MASALAH YANG SERING TERJADI PADA XIAOMI REDMI NOTE 3 DAN CARA MENGATASINYA

1. Download dari play store harus pakai wifi atau wi-fi

Anda bingung ketika download play store harus menggunakan wifi? dan anda tidak bisa menggunakan mobile data atau data internet atau paket data? dan ini akan menjadi masalah tentunya bagi kita yang tidak mempunyai sambungan wi-fi.

Cara mengatasinya

Sebenernya untuk mengatasi cara ini cukup mudah, caranya Dari home screen kita pilih tool -> download -> setting setelah itu  Set limit downloadnya ke menjadi unlimitied,

2. Sering munculnya iklan pada xiaomi redmi note 3

Persoalan iklan yang tiba-tiba munculdilayar biasanya membuat gerah para pemilik HP android, tak terkecuali Smartphone Xiaomi redmi note 3, biasanya ini juga mengakibatkan paket data menjadi cepat habis, jelas ini sangat merugikan.

Cara mengatasinya

Kemungkinan waktu kita beli, kita di beri ROM yang tidak jelas atau istilahnya versi yang abal-abal, dan biasanya ROM tipe seperti ini mengandung banyak bloatware, nah untuk mengatasi peramasalahan ini, kita harus melakukan flash ulang pada Redmi Note 3.

3. Mengganti tampilan Bar baterai

Bagi yang ingin gonta-ganti bar baterai, anda bisa menggantinya dengan bar baterai atau indikator baterai yang bisa membuat anda nyaman.

Cara menggantinya

Cara mengganti tampilan bar baterai atau battrey redmi note 3 adalah sebagai berikut, masuk ke Settings -> Additional Setting -> Battery & performance lalu pilih battrey indicator, dan pilih sesuai dengan kebutuhan atau kebiasaan kita harus melakukan flash ulang pada redmi note 3 kita.

4. Mengganti tipe Jaringan 2G, 3G atau 4G

Anda dapat mengunci tipe jaringan pada Redmi Note 3 sesuai dengan kualitas jaringan ditempat anda, tentu bergantung juga dari provider yang anda gunakan.

Caranya

Dari menu call/dial tekan *#*#4636#*#* nanti ada kolom dengan tulisan gsm auto atau lte/gsm auto, lalu kita scroll dan cari lte only (untuk lock 4g) atau wcdma only (untuk lock 3g).

5. Sinyal menghilang (bagai hantu)

Mungkin anda merasa kesal ketika Redmi Note 3 anda sinyalnya suka hilang,

Cara mengatasinya

Dapat dikatakan anda menggunakan ROM abal-abal sehingga banyak bugs yang terdapat pada sistem, cara untuk mengatasi masalah ini mau tidak mau harus kita flash ulang ke ROM stable.

6. Tidak bisa install aplikasi dari play store

Masalah ini cukup banyak yang mengalami, redmi note 3 kita tidak bisa menginstall app atau aplikasi dari play store, sebenarnya permasalahan ini bukan hanya pada redmi note 3 saja, tetapi juga smartphone xiaomi yang lain.

Cara mengatasi

• Remove akun gogole kita masuk ke Settings > Accounts > Select Google > Remove account/Delete account
• Clear cache Google Play Store dan google Services Framework. caranya masuk ke Settings > Apps > All > Google Play Store dan pilih Clear cache dan Uninstall updates.
• Lalu masuk ke Setting > All > Download Manager  >  Clear Cache and Data.
• Setelah itu masuk lagi ke Settings > All > Google Services Framework  > Clear Cache and Data.
• Lalu add akun gemail lagi caranya Settings > Accounts > Google > add Account > Enter your Credentials
• Disarankan membuat akun gmail baru, lalu remove setelah itu pasang aku gmail lama anda

7. Redmi Note 3 baru tapi baterai boros

Jika mengalami hal ini tentu kita akan bingung dan pastinya anda akan terheran-heran..

