat yang menjadi pemilik suatu kebudayaan untuk secara bijak dalam menyikapi setiap kemajuan yang berdampak dalam sebuah kebudayaan dan perlunya untuk memasukkan karya seni patung Pantak sebagai materi ajar untuk memperkenalkan salah satu produk budaya dari Suku Dayak Kanayatn.

Simbol Gendhèng Wayangan pada Atap Rumah Tradisional Kudus dalam Perspektif Kosmologi Jawa-Kudus

Catharsis Vol 6 No 1 (2017)
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Masyarakat Kudus Kulon menyadari bahwa setiap gerak geriknya selalu berada dalam kuasa Allah SWT pandangan tersebut tervisualisasi dalam setiap bagian rumah tempat tinggalnya. Masalah dalam penelitian ini:(1)Bagaimana perwujudan bentuk dan fungsi hiasan gendhèng wayangan pada atap rumah tradisional Kudus; (2)Sebagai simbol, hiasan gendhèng wayangan rumah tradisional Kudus terkandung makna apa dalam perspektif kosmologi Jawa-Kudus. Metode penelitian ini menggunakan metode kualitatif dengan pendekatan interdisiplin. Data penelitian dikumpulkan dengan teknik observasi, wawancara, dan studi dokumen. Pemeriksaan keabsahan data menggunakan triangulasi sumber, kemudian dianalisis mengggunakan alur reduksi, penyajian, dan verifikasi data. Hiasan gendhèng wayangan terbuat dari bahan tanah liat yang dibakar, ditempeli beling (pecahan kecil keramik porselen) putih. Gendhèng wayangan menggunakan pola hias motif flora, terdiri dari gendhèng lanangan di tengah, gendhèng pengapit di kanan dan kiri, gendhèng bulusan pada bagian ujung sebagai penutup. Gendhèng wayangan memiliki fungsi individu, fungsi sosial, dan fungsi praktis. Makna simbolis dari hiasan gendhèng wayangan adalah mengenai keyakinan dalam hal penghambaan dan kecintaan manusia terhadap Allah. Hiasan gendhèng wayangan tersirat simbol tentang manunggaling kawula Gusti serta falsafah dalam kosmologi Jawa mengenai harmonisasi empat anasir dalam kehidupan manusia bertujuan untuk menjaga keselarasan antara mikrokosmos dan makrokosmos di alam semesta. Kudus Kulon society awared that every movement in their life always be in Gods power and everything in their life is always aligned with the will of God and the universe that surrounded them. That cosmological outlook is visualized in every part of their house where they lived, one of their part is gendhèng wayangan which is located at the peak of the rooftop. Problems studied in this study: (1) How is the structure and function of gendhèng wayangan on the rooftop of a Kudus’s traditional house; (2) As a symbol, what kind of symbol that contained in the traditional decoration gendhèng wayangan in the Javanese-Kudus’s cosmology perspective. Methodologically, this study is qualitative research, and used an interdisipline approach. Data collected by observation, interview and document study. Examination of the data’s validity using sources triangulation, then analyzed using reduction, presentation, and verification of data. The results showed that, (1) Gendhèng wayangan made by clay ground and decorated with beling to bold the line of ornamental flora’s motifs, gendhèng wayangan consisting of gendhèng lanangan in the middle, gendhèng pengapit is in the right and left side, gendhèng bulusan at the end as a cover. Gendhèng wayangan has a function has a practical function, social function, and individual functions. (2) In general, the meaning of symbol gendhèng wayangan is about belief in human servitude to God. While specifically, the implicit concept of gendhèng wayangan is about manunggaling kawula Gusti and harmonization between four elements in the universe to create the harmony between microcosm and macrocosm that is the philosophy adopted in Javanese cosmology and Islam.

