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The Peranakan Phoenix: on how the phoenix

became an emblem of the Peranakan Chinese in
Singapore from the 1980s–2020s

Toh, Ying Li

2023

Toh, Y. L. (2023). The Peranakan Phoenix: on how the phoenix became an emblem of the
Peranakan Chinese in Singapore from the 1980s–2020s. Master's thesis, Nanyang
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 THE PERANAKAN PHOENIX:
ON HOW THE PHOENIX BECAME AN EMBLEM OF THE
PERANAKAN CHINESE IN SINGAPORE FROM THE 1980S–2020S

TOH YING LI
School of Art, Design and Media
2023
 THE PERANAKAN PHOENIX:
On how the phoenix became an emblem of the
Peranakan Chinese in Singapore from the 1980s–2020s

TOH YING LI

SCHOOL OF ART, DESIGN AND MEDIA

A thesis submitted to the Nanyang Technological University in partial

fulfilment of the requirement for the degree of Master of Arts (Research)

2023

2
 Statement of Originality

I hereby certify that the work embodied in this thesis is the result of

original research, is free of plagiarised materials, and has not been

submitted for a higher degree to any other University or Institution.

30/01/2023

................. ...........................

Date Toh Ying Li

3
 Supervisor Declaration Statement

I have reviewed the content and presentation style of this thesis and declare

it is free of plagiarism and of sufficient grammatical clarity to be examined.

To the best of my knowledge, the research and writing are those of the

candidate except as acknowledged in the Author Attribution Statement. I

confirm that the investigations were conducted in accord with the ethics

policies and integrity standards of Nanyang Technological University and

that the research data are presented honestly and without prejudice.

[19.05.2023]

................. ...........................

Date Associate Professor Danne Ojeda

4
 Authorship Attribution Statement

This thesis does not contain any materials from papers published in peer-reviewed
journals or from papers accepted at conferences in which I am listed as an author.

30/01/2023

................. ...........................

Date Toh Ying Li

5
Acknowledgements
First and foremost, I would like to thank my supervisor Associate Professor Danne Ojeda
for her continuous advice and kind guidance over the many years. To Associate Professor
Chul Heo, thank you for the helpful insights in your classes and to Chia Hsiao Ching, thank
you for your patient support throughout this research journey. To the Gunong Sayang
Association, Peranakan Sayang, Hall of the Phoenix and Peony, Peranakan Tiles, authors
of Peranakan books, Hwei F‘en Cheah and Josephine Chia, thank you for taking the time to
speak to me about Peranakan culture and my research. I would also like to thank Chow
Chia Yung from the National Archives of Singapore for granting me access to their
archival material. To my family and friends, thank you for your encouragement and
unwavering support. Finally, I would like to thank my Peranakan grandparents for
introducing me to this culture and being a constant source of inspiration in my research.

6
Table of Contents
I. Abstract .............................................................................................................................9
II. Introduction ....................................................................................................................10
Definition of Terms ........................................................................................................11
Research Aim and Objectives .........................................................................................20
Research Approach and Methodology ............................................................................20
Timeline of Events Derived from the Research ..............................................................25
III. Chapter 1: The Revival of Peranakan Culture ...............................................................27
A Brief History of Peranakans in Singapore ...................................................................27
The Peranakan Revival ...................................................................................................30
Ho Wing Meng‘s Books on Peranakan Material Culture ................................................30
Support from the Singapore Government .......................................................................33
The Effects of Museums and their Exhibitions ...............................................................36
The Straits Chinese Gallery at the National Museum of Singapore, 1985–1989 ............36
Gilding the Phoenix at the National Museum of Singapore, 1990–1991 ........................39
The Peranakan Museum, 2008 ........................................................................................41
Domestication and Feminisation .....................................................................................42
Increased Visibility of Peranakan Material Culture ........................................................43
IV. Chapter 2: The Phoenix Rebrand of Peranakan Associations ......................................47
The Peranakan Association .............................................................................................47
Gunong Sayang Association ...........................................................................................73
Chapter Findings.............................................................................................................78
V. Chapter 3: Phoenix Branding by Other Peranakan Groups and Works .........................85
The NUS Baba House .....................................................................................................85
Hall of the Phoenix and Peony........................................................................................91
Phoenix Rising by Hwei-Fe‘n Cheah ..............................................................................98
The Peranakan Sayang cultural organisation ................................................................104
Chapter Findings...........................................................................................................119
VI. Chapter 4: Conclusion ...............................................................................................122
VII. Appendix ...................................................................................................................129
Meanings of Phoenix Motifs in Material Culture..........................................................129
The Emblem .................................................................................................................131

7
 Interview Transcripts ....................................................................................................134
VIII. References ...............................................................................................................166

8
I. Abstract

The phoenix is a popular motif found in Peranakan Chinese artefacts. While it has been
used for centuries as an auspicious symbol in Chinese culture, its role as an emblem of the
Peranakan Chinese is a relatively recent phenomenon. Particularly in Singapore, it has been
extensively used by Peranakan Chinese associations, museums, historians and advertisers
to construct an ethnic identity in a modernised Singapore. This study examines historical,
cultural and social factors that led to the ascendancy of the phoenix as an emblem for the
Peranakan Chinese.

There is a general consensus from prominent Peranakan Chinese scholars (such as Hwei-
Fe‘n Cheah in Phoenix Rising, 2010) that the phoenix has become an emblem of Peranakan
Chinese identity, but scant research has been conducted on why this happened and how
different players, cultural factors and historical events triggered this phenomenon. To
respond to this research gap, my thesis focuses on exploring the process from the 1980s-
2020s that led to the phoenix becoming an emblem of Singapore‘s Peranakan Chinese. My
research will conduct a visual analysis of the different phoenix representations in branding
materials and logo designs, and a textual analysis of related books, press releases and
articles to examine the relationships and gender roles in Peranakan Chinese culture that led
to the selection of the phoenix. Interviews with members of Peranakan associations,
authors and organisations involved in the logo and branding decisions will also be
conducted to supplement the investigation.

The importance of this research is threefold. First, it provides deeper understanding of a

recent, emerging trend in Peranakan Chinese culture that has not yet been analysed in
greater depth. Secondly, the research heightens the understanding of how emblems are
chosen and the power held by museums, academics, associations and organisations in
shaping narratives and perceptions of a certain culture. Finally, it promotes an appreciation
of Peranakan Chinese culture which is still in need of preservation to ensure its
continuation and survival in the modern world.

9
II. Introduction

For centuries, the Chinese have used the phoenix as an auspicious motif. Its role as an
emblem that represents the Peranakan Chinese is a relatively recent phenomenon.
Particularly in Singapore, the phoenix has increasingly been used by Peranakan Chinese
associations, museums, historians and organisations as a way to construct their ethnic
identity. This study, which focuses on the events and groups that contributed to the rise of
the phoenix emblem in Singapore from the 1980s to 2020 examines historical, cultural,
symbolic and social factors that led to the ascendancy of the phoenix as an emblem for the
Peranakan Chinese in the city state.

While there is a general consensus among prominent Peranakan Chinese scholars (such as
Hwei-Fe‘n Cheah in Phoenix Rising, 2010) that the phoenix has grown to be an emblem of
Peranakan Chinese identity, scant research has been conducted on the different players and
forces behind this phenomenon. My research will conduct a visual analysis of the different
phoenix representations in branding materials, magazine articles, posters, logo designs and
a textual analysis of related books and press releases to examine the factors that led to the
emergence of the phoenix emblem. Interviews with members of Peranakan Chinese
associations, authors and organisations involved in the logo and branding decisions will
also be conducted to supplement the investigation.

The Peranakan Chinese are an ethnically mixed community descended from intermarriages
between Chinese migrant traders and indigenous women from the Malay Archipelago since
the early 15th century (Koh, 2013). The Peranakan Chinese resided in mainly Singapore,
Penang, Malacca and Indonesia – although some of the community can also be found in
Myanmar and Thailand (National Heritage Board, 2023) (Knapp, 2012, pp. 6-13). In
Singapore, the Peranakan Chinese adopted local Malay culture in their clothing and
cooking, whilst retaining their ethnic Chinese roots and decorating their households with
traditional Chinese motifs and imagery. Like all cultures, the Peranakan Chinese are not a
static community and have evolved to face different challenges and categorisations during
the course of its history (more on this will be discussed in Chapter 1) (Poomduang, 2021, p.
239) (Naylor, 1996, pp. 1-13).

Traditionally, the Peranakan Chinese are known for their heavily ornamented ―material
culture‖ – a term that has now become synonymous with their elaborate wooden furniture,
beadwork, ceramics, jewellery and textiles from late 19th to early 20th century Peranakan
Chinese homes. Produced and commissioned mostly in the 1870s-1920s during the

10
Peranakan Chinese‘s peak period of economic affluence, these were often decorated with
intricate flora and fauna patterns from Chinese mythology, which were believed to bring
auspicious blessings to a Peranakan Chinese household (Chee L. , 2007, p. 13). The
phoenix in particular appears frequently in Peranakan Chinese ornamentation (Tan H. ,
2003).

Definition of Terms

Prior to delving into the rest of the introduction, it is essential to establish a comprehensive
understanding of key terminologies that will be used consistently throughout this thesis
when discussing the research. Within the realm of Peranakan discourse, certain key terms
have been used interchangeably or with varying interpretations by different academic
scholars. Therefore, this section aims to provide clarity and coherence for the reader
regarding the specific meanings ascribed to these terms within the context of this thesis.

Peranakan Terminologies

Previous writers have often used the terms ‗Peranakan,‘ ‗Peranakan Chinese,‘ ‗Baba and
Nyonya‘ and ‗Straits Chinese‘ interchangeably to describe the Peranakan Chinese despite
the slight differences in these terms. The following section provides clarification regarding
their meanings as used in my thesis.

Peranakan vs. Peranakan Chinese

In Malay, Peranakan means ‗locally born‘ and this term can be used to describe any
descendants of mixed-heritage communities in the Malay Archipelago such as the
Peranakan Indians, Peranakan Chinese, Peranakan Muslims and Peranakan Eurasians.
Towards the late nineteenth century, ‗Peranakan‘ was sometimes used as a shortened
version of peranakan cina (Peranakan Chinese), referring to the Peranakan Chinese (Cheah
H.-F. , 2010, pp. 19-21). In the context of my thesis on the Peranakan Chinese and for
brevity purposes, ‗Peranakan‘ will be used as a shortened version of ‗Peranakan Chinese‘
unless otherwise specified.

11
Baba and Nonya

The terms ‗Baba‘ and ‗Nonya‘ are used to refer to Peranakan men and women respectively.
The term ‗Baba Nonya‘ has usually been used to refer to the Peranakan Chinese but
occasionally also includes the broader Peranakan community (including Peranakan Indians
and Eurasians). In the context of my thesis on the Peranakan Chinese, ‗Baba and Nyonya‘
will be used to refer to solely Peranakan Chinese men and women.

Straits Chinese
Another phrase commonly used to describe the Peranakan Chinese is ‗Straits Chinese.‘
However, there are some discrepancies between different writers on Peranakan culture
regarding the exact definition of ‗Straits Chinese.‘ Some writers use the term to refer solely
to the Peranakan Chinese. Other writers define the Straits Chinese as a broader term that
refers to any Chinese born in the Straits Settlements (the British-controlled parts of the
Malay Archipelago), regardless of whether they possess the mixed bloodlines and culture
of the Peranakans (Kee M.-Y. D., 2004, p. 29). In my thesis, ‗Straits Chinese‘ will be used
to refer to this broader Chinese community and will not be considered synonymous with
‗Peranakan Chinese‘ unless otherwise specified.

Phoenix Terminologies

Due to the complexities of mythologies and translations made between languages, there are
several different terms that have been used interchangeably when describing the phoenix.
The following section provides clarification regarding their meanings as used in my thesis.

Phoenix vs. Feng Huang [凤凰]

The Peranakan phoenix originates from a mythical bird named feng huang [凤凰] in Chinese
mythology. The Chinese term: ‗feng huang‘ was translated as ‗phoenix‘ by English-
speaking scholars due to the visual similarities between the Chinese feng huang [凤凰] and
the Western phoenix from Greek and Egyptian myths. Both mythical birds were visually
similar, often depicted brightly coloured with long tail feathers (Priest, 1942, p. 99). Some
Chinese scholars have argued that translating feng huang [凤凰] as ‗phoenix‘ is a misnomer,
since the Western phoenix has very different symbolic meanings and mythologies.
Nevertheless, the term ‗phoenix‘ still continues to be used by scholars as the accepted
English translation of feng huang [凤凰] (Zhu, 2020, p. 122).

12
The Peranakan community likewise uses ‗phoenix‘ as the English translation of feng huang
[ 凤 凰 ]. In various Peranakan events, posters, books and announcements made by the
Peranakan Association and various Peranakan writers, the term ‗phoenix‘ is consistently
used when referring to the feng huang [凤凰] (Cheah H.-F. , 2010, p. 327).

In my thesis, the term ‗phoenix‘ will be used when referring to the feng huang [凤凰]
(Chinese phoenix). The term ‗phoenix‘ will not be used to describe the Western phoenix,
unless otherwise specified.

Phoenix vs. Vermilion Bird

In Chinese mythology, the phoenix and the Vermilion Bird (the Red Bird) originated as
two different mythical creatures during the pre-Qin and Han dynasties (before 221 BC).
The phoenix [凤凰] was a mythical bird that appeared during times of peace, while the
Vermilion Bird [朱雀] was a mythical constellation that protected the Southern compass
direction (Chen, 2014, pp. 133-136).

When the two birds were brought into Taoist teachings, their meanings were combined into
a single entity due to their similar appearance and status as divine birds. After the Song
Dynasty (960–1279 AD), scholars began to use ‗phoenix‘ and ‗Vermilion Bird‘
interchangeably (Chen, 2014, pp. 133-136). The Chinese scholar, Wang De Wei, considers
the Vermilion Bird to be an incarnation of the phoenix (Wang, 2009, pp. 49-52). The books,
‗Symbolism in Chinese Art‘ and ‗Outlines of Chinese Symbolism and Art Motives‘ also
use ‗Vermilion Bird‘ and ‗phoenix‘ as equivalent names for the same mythical bird (Yetts,
1912, p. 24) (Williams, 1976, p. 190).

The Peranakan community similarly uses the terms ‗phoenix‘ and ‗Vermilion Bird‘
interchangeably. Peranakan scholars Ho Wing Meng and Kee Ming-Yuet both used the
term ‗phoenix‘ when describing the Vermilion Bird (Ho, 2008, p. 43) (Kee M.-Y. D., 2004,
p. 141). The Peranakan Association also referred to the Vermilion Bird as a ‗phoenix‘
during their official logo announcement (The Peranakan Association , 2000).

In my thesis, ‗Vermilion Bird‘ will be considered equivalent to the phoenix as an alternate

name of the same mythical creature.

13
There are two main traditional discourses surrounding the phoenix motif in Peranakan
Chinese culture. First, the phoenix motif is seen as an auspicious creature from Chinese
mythology that symbolises harmony and benevolence. Its feathers are often depicted using
five main colours, 1 representing the ―five cardinal values of righteousness, propriety,
wisdom, humility and sincerity‖ (Kee M.-Y. D., 2004, p. 141).

Figure 1: Changing discourses regarding the phoenix motif, Toh Ying Li, 2023.

Secondly, the phoenix is a symbol representing feminine yin [阴] energy (see footnotes for
more information).2 Since the Ming-Qing dynasty in China (1368-1912 AD), the phoenix
has been popularized as a feminine symbol due to its usage in imperial settings as an
emblem of the empress (Zhu, 2020). The Peranakan Chinese, who emerged as a culture
during this period, used the phoenix as a feminine symbol to represent different roles of
Peranakan women such as the bride (at weddings)3 or the matriarch (in domestic situations).
Typically, the phoenix is traditionally paired with the Chinese dragon which represents
masculine yang [阳] energy (Kee M.-Y. D., 2004, p. 141).

In recent decades, a new discourse has emerged – the notion that the phoenix is an emblem
representative of the Peranakan Chinese. Increasingly, the phoenix has become the face of
the culture: it is now used in the branding of various media relating to the Peranakans,
regardless of whether the content directly relates to the phoenix. Edmond Chin‘s 1991 book
on Peranakan Chinese jewellery was named ‗Gilding the Phoenix,‘ despite the book
focusing on general Peranakan Chinese jewellery items. The 2002 documentary ‗On the
Trail of the Phoenix‘ and the 2005 Peranakan Annual Convention named ‗Raising the
Phoenix‘ used the phoenix motif in their titles and posters, despite their content focusing on

1
The phoenix is sometimes alternatively depicted entirely in red to represent the summer and warmth from the sun.
2
The phoenix has not always been a feminine symbol in Chinese mythology. In the Confucian period (551-479 BC), the
phoenix was considered masculine as it was once described as ‗the king of all birds.‘ However, the Peranakans emerged as
a culture during the Ming-Qing dynasty (1368-1912 AD), and were more familiar with the feminine interpretation of the
phoenix, as which was common during this time period.
3
In Peranakan weddings, the bride‘s attire and hair accessories are covered in phoenix motifs. She wears the ―phoenix collar‖:
an embroidered ruffle designed to look like neck feathers from a phoenix. The bride sometimes carries a red phoenix
ornament called the ‗kemunchak‘ which is a symbol of virginity and fidelity.

14
general Peranakan culture (Cheah H.-F. , 2010, p. 327). Most notably, the phoenix was
recently made the official logomark of three major Peranakan organisations in Singapore:
the Peranakan Association of Singapore, the Baba House Museum4 and the Gunong Sayang
Association,5 marking its ascent as an emblem of the Peranakan community. The focus of
this research paper pertains to an investigation into the usage of the phoenix as an emblem
by high profile Peranakan organisations, associations, museums, and academics.
Nevertheless, it is imperative to acknowledge that the Peranakan community in Singapore
is diverse and far from being a homogenous entity. While the phoenix emblem has been
repeatedly used as an emblem by prominent Peranakan associations and organisations, it is
important to note this research does not intend to position the phoenix as the only emblem
used by the entire Peranakan community, or suggest that the phoenix holds universal
significance as an emblem to all everyday Peranakans in Singapore. The research instead is
an investigation of a constructed phenomenon undertaken by specific high profile
Peranakan groups and individuals in Singapore, and to understand the motivations and
factors that led them to use these new representations of the phoenix.

There is demand for more academic research on Peranakan culture. Dr Lye Wai Choong, a
collector of Peranakan artefacts and frequent collaborator of the Peranakan Museum stated
in a 2016 article that there is a ―dearth of scholarly material‖ on Peranakan material culture
and that he hopes for more ―masters or doctorates to thoroughly research‖ the subject. Such
academic research, he stresses, can help with the culture‘s continued survival and
recognition (Chee, 2016, pp. 4-7).

Similarly, Lee Su Kim wrote in a 2008 journal article that despite a slight revival of interest
in Peranakan culture in the 1970s onward, the heritage as a whole is still ―gradually
disappearing [as evidenced by] diminishing numbers of Peranakans today who actively
observe or practice the culture‖ (Lee, 2008, pp. 161-170). Continued scholarship is thus
important to document and preserve this fading culture and to continue to inspire an
interest in the continuation of modern Peranakan Chinese identity in contemporary
Singapore. More importantly, the bulk of academic writings on Peranakan culture have a
tendency to focus on the Peranakan ‗Golden Age‘ from the 1830s–1920s, when their
economic wealth was at its peak. Not as much research has been conducted on more recent,
evolving aspects of Peranakan culture. Instead of viewing the culture as a fossilized relic of

4
The National University of Singapore (NUS) Baba house is a museum, converted from the Peranakan ancestral home
residence of the Wee family.
5
Singapore‘s Peranakan association for the performing arts.

