Popular imaginary and cultural constructions of the Nonya in Peranakan Chinese culture of the Straits Settlements

Abstract

The Peranakan Chinese is a Chinese diasporic community with a unique hybrid culture of Chinese, Malay, and European influences concentrated in the Straits Settlements (Malacca, Penang, and Singapore) of Malaya (before the independence of Singapore). It has inherited the Chinese patrilineal system but Nonyas within the Peranakan Chinese (also known as Baba-Nonya) culture fill an interesting space in Chinese patriarchy. This article explores the world of the Nonyas and identifies three cultural constructions of the Nonya: garang/li hai (feisty/crafty and manipulative), poonsu (resourceful), and toh tiap (victimized), specifically drawn out from the television serial, The Little Nonya; but these constructions have also been widely represented and documented in the arts and cultural expressions, particularly through the existing literature and portrayal of Nonyas in popular culture. We explore the cultural meanings of the Nonya through gendered patterns and identities which come out of a specific historical context of the Straits Settlements at the turn of the 20th century—the Peranakan Golden Age, where colonialism, wealth, and education shaped its matrifocal Peranakan culture. We employ Sylvia Walby’s theoretical framework of private and public patriarchy, specifically through the structures of household production and culture to analyze the situation of the Nonyas, arguing that Nonyas were not so much oppressed by men but by women; and yet, they were also privileged and valued in the Peranakan culture. Their privileged position allowed them to negotiate and challenge Chinese patriarchy.

Comparative of Cultural Material Study Between Baba Nyonya Original Descendants and Baba Nyonya New Descendants in Malacca

“…This cross-culture carries Malay and Chinese values. Lee (2016) argued that the Peranakan dress and the appearances have meaning for the people who wear and strive to make sense of their social realities.…”

“…The batik sarong has a different motive and colour in which batik worn by the Peranakan are inspired by Chinese designs (Lee, 2016). The details of a Nyonya dress are associated with the rise of commercial batik-making in the Javanese community.…”

“…In addition, the Peranakan batik motif is inspired by auspicious designs such as bird, dragon, snake and nourishing water (Lee, 2016). Courtney Fu (2020) interviewed a Singaporean Peranakan scholar Peter Lee on the Peranakan textile which was used to express the interrelated culture between Malay and Chinese.…”

“…The original Baba Nyonya Kebaya was designed with a long dress and transparent cloth. According to the Lee (2016), the first original Nyonya descendants is originally a slave. They are identified by wearing Baju Panjang without baju kecik or an inner garment similar to a camisole made of transparent material.…”

Embracing New Perspectives in History, Social Sciences, and Education

“…They are usually called Baba for men and Nyonya for women. Peranakan refers to a community formed of mixed ethnic descent, not only Chinese but also European, Indian, and Arab who married local women (Neo et al 2020). The term Baba-Nyonya is more popularly used in Malaysia and Singapore than in Indonesia, which slowly disappeared, especially during the New Order era (Intisari & Indonesia 2009, p. 24).…”