Seni Relief Desa Senenan: Kajian Estetik, Fungsi, dan Pewarisannya di Sanggar Jepara Carver

Catharsis Vol 6 No 1 (2017)
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Kehadiran seni dalam kehidupan manusia menjadi salah satu kebutuhan bagi manusia. Salah satu karya seni yang digunakan untuk memenuhi kebutuhan berkesenian  adalah seni relief kayu di Desa Senenan. Masalah yang dikaji dalam penelitian ini: (1) Bagaimana bentuk produk seni ukir relief kayu yang diciptakan perajin di Desa Senenan Kabupaten Jepara?; (2) Bagaimana fungsi seni relief kayu dalam kehidupan komunitas perajin di Desa Senenan Kabupaten Jepara?; dan (3) Bagaimana pewarisan seni relief kayu di Desa Senenan Kabupaten Jepara?. Metode dan pendekatan penelitian yang digunakan adalah kualitatif dengan kajian interdisiplin sosial-budaya, dan seni (seni rupa). Analisis data seni dengan teori bentuk estetik, konsep pewarisan (internalisasi, enkulturasi, dan sosialisasi), dan fungsi. Hasil penelitian menunjukkan hal-hal sebagai berikut. Pertama, seni relief kayu memiliki bentuk yang variatif sesuai dengan kreativitas perajin dan nilai estetik. Kedua, seni relief kayu memiliki fungsi pemenuhan kebutuhan dasar sebagai sumber pemenuhan kebutuhan ekonomi, fungsi sosial dan fungsi budaya. Ketiga, struktur pewarisannya melalui keluarga dan pendidikan informal (sanggar Jepara Carver). The presence of art in human life becomes one of the human necessities. One of the artworks which used to meet the needs of art is the art of wood reliefs in Desa Senenan, Jepara. The problems of the study are (1) What are the forms of wood relief sculpture product created by craftsmen in Desa Senenan,Jepara? (2) How are the functions of wood art relief in the craftsmen daily life in Desa Senenan, Jepara? (3) How are the inheritance wood art relief in Desa Senenan Jepara? This study used qualitative method which combined with socio cultural and art interdisciplinary study. The Art data analysis included the theory of aesthetic form, the concept of inheritance (internalization, enculturation and socialization), and function. The results showed the following matters. First, the art of wood reliefs had a shape that varied in accordance with the creativity of artisans and aesthetic value. Second, art wooden relief had the function to fulfill the people basic needs as a daily economic, a social function, and as cultural function. Third, the art wood relief was used as the structure of inheritance through the family and informal education (Jepara studio Carver).

Revitalisasi Tari Sigeh Penguten Melalui Pendidikan Seni Budaya di SMP Negeri 1 Tanjung Raya Kabupaten Mesuji