15
the past, my research therefore plans to look at the more recent developments in modern
Peranakan culture – moving away from the heavily studied Peranakan ‗Golden Age.‘

For the purpose of the Master‘s thesis, the social, political and cultural context of my
research focuses on Singapore. Preliminary research showed that the use of the phoenix
emblem is prevalent in this country – both of Singapore‘s Peranakan associations feature
the phoenix in their main logo. In addition, many Peranakan exhibitions, festivals,
advertisements, books and essays that employ the phoenix emblem are Singapore-based.6
This is also the case in Indonesia, where their two Peranakan associations also use the
phoenix in their logos: the Association of Peranakan Tionghoa uses a yin yang [阴阳]
phoenix emblem and the Persaudaraan Pertiwi uses an abstract yin yang [阴阳] phoenix and
dragon emblem. This is unlike Malaysia where none of the five Malaysian Peranakan
associations have incorporated it as their main logos. 7 There are some signs that the
Malaysian Peranakan associations may eventually adopt phoenix emblems as well (e.g. the
Straits Chinese Penang Association designed a phoenix logo for their 100th anniversary
celebration in 2020, the Persatuan Peranakan Cina Melaka used a phoenix and peony
emblem when hosting the 2019‘s Baba Nyonya Convention), Nevertheless, none of the
Malaysian associations have adopted the phoenix as their main emblem thus far and for the
purposes of this Master‘s thesis, my research will focus on Singapore where there is a
strong presence of phoenix emblems.

My research focuses on the 1980s–2020s as this period contains key events that shaped the
formation and selection of the phoenix as a Peranakan Chinese emblem. The 1980s–1990s
was a period where permanent museums exhibitions relating to Peranakan culture in
Singapore first began to open. These were responsible for shaping initial narratives
surrounding the Peranakan Chinese discourse (see: III. Chapter 1) (Yoong, 2013). Prior to
the 2000s, the various Peranakan associations did not use phoenix logos but instead utilised
logos with different motifs (see: IV. Chapter 2). In the 2000s–2020s, numerous Peranakan
Chinese organisations then began rebranding and discarding earlier motifs for the phoenix:
the 1980s–2020s thus contain the main crux of events that chronicles the selection of the
phoenix emblem.

6
The majority of phoenix related Peranakan media are Singaporean in origin: See ―Edmond Chin‘s 1991 book, ‗Gilding the
Phoenix‘, the 2002 documentary ‗On the Trail of the Phoenix‘, the 2005 Peranakan Annual Convention ‗Raising the
Phoenix‘, the Singapore Peranakan Association logo, the Gunong Sayang Association logo and the Baba House logo.
7
The logos used by the five Malaysian Peranakan associations are as follows: 1. A traditional basket; 2. Ritual offerings; 3. A
logotype forming geometric patterns; 4. Flag containing a castle; 5. Logotype with no symbol

16
It should also be noted that while the Peranakan Chinese are the focus of my research, there
are also smaller communities of Peranakans known as the Peranakan Indians (the Chitty
Melaka), Peranakan Muslims (the Jawi Peranakans) and Peranakan Eurasians (the Kristang)
in Singapore. However, my research will not focus on these communities as they did not
adopt the phoenix emblem for their cultures. The Peranakan Indian (Chitty Melaka)
Association in Singapore uses a yellow flower as its emblem. The logomark of the Kodrah
Kristang (Singapore‘s Eurasian Peranakan initiative) uses a wheel containing a crescent
moon and stars. Meanwhile, the Peranakan Muslim community in Singapore used a wreath
enclosing Arabic script as their logo in the historic ‗Jawi Peranakkan‘ newspaper (Islamic
Arts Magazine, 2016). An emblem comprising mainly Arabic script is favoured by the Jawi
community: the Penang Jawi Peranakan Heritage Society uses Arabic script as its logo, and
various other Jawi community groups in Singapore do so as well.8 It is possible that the
Peranakan Muslim community used textual Arabic scripts in their emblems due to Islamic
teachings that forbid drawing the image of living things (Supana, 2018, p. 538).

Another possible reason why the Peranakan Indian, Muslim and Eurasian community did
not favour the phoenix is that these communities descended from Indian, Arab and
Portuguese immigrants (Hassan & Abdillah, 2021, p. 1). The phoenix‘s status as a symbol
from Chinese mythology may not have resonated with them as much as it did for the
Peranakan Chinese community, who descended from Chinese immigrants and had stronger
Chinese roots.

Two main scholars have commented that the phoenix has become a representation of
Peranakan Chinese identity: Ho Wing Meng and Hwei-Fe‘n Cheah. Ho Wing Meng, a
pioneering writer on Peranakan Chinese material culture, was among the first to argue that
the phoenix should be seen as a defining Peranakan Chinese emblem. On page 43 in
‗Straits Chinese Porcelain,‘ he asserts that ―the phoenix […] became, to all intents and
purposes, the characteristic emblem of Straits Chinese culture – and rightly so.‖ He cites
the phoenix as a symbol of the southern cardinal direction in Chinese mythology 9 as a
reason why it is representative of the Peranakan Chinese community. The Peranakan
Chinese, he argues, had originally migrated southwards from China and the phoenix best
encapsulates their ancestral roots and southern identity (Ho, 2008, p. 43). These remarks

8
In Singapore, the Jawi Literary Society (Pertubuhan Warisan Anak Jawi) and a Jawi performing arts group (Kompang Jawi
Singapura) are represented by an emblem of a wreath enclosing Arabic script.
9
According to Chinese mythology, the four different cardinal directions are protected by different mythical creatures. The
north is protected by the tortoise, the south is protected by the phoenix, the east is guarded the dragon and the tiger protects
the west.

17
were made by Ho in 1983, well before the proliferation of phoenix emblems in the media,
museums and Peranakan Chinese associations.

Nearly three decades later, Hwei-Fe‘n Cheah in her book ‗Phoenix Rising‘ similarly notes
the phoenix has become ―a representation of Peranakan [Chinese] culture,‖ citing its
widespread use in logos, documentary titles and events by the Peranakan Chinese
community (Cheah H.-F. , 2010, p. 327). Her book, however, was on the evolution of
Peranakan Chinese needlework and observations on the phoenix were cursory and limited
to only the general acknowledgement of the phoenix‘s elevated role in Peranakan Chinese
society.

My research will draw on ideas of the ‗invented tradition‘ in relation to how the phoenix
became an emblem in Singapore‘s Peranakan Chinese culture. Particularly relevant is Eric
John Hobsbawm and Terence Osborn Ranger‘s essay on ‗The Invention of Tradition,‘
which highlights that certain aspects of culture and ―traditions which appear or claim to be
old are often quite recent in origin and sometimes invented.‖ Hobsbawn explains in his
work that the usage of old symbols in ways that ―extend the old symbolic vocabulary
beyond its established limits‖ can be a form of an invented tradition. These new traditions
are often rooted in a desire to ―establish continuity with a suitable historic past‖, similar to
the current practice amongst certain Peranakan groups where the traditional phoenix motif
is now used as a Peranakan insignia: repeatedly printed and presented in materials and
backdrops of Peranakan events, festivals and media.

These new cultural values and norms are often created by ―a process of formalization and
ritualization‖ and are enforced through repetition. Significantly, Hobsbawn points out that
closer study of discourse allows one to better recognise the role historians play in shaping
cultural narratives and biases they introduce from their different ―class, social position and
intellectual training‖ (Hobsbawm & Ranger, 1983, pp. 1-14). The two authors also observe
that new traditions are often created during a period where society experiences a ―rapid
transformation‖ or ―sudden change that weakened old patterns of behaviour‖ (Hobsbawm
& Ranger, 1983, pp. 4-5). In Singapore, this period of rapid development happened from
the 1980s-2000s where there was a slight revival of interest in Peranakan culture, leading
to its rapid ―museumization‖ and the opening of the first Peranakan exhibitions in many
major museums in Singapore (Kwok, 2015).

My decision to do a visual analysis of phoenix motifs is informed by the academic

discourse surrounding the study of symbols in culture. Symbolic anthropologist Clifford

18
Geertz argues that culture can be understood through the study of symbols, describing
culture as ―a historically transmitted pattern of meanings embodied in symbols, a system of
inherited conceptions expressed in symbolic form by means of which men communicate,
perpetuate, and develop their knowledge about and attitudes toward life‖ (Geertz, 1973, p.
89). Understanding these meanings can help shed greater light and understanding of the
cultures they are present in. Fellow symbolic anthropologist Tahal Asad, however,
disagrees with Geertz‘s assertion that research should be conducted by merely decoding a
culture‘s system of symbols. Instead, Asad is more interested in investigating ―how
symbols come to be constructed and accepted as natural and authoritative, while others are
opposed.‖ He argues that inquiry should focus on understanding ―the conditions (discursive
and nondiscursive) that explain how symbols come to be constructed, and how some of
them are established as natural or authoritative as opposed to others‖ (Asad, 1993, p. 31).

I support Asad‘s view that the study of symbols should not only be linked to decoding their
various meanings: the process that led to their creation should also be studied in greater
depth. A more in-depth study of the process and relationships at play beneath the selection
of the phoenix, may therefore shed new light.

Asad‘s anthropological perspective aligns with constructionism – similar to Hobsbawm and

Ranger‘s view that cultural identities are constructed, often as a result of political and
economic factors and are not innate or fixed. These perspectives challenge Geertz‘s
primordialist ideologies which instead consider ethnic identities to be deeply ingrained
within ―human evolutionary psychology‖ and therefore largely static and unchanging
(Kaufmann, 2012, pp. 2-13). Geertz believes that cultures and ethnic groups are shaped by
their ―primordial loyalties‖ which are intrinsic attributes that perpetuate across generations
and serve as binding forces for communities (Geertz, 1994). In contrast, Hobsbawn and
Ranger assert that cultural groups are held together by ―a constructed or invented
component‖ often alongside a ―tailored discourse‖ (Hobsbawm & Ranger, 1983, p. 14).
Asad similarly agrees, underscoring the importance of exploring the "historically
distinctive disciplines and forces" that have led to the adoption of symbols as a crucial
pursuit for students of anthropology (Asad T. , 1983, pp. 237-259).

In the context of my study on the selection of the phoenix emblem, my research supports
Hobsbawn, Ranger and Asad‘s views on constructionism – namely the notion that certain
cultural practises are constructed, often by prominent groups or leaders within the culture,
and often as a result of the pressures from political and economic change.

19
Research Aim and Objectives

The aim of my research is to investigate how the phoenix became an emblem of the
Peranakan Chinese in Singapore. It will focus on the processes that took place from the
1980s to the 2020s that resulted in the usage of the phoenix as an emblem and in branding
items by Peranakan Chinese associations, authors, museums and other organisations. This
research also raises secondary questions: Did the symbolic properties of the phoenix
influence its selection as an emblem? Were there any relationships between the various
Peranakan Chinese associations, museums, authors, organisations and did they influence
each other?

In order to address these questions, my research will aim to meet the following objectives:

1. To examine how and why the phoenix became an emblem representative of

Peranakan Chinese culture in Singapore
2. To understand the symbolic properties of the phoenix and identify if they
influenced its selection as an emblem
3. To explore potential interrelationships between Peranakan Chinese associations,
museums, authors, and organizations and examine their influence on the selection
of the phoenix as an emblem

Research Approach and Methodology

The research will be conducted via visual analysis, with historical contextualisation. I
conducted a visual analysis to unpack the symbolic meanings of the phoenix and will also
examine its historical context to uncover the different individuals and institutions involved
in its adoption as an emblem. A historical approach is chosen as a considerable portion of
my research will be conducted on prior events.

Visual analysis has been implemented to analyse the symbolic connotations in the various
representations of the phoenix. The visual analysis was conducted as follows: firstly, an
archive of sources is collated – consisting of photographs of branding materials, logomarks,
posters and other archival images containing the phoenix. These visual sources have been
gathered into the online database ―Airtable.‖ Next, the various phoenix representations are
sorted and categorised to identify patterns, evolutions and relationships between them.
Analysis of the phoenix representations is then conducted with reference to other books,
journals and press releases to examine their various symbolic meanings. The analysis takes

20
into consideration symbolic meanings from Chinese mythology as well as regional Malay
and Indonesian influences that could have shaped these representations. Finally, the social,
political, or cultural context during the production of these representations is examined to
glean insights regarding the selection of the phoenix.

Conducting a visual analysis is of importance when examining representations of the

phoenix, as while the phoenix may occasionally appear in textual form (e.g. in books, the
naming of Peranakan Chinese documentaries, event titles, festival names), these emblems
are primarily depicted in pictorial form. The analysis of such visual forms of the phoenix
can reveal significant insights into the stylistic choices, influences, and symbolism
embedded within these emblems. This presents a valuable and informative resource for
understanding the design processes and influences behind the creation of phoenix logos, as
well as providing insights into the desired image projected by Peranakan Chinese
organizations through their use of such emblems. Secondly, numerous scholars have noted
that visuals are often a crucial part of identity formation. Stuart Hall argues that cultural
identity is ―always constituted within, not outside representation‖ (Hall S. , 1990, p. 222).
Stephen Spencer similarly agrees that visuals are a ―powerful dimension for affirming
personal as well as collective identity‖ (Spencer, 2011, p. 111). It is therefore essential to
thoroughly analyse the phoenix‘s visual manifestations, as these are likely to have played a
key role in transforming the phoenix into an emblem capable of encapsulating Peranakan
Chinese identity.

Gillian Rose notes visual analysis can be conducted through identifying formal elements of
an image (colour, subject matter, composition, style, and expressive content), sorting the
images into a series of categories and then examining the frequencies and patterns that can
be observed within them (Rose, 2001, pp. 33-68).

Stephen Spencer similarly observes that visual analysis can be conducted by examining the
formal properties of an image (subject matter, lighting, composition), the image‘s style,
genre and tone, and also when the image is presented together with text, the effects of this
combination and the relationships between them (Spencer, 2011, pp. 132-166).

Umberto Eco emphasises the need for visual analysis to be done critically and
supplemented with contextual references about the time period and viewpoints of the
image‘s creator – to avoid the pitfalls of ―aberrant decoding.‖ Eco warns that ―[if] we do
not have access to the codes the artist or author had, we might be interpreting the message
from entirely the wrong standpoint‖ (Eco, 1980, pp. 131-150). Whitely similarly writes that

21
visual analysis should be ―conjoined to other types of analysis so that the visual scrutiny of
what can literally be seen can be studied in relation to reception, meaning and content‖
(Whitely, 1999, pp. 99-122).

In accordance with Rose, Spencer, Eco and Whitely, I will conduct a visual analysis by
first studying the formal properties in the image (subject matter, colours, line, style/genre,
composition and any text used in the images). The results from these categories will then
be analysed and their interpretations will be supplemented with social and historical
information to ground the work with contextual evidence.

Categories Concepts to Identify

- Phoenix motifs represented (e.g. phoenix in flight,
1 Subject Matter twin phoenixes etc.)
- Other motifs present in the image
- Colour schemes, complementary, contrasting
2 Colour & Saturation
colours, warm/cool colours, saturations

- Layout of the image, focal points, symmetry,

3 Composition
balance, harmony

- Thick, thin, tapered, curved, straight, vertical,

4 Line
horizontal, diagonal

5 Style & Genre - Potential influences of certain art periods (if any)

- Relationships between text and image

6 Text (if any)
- Connotations of chosen typefaces (if present)

- Identify potential meanings, in reference to

traditional Peranakan Chinese symbolism
Contextual Meanings /
7 - Examine archival sources directly released by the
Background Information
museums/associations and their reasons for using
the phoenix

Analysis of the various sources in these seven categories have been gathered, conducted
and consolidated via the database, Airtable. The link to this database can be accessed
through this link: https://airtable.com/shrtOkgFwdDqUXQkQ. The visual analysis of the
phoenix conducted is summarised in subsequent chapters.

22
Research has also been conducted via textual content analysis by studying the portrayal of
the phoenix in these following sources:

Primary sources:
- Logomark designs and branding materials from Peranakan Chinese organisations
- Logomarks from the Peranakan Association, Gunong Sayang Association,
Baba House Museum, Peranakan Sayang
- Quarterly publications from the Peranakan Association
- Archival records of The Peranakan Magazine
- Museum exhibition catalogues/publications
- Festive Expressions (National Museum, 1989)
- Gilding the Phoenix (Asian Civilisation Museum, 1991)
- Rumah Baba: Life in a Peranakan House (National Museum, 1998)
- Peranakan Museum Guide (Peranakan Museum, 2008)
- Photographs and press releases from the National Archives of Singapore
- Photographs from key museum exhibitions (e.g. the 1985 Straits Chinese
Gallery; the 1996 Rumah Baba exhibition at the National Museum)
- Press release from the opening of the 1985 Straits Chinese Gallery
- Posters where the phoenix is represented
- Posters from Peranakan Chinese festivals and events (e.g. 2000 Baba Las
Vegas gala dinner, 2005 Raising the Phoenix: Singapore‘s first Peranakan
festival)
- Archival records on policies released by the Singapore government
- Appointment of the Museum Development Committee (MDC) at the
National Museum; 1989 report by the Advisory Council on Culture and the
Arts (ACCA); 2000-2008 Renaissance City Plan I, II, III; 2008 Heritage
Development Plan
- Interviews with Peranakan Chinese organisations and groups
- See the appendix for the full transcripts

Secondary sources:
- Books/journal articles

23
Interviews with Peranakan Chinese associations and organisations involved in the logo and
branding decisions were undertaken to supplement the investigation. Due to the COVID-19
pandemic, interviews were conducted via email and Zoom with recordings taken and
transcribed (with the interviewee‘s permission). Transcripts of all interviews conducted are
included in the appendixes of this report.

Qualitative analysis of data from interviews and textual sources have been conducted
through three phases of ―meaning coding,‖ ―meaning condensation‖ and ―meaning
interpretation‖ as defined by Steinar Kvale (2007, pp. 104). During the first phase of
analysis, transcribed interviews or textual sources will be analysed to identify different
discourses, power relations and ideas present in the data. The second phase of data analysis
would then sort and categorise all of these identified concepts, relationships and discourses.
Finally, the third stage of the data analysis involved examining relationships between these
various categories to arrive at conclusions. The structure of this analysis draws influences
from grounded theory (Thornberg & Charmaz, 2014), with a focus on identifying
motivations that contributed to the changing discourse.

24
 Timeline of Events Derived from the Research
Peranakan concerns
in each time period:
Peranakan
Golden Age 1900 – Straits Chinese British Association is established
- Establish useful
1830–1930 political alliances
1910 – Gunong Sayang Association is established - Drive to modernise

Peranakan
Decline 1959 – British Crown Colony Dissolved

1930–1970
1964 – Straits Chinese British Association renamed itself
as the Singapore Chinese Peranakan Association

1965 – Singapore becomes independent - Survival of the culture

and the community

1965 – The Singapore Chinese Peranakan Association

renames itself as The Peranakan Association

1965 – The Peranakan Association launches its new

linked arms logo

Peranakan
Revival 1976 – Ho Wing Meng releases first book in series on
collecting Peranakan artefacts
1970–Present

1980 – The Singapore National Museum changes its

collection policy on Peranakan artefacts

- Survival of the culture

1985 – Opening of the Straits Chinese Gallery in the and the community
National Museum: the first permanent Peranakan - Presenting the culture
exhibition in Singapore in new ways that
appears useful and
1993 – Opening of the Peranakan exhibition at the non-threatening to the
National Museum. Named: Gilding the Phoenix: Singapore government
The Straits Chinese and Their Jewellery‘ – - Led to the
‘museumification’,
commodification,
1994 – Christie‘s holds an auction featuring Peranakan feminisation and
artefacts domestication of the
culture.
2000 – The Peranakan Association launches new phoenix
logo (replacing the old linked arms motif)

2005 – The Peranakan Association launches ‗Raising the

Phoenix: The First Singapore Peranakan Festival‘

25
2005 – Article appears in The Peranakan Magazine titled
‗Through the Eyes of a New Phoenix‘

2008 – Opening of the Baba House. The heritage house

launches a new phoenix logo

2008 – Opening of the Peranakan Museum. Focuses on

Peranakan material culture from the Golden Age

2009 – Article appears in The Peranakan Magazine titled

‗Recognising the Phoenix in our Hearts‘

2010 –Hwei-Fe‘n Cheah publishes Phoenix Rising, a

book on Nyonya beadwork

2010–Article appears in The Peranakan Magazine titled

‗The Phoenix gets a new nest on the web‘

2010–Opening of the Hall of the Phoenix and Peony, a

research house on Peranakan material culture

2016–The Gunong Sayang Association makes minor

updates to their phoenix logo

2018–The Peranakan Association makes minor updates

to their phoenix logo

2020–The Peranakan Sayang launches new phoenix

logos, branding and merchandise

26
III. Chapter 1: The Revival of Peranakan Culture

A Brief History of Peranakans in Singapore

Prior to conducting the analysis of the impact of the various organisations on the
emergence of the phoenix emblem, it is imperative to establish the historical backdrop to
position the research. Although the usage of the phoenix as emblematic of the Peranakans
largely occurred from the 1990s to 2000s onward, there is a rich array of preceding events
in Peranakan Chinese culture that created conditions for the phoenix to be selected as an
emblem in the first place.

