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How A 500-Year-Old Rainbow Sweet Is Preserving One Of Asia's Forgotten Cultures | Still Standing

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Symbolism Examples (Family of Four Tile)

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Symbolism Examples (Family of Four Tile)

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Symbolism Examples (Infinity of a Mother’s Love Tile)

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Symbolism Examples (Infinity of a Mother’s Love Tile)

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Read and explore how a community born of many roots created a rich heritage!

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Southeast Asia has long been a crossroads of the world, where trade has stimulated cultural exchange. Merchants and other travellers have connected the region to China, India, the Middle East, and Europe. Many of these people settled in Southeast Asia and intermarried into local communities, creating vibrant hybrid cultures which today are widely referred to as Peranakan.

WHAT'S IN A NAME?

Peranakan has meant different things at different times. The basic term is Malay language, the lingua franca of maritime Southeast Asia since the 15th century. With the root word anak (child), peranakan is an adjective meaning "born of", and can also be applied to place, ethnicity, or other factors. For example, one could be Peranakan Singapura, meaning "Singapore-born". The term peranakan suggests someone who is locally born but has heritage from somewhere else - a mixture of cultures.

Today, peranakan has taken on the status of cultural identity and refers to a range of mixed heritage communities. Their unifying trait is the melding of ancestral cultures - Chinese, Indian, Arab, European, and others - with the indigenous cultures of the Malay-Indonesian archipelago. Many names exist to refer to a dizzying array of cross-cultural combinations, including Chinese Peranakans, Chetti Melakans or Peranakan Indians, as well as Jawi and Arab Peranakans.
Studio portrait of a Peranakan family.Gift of Mr and Mrs Lee Kip Lee Jawi Peranakan family at their home in Telok Kurau. Studio photograph of Arumugam Supramaniam Chitty and Sivagamee
WHERE DO PERANAKANS CALL HOME?

Today, there are Peranakan Chinese communities in Australia, while established communities exist in Bangkok, Phuket, and Yangon. But the traditional heartland of the Peranakans encompasses present-day Singapore, Malaysia, Brunei, and Indonesia, collectively known as the Malay-Indonesian world. An important centre of trade since antiquity, this vast archipelago was already a cosmopolitan meeting point of cultural influences long before the establishment of Peranakan communities.

NECESSITY BREEDS NEW LANGUAGES
Chrita dulu kala, or 'stories from ancient times', were popular books among the Chinese Peranakan community. They were translations of well-known Chinese classics and fables into Baba Malay, a creole spoken by Peranakans. Gift of Robert Chew
"Contact" languages develop in situations - ports and trading posts, for instance - where different peoples need to communicate with each other. They retain features of local vernaculars and other languages brought by traders, settlers, missionaries, and others.

A primary thread running through the cultural fabric of Peranakan communities is their adoption and adaptation of Malay. Different degrees of integration have resulted in an array of Peranakan languages.

Forged from Hokkien and Malay, Baba Malay is the Peranakan language most common in Singapore. Simply referred to as "Peranakan" by its Chinese Peranakan speakers, there are Malaccan and Singapore varieties. In Penang, the Baba-Nyonyas speak a variant of Hokkien, called Penang Hokkien. From the Chitty Melaka community comes Malay Chitty Creole, which mixes in Tamil. Other varieties exist, particularly in areas where local languages, such as Javanese are dominant. Once widely used, they are now vulnerable in today's globalised world as English takes precedence.

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MUSESG Volume 16 Issue 2 - July 2023
Written by Selina Chong, Assistant Director, National Collection, National Heritage Board
Read the full MUSESG Vol. 16, Issue 2 - July 2023
Image above: A sarong kebaya-clad Ivan Heng playing the titular character in Emily of Emerald Hill, 2019. Courtesy of Wild Rice.
The sarong kebaya is possibly one of the most visible expressions of Peranakan culture, both in Singapore as well as across the region. But the sarong kebaya that communities in Southeast Asia are familiar with is not unique to Peranakan culture. I have used Peranakan culture as the frame of reference in this article as it is the cultural heritage that I am most familiar with (interested readers may wish to explore other sources for insights into the sarong kebaya in the wider Nusantara region ¹).