Cara mengatasinya

Sebenarnya ini biasanya di akibatkan dari awal, karena waktu kita membeli,  menggunakan rom yang abal-abal sehingga banyak bugs yang terdapat pada sistem, dan juga mengandung banyak bloatware, cara untuk mengatasi masalah ini mau tidak mau harus kita flash ulang ke ROM stable.

HOW TO INSTALL MIUI 8 DI REDMI NOTE 3 MEDIATEK (LOCK & UNLOCK BOOTLOADER)

Install via SP-Flash-Tool (Locked bootloader)

---

- Install device drivers for your operating system
- Open folder SP-FLASH-TOOL-V.5.1532.00
- Run flash_tool.exe as administrator
- Select download agent (DA_SWSEC.bin)
- Select "scatter" file (you can find it inside "images" folder)

UNCKECK PRELOADER!!! (If you don't uncheck, you'll have a nice brick)

BE SURE that only is checked this five files: "system" "tee1" "tee2" "userdata" "boot" (Don't check "userdata" if you are upgrading from previous beta ported version. Check 

"userdata" ONLY IF YOU WANT TO DO A CLEAN INSTALL! DO A FULL BACKUP OF YOUR INTERNAL STORAGE BEFORE IT!!!)

- Press download
- Turn off mobile phone
- Press vol- and conect to your pc with original cable
- When red bar apear, wait 5 secs and unpress vol- (see yellow bar in 9-12 secs)
- Wait to 100% (yellow bar)
- Disconect mobile phone of your pc
- Reboot, wait a moment and voila!

IMPORTANT: ON FIRST INSTALL, TO GET GLOBAL LOCALES ON SP-FLASH-TOOL VERSION, YOU NEED TO FLASH USERDATA AND THIS WILL WIPE YOUR INTERNAL STORAGE! DO A FULL BACKUP BEFORE INSTALL!

PROSPECT OF INDONESIAN WAYANG

Virtually all traditional arts including wayang in Indonesia are always feared of getting weak and undergoing extinction due to the inability to survive in the midst of the emerging new cultural arts and the penetration of foreign cultures. This fear is quite reasonable, because this new emerging cultural arts are gaining younger generation’s attention and interest. In the long run, the fading young generation’s interest in the art of wayang will also has a bad impact on the development of the wayang. Therefore all efforts to introduce and socialize the wayang art are essentially imperative. Enhanced appreciation and socialization of the wayang art can be carried out by various ways, for instance, through formal education in schools, wayang tv shows, books writing, et cetera. Anticipating such an existence threat as stated above, it is necessary to do as advised as follows:

CONSOLIDATION OF WAYANG DEVELOPMENT

Nowadays the wayang culture art is still strong and showing its existence in the community. Wayang performance is still enjoyed by many including the young generation. Wayang artists such as dalang, swarawati or sindhen (female singer) and pengrawit (instrument players) as supporters and main performers of wayang performance keep on growing and being able to live prosperously by their professions.

In this era of globalization, the existence of a cultural art is determined by its competitiveness. Without competitive edge sooner or later it will face difficulty and dead. The strength of competitiveness lies in its quality. That is why every wayang culture art has to appear with prime quality. The quality of wayang art is built based on the edipeni and adiluhung nature of wayang. Wayang has to perform as an interesting show while at the same time able to convey guidance in the form of valuable moral messages that are beneficial for the people. The uniqueness of its guidance is the advantage of wayang’s competitiveness, and not only as entertainment show. The balance between entertainment and guidance in the show can ensure the survival of wayang. To keep on having a cultural endurance, the wayang community should continuously and consistently do consolidation. The consolidation may encompass insight, human resources and organizational consolidation.

INSIGHT CONSOLIDATION

The wayang art must have a far sight vision to the future that is full of challenges. Therefore apart of increasing the quality of wayang art, the wayang community must also have the right insight. The wayang has to be able to take part in creating an advanced human civilization. It is the right time that wayang art enters the science field. Based on contemplations and researches actually the wayang art has a lot of scientific ideas. Nowadays the scientific content in wayang has been reviewed to be used for the welfare of the society. It is hoped that the knowledge gained from wayang can help driving the rise of Indonesian people’s scientifical ethos in mastering science and technology for the endeavor of creating an advanced civilization. Science and Technology are the main mean in creating a civilization. It has been well proven time to time in the history of mankind civilization. Mankind civilization has continued developing through ages since the 7thcentury to this modern age. The driving force of civilization development is mostly the philosophers, scholars or scientists and humanist. The development of civilization can be seen and traced through the history of mankind’s culture in this world.

SCIENTIFIC CONTENT IN WAYANG

From the development of civilization mentioned above, it is clear that the driving force and means of creating an advanced civilization is nothing else but the mastery of science and technology. Therefore an advanced civilization development thesis can be formulated: ”Mastering in philosophy is to master science and technology. With a character based science and technology as foundation, an advanced and prosperous civilization can be developed”. Within the scope of this thesis, the formulation of “Wayang’s Tree of Knowledge” started with Wayang Philosophy as its core.

PUPPETRY KNOWLEDGE

Certainly the wayang knowledge will always exist and be developed. This type of knowledge has developed into two lines, Traditional Puppetry and Academic Puppetry. Traditional Puppetry Knowledge owned by the

dalangs. Due to the wayang art classified as oral tradition, there is no written document regarding this traditional puppetry. On the other hand, the second line is the academic puppetry knowledge which is compiled as science and being taught in school until university level. This puppetry knowledge has been compiled in an established rule (paugeran) in the form of wewaton and pakem in order to give guidance to

achieve a pagelaran or pakeliran with edipeni and adiluhung quality so that it becomes a “masterpiece”. A qualified wayang performance is the aim of puppetry knowledge. This puppetry art science has developed dynamically following the world’s development.

INDONESIAn WAYANG in WORLD dIMENSION

If wayang is called world puppet, then two purposes will come across in mind, Indonesian wayang which has been spreading overseas and puppet owned by nations all over the world. Almost all countries have their own typical puppets which is called puppet or doll. While Indonesian wayang can also be mentioned as puppet or doll but its quality and content is wider and deeper. Puppet or doll is a performance art aimed much more for children, while Indonesian wayang is for all kind of people either children, adult and old people. Indonesian wayang is characteristically edipeni (physical, look, pleasant, elegant, structure of music is melodious and entertaining) and adiluhung (more for civilized, dignity and virtuous), which means wayang is not only as a beautiful and esthetic spectacle, but also as a guidance which has an ethic or main moral of life, even nowadays has a wayang philosophy. Wayang philosophy is a highly academic achievement, because it comes from wayang performance. After going through series of sustainable research and development, is succeeded compiled as wayang philosophy. This wayang philosophy has been stated as a subject in master and doctoral degree in Gadjah Mada University (UGM) in Yogyakarta started in 2011.

World puppet is a puppet or doll performance. Many kinds of puppet culture art are owned and developed by global society. For conserving and developing this puppet, an Organization named UNIMA International (Union Internationale de la Marionnette) was therefore founded in Prague Czechoslovakia, in 1929. This Puppet organization has long existed, and its member from 90 countries. Indonesia is also a member of UNIMA by establishing UNIMA Indonesia in 2009. Nowadays Indonesia is really expecting that there is a world organization of wayang apart from marionnette, because in reality Indonesian wayang has spread all over the world. This willingness has been initiated by establishing APA (ASEAN Puppetry Association) for puppet in ASEAN region. It also has been initiated a puppet organization in Asian level by establishing forum of Asian Puppetry Gathering.

Global Society really respect Indonesian wayang especially after UNESCO declared Indonesian wayang as “a Masterpiece of the Oral and Intangible Heritage of Humanity” on November 7th, 2003. This moment actually can be used for presenting wayang culture art in international level. Wayang as an asset of indonesian culture art, has been acknowledged as world culture art heritage. This is an Indonesian strength that can be relied upon international diplomacy and can promote Indonesian image in the world. An effort to put and push wayang in international forum has been conducted. Indonesia has been actively involved in UNIMA, ASEAN Puppetry Association or APA and many Indonesian art missions which are carrying wayang in various opportunities abroad. Wayang promotion inside and abroad should be conducted intensively. Indeed, these efforts require a lot of power/persons, mind and finance. Limited budget is the main problem to solve. Therefore, the government should be responsible to strengthen wayang cultural diplomacy, including to increase the budget.

In May 2012 a meeting of UNIMA International was organized in Chengdu China. In the event of puppet art also there was a congress of UNIMA, world puppet festival, and so on. It is a good chance for Indonesia to perform, its primary in UNIMA Congress in once every 4 year. The further ambition in the future, Indonesia can be elected President of UNIMA International. If Indonesia is elected a Chairman of UNIMA International, Indonesia is going to be very proud, it is a proof that Indonesian wayang is going more and more worldwide. Since a long time ago until now many foreigners have been learning wayang and puppetry in Indonesia. Not a few are learning puppetry. Moreover, a lot of them are also reviewing and learning wayang. Wayang becomes a research and scientific study and therefore they can write books about wayang.

Indonesian wayang, mainly wayang Kulit (leather puppet) from Java and wayang Golek (wooden puppet) from Sunda have spread many European countries, the United States of America, Australia and Asia. Therefore by being proclaimed the Indonesian wayang by UNESCO as World Heritage, wayang culture art is getting strong as one of the country strength elements. Achievement and strength of wayang culture art should be used by the government for conducting cultural diplomacy. Former Indonesian Foreign Minister Mr. Hassan Wirajuda once expressed wayang as an instrument of diplomacy.

Organization and Institution of Indonesian wayang are strong enough. There are SENA WANGI (Indonesian Pewayangan/Puppetry National Secretariat), PEPADI (Indonesian Puppetry Union), PEWANGI (Indonesian Human Puppet Association), APA (ASEAN Puppetry Association), and UNIMA (Union Internationale de la Marionnette) - Indonesia. Wayang educational institutions are also growing such as ISI (Institut Seni Indonesia/Indonesian Institute of Arts), STSI (Sekolah Tinggi Seni Indonesia), Sanggar/Studio (traditional learning of wayang institution) and so on. Wayang culture art is in strong position and ready to be developed abroad. Wayang community is sure, wayang can become a superior culture art in international forum and becomes one of Indonesian strength to be a great country and respected by other countries. The country who is “mardikengrat mbahudhendha nyakrawati”, that means independent country, sovereign and famous in the world.

In the era of globalization, it is open a very tight and keen competition. Not only in political and economical fields but also in culture. Foreign culture values which have not been quite right for Indonesia, is continuously flowing through information technology sophisticated tools. Facing the onslaught of foreign cultures, Indonesian people must be aware and strengthen themselves. One of it is by developing native culture. Also traditional culture can be unified to become a strength to fortify national culture. Wayang culture art has been developing since long time ago to build resilience of Indonesian culture. This effort should be increased. Must be weaved a close co-operation between wayang society and the government. Actually there are many kinds of ways like education. The life of wayang traditional art is apparently dependent on young generation. But in reality young generation is decreasing their interest. Only long term effort that can solve. Through formal education started from elementary till university, traditional art is introduced to young generations. Relating to curriculum policy, Ministry of Education and Culture in 2013 submitted local content competency of culture art subject at the local government autonomy. It is an opportunity for local government to require the teaching of regional language and wayang in school, started from Early Age Learning Education (PAUD=Pendidikan Anak Usia Dini), elementary until high school. Regional language is a cultural instrument that can support wayang culture art.

To strengthen and empower wayang widely and continuously, it is necessary to socialize wayang through information media, such as publishing books, television broadcasting, and so on. The governments either central or regional pay a real attention in the form of development of culture supported by sufficient fund (Central/Regional Government Budget).

Position of wayang culture art either in global or national dimension, is on its track. Wayang is dominant and respectable in international forum, also in national level has been in the midst of national development. Synergy between government effort and wayang community which are coordinated by SENA WANGI will wide openly for Indonesian wayang which is useful for nation welfare and country in facing destructive cultures from other countries.

TARI LINDA - LINDA DANCE

Tari linda (Linda Dance) merupakan jenis tarian tradisional Masyarakat Kabupaten Muna. Secara etimologi, penamaan Linda berarti menari laksana burung yang terbang, berkeliling dengan sayap yang terkembang indah. Tari Linda merupakan seni tari tradisional rakyat yang telah lama berkembang di daerah Muna dan menjadi bagian dari tradisi masyarakat setempat.Tari Linda lahir di tengah-tengah masyarakat muna, sekitar abad ke-16,yakni di masa pemerintahan Laposasu (kobangkuduno).
Tarian ini di ciptakan sebagai suatu perwujudan tradisi masyarakat di daerah muna dalam hal pemingitan anak-anak mereka dikala memasuki usia dewasa. Pertumbuhan tarian tersebut kemudian meluas sampai ke daerah-daerah lain seperti Buton, sehingga saat ini telah menjadi tarian tradisional yang sangat popular di daerah tersebut. Penari terdiri dari wanita yang jumlahnya terbatas sampai enam atau delapan orang. Pakaian yang dikenakan merupakan pakaian khas daerah, dalam bahasa local disebut sebagai ‘baju kombo’.


Teknik Tari Linda

Dimulai denganpara penari keluar dari dua penjuru dengan gaya lego (berlenggang). Setelah menghadapi penonton, mulailah gerakan pertama kedua tangan mengambil selendang yang melilit di leher dan di bawa ke sebelah kiri, laksana orang yang sedang memetik sesuatu bersamaan dengan gerak kaki yang di gesekkan ke kiri sambil mengayunkan kaki kanan ke arah kanan dengan perhitungan tiga dan di balas dengan kaki kiri dengan perhitungan empat. Selanjutnya kedua tangan di bawa ke sebelah kanan seperti orang yang sedang memetik sesuatu secara bersamaan dengan gerak kaki kiri ke samping kiri dengan perhitungan satu di balas dengan kaki kanan pada perhitungan tiga dan di balas lagi dengan kaki kanan dalam perhitungan empat.
Beberapa fariasi terjadi pada saat pertukaran tempat, mempermainkan selendang dan sebagainya. keseluruhan gerakan dalam tari ini terdiri dari empat belas macam gerakan. Pada gerakan akhir, kedua tangan di bawa ke sebelah kiri seperti orang yang sedang memetik buah, kaki kiri di gerakan ke kiri dan kaki kanan di ayunkan ke kanan, dengan perhitungan satu di balas dengan kiri pada perhitungan dua, kemudian di ganti dengan kaki kanan dalam hitungan tiga dan seterusnya sampai mencapai perhitungan empat. Akhirnya kedua tangan melepaskan lilitan selendang dan disandangkan ke bahu sebelah kanan. Tangan kiri memengang sarung (bini-bini), tangan kanan berlenggang (lego-lego).

Alat musik yang mengiringi setiap gerakan dalam tarian ini adalah gendang, gong, dan dengu-dengu dengan cara ditabu atau dipukul.

Dahulu kala sebelum alat-alat musik tersebut di kenal oleh masyarakat, orang-orang sering menggunakan ‘matatou’ (alat musik tradisional rakyat yang ditabuh). Syair lagu yang dinyanyikan dalam peragaan tari Linda:

YO LAKADANDIO
DANDIO LAKADANDIO
LADADIMAKA
RIMANA LAKADANDIO
KAMBOI NGKUKU
NERURU RONDANO UE
SILONO MATA
NEFOPATI LOSUA

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