title: Bugis

text: The lifestyle of ancient Bugis people were, to some extent, preserved by the pagan Torajan people until the dawn of the 20th century. Their homes were mainly constructed on stilts and the communities were likely to be scattered along the river banks, sea or lake shores. The main undertakings during this period were farming rice, millet, adlay and other edible crops, catching fish and shellfish, obtaining forest produce and hunting wild animals. Buffaloes were imported and used for important occasions.


title: Bugis

text: The earliest inhabitants potentially clad under a simple clothing. The women potentially wore a skirt; while for the men, a loincloth and possibly a headcloth. Remains of bronze and gold ornaments have also been retrieved based on archeological evidence. Pottery is evident, although bamboo containers were more extensively used together with the usage of bamboo knives. The weapons were sourced from iron and stones together with helmets and shields made from rattan.


title: Bugis

text: Theologically, the early Bugis potentially practiced ancestor worshipping. There were also ancient rituals related to agriculture and fertility. They generally buried their corpses, although there were several cases where the deceased body were being disposed by immersion in the sea or lakes, or by positioned in trees. Other mortuary practices includes cremation, especially for the rulers.


title: Bugis

text: Despite being located in a sparsely populated communities, they were not living in an absolute isolation with the outside world. Instead, trade and commerce were held high and regarded to be of pivotal importance in the society. The archeological findings near Bantaeng and Ara unearthed ancient artifacts dating from 300 to 100 BC, denoting evidence that the southern part of Sulawesi has played an integral role in the axis of early insulindian trade. There are also traces of imported Chinese and other continental Southeast Asian ceramics and stonewear found in the pre-Islamic cemeteries.


title: Bugis

text: However, in contrast to much of Southeast Asia, the indicators of Hindu and Buddhist materials are rather sparse in South Sulawesi cultures. Their writing system, and some of their names and words, along with few Buddhist bronze images found in Mandar and Bantaeng only suggest that the existence of trade relations made with the western archipelago and the presence of foreigners alike. It is likely that despite being benefited with the trade relationship, they would resist external assimilation. Thus, outside elements are almost absent in the development of native religion and the indigenous states.


title: Bugis

text: The intensity on the early insulindian trade has led to a gradual shift in terms of the economic development, social construct, political interest and the balance of power amongst the South Sulawesi people, which has fundamentally led to the Bugis states, dynasties and polities began to flourish.


title: Bugis

text: The progress of inter-insular commercial activities and the increasing interactions with Maritime Silk Road were potentially among the main factors contributing to the economic prosperity for a few leading South Sulawesi communities. The period between 1200 and 1600 witnessed a radical change throughout the political landscape of lowland South Sulawesi Peninsula.


title: Bugis

text: The trade in South Sulawesi was based on the export of rare commodities, a business which was easily dominated by an exclusive ruling class. The administrative structure is fairly basic, a majority of the states are small and in a form of a local chiefdom. A small population is sufficient to assist the elite with food, physical work and military assistance to preserve their state's independence.


title: Bugis

text: However, by the 15th century, a major economic revolution taken place, and agricultural become an important economic foundation. To continue their powers in the agrarian-based society, the ruling elites are now required to handle the growth on the rice-producing territories to accommodate a major population boom. Hence, in order adapt with the economic and societal change, a new system and intermediaries are needed.


title: Bugis

text: Trade and commerce however, still retains its essential importance for the South Sulawesi economy. Rice become a major source of export; and at the same time, the economy is stimulated by the import of prestige goods from other parts of archipelago. The area potentially experienced exceptional growth following the rise of Malacca as a regional entrepôt. Conversely, the wealth for the elite families in South Sulawesi would also consequently rose due to this intensive commercial transactions, despite the fact that trade is now not solely regarded as their single source of riches.


title: Bugis

text: In the 1500s, Luwu was the major political force in the Bugis heartland, with its authority proclaimed throughout a large section of the peninsula. Nevertheless, new players that would resist its dominance were already beginning to take shape by the end of the century.


title: Bugis

text: The impact following the rise of Malacca were more visible in the western coast of South Sulawesi, an area with a high concentration of Malay merchants. It slowly gained the attention of the kingdoms of Soppeng and Sindereng, with the pursuit to include the area in their territorial expansions, these Bugis states have already lost their direct sea access in the west coast by Luwu.


title: Bugis

text: Sidenreng, a tributary under the domain of Soppeng had slowly grown into prominence and slowly seemed to be resistant to accept Luwu's dominance in the area. In cooperation with a few Bugis kingdoms in the western coast — Sawitto', Alitta, Suppa' and Bacukiki'; as well as Rappang in the interior, they formed a loose confederation known as Aja'tappareng ('the lands west of the lake').


title: Bugis

text: Conversely, the neighbouring Bugis territory of Wajo also possessed an aspiration for an autonomy against Luwu, and it too started to extend their influence and powers in the surrounding areas. By 1490, they entered an agreement with Luwu, and in the agreement they would no longer be considered as "its servant" but as a "Luwu's child". By 1498, the Wajorse enthroned Arung Matoa Puang ri Ma'galatung as their ruler, he would later turn the domain as one of the major Bugis Kingdom.


title: Bugis

text: The lower western seaboard, the Bugis Kingdom of Bone under the rule of King Kerrampelua' (c.1433–83) had also enacted an expansion plan to absorb parts of neighboring Luwu territories into its vassalage. Thus, by two centuries later, it has become an area for intense confrontation between the two kingdoms.


title: Bugis

text: While the Makassarese, traditionally occupied the deep down in the south and the western coast of the peninsula were mainly concentrated their political powers in Siang and Bantaeng (the latter was potentially still under Luwu's nominal control). However, the small twin states of Gowa and Tallo (better known by foreigners as a single state of Makassar) were started to gain its importance during this period.


title: Bugis

text: By the 16th century, the Bugis life is noted by a flourishing tolerance towards foreign influences, overseas products were no longer limited to the ruling class, but also among the commoners as well. The method of home construction, remains the same. Sketches from few western sources in the first half of 17th century illustrates tall and strong wooded home raised on piles.


title: Bugis

text: Nonetheless, inside of the more wealthy homes, some foreign furnitures, namely tables and chairs began to emerge, and basic wall opening sometimes become real windows with shutters. The Bugis names for these objects signaled their Portuguese connection, "Jandela" (window) deriving from "Janela", "Kadera" (chairs) from "Cadeira"; and "Mejang" (table) from "Mesa". A gradual change is also noted in the household tools and utensils, including glasses and Iberian-style jugs and trays. There were also the adoption of few Portuguese games notably dice, card game and marbles. The Portuguese and Spaniards also introduced new food and produce in the local diet, mainly from the New World crops: sweet potato and tobacco, and also other important items — manioc, maize and chilies.


title: Bugis

text: During the period, the women don under a baggy trousers and pants; the usage of short tunics and sleeves were also noted by the free married women. For the affluent male, there were potentially also a favour towards western shirts and hats; and sometimes being paired together with a plume, and a jacket. The slave class and the male commoners however, would usually go topless.


title: Bugis

text: The aftershocks following the Fall of Malacca were potentially being strongly felt in South Sulawesi. As noted from Tomé Pires in Suma Oriental, few traders from ‘The Macassar Islands’, including the Bugis and Bajo were amongst the people who arrived in Melaka to trade, although they are small in numbers. Conversely, the Muslim-Malay traders from Patani, Pahang, and Ujung Tanah in the Malay peninsula; as well as from Champa in Indochina; and Minangkabau in Sumatra settled throughout the port cities in the western coast, including Suppa’, Pancana-Tanete, Siang, Tallo, Sanrabone and Gowa. Due to this extensive bilateral connection, the people of South Sulawesi were generally well aware on the political-religious changes taken place in the western half of the archipelago.


title: Bugis

text: It can be inferred that following the Conquest of Malacca by the Portuguese Conquistadors, the trading links intensified between South Sulawesi to other commercial powerhouse: namely Johor and Patani in the Peninsula, Acheh in Sumatera, Banjarmasin in Borneo and Demak in Java — all having the status as a bastion for Islamic faith. However, as far as the mid 16th century, South Sulawesi persist to be one of the few remaining significant domains in the regional native trading network where Islam has yet to take hold.


title: Bugis

text: While early contacts with Islam had been made since 1490 with the trading relationship between Siang and Malacca, most Bugis were still believer of the native patturioloang religion. In year 1540, two aristocrats from Makassar were baptized in Ternate. They later embarked on another visit the following year and bought many of the region's previous materials, including gold, sandalwood and iron weapons. Antonio de Paiva, a Portuguese trader, made multiple voyages between Sulawesi and Malacca from 1542, potentially intrigued by the potential riches of the region. During his expedition to the Bugis states of Suppa' and Siang, he was involved in a theological discussion and was requested to baptize La Putebulu, Datu of Suppa' and his family, followed by king of Siang in 1544. The baptism was also concluded with a military alliance with both states.


title: Bugis

text: De Paiva's return to Malacca was not only together with official gifts to the Kingdom of Portugal, but also accompanied with four young Bugis men who would later attend the Jesuit college in Indian Goa. The two Bugis Kings also requested priests and a possible military support from the Portuguese Malaccan governor, potentially to curb the increasing peril imposed by the neighboring Makassarese states of Gowa-Tallo. Further baptism continued in 1545 by a priest, Father Vicente Viegas, which was involved the Christianization of Bugis rulers in Alitta and Bacukiki', according to Manuel Godinho de Erédia, kings of Sawitto and Sidenreng also participated, all were allies of Suppa' part of Ajatappareng alliance.


title: Bugis

text: Relations with Portuguese were still good, until an elopement between a Portuguese officer and daughter of La Putebulu from Suppa was exposed as they married secretly in Malacca, which would result in the birth of Manuel Godinho de Erédia. The Portuguese vessel had to rapidly left Sulawesi to avoid severe violence and they did not dared to travel back to the island until 1559. One member of the voyage, Manuel Pinto, decided to remain in South Sulawesi, he recorded the political development and involved in discussions with several Bugis-Makassar rulers in the region before returning to Malacca (via Java). However Datu of Suppa and its population alongside other Ajatappareng states remain largely Christians according to Manuel Godinho de Erédia.