Catharsis Vol 6 No 1 (2017)
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Tari Sigeh Penguten merupakan tari tradisional yang berasal dari Lampung. Tarian ini biasanya ditampilkan oleh masyarakat Lampung untuk menyambut dan memberikan penghormatan kepada para tamu atau undangan istimewa pada acara adat atau pun acara lainnya. Masalah yang dikaji dalam penelitian ini adalah: (1) Bagaimana bentuk Tari Sigeh Penguten di SMP Negeri 1 Tanjung Raya Kabupaten Mesuji; (2) Mengapa dan bagaimana cara Tari Sigeh Penguten dilakukan melalui pendidikan seni budaya di SMP Negeri 1 Tanjung Raya Kabupaten Mesuji; dan (3) Bagaimana hasil revitalisasi Tari Sigeh Penguten melalui pendidikan seni budaya yang di laksanakan di SMP Negeri 1 Tanjung Raya Kabupaten Mesuji.  Metode penelitian ini menggunakan pendekatan kualitatif. Teknik pemeriksaan data dengan triangulasi, member checking, dan rich and thick description. Prosedur analisis data dilakukan melalui tahap reduksi, penyajian data, dan penarikan simpulan.  Hasil penelitian menunjukkan sebagai berikut: Pertama, bentuk Tari Sigeh Penguten di SMP Negeri 1 Tanjung Raya Kabupaten Mesuji terdiri dari wiraga: ragam gerak dan teknik Tari Sigeh Penguten, wirasa: ekspresi dan penguasaan Tari Sigeh Penguten, wirama; iringan musik yang digunakan pada Tari Sigeh Penguten, wirupa: kostum dan tata rias Tari Sigeh Penguten. Kedua, Tari Sigeh Penguten dilakukan melalui pendidikan seni di SMP Negeri 1 Tanjung Raya karena urgensi revitalisasi Tari Sigeh Penguten sebagai bentuk antisipasi pudarnya Tari Sigeh Penguten di kalangan generasi muda dan masyarakat, dengan cara pendidikan ekstrakurikuler Tari Sigeh Penguten sebagai upaya revitalisasi untuk menghidupkan kembali Tari Sigeh Penguten pada generasi muda. Ketiga, hasil revitalisasi Tari Sigeh Penguten menunjukkan adanya peningkatan dari sisi pengetahuan (kognitif) siswa, peningkatan sikap (afektif) kepedulian siswa, dan peningkatan penguasaan keterampilan (psikomotor) siswa. Sigeh Penguten dance is one of traditional dances in Lampung in which it is performed to present and give tribute for the special guests in traditional ceremonies and the other ceremonies. The statement of problems are as follows: (1) How is the kind of Sigeh Penguten Dance in SMP Negeri 1 Tanjung Raya, Mesuji; (2) Why and How is the procedure of Sigeh Penguten Dance through art subject in SMP Negeri 1 Tanjung Raya, Mesuji; and (3) how is the result of revilatization of Sigeh Penguten Dance Through Art Subject in SMP Negeri 1 Tanjung Raya, Mesuji. The method of this study was a qualitative approach. The technique of checking the data used triangulation, member checking, and rich and thick description. Moreover, the technique of analysing the data was the step of reduction, obtaining the data, and concluding the data. The results of this study were as follows: the first, the kinds of  Sigeh Penguten dance in SMP Negeri 1 Tanjung Raya, Mesuji are wiraga : types of movement and technique of Sigeh Penguten dance, wirasa : expression and mastery of Sigeh Penguten dance, wirama : the rhythm of music in Sigeh Penguten dance, wirupa : costume and make up of Sigeh Penguten dance. The second, Sigeh Penguten dance was learnt through Art Subject in SMP Negeri 1 Tanjung Raya, Mesuji due to the urgency of revitalization of Sigeh Penguten dance to maintain the Sigeh Penguten Dance around the teenagers and citizens through extracurricular Art Subject, especially on Sigeh Penguten Dance for the youth generation in SMP Negeri 1 Tanjung Raya, Mesuji. The third, the result of revitalization of Sigeh Penguten dance indicated that there were the enhancement of students’ cognitive, affective, and psychomotor aspect in Sigeh Penguten dance.

Busana Aesan Gede dan Ragam Hiasnya sebagai Ekspresi Nilai-Nilai Budaya Masyarakat Palembang

