The Peranakan: A Unique Southeast Asian Fusion Culture Rooted in Region’s Traditions

The Peranakan culture is defined by its multicultural roots that have long-lasting influences on the Malay Peninsula. From food to fashion, the Peranakan occupy a unique role in the region’s extensive history.

Peranakans heavily influenced the region’s architecture—the iconic shophouse being one of those contributions. Gildardo Saánchez. CC BY-NC-SA 2.0. 

Along the Malacca Strait, an enduring and eclectic culture still survives. The Peranakan is a syncretic minority group mainly found on the Malay Peninsula. Peranakans are descendants of early multicultural unions; southern Chinese traders and settlers would marry local Malay, Thai and Javanese women. Though their origins go back over 600 years, Peranakan culture was at its most influential between the late 19th and 20th centuries. Out of this union came a unique fusion identity that birthed new languages like Baba Malay as well as terms like “babas” and “nyonyas” to describe Peranakan men and women.

The Peranakan have roots in Indonesia, Malaysia, Singapore, Myanmar and even on the Thai island of Phuket. Jpatokal. CC SA 1.0. 

In a 2009 study, former National University of Malaysia professor Lee Su Kim chronicled the niche position that Peranakans inhabited in the region. As children of mixed cultures, the Peranakan were multilingual and acted as intermediaries between different ethnic groups. During the colonial era, these skills entrenched Peranakans as a hierarchical elite. They acquired material wealth, were educated in British schools, and occupied roles such as diplomats and record-keepers.  

A medley of iconic Peranakan foods including rendang and stir-fry kangkong leaves with dehydrated mini shrimp. Tammi Kwok. CC BY 2.0.

Baskets of desserts including the iconic nyonya kuih, coconut confections made from glutinous rice and pandan. Chotda. CC BY-NC-ND 2.0. 

Despite being a minority, Peranakan culture has also infused itself into nearly every plate in the region. From iconic dishes like asam laksa (a spicy seafood noodle soup served with mint and ginger) to chendol (a shaved ice dessert slathered in coconut milk, palm sugar syrup, and other sweet treats), Peranakan cuisine—or Nyonya cooking—has created a unique palette that is representative of the region’s multiethnic populace. Not only is the cuisine widespread within the region, but also proof of the prolific trade that once flourished in the past.

In 2016, the Journal of Ethnic Foods published a study on the historical perspectives of Nyonya cuisine in Malaysia, finding that Peranakan cooking was simply an extension of the “cultural borrowing and cultural innovation through contact with local ingredients.” As a trading hub, Peranakan cuisine evolved to include Thai, Indian, Dutch, Portuguese and English cooking techniques.

Despite these rich contributions, the knowledge of Peranakan culture is fading. In a personal blog, Peranakan descendant Shahan Cheong details how the destruction of World War II all but obliterated history and routine along the Malacca Strait. Although pieces of Peranakan culture survive through architecture, styles of dress, food and decor, few living descendants can actively recount the story behind each historical artifact and site.

Guo Pei’s creations were loosely inspired by Peranakan fashion; they were showcased at the summer 2019 Asian Civilizations Museum exhibition in Singapore. Courtesy of Rhiannon Koh.  

However, there have been efforts to revitalize Peranakan culture. In the summer of 2019, the Asian Civilizations Museum in Singapore housed pieces by renowned designer Guo Pei. Part of the exhibit showcased several dresses and wedding gowns emulating the beads and colors of Peranakan fashion. A few months later in November, Miss Malaysia-Universe donned a Peranakan-themed national costume to symbolize the beauty and multicultural heritage of Malaysia. In 2020, the New Straits Times ran a piece on the enduring legacy of Peranakan fashion; styles like the kebaya dress and the staple cotton sarong are still worn. Ultimately, historical records and other forms of art like cultural plays have been crucial in reviving dusty memories of the Peranakans’ grand past.

Rhiannon Koh

Rhiannon earned her B.A. in Urban Studies & Planning from UC San Diego. Her honors thesis was a speculative fiction piece exploring the aspects of surveillance technology, climate change, and the future of urbanized humanity. She is committed to expanding the stories we tell.

‘Malaysia’s Banksy’ Brings Art Lovers—and Overtourism—to Penang

Ernest Zacharevic is a Lithuanian-born artist who made his mark creating iconic street murals on the island of Penang in Malaysia. Despite good intentions, Zacharevic’s work prompted the rise of tourist attractions that lack the soul and authenticity that made Penang a UNESCO World Heritage Site in the first place. 

 The iconic “Little Children on a Bicycle” mural in Penang. Yaopey Yong. Unsplash. 

Penang’s historical capital, George Town, was officially inscribed as a UNESCO World Heritage Site in 2008. Since the 18th century, this Malaysian city has been a prolific hub of cultural and commercial exchange. Today, it remains a multicultural hot spot. George Town is also home to a unique layout of mixed architecture that also reflects the region’s history. From its colonial-style British office buildings to its rustic Chinese shophouses, George Town’s mismatched grid of alleyways and side streets bolsters the place’s almost stuck in time sentiment. To further enhance George Town and its diverse history, the George Town Festival was launched in 2010 as a platform for dance, theater and other regional artistic endeavors.

In the midst of this budding art movement, Lithuanian-born artist Ernest Zacharevic began to make his literal mark on the walls of George Town. As an experimentalist known by some as “Malaysia’s Banksy,” Zacharevic’s style revolves around ever-changing concepts, manifesting in his preference for outdoor art. Zacharevic’s primary interest lies in the relationship between art and the urban landscape. Consequently, he mainly flits between stencil, spray and other types of tools conducive to dynamic and public pieces.  

One of the more famous interactive pieces. Yaopey Yong. Unsplash. 

Although local pieces funded by Sculpture At Work also grace the walls of George Town, Zacharevic’s pieces are the main attraction thanks to the George Town Festival 2012 project “Mirrors George Town.” His iconic and sometimes interactive pieces like “Little Children on a Bicycle” and “Brother and Sister on a Swing” became hot-ticket items for both visitors and locals alike to experience. The open-air exhibitions became so popular that various travel blogs offered the best walking maps for viewing the murals.

“The Little Boy with Pet Dinosaur” and “Boy on a Bike” murals side by side. Travelationship. CC BY-NC-ND 2.0. 

In 2013, Chairman of Penang Global Tourism Ooi Geok Ling felt that Ernest Zacharevic “captured the essence of Penang. I know he spent a lot of time here, soaking it all in when he was visiting. He could translate that into his murals.” Ling also believed that Zacharevic’s influence would also help to expand the reach of local artists and small galleries in the city. Indeed, most of Zacharevic’s pieces are reflective of the city and country’s diverse populace. Murals portray children cycling through the city, a painter attending to a pair of clogs, and even more modern scenes of phone booths and curious cats.  

Since the creation of these murals, Penang has experienced an influx of “Instagram tourists” and the subsequent boom of businesses that cater to them. The town’s soul, as the South China Morning Post wrote, has been “warped.” Before the worldwide lockdown, older buildings in George Town had begun renovating in a way that catered to foreign tastes. Cookie-cutter coffee shops, museums and art galleries began lining the centuries-old landscape, sapping away at the gritty authenticity of the once safely obscure town.

In response to this commercialization, Ernest Zacharevic made a statement on his Instagram in July 2019. He lamented, “Myself and many others blame my work for Armenian Street being a center of [the] tourist route in Penang.” He called the construction of Instagram-friendly places a “circus” and a threat to George Town’s status as a UNESCO World Heritage Site.

Since the worldwide lockdown, however, locals have made it back into the spotlight. Though the Penang economy today is largely devoid of tourist dollars, the city is also free of the overtourism and traffic jams that congested its streets. Nikkei Asia reports that locals now have the chance to reclaim spaces that gentrification took away. Hawker stalls and other peddlers are also refocusing on the needs of residents and the smaller but more consistent business they provide. Local shopkeepers feel that the lockdown has provided the city an unexpected but much-needed reset button. In the wake of this worldwide pause, locals are starting to explore more sustainable possibilities—ones that don’t compromise the historical integrity of George Town or the well-being of its residents.

Rhiannon Koh

Rhiannon earned her B.A. in Urban Studies & Planning from UC San Diego. Her honors thesis was a speculative fiction piece exploring the aspects of surveillance technology, climate change, and the future of urbanized humanity. She is committed to expanding the stories we tell.