title: Bugis

text: Following the restoration of economic relations with the Portuguese Malacca in 1559, there were repeated requests made from South Sulawesi primarily Ajatappareng states for priests, however not many were available and the Portuguese did not consider Bugis as their prime concern. Not until 1584 did the Portuguese send four Franciscans fathers to the area, and their stay was a short one. Also not known were the fates of the four Bugis men sent for education in Indian Goa. Subsequently, no new attempts to baptized Sulawesi were taken after the period, nor Portuguese military support against invasion by King of Gowa-Tallo, Karaeng Lakiyung Tunipalangga, which annexed and vassalized Siang alongside other Ajatappareng states.


title: Bugis

text: During the resumption of Portuguese-South Sulawesi relations in 1559, the political dynamic of the region had effectively morphed. The Makassarese state of Gowa had exerted his influence towards the north, and absorbed many Bugis states that have had a friendly relations towards the Portuguese.


title: Bugis

text: Simultaneously, the Kingdom of Bone also commenced its southward expansion, and soon come into a direct contact with the Makassarese. Both kingdoms are pursuing dominance in the entirety of the Peninsula together with the important trade routes.


title: Bugis

text: Conflict between the two powers were bound to happen, and a major war broke out in 1562. Gowa was assisted by Luwu; and also by Wajo and Soppeng, the latter two would probably preferred in favour of a distant sovereign like Luwu or Gowa, as they would furnish Wajo and Soppeng with a greater autonomy in contrast to a nearby kingdom like Bone, which would likely dominate them.


title: Bugis

text: The war concluded in 1565 and a peace negotiation followed afterwards. The two states agreed in the Tengka River as their respective spheres of influence under the Treaty of Caleppa. The citizens of Bone and Gowa were also awarded equal rights in each other's jurisdiction.


title: Bugis

text: The ambitions for dominance continued in South Sulawesi. Between 1570 and 1591, several military operations were conducted by Gowa, in which oftentimes with the support of Luwu. Although a distant power, Gowa tend to be rather hard towards its Bugis vassals of Wajo and Soppeng, this made these two states become inclined to the invitation by Bone to restore their autonomy. In 1590, the three kingdoms (Wajo, Soppeng and Bone) entered an alliance known as "Tellumpocco'e", 'the Three Summits' or 'the Big Three'.


title: Bugis

text: In 1590, Daeng Mammeta embarked on another campaign to annihilate Wajo, but he was killed during an amok. A truce was followed soon after in 1591, the peace negotiation, under the Treaty of Caleppa was thus renewed.


title: Bugis

text: In the later half of the 16th century, the contest between Islam and Christianity was still largely undecided in South Sulawesi Peninsula. Most of the surrounding kingdoms in Sulawesi have already become Muslims under the sway of Ternate-Gorontalo in 1525 and Buton in 1542. There were already individual converts in South Sulawesi.


title: Bugis

text: In 1550, the Malay-Muslim community of Macassar were awarded special privileges by the ruler of Gowa according to "Lontarak Patturiolonga". However, in 1575, during the visit by Abdul Makmur (Dato' ri Bandang), one of the Minangkabau proselytizers of Islam, he noted that there are several difficulties to convert the locals — the superfluous liking towards dried boar flesh, raw deer liver diced with blood (lawa) and palm liquor. He then embarked to promulgate the teaching of Islam in the Kingdom of Kutei, eastern Borneo, in which he was more triumphant. In 1580, the Sultan of Ternate, Babullah, advised the ruler of Gowa to embrace the teaching of Islam, the king declined. However, as a gesture of kindness, he awarded the Makassar-Malay community the consent to construct a mosque.


title: Bugis

text: Abdul Makmur returned to Makassar with Sulaiman (Dato' ri Pa'timang) and Abdul Jawad (Dato' ri Tiro). All three of them are from Minangkabau and likely to have been educated in Aceh, before they visited Johor-Riau to study South Sulawesi culture from Bugis-Makassar sailors, followed by study under Wali Songo of Java, in a proselytization mission facilitated by Sultan of Johor. After their new attempts to introduce the Islamic teaching once more met with opposition, they left for Luwu. This was because Luwu was the spiritual center of South Sulawesi and its indigenous belief of Dewata SewwaE had some similarities with Islam. They successfully converted the Pattiarase, Datu of Luwu and in February 1605 he took the name of Sultan Muhammad. The group then revisited Makassar and the three of them later managed promoted Islam to the Gowan ruler, to become Muslim under the name of Sultan Ala’uddin. In November 1607, the first public prayers were promulgated in the newly constructed Tallo' Mosque. Conversion began slowly and adapted with native Ammatoa practitioners centered in Bulukumba.


title: Bugis

text: The twin kingdom of Gowa and Tallo persuaded other South Sulawesi Kingdoms to emulate their move on adopting Islam as their religion. When this invitation was declined, they launched a series of military actions known as "the Islamic wars". In 1608, the west coast states of Bacukiki', Suppa', Sa wino' and Mandar; and in the east coast, Akkotengeng and Sakkoli' submitted; followed by subjugation of Sidenreng and Soppeng in 1609, Wajo in 1610.


title: Bugis

text: Pursuant to the submission from the Bugis state of Bone in 1611, most of the South Sulawesi Peninsula (with the exception of Toraja highlands) have accepted Islam. Bone, subsequently would continue to Islamize its two vassal states located in the edge of the Torajan realm — namely Enrekang and Duri.


title: Bugis

text: The Islamisation in most of South Sulawesi have provided a platform for a faith and ideological revolution. Islamic laws and principles were observed and absorbed into the Makassar, Bugis and Mandar cultures.


title: Bugis

text: Dato' ri Bandang directed first towards the foundation of Sharia principles on the land, having emphasis on the importance of religious service at the circumcision ceremony, marriage and funerals. However, with the exception of funeral rites which were absolutely Islamized; other rites of passage based on the Islamic understanding were simply incorporated with the existing traditional practices, norms and customs. As for prohibition, there are also strong enforcement against adultery and the consumption of pork; other behaviors including consuming alcohol and opium, offerings to sacred places, worshipping at regalia, lending money with interest (Riba) and gambling were also condemned.


title: Bugis

text: As Islamization was slowly taking root among the society in the peninsula, mosques were built in each of the states and domains, appointments were made for the position of qadi, imam and khatib.


title: Bugis

text: Despite being devout Muslims, the process did not serve as a hindrance towards the Makassarese Muslim King of Gowa to maintain a friendly relationship with Portuguese and Christianity. Despite so, the Bugis and Makassarese realms became Muslim and were now prevented to convert to Christianity by the local ruler.


title: Bugis

text: Beginning from the end of the 17th century and the dawn of the 19th, the South Sulawesi societies were rocked with a series of monumental changes in the local statecraft, including the Fall of Makassar, internal disputes, political conflicts and the growing secondary influence from the western consumerism.


title: Bugis

text: Close to twenty years after the century-long intense power struggle between Gowa and Bone for the conquest on the Peninsula, another war had broken between the two rivaling powers. The war traced its origin from a domestic affair in the Kingdom of Bone, who was ruled from 1631 to 1634 by La Ma'daremmeng. The king enforced rules based on the strong Islamic principles, including removing the pagan bissu and forbidding the consumption of palm beer and other superstition. The final straw was the prohibition of slavery, which resulted the rebellion by the mother of the king. She later then sought the assistance of Gowa and a major military operation ensured. The Makassarese forces managed to achieve success and captured 30,000 Bugis prisoners, including La’daremmeng and installed a Makassarese governor. After a subsequent revolt, Bone was transformed into a full-fledged colony. This resulted the anger amongst the Bone people and its nobility.


title: Bugis

text: The opportunity for the Bone came after the victorious Dutch attack in 1660. Required to sign an unfavorable truce, the Makassar requested 10,000 Bone people for a forced ditch digging as defense against potential attacks from the land. Few Bone noblemen, including Arung Pallaka, took refuge in the neighbouring Buton and presented for a Bugis-Dutch alliance against Makassar. The war against Makassar erupted in 1666, with the Bugis-Dutch alliance being assisted with troops from Ternate, Ambon and Buton. The sole Makassarese alliance during the war were the Bugis state of Wajo and the local Malay community.


title: Bugis

text: Sultan Hasanuddin of Gowa was obliged to sign the treaty of Bongaya on 18 November 1667. This required the Makassarese powers to removed most of its fortification, relinquish its trade in spices, end its import of foreign goods with the exception of the Dutch East India Company, banish the Portuguese and other non-Dutch Europeans, and reject any other attempts of suzerainty, in both Bugis lands or other parts of the archipelago. In 1669, Sultan Hasanuddin abdicated from the throne.


title: Bugis

text: The Dutch have succeeded to achieve its goal after the fall of Makassar, but they are not the sole victor; another was the Bugis State of Bone, despite having a few restriction following the treaty that it also signed, the kingdom would effectively maintain its sovereignty until the 19th century. Hence, in the Bone narration, Arung Palakka holds the status as an independence warrior; while in Makassar heritage, the rivaling Sultan Hasanuddin is hailed as the hero for the Makassarese.


title: Bugis

text: Once liberated from Makassar, it has possibly set the stage for Bone to hold an unchallenged power across the whole peninsula. However, the prospect of unifying all the Bugis lands under a sole ruler was stopped by the existence of the Dutch in the region. The peninsula then continued to persist under a mosaic of various small and large confederations.


title: Bugis

text: One of the major turning point following the conquest of Makassar was the change in the design of navigation and emigration routes among the South Sulawesi people. The cosmopolitan port city of Makassar become a crucial maritime starting point for not only for the Makassarese, but also for the Bugis who seek for wealth and fame in the western Archipelago, as the Dutch set a heavy restriction for their access on the eastern spice islands.


title: Bugis

text: Many of the Bugis settled in the Riau Archipelago, in the proximity of the courts of Johore. A crucial meeting point between the regional and global trade routes, they launched their naval influence in various directions on commerce and politics, including the Malay Peninsula, Singapore, Sumatra and western coast of Borneo. Here they challenged against the Dutch for the dominance in the tin-mining exports. They also heavily involved in the dynastic disputes among the kings, and through armed actions, military-based traditions and political marriage, they navigated to become one of the formidable players within the inner Malay political circle. The age also marked with other closely interconnected waves of migration and trade towards Batavia, northern coast of Jawa, Bali, Madura, Alor, the Lesser Sunda Islands, southern-eastern Borneo, Sulu Archipelago and other parts of Sulawesi in search of riches, prestige and political influence.


title: Bugis

text: During the same period, they ushered a new golden era. With the consolidation of Islamic faith and values on one side, and the recognition as one of the major maritime society on the other; the two redefining elements that would be infused to become part and parcel with the Bugis identity until the early 20th century.