Catharsis Vol 6 No 1 (2017)
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Busana dan Ragam hias Aesan Gede  merupakan simbol budi pekerti dari kebudayaan dan kebesaran masyarakat Palembang. Busana Aesan Gede  harus tetap mempertahankan eksistensinya agar  nilai-nilai yang terkandung di dalam ragam hias masih dapat terjaga. Nilai-nilai yang disampaikan melalui simbol visual yang terdapat pada ragam hias busana Aesan Gede memiliki pesan moral budi pekerti, yang menjaga keselarasan dan keseimbangan hidup antar manusia dengan alam sekitar dan dengan Sang Pencipta. Masalah dalam penelitian ini adalah Bagaimana bentuk, fungsi dan nilai-nilai budaya dalam busana dan  ragam hias Aesan Gede pada upacara adat perkawinan Palembang, Nilai-nilai apa yang terkandung dalam busana dan ragam hias Aesan Gede dalam upacara adat perkawinan Palembang. Metode penelitian ini adalah kualitatif dengan pendekatan interdisiplin. Fokus penelitian dan data yang dikumpulkan berkaitan dengan masalah penelitian. Teknik pengumpulan data dengan observasi, wawancara dan studi dokumen. Keabsahan data menggunakan triangulasi metode. Prosedur analisis data dengan reduksi, penyajian data dan penarikan kesimpulan. Hasil penelitian ini menunjunkan hal-hal sebagai berikut. Pertama, bentuk busana dan  ragam hias Aesan Gede didominasi dengan motif hias tumbuh-tumbuhan, dan motif hias geometris. Kedua, ragam hias Aesan Gede memiliki fungsi murni estetis dan fungsi simbolis, Ketiga, nilai yang terkandung dalam busana Aesan Gede dan ragam hiasnya yaitu nilai yang berhubungan dengan keTuhanan, nilai yang berhubungan dengan sesama manusia, dan nilai yang berhubungan dengan tingkah laku. Aesan Gede symbolizes the character of the culture and greatness of Palembang communities. The existence of Aesan Gede traditional costume needs to always be maintained. It aims to keep the values of the ornamental variety itself. The values which are implicitly showed by Aesan Gede visual symbols are manners which maintain the harmonious relationship between humans and their nature and God. The research questions of this research are form, function and culture values contained in a fashion motif and Aesan Gede customary marriage ceremonies of Palembang comunities. The method used in this research was interdisciplinary qualitative which focused on the gained data related to the research problems. The techniques of the data collection were observations, interview, and document study.  The procedures of data analysis were reduction, data collection, and summarizing. The validity of the data using the triangulation methods.The research result revealed these following findings. First, the variety forms of Aesan Gede are dominated by plant-motif and geometric-lined motif. Second, the variety forms of Aesan Gede have various functions. They are esthetic function, and symbolic function. Third, the values consisted in Aesan Gede are religious values, humanistic values, and behavioral values. The researchers recommended three suggestions.

Adaptability of Performing Literature Speech Tadut Artist in Facing Social Change of Peoples Life Besemah Pagaralam

Catharsis Vol 6 No 2 (2017)
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Tadut speech literature is a literary speech that developed in Besemah Pagaralam which is used as a medium for dissemination and learning of Islam in the recitation and death because his poems are able to remind people of Allah swt.. Problems reviewed ini this research, (1) How to show literature Tadut speech in the community culture of Besemah Pagaralam (2) What values of local wisdom are expressed in Taduts literature, (3) How does the adaptation of the literary performers of Taduts literary works defend the language of the Tadut literature his artistry in the social change of life of the people of Besemah Pagaralam. This research uses interdisciplinary approach that is the science of cultural anthropology, sociology and art education. The type of research method used is qualitative with case study design. Data is collected by observation techniques, interviews and document material collection. The results show, first, in the present day Tadut literature is shown in government events, race events, public events and even wedding ceremony. Second, the values of local wisdom expressed in Tadut literature are religious values, moral values, educational values, customs values. Third, adaptability done by Tadut literary artists through the mechanism of cultural collaboration is able to maintain its existence in social change.

Art of Music Taring In Sanggar Tunas Muda Lahat District In Perspective Aksiologi: Study In The Context Of Socio Culture

Catharsis Vol 6 No 2 (2017)
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The art of Terbangan music in Lahat district is a cultural product derived from the customs of Semende people who migrated to the district of Lahat South Sumatra. With regard to this, the purpose of this study is to examine the issue of the form of the music of Terbangan and the axiological values ​​in it. This research uses an interdisciplinary approach involving the disciplines of musicology and philosophy. Science of Musicology is used to analyze the elements and forms of music on the art of flying. The discipline of philosophy is used to analyze the values ​​contained in the Art of Music Terbangan. Sources of data in this study using a qualitative source consisting of primary and secondary sources with techniques perngumpulan observation data, interviews and document studies. Data validation technique used by source triangulation while data analysis technique is done by reducing data, presenting data, and verifying data. In this verification process, conclusions are drawn with interpretations that use emic point references (field opinion sources) and ethical perspectives based on the theoretical concepts used. Based on the results of research shows things as follows the first form of musical structure among other elements, motives, clauses, sentences or periods that exist in the art of music Terbangan. The two human values ​​in the art of Terbangan which are part of man are holiness, goodness, truth and beauty.