Coined in the late 18th century, the word ' sarong', meaning 'to wrap', refers to a long tubular cloth tied around the waist. ² Kebaya is said to be derived from qaba, a jacket said to be of Turkic origins and worn at least since the 9th century by the ruling elite across the Middle East, Central Asia and North India. Another hint of the kebaya's Middle Eastern origins is found on the garment itself: a triangular patch under each arm of the kebaya -a feature also seen in traditional robes of the Middle East. Ming-style jackets, on the other hand, are flat-cut (without the gusset).

Today, different forms of the sarong kebaya continue to be made and worn by women across Southeast Asia. The garment is so well loved that Brunei, Indonesia, Malaysia, Singapore and Thailand have come together to jointly submit a nomination to inscribe the kebaya on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in March 2023.

As thinkers and writers have previously articulated, clothes do much more than protect our bodies from the physical elements. French philosopher and feminist activist Simone de Beauvoir describes the dynamics between attire and gender in society in her influential book, The Second Sex:³

A man's clothes, like his body, should indicate his transcendence and not attract attention; for him neither elegance nor good looks calls for his setting himself up as object; moreover, he does not normally consider his appearance as a reflection of his ego.

Woman, on the contrary, is even required by society to make herself an erotic object. The purpose of the fashion to which she is enslaved is not to reveal her as an independent individual, but rather to cut her off from her transcendence in order to offer her as prey to male desires: thus society is not seeking to further her projects but to thwart them.

Inspired by de Beauvoir and other feminists, this article explores what the sarong kebaya reveals or reflects about a woman's place in society.

Form and Function

Many researchers regard the baju panjang (literally 'long dress') as the precursor to the more familiar sarong kebaya that we recognise today. The baju panjang is typically a loose-fitting, calf-length tunic with sleeves that taper at the wrists. When paired with an ankle-length wrap or skirt ( sarong), the baju panjang is fastened at the front with buttons or a brooch.

It was not just local women in the region who wore the baju panjang or kebaya. By the mid-19th century, European and Eurasian women in the Dutch East Indies (present-day Indonesia) also began wearing kebaya made of white lace, pairing them with expensive cotton batik sarongs-a sartorial combination that hinted at status and privilege. Some of these kebaya featured lace inserts that provided comfort in the tropical climate of Southeast Asia.

Before the mid-19th century, the kebaya was relatively loose-fitting, particularly the versions worn at home or at informal occasions. From the 1850s onwards, however, a version of the sarong kebaya evolved into a tighter, more form-fitting garment. ⁴ This development mirrored the decline of modest Victorian fashion for women in England as well as the gradual tightening of the silhouette as seen in the cheongsam, the body-hugging one-piece dress that was just taking off in China's fashionable cities.

Unlike the baju panjang, the kebaya was shorter-ending at the hips-and gently nipped in the waist. These minor adjustments had a flattering effect on the wearer's figure, highlighting her curves. The kebaya was also decorated with lace ( kebaya renda) or embroidery ( kebaya sulam), with the latter gaining greater prominence and popularity in tandem with the rising affluence and influence of the Straits-born Chinese Peranakan community. This led to the emergence of what we know now as the modern kebaya.

On the other side of the world, the accidental discovery of aniline dyes in 1856-the first commercial products of the synthetic chemical industry- revolutionised the manufacture of clothing. Prior to the introduction of chemical dyes, colour in clothing used to carry specific significance.

Yellow, for instance, was reserved for royalty during the Qing dynasty (1636- 1912) in China, while saffron-dyed robes continue to define monastic orders in both Theravada Buddhist and Hindu traditions today. In Europe, richly coloured garments were worn by aristocrats and the middle class, in contrast to the working class who donned simple garments in dark monotone shades as an implicit form of protest against bourgeoisie excess.