title: Bugis

text: The Bugis language constitutes a part of the larger Austronesian family. It is among the major languages located in the southwest hempisphere of Sulawesi, the others being Makassar, Toraja, Massenrempulu and Mandar. These languages collectively belong to the South Sulawesi languages.


title: Bugis

text: Bugis speakers are dominant in the most of the districts in South Sulawesi — namely Bone, Soppeng, Wajo, Sidrap, Pinrang, Barru, Sinjai, and Parepare. In Bulukumba, Pangkep, and Maros, the populations are checkerboarded between Bugis and Makassar-speaking villages, each villages having their own separate language identity intact. A similarly unsharp language border can also be observed in the northwestern coastal towns of Pinrang (in South Sulawesi Province) and Polmas (in West Sulawesi), being a transitional area between the traditional Bugis and Mandarese cultural areas.


title: Bugis

text: Located in the periphery of the Bugis-Torajan world, the Massenrempulu people (constituting Duri, Enrekang, Maiwa and Malimpung groups) from Enrekang and northern Pindrang as well as the Tae' speakers of Luwu are also occasionally identified and embraced as among the subgroups of the Bugis family due to the shared tradition and common religious affiliation. Culturally, they formed a continuum between the Bugis and Toraja people; linguistically, the Massenrempulu's and Tae's mother tongue generally inherited a closer linguistic intelligibility with the Torajan language.


title: Bugis

text: Despite having some divergence in the local expression and dialects, the Bugis variants (with the exception of Massenrempulu and Tae', when considered) commonly retain a high level of mutual intelligibility between one another. Nonetheless, it is an accepted practice amongst the mainstream Bugis society to distinguish themselves regionally and culturally based on the location of their traditional and ancestral states.


title: Bugis

text: There are a subtle differences on the language spoken in these areas and linguist identified these versions as separate dialects (rather than distinct languages). Presently, there are ten main branches of Bugis Dialects — Bone, Camba, Pangkep, Sidrap, Pasangkayu, Sinjai, Soppeng, Wajo, Barru and Luwu, as well as dozens of smaller subdialects deriving from the main branches. However, some researchers are divided whether Sawitto — a divergent Bugis variety spoken in central Pinrang — remains under the same language group or being diverged enough to be considered as a separate language.


title: Bugis

text: The present-day Bugis people are mostly bilingual. In South Sulawesi, they use two leading languages, either Bugis or Indonesian, tailored based on the environment, social circle and activities. Bahasa Indonesia is largely incepted on official situations, it is the language of formal education, administration, mass media and modern literature; Bahasa Indonesia is also prevalent during conversation with non-Bugis speakers. In the informal and casual settings around the Bugis-speaking circle, a code-switch would be a commonplace, or intertwined with elements of both languages in varying degrees, such as speaking Bahasa Indonesia with a strong Bugis-influenced elements and vice versa.


title: Bugis

text: In the South Sulawesi province, the Bugis affixes such as –ki’, -ko, na-, -ji, - mi, etc. are emulated and conceived in the Indonesian-Bugis hybrid. The Bugis-Indonesian fixture is not exclusively confined in the borders of South Sulawesi, the pattern can also be heard in other parts of Indonesia with a visible Bugis population. Outside the province, the language hybrid is not solely influenced by Bahasa Indonesia, but alongside traces of other local languages and dialects amalgamated with the diaspora Bugis language. Similarly beyond Indonesia, the extension of the language blend can also be seen in parts of Malaysia and Singapore, home to a sizable Bugis community. Instead of having influenced with Bahasa Indonesia, the Bugis communities in these countries would also be influenced by the Malay language and its local dialects.


title: Bugis

text: Outside from their ancestral heartland in the lowland plains of South Sulawesi, the Bugis language, dialects and hybrids are found throughout their extensive network of diaspora and ethnic enclaves in Sulawesi and all across Insular Southeast Asia. However, presently there tends to be a pronounced language shift among the diaspora outside of South Sulawesi, hence the understanding and the command on the Bugis language may vary based on the personal background, exposure and contacts with their ancestral language.


title: Bugis

text: The Bugis-Makassar possessed a rich heritage, philosophy, religious and social structure. Their customs are based on the concept "Pangadereng" - originally consist of "Ade’" (custom), "Rapang" (Jurisprudence), "Bicara" (Judiciary) and "Warik" (Social system); following the Islamisation of the Bugis-Makassar, "Syara"' (Syariah) was incorporated into its core values.


title: Bugis

text: Another fundamental local wisdom includes "Siri' na pacce". It serves as a guidance, social convention and moral conduct. "Siri" signifies the consolidation a demeanor of shame and self-esteem, it acted as a pillar that bear the importance of dignity, virtue, esteem, solidarity and responsibility. "Siri" is essential for someone to be regarded as a "tau" (human). "Pacce" manifest as a presence of compassion and solidarity. It involves a person's ability on emotional intelligence, which includes love, sadness, pain, and solidarity. Other interpretation of "Pecce" revolves on self-sacrifice, hard work, and abstinence. In addition to the Bugis and Makassarese, the traditional ethos is also shared by their northern cousins — the Torajans and Mandarese.


title: Bugis

text: Translated as the "four corners" — "Sulappa Eppa" represents the ancient philosophy, ideas and theories of the Bugis-Makassar on the notion that the universe was built in a form of a giant rhombus, created by four salient fundamentals — wind, fire, water and earth. Thus, the classical Bugis-Makassar aesthetic vibes, images and nuances are largely created and envisioned in a dominant four-cornered composure; including on their traditional writing scripts (the lontara), architectural layouts, ceremonial cuisines ("songko" and "songkolo"), artistic designs, textile (sarong motives) and philosophical values. The four elements are also synonymously evoked by four distinct colors — wind (yellow), fire (red), water (white) and earth (black). Additionally, the "Lipa' Sabbe" or "sarung sutra" (a sarung-cloth made from silk) signifies as an embodiment to honor the refined Bugis-Makassar identity in its purest form.


title: Bugis

text: The Lontara traced its origin from the Kawi script; however, it has received a localized development and modification to accommodate the writings in the Bugis, Makassar and Mandar language. It was traditionally used for formal and official documents such as contracts, trade laws, treaties, maps, and journals, both in Western book format and in the traditional palm-leaf manuscript. Following the rise of South Sulawesi as a naval powerhouse in eastern archipelago, the script expanded its influence, being introduced and incorporated as the Lonta Ende in Flores, Mbojo in eastern Sumbawa and Satera Jontal in western Sumbawa, albeit with alternations for the latter languages.


title: Bugis

text: Its designation, "Lontara" was acquired from the term "Lontar", the Javanese and Malay name from Palmyra Palm, whose leaves were commonly utilized for writing the manuscripts. It is also sometimes characterized as the Bugis script, as many of the historical writings are widely found in this language. In the Bugis Language, the writing system is styled as ""urupu sulapa eppa"", being described as "square" or "four-cornered letters", which served as a vivid illustration of the early Bugis-Makassar interpretation on the four ingredients that molded the universe — fire, water, earth and air.


title: Bugis

text: During the Dutch colonization of East Indies, the writing system is largely being superseded with the introduction of Latin Alphabet. Nonetheless, the script still retains its intimate cultural importance amongst the Bugis-Makassar society in their homeland and being use for the traditional ceremony, calendar and literature; as well as in personal documents and handwritten items, for instance, in letters and notes. The script is also being taught in many schools in South Sulawesi and the usage are visible on some street signs across the province. Presently, there is also notable efforts by Indonesian typographers and graphic designers on introducing the script to a larger audience beyond its traditional borders.


title: Bugis

text: In addition to Lontara, there is also another form of Bugis-Makassar traditional writing based on the Arabic-script, known as the Serang Alphabet. Relatively on an almost similar parallel module with its sister scripts, Jawi and Pegon for Malay and Javanese respectively, the Serang writing system incorporated the usage of Arabic elements with few additional characters to integrate with the local language.


title: Bugis

text: Bugis literature connotes to the forms of literature expressed in the Bugis language — which comprises both written and oral traditions. The earliest works of Bugis literature were verbally transmitted, written literature began to arose and gradually codified with the evolution of the Lontara script by the 1400s. Its foundation largely coincides and intersects with the Makassarese literature — of whom it shared a closely related development with. The Bugis literary tradition mainly focuses on the wisdom, moral, social life and cultural environment of the Bugis identity.


title: Bugis

text: Bugis folk literature is an oral composition deeply rooted in Bugis understanding and perception of life — in the form of prose, poetry and lyric. The classification raging from various short poems, "élong"; long narrative poems, "tolo"'; playful sayings, such as riddles, "atteppungeng" and nursery rhymes; magical spells, "jappi, baca-baca"; pre-Islamic ritual expressions, "sabo, sessukeng, lawolo"; precepts, "pappaseng"; and oaths of allegiance, "aru". Other important oral heritage includes — stories, "curita"; sermons, "katoba"; and speeches. Although they are essentially verbal, many of the works are also subsequently being written in the language.


title: Bugis

text: Writings in the Lontara Script was likely to be first appeared around 1400. The earliest texts were inscribed on palm leaves, followed by volumes of handwritten composition on paper manuscripts, potentially from 1500 onwards, or even earlier. The works of literature commonly commissioned by writing specialists known as "palôntara", the "palôntara" is being delegated the task as a researcher on creating and compiling the Bugis manuscripts. The manuscripts tend to be rich and varied, with a plethora of themes and subjects — including historical chronicles, poems, legal works, ritual texts, manuals, ethics, among few. Printed materials in the Bugis language were introduced in the latter half of the 19th century, albeit with a smaller circulation, such as in dictionaries, grammars books, chrestomathies and translations.


title: Bugis

text: Consist of over 6,000 pages, the La Galigo is regarded as the magnum opus in the Bugis literary heritage. Written in the old Bugis language, the saga traced its origin from the early oral traditions. The poetic text serves as a revered almanac and provide narrations about the ancient understanding on humanity and kingdoms. In the Bugis culture, episodes from La Galigo are commonly reenacted through chant and poetic recitation performance led by a La Galigo specialist, known as "passure". The performance is sometimes held during festivals, wedding or during a house-moving ceremony. In 2012, two of the La Galigo manuscripts are included in UNESCO's Memory of the World Programme.