The Inheritance Pattern of Wayang Orang Art in Padhepokan Tjipta Boedajatutup Ngisor Lereng Merapi

Catharsis Vol 6 No 2 (2017)
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The purpose of the research is to, the inheritance pattern of Tjipta Boedaya’s Wayang Orang. The method of the research was qualitative method by using the approach of interdicipline which utilized etnochoreology study, anthropology, and sociology. The inheritance pattern of Tjipta Boedaya’s Wayang Orang. The location of the reasearch was at Padhepokan Tjipta Boedaya, dusun tutup ngisor. The technique of the data collection was using observations, interviews, and study dokumen, the technique of data validation was using triangulation, member check, and making thick description. The technique of the theory data analysis was using the concept which has been arraanged before and throughed four analysis stages which were data collection, reduction, presentation, and verification. The result of the research inheritance pattern of Wayang Orang divided into two paths, they were family path and environment path. Inheritance which been inherited including stories, themes, movements, cosmetics,and accompaniment. Inheritance pattern through family and environtment became the key of the establishment of Tjipta Boedaya’ Wayang Orang.

Likok Pulo Aceh Dance as A Educational Media of Religious Values for Acehnese in Pulo Aceh

Catharsis Vol 6 No 2 (2017)
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Abstract

The purpose of this research is to describe Likok Pulo Aceh dance as an educational media of religious values in Pulo Aceh society. This research used qualitative research method with interdisciplinary approach. The data was collected by observation, interview, and documentation. The researcher used triangulation to check the validity of data. Then it analyzed using reduction flow, data presentation, and data verification. The results showed that the messages that delivered from Likok Pulo Aceh dance through the dancers was when dancers perform the movement of the dance and poetry (syair), it gave advice to the Acehnese people especially in the people Pulo Aceh about Allah SWT’s rules and the relationship between the society. From the movements of dancers such as the movement of Saleum until the closing movement of Likok Pulo Aceh dance have some values which are aqidah, muamalah and morals and almost all the poems (lyric) which was sang by the dancers give some messages. The messages that conveyed relating to aqidah, mumalah and morals, especially the relationship between God and human being. Regarding to the relationship between Allah SWT and human being was how to pray in a good way and did not forsake for Salat and Shalawat to our Prophet Muhammad SAW. For young people or the future generations, they should not deny their parents, did not occupy the bad lust, for men and women there was a procedure of how to choose life companion that appropriate with the doctrine of Islam or the Shari’a. As long as the relationship between human and human, we should respect and always keep the hospitality to each other. This research is expected to instill these values ​​for next generation and keep on preserved.