With synthetic dyes, however, any hue imaginable was now possible with the careful calibration of chemicals. The affordability of aniline dyes also meant that anyone could now introduce colour to their wardrobes, tearing down barriers that once rendered some shades the preserve of certain classes. ⁵

The proliferation of synthetic dyes was accompanied by another watershed development in the garment industry: the birth of ready-to-wear clothing in the 1850s. This was made possible by the invention of the sewing machine in the late 18th century, which in turn allowed for the mechanisation of garment-making.

However, the kebaya continued to be hand-sewn, in part because it was a traditional skill-alongside other aspects of domesticity such as cooking and cleaning-that were valued by Peranakan women. It was only after the Second World War, when the price of lace increased exponentially, that machine embroidery became more common. Similarly for kebaya sulam, elaborate embroidered patterns with cutwork could now be achieved in much less time. Kebaya designs thus flourished, limited only by the imagination and skill of their makers. From these developments emerged the form of the sarong kebaya as we know it today-in a diverse combination of colours and embroidered patterns.

The myriad options of the sarong kebaya enabled women to express their identities through what they wore. Within the Straits-born Chinese Peranakan community, the outfit of a took on great significance. While a baba had access to academic and career opportunities because men were held in high esteem in traditional Chinese society, a nyonya's place in life was one of domestication and cultivated gentility. To a large extent, a nyonya was seen as a reflection of her family's status: she was expected to be submissive and carry herself with appropriate decorum. How she dressed-from the design of her kebaya to how she accessorised with jewellery-was a public statement of her family's wealth and social status.

The gold and diamond belt above, for example, would have been worn by a nyonya to complement her sarong kebaya. The belt was probably made by South Asian craftsmen for a wealthy nyonya around the beginning of the 20th century. It comprises 18 linked gold pierce-work panels, each bearing the image of a peacock surrounded with a profusion of vegetation. The buckle and smaller side panels feature diamonds of yellow, brown and even orange-pink tints. In the centre of the buckle is a large European-cut diamond set in the body of the peacock. The buckle, which weighs in at nearly five carats, can be detached and worn as a brooch. This is not only an ostentatious piece of jewellery featuring intricate craftsmanship, but was also worn to show off the wealth of the wearer and her family.

Gender as a Social Construct

One of the most quoted statements about gender-"One is not born, but rather becomes, woman" ⁷ -is attributed to Simone de Beauvoir. Her statement speaks to how gender identity, as with any other identity one holds, can be expressed and constituted through language, gesture and dress, among other things.

An example is the literal performance of gender-when dress and costume are used by an actor to assume a different identity. In the novel Orlando, Virginia Woolf writes: ⁸

The construction of gender through sartorial means is central in wayang peranakan, which is traditionally performed by Chinese Peranakan men in Baba< Malay, a creole spoken by the community. This theatrical form was derived from a blend of Chinese wayang (opera) and bangsawan, a popular form of Malay theatre.

Female impersonation was a distinctive feature of wayang perakanan as it was considered improper at the time for Chinese Peranakan women to be seen on stage. Baba performers of wayang peranakan would dress in women's attire such as the sarong kebaya and adopt coquettish poses and high-pitched voices. While contemporary stagings of Peranakan theatre today routinely feature actresses, it is not unusual to find men still taking on the odd female role or two.

Singaporean thespian Ivan Heng's highly acclaimed performance in 1999 as the titular character in Emily of Emerald Hill was a nod to wayang peranakan. This was a role that Heng has reprised several times since, the last in 2019. Written in 1982 by Stella Kon, the monologue centres on a nyonya matriarch who devotes her life to her family, yet finds that she loses what she loves most in the end.

In 2019, to celebrate the opening of the Ngee Ann Kongsi Theatre @ WILD RICE, Raymond Wong, a veteran practitioner of Peranakan beadwork and embroidery, created beautiful sarong kebaya outfits for the restaging of the play. To symbolise Emily's resilience through all the hardships she endures in her life, Wong stitched together a kebaya with embroidered chrysanthemums, a flower that blooms even in harsh weather. The outfit was key to Ivan Heng's embodiment of the character of Emily Gan: wrapped in a vividly coloured sarong kebaya, the actor channelled the indomitable spirit of the matriarch to critical acclaim.