When studying Peranakan culture in Singapore, there are three major periods. The first is
the ‗Golden Age‘ of the Peranakans. The Peranakan Golden Age lasted from the 1830s to
the 1920s and it was during this period where the culture truly thrived, with the community
experiencing great political and economic power (Teo, 2019, pp. 245-256). Peranakans
were mainly businessmen and tradesmen and managed to acquire large amounts of wealth.
This wealth was attained partially through the Peranakan‘s savvy business abilities and also
through their ability to speak multiple languages, including fluent English, Baba Malay and
Hokkien (a Chinese dialect). These linguistic abilities allowed them to play a profitable
role as intermediaries between the colonial British and the local population (Sim & Liu,
2015, pp. 33-57). Partially from a desire to showcase their wealth, and partially from an
intrinsic love for beautiful things, it was during this period where Peranakans began filling
their homes with decadent and highly ornamented furnishings. Peranakans during this

Figure 2: Peranakan plate from the Golden Age with phoenix and peony motifs,
19th century, The Peranakan Museum, Photographed by Toh Ying Li.

27
period were also mainly Taoist and believed in the importance of Chinese principles such
as feng shui [风水] and using certain motifs and symbols to attract good fortune to the house.
Household items that were heavily decorated with motifs were considered auspicious and
ways to attract prosperity. It was during this period where the phoenix was popularised as
one of the auspicious motifs for decorating a Peranakan household. Other motifs favoured
by the Peranakans during this era included the peony, crane, deer, lotus, butterfly and the
qilin [麒麟] (Teo, 2019, p. 253).

Peranakans during the Golden Age were also actively political, and often had ties to
different governmental powers. These Peranakans were heavily in support of British
colonial rule, even going as far as to call themselves the ‗King‘s Chinese‘ or the ‗Queen‘s
Chinese‘ in support of Britain‘s ruling monarch. They considered themselves as subjects of
the British Empire and were fully in support of British rule in Singapore. In addition, some
Peranakans such as Dr. Lim Boon Keng used their economic wealth to back political
movements in China and as former Chinese immigrants, maintained ties and vested interest
in Chinese politics. Dr. Lim Boon Keng supported Sun Yat-sen‘s revolution in China, and
others were involved in Chinese secret societies (Teo, 2019, pp. 245-256).

The second major period of Peranakan culture is the ‗Peranakan Decline‘ which occurred
from the 1930s to the 1960s. During this period, the world was experiencing the Great
Depression from 1930 – 1934 and the Japanese occupation of Singapore in World War II in
1942 which greatly disrupted their trade and businesses (Ho, 1987, p. 14). Numerous
Peranakan manor homes experienced looting and this period was marked by great
hardships for the Peranakans. Struggling economically, many Peranakans had to resort to
selling their heirlooms and jewellery to survive (Chin E. , 2022). In addition, the
withdrawal of the British and collapse of the Crown colonies in the 1960s also led to
complications and uncertainties for the Peranakans (National Museum of Singapore, 1989,
pp. 5-8). After such a long period of openly supporting the British and various Chinese

Figure 3: Logo of The Peranakan Association

during The Peranakan Decline, 1966.

28
political parties, Peranakans during this period were viewed with suspicion and their
loyalties were considered questionable by the rest of the local Singaporean population. In
addition, with the formation of an independent Singapore government, the government was
pushing for racial harmony and the Chinese-Malay-Indian-Others (CMIO) model as a way
to soothe inter-racial tensions during a turbulent period marked by incidents such as the
1964 Race Riots (between the Chinese and Malay communities) (Cheng, 2001, pp. 431-
455.). In accordance with the CMIO model, the Singaporean government officially
recognized four ethnic categories: namely Chinese, Malay, Indian, and ―Others‖ for
minority groups. However, the Peranakan Chinese community, characterised by a
hybridisation of Chinese and Malay cultural heritage, found themselves frequently
misclassified as ―Chinese.‖ Despite their ethnic Chinese origins, the Peranakans' mother-
tongue language was Baba Malay, and many of their cultural practices diverged from the
rigid categorisations of the CMIO model. This misclassification caused significant unease
within the Peranakan community, raising concerns about their survival and legitimacy of
their cultural identity (Lee S. K., 2009, pp. 167-177).

The third and final period is the ‗Peranakan Revival‘ which occurred from the 1970s
onwards. It is the most significant period for the purposes of this thesis as it is in this period
where we see the phoenix‘s emergence as an emblem. This period will be discussed in
depth in the next section of my thesis.

Figure 4: Phoenix logos from the Peranakan Revival, 2000-2012.

29
The Peranakan Revival

The mid-1970s to 1980s marked the start of a turning point in Peranakan culture,
commonly described as the Peranakan Revival. As its name suggests, it is characterised by
resurgence in the interest and popularity of Peranakan culture (National Museum of
Singapore, 1989, p. 7).

While it is categorised as the Peranakan Revival, this period differs from the Golden Age
and it is unlikely that Peranakan culture will ever experience a resurgence that matches the
Golden Ages‘ peak. Numerous cultural traditions that were commonly practised by the
Peranakans during the Golden Age are largely discontinued by modern Peranakans today
(such as the elaborate twelve day wedding and intricate rituals associated with ancestral
worship) (Teo, 2019, p. 253). Furthermore, interest in Peranakan culture is now viewed
through a markedly different lens. Peranakan culture has been commercialised,
commodified and packaged as a heritage or tourism product to sustain Peranakan
organisations and to help the Singapore government‘s branding purposes and image.

The Peranakan culture has also been fossilised and preserved in the form of collectable
artefacts and museum exhibits. Notably, there has been an increased interest in the
collection of Peranakan material culture which has experienced a ―museumification‖ in the
past decades – something which began with the changing goals of the Singapore
government, and the newfound availability of artefacts (Kwok, 2015, pp. 115-125). More
on these points will be discussed in the sections below.

Ho Wing Meng’s Books on Peranakan Material Culture

During the Peranakan decline, many younger generations of Peranakans chose to sell their
ancestral homes, replacing traditional Peranakan furnishings with modern furniture. This
mass selling of items from the 1970s-1980s meant that old Peranakan objects could easily
be acquired very cheaply or even for free – leading to a surge in new collectors (Kwok,
2015, pp. 115-125).

One of these collectors was an academic named Dr Ho Wing Meng: a professor at the
National University of Singapore. Ho developed an interest in old Peranakan Chinese items
and began studying and collecting them (Lee L. H., 1986).

30
In 1976, Ho wrote his first book on Peranakan Chinese silver, which was initially published
by the National University Press, and then later republished into a series named ‗A
Collector‘s Guide.‘ The four-book series focused on Peranakan material culture, and
comprised Straits Chinese Porcelain (1983), Straits Chinese Silver (1984), Straits Chinese
Beadwork & Embroidery (1987), Straits Chinese Furniture (1994).

Ho Wing Meng‘s books were among the earliest to suggest that the phoenix should be
considered ―the characteristic emblem of Peranakan culture.‖ In Straits Chinese Porcelain,
Ho argues that the symbolic significance of the phoenix as a ―symbol of the South,‖10 and
status as a bird that appears in times of ―peace and prosperity‖ are reasons why it is the
perfect emblem for the culture.

Another significant impact of Ho‘s works was their role in popularising Peranakan material
culture. Ho‘s books have been described by academics as the ―impetus‖ and ―culmination‖
for increasing public interest in the collection of Peranakan artefacts (Kwok, 2015, pp. 115-
125). They were written in a way that was easily readable and accessible to anyone new to
material culture. Eng-Lee Seok Chee‘s describes Ho‘s work as written with an ―anecdotal
and conversational manner,‖ and treats its readers as new ―students‖ (Chee E.-L. S., 1985,
pp. 154–157). Ho himself writes that his goals were to spark ―interest and imagination‖ in
Peranakan material culture to encourage the reader to make ―further inquiry of his own‖
(Ho, 1987, p. ix).

The third effect of Ho Wing Meng‘s series was his criticism regarding the
underrepresentation of Peranakan artefacts by Singapore museums and academics. Ho
writes in Straits Chinese Silver that the artefacts displayed in the National Museum of
Singapore focused on Malay, Balinese, Sumatran, Brunei and Thai material culture, with
no inclusion of Peranakan artefacts. He directly criticises the National Museum of
Singapore, writing that the ―deliberate omission and neglect‖ of Peranakan silver artefacts
by museums and academics in Singapore is ―remarkable‖ (Ho, 1984, p. 19). Ho dedicates
at least eight pages in his book towards this, providing examples and speculative theories
as to why such an omission was made (Ho, 1976, pp. 13-20).

These criticisms and the popularity of Ho‘s books drew the attention of reviewers and the
National Museum of Singapore, who attempted to debunk these statements. Eng-Lee Seok
Chee points out that the National Museum of Singapore did in fact have a small collection

10
The Peranakans were descended from Chinese immigrants who migrated south, making the southern cardinal direction
particularly significant to them.

31
of Nonya porcelain wares on display, amongst other traditional wares from the Straits
Settlements (Chee E.-L. S., 1985, pp. 154–157).

The National Museum responded to these accusations when it opened the first Peranakan
permanent exhibition by a major museum in Singapore (The Straits Chinese gallery in
1985), and it published its first book on Peranakan material culture named Festive
Expressions in 1989 (Kwok, 2015, pp. 115-125). The first line of Festive Expression‘s
preface begins with a statement that the National Museum of Singapore has begun
collecting Peranakan artefacts since the 1960s – perhaps a statement made in response to
Ho Wing Meng criticisms. The museum also cites Ho‘s works in the bibliography of
Festive Expressions (National Museum of Singapore, 1989).

Despite the controversies in some of Ho‘s writings, his works remain well respected in the
Peranakan discourse and are still cited today, for example in ‗Gilding the Phoenix‘ by
Edmond Chin (1991), ‗Phoenix Rising‘ by Hwei F‘en Cheah (2010), and ‗The Peranakan
Chinese Home‘ by RG Knapp (2013). The academic, John Teo describes Ho Wing Meng‘s
books as ―a canon of works‖ that were the ―foundations‖ that began the study of Peranakan
material culture (Teo, 2019, pp. 252-253). Kenson Kwok, the founding director of both the
Asian Civilisations Museum and The Peranakan Museum describes them as ―pioneering
books on Peranakan art,‖ and concedes that there was truth in Ho‘s critiques on
Singaporean museums. Kwok explains that despite the first Peranakan artefacts making
their way into the National Museum‘s collections in 1963, the museum as a whole did not
consider the artefacts as ―museum-worthy,‖ and there was little ―concerted effort‖ to
collect these materials till after twenty years later (Kwok, 2015, pp. 115-125).

From my perspective of researching the phoenix and its emergence as an emblem, it is

interesting that such an influential book series contains arguments that the phoenix should
be treated as an ―emblem of the Peranakan culture.‖ Interestingly, both Edmond Chin
(author of Gilding the Phoenix) and Hwei F‘en Cheah (author of Phoenix Rising), were
influenced by Ho‘s works which was cited and commented on when writing their own
books. Both of these authors chose to name their books after the phoenix, despite their
books focusing on Peranakan jewellery and Peranakan needlework respectively. In addition,
Ho‘s works advocated for Peranakan artefacts to be recognised as a legitimate component
of the culture – a focus that paved the way for increasing the visibility of the phoenix motif.
Fundamentally, the phoenix is a design that traditionally appears in the medium of
Peranakan material culture; constantly recurring in old porcelain, furniture, textiles and

32
ceramics. The visibility of the phoenix motif increases as artefacts of material culture gain
focus and credibility in the Peranakan discourse.

Support from the Singapore Government

Another major factor that led to the Peranakan revival was the changing attitudes of the
government towards Peranakan culture. After the turbulent decades of Singapore‘s
independence, the Singapore government began to recognise the importance of establishing
a Singaporean cultural identity (Ting, 2015). Ironically, the multicultural nature of the
Peranakans (which caused the Peranakans much anxiety regarding their identity in the past)
is precisely what makes Peranakan culture so attractive to the Singapore government today.
As an amalgamation of both Chinese and Malay heritages, Peranakan culture manages to
represent both races. In addition, there are also subsets of Peranakan communities, such as
the Peranakan Indians and Peranakan Eurasians, making Peranakan culture politically
acceptable when defining a Singapore cultural heritage (Lee S. K., 2009, pp. 167-177).

In the mid-1980s, the Second Deputy Prime Minister Dr Ong Teng Cheong created the
Museum Development Committee (MDC) and the Advisory Council for Culture and the
Arts (ACCA) to challenge ―popular notions that Singapore was a cultural desert‖ (Ting,
2015). The MDC submitted recommendations which were combined into the proposals
submitted by the ACCA in 1989. In the 1989 report, the council writes that Singapore
should now ―devote great attention and resources to culture and the arts‖ and that culture is
a ―much needed social bond to hold its people together.‖ The council also writes that it
deems culture to be important for Singaporeans‘ quality of life, nation-building and a
contributor to economic growth (The Advisory Council on Culture and the Arts , 1989, pp.
3-34).

These changed mind-sets are similarly reflected in the 2000 Renaissance City Report
released by the Ministry of Information, Communications and the Arts, where the ministry
reaffirms its goals to increase ―Singaporeans‘ sense of national identity‖ by strengthening
its people‘s ―appreciation of our heritage.‖ The government is also interested in the link
between culture and economic growth and is willing to improving funding and educational
programs to achieve these goals. The report suggests that cultural sectors should work in
tandem with the Singapore Tourism Board to promote ―cultural tourism,‖ noting that this is
a profitable market that grew in Singapore from $2.19 million in 1986 to $38.4 million in
1999. The report also describes interest in using culture for ―image-branding‖ to improve

33
Singapore‘s reputation in the global hub (Ministry of Information, Communications and the
Arts, 2000, pp. 16-59).

In the following years, culture continues to be viewed as a useful means for economic
growth through tourism, and for boosting Singapore‘s brand image. In the 2005
Renaissance City Report the ministry continues to list ―Cultural Tourism‖ as an area of
focus. It also describes the importance of establishing a Singapore brand and using
merchandise to capitalise on ―Singapore‘s wealth of heritage resources‖ to express ―the
Singapore identity‖ (Ministry of Information, Communications and the Arts, 2005, pp. 9-
20).

Singapore Government Ho Wing Meng‘s Book Series

1989 ACCA report; 2000, 2005, 2008 1983-1994 A Collector‘s Guide to Straits Chinese
Renaissance City Report Silver, Porcelain, Beadwork, Furniture

Increased interest in Peranakan artefacts

Focus on Material Culture
Government support
Phoenix as a Peranakan emblem

New wave of Peranakan

exhibitions opened in museums
(With a focus on material culture)

Figure 5: Factors and influences surrounding the opening of the first permanent
Peranakan exhibitions and museums in Singapore, Toh Ying Li, 2023

Peranakan culture is directly mentioned by the Singapore government in the 2008

Renaissance City Report where the ministry lists it as a unique ―made-in-Singapore‖
culture with indigenous traditions. The report also details how the National Heritage Board
and national museums plan on exhibiting Peranakan artefacts in Europe as a showcase of
Singapore‘s cultural heritage (Ministry of Information, Communications and the Arts, 2008,
pp. 5-35). Singapore‘s arts and information minister Lui Tuck Yew even described the
Peranakans as Singapore‘s ―multiracial emblems of our social mix‖ during the opening of a
new Peranakan exhibition.

34
The combined pressures of governmental interest in developing Singapore‘s cultural sector
to suit the government‘s own agendas (i.e. to increase economic growth through cultural
tourism and improve Singapore‘s status and reputation), as well some pressure from Ho
Wing Meng‘s book series eventually resulted in the opening of new exhibitions and
museums dedicated towards Peranakan culture – many of which were ground-breaking and
unprecedented in Singapore. These exhibitions that followed had a particular emphasis on
the investigation of Peranakan material culture. More on the effects of these new Peranakan
museums and exhibitions will be examined in the following section.

35
The Effects of Museums and their Exhibitions

Prior to the 1980s, Singapore‘s major museums largely considered Peranakan artefacts to
be ‗not museum-worthy,‘ and there was little vested interest in exhibiting or collecting
large numbers of Peranakan artefacts. This changed after newfound governmental interest
towards developing cultural tourism. A wave of new Peranakan exhibitions and museums
opened from the mid-1980s to the present day, in a phenomenon that Kenson Kwok,
director of the Asian Civilisations Museum and The Peranakan Museum describes as a
―museumification‖ of the culture (Kwok, 2015, pp. 115-125).

This section will examine several case studies of exhibitions that led to a heightened
visibility of Peranakan culture, specifically Peranakan ―material culture‖ in Singaporean
museums.

The Straits Chinese Gallery at the National Museum of Singapore, 1985–1989

The Straits Chinese Gallery was ground-breaking as the first permanent Peranakan
exhibition in a major museum in Singapore (Yoong, 2013, pp. 15-21). It was opened as one
of several new galleries11 initiated by the government‘s ―museum modernisation plan‖ with
the goal of showcasing aspects of Singapore‘s cultural heritage (Dhanabalan, 1985, pp. 1-
3). This gallery was also opened eight years after the first publication of Ho Wing Meng‘s

Figure 6: The Straits Chinese Gallery, Singapore Tourism Board Collection,

courtesy of the National Archives of Singapore, 1985–1989.

11
All of the galleries opened in the National Museum as part of the Museum‘s modernisation plan had a
distinct focus towards establishing Singapore‘s history and culture. The four new galleries were: the History of
Singapore Gallery, the Straits Chinese Gallery, the Trade Ceramics Gallery and the Southeast Asian Gallery.

36
book, Straits Chinese Silver, where Ho directly criticised the National Museum‘s lack of
Peranakan representation in their exhibits, and two years after its republication in 1983.

The opening of the Straits Chinese Gallery was celebrated by the Peranakan community as
a legitimisation of their ethnic identity (Kwok, 2015, pp. 115-125). As the first permanent
Peranakan exhibition in a major Singaporean museum, this exhibition helped to define
perceptions in Singapore during a period where the culture had been rapidly fading into
obsolescence. The curators chose to focus the entire exhibition on displaying ―Peranakan
material culture‖ – a term that would become rapidly used by scholars and museum
curators to describe the highly ornamented traditional household artefacts from the
Peranakan Golden Age. This material culture comprised of Peranakan late 19th to early
20th century wooden furniture, porcelain, embroidered textiles, beadwork, metalwork and
musical instruments (as seen in the archival photographs below).

Figure 7: The Straits Chinese Gallery, Singapore Tourism Board Collection,

courtesy of the National Archives of Singapore, 1985–1989.

The decision to focus exclusively on material culture for the exhibition was motivated by
several factors – the first is the availability of these artefacts which could be acquired easily
through purchase and donations during this time period. During this time period, the
younger generation of Peranakans were modernising their homes and there was a mass
selling of traditional ancestral homes and furnishings. As a result, artefacts from Peranakan
material culture were easily available at affordable prices. Second, Peranakan material
culture is a tangible artefact and a medium that lends itself well to the exhibition format.
Highly ornamented with intricate carvings, paintings or detailed embroidered designs, these
items are visually striking and the museum displayed them in layouts aimed to
authentically reconstruct the rooms of a Peranakan house, creating an immersive
experience for the viewer (Chee E.-L. S., 1989) (Yoong, 2013, pp. 15-21).