Co-Authors A. Isnansetyo, A. A.E.T.H. Wahyuni Abdul Muthalib Abidin Abidin Agus Cahyono Agus Nursalim, Agus Agustiar, Devie Ahmad, Hariyatunnisa ALIM ISNANSETYO Ambariyanto , Andriansyah, Rico Andrianus Andrianus, Andrianus Anik Rahmawati, Anik Anshor, Arrini Shabrina Anung Pujiyanto Ardiyawan, Ardiyawan Arief Taslihan Arief, Ahmad Fikri Astri Charolina Azmi, Azmi Azmi, Ulya Zakaria Basri, Novysa Basuki, Umar Beniarso, Mundin Cahyana Amiruddin Darfioes Basir Daya Agung Sarwono Desrina Desrina Desty Ratna Permatasari, Desty Ratna Dian Indriani Dini Siswani Mulia Dini, Tria Ayu Drajad Sarwo Seto, Drajad Sarwo Duranta D. Kembaren, Duranta D. Dwiningtyas, Ratih Dyah Indriyani, Putri E. Sarmini Edi Irawan Eko Sugiarto, Eko Endang Sarmini Enny Lestari Erik, Mohamad Erni Martani Ervia Yudiati FAJAR SETIAWAN Fatimah Azzahrah Fatmawati, Harlinda Fauziyah, Fuzi Afiza Finny Fitry Yani Fitriani Fitriani H. Syakuri, H. Habib Adjie Hadi, Muhammad Tesar Hambali Hambali Hartono Hartono Henny Ekana Ch. Henny Ekana Chrisnawati Herlina Herlina Hotnida Junita Situmeang Imamudin, Kurniasih INDAH ISTIQOMAH Irfan D. Prijambada Islami, Hidayatul Iswidiarti, Sri JAKA WIDADA K. H. Nitimulyo, K. H. Kadarisman Kadarisman Kamiso H. N., Kamiso H. KAMISO HANDOYO NITIMULYO KH, Abdul Aziz Kundharu Saddhono Kurniasih Kurniasih LANGKAH SEMBIRING Lantip Diat Prasojo Lestari, Fajar Sumi Lili Sholichah, Lili Ma'sum, Aziz Malarsih Malarsih, Malarsih Manik, Astri Marita Mardi Mardi Mardiyana Mardiyana Maria Ulfahmi, Cut Gesti Mayang Pitaloka MIFTAKHUL JANNAH Mirwa, Tetty Muh. Ibnan Syarif, Muh. Ibnan Muhammad Murdjani Muhammad Zainuddin Muhammmad Murdjani, Muhammmad Mujiyono Mujiyono Murti, Fahriza Murwantoko Murwantoko Namastra Probosunu Nina Yuliana Ningsih, Maya Nirmalasari Idha Wijaya Noer Kasanah, Noer Nur Fadhilah Nur Rokhmat Nursyirwani Nursyirwani Pratiwinindya, Ratih Ayu Prayogo, Sugeng Putri Puspitasari R Sudradjat, R Rachmansyah Rachmansyah Raden Bagus Sugio Sumanta Ratna Puspita, Ratna REZA Adi ADI PRADANA Risca Damayanti, Risca Risnawati, Ririn Riyadi Riyadi Rukayah Rukayah S. Soenarjo Sabillah, Masayu Selly Sahli, Zamahsjari Salu, Vega Ricky SANTI NURBAITI Sebastian Margino Sesung, Rusdiyanto Setyaningrum, Ikha Sulis Setyobudi Setyobudi Shanie, Arsan Shatrie, Dikry N Shatrie, Dikry Novel Siti Amirah Budiastuti Sri Hartati Sri Iswidayati Sri Rejeki Sriyono Sriyono Subagiyo Subagiyo Suharno Suharno Suherman Suherman Sumarwati Sumarwati Sumaryanto Florentinus, Totok Sunarhadijoso Soenarjo Sunarto Sunarto Suparti Suparti Sutarman Sutarman Sutrisno sutrisno Suyono Suyono syakir syakir Syarif, Muh Ibnan Tanjung, Dailami Tjetjep Rohendi Rohidi, Tjetjep Rohendi Totok Sumaryanto Florentinus, Totok Sumaryanto Totok Sumaryanto, Totok Triani Widyaningrum Udi Utomo Umi Nur Sholikhah W. Asmara W.Y. Rahman Wadiyo Wadiyo, Wadiyo Wardani, Anestia Widya Widaningtyas H, Adoniati Meyria Wijaya, Dhimayu Ichtiara Wilis Ari Ari Setyati1,2, Wilis Ari Wilis Ari Setyati Windi Amelia, Windi Wira Rahman Wira Y. Rahman Wisnu Nurcahyo Wulandari, Tita Yudha Trinoegraha Adiputra Yulius Docang Casessar Yuniarti, Ivana