Contemporary Expressions of the Kebaya

The sarong kebaya has never ceased evolving; its shape and style continue to change with the passage of time, reflecting shifting societal norms. Needless to say, women in Singapore today have much greater autonomy than in the past. They enjoy privileges that were not afforded to their mothers and grandmothers, such as access to education and opportunities in the workplace. What this means is that many women have the financial means to buy what they want, decide what they want to do and are empowered to express their identities in myriad ways, including fashion. But while there is generally a growing appreciation among younger Singaporeans for their cultural heritage in terms of tradition, food and dress, in an era dominated by fast fashion, does the sarong kebaya still resonate with the modern Chinese Peranakan woman?

Personally, I believe so. The sarong kebaya remains a highly visible identity marker for me as a Chinese Peranakan woman. While not every person who dons the 'nyonya style' sarong kebaya will identify as Chinese Peranakan, it is still a source of joy and immense pride for me to witness how an ensemble of textiles can convey so much about identity, symbolism, artistic expression and exquisite craftsmanship.

Of course, I also look forward to the day that the sarong kebaya is perceived less as an occasion wear. I see sparks of that when I walk into Kebaya by Ratianah along Bussorah Street and hear owner and kebaya maker Ratianah Binte Mohd Tahir sharing passionately about her work. I celebrate when local and international designers play on the versatility of the kebaya and create inspired works that women can wear any day. ⁹ I find every opportunity to support local makers because we-as a society-are at risk of losing the technical skills and expertise of our artisans and crafts(wo)men.

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The way we dress can reflect how we see ourselves and influence how others perceive us. If so, how has the sarong kebaya evolved and what does it reveal about the place of Peranakan women in Singapore today?

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Singapore's Peranakan Indians: A Vanishing Culture Revealed | CNA Insider

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DESIGN OF THE YEAR 2012 - SPOTTED NYONYA COLLECTION

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Discover Peranakan Houses in Singapore | Heritage Town Tour | Joo Chiat's Colorful Architecture

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History and Culture of Peranakan Food in Singapore

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Credits to: TimeOutSingapore's multicultural fabric is beautifully reflected in its culinary heritage, and few cuisines embody this as vibrantly as Peranakan food. Combining Chinese, Malay, and Indonesian influences, Peranakan cuisine is more than just food-it's a celebration of heritage and culture.Whether you're strolling through Katong and Joo Chiat or joining one of our Learning Journeys, exploring the world of Peranakan cuisine promises a feast for both the senses and the soul.

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This Is My Chinatown - Peranakan Tiles Gallery

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Uncover a mosaic of mathematics with Peranakan tiles. Read to discuss how ceramics and geometry come together to create beautiful…

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Peranakan houses are well-known for their unique and distinctive architecture. These beautiful homes, found primarily in Southeast Asia, are a testament to the rich cultural heritage of the Peranakan people. In this article, we will delve into the fascinating world of Peranakan architecture, exploring its roots, characteristics, notable examples, preservation efforts, and its influence on modern design.

Understanding the Peranakan Houses Culture

Before we explore the architectural aspects of Peranakan houses, it is crucial to understand the culture that gave rise to these unique structures. The Peranakan people are descendants of Chinese immigrants who settled in various parts of Southeast Asia, such as Malaysia, Singapore, and Indonesia, between the 15th and 17th centuries. Through intermarriages with local Malays and Indonesians, the Peranakan culture emerged, blending Chinese, Malay, and Indonesian traditions.

The Origin of Peranakan Culture

The origins of Peranakan culture can be traced back to the maritime trading routes that connected China with Southeast Asia. As Chinese traders settled in these foreign lands, they formed close ties with the locals, leading to intercultural exchanges and the birth of a unique hybrid culture.

The Peranakan people developed their own distinct language, known as Baba Malay or Peranakan Malay, which is a mix of Malay, Hokkien Chinese, and Indonesian languages. This language became an important part of their cultural identity and was used in daily conversations, literature, and even in the design of their homes.