37
The motif of the phoenix was present in the ornamented designs of artefacts exhibited in
the Straits Chinese Gallery – notably in the porcelain ware and textiles. The phoenix also
appears in the clothing of a mannequin wearing a Peranakan bride‘s full wedding regalia,
with the bride wearing a phoenix collar (in Figure 7 above). Phoenix collars were tufted,
layered collars that resembled the neck feathers of a phoenix. In the Golden Age, phoenixes
were associated with the Peranakan bride and were extremely popular on Peranakan
wedding clothing and items. This usage of the phoenix in bridal attire stems from the older
Chinese usage of the phoenix as a symbol of the Chinese Empress. Peranakans during the
Golden Age frequently blended different cultural traditions together and were influenced
by the Malay tradition where the bride and groom are treated as royalty during their
wedding (the queen of the day). By blending different traditions together, the Peranakan
Chinese followed this Malay custom but instead dressed their brides to resemble a Chinese
empress by sewing motifs of the phoenix on her bridal clothing. Through repeated use, the
meaning of the phoenix to Peranakans during the Golden Age gradually shifted from being
associated with the Chinese Empress to becoming associated as a symbol of the Peranakan
bride (National Heritage Board, 2021).

Although the Straits Chinese Gallery‘s main goal was to document the ―material
manifestations of a unique but rapidly changing Chinese sub-culture‖ for future generations
(Kwa, 1989), the gallery also had a secondary narrative: a focus on the lives of traditional
Peranakan women. The exhibition focused on recreating the domestic Peranakan household
from the late 19th to early 20th century, which were spaces and items predominantly used by
women in this time period. The exhibition also included two life-sized mannequins of
Peranakan women in their full traditional attire (as seen in Figure 7 above), while their
male counterparts were conspicuously absent. This narrative is even more noticeable in the
museum‘s catalogue, which describes Peranakan women as the main custodians of the
culture, whilst openly criticizing Peranakan men as ―awkward‖ and lacking conviction in
their cultural identity (Chee E.-L. S., 1989). The catalogue also contained an entire section
dedicated towards detailing the lives of Peranakan women, while no such section was
provided for Peranakan men (Chee E.-L. S., 1989). It is possible that the decision to focus
the exhibition mostly on the women may have been due to the large gender divide within
traditional Peranakan families. Peranakan women from the Golden Age were typically
confined to the household and were more traditional in their manner of dress and conduct.
They often wore traditional clothing like the baju panjang or the sarong kebaya, decorated
with brooches and jewellery like the kerosang (Koh, 2013), and spent most of their time
cooking, embroidering and managing the household. On the other hand, the men spent

38
most of their time outside working and trading with the British and as a result adopted a
much more Western dressing style, typically in suits and bowties (as seen in Figure 8). This
adoption of a less traditional lifestyle is perhaps what caused the museum to consider the
women as more culturally representative of the Peranakans. In addition, Peranakan men
were active politically and often had foreign ties to Britain and China – it is possible the
museum did not want to focus on the more political aspects of the Peranakans, ultimately
resulting in the exhibition‘s narrative focusing on the cultural aspects of the Peranakan
women instead.

This gender bias towards women by the museum curators is notable as traditionally, the
Peranakan phoenix is a feminine symbol that symbolises the bride, the matriarch, and the
empress. The opening of this new wave of Peranakan exhibitions in museums marked a
shift in the Peranakan discourse to focus more on traditionally feminine aspects. As
museum curators draw greater attention to women in Peranakan culture, it is unsurprising,
then, that the phoenix – a traditional symbol that was often present on Nonya artefacts
should also receive greater exposure through these exhibitions.

Figure 8: Gender differerences in traditional

Peranakan culture, Toh Ying Li 2023.

Gilding the Phoenix at the National Museum of Singapore, 1990–1991

From 1990-1991, Edmond Chin curated an exhibition named ―Gilding the Phoenix: The
Straits Chinese and their Jewellery‖ at the National Museum. This exhibition also focused
primarily on Peranakan material culture from the Golden Ages and showcased 300 pieces

39
of Peranakan jewellery and a selection of traditional clothing and accessories. The items
were a combination of Chin‘s personal collection and other private collections (Chin E. ,
1991) (Chin E. , 2022). The exhibition was considered ―ground-breaking‖ and introduced
new perspectives regarding Peranakan material culture (Backman, 2022). Chin
demonstrated that there was a ‗Peranakan aesthetic‘ that distinguished Peranakan artefacts
from other Straits Settlements artefacts from the same time period. Peranakan artefacts
were generally not produced by the Peranakans themselves, and instead commissioned and
imported from craftsmen in China (for the porcelain), or commissioned from local
craftsmen in Singapore (for the wooden furniture and jewellery). The only exception to this
is Peranakan needlework, which was often handmade by the Nonyas themselves. However,
Chin suggested the notion that the Peranakans ―exerted artistic control over the production‖
of these commissioned items, even going as far as to provide ―working drawings‖ to the
craftsmen with specific requests. Chin‘s cites the brightly contrasting colour palettes, the
rounded corners and designs that followed a ―more is more‖ philosophy as evidence of a
distinct and consistent Peranakan style in these artefacts (Chin E. , 1991, pp. 30-32).

The phoenix appears in a portion of items in the exhibition, such as in several phoenix
brooches, wedding garments and wedding headdresses (Chin E. , 1991, pp. 110-154). Chin
describes the phoenix as ―a personal symbol of the Nonya matriarch,‖ a symbol of the
Empress and one of the most ―ancient auspicious animals in Chinese mythology‖ (Chin E. ,
1991, p. 64). Despite the presence of other motifs in the exhibited jewellery (such as the
peacock, the butterfly and the dragon), Edmond Chin chose to name both the exhibition
and the catalogue book after the phoenix. Interestingly enough, Chin references Ho Wing
Meng‘s opinions in the catalogue and also lists ―Professor Ho‖ as one of the people which
he had ―personal communications‖ with when curating his exhibition and writing his book.
Professor Ho Wing Meng was one of the academics who suggested that the phoenix should
be considered an emblem of the Peranakans. It is possible that Ho‘s opinions may have
influenced Chin‘s decision to name the exhibition ―Gilding the Phoenix.‖

Gilding the Phoenix is notable for the purposes of this research for several reasons – the
first of which is this is an early high profile instance where a Peranakan related event and
publication was named after the phoenix – a trend which would continue decades later. In
addition, the exhibition helped to shift narratives in the Peranakan discourse towards
material culture from the Golden Ages (when previously the Peranakans were more known
for their political or economic activities). Thirdly, Gilding the Phoenix focuses on the
domestic and feminine aspects of Peranakan culture. Although some artefacts exhibited

40
were used by men, such as the gold cuff-links and several male wedding garments, the vast
majority of the jewellery in the exhibition was for women. Even the front cover of the book
displays only a female Nonya decorated in gold jewellery with no male Baba in sight (as
seen in Figure 9 below).

Figure 9: Gilding the Phoenix, Book by Edmond Chin, 1991.

Museums and exhibitions play a crucial role in shaping the academic discourse of cultures
and what is included or excluded can change the way the culture is perceived. The choice
to name the exhibition after the phoenix (instead of dragons, tigers or butterflies, which
were all alternate motifs that were present within the displayed artefacts) is an example of a
phenomenon that the academic Lavoie describes as ‗folklorisation.‘ This process occurs
when there is a selection of ―particular popular forms of art‖ to be used ―as emblems of an
ethnic group‖ (Lavoie, 1986, p. 72). Folklorisation results in the formation of ―identity
exhibitions,‖ and ―folklore museums‖ that continue to perpetuate a specific narrative and
image of the culture (Thiesse, 1999, p. 189–210).

The Peranakan Museum, 2008

On the 25th of April 2008, The Peranakan Museum opened with the support of the National
Heritage Board and Singapore Tourism Board. This was Singapore‘s first museum
dedicated entirely to Peranakan culture and the decision to do so was initially met with
concern from board members who were worried that dedicating an entire museum to a
minority group would be controversial to non-Peranakans (Yoong, 2009, pp. 59-66).

41
Ultimately, the museum was well received by the public and also endorsed by the
Singapore government. At its opening, Prime Minister Lee Hsien Loong was present and
gave a speech stressing the importance of having a ―rich cultural life‖ for nation building
and to define the Singapore identity (Lee H. L., 2008). The Peranakan Association was
also consulted during the opening of the museum as was listed as one of the ―community
partners‖ (National Heritage Board, 2008).

Similar to its predecessors, the museum had a strong focus towards exhibiting Peranakan
material culture from the Golden Age, focusing on ―beadwork, ceremonial necklaces,
embroidery, furniture, porcelain‖ and other domestic items that shed light on their lifestyle,
food, fashion and rituals of traditional Peranakans (Lee H. L., 2008). The phoenix can be
found on numerous artefacts such as the porcelain and on textiles used in Peranakan
weddings. Although the Peranakan Museum included two galleries on the Peranakan‘s
public life and politics, the other eight galleries all displayed material culture (Teoh, 2015,
pp. 58-85) (Yoong, 2009, pp. 62-64).

Main Effects of new Peranakan Exhibitions and Museums

Domestication and Feminisation

The large majority of key Peranakan museums and exhibitions can be credited in the past
few decades with shifting the focus of the Peranakan discourse towards more domestic and
traditionally feminine aspects of the culture. This trend has not gone unnoticed by other
academics with scholars such as Teoh remarking that museums in Singapore largely
―emphasize portrayals and consumption of supposedly feminine aspects of Peranakan
culture‖ while ―downplaying purportedly masculine elements.‖ (Teoh, 2015, pp. 58-85)

This new focus on traditionally female aspects of Peranakan culture does not only exist in
the exhibition sphere, but also in Peranakan pop-culture and media. The two most
prominent Peranakan stories in recent decades are ―Emily of Emerald Hill,‖ a 1982 stage
play by Stella Kon and the 2008 hit television soap opera ―The Little Nonya,‖ (Kripalani,
2013, pp. 1-5). Both stories are centred on the domestic life of a traditional Peranakan
woman. She is the main character, and the story is told from her perspective and her
experiences. Emily of Emerald Hill is ―one of Singapore‘s most enduring plays‖ and
continues to be performed by Singaporean theatrical productions. The Little Nonya

42
obtained the highest television viewership numbers in fourteen years when it was released,
and popularised Peranakan culture amongst a modern audience (Teoh, 2015, p. 66).

Peranakan academics have suggested that this interest is caused by a desire to focus on the
―uncontroversial realm of the woman‘s world‖ and to keep the focus away from the
Peranakan men‘s potentially controversial political history (Teoh, 2015, pp. 58-85). In the
context of my research, it is noteworthy that the feminisation of Peranakan culture has
coincided with the rise of the phoenix as a Peranakan emblem. These corresponding trends
may not be entirely coincidental as the phoenix is itself considered a feminine symbol in
Peranakan culture. The phoenix traditionally symbolises different manifestations of
feminine energy such as the empress, the bride and the matriarch, and is also the symbolic
embodiment of feminine yin [阴] energy to traditional Peranakans. As museums, exhibition
and authors continue to increase the focus towards traditionally feminine aspects of the
culture throughout the mid-1980s to 1900s, it lays the groundwork for the later selection of
the phoenix as a Peranakan emblem that later takes place in the 2000s.

Increased Visibility of Peranakan Material Culture

Another major impact of the new wave of Peranakan exhibitions and museums from the
mid-1980s onwards is its role in elevating the significance and attention towards Peranakan
material culture. Peranakan material culture can be defined as the physical artefacts and
objects used, commissioned or created by the Peranakan community. These items are
typically domestic household objects from the Golden Age (late 19th to early 20th century) –
such as wooden furniture, porcelain, traditional clothing, textiles, jewellery and metalwork.
In the past, Peranakan material culture was largely overlooked by curators and received
limited scholarly attention. Since the mid-1980s, there has been a notable shift with the
emergence of a new wave of Peranakan exhibitions and museums that have placed a
significant emphasis on showcasing Peranakan material culture. This renewed focus has
garnered considerable attention and has elevated the prominence and recognition of
Peranakan material culture within the academic and cultural spheres.

Peranakan material culture serves as the source of origin and reference for the depiction of
the Peranakan phoenix, which is often intricately carved, embroidered, and painted on
various domestic household items from the Golden Age. Within traditional Peranakan
material culture, a diverse range of phoenix representations and motifs can be observed,
frequently appearing alongside other popular Peranakan symbols. A comprehensive

43
compilation of the recurring phoenix representations and motifs in Peranakan material
culture, along with their traditional symbolic meanings, has been provided in the appendix
of this thesis.

The phoenix‘s popularity as a motif in material culture can be attributed to its various
symbolic qualities that appealed to traditional Golden Age Peranakans. First, the phoenix
represents the Peranakan‘s Chinese heritage. Peranakans have always retained a connection
to their Chinese ancestors, with traditional Peranakans practising Chinese traditions such as
Cheng Beng (also known as Qing Ming). Surrounding themselves with motifs of a symbol
that originated from Chinese mythology is homage to their ancestral roots (National
Heritage Board, 2023) (The Peranakan Association, 2019).

Second, the phoenix in Chinese mythology appears only in times of peace and harmony
(Kee M.-Y. D., 2004, p. 141). Using the phoenix symbol everywhere in household objects
is thus seen as an auspicious act as the appearance of the phoenix in all parts of the house
indicates that peace and prosperity will soon follow.

In addition, the phoenix is a guardian bird that protects the Southern cardinal direction.
According to Chinese legend, there are four great mythical creatures – the tortoise, the
phoenix, the dragon and the tiger which guard the north, south, east, and west respectively.
As the Peranakans descended from Chinese traders who migrated to the South, and are
currently residing in South of China, adorning their homes with the Southern guardian
would have resonated with Peranakans from the Golden Age (Ho, 2008, pp. 43-44).

Another possible reason is that the phoenix is traditionally seen as an imperial symbol. The
phoenix is known as the ruler of all birds and is also the symbol of the Empress. A popular
classical depiction of the phoenix in Chinese paintings called Bai Niao Chao Feng [百鸟朝
凤] or ‗a hundred birds in homage to the phoenix‘ depicts the phoenix surrounded by
numerous birds paying their respects. This motif can often be found in Peranakan Chinese
porcelain as well, and is an imperial symbol representing the relationship between a ruler
and the subjects (Kee M.-Y. D., 2004, p. 141). Peranakans from the Golden Age were fond
of having imperial connections. They named themselves ‗the King‘s Chinese‘ in support of
King Edward VII and King George V, Britain‘s ruling monarchs during this period (Tan K.
Y., 2020, p. 54). Many Peranakans also believed in the legend of Hang Li Po. According to
the legend, Peranakans are descendants from the royal retinue of the Ming dynasty princess
Hang Li Po. The Chinese princess was married to a Sultan in Malacca, and she arrived with
a royal entourage of hundreds, which were the supposed ancestors of the Peranakans. This

44
legend has since been disproven as there are no historical records of Princess Hang Li Po
and her retinue (Teo, 2019, p. 247). Nevertheless, the story remains popular amongst
Peranakans, who have historically appreciated having a connection to royalty. Using the
phoenix, which itself had imperial connotations, would likely have appealed to their tastes
and preferences.

Finally, the phoenix is an important symbol during weddings. In Chinese mythology, the
phoenix is a symbol of feminine yin [阴] energy in contrast to the dragon which represents
masculine yang [阳] energy (Kee M.-Y. D., 2004, p. 141). The Peranakan bride is covered
in bright phoenix motifs during her wedding day. Peranakan Chinese weddings were
elaborate and ostentatious affairs that lasted for twelve days. All the cabinets, the beddings
and the ceramics used in the bridal chamber were custom made or acquired specifically for
the purpose of the wedding. These items would be decorated with motifs of the phoenix, as
a representation of the bride. Twin phoenixes also symbolised love and harmony in a
marriage, making the phoenix motif very popular. Peranakans from the Golden Age held
extensive weddings that lasted for twelve days and intricate and exquisite Peranakan
artefacts were commissioned with phoenix motifs (to represent the bride) specifically for
these wedding occasions. These items were some of the most beautiful and well-made
artefacts from the Golden Age – making items with phoenix motifs more likely to be
collected, studied and exhibited by academics and museums in later years.

Overall, the mid-1980s onward saw a new wave of Peranakan exhibitions and museums
being established, with a strong focus on the exploration of Peranakan material culture:
domestic artefacts from the Golden Ages that featured motifs of the phoenix. Peranakan
material culture has gained recognition and appreciation in recent years, both within the
community and among broader audiences. Museums, exhibitions, and publications such as
Ho Wing Meng‘s series have played a vital role in showcasing and documenting the
richness and diversity of Peranakan material culture, contributing to its continued
appreciation and study. All of which can be attributed to the newfound governmental
support, who approved these new museums and exhibitions dedicated to the culture. These
exhibitions also redirected the discourse surrounding Peranakan culture, placing less
emphasis on potentially controversial aspects such as politics and economic activities and
more on traditionally feminine aspects such as cooking, craftwork, and domestic life.

45
 Ho Wing Meng‘s Book Series

Singapore Government
Increased interest in Peranakan artefacts
Focus on Material Culture
1989 ACCA report; 2000, 2005,
2008 Renaissance City Report Phoenix as a Peranakan emblem

Government support

New wave of Peranakan

Government support exhibitions opened in museums
(With a focus on material culture)

The Asian Civilisations Museum, the

National Museum of Singapore, the
Peranakan Museum
Focus on Material Culture
Focus on Feminine Aspects
Phoenix as a Peranakan emblem

Peranakan Associations
launch new phoenix logos

The Peranakan Association,

The Gunong Sayang Association

Figure 10: Relationships between the Singapore government,

museums and the Peranakan Associations, Toh Ying Li, 2023

The renewed attention on the traditionally feminine and domestic aspects of Peranakan
culture, alongside the prominence of the phoenix motif in material culture, contributed to
the selection of the phoenix as the emblems of the two official Peranakan Chinese
associations in Singapore: The Peranakan Association and The Gunong Sayang
Association. More on the two official Peranakan associations in Singapore will be
discussed in the following chapter.

46
IV. Chapter 2:
The Phoenix Rebrand of Peranakan Associations

In Singapore, the Peranakan Chinese community established two official associations - The
Peranakan Association and the Gunong Sayang Association during the 1900s to serve as
social organizations for supporting Peranakan interests. Both are founding members of The
Federation of Peranakan Associations: a guild of fourteen Peranakan associations from
Singapore, Indonesia, Malaysia, Thailand and Australia (The Peranakan Association, 2020,
p. 63).

Both associations, particularly The Peranakan Association of Singapore, have been

influenced by the Singapore government‘s shifting attitudes towards the Peranakan
community and underwent several phases of rebranding in response to these changing
stances. Following the effects of the new wave of Peranakan exhibitions in major
Singaporean museums, the evolving discourse on Peranakan culture increasingly
emphasises material culture and this trend continues with the selection of the phoenix (a
symbol from material culture) as the new emblem for both associations.

In the 2000s, both Peranakan Associations began using the phoenix as their official
emblem. The reasons behind the selection choices of the various emblems of the Peranakan
associations (the phoenix emblems as well as emblems prior to the phoenix), will be
analysed in the following section, as well as the contextual, governmental and historical
reasons for their phases of rebranding.

The Peranakan Association

Throughout the course of their history, the Peranakans in Singapore have been impacted by
the varying attitudes of the Singapore government and societal conditions, causing several
different phases of strategic rebranding as a way of survival. This phenomenon is
exemplified in the changing emblems and changing names used by The Peranakan
Association during the three distinct phases of Peranakan culture in Singapore: the Golden
Age, the Peranakan Decline, and the Peranakan Revival.