title: Bugis

text: However, the largest collection of Bugis literature is in the form of family genealogies. It is regarded as an important family heirloom, especially amongst the members of nobility and aristocratic families. Some dated as early as 1400 — about two hundred years prior to their Islamisation, the early Bugis genealogies provide a rare glimpse on the culture and ideology of an early and literate Austronesian society.


title: Bugis

text: In the traditional Bugis-Makassar culture, textiles and clothes are revered and occupied a special place in the society. Historically, the colours and motives donned by the wearer possessed an important indicator and serves as a defining symbol on the person's identity, age and status.


title: Bugis

text: The term Baju Bodo derived from the Makassarese language, being described as "short clothing". Conversely, in the Bugis language, it is also known as "Waju Tokko" and "Waju Ponco"'. A short-sleeved tunic, the costume is commonly worn together with silk or a woven sarong. The attire traced its origin as early as the 9th century, following the introduction of muslin cloth by the foreign traders to the harbors of South Sulawesi. The textile, being thin and light, is highly suitable to accommodate the local tropical weather in the region. In addition to muslin cloth, the Baju Bodo is also commonly sourced from pineapple-fiber fabric and cotton.


title: Bugis

text: With the rise of Islamisation among the Bugis-Makassar, another closely related form of Baju Bodo emerged. Having a longer sleeve, the "Baju La’bu" (from Makassarese 'long'), also known as "Bodo Panjang" (both defined as "long cloth") is tailored in accordance of Islamic interpretation of "Aurat" and modesty. The Baju La’bu is also traditionally made from silk, a departure from the semi-transparent and translucent fabric of its predecessor.


title: Bugis

text: The Bugis-Makassarese handloom industry potentially commenced in the 1400s. The locally-made sarung motives were initially basic, having rudimentary stripes of vertical, horizontal or in a checkered pattern, potentially inspired by "Sulappa Eppa" (the four elements) foundations. By the 1600s, the designs are becoming progressively ornamented, with the inclusion of a multitude of geometrical shapes, contour and sequence. Almost in a coordination with the function of Baju Bodo in the past, the motives and design of the sarung would also be used to denote the status of its wearer. The sarung material is usually sourced from silk and cotton.


title: Bugis

text: The corresponding mode for the Bugis male is known as "Jas Tutu"' or "Jas Tutup" (an "enclosed coat"), the garment is in a form of long-sleeved coat with a collar. The Jas Tutu is also synonymous to be worn with the "Songkok recca/Pabiring/Songkok To Bone" (Bugis songkok), "Lipa’ Sabbe" (sarong) and a gold or silver-coloured button. The Bugis-styled Songkok is made of woven rattan and golden thread. During a traditional wedding ceremony, the groom would also accompanied by a highly elaborated accessories, including "Tataroppeng" (Keris), "Pabekkeng" (belt), "Rope" (Songket), "Sigara" (headgear), "Salempang" (sling), "Gelang" (bangle) and "Sapu tangan" (handkerchief).


title: Bugis

text: In the present day, the Baju Bodo and Jas Tutu are largely being reserved as a formal wear, the sightings are common during weddings, as well as in other ceremonial and cultural functions.


title: Bugis

text: The Bugis cuisine constitutes an essential part of its heritage, comprises various culinary styles and recipes frequently associated with the Bugis people. It shares many common gastronomical traditions and characteristics with the surrounding Makassarese, Mandarese and Torajans. Many of the meals are indigenously developed in the island of Sulawesi, with a focus on native ingredients; while others exhibit a notably stronger outside influences and customized according to the local palates.


title: Bugis

text: Foreign cooking techniques in the South Sulawesi cuisine can be seen on the adoption of "Jalangkote", a small fried pie adopted from Portuguese "papeda". The fillings for "Jalangkote" usually consist of rice vermicelli (denoting Chinese influence) combined with sliced vegetables, boiled eggs and mincemeat. Meanwhile Indian elements are visible and demonstrated in the localised dishes, for instance the creamy "Gagape", "Toppa Lada" and the spicy "Juku palumara".


title: Bugis

text: There is also a wide array of cuisines that signifies a bolder endemic origin: Rice cakes are particularly popular with the likes of "Burasa"' and "Tumbu/Lapa-lapa/Langka". The rice dumplings are steamed and wrapped in leave containers with coconut milk, thus contributing to its rich and creamy flavor. It is usually served as a substitute for white rice and eaten together with soups or other side dishes. Another distinguished forms of rice cake in the Bugis-Makassar community includes "Gogos" — roasted glutinous rice with fish fillings, wrapped in banana leaf. It is commonly being eaten as snacks.


title: Bugis

text: The peninsula's long coastline has contributed a great fishing industry in the region, creating oceanic produce as an important part of the meal. Dishes such as "Pa’Deme" (anchovies sambal), "Bajabu" ("serundeng"), "Lawa Bale" (marinated raw fish) and the clear broth soups of "Pallu Kacci" and "Pallumara" captures its extensive maritime connection. In addition to seafood, there is also a diverse culinary traditions with the emphasis on meat, which can be seen in the hearty slow cooked dishes, namely "Nasu Likku"', "Nasu Palekko" and "Goré-Goré". The meals are usually acted as an accompanying side dish to compliment the "Nasi Putih" (plain white rice), or in other cases, the rice cakes.


title: Bugis

text: Banana occupied a major importance after rice in the Bugis staple, as it is widely cultivated in South Sulawesi. Aside from being eaten fresh after a meal, Banana-based meals are extensive in the forms of snacks and desserts — raging from the sweet tasting "Berongko" (steamed Banana pudding), caramelized "Sanggara' Balanda", to crispy and savory snacks such as "Sanggara Pappek" (smashed bananas).


title: Bugis

text: Other popular meals associated with the Bugis includes congee dishes — "Barobbo" (rice and corn porridge) and the sago-based "Kapurung"; and traditional "Kues", notably the "Kue bugis", "Kue Dange", "Kue Sikaporo" and "Bolu Peca". Due to the extensive and continuous friendly interactions with the kindred Makassarese people, many of the unique Makassarese meals are also widely enjoyed by the Bugis, including "Coto Makassar", "Sop Sodara", "Pallubasa" and "Konro", or desserts like "Cucuru' Te'ne" and "Es Palu Butong".


title: Bugis

text: Beyond their native soil, Burasa' and other Bugis-Makassar traditional cuisines are also commonly presented as a ceremonial dish by their diaspora community. It is prepared as a significant legacy to honor their ancestral roots from the plains of South Sulawesi.


title: Bugis

text: A plethora of blades, knives and firearms constitute the arsenal of Bugis-Makassar weaponry. However, Badik is hailed as the traditional weapon strongly associated with their identity and possessed a revered status in the sociological construct of the Bugis-Makassar society. The item is not solely perceived as a mere weapon, but as an emblem designated to represent the personal character of its owner. It is historically used as a vital tool for hunting animals and as a self-defense mechanism.


title: Bugis

text: In the traditional Bugis-Makassar understanding, the hierarchal level of Badik is regarded as a second after the Keris. A far-cry from the Badik which known to have an almost universal usage throughout all ranks of the society, the "Keris Pusaka" (the "Dynasty Keris") is reserved as an important family regalia amongst the elite royal houses in South Sulawesi. Thus, historically the Badik received a prevalent identity as a companion for the Bugis-Makassar man.


title: Bugis

text: In the past, Badik is used as a tool of defense to protect an individual and the family honor. The doctrine is largely based on the philosophical interpretation of "Siri", a cornerstone of the Bugis-Makassar culture, siri represents a responsibility to maintain the dignity in the society. The concept is historically entranced in the cognitive psyche amongst the people and traditionally become a binding force on the moral values and social system. Badik is also commonly passed from one generation to another, acting as an important family heirloom.


title: Bugis

text: Another important sword owned by the Bugis is the Keris, also known as "Tappi". It has some minor different features in contrast to the Javanese Keris; however, the Bugis Keris is noted to bear a closer anatomical resembles with the Malay-version of the dagger, the item potentially being introduced by the Malays to the people of South Sulawesi. Almost parallel with the Badik, the Keris equally carried a revered symbol amongst many Bugis-Makassar people.


title: Bugis

text: In addition to Badik and Keris, they were known to host a multitude of classical armaments. Most of the items are collectively classified under the "parewa bessi" (Iron weapons) category made by the Bugis-Makassar blacksmiths. Some of the other notable collections include "Alamang/Sundang", a long-sword; "Bessing", a spear; "Kanna", shield; Pantu’, a traditional fighting stick; "Waju Rante", armor; and "Tado", a trapping rope.


title: Bugis

text: The art of weapon among the Bugis-Makassar is constantly developed through the millennia. The ancient peoples of South Sulawesi are recorded to have a usage of blowpipes with poisoned darts, spears, short swords, kris and rattan helmets. By the early modern era, the Bugis-Makassar gained further exposure on the artillery knowledge with the introduction of various firearms: muskets, culverins and cannons that enhance their warfare and combatant skills. Mail armor with metal plates ("baju lamina") is estimated to be used starting from this era, and still being worn until the 19th century.


title: Bugis

text: The strong mutual relationship between the arms development and its militaristic culture formed the advantageous momentum that fueled to their quest for political advancement and influence outside from the traditional Bugis-Makassar homeland. It become one of the wielding tools that seals their historical figures and status as soldiers, mercenaries, warriors and fighters throughout the maritime realm.


title: Bugis

text: In the Bugis society, architecture is regarded as an emblem of philosophy, designed to endorse the occupier belief, faith and understanding about cosmos and universe. It is strongly rooted in its long and rich history, blending elements on the native interpretation of cosmology with culture, faith, mythology, aesthetic and functionality. The Bugis architectural style is broadly classed together with the Makassarese, of whom it shares strong architectural features and identity.


title: Bugis

text: Based on the Bugis philosophical understanding, a home is regarded as the legitimate expression of the spiritual rite of passage as a human being: a place to be born, a place to raised and nurtured as a child, a place to become a husband and wife, and a place to perish. Consequently, the habitation is designed to be solemn, sacred and highly revered. It provides ones with a place for solitude, energy, nourishment, well-being and honour to its dwellers. The presence of a home in the Bugis society is part-and-parcel with life, hence home ownership is regarded in utmost importance — to commemorate life and to become a beacon symbol of life.


title: Bugis

text: In the Bugis culture, architecture is not only solely perceived as a question of practice, but a subject of theological dialogue. The formula of "Sulapa Eppa" (the four elements) was interpreted and constructed with such intention. The layout plan for the Bugis buildings would commonly have a rectangular and symmetrical consistency, the aim is to intergrade with the early Bugis understanding that the universe is in a form of a giant rhombus and the four ingredients that created the universe (wind, water, fire and earth); together with the four wind directions (north, south, east and west). Thus, the Bugis houses would traditionally faces north, as an origin for positive energy; or towards east, the dawn of light.


title: Bugis

text: The houses were commissioned into three separate levels, signifying the three position of the universe based on the pre-Islamic Bugis interpretation. "Rakeang" (the upper world) — a tribute to the heavens above, the attic is designed to be the apex of the house and it is regarded to be a sacred place to store rice, crops and important heirlooms. "Ale Bola" (the middle world), appeared for a respect to the human world, thus represented by the living and the common space of the house. "Awa Bola" (the underworld), a place of dark and ferocious, this concept was exemplified by the shed and where the livestock are stored beneath the human dwelling.


title: Bugis

text: The concept of "rupa-tau" ('likeness of a person') is also extensively explored and adopted in the Bugis architectural principles. This led to the building structured as a grand manifestation on an anatomical relationship. The housing framework was monumentally characterized by distinct components based on a human physique: "Aje-bola" (the foot), by the stilts of the house; "ale-bola" (body), the common living space; "ulu-bola" (the head), the roof; and "posi-bola" (the navel) by the middle area of the house.


title: Bugis

text: The development of the Bugis architecture is originated on the belief that a home is constructed with an optimistic faith for a greater future. Based on the classical Bugis myth and understanding, the stars, skies and constellations held a great divine significance; in response, a human is entrusted to maintain the harmonious arrangement of the universe — in order to have a safer and tranquil life, as well as to avoid natural calamities (notably floods, landslides, tornado and earthquake). Thus, such ethos and essences are extensively emulated, absorbed and vividly radiated in the traditional Bugis architectural fundamentals.


title: Bugis

text: Across archipelagic Southeast Asia, the Bugis-Makassar earned the reputation as sailors, navigators and seafaring traders. Their salient foundation largely coordinated with the extensive shipbuilding traditions, nautical skills and the dominant presence in the inter-insular trade routes.


title: Bugis

text: Conversely, they too acquired the title as "The Vikings of Southeast Asia". Their extensive maritime and trading expedition has historically bought them to be as one of the notable regional players in the transoceanic journeys to Indochina, Macau, Manila, Papua and northern Australia, together with the Southeast Asian islands that lies between these areas. Their large voyaging ships were commonly use to carry and transport exotic spices, sandalwood, textiles, rice, luxury marine products, porcelains, pearls and other important goods and materials across the ancient spice trade routes.


title: Bugis

text: Their seafaring odysseys were largely aided by padewakang, one of the early type of Bugis-Makassar vessel, which later morphed into the palari. Steep in history, the first of such watercraft was born based on the legendary tradition of the Sulawesi.


title: Bugis

text: Until today, these areas are highly revered as among the major cradles of ship-making industry in South Sulawesi. In addition, there are many other shipbuilding areas in the region, participated by various Bugis-Makassar communities. However, the Konjo, a subgroup of the Makassarese, are particularly known as one of the respected master builders of pinisi-rigged ships, enjoying a long-prized tradition of watercraft and boat-production, a knowledge commonly inherited from fathers to sons for centuries.


title: Bugis

text: The original pinisi-rigged ship (palari), is about in length overall, with light laden waterline of . Smaller palari is only about 10 m in length. A two-masted sailing vessel, the name "pinisi" derives from the type of gaff rig, use for its configuration. Its unique large tripod-shaped mainsails and masts give its unparalleled design composition, a departure from other western ships. In the contemporary era, palari is also equipped with motors for its seafaring journeys.


title: Bugis

text: For the Konjos, the boatmaking identity is deeply rooted to their lives as a precious embodiment of art, culture and rituals. Being a highly dedicated boatsmith community, the Konjo people are traditionally restricted from sailing to the seas, as their elders feared that their clan would not return to their homeland, creating a perilous risk of losing their valuable shipbuilding wisdom amongst their kinsmen. Thus in South Sulawesi, the transoceanic sailing responsibility were vastly executed by their closely related brethren — the Bugis and Makassarese.


title: Bugis

text: The rich nautical culture of Bugis-Makassar is equally captured by a plethora of ships — ranging from "penjajap", warship; pajala, a smaller boat, also used for fishing; palari, another descendant of the padewakang; Lambo, a trading boat; and the early ships of "Somba Lete" and "sompe tanja". These vessels collectively have left a significant impact on the local and regional development.


title: Bugis

text: As the seafaring identity began to take root in the coastal South Sulawesi society, it gradually become a profound icon that navigated their influence and presence in the region. Following the Bugis-Makassar migratory tradition known as "sompe" (to sail) and "malleke' dapureng"; it was here, from among these historical ships, vessels and boats that many Bugis and Makassar man, woman and children braved away from their traditional heartland in search of economic pursuits, prosperity and opportunities, while others embarked for an educational experience, adventure, personal dignity, military quest or prestigious political ambitions. Thus, most, if not all Bugis in the diaspora may ultimately traced their ancestral origin to one of the "Pasompe"' (a term for people who sailed/ventured beyond their native soil). Tales and trails from the past waves of sails and settlements can still be witnessed until the present day, evidently illustrated by their extensive centuries-old ethnic enclaves and various diaspora communities established throughout the islands and coastal regions of maritime Southeast Asia.


title: Bugis

text: A visible departure from the extensive maritime and nautical culture dominated by their coastal brethren, the inland Bugis-Makassar country bear witness to its strong agricultural legacy. Regarded as among the most important crop amongst the society, rice has been cultivated across the peninsula for centuries. The grain has been deeply ingrained to their agricultural way of life for generations. It is not only hailed as a primary food source on the diet, but also woven into the social, legends, theories, economic, political and ideological fabric. In a sense, their traditional identity is also being coexisted by an agrarian culture.


title: Bugis

text: The simple grain is regarded as among the essence of their traditions, it has indeed enjoyed a complex and long connections with the Bugis-Makassar. The earliest trace of rice in maritime Southeast Asia was found in Ulu Leang Cave, in Maros, South Sulawesi. Dated between 4000 BC to 2000 BC, the grains potentially tied up with the arrival of their Austronesian ancestors to the region, or among the earlier Toalean hunter-gatherer society.


title: Bugis

text: Rice serves a nourishment, deeply embedded to their historical development. By the 14th century, their radical transformation from local warlords to major kingdoms was largely coincides by the unprecedented population boom across the peninsula, which in turn being a correlated result intersected from the earlier improvement of the agricultural practices. Blood, sweat and tears have had been shed over the soil in the quest of favorable harvests, for instance during the 16th century, the Ajatappareng confederation (constituting the Bugis states of Sidenreng, Rappang, Suppa', Bacukiki, Alitta', and Sawitto) was incorporated by the expansionist pursuit by Gowa, driven by their ambitions to control the bountiful local corps of the region.


title: Bugis

text: In their ancient beliefs and understanding, rice was perceived as a symbolism associated with providence and of creation, as well as blessing and joy by linking ancient customs, mythology and the people. The cultivation of the grains has had led to the development of an economic life circle centered primarily around the core of agriculture. Rooted in the pre-Islamic belief system, the "mappalili" (paddy growing season) was organized among the Bugis to pray for a plentiful crop season, while the grand harvest festival was held by the agrarian societies act as a joyous thanksgiving conclusion after a successful harvest. Rice is also highly venerated, based on the historical Bugis manual-almanac known as "Kutika", only during specific schedules, day and time were permitted for cultivating activities; at home, the rice is stored at the attic of the house, signifying its zenith position in the social order; while during war, the destruction of rice fields was perceived as a highly forbidden taboo.


title: Bugis

text: The creed of Bugis-Makassar states was undoubtedly built on horticulture standing as its salient pillar. Rice farming also has influenced many other aspects of the their old economic activities. During the medieval era, it become one of the earliest main commodities of exports from the South Sulawesi heartlands to the rest of the insular Southeast Asia. The commodities may also serves as an early guidance to their fundamental mercantile and enterprising skills, before being rapidly evolved into amongst their major tools of trade during their maritime involvement in the regional trade routes.


title: Bugis

text: The rice-reigned supremacy and its strong agrarian foundations of the South Sulawesi people persist until this day. In 2021, the province was estimated to produce 2.94 million tonnes of rice, becoming among the prominent rice bowls in modern-day Indonesia.


title: Bugis

text: The Islamisation of Bugis-Makassar states initiated by Luwu and Gowa in the 17th century has greatly morphed the religious landscape throughout the peninsula. As a consequence, most of the liturgical festivals by the Bugis are primarily coordinated with the Islamic calendar, albeit embraced with a strong sense on the localized cultural orientations.


title: Bugis

text: The biannual "Hari Raya" (eid) celebrations of Idul Fitri and Idul Adha are regarded as the largest festivals for the Bugis. The Idul Fitri (known as "Maleppe", meaning "release" in the Bugis language) serves as a triumphal rite after completing a month of fasting and religious activities during Ramadhan. The term "Mallepe" holds a philosophical symbol as a release from the sins and the bad habits of a person. While Idul Adha is a dedicated religious observance held to commemorate the sacrifice made by Prophet Ibrahim.


title: Bugis

text: There are a diverse religio-cultural activates shared during both of the merriments. A day before eid, many Bugis families would prepare "Burasa"' and "Tumbu" rice cakes in a tradition known as "Ma’burasa" and "Ma’tumbu". The tradition of visiting friends, relatives and holding a grand feast for visitors are also central — known as Massiara, the visits usually commenced after the eid prayers. Additionally, many would also take the day to ask the forgiveness and reconcile between one another, while some would dispose their old clothes into the sea or rivers as a sign of a new beginning and chapter in life.


title: Bugis

text: Other common traditions during eid includes "Mabbaca-baca", a solemn thanksgiving dua gathering and feast led by the community religious leaders known as "'Puang Anre Guru" or "Daeng Imam". A visit the final resting place of the departed love ones is also a major commonplace during the season, in the custom known as "Masiara Kuburu", the visit to the grave is regarded as a gesture of love, respect and dignity.


title: Bugis

text: The positive and goodwill communal spirit is also continued in a various of religious and cultural programs. In addition to eid, the Bugis organized a prolific traditions to commemorate its faith and identity, including Ramadan, a holy month dedicated by fasting and various religious activities. "Maulu/ma maulu’" (Mawlid), honoring the birth of Prophet Muhammmad, special ceremonial meals and colorful eggs would be given to the mosque attendees to monumentalize the meaningful day; "Esso Sura" (Ashura), remembrance of Muharram, where a special porridge (known as "Bubu Petu" and "Bella Pitunrupa") are prepared, the day also marked as a major shopping period for the Bugis-Makassar, as many would traditionally buy new house utensils during the Ashura. Furthermore, the Bugis and Makassar families would also arrange "Massuro Baca", special ceremonial doa and feast held a week before Ramadhan to remember the departed relatives, as well as a preparation to cleanse the inner-self before the holy month.


title: Bugis

text: Islamic elements are also materialized during celebrations on an individual level. Being a predominantly Muslim community, the act of "Mabbarazanji/Barzanji" (Mawlid al-Barzanjī), communal prayers and praise to Prophet Muhammad is regarded as among the focal points during such ceremonies. The Bugis would commonly organized a "selamatan" feast for divine favor, protection, thanksgiving and gratitude - including weddings, newborn celebration, aqiqah, house construction ceremony, sending a pilgrim for umrah and hajj, and funerals.


title: Bugis

text: The importance of such personal and communal ceremonies collectively act as a testament of their mainstream ethnic character. It serves as a bind, propelled to their rite of passage as a Muslim and a manifestation of their cultural identity. The events also performed as a juxtaposition, intertwined between the essence of religion and custom; together with a sense of responsibility to solidify their values into the contemporary era.


title: Bugis

text: Historically, there are also some regional events deeply rooted to their ancient beliefs, reflected by their pre-Islamic past, geographical location, local demographic and occupation. In a few agrarian Bugis communities, the grand harvest festivals of "Mappangolo Datu Ase", "Mappadendang", "Manre Sipulung", "Maccerak Ase" and "Maccerak Rakkapeng" acted as a thanksgiving and celebratory gesture for the abundance of harvest obtained. Meanwhile, in the coastal and lakeside communities where fishery industry is regarded to be in the utmost importance, they would commemorate with "Maccera Tappareng" and "Maccerak Tasik". However, with the rise of various socioeconomic and educational revolution, together with mass industrialization and the introduction of modern farming and fishing techniques throughout the 19th and 20th century, the collective impact of these festivals began to waned in favor of a much aligned practice with Islamic understanding among the mainstream Bugis society. Despite so, such regional celebration offered a brief outlook on the past, on a traditional ancient religion of a once agrarian community.


title: Bugis

text: Music and dance has long occupied an integral part of the people in the South Sulawesi. It is considered as an ancient art form, pictured as a dramatic and complex encapsulation of the heritage. The Bugis performing arts can be broadly divided into four distinct categories — entertainment medium, ritualistic performance, court dance and martial arts.


title: Bugis

text: In the Bugis culture, choreography is regarded as a form of folkloric entertainment. It has enjoyed a long creative industry and maintained a close relationship with the people. It is usually presented during the communal occasions and used as a celebratory expression to commemorate significant events. The best known Bugis dance genre are "Pajaga", and the more lively Pajogek — combining the elements of Ronggeng, Jaipong and accompanied by a pair of "gendeng" (drum). Other type of dances include Jeppeng, having a fusion of stronger Islamic elements; and "Tari Paduppa", a traditional welcome dance.


title: Bugis

text: In the past, the performing arts played an extensive role on the Bugis ritualistic function and observance. During such magico-religious ceremonies, esoteric energy were present and ancient dance techniques were accomplished by a Bugis shaman, known as "Bissu". The depiction was characterized by a combination of spiritual aura and artistic elements to achieve a high level of possession-trance. The practice of possession used to be conducted by a "Bissu" during a vital cultural rite, such as to commemorate the beginning of the "mappalili" (paddy growing season) or during the important royal functions. Among the well-known ritualistic Bugis performance includes "Tari Maggiri", "Tari Alusu" and "Maddewata".


title: Bugis

text: Martial art also serves as an outlook that mirrors the symbolic ideals of its strong militaristic tradition — courage, power, heroism, prestige, strength and preparation for war. Elements of martial skills were largely drawn from the local fighting culture and being incorporated in a repertoire of Bugis performing arts, such as in "Manunencak/Mencak Baruga" (Bugis Pencak Silat), "Mallanca" and "Masempek". A close parallel can equally be observed in the Bugis war dance. The combatant qualities were emulated to commemorate the fortitude and spirit of the military class. The Bugis war dance of "Penjaga Welado", "Pajaga Gilireng" and "Pajaga Mutaro" extensively captures such rendition.


title: Bugis

text: Historically enjoyed a royal patronage, the Bugis court ballet consist of a juxtaposed movement of fast and slow; and a contrast between passive and active, such adaptation can be seen in the Bugis courtly portrayal in "Pajaga Boneballa Anakdara", "Pajaga Lelengbata Tulolo" and "Pajaga Lili". The artistic styles constitute the essence of Bugis aesthetic impulses — involving various movements, gestures, poise, balance and music. Historically among the members of Bugis nobility, dance was perceived as a social importance to develop and mold an individual's personal qualities on "kedo" (mannerism) and "ampe" (speech) according to the royal standards and etiquettes.


title: Bugis

text: The Bugis also hosted a multitude of classical instruments, including "Soling", flutes; "Kacapi" and "Talindo", string musical instruments; "Jalappa/Kancing-Kancing", a traditional cymbal; "Aloso/Laluso", a Bugis percussion instrument, similar to Shekere; "Gesok–Gesok/Keso–Keso", a Bugis-styled Rebab; "Gendrang" (not to be mistaken with Makassarese "Ganrang"), a two-headed drum; and "Puik Puik/Pui–Pui", a classical trumpet. As with many Sulawesian musical traditions, the Gendrang occupied a prominent and sacred role in Bugis musical traditions forming the base of many accompaniments, although somewhat less revered compared with the Makassarese. In recent years, Makassarese Ganrang traditions have eroded the education of Bugis Gendrang, although sharing many similarities, such as using multiples drums with different patterns to create syncophation.


title: Bugis

text: The Bugis art of dance was predominantly being inherited via an oral tradition from one generation to another. To some extent, each of the artforms serves as an episode to the past and navigated as a kaleidoscope narration on the development of their ethnic identity – from the once prevalent ancient ancestral beliefs led by a "Bissu"; the royal court and military tradition during the classical era; the extensive bilateral cultural exchange with the Makassarese; and the subsequent Islamisation of the mainstream Bugis society.


title: Double album

text: A double album (or double record) is an audio album that spans two units of the primary medium in which it is sold, typically either records or compact disc. A double album is usually, though not always, released as such because the recording is longer than the capacity of the medium. Recording artists often think of double albums as being a single piece artistically; however, there are exceptions such as John Lennon's "Some Time in New York City" (which consisted of one studio record and one live album packaged together) and OutKast's "Speakerboxxx/The Love Below" (effectively two solo albums, one by each member of the duo).


title: Double album

text: Since the advent of the compact disc, albums are sometimes released with a bonus disc featuring additional material as a supplement to the main album, with live tracks, studio out-takes, cut songs, or older unreleased material. One innovation was the inclusion of a DVD of related material with a compact disc, such as video related to the album or DVD-Audio versions of the same recordings. Some such discs were also released on a two-sided format called DualDisc.


title: Double album

text: Depending on the media used, some releases were double albums in one format and single albums in another. For example, a gramophone record (vinyl LP) consisting of two discs of less than 80 minutes in total could be fit onto a single standard-length compact disc (CD). Other times, track order could vary between two different media by rearranging the tracks in one medium, or a more efficient use of space could be made; for example, reducing a double album in LP format to a single cassette tape.


title: Double album

text: The same principles apply to the triple album, which comprises three units. Packages with more units than three are often referred to as a box set.


title: Double album

text: The introduction of the long-play or LP record in 1948 allowed longer tracks or a greater number of tracks per record, with approximately 22 minutes of music per side, for a total of 44 minutes. Despite this, recordings of entire classical or operatic pieces were often too long for one LP disc, thus albums of two or more discs were made. As they were costly to make and sell, double albums and multi-record releases were largely limited to long works such as classical music and, later, to live recordings and compilations. One of the first live double albums, and one of the earliest double albums featuring non-classical music, was "The Famous 1938 Carnegie Hall Jazz Concert" by Benny Goodman, a concert recording released in 1950 on Columbia Records. Studio recordings of operas have been released as double, triple, quadruple and quintuple albums since the 1950s.


title: Double album

text: As record costs reduced over time and greater thought was given to the album as an artistic piece, double albums became more common. One of the first examples consisting of new studio recordings is 1956's "Ella Fitzgerald Sings the Cole Porter Song Book". Bob Dylan's" Blonde on Blonde", released on June 20, 1966, is widely considered to be one of the first double albums in popular music with complete original recordings by the artist. It was followed just a week later by the Mothers of Invention's debut album "Freak Out!", which was released on June 27, 1966.


title: Double album

text: In the years following, original double albums from pop and rock artists became more common, and were often released at the height of the artists' careers. Notable examples include The Beatles' eponymous 1968 album, Elton John’s "Goodbye Yellow Brick Road" from 1973, and Led Zeppelin's "Physical Graffiti" from 1975. Additionally, the rise of progressive rock at the time, which often involves complex and long tracks akin to classical music, and concept albums often made a second disc necessary. The best-selling double album of all time is Pink Floyd's "The Wall", from 1979 with over 30 million copies (60 million units) sold worldwide.


title: Double album

text: In the latter half of the 1970s, as technology advanced, the Philips corporation's compact cassette tape began to supersede LPs as the dominant pre-recorded music format. The tapes allowed for a much longer 30 to 45 minutes per side, for a total of 60 to 90 minutes total, doubling the length available for music storage. In 1982, Philips introduced the compact disc, with a continuous length of 74 minutes (later developed to have 80 minutes). Artists could put far more on one unit, rarely exceeding the runtime available on a cassette tape or CD, and double albums became uncommon. The extra space also allowed many earlier double albums to be reissued on a single disc: "Blonde on Blonde", for instance, was reissued on a single cassette and a single CD.


title: Double album

text: Despite the greater length, there were some issues with the length and track order of albums, both reissues and new releases. "The Beatles", originally released as a double LP, remained split across two units for both its cassette and CD reissues, with the tracks in a different order on the pair of cassettes to ensure equal tape length. Meanwhile, 1988's "He's the DJ, I'm the Rapper" by DJ Jazzy Jeff & The Fresh Prince was released on both vinyl and cassette. At 85 minutes, the vinyl record was released as a double album, making it the first double vinyl LP release by hip hop artists, while its single CD release was truncated by 13 minutes. Other albums originally issued as double LPs, such as Mike Oldfield's "Incantations" (1978), Chick Corea's "My Spanish Heart" (1976), and The Minutemen’s "Double Nickels on the Dime" (1984) were likewise shortened for their 74-minute CD release, though both were later reissued in their entirety when 80-minute CDs were available.


title: Double album

text: While not as common since the advent of these formats, particularly for studio albums, double albums continued to be released, particularly for live recordings, classical music, soundtracks, and compilations, and a number of popular studio albums were released as double albums on these formats at this time, such as the Smashing Pumpkins' "Mellon Collie and the Infinite Sadness" (1995) and Michael Jackson's "" (1995) which sold over 20 million copies (40 million units) worldwide. The following year, Tupac Shakur became the first rapper to sell a double album globally with "All Eyez on Me", becoming his best selling album by the time he died in 1996.


title: Double album

text: With regard to records, most double album sets are organized by manual sequencing, where the order of sides played are laid much as they are on a single LP; Side one and two are organized back-to-back on the first disc, as are three and four on the second disc and so on. However, some releases up to the 1970s are optimized for automatic sequencing. On a double album, this would have had sides one and four on one disc and sides two and three on the other. This sequencing, used previously in multi-disc albums in the 78rpm era, let the listener play through the entire double album and only need to flip over the records once, compared to manual sequencing where the listener would have to change the side or record three times. The use of automatic sequencing gradually declined during the 1970s as automatic record changers fell out of favor. High quality manual turntables became more affordable and are often preferred because they cause less record wear.


title: Double album

text: After a company decided on manual or automatic sequence, production of that title generally stayed in the same configuration indefinitely. Notable examples of albums using automatic sequence include the 1968 Reprise Records release, "Electric Ladyland", by The Jimi Hendrix Experience which was still sold in automatic sequence well into the late 1980s. Other common examples include "Frampton Comes Alive!" by Peter Frampton, "Songs in the Key of Life" by Stevie Wonder, "Quadrophenia" by The Who, and "Bad Girls" by Donna Summer.


title: Double album

text: Johnny Winter released what would be the first three-sided rock album, "Second Winter", on two 12-inch discs, with the flip side of the second disc being blank. A 1976 live concert recording by Keith Jarrett and his quartet, released as "Eyes of the Heart" by ECM Records in 1979, Joe Jackson's 1986 release "Big World", and Pavement's "Wowee Zowee" are other examples of this.


title: Double album

text: In 1975, jazz artist Rahsaan Roland Kirk released "The Case of the 3 Sided Dream in Audio Color" which apparently had only three sides, but on closer inspection, there were a small number of grooves pressed on side four with a few short "hidden" conversation snippets; the CD reissue includes all of them.


title: Double album

text: In 1982, Todd Rundgren and his band released the self-titled album "Utopia" featuring one full LP of 10 songs, and a second 12-inch disc with five bonus tracks, the same lineup on each side.


title: Double album

text: The Monty Python album "Matching Tie and Handkerchief" was originally issued with two concentric grooves with different programs on the second side, but this was done for comedic rather than practical reasons. The 2019 vinyl issue of "Monty Python Sings (again)" comprises two discs, with the flip side of the second disc featuring exclusive Monty Python 50th Anniversary artwork.


title: Double album

text: The Stranglers, Elvis Costello and The Clash (amongst other 1970s/80s acts) would sometimes release early pressings of their albums with extra material on a 45 RPM single. "The Sunlandic Twins" by Of Montreal features a third side officially called a "bonus EP", essentially offering an alternate definition of an EP, a single  RPM side instead of a two-sided 45 RPM record.


title: Double album

text: The 1992 Julian Cope album "Jehovahkill" contained three sides, or "phases", with a laser-etched fourth side which was unplayable, which also occurred with Norwegian band Motorpsycho's vinyl releases of "Motorpsycho presents The International Tussler Society" and "Heavy Metal Fruit", and Excepter's 2014 album Familiar (the third side, with only one track, being shorter).


title: Double album

text: Seattle band Alice in Chains released their first two EPs, "Jar of Flies", and "Sap" on two vinyl discs in 1994, with three sides on vinyl, while the fourth side contained a laser etching of the Alice in Chains logo. The vinyl pressing of the My Chemical Romance album "The Black Parade" also has three sides worth of content, with side four being a laser etching of a portion of the limited edition album art.


title: Double album

text: Genesis' "Three Sides Live", Kiss' "Alive II", Donna Summer's "Live and More", and the Moody Blues' "Caught Live Plus 5" are examples of double albums with three sides of live recordings (i.e. one and a half albums) and one side of studio recordings.


title: Double album

text: The vinyl reissues of two albums by The Tragically Hip, "Trouble at the Henhouse" and "Music @ Work", are on two discs, but the fourth side is blank. In the 2010s and 2020s, as more digital era albums from the 1990s and 2000s were issued on vinyl, often for the first time, blank sides became more common and often included etchings into the fourth side, such as the reissues of "EART HL I NG" by David Bowie (previously released on 1LP in 1997), "Alice" by Tom Waits and soundtrack albums such as "" and "School of Rock".


title: Double album

text: Among the first successful triple albums (or triple records) were "", released August 15, 1970, and George Harrison's "All Things Must Pass", released November 27, 1970. A triple album may be live, such as The Band's "The Last Waltz" (1978) and Led Zeppelin's "How the West Was Won" (2003); or a compilation of an artist's work, such as Stevie Wonder's retrospective anthology "Looking Back". Yes's live album "Yessongs" was made a triple album owing to its inclusion of many of the band's longer compositions. With the longer time available on compact disc, many albums that spanned three vinyl discs are able to fit on two compact discs (an example being Nine Inch Nails' "The Fragile").


title: Double album

text: Triple albums are released across genres, including punk with The Clash's "Sandinista!"; alternative rock with Pearl Jam's "11/6/00 – Seattle, Washington"; and mainstream pop with Prince's "Emancipation".


title: Double album

text: Frank Sinatra's "" was originally released as a three LP set in 1980. Compact disc pressings of the album combine the triple vinyl set onto two CDs, with "Past" and "Present" taking up the first disc.


title: Double album

text: The first triple hip-hop album was "American Hunger" by New York City rap artist MF Grimm which was released in 2006. It contains 20 songs on each disc.


title: Double album

text: American hip hop artist Lupe Fiasco's canceled third studio album release "LupEND" would have been a triple album, composed of discs titled "Everywhere", "Nowhere", and "Down Here". Joanna Newsom's 2010 album "Have One on Me" is a triple album; due to the unusual length of the songs, there are only six tracks on each disc.


title: Double album

text: "Escalator over the Hill", Carla Bley's jazz opera (lyrics by Paul Haines), was originally released in 1971 as a triple album in a box which also contained a booklet with lyrics, photos and profiles of the musicians.


title: Double album

text: The Weeknd's compilation album "Trilogy" was released as a triple album in 2012, comprising his critically acclaimed 2011 mixtapes "House of Balloons", "Echoes of Silence" and "Thursday".


title: Double album

text: The Knife's 2013 album "Shaking the Habitual" is spread across three LPs and two CDs, being an hour and forty minutes in length. (Although a single-disc edit exists omitting the 19 minute track, "Old Dreams Waiting To Be Realized").


title: Double album

text: Swallow the Sun's 2015 album "Songs from the North I, II & III" is divided into "Gloom", "Beauty" and "Despair". In total, each disc contains no more than 8 tracks and no less than 40 minutes.


title: Double album

text: In April 2021, Eric Church released a triple album set, "Heart & Soul". Each album "Heart", "&", and "Soul", was released separately, with "&" being a vinyl-exclusive release.


title: Double album

text: When albums exceed the triple album format they are generally referred to as box sets. Normally, albums consisting of four or more discs are compilations or live recordings, such as "" and "Chicago at Carnegie Hall", respectively.


title: Double album

text: Some performers have released two or more distinct but related albums simultaneously (or near-simultaneously) which could be seen together as a double album. Moby Grape's "Wow/Grape Jam" (released in 1968) is an early example. Others include:


title: Anderson, South Carolina

text: Anderson is a city in and the county seat of Anderson County, South Carolina, United States. The population was 28,106 at the 2020 census, and the city was the center of an urbanized area of 75,702. It is one of the principal cities in the Greenville-Anderson-Mauldin metropolitan statistical area, which had a population of 824,112 at the 2010 census. It is further included in the larger Greenville-Spartanburg-Anderson, South Carolina combined statistical area, with a total population of 1,266,995, at the 2010 census. It is just off Interstate 85 and is from Atlanta and from Charlotte. Anderson is the smallest of the three primary cities that make up the Upstate region, and is nicknamed the "Electric City" and the "Friendliest City in South Carolina". Anderson is the home of Anderson University, a private university with roughly 3,900 undergraduate and graduate students.


title: Anderson, South Carolina

text: Cherokee first settled the area of what is today the city of Anderson. During the American Revolution, the Cherokee sided with the British. After the American Revolutionary War, the Cherokee's land was acquired as war reparations and colonized. In 1791, the South Carolina Legislature created the Washington District, which comprised Greenville, Anderson, Oconee, and Pickens Counties. The Washington District was then divided into Greenville and Pendleton districts. Anderson, Pickens, and Oconee comprised the newly created Pendleton district. Anderson was settled in 1826 and incorporated in 1828 as Anderson Court House, separate from the Pendleton district. The name Anderson is in honor of Robert Anderson, who fought in the American Revolutionary War and also explored the Anderson region in the mid-18th century. Anderson District (later Anderson County after 1867) was also established in 1826 out of the Pendleton district.


title: Anderson, South Carolina

text: In 1851, the Johnson Female Seminary was established in Anderson as the first college of the town, and was named after William Bullein Johnson. One year later, the seminary was renamed Johnson University. During the American Civil War, Johnson University was closed and converted into a Confederate treasury. On May 1, 1865, Union forces invaded Anderson looking for the Confederate treasury. The treasury office of Anderson was ransacked by Union forces, and the main building of Johnson University was used as a Union headquarters. A minor skirmish erupted at the Battle of Anderson, leading to two Union casualties. After the war, a Union garrison was stationed in Anderson.


title: Anderson, South Carolina

text: Anderson became one of the first cities in the Southeastern United States to have electricity. Electricity to Anderson was established by William C. Whitner in 1895 at a hydroelectric plant on the Rocky River, giving the city the name the Electric City. Anderson also became the first city in the world to supply a cotton gin by electricity. In 1895, Anderson Court House was renamed to Anderson. In 1897, Whitner's plant was upgraded with a 10,000-volt generating station at Portman Shoals. Whitner's power plant at Portman Shoals became the first hydroelectric plant in the United States to generate high voltage without step-up transformers . The Portman Dam was swept away in 1901, forcing Anderson into darkness until it was rebuilt in 1902.


title: Anderson, South Carolina

text: In 1911, Anderson College was established by the Anderson Chamber of Commerce. Anderson College was a successor to the Johnson Female Seminary and is affiliated with the South Carolina Baptist Convention, in particular the First Baptist Church of Anderson. Anderson College became a co-educational, two-year junior college in 1930, and in 2006, it became Anderson University.


title: Anderson, South Carolina

text: Anderson is located in the northwest corner of South Carolina on the Piedmont plateau. Anderson is a 1-hour drive from the Blue Ridge Mountains and a 4-hour drive from the South Carolina coast. Anderson lies roughly at the midpoint of the busy I-85 corridor between Atlanta and Charlotte.


title: Anderson, South Carolina

text: According to the United States Census Bureau, the city has a total area of , of which , or 0.30%, is covered by water.


title: Anderson, South Carolina

text: Anderson is home to the largest Glen Raven, Inc. manufacturing center facility, which focuses on manufacturing Sunbrella fabrics. Anderson's economy revolves around manufacturing. It has over 230 manufacturers, including 22 international companies. In the county, Anderson has a thriving business climate. Its top major industries include manufacturers of automotive products, metal products, industrial machinery, plastics, publishing, and textiles. Two industries that many times interconnect are the plastic and automotive sectors. More than 27 BMW suppliers are the Upstate region, which is recognized internationally as an automotive supplier hub. The plastics industry has a strong presence in the Upstate, with 244 plastic companies located within the 10 counties of the state's northwest corner. Anderson County, in particular, has 11 automotive suppliers, and is a major player in the plastic industry, with 27 plastics companies located within its borders.


title: Anderson, South Carolina

text: AnMed Health is one of the top employers in the county, and the primary healthcare network for Anderson. AnMed Health Medical Center is the main medical facility, offering all the amenities of a standard hospital, as well as a heart and vascular center, and stroke/neurological center. Located 2.5 miles north of the facility is the AnMed Health Campus, which includes a women's and children's hospital, minor care, cancer center, speech and occupational therapy, and more. The AnMed Rehabilitation Hospital is located between the two facilities. AnMed has recently received national attention being awarded the "National Presidents Circle Award," and the "American College of Cardiology Foundation’s 2012 NCDR ACTION Registry–GWTG Platinum Performance Achievement Award."


title: Anderson, South Carolina

text: In addition to these three network hospitals, AnMed also operates a number of smaller facilities throughout the city and county that range from a free clinic and minor care to doctor's offices.


title: Anderson, South Carolina

text: The city of Anderson is served by the Anderson County School System (specifically, Anderson School District Five). The school district has 11 elementary schools, five middle schools, and two high schools.


title: Anderson, South Carolina

text: Anderson is served by Anderson County Regional Airport (IATA: AND, ICAO: KAND). The airport is away from Anderson and has 2 runways; runway 5/23 is and runway 17/35 is . The airport also has helipads. The airport has no control tower, but is able to accommodate regional jet aircraft. In addition, the airport has a small terminal.


title: Anderson, South Carolina

text: Anderson has five signed exits on I-85, currently the city's only freeway. Several notable highways pass through the city, including U.S. Route 76 and U.S. Route 178 co-signed along Clemson Boulevard, also known as SC-Bus 28, and U.S. Route 29 and Route 187 leading to Hartwell, Georgia, to the south and Greenville to the north.


title: Anderson, South Carolina

text: In 2011, construction began on a new east–west connector that is about 3 mi long between Clemson Boulevard and South Carolina Highway 81. On August 16, 2010, the connector was voted to have four lanes with turn and bike lanes, and a completion date set in October 2012.


title: Anderson, South Carolina

text: Anderson has four bus routes (Blue, Green, Red, and Gold) that travel to most major areas of the city, running every hour. and also receives service from Clemson Area Transit (CATS) via the 4U route. The city uses both newer hybrid buses and older style trolleys resembling Anderson's old streetcars. Inter-city bus travel is available through Greyhound Lines, located on West Whitner Street near downtown.


title: Anderson, South Carolina

text: One of the Southeast High Speed Rail Corridor alternatives for a Charlotte - Greenville - Atlanta route includes a stop at Anderson. This would mark the first time that passenger rail reached Anderson, since the passing of Piedmont and Northern Railway in ca. 1947 and the Blue Ridge Railway in ca. 1951 from Anderson.


title: Anderson, South Carolina

text: As of the 2020 United States census, there were 28,106 people, 11,412 households, and 6,112 families residing in the city.


title: Anderson, South Carolina

text: At the census of 2000, 25,514 people, 10,641 households, and 6,299 families were residing in the city. The population density was 1,843.7 people/sq mi (711.8/km). The 12,068 housing units averaged 872.1/sq mi (336.7/km). The racial makeup of the city was 63.12% White, 34.01% African American, 0.22% Native American, 0.78% Asian American, 0.72% from other races, and 1.16% from two or more races. Hispanics or Latinos of any race were 1.48% of the population.


title: Anderson, South Carolina

text: Of the 10,641 households, 25.4% had children under 18 living with them, 36.9% were married couples living together, 18.7% had a female householder with no husband present, and 40.8% were not families. About 36.0% of all households were made up of individuals, and 16.3% had someone living alone who was 65 or older. The average household size was 2.22, and the average family size was 2.89.


title: Anderson, South Carolina

text: In the city, the age distribution was 22.2% under 18, 10.7% from 18 to 24, 26.3% from 25 to 44, 20.4% from 45 to 64, and 20.4% who were 65 or older. The median age was 38 years. For every 100 females, there were 82.3 males. For every 100 females age 18 and over there were 77.5 males.


title: Anderson, South Carolina

text: Anderson is the central city of an urbanized area with a total population of 70,530 (2000 census). This urban area is within the larger Greenville-Spartanburg metropolitan statistical area.


title: Anderson, South Carolina

text: Anderson is governed using the mayor-council system. The mayor is elected at-large. The city council consists of eight members; six are elected from districts and the other two are elected at-large.


title: Fred Rosser

text: Frederick Douglas Rosser III (born November 2, 1983) is an American professional wrestler. He is currently signed to New Japan Pro-Wrestling (NJPW), where he is the current Strong Openweight Champion in his first reign. He is best known for his time with WWE under the ring name Darren Young.


title: Fred Rosser

text: Prior to signing with WWE, Rosser competed in Northeastern and Mid-Atlantic independent promotions including Chaotic Wrestling, East Coast Wrestling Association, Independent Wrestling Federation and the National Wrestling Alliance. Rosser signed with WWE's developmental territory Florida Championship Wrestling in 2009 and participated in the first season of "NXT" in 2010. Later that year, he debuted on the main roster as part of The Nexus. In 2012, Young formed The Prime Time Players with Titus O'Neil, with whom he is a one-time WWE Tag Team Champion. Rosser was the first openly-gay wrestler to compete in the WWE.


title: Fred Rosser

text: Rosser was born in Union Township, New Jersey. He began watching professional wrestling during the mid-1980s and became interested in becoming a professional wrestler as a teenager, wrestling in several backyard wrestling federations. He attended Union High School in New Jersey, where he played American football, both offensively and defensively. He attended Fairleigh Dickinson University, where he played football for a year before deciding to focus on his academic studies and professional wrestling.


title: Fred Rosser

text: Rosser became interested in becoming a professional wrestler as a teenager, wrestling in several backyard wrestling federations. He researched a number of wrestling schools before deciding on Camp IWF in West Paterson, New Jersey. This was due in part to his employer, whose uncle was a friend of a local wrestler training there at the time, and helped him enroll in the wrestling school.


title: Fred Rosser

text: Rosser made his professional debut on September 11, 2002, and spent several years on the independent circuit, including wrestling for the Independent Wrestling Federation and Chaotic Wrestling during his early career. On May 17, 2003, he won his first major title when he defeated the IWF Heavyweight Champion in Woodland Park, New Jersey and held it for over half a year until losing to Roman on January 17, 2004. It was at a house show in Chaotic Wrestling that he was first noticed by promoter Jim Kettner and invited to compete for the East Coast Wrestling Association where he made his debut in the summer of 2004. Shortly after entering the promotion, Rosser began feuding with Prince Nana over the ECWA Mid Atlantic Championship and eventually defeated him for the title in Newark, Delaware on September 18, 2004. He lost the title to Nick Malakai less than two months later.


title: Fred Rosser

text: During 2005 and 2006, Rosser made several appearances for World Wrestling Entertainment (WWE) on its weekly programs "Sunday Night Heat" and "Velocity" as well as in dark matches on "SmackDown" and "Raw". In May 2009, Rosser signed a WWE developmental contract and was sent to WWE's developmental territory, Florida Championship Wrestling, under the name Darren Young. In FCW, Young was in a tag team called "The South Beach Party Boys" with Percy Watson.


title: Fred Rosser

text: On February 16, 2010, it was announced that he would compete as part of the first season of "WWE NXT", mentored by CM Punk.


title: Fred Rosser

text: On February 23, 2010, Young made his debut on "NXT" with a character described as a "South Beach Party Boy", losing his debut match to David Otunga. His storyline had mentor CM Punk showing apathy towards him, claiming he had no idea why he's in "NXT" and did not want to train Young unless he accepted his Straight-edge lifestyle. Despite this, Punk and his disciples, Luke Gallows and Serena, helped Young win his rematch against Otunga the following week. Young was ranked eight in the first Pros' Poll. After the pros' poll, Young decided to join The Straight Edge Society in an attempt to improve, only to change his mind before getting his hair shaved off. CM Punk decided to forgive him for standing up to him when he defeated Luke Gallows with Young's own hair on the line. Because of this victory, CM Punk had then been interested in Young's potential, but in turn started feuding with a jealous Luke Gallows. On May 11 in the second Pros poll, Young was ranked fifth out of the six remaining contestants and narrowly escaped elimination. The following week, however, Young was eliminated from the competition.