Food also played a significant role in shaping the Peranakan culture. The Peranakan people developed a unique cuisine known as Peranakan or Nyonya cuisine, which combines Chinese cooking techniques and ingredients with Malay and Indonesian flavors. This fusion of flavors resulted in dishes that are rich in spices, herbs, and aromatics, creating a delightful culinary experience.

The Influence of Peranakan Culture on Architecture

One of the most significant aspects of Peranakan culture is its profound influence on architecture. The rich cultural heritage of the Peranakan people is reflected in the design, layout, and decorative elements of their homes.

Peranakan houses are known for their intricate and ornate facades. Elaborate carvings and colorful tiles adorn the exterior walls, showcasing the craftsmanship and attention to detail that the Peranakan people valued. These decorative elements often depict Chinese motifs, such as dragons and phoenixes, as well as local flora and fauna, showcasing the fusion of Chinese and local influences.

Inside the Peranakan houses, one can find a mix of Chinese and Malay architectural features. The main hall, or the "kongsi," is the heart of the house, where family members gather for meals and important occasions. The furniture in the house is often made of rosewood or teak, showcasing the influence of Chinese woodworking techniques.

Another distinctive feature of Peranakan houses is the presence of a central courtyard or "airwell." This open space allows for natural light and ventilation, creating a pleasant and airy atmosphere within the house. The courtyard is often adorned with plants and a small water feature, symbolizing prosperity and tranquility.

The interiors of Peranakan houses are decorated with intricate wood carvings, ceramic tiles, and porcelain figurines. These decorative elements often depict scenes from Chinese mythology and folklore, showcasing the Peranakan people's reverence for their cultural heritage.

Overall, the architecture of Peranakan houses is a testament to the rich and diverse cultural heritage of the Peranakan people. It is a harmonious blend of Chinese, Malay, and Indonesian influences, creating a unique architectural style that is both visually stunning and culturally significant.

The Architectural Characteristics of Peranakan Houses

Peranakan houses are characterized by their intricate details and vibrant colors. These architectural gems often feature elements from Chinese, Malay, and European styles, making them truly unique.

The Use of Colour in Peranakan Houses

Colour plays a vital role in Peranakan architecture. Bright and bold hues adorn the walls, windows, and doors of these houses, creating a visually stunning effect. These vivid colors are symbolic of the vibrant Peranakan culture and reflect the optimism and joy of the people who inhabit these homes.

The Significance of Ornamentation in Peranakan Architecture

Ornamentation is another key aspect of Peranakan architecture. Elaborate carvings, intricate motifs, and intricate tile work can be found throughout these homes. Each ornate detail tells a story, representing the rich cultural heritage and the prosperity of the Peranakan people.

The Role of Symmetry in Peranakan House Design

Symmetry is a fundamental principle in Peranakan house design. The front facade of these houses often features a symmetrical layout, with matching windows, doors, and decorative elements meticulously arranged. This symmetrical harmony not only enhances the visual appeal of the house but also represents the balance and orderliness valued in Peranakan culture.

Notable Examples of Peranakan Houses

Several notable examples of Peranakan houses exist, each showcasing the unique architectural charm of the culture.

The Blue Mansion in Penang

One of the most famous Peranakan houses is the Blue Mansion in Penang, Malaysia. This majestic house is renowned for its vivid blue exterior and exquisite architectural details. It serves as a museum today, offering visitors a glimpse into the opulent lifestyle of the Peranakan elite.

Another remarkable Peranakan house is The Intan in Singapore. Known for its stunning collection of Peranakan artifacts and its authentic architecture, The Intan provides an immersive journey into Peranakan history and culture. Visitors can marvel at the intricacies of the architecture and gain a deeper understanding of the Peranakan heritage.

The Preservation and Conservation of Peranakan Houses

Preserving and conserving Peranakan houses is of utmost importance to ensure the survival of this unique architectural heritage.

The Challenges of Preserving Peranakan Architecture

However, preserving these houses is not without its challenges. Rapid urban development and the passage of time present significant obstacles to the conservation efforts. Many Peranakan houses have been lost to modernization, making the conservation of the remaining ones crucial.

Successful Conservation Efforts

Despite the challenges, there have been successful conservation efforts. Several organizations and individuals are dedicated to preserving Peranakan architecture, restoring old houses to their former glory. These efforts not only protect a valuable cultural heritage but also contribute to the unique character and charm of the neighborhoods.

The Influence of Peranakan Architecture on Modern Design

The influence of Peranakan architecture extends beyond historical preservation. It has also inspired modern architects to incorporate Peranakan elements into contemporary designs.

Incorporating Peranakan Elements in Contemporary Architecture

Contemporary architects often draw inspiration from the vibrant colors, intricate details, and symmetrical layouts of Peranakan houses. By incorporating these elements into their designs, they pay homage to the cultural significance of Peranakan architecture while creating modern spaces that evoke a sense of nostalgia and cultural identity.

The Future of Peranakan Architecture

As we look to the future, the preservation and appreciation of Peranakan architecture are vital. It is through understanding and celebrating the unique architecture of Peranakan houses that we ensure the legacy of this rich heritage lives on, captivating the hearts and minds of generations to come.

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Exploring the Unique Architecture of Peranakan Houses

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Peranakan houses are well-known for their unique and distinctive architecture. These beautiful homes, found primarily in Southeast Asia, are a testament to

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https://padlet.com/alexandrapri/6hlegacy

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✅ Group Project Instructions

1. Form Groups of 5.

Your teacher will assign your group number after grouping.

2. Each student chooses ONE category:

📚 Peranakan History, Culture & Languages

👗 Peranakan Fashion

🍜 Peranakan Food

🏺 Peranakan Tiles, Ceramics & Symbolism

🏠 Peranakan Architecture

3. Research your category.

Use only the resources provided.

Answer the ONE key question for your topic.

4. Share with your group.

Teach your teammates what you found.

Make sure all 5 categories are covered.

5. Submit your answer.

Post your individual answer in your class Padlet page.

Scan the QR code in the last tab to upload.

💡 Be the expert of your topic — your group is counting on you!

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What patterns, colours, or shapes do you notice in Peranakan clothing?

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What colours, textures, or decorations stand out in Peranakan food?

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What shapes, lines, or motifs do you notice in Peranakan houses, doors, or tiles?

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What flowers, animals, or objects are important in Peranakan culture?

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What makes the Peranakan culture unique?

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https://padlet.com/alexandrapri/6elegacy

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https://padlet.com/alexandrapri/6rslegacy

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https://padlet.com/alexandrapri/6oplegacy

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https://padlet.com/alexandrapri/6ilegacy

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https://padlet.com/alexandrapri/6clegacy

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Peranakan tiles were influenced by Chinese auspicious symbols, and also European Art Nouveau/Art Deco geometric designs.

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Group 3 (Yu Xuan, Charlize, Cayden, Kai Bin)

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Group 3 (Yu Xuan, Charlize, Cayden, Kai Bin)

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Peranakan history is unique due to the formation of a distinct hybrid culture from the intermingling of Chinese immigrants and local Malay populations in Southeast Asia, leading to a fusion of traditions, language, and customs unlike either parent culture.This unique blend is evident in their distinctive cuisine, elaborate fashion like the Nyonya Kebaya, a unique Baba Malay language, and a rich tapestry of arts, crafts, and religious practices that incorporate elements from both Chinese and Malay traditions.

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6 creativity (Trevor Tracy Way you Joelle Asher)

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6 creativity (Trevor Tracy Way you Joelle Asher)

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Peranakan fashion uses vibrant colors (like red, blue, and yellow) to symbolize joy and prosperity, and intricate patterns featuring flowers, birds, and geometric shapes, reflecting a fusion of Chinese, European, and Southeast Asian influences. Garments are characterized by a fitted, high-necked silhouette for blouses (kebayas), often paired with patterned sarongs, and are adorned with decorative accessories like beaded shoes and hairpins.

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What makes the Peranakan culture unique is the melding of ancestral cultres