During the Golden Age, the Peranakan Association was first established on August 17th
1900 as the ―Straits Chinese British Association.‖ The association did not use an emblem
during this period and expressed their support to the British by incorporating the term

47
―British‖ into their association‘s name, an economically advantageous move given that the
British were the Peranakan‘s main business partners at that time. (Clammer, 1979, p. 5).
(The Peranakan Association, 2022) (Tan K. Y., 2020, p. 54).

Figure 11: The changing logos of the Peranakan Association, Toh Ying Li, 2023.

The Peranakan Association United Forever Logo, 1966

During the Peranakan Decline, The Peranakan Association made large scale changes to its
branding and image. This turbulent period was marked by the collapse of the British Crown
colony and Straits Settlements, as well as the economic hardships from the Great
Depression. As Singapore gained independence, the country was also filled with
nationalistic fervour and the Singapore government had little interest in cultural
development during a time when economic growth was prioritised. In addition, the new
government declared the four official racial categories in Singapore to be ―Chinese, Malay,
Indian and Others,‖ which raised uncertainties amongst the Peranakans about their
legitimacy as a culture.

Facing pressure from the perceived lack of governmental support and the new wave of
nationalistic zeal in Singapore, Peranakans made large scale changes to their branding and

48
image in order to project a more subdued and conformist image, deemed necessary for their
survival as an ethnic group (Cheng, 2001, pp. 431-455.).

The association removed the potentially controversial ―British‖ portion of its name in 1964
and changed it to ―Singapore Chinese Peranakan Association.‖ ―Straits Chinese‖ was also
changed to ―Singapore Chinese‖ after the collapse of the Straits Settlements. A new black
and white emblem featuring the slogan ‗United Forever‘ with four linked arms was also
launched in an effort to appear committed towards racial harmony and unity with the rest
of the population. In 1966, this name was further shortened as ‗The Peranakan Association‘
(Lee S. K., 2009, pp. 167-177). Visual analysis of the logo has been conducted below, and
will also be conducted for all subsequent emblems and visual branding materials used by
the associations. A combined summary of the findings and observations from the visual
analysis sections will be included at the end of the chapter:

Figure 12: The Peranakan Association emblem, 1966.

Visual Analysis

a) Subject Matter
The logo contains a motif with four linked arms, clasped together at their wrists. The arms
are surrounded by text wrapped around the image, containing the name of the association
and its new motto: United Forever. The stamp and writing in the bottom of the image (in
Figure 12) were added by archivists to the image and are not part of the original logo.

b) Composition
The design features a primarily circular composition, with the logo‘s shape, text, and tips
of the four linked arms all forming a circle. Linked circles are traditionally a symbol of
continuity and unity, matching the message of the ‗United Forever‘ slogan in the logo.

49
c) Repetition
Repetition can be observed in the central motif of the four linked arms, and the design also
features rotational symmetry. Each arm in the motif symbolised one of the four races
(Chinese, Malay, Indian and Others, which in line with the CMIO system used by the
Singapore government to designate racial identity). As all of the linked arms were depicted
as visually identical, this symbolises the equality and unity of the races.

d) Text
The logo uses a sans-serif typeface which projects a modern, contemporary aesthetic. It is
interesting that the oldest Peranakan association logo in 1966 uses a san-serif typeface,
whilst the newer Peranakan association phoenix logos in 2000 and 2018 use a more
traditional serif typeface.

Content Analysis
Articles extracted from the Peranakan Magazine Archives reveals that the Peranakan
Association has made several statements regarding its old 1966 United Forever logo (The
Peranakan Association, 2000, p. 3). Textual analysis of extracts from this archival source
has been conducted as follows:

Condensation Codes Categories

The old logo, of four linked arms shared the

Logo reflected mood and Influence of
sentiment and style of the early years of
style of time period time period
Singapore‘s independence

Perhaps exuded the nationalistic concerns of Nationalistic concerns Aims and

the Association at that time Projecting the right image challenges

Overall, the Peranakan Association‘s 1966 United Forever logo (as seen in Figure 12) is
reflective of the time period and historical context which it was made. The logo is careful
to not express any sense of a Peranakan identity – instead, the logo focuses on expressing
compliance with the Singapore government‘s objectives of maintaining racial harmony
between the four ―official‖ races in Singapore. The logo is decidedly low profile, with the

50
emblem depicted in simple monochromatic line work. The logo is also the only emblem
released by The Peranakan Association to use a purely sans-serif typeface – an interesting
deviation as san-serif typefaces typically evoke a modern aesthetic, whereas serif typefaces
evoke tradition. The Peranakan Association was careful to present itself as modernising
with the times, and not embracing its old traditions – something which the association was
later able to do in subsequent years.

The Peranakan Association Phoenix Logo, 2000

The first phoenix emblem from the Peranakan Association was launched in 2000 during the
middle of the Peranakan Revival in 2000.

Figure 13: The Peranakan Association emblem, 2000.

Compared to the 1960s, the 2000s was a markedly different time period for the Peranakans
in Singapore. Peranakan culture was now in the midst of its revival and was no longer
viewed with suspicion, but rather acceptance and growing interest. Characterised by
numerous Peranakan exhibitions by Singapore‘s museums, and outward support from the
Singapore government, it was during this time period when The Peranakan Association
designed its new phoenix emblem as a vibrant celebration of its cultural identity.

The design and launch of the phoenix logo was also influenced by Peranakan exhibitions
held by the National Museum of Singapore – notably the ―Gilding the Phoenix‖ exhibition.
The graphic design company that created the association‘s new phoenix emblem, Equinox
Art and Design, was the same company that worked with Edmond Chin for the ―Gilding
the Phoenix‖ exhibition at the National Museum of Singapore. Equinox Art and Design
produced the catalogue (also named Gilding the Phoenix) and designed several images that
were used in the museum‘s jewellery exhibition (Chin E. , 1991, p. 194). This design

51
company was directly involved in both Peranakan projects that used the phoenix in its
branding.

In addition, the president of The Peranakan Association in this period, Lee Kip Lee12 was
in correspondence with curator and author Edmond Chin during the opening of Chin‘s
Gilding the Phoenix exhibition. Chin credits Lee Kip Lee as an expert he had ―personal
communications‖ with during the creation of his book and exhibition (Chin E. , 1991, p.
201). Lee Kip Lee would later become the president of The Peranakan Association in 1996,
and launch the association‘s first phoenix emblem in 2000 (Chee C. , 2019).

Visual Analysis

a) Subject Matter
The logo features a phoenix in flight – which is a popular traditional Peranakan motif. The
phoenix flies in a circular pattern and faces the left. It is enclosed within a lobed, cartouche
frame and the name of the association surrounds the phoenix in small letters in its borders.
The name of the association is also depicted in large text below the logo as well.

b) Composition
The emblem features a circular composition with the phoenix flying in a circle and its
curled tail feathers completing the loop. The name of the association surrounds the phoenix
on the top and bottom. Although the enclosing frame appears rectangular, its rounded
corners continue to suggest a curved shape. The circular shape of the phoenix is described
by the association as a symbol of continuity (The Peranakan Association , 2000).

c) Repetition
Slight repetition within the phoenix design can be observed in the five red feathers on each
wing. Five is an auspicious number for Peranakans and the five feathers in phoenixes
traditionally symbolise the five virtues of righteousness, propriety, wisdom, humility and
sincerity (Kee M.-Y. D., 2004, p. 141).

d) Style
The phoenix is highly detailed with each of its feathers, wings and beak carefully drawn
with a fine line. The style of the phoenix is reminiscent of carved phoenixes from

12
Lee Kip Lee was president of The Peranakan Association from 1996–2009.

52
traditional Peranakan brown and gold furniture. Traditional furniture from Peranakan
houses often were decorated with motifs of the phoenix enclosed in lobed cartouche panels
(as seen in Figure 14 below). The lobed frame that encloses the phoenix in the Peranakan
Association‘s emblem pays homage to this Peranakan design style – where subjects such as
animals or flowers are often enclosed in a panel or a frame.

Figure 14: Twin phoenix cartouche on door, gilt-lacquered carved wooden

carriage, The Peranakan Musuem, Photographed by Toh Ying Li, 2023.

The style of the Peranakan Association‘s phoenix emblem is also depicted in a style that is
somewhat reminiscent of a Chinese seal. The colour choice of red and the rectangular
frame that encloses the phoenix is evocative of a seal (as seen in Figure 15 below). Chinese
seals were insignia used as a mark of identity by individuals, government officials and
manufacturers. These seals were unique to their owner and were stamped on documents,
scrolls, paintings and the bottoms of ceramic wares as a means of authenticating items. The

Figure 15: Comparing the Peranakan Association’s phoenix logo to a

Chinese seal. (On Left) Manufacturer’s stamp on a Straits Chinese
porcelain container, photographed by Toh Ying Li, 2022.

53
Peranakan Association perhaps makes use of the phoenix emblem in a manner reminiscent
of Chinese seals, whereby the emblem serves as an insignia prominently featured on the
masthead of correspondence and at the bottom of official posters issued by the association.

e) Colours
A bright, highly saturated red is the main colour used in the emblem. The neutral colours of
white and black are also present as well. The phoenix, depicted in red and white, is formed
through the negative space created by the red background. The small letters forming ‗The
Peranakan Association‘ is written in red as well. The large letters at the very bottom of the
logo are depicted in black – likely for readability purposes. Red is an auspicious colour to
the Peranakans and is traditionally used for celebrations. When the colour red is used in a
phoenix, it typically symbolises summer, warmth and the sun (Kee M.-Y. D., 2004, p. 153).

f) Line
The design of the emblem features thin, organic lines for illustrating the phoenix‘s body.
These taper in width very slightly at the tips of each stroke, giving the illustration a more
naturalistic feel. Thicker lines are used to illustrate the phoenix‘s eye and the curve of its
shoulder blades.

g) Text
The logo uses purely a serif typeface. There are bracketed serifs and a slight diagonal stress
in the uppercase O glyphs which suggests an old style typeface was used. Old style
typefaces create a more handwritten and traditional aesthetic – which is in line with the
association‘s aims in this period to focus on preserving traditions and culture.

The Peranakan Association Phoenix Logo, 2018

In 2018, some minor tweaks were made to the 2000‘s phoenix logo for readability purposes
and to make the logo clearer in small prints. No changes were made to the subject matter,
composition, style and use of repetition in the phoenix, and the changes instead only
focused on the colours, line work and the text. The section below examines the revisions
that were made:

54
 Figure 16: Minor changes made to the Peranakan Association logo, 2018.

Visual Analysis

a) Colours
The revised 2018 phoenix emblem made changes to saturation of the red used in the logo.
A darker and less saturated shade of red is used – increasing the contrast between the red
and white colours, and improving its clarity when viewed.

b) Line
The lines within the phoenix were revised to be much thinner in width, which helps the
phoenix‘s silhouette appear clearer when the logo is printed small. The lines in the outer
frame of the logo were made thicker, to ensure that they are more visible when printed
(Chee C. , 2018).

c) Text
The text in the borders of the lobed frame was removed after a review by the association‘s
general committee where the text was deemed ―redundant‖ (as the exact words were
written below the logomark as well) (Chee C. , 2018). The size of the bottom text was
decreased, providing more balance between the sizes of the text and the phoenix.

Content Analysis

Textual sources found in the Peranakan Magazine Archives reveal several articles and
statements released by the association during the launch of their new phoenix emblems.
The article explains in detail motivations that led to the phoenix rebrand of the association

55
(The Peranakan Association , 2000, p. 3). Textual analysis of these articles and statements
has been conducted in the section below:

Condensation Codes Categories

The Peranakan Association looks into the

Cultural revitalization New aims
future with a brand new logo

A new logo to express the exuberance, Cultural preservation

New aims
optimism and unique cultural heritage of our Cultural expression
Mood / Tone
community Optimism

The old logo no longer reflects the concerns

Out-dated logo Changing aims
of the Peranakan community today

The mission statement, ―to preserve and

Cultural preservation New aims
revitalize the Peranakan culture and
Cultural revitalization
traditions‖

The logo should be a contemporary, dynamic Cultural preservation

interpretation of a traditional symbol Cultural evolution

To express the Association‘s commitment to Cultural preservation

the past and to the future Cultural revitalization

Phoenix as an imperial
Reasons for
The phoenix is an imperial symbol favoured symbol
using the
by the Peranakans Phoenix as a popular
phoenix
symbol

56
The phoenix together with the peony and
Phoenix part of material
qilin [麒麟], can be found in the decorative
culture Phoenix usage
schemes on porcelain, furniture, jewellery,
Motif pairing
costume, among others

Chinese mythology
Phoenix as a symbol of
In Chinese mythology the phoenix can the South Reasons for
symbolise the southern cardinal point; it is Phoenix as an imperial using the
also the insignia of the empress. symbol phoenix
Phoenix as a feminine
symbol

Motif pairing
Together with the peony, the phoenix
Phoenix and peony as a Phoenix usage
represents romantic love
romantic symbol

In the Western tradition, the phoenix

Western mythology Reasons for
symbolises rebirth and regeneration, being
Phoenix as a symbol of using the
the mythical creature that is reborn from the
rebirth and regeneration phoenix
ashes of a great conflagration

A dynamic logo in a vibrant red was

Dynamism
selected, depicting a soaring phoenix within
Eye-catching
a lobed, rectangular panel derived from a
Phoenix part of material
motif typically found on carved ―brown and
culture
gold‖ furniture

Its swooping fluid tail forming an almost

Dynamism
circular shape, symbolising continuity and
Cultural preservation
dynamism

Contemporary and dynamic, yet traditional Dynamism

New aims
and complex Cultural preservation

57
 Optimism
This symbol will hopefully express the
Overcoming challenges New aims
multi-faceted challenges of being Peranakan
Multi-culture Mood / Tone
and Singaporean in the new millennium
Cultural evolution

Findings

Ultimately, analysis of these statements reveals that the phoenix emblem was selected for a
variety of reasons by the Peranakan Association. The first is the new and changed
concerns of the Peranakans: with the Peranakan Revival underway and the Singapore
government now supportive of the culture, it was no longer vital for the association to
evoke a nationalistic and compliant image. The association was now instead focused on its
new aims of cultural preservation and cultural revitalisation – using the phoenix, a popular
traditional image straight from the Peranakan Golden Ages, perfectly fits the association‘s
new goals of preserving its heritage and traditions.

The second reason for the phoenix‘s selection is its variety of symbolic meanings that
appealed to the Peranakan Association, and which were considered in alignment to the
association‘s own aims. These symbolic meanings mentioned by the association included
the phoenix as an imperial symbol, as a symbol of the south, and as a symbol that
represents revival and rejuvenation (from Western mythology). In Western mythology, the
phoenix is a mythical creature known for its ability to regenerate after its death through
flame and ashes. The Western phoenix is usually depicted rising from flames, with red and
gold feathers and an eagle-like appearance (Nigg, 2016). Despite sharing its name with the
phoenix from Chinese mythology, their symbolic meanings and origins are different: the
Western phoenix is a symbol of rebirth, while the Chinese phoenix is a symbol of
prosperity and harmony (Zhu, 2020). The Peranakan Association writes in their logo
announcement that they took into consideration how ―in the Western tradition, the phoenix
symbolises rebirth and regeneration, being the mythical creature that is reborn from the
ashes‖ (The Peranakan Association, 2000). There are several possible reasons behind this
choice: firstly, themes of ―rebirth‖ resonate with the Association‘s own goals of revitalising
Peranakan culture. It is also possible that the presence of the Western phoenix in modern
pop culture and its established mythology would be seen as something recognisable to
modern Singaporeans (as compared to the Qilin [ 麒 麟 ] or the Peony), and thus more
impactful and powerful as an emblem.

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The third reason is the phoenix‘s prominence in material culture. During the launch of the
new phoenix emblem, the Peranakan Association cites the phoenix‘s origins from material
culture, and states that the phoenix is commonly found as a motif ―on porcelain, furniture,
jewellery, costume, among others.‖ The Peranakan Association also states that the visual
design of their emblem was directly inspired by traditional carvings of the phoenix from
brown and gold wooden furniture (The Peranakan Association, 2000). Reference and study
of traditional Peranakan material culture has directly shaped the design and style of the
association‘s new emblem.

The Peranakan Association’s 100th Anniversary Logo, 2000

Following the launch of its official phoenix emblem, The Peranakan Association began to
consistently use the phoenix in the branding of its other important milestones and events.
An example of this is the association‘s 100th anniversary logo which was released in 2000
and features three phoenix designs.

th
Figure 17: The Perankan Association’s 100 Anniversary logo, 2000.

Visual Analysis

a) Subject Matter
The 100th anniversary logo features three phoenixes. The phoenix on the left is a perched
phoenix which is a symbol of stability (National Heritage Board, 2021). This phoenix is
coiled around a pillar in the shape of the number ‗1.‘ The other two phoenixes are in flight
with their wings spread. Both phoenixes face each other and are rotationally symmetrical.
Twin phoenixes are traditionally considered an auspicious symbol representing love and

59
fidelity (Ho, 2008, p. 43). Small wispy clouds are depicted amongst the flying phoenixes.
The word ‗anniversary‘ is placed at the bottom of the logo.

b) Composition
The three phoenixes are positioned and curved to form the shape of the numbers ‗100.‘
Similar to the official 2000‘s Peranakan Association logo, the phoenixes are flying in a
circular shape with their long tail feathers completing the loop. Circles were seen by the
association as a symbol of continuity (The Peranakan Association, 2000).

c) Repetition
The design of the emblem makes use of repetition in the duality of the twin phoenixes.
Both of the flying phoenixes have identical designs, rotated 180 degrees. The three
phoenixes depicted in the logo are all depicted with two tails. Traditionally, female
phoenixes are depicted with two tails (the male phoenixes were depicted with five tails)
(Knapp, 2012, p. 123).

d) Style
The entire logo is depicted as a line drawing of the three phoenixes. This highly detailed
style of a line drawing of a phoenix is similar to traditional phoenix depictions in batik
cloth, where outlines of all motifs are clearly delineated.

e) Colours
Only one colour is used throughout the entire logo: a bright shade of purple with a high
saturation. Purple is a popular colour amongst the Peranakans and can often be found in
batik cloth, Kebaya and other Peranakan clothing.

f) Line
Thin, delicate lines are used to illustrate all the intricate details of the phoenix. Organic
lines are used to capture the naturalistic movement of the phoenix in flight.

g) Text
A serif typeface is used in the entire logo. Serif typefaces typically portray tradition,
sophistication and elegance which suit the aims of the association in this time period.

Overall, the majority of phoenix logos released by the Peranakan Association has the
phoenix flying in the shape of a circle (including their official emblems) – which the
association describes as a symbol of continuity. ‗Continuity‘ seems to be an important

60
symbolic connotation for the association‘s emblems, perhaps because it encapsulates its
desire for continuing cultural practises through preservation and revitalisation.

Content Analysis

An article was released by the Peranakan Association to celebrate the new phoenix logos
and the association‘s 100th anniversary (Oei, 2001, pp. 3-4). This article from the
Peranakan Magazine Archives has been analysed via textual analysis below:

Condensation Codes Categories

Celebrated The Peranakan Association‘s Event‘s scale

th
Grand celebration
glittering 100 birthday bash and tone

The largest gathering of the clan ever, and

the cavernous Neptune Theatre was the Huge event
appropriate venue for the momentous event

This was also the hour to unveil the new

Deliberation in design
logo. Created with much thought and effort,
Corporate branding Logo aims
the new corporate image expresses the
Cultural expression Mood / Tone
exuberance, optimism and unique cultural
Optimism
heritage of our community

A new spirit that will inspire us for the next

Cultural revitalization Logo aims
100 years

We have also been collaborating with the

Collaboration with Relationships
National Heritage Board by participating in
Singapore government with museums,
events organised by the Singapore History
Collaborations with government
Museum and the Asian Civilisations
major museums
Museums (ACM)

61
The ACM has invited us to take part in a
programme in connection with the opening Collaborations with
of the Peranakan Legacy exhibition at its major museums
new Peranakan galleries

The exhibition showcases under one roof at

ACM the best collections in the region that
Focus on material
include jewellery, textiles, rare batik, Area of interest
culture
embroidery, beadwork, garments, silver and
porcelain

Delighted to have worked with the museums Collaborations with Relationships

of the National Heritage Board in the past, Singapore government with museums,
are doing so for the present exhibition and Collaborations with government
hope to continue to do so in the future major museums

The Association will also be working closely

with the various organisations under the
Collaborations with
National Heritage Board – the National
major museums
Archives, Asian Civilisations Museum and
Singapore History Museum

Findings

In this article, the Peranakan Association describes its recently adopted phoenix emblem as
a ―new corporate image.‖ Such phrasing implies a utilisation of the phoenix symbol for the
purpose of brand establishment and signifies a shift in the self-perception of The Peranakan
Association, where it now also identifies as a corporate entity as opposed to purely a social
club or clan association. (Lee S. K., 2009, pp. 167-177).

The article also reflects how the release of new phoenix emblems is very much an
expression of the Peranakans feeling free and no longer restricted in the expression of their
own identities. Articles released during the time period of the unveiling of the new phoenix

62
emblem are all written with a hopeful and cheerful tone, with the association describing the
phoenix logo as capturing the ―exuberance, optimism‖ of the Peranakan cultural heritage.

We can also observe the close relationships that the Peranakan Association now has with
governmental bodies such as the National Heritage Board and Singapore museums. The
article describes the collaborative efforts between the Peranakan Association, the National
Heritage Board, and the Asian Civilisation Museum in curating an exhibition titled
―Peranakan Legacy.‖ This collaboration serves as a testament to the evolving dynamics
between the Peranakan Association, governmental bodies and museums, wherein the
association has transitioned from perceiving the government as a source of apprehension to
a valuable partner. This newfound cooperation also provides the Peranakan Association
with a sense of security regarding its status and legitimacy as a culture, fostering an
environment conducive to a more unreserved expression of its identity. The Peranakan
Legacy exhibition, similar to its predecessors, followed the precedent set by prior
Peranakan exhibitions by centring its attention predominantly on Peranakan material
culture from the Golden Age. The exhibition featured a diverse array of traditional
Peranakan artefacts encompassing ―jewellery, textiles, rare batik, embroidery, beadwork,
garments, silverware, and porcelain.‖ Once again, this selection underscores the continued
emphasis on material culture within the discourse surrounding the Peranakan community.

Raising The Phoenix: The First Singapore Peranakan Festival held by The Peranakan
Association

The Peranakan Association continues to use the phoenix in the branding of important
events held by association. In 2005, The Peranakan Association started its very first

Figure 18: Poster from Raising The Phoenix: The First Singapore Peranakan Festival, 2005.

63
Singapore Peranakan festival. The festival was named ―Raising the Phoenix‖ and an
illustration of the phoenix was used throughout promotional materials for the festival (as
seen in Figure 18 above). The festival consisted of a variety of different events: such as a
food & craft fair, a dinner and dance, a Baba Convention for notable Peranakan speakers
and the launch of a new Baba Malay dictionary (the traditional Peranakan mother-tongue).

Visual Analysis

a) Subject Matter
The poster depicts a phoenix in flight with its wings spread – a phoenix in flight has been a
recurring phoenix motif for the Peranakan Association. In the background of the poster,
there is a faint pattern reminiscent of designs found in batik cloth. The poster also contains
text with the name and details of the festival.

b) Composition
The phoenix is depicted on the right-side of the poster soaring diagonally upwards. Text
containing details of the event are positioned on the left in two columns. There is a clear
visual hierarchy in the poster: the phoenix is the largest element and draws the viewer‘s eye
first. The next most important elements are then the header with the festival‘s name, the
sub-headers and finally the body text.

c) Repetition
There is slight repetition in the two tails of the phoenix. A phoenix with two tails is
traditionally used by Peranakans to represent a female phoenix (male phoenixes were
depicted with five tails) (Knapp, 2012, p. 123).

d) Style
The style of the phoenix in the poster is reminiscent of traditional depictions of phoenixes
in batik patterns. The phoenix is flattened and illustrated using single blocks of colour with
no shading and detailed line-work. The phoenix is depicted entirely in green – which is
more consistent with portrayals of the phoenix in batik than in Peranakan porcelain (in
Straits Chinese porcelain, phoenixes are brightly coloured: typically predominantly red or a
rosy pink with feathers of blue, yellow, green and black).

64
e) Colours
The entire poster is printed in monochromatic shades of green. The phoenix is depicted in a
dark emerald green, while the background features a pale green with a low saturation.
Green traditionally symbolises youth and spring in Peranakan culture – a fairly apt colour
choice considering the poster is for the association‘s first Peranakan festival (National
Heritage Board, 2018). The neutral colour of white is also used for the text in the poster.

f) Line
Fine, organic lines with smooth curves are used to illustrate the phoenix. The feathers in
the phoenix‘s wings and tails are wavy, diagonal lines – giving the phoenix a sense of
movement and dynamism.

g) Text
Both serif and sans-serif typefaces are paired together in the poster – creating a blend of the
traditional with the contemporary. A modern serif typeface is used for the heading of the
poster – featuring little to no bracketing in the serifs and very high contrast between thick
and thin strokes. Subheadings and body text in the poster are all from the Arial font family
and are a neo-grotesque typeface.

Content Analysis

The ‗phoenix in flight‘ motif continues to be the most popular representation of the
phoenix used by the Peranakan Association, perhaps because of its dynamic qualities, and
the uplifting visual imagery of the phoenix soaring up into the sky. Two articles about the
festival were published by the Peranakan Association (Lau, 2006, pp. 20-22) (The
Peranakan Association, 2005, p. 29). Textual analysis of the articles from the archives has
been conducted here:

Condensation Codes Categories

To mark the 105th anniversary of the

Celebratory event Mood / Tone
Peranakan Association

65
Aims to make this festival a regular event
Aims
that can become a truly all-encompassing Aspires towards cultural
major festival with much cultural significance
significance

Increase tourism
Boost retail sales, attract tourism, engender
Educational
artistic creativity and foster educational
Foster creativity
programmes
Increase sales

Peranakan music, fashion and comedy Peranakan food

sketches all set against the background of our Peranakan crafts Areas of interest
now well-established Craft and Food fair Peranakan performances

Consists of seminars on the preservation and Cultural preservation

Aims
revival of the culture Cultural revitalisation

A get-together for the Baba Nonya of

Social bonding
Malacca, Penang, Phuket and Singapore

Hotel Phoenix and Furama Hotel will feature Collaboration with hotels Relationships
a variety of activities showcasing Peranakan Peranakan food with other
cuisine organisations
Areas of interest
Events at Asian Civilisations Museum: Collaboration with major
activities include a children‘s workshop on museum
making selected Peranakan crafts, an Peranakan crafts
interactive play, food and craft fair Peranakan food

Collaboration with
Enjoy choral performances by The
Gunong Sayang
Peranakan Association and Gunong Sayang
Association

66
 Collaboration with major
Peranakan Festival Supporters: museum
Relationships
Asian Civilisations Museum, Furama Hotel, Collaboration with hotels
with other
Gunong Sayang Association, Hotel Phoenix, Collaboration with
organisations
Millennia Walk, OG and the Singapore companies
and government
Tourism Board Collaboration with
Singapore government

Weddings are generally elaborate affairs, but

Elaborate Peranakan Area of interest
the Peranakans outdo most other Asian
weddings
cultures when it comes to a no-holds-barred
traditional ceremony

Elaborate Peranakan
Such a wedding was the highlight of the
weddings
Peranakan Festival, a procession elaborately
Recreating Peranakan
staged
traditions

An insight into the intricacies of Peranakan Recreating Peranakan Cultural

culture and celebration traditions education

Findings

The article provides another example of the close relationships that The Peranakan
Association now has with governmental bodies such as the Singapore Tourism Board,
other Peranakan associations such as the Gunong Sayang Association and museums such as
the Asian Civilisations Museum. The Peranakan Association credits these different parties
for working with them to launch the Peranakan Festival. The Peranakan Association also
publically states its main objectives for opening the festival were to ―boost retail sales,
attract tourism, engender artistic creativity and foster educational programmes‖ with a
combination of goals linked to commercial growth and cultural preservation. Notably – the
Peranakan Association‘s goal to ―attract tourism‖ is very much in line with governmental
objectives to develop ―cultural tourism‖ as presented in the 2000 Renaissance City Report,
again showing the changed relationship the association now has with the Singapore

67
government, as well as how influential the government is in affecting the way in which the
association brands and presents itself.

The Phoenix as a Byword for “Peranakan”

The extent in which The Peranakan Association has woven the phoenix into its brand
identity can be observed in the following examples where the ―phoenix,‖ in the context of
The Peranakan Association, grew to be synonymous with ―Peranakan.‖ This is evidenced
by multiple articles published in The Peranakan Magazine (a magazine written and
published several times a year by the association). The following section will present a
series of three case studies of articles written or published by the Peranakan Association in
its magazine.

“Through the Eyes of a New Phoenix”

In 2005 Lovelynne Chong, a young Peranakan and a new member of The Peranakan
Association, wrote an article titled ―Through the eyes of a new phoenix‖ (Chong, 2005, pp.
21-23). The article does not mention or discuss phoenixes, and instead entirely describes
her thoughts and experiences after attending a function held by The Peranakan Association
for the first time. The ―new phoenix‖ in the title refers to Chong, as a new recruit of The
Peranakan Association. The word ‗phoenix‘ is used by The Peranakan Association as an

Figure 19: Article in The Peranakan Magazine, The Peranakan Association 2005.

68
emblematic representation of Peranakan culture and The Peranakan Association. This
usage is not explained in the article and the author assumes the reader will be able to
understand that the phoenix is functioning as a representation of Peranakan culture, rather
than to describe the mythical bird.

Visual Analysis

a) Subject Matter
The phoenix design in the magazine appears in the background of the article‘s title. A
repeated pattern of a phoenix in flight is printed behind this text. The phoenix is the same
motif that was previously used in the ―Raising the Phoenix‖ poster for the 2005 Peranakan
Festival. The entire design is enclosed in an ornate lobed frame.

b) Composition
The phoenix design has a framed composition with a lobed frame that is vertically
symmetrical. The main title is centre-aligned to maintain this symmetry.

c) Repetition
The phoenix is repeated four times in the panel – with one main phoenix depicted mostly in
frame. Yellow dots are also repeated throughout the background, forming a decorative
pattern.

d) Style
The design of the phoenixes is reminiscent of a traditional Peranakan batik print. The
phoenixes are depicted in a flattened pattern, with the bright colours of pink and yellow
predominantly used throughout. Pink and yellow are popular colours found in Peranakan
clothing, particularly in sarong kebayas. The ornate frame is reminiscent in style to the
lobed frames found in Peranakan porcelain. Traditional Kamchengs (ceramic jars) are often
depicted with similar lobed frames enclosing a phoenix design.

e) Colours
The main colours of pink, yellow, grey and white are used in the design. The entire
background is depicted in pink, with the phoenix depicted in yellow and grey. Pink
traditionally symbolises youth and innocence to Peranakans, and yellow represents an
auspicious celebration (National Heritage Board, 2018) (National Heritage Board, 2018).

69
f) Line
The panel contains organic, flowing lines to capture the essence of the phoenix in flight.
The lines are mostly thin to illustrate the detailed feathers in the phoenix.

g) Text
The design uses an old style serif typeface, with the glyphs containing diagonal stress and
bracketed serifs. Old style typefaces typically convey tradition and history.

“Recognising the Phoenix in Our Hearts”

This second case study shows another example where The Peranakan Association uses the
phoenix in its branding in an article by Emeric Lau, titled ―Recognising the phoenix in our
hearts‖ (Lau, 2009, pp. 24-25).

Figure 20: Article in The Peranakan Magazine, The Peranakan Association 2009.

Just like Chong‘s article, the writings of Lau do not involve any discussion of mythological
phoenixes or phoenix motifs. Rather, Lau‘s focus is on the experiences of the younger
members of The Peranakan Association, with the use of the term ―phoenix‖ serving as a
metaphor for Peranakan culture. The title‘s true meaning should be interpreted as
―Recognising the Peranakan Culture in Our Hearts‖ instead, with ―phoenix‖ substituted for
Peranakan culture. It is worth noting that the article was published in the association‘s
magazine, which has a readership consisting primarily of Peranakans, or individuals who
are already familiar with The Peranakan Association. Readers of the article would possess

70
a greater level of contextual knowledge concerning the culture than the average
Singaporean, and would recognize the phoenix in this article as referring to the culture
(Chee L. , 2007, p. 2).

Visual Analysis

a) Subject Matter
The phoenix design in the magazine page is positioned beneath the title on the top and
aligned to the left. The main body of text is depicted beneath in two columns. On the right
side of the page is an illustration of a phoenix in flight with outstretched wings. The
phoenix is surrounded by flowers, likely peonies. The phoenix and peony is a popular motif
combination that traditionally symbolises love (The Peranakan Association , 2000).

b) Composition
The main body of text is broken up into two equal columns. The phoenix‘s body and beak
points diagonally upwards to the top left, creating leading lines that guide the eye to the
article‘s title.

c) Style
The style of the phoenix is reminiscent of a Potong Kertair Merah – a traditional paper
cutting craft often done by Peranakan families. The entire phoenix is depicted in a flat
block of a single colour, with no shading or tonal differences.

d) Colours
Four main colours are used in the page: pink, white, black and green. Black and white is
used for the text and the page‘s background respectively. Pink and white is used for the
phoenix illustration, with the phoenix depicted in white against a pink background. Green
is used in a small box on the top left, containing text in white labelling the category of the
article as ‗Youth.‘ The colour choices of green and pink both align with this theme – both
pink and green traditionally symbolise youth and innocence to Peranakans (National
Heritage Board, 2018) (National Heritage Board, 2018).

71
e) Line
A mixture of thick and thin lines is used to illustrate the details in the phoenix and peonies.
Most of the lines in the phoenix are diagonal, pointing to the top left. Diagonal lines give
an image a sense of dynamism.

f) Text
The main heading, subheading and label text all use a glyphic serif typeface. Glyphic
typefaces were inspired by stone engravings and convey tradition and permanence. The
body text is comprised of an old style serif typeface. Old style serifs were based on natural
handwritten text, and are easier to read – making it a good choice for body text. Old style
serifs also represent tradition and history.

“The Phoenix Gets a New Nest on the Web”

Once again, a similar phenomenon can be observed in the article published by The
Peranakan Association‘s vice president, Edmond Wong to announce the launch of its new
website in 2010 (as seen in Figure 21 below). This article is titled ―The phoenix gets a new
nest on the web‖ (Wong E., 2010, p. 24). The article does not make reference to the
mythical creature ―the phoenix‖; rather, the term ―phoenix‖ is used to signify Peranakan
culture and The Peranakan Association itself. Additionally, a small image of the
association‘s phoenix emblem is featured in the website‘s new layout.

Figure 21: Article in The Peranakan Magazine, The Peranakan Association 2010.

72
Since the launch of the first phoenix emblem of The Peranakan Association in 2000, the
phoenix has been heavily used in all aspects of its branding through magazine articles,
posters, festivals, and anniversary logos. It is particularly remarkable how this phoenix
branding has been perpetuated to such a degree that the association is able to use phoenix
as a substitute word for ―Peranakan culture‖ or ―The Peranakan Association.‖

Gunong Sayang Association

The Gunong Sayang Association is the second official Peranakan association in Singapore.
It was opened ten years after The Peranakan Association in 1910, and is dedicated towards
facilitating social events and the appreciation of Peranakan performing arts. The Gunong
Sayang Association maintains a close relationship with The Peranakan Association, and the
two frequently collaborate on events such as the Peranakan Festival. The Peranakan
Association has described The Gunong Sayang Association as its ―sister association‖ and
regularly extends support in promoting its events through the Peranakan Association‘s
magazine. Both associations are also founding members of the official Federation of
Peranakan Associations.

2005
2006 – 2015
2016 – Present

Figure 22: The changing logos of the Gunong Sayang Association, Toh Ying Li 2023.

Following the launch of The Peranakan Association‘s phoenix logo, The Gunong Sayang
Association launched its own phoenix emblem as well in the subsequent years. Their initial
emblem was a wordmark (purely text with no image), and changed to a phoenix between
2006-2015. This phoenix was reworked slightly with minor changes in a 2016 to the
emblem that is currently still in use today. This phoenix emblem will be examined in the
section below.

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Gunong Sayang Association Logo, 2016

In 2016, the Gunong Sayang Association released a revised phoenix emblem with a variety
of changes to suit its new goals and vision (Gunong Sayang Association, 2016).

Figure 23: The Gunong Sayang Association’s logo, 2016.

These changes included a reduction in the number of wing feathers from nine to five, and
the crest feathers on the phoenix‘s head from four to three. The implementation of various
changes to the new phoenix logo demonstrates the importance the association places on
symbolism in its emblem. In traditional Peranakan culture, the number of feathers on the
phoenix is symbolically significant, and different feather numbers have distinct meanings.
The number five is considered particularly auspicious and five phoenix feathers
traditionally represent the ―five cardinal virtues of righteousness, propriety, wisdom,
humility and sincerity‖ (Kee M.-Y. D., 2004, p. 141). The association followed this
tradition but created their own five moral values of: ―Passion, Adaptability, Giving,
Integrity and Inclusiveness.‖ A visual analysis of this phoenix emblem has been conducted
in the subsequent section - a detailed explanation of the complete findings from all visual
analysis segments within this chapter will be presented and collated at the end of the
chapter.

Visual Analysis

a) Subject Matter
The logo features the head and wings of a perched phoenix. A perched phoenix is
traditionally a symbol of stability. On the bottom right are the letters ‗GSA,‘ acronyms of
the association‘s name. The very bottom of the logo has the full name of the association
and the date in which it was established.

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b) Composition
The composition makes use of leading lines that draw the eye towards the centre of the
logo. The wing feathers and the neck feathers of the phoenix both curve and guide the
viewer‘s eye towards the letters ‗GSA.‘

c) Repetition
Repetition is used deliberately in the feathers of the phoenix: the five wing feathers are
used by the association to symbolise its five values of ―Passion, Adaptability, Giving,
Integrity and Inclusiveness‖ (Gunong Sayang Association, 2021).

d) Style
The overall style of the logo is modern and contemporary. The phoenix is fairly
minimalistic, depicting only the head and wing purely through simple line strokes with no
shading. The phoenix is depicted using through very minimal use of lines and Gestalt‘s law
of enclosure is applied in the gaps left between the phoenix‘s head and neck. This
minimalistic approach is markedly different from traditional depictions of the phoenix.
Typically the full body of the phoenix is always depicted, and its portrayal is normally
intricate with shading, and detailed illustrations of each feather and wing.

e) Colours
The Gunong Sayang Association‘s phoenix logo uses blue, orange and brown as the three
main colours. The phoenix is depicted in blue, the GSA letters in the complementary colour
of orange and the full name of the association in a dark brown. This colour combination is
often found in traditional Peranakan batik clothing – the attire typically worn by performers
from the Gunong Sayang Association.

f) Line
The emblem largely utilises thick lines that taper at their tips for illustrating the phoenix.
Some thin lines are also used for the finer details in the phoenix‘s neck feathers, beak and
eye. Numerous diagonal lines are used in the phoenix‘s wing, giving the logo a sense of
dynamism and movement.

g) Text
A glyphic serif typeface is used in the logo, featuring triangular serif shapes and minimal
stroke weight contrast. Glyphic typefaces are inspired by stone engravings and feel

75
traditional, strong and lasting – in line with the association‘s aims to create a sense of
stability and permanence surrounding Peranakan culture.

Content Analysis

During the launch of the Gunong Sayang‘s 2016 phoenix emblem, the association released
several statements explaining its choice and design. In addition, I managed to directly
contact the association and obtained several new statements regarding their reasons for
selecting the phoenix emblem as well. Textual content analysis of their various statements
has been conducted in the section below:

Condensation Codes Categories

In line with the birth of Gunong Sayang

Logo reflects values
Association‘s values and vision, we are New aims
New aims
pleased to launch our new logo

Phoenix as reborn
The phoenix often burns brightly in a myriad Reasons for
through flames
of cultures, especially in the Peranakan using the
Phoenix as a
Culture phoenix
multicultural symbol

Phoenix as a symbol of
This mythical bird symbolising longevity,
longevity, creativity,
creativity and purity
purity

Phoenix reflecting
The three crests of the phoenix‘s crown stands
association‘s values
for Authenticity, Innovation and Relevance in
Phoenix as an imperial
our Peranakan culture
symbol

The Phoenix is widely used in Peranakan Phoenix as part of Material

porcelains and designs material culture culture

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 Phoenix as a female Reasons for
It signifies the matriarchal infrastructure of a symbol (matriarch) using the
typical Peranakan household in the past Focus on the domestic phoenix
sphere

Phoenix as a symbol of
It represents fire, fertility and stability
fire, fertility, stability

Perched phoenix as a
GSA logo shows the phoenix perching over
symbol of stability
the letter GSA, signifying the covering of
Phoenix reflecting
stability of the association
association‘s aims

The five tails signifies the 5 GSA values:

Phoenix reflecting
Passion, Adaptability, Giving, Integrity and
association‘s values
Inclusiveness

Findings

Analysis of statements made by the Gunong Sayang Association reveals that the phoenix
was chosen as the main emblem due to two main reasons. The first is the phoenix‘s
symbolic properties being in line with the association‘s values. The association mentions
the phoenix‘s wide array of auspicious symbolic traits (such as longevity, creativity, purity
and stability) as reasons why it is the perfect emblem for the association.

And secondly, the increased focus of material culture and origins of the phoenix‘s design
from Peranakan artefacts is highlighted as the second reason that led to the phoenix‘s
selection as an emblem. The association cites the prevalence of the phoenix motif in
―Peranakan porcelain and designs‖ as a contributing factor behind their selection of the
phoenix emblem.

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Chapter Findings
Visual Analysis Findings

Throughout Chapter 2: The Phoenix Rebrand of Peranakan Associations, visual analysis

has been conducted consistently for each of the key phoenix emblems and branding
materials (posters, magazine articles) created by The Peranakan Association and the
Gunong Sayang Association. This section will collate and provide a summary of the
extracted findings obtained from the analysis of these various phoenix representations. In
addition, it will also do a cross comparison of the various phoenixes and discuss trends and
findings that have been collated through the online database, Airtable.13

The findings from the visual analysis strongly corroborate the argument that the potential
symbolic attributes associated with the phoenix played a significant role in influencing its
selection as an emblem by the two official Peranakan Associations in Singapore. By
examining the subject matter of the phoenix representations used by the associations
(emblems, posters, magazines), we can observe that the ―phoenix in flight‖ and ―phoenix
perched on a rockery‖ are the two most prevalent phoenix representations used. Over 80%
of phoenixes used by The Peranakan Association and the Gunong Sayang Association in
their branding materials were of a lone phoenix, either in flight or perched. In contrast,
designs where the phoenix was paired with other motifs such as the ―twin phoenix‖ and the
―phoenix and peony‖ were used less than 20% of the time in their branding materials. This

Figure 24: Various phoenix representations in the phoenix branding

materials of the Peranakan associations, Toh Ying Li 2023.

13
The Airtable database can be accessed via this link: https://airtable.com/shrtOkgFwdDqUXQkQ

78
disparity points towards an awareness and care taken by the associations towards ensuring
that the symbolic meanings of the various phoenix manifestations matched their goals and
values. In traditional Peranakan culture, it is established that the ―twin phoenix‖ typically
symbolises martial harmony, and the ―phoenix and peony‖ symbolises romance – both of
which are not symbolic meanings that are in line with the goals of either association. In
contrast, when depicted in isolation the phoenix tends to possess broader symbolic
attributes, such as peace, harmony, or stability (when it assumes a perched stance). The
symbolic interpretations of the ―phoenix in flight‖ and the ―perched phoenix‖ aligns more
closely with the objectives of the associations, where peace, harmony and stability matches
their goals to preserve and promote Peranakan culture. This indicates that the symbolic
properties of the phoenix were a significant factor in influencing the development and
choice of the phoenix emblems.

Findings from the visual analysis, particularly when examining branding materials from
The Peranakan Association, also provide support to the argument that the Western
phoenix‘s symbolic attributes of rebirth and rejuvenation played a significant role in the
association‘s decision to adopt the phoenix as its emblem. As seen in Figure 24 above, it is
evident that the ―phoenix in flight‖ representation was the most prevalent choice used by
The Peranakan Association. Notably, this particular design closely resembles the Western
phoenix motif and is often portrayed with similar outstretched wings, soaring through the
air. In contrast, the other traditional Peranakan phoenix depictions such as the ―perched
phoenix,‖ ―twin phoenixes,‖ and the ―phoenix and peony‖ exhibit fewer visual similarities
to the Western phoenix imagery. By portraying the phoenix in a dynamic flying position,
The Peranakan Association‘s emblem captures the Western symbolic associations of a
phoenix reviving from flames and ashes. This sense of dynamism is of particular
significance to the association and was explicitly mentioned as a design consideration
during the unveiling of the new phoenix emblem in 2000. The quest for capturing
dynamism in the visual representations of the phoenix is further evident in the use of line
work in the phoenix branding materials. As seen in Figure 25 below, lines that were
predominantly used to illustrate the phoenix were diagonal, curved and thin lines – all of
which effectively capture the movement and flow of a soaring phoenix.

79
 Figure 25: Line work in the phoenix branding materials of
the Peranakan associations, Toh Ying Li 2023.

Findings from the visual analysis also further support the argument that the recent focus on
the Golden Age era in the Peranakan discourse has influenced the emergence of the
phoenix emblems. In the designs of the phoenix emblems featured in the associations‘
branding materials, there has been a consistent effort to evoke a sense of tradition and
portray a traditional aesthetic through the branding materials. Notably, the selection of
typefaces that were paired with the phoenix emblems provides valuable insights. As
depicted in Figure 26, there is a predominant use of serif typefaces, while sans serif

Figure 26: Accompanying typefaces in the phoenix branding

materials of the Peranakan associations, Toh Ying Li 2023.

80
typefaces are comparatively less prevalent. Serif typefaces are commonly associated with
notions of tradition, history, and permanence, in contrast to sans serif typefaces, which tend
to display a more modern and contemporary aesthetic. This deliberate preference for serif
typefaces aligns with the associations‘ objective of branding themselves as a traditional,
historical organisation, which perhaps also explains why they selected a motif commonly
used in the Golden Age era for their emblems.

Content Analysis Findings

Through textual analysis of the statements and articles released by The Peranakan
Association and the Gunong Sayang Association, we can observe that both associations
ultimately selected their phoenix emblems in part due to the phoenix‘s favourable symbolic
attributes, and in part due to changed governmental and societal interests. Newfound
support from the Singapore government, who now saw the Peranakans in a favourable light
and beneficial for cultural tourism and building Singapore‘s national image, allowed the
associations greater room to express their true cultural identity (as seen in Figure 27 in the
following page). Associations were now free to choose emblems that reflected traditional
Peranakan culture, which was a marked change from the previous ―United Forever‖
emblem of The Peranakan Association which existed only to appease nationalistic
sentiment and project compliance towards unity and racial harmony.

In addition, the impact of prominent museum exhibitions and scholarly publications that
from the 1980s onwards have heavily focused on Golden Age domestic artefacts can be felt
in the decision by both associations to choose emblems based on symbols from material
culture. During the unveiling of the Gunong Sayang‘s new phoenix emblem, the
association reiterates and acknowledges the phoenix‘s origins as a symbol derived from
material culture, writing that the phoenix was historically prevalent on Peranakan porcelain
and various household artefacts found within the traditional Peranakan home. The
Peranakan Association likewise designed its phoenix emblem based on phoenix carvings
from traditional brown and gold furniture. The choice for both associations to design their
emblems based on motifs from Peranakan Golden Age artefacts reflects the growing focus
on material culture within the contemporary Peranakan discourse, initiated by museums
and academics.

Another important aspect to consider is the new usage of phoenix emblems by both
Peranakan associations in Singapore aligns with the broader trend of the feminisation of

81
 Ho Wing Meng‘s Book Series

Singapore Government

Increased interest in Peranakan artefacts

1989 ACCA report; 2000, 2005, Focus on Material Culture
2008 Renaissance City Report Phoenix as a Peranakan emblem

Government support

Government support New wave of Peranakan

exhibitions opened in museums
(With a focus on material culture)

The Asian Civilisations Museum, the

National Museum of Singapore, the
Peranakan Museum
Focus on Material Culture
Focus on Feminine Aspects
Phoenix as a Peranakan emblem

Peranakan Associations Focus on Material Culture

launch new phoenix logos Mutual Influence

The Peranakan Association,

The Gunong Sayang Association

Mutual Influence

Other Peranakan organisations launch

new phoenix logos / branding

The Hall of the Phoenix & Peony, phoenix

logos of Peranakan Sayang, Phoenix Rising

Figure 27: Relationships between the Singapore government, museums,

Peranakan Associations and other Peranakan organisations, Toh Ying Li, 2023

82
Peranakan culture, a phenomenon that began since the start of the Peranakan Revival. The
opening of the Straits Chinese Gallery at the National Museum was a prominent instance
that actively positioned Peranakan women as authentic custodians of the culture in contrast
to their male counterparts (who were instead framed as being disconnected from their
cultural roots due to their more modern and Westernized lifestyle). Consequently, there has
been an increased focus on exploring the supposedly ―truer‖ and more genuine aspects of
Peranakan culture, with subjects such as cooking, domesticity, embroidery and handicrafts
garnering heightened attention. Amongst all the motifs prevalent in material culture, such
as the dragon, qilin [麒麟], tiger, crane, butterfly, deer, tortoise, and peony, the phoenix
holds the strongest feminine attributes – having historically been used to represent the
empress, the Peranakan bride and the matriarch, as well as being an embodiment of
feminine yin [阴] energy. The Gunong Sayang Association was aware of these connotations
and during the release of its new phoenix emblem it described the phoenix as a reflection of
the matriarchal infrastructure of traditional Golden Age households, where the women
were traditionally in charge of running the house.

In addition, Edmond Chin‘s Gilding the Phoenix jewellery exhibition, which was a
prominent exhibition that used ―phoenix‖ in its branding, also played a role in influencing
the selection of the phoenix emblem for The Peranakan Association. Many people who
worked on the Gilding the Phoenix exhibition were also later responsible for designing or
launching the first phoenix emblem for the association. Equinox Art and Design was the
graphic designer who created the first phoenix emblem, and they had also previously
worked on graphics and the book for the Gilding the Phoenix exhibition. Similarly, Lee
Kip Lee, the president of The Peranakan Association who spearheaded the change to the
new phoenix logo was also in close communications with Edmond Chin and advised him
when he was writing the book and curating his exhibition.

Furthermore, the influence of Edmond Chin‘s Gilding the Phoenix jewellery exhibition,
which prominently featured the phoenix in its branding, cannot be overlooked in relation to
the selection of the phoenix emblem by The Peranakan Association. Several individuals
involved in the Gilding the Phoenix exhibition also played significant roles in the design
and launch of the association‘s first phoenix emblem. Equinox Art and Design, the graphic
design agency responsible for creating the emblem, had previously collaborated on the
graphics and publication of the Gilding the Phoenix exhibition. Additionally, Lee Kip Lee,
who was in close communication with Edmond Chin and provided guidance and insights

83
during the development of the exhibition, later became the president of The Peranakan
Association who spearheaded the transition to the new phoenix logo.

The adoption of the phoenix as the emblem by both of Singapore‘s official Peranakan
associations would have a degree of influence on the Peranakan organizations, groups, and
creative endeavours that would emerge in subsequent years. Further exploration of these
groups and works will be presented in the subsequent chapter.

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V. Chapter 3:
Phoenix Branding by Other Peranakan Groups and Works

Following the adoption of the phoenix as the emblem for the two official Peranakan
associations in Singapore, a subsequent period witnessed the emergence of various other
Peranakan groups, organizations, and literary works that also began using the phoenix as an
emblem for their respective organizations or as part of the titles or branding for Peranakan
related books.

The NUS Baba House

The NUS Baba House was originally an ancestral home of a Peranakan Chinese family
from the 1890s (the Wee family). In 2006, the National University of Singapore (NUS)
purchased the house for restoration and conversion into a heritage house. This project was
undertaken in collaboration with The Peranakan Association of Singapore, as well as the
Singapore government‘s Urban Redevelopment Authority.

The heritage house is currently managed by the National University of Singapore and
showcases a wide collection of domestic Peranakan antiques – mainly furniture, porcelain,
clothing, photography, paintings and fixtures (National University of Singapore, 2008).
This house focuses entirely on Peranakan material culture and is furnished to resemble a
recreation of an authentic Peranakan house from the Golden Ages with artefacts arranged
in naturalistic positions.

Figure 28: The Baba House’s front entrance, Photographed by Toh Ying Li 2022.

85
Motifs of the phoenix can be found in all parts of the house: the ground floor displays a
ceramic panel carved with twin phoenixes, and a display case of Peranakan porcelain
covered in painted phoenixes. In addition, cabinets on the second floor contain phoenix
carvings and motifs. Phoenixes are prominently displayed at the entrance of the Baba
House – a pair of phoenixes in flight decorates the heritage house‘s front entrance.

Figure 29: Twin phoenixes in flight with peony, entrance roof of the
Baba House, Photographed by Toh Ying Li, 2022.

Figure 30: Twin phoenixes in flight with peony and guardian lions,
wooden carving on cabinet, courtesy of the Baba House 2023.

Depictions of the phoenix in flight are prevalent throughout the Baba House. The phoenix
is often paired as twin phoenixes which symbolises marital harmony. The phoenix items
were often presented with other motifs as well such as the peony (when the phoenix is
paired with the peony, it signifies romance) and protective guardian lions. There were also
depictions of the phoenix perched on a rockery, as seen in the ceramic panel below. To the
traditional Peranakans, perched phoenixes were symbolic of stability and strength.

86
 Figure 31: Twin phoenixes perched on a rockery, ceramic
panel, courtesy of the Baba House 2023.

The Baba House Logo

The Baba House was officially opened in September 2008 and the launch unveiled its new
phoenix logo.

Figure 32: The Baba House’s logo, 2008.

Visual Analysis

a) Subject Matter
The logo features a phoenix in flight, an auspicious symbol and a ―mythical creature that
appears during time of good fortune‖ (NUS Baba House, 2018). It also contains the name
of the heritage house and a vertical divider separating it from the phoenix.

b) Composition
The phoenix is depicted swooping in from the left side of the logo, curved towards the
words ‗Baba House.‘ The composition uses leading lines from the phoenix‘s wings and
feathers to draw the viewer‘s eye to the museum‘s name.

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c) Style
The silhouette of the phoenix is influenced by traditional Peranakan carvings of phoenixes
in wooden furniture panels. Phoenix carvings on wooden cabinets and bed frames can be
found in artefacts all around the Baba House.

d) Colours
In the phoenix emblem, two colours are used: a pale shade of turquoise blue for the
phoenix, and a dark, saturated brown for the divider and the name of the heritage house.
The phoenix is depicted in a flat block of colour with no shading or tonal differences. Blue
and brown is a colour combination that can be found in traditional Peranakan porcelain, as
well as textile items like Kebaya and batik.

e) Line
A variety of thick and thin lines are used to illustrate the phoenix. Thick, swooping lines
are used to depict the main structures of the phoenix (such as the neck, wing and tail).
Thinner, finer lines are used for the delicate details in the phoenix‘s curved feathers.

f) Text
A serif typeface is used for the text in the logo. The typeface has vertical stress and
bracketed serifs. Serif typefaces typically are used to portray tradition and authority.

Content Analysis

During the release of the Baba House‘s phoenix logo, the heritage released several
statements describing the significance of the phoenix and explaining its origins. Textual
content analysis of these statements has been conducted below:

Condensation Codes Categories

Reasons for
Phoenix as a popular
A favoured symbol in Peranakan art selecting the
Peranakan symbol
phoenix

It is a mythical creature appearing in times of Phoenix as an

good fortune auspicious symbol

88
As a western mythological bird, it is
associated with rebirth and regeneration, Phoenix as a symbol of
therefore making it both dynamic and rebirth
auspicious

The image for the logo was developed from

Phoenix as a symbol
the phoenixes found on the furniture and
from material culture
architectural elements within the house

Findings

Analysis of statements released by the Baba House reveals that it selected the phoenix as
its emblem for a combination of reasons. The first is the symbolic meanings of the
Peranakan phoenix as an auspicious symbol of ―good fortune‖ and the western phoenix‘s
symbolic associations with ―rebirth and regeneration‖ were considered favourable and
aligned with the aims of the heritage house to help preserve and revive interest and study of
Peranakan culture.

The second reason the phoenix was selected was because of its prominence in Peranakan
material culture which was the main focus of the heritage house. The recurrence of the
phoenix motif on artefacts and ―architectural elements‖ exhibited in the house itself, such
as the roof carvings, carvings on cabinets, painted porcelain motifs and carved ceramic
panels made the phoenix a fitting and logical choice for the heritage house‘s emblem.

In addition, the opening of the Baba House was initiated with help from The Peranakan
Association, an official Peranakan entity which had been using the phoenix emblem for
eight years at the time in which the Baba House was opened. It is possible that The
Peranakan Association‘s official phoenix emblem may have resulted in the Baba House
also choosing to use a phoenix emblem. In the journal article by Pamela Henderson, Joseph
Cote, Siew Meng Leong, and Bernd Schmitt, they explain that newer organisations often
adopt logos which are similar in design to existing, established organisations. This is
effective as ―logos that are similar to other logos create a sense of knowing, which results
in false recognition‖ which is advantageous for newer organisations. False recognition is a
process that occurs when customers or visitors subconsciously associate a new organisation

89
with properties from the older, established organisation due to similarities in their brand
image and emblem designs. By likewise using a phoenix emblem, a new organisation is
able to quickly establish its affiliation with Peranakan culture to visitors who are already
familiar with the Peranakan associations‘ official phoenix emblems.

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Hall of the Phoenix and Peony
The Hall of the Phoenix and Peony is another Peranakan research house that branded itself
using the phoenix (paired with a peony). The research house is dedicated to the study of
Peranakan material culture and it was opened and founded in 2010 by Dr Lye Wai Choong,
a collector of Peranakan artefacts since 1993, and frequent collaborator with the Peranakan
Museum. The hall was built to resemble a traditional Peranakan mansion house, with many
of the artefacts displayed in positions natural to the layout of a household from the Golden
Age. He and his team of interior designers and architects recreated the layout of traditional
Peranakan rooms from the 1900s to 1930s by referencing ―old photographs and postcards‖
(Chee L. , 2016).

The aim of the Hall of the Phoenix and Peony is to document, preserve and conserve
Peranakan material culture, and to provide researchers and scholars with access to his
collection of artefacts. Artefacts in the house are stored with careful temperature controls,
and special lighting in order to protect the collection (Chee L. , 2016). These artefacts are
mostly household items from a traditional Peranakan home. They include brown and gold
furniture, porcelain, embroidery, beadwork and metalwork.

Figure 33: Hall of the Phoenix and Peony wall carving (left), Phoenix and peony stained glass panel
(right), Photographs courtesy of Dr Lai Wai Choog and Colin Chee, 2010.

The hall was named after the phoenix and peony – and besides the name it does not have
any official logo designs. However, a carving of the phoenix and peony is prominently
displayed in a cartouche on the outer façade of the mansion, and a mural of the phoenix is

91
also prominently displayed in stained glass at the top of the stairway (as seen in Figure 33
above).

Dr Lye, the founder of the hall, comes from Peranakan descendant through his maternal
grandmother. When he first started collecting in 1993, his focus was on Peranakan
porcelain, which is intriguing as the phoenix and peony is particularly prevalent in Straits
Chinese porcelain. In the early years, he was drawn only to the aesthetic beauty of the
porcelain, but in the decades that followed began researching their stories, ―historical
significance and how these things were used‖ (Chee L. , 2016).

Content Analysis

I conducted an interview with Dr Lye Wai Choong to investigate the phoenix and peony,
and his reasons for using these motifs. The interview also seeks to uncover his thoughts
regarding Peranakan culture and the phoenix. Extracts from the interview have been
analysed below, following Christen Erlingsson and Petra Brysiewicz‘s methods of
conducting content analysis (Erlingsson & Brysiewicz, 2017). The full transcript of this
interview is also provided in the appendix.

Condensation Codes Categories

Documentation, conservation and preservation Cultural preservation

Aims / Goals
of Peranakan material culture Material culture

Built to hold Peranakan material Area of

Material culture
culture interest

I started collecting in 1993 Collector Role

I decided to call it the Hall of the Phoenix and Reasons for

Peony because a lot of the Peranakan material Phoenix as a symbol using the
cultures, the main motifs are phoenix and from material culture phoenix
peonies

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[The phoenix and peony] is just one of the
Phoenix as a popular
most common popular motifs of the
Peranakan symbol
Peranakans of the Babas and Nonyas

We don‘t know exactly why they chose Phoenix as a popular

phoenix and peonies, but they have a taste for Peranakan symbol
the phoenix and peonies. So a lot of the Phoenix as a symbol
material culture depicts phoenix and peonies from material culture

I decided to name the hall the Hall of the

Phoenix as a symbol
Phoenix and Peonies because the hall is about
from material culture
Peranakan material culture.

The Peranakans I guess just like the phoenix

Phoenix as a symbol
rather than the dragon and adopted it into their
from material culture
material culture.

The phoenix is part of material culture for the

Chinese. So it‘s not that the Peranakans Phoenix as a symbol
created the phoenix, they just incorporated the from Chinese
phoenix into their material culture because mythology
they have a preference for the phoenix.

That is open to speculation. I wouldn‘t like to

say that, ―Oh, because the Peranakans are a
matriarchal society, they place great emphasis Not a full matriarchy
on their mothers and their grandmothers;
therefore they choose a feminine symbol.

93
If they want to pick a logo, if they want to pick
an emblem, if they would pick something to
represent the Peranakan Association or Phoenix as a popular
society, they would pick the phoenix and Peranakan symbol
peony. Because it‘s just all over, it‘s all over
the Peranakan culture.

Yeah, a partial matriarchy. The women play

an important role, but I wouldn‘t – they are not
a matriarchy. A matriarchal society, I don‘t
Traditional
think so. The women have a lot of Partial matriarchy
gender roles
say in their homes, but if you look at the
history of the Baba, it‘s still the man that has
the say.

[Recent attention] mainly focuses on the

material culture. There is not much that has
been said about the politics and the other Area of
Material culture
aspects of the Peranakan culture. The interest
decorative arts, let‘s put it this way. The
decorative arts.

Oh obviously [Peranakan culture] has been Status of

commodified. Definitely, definitely. In every Commercialisation today‘s
sense of the word. Peranakans

Isn‘t that commodification of the Peranakan

culture? So it‘s all over the place, it‘s all over Commercialisation
the place.

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I have no problems with anyone using the
Peranakan culture to generate income, as long
Opinions on the
as it is presented correctly. I mean we don‘t
commercialisation of Opinions
expect people to do anything for free. But we
Peranakan culture
do not want it to be sensationalised and create
something, and tell a partial story.

If you look at the so called Peranakan culture,

Struggles to establish a Challenges
what is there that is persistent? There is
Peranakan identity
nothing.

What is there in Peranakan culture that hasn‘t

Struggles to establish a
gone away? Basically there isn‘t! Peranakan
Peranakan identity
culture is basically Chinese culture.

Peter Lee and I, honestly we are very

Struggles to establish a
frightened of calling something Peranakan
Peranakan identity
culture.

We always joke what is Peranakan culture.

And then from then you lead on, who is a
Struggles to establish a
Peranakan? How do you define someone as
Peranakan identity
Peranakan? All of this is extremely
complicated.

These are representations of a group of people

during a certain period of time that have
incorporated local customs, local cuisines, Peranakan
Hybrid culture
some local costumes and developed features characteristics
that you can identify that are different from
other immigrant Chinese.

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The material culture is just a representation of
the past! And most Peranakans don‘t own any Challenges
Focus on the past
significant material culture anymore. And a lot
Cultural loss
of them do not practise the old Chinese
practises anymore.

I see so many people, so many Peranakans

especially, try to crystallise, try to create an Struggles to establish a
entity and to create something and say that is Peranakan identity
Peranakan culture.

Findings

The interview reveals several main points: the first is that Dr Lye named the hall after the
phoenix and peony primarily because they are one of the most popular symbols in
Peranakan material culture. As the hall was designed to focus on material culture, Dr Lye
considered these symbols the most suitable name for his hall.

In my research, Dr Lye‘s Hall of the Phoenix and Peony is the only entity that did not
choose the phoenix for its symbolic qualities. The Peranakan Association, the Gunong
Sayang Association, the Baba House and other entities that will be analysed in subsequent
sections all cited the symbolic properties of the phoenix as a motivational factor that led
them to select the phoenix as their emblems. Dr Lye emphasises in the interview that his
choice was not based on the various symbolic meanings of the phoenix and was instead
made purely due to the sheer prominence of the phoenix and peony in Peranakan material
culture. Interestingly, The Hall of the Phoenix and Peony is also one of the few entities that
incorporated both the phoenix and peony motifs in its branding – The Peranakan
Association, the Gunong Sayang Association, and the Baba House all opted for the solitary
representation of the phoenix in their emblems (with no peony). In traditional Peranakan
culture, the phoenix when paired with the peony typically signifies romance, which likely
influenced the decision of other associations and groups to exclude the peony from their
emblems. In contrast, The Hall of the Phoenix and Peony‘s choice to include the peony in
their branding appears to be solely based on the sheer prevalence of the phoenix and peony
motif within material culture, disregarding any symbolic implications.

96
This demonstrates that whilst symbolic meanings are a common reason for the selection of
the phoenix, not every Peranakan entity will adhere to them. Ultimately, there are a variety
of reasons that contribute to the usage of the phoenix emblem, and there will be deviations
between every individual and group. Dr Lye‘s interview in particular underscores the
influence of material culture as a determining factor in the selection of phoenix emblems.
The Hall of the Phoenix and Peony‘s focus on Peranakan material culture resulted in the
eventual selection of the phoenix as an emblem, due to the motif‘s pervasiveness in this
cultural medium.

The interview offers insights into the factors contributing to the adoption of the phoenix
emblem within the Peranakan community. Dr Lye‘s observations shed light on the
commercialization and commodification of Peranakan culture in recent decades. After
decades of the Peranakan Decline where the culture was fading into obsolesce, efforts were
made to preserve and revive it through commercial ventures, necessitating the creation of
branding and emblems. This period, known as the Peranakan Revival, prompted the design
and development of new emblems by Peranakans seeking to establish a visual identity for
their projects and organizations. Furthermore, the Peranakans, being a fusion of Malay and
Chinese cultures, encountered challenges in presenting a cohesive sense of identity and
asserting themselves as a legitimate cultural group. This struggle and the underlying
anxiety surrounding their cultural legitimacy likely motivated them to turn to logos,
branding, and emblems as visual tools to solidify their established identity. By adopting
specific symbols, such as the phoenix, the Peranakans aimed to visually represent their
cultural heritage and affirm their place within the broader cultural landscape.

97
Phoenix Rising by Hwei-Fe’n Cheah
In 2010, author and researcher Hwei-Fe‘n Cheah published a book named ―Phoenix Rising:
Narratives in Nonya Beadwork from the Straits Settlements,‖ which was named after the
phoenix despite the book‘s contents largely focusing on material culture – namely
traditional Peranakan beadwork largely from the early 1900s, which were often handcrafted
by women during this period. Cheah describes needlework as one of the ―few means of
expression for the Nonya,‖ who were often confined to the household and faced restrictive
gendered attitudes in the late 1800s and early 1900s (Cheah H.-F. , 2010, pp. 291-295).

Although her book predominantly focuses on traditional Peranakan needlework, on page

327 Cheah very briefly mentions that the phoenix has become ―a representation of the
Peranakan culture.‖ She cites books, television programmes and the Peranakan Association
as entities that have all used the phoenix as their emblem. Cheah herself also uses the
phoenix in the name and cover page on her book on Nonya beadwork.

I conducted an interview with Hwei-Fe‘n Cheah to collect more information on the

phoenix and to examine her reasons for using it to represent her book. Visual analysis of
the book‘s cover and content analysis of the interview can be found in the section below.
Findings from the visual analysis in this chapter will be collated and discussed in the
―chapter findings‖ section at the end of the chapter. The full transcript of the interview is
also provided in the appendix.

Figure 34: Front cover of Phoenix Rising,

book by Hwei-Fe’n Cheah, 2010.

98
Visual Analysis

a) Subject Matter
The front cover of Phoenix Rising displays a large image of three phoenixes surrounded by
lush flowers and branches. The two phoenixes on the left remain perched, a symbol of
stability. The phoenix on the bottom right is a phoenix in flight, with its wings outstretched
and claws just leaving the tree branch. The paired phoenixes at the bottom are traditionally
a symbol of fidelity and love (Ho, 2008, p. 43). The top right contains a light turquoise box
with text showing the title of the book and the author‘s name.

b) Composition
The cover of the book contains a cropped photograph of a Peranakan table screen. The
original table screen contained cockerels, deer, crane, and butterflies on the outer
peripheries, but these were cropped away for the book cover. The composition roughly
follows the rule of thirds, with the important element of the flying phoenix strategically
placed on the right third of the cover.

c) Style
The style of the cover follows traditional Peranakan embroidery from the 1910s. The
designs are brightly coloured with flattened motifs. The composition has slight pictorial
depth, but overall does not have true perspective.

e) Colours
The background of the book cover is a light blue, with multi-coloured phoenixes, peonies,
lilies, branches in shades of red, pink, yellow, orange, green, blue, brown, black and white.
The text box containing the title of the book is a light turquoise with text in white.

f) Line
The lines are natural and organic, capturing the flow of the birds and flowers. The curve of
the branches and shape of the phoenixes form leading lines that guide the viewer‘s eye
towards the other phoenixes and the title of the book.

g) Text
A formal script typeface is used for the title of the book, with flowing loops and flourishes.
Script typefaces convey elegance and tradition. A sans-serif typeface is used for the subtitle
and the author‘s name. San serif typefaces are more readable than script typefaces, and also
create a more modern and contemporary aesthetic.

99
Content Analysis

Condensation Codes Categories

The phoenix isn‘t the only ―traditional‖ motif

Multiple Peranakan
they have picked up on - e.g. the peony Other motifs
motifs
recurs often too, qilin [麒麟], paired dragons

But perhaps its visibility and prominence on The phoenix as a Reasons for
items like the kamcheng and wedding popular symbol using the
garments which continued to be strongly The phoenix as a phoenix
associated with Peranakan culture have symbol from material
contributed to its popularity. culture

I think the literature on Peranakan art and

culture (see for example illustrations in Khoo
Joo Ee‘s book; the batik book titled Butterflies
Phoenix is popular in
and Phoenixes, and Edmond Chin‘s 1991 book
Peranakan book titles
Gilding the Phoenix) also helped to cement its
place in the collective Peranakan
imagination

At a time when Peranakan society was trying Matching the objectives

to articulate its identity and sense of culture. of its time period

In that sense, maybe it has become a part of a Phoenix as a symbol of

discursive Peranakan identity. Peranakan culture

It‘s also an easily recognisable image, (and

Phoenix as a well-
maybe more easily identified with than a
known symbol
peony).

100
Partly as a sort of homage to Edmond Chin‘s
‗Gilding the Phoenix‘ this was, for me, a Phoenix is popular in
significant work in laying out the ideas and Peranakan book titles
nuances of Peranakan art.

The allusion to the (Arabian, not Chinese)

phoenix rising from the ashes relates to the
Phoenix as a symbol of
rejuvenation of beadwork in a contemporary
rebirth
context, i.e. the potential for craft to be
revived.

Definitely [there has been a greater interest in

Interest in domestic / Area of
the domestic / feminine aspects of Peranakan
feminine aspects interest
culture in recent decades]

Associations have been pivotal in creating

Influence of Peranakan Institutions
conditions that energise the culture and for the
associations with influence
coherence of a Peranakan community today

Institutions […] have also played an important

Prominence of material Area of
role in bringing public attention to Peranakan
culture interest
culture, and the feminine aspects are quite
Material culture is often
tangible and can be displayed or, better still,
domestic / feminine
deliciously consumed.

Perhaps it has helped that such aspects of the

―culture‖ are very photogenic and Ease of sharing material
―instagrammable.‖ With (his/her) stories to go culture
along.

Today, the traditionally feminine aspects of

the culture have become less ―gendered‖ as
Modern men doing Changing
both men and women are involved. Especially
traditional women roles gender roles
with cooking. In terms of craft - men are
practising experts.

101
Findings

The interview reveals that Cheah‘s decision to use the phoenix to represent her book was
caused by two factors. The first is influence from Edmond Chin‘s 1991 Gilding the
Phoenix exhibition at the National Museum of Singapore. This influential exhibition played
a pivotal role in starting the phoenix phenomenon among various Peranakan entities,
leading them to adopt the phoenix as their emblem or integrate it into the branding of their
works. The Peranakan Association itself was influenced by this exhibition when it selected
the phoenix for its new emblem in 2000. In the interview, Cheah attests to being similarly
inspired by Edmond Chin‘s Gilding the Phoenix book and exhibition on Peranakan
jewellery during the process of writing her own book. Moreover, she was aware of the
widespread adoption of the phoenix motif by other Peranakan works and entities for their
titles and branding purposes. In accordance with this prevailing trend and also in homage to
Chin‘s works, she decided to also name her book after the phoenix, thereby further
contributing to the usage of the phoenix as a representation of Peranakan culture.

The second reason why Cheah selected the phoenix to name her book was due to the
symbolic properties of the phoenix motif. Similar to The Peranakan Association and the
Baba House, Cheah cites the Western symbolic interpretations of the phoenix as a symbol
of rebirth and rejuvenation as reasons why she selected it for her book. These symbolic
properties of revival and rebirth felt particularly meaningful to Cheah as they reflected her
own aims to revive interest in Peranakan beadwork in a modern Singapore. This
interpretation of the phoenix as a symbol of rebirth draws inspiration from Western
mythology, which diverges from traditional Peranakan perspectives that perceive the
phoenix solely as a mythical creature rooted in Chinese folklore. Cheah also cites the
recognisability of the phoenix to a modern Singaporean audience as a reason why she used
it to name her book, as opposed to lesser known Peranakan motifs like the peony.

The interview also provides more evidence that the increased attention of material culture
in the Peranakan discourse is a key factor that led to the increased popularity of the phoenix
as a Peranakan emblem. Cheah points out certain key items in Peranakan material culture
such as the kamcheng (a traditional Peranakan porcelain jar), and wedding clothing have
received closer scholarly attention and study in recent years. These two items frequently
contain phoenix motifs and close scholarly and public attention from academics, museums
and heritage houses have given these items and the phoenix greater visibility in the
Peranakan discourse. Cheah likewise agrees with the argument that material culture has
increasingly become a focal point of the contemporary Peranakan discourse due to its

102
photographic qualities which according to Cheah makes it more visible and ―sharable‖
especially in the age of social media age we live in today. From my perspective, Peranakan
material culture has become a popular focal point in recent discourse not only because of
its sharable nature through social media, but also due to its tangible qualities as a physical
artefact, making it the perfect subject for museums exhibitions. The visually captivating
and aesthetically rich characteristics of material culture make it a more accessible medium
for exhibition purposes in comparison to other components of Peranakan culture, such as
pantuns (traditional Malay and Peranakan poetry), which predominantly exist in an oral
form and pose greater challenges for presentation within a museum context.

Figure 35: Phoenix and peony kamcheng on display at the Asian Civilisations Museum (left), photographed
by Toh Ying Li 2021; Peranakan wedding photograph of bride wearing the phoenix collar and a pleated
bridal skirt with an embriodered phoenix (right), courtesy of the Peranakan Museum, 1978.

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The Peranakan Sayang cultural organisation
The Peranakan Sayang is a cultural organisation which began using the phoenix in its
emblems and branding from 2020 onwards. Dedicated towards promoting Peranakan
culture, Peranakan Sayang focuses on Peranakan songs and the performing arts. The name
Peranakan Sayang is Baba Malay and translates to ―Peranakan love.‖ The organisation
regularly hosts performances that showcase its Peranakan singing group. In addition, it also
organises Peranakan social dinners, gives educational talks in schools, hosts virtual
programs and sells Peranakan merchandise and gifts.

The group first started performing together in 2004, but was only officially rebranded as
‗Peranakan Sayang‘ in 2017. It is owned and founded by Alvin Oon, a Peranakan who has
history in the Peranakan cultural scene. Alvin Oon was previously a director of a
Peranakan cultural organisation known as The Main Wayang Company Pte Ltd. This group
was the parent company of Peranakan Sayang and ceased operations in 2016 (Peranakan
Sayang, 2022).

Performances conducted by the Peranakan Sayang are typically sung in Baba Malay – the
traditional language of the Peranakans. Some of the performances focus on classic,
nostalgic songs such as ‗Rasa Sayang.‘ However, some of their other music is known for
having a unique modern twist. The classic dondang sayang is a traditional Peranakan
ballad where two or more singers exchange back and forth pantun (poetry) verses. The
Peranakan Sayang sometimes reworks the dondang sayang into a contemporary rap
performance, with singers performing Baba Malay verses in rap (Oon, 2022).

2016 – Present 2020 – Present

Figure 36: Logos used by Peranakan Sayang, courtesy of the Peranakan Sayang, 2020.

The first logo of the Peranakan Sayang was created in 2016. It was mostly text based (as
seen in Figure 36 above) and featured the words, ‗Peranakan Sayang.‘ The text was
surrounded by an ornate frame with five stars on the top, and a heart shape symbol at the

104
bottom. This logo was then supported by a new phoenix logo, which was launched in 2020.
Since its launch, the phoenix emblem has been repeatedly used in posters and merchandise
released by the company, such as in their phoenix medallion magnet, phoenix ang baos
(Chinese New Year red packets) and phoenix brooches. The phoenix logo is currently one
of the official emblems of the Peranakan Sayang, alongside their original 2016 logo.

Peranakan Sayang Phoenix Logomark

The 2020 phoenix logo was personally designed by Alvin Oon, the founder of the
Peranakan Sayang (as seen in Figure 37 below). During the period surrounding the release
of the phoenix logo and phoenix merchandise, the Peranakan Sayang repeatedly described
the phoenix as ―the grand symbol of the Peranakan culture‖ and as ―the icon of Peranakan
culture‖ (Oon, 2022) (Peranakan Sayang, 2022).

Figure 37: Peranakan Sayang phoenix branding, 2020.

Visual Analysis

a) Subject Matter
The phoenix emblem features the phoenix in flight. The phoenix‘s body is curved and
flying in an arc with outstretched wings and long tail feathers. Beneath the phoenix is a
heart shape, symbolising ‗love‘ – a reference to the organisation‘s name ‗Peranakan
Sayang‘ which translates as ‗Peranakan love.‘

b) Composition
The phoenix is curved around the heart shape, protecting it with its body. The composition
makes use of leading lines to guide the viewer‘s eye through the design. The bottom wing,
tail feather and feathers near its midsection all point down towards the text ‗Peranakan

105
Sayang,‘ guiding the viewer‘s eye to the organisation‘s name. The phoenix‘s head is also
curved and pointed towards the heart shape – drawing the eye to all the important elements.

c) Style
The depiction of the phoenix is very detailed and intricate with individual feathers in its
body and wings illustrated. The phoenix is depicted in a flattened form in a single block of
colour, reminiscent of a Potