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

• Published in: Ethnicities
• Main Author: Neo D.H.J.; Ngo S.-S.; Heng J.G.K.
• Format: Article
• Language: English
• Published: SAGE Publications Ltd 2020
• Online Access: https://www.scopus.com/inward/record.uri?eid=2-s2.0-85070962614&doi=10.1177%2f1468796819867399&partnerID=40&md5=2ee78a753f43f857105db18cd13f4427

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. © The Author(s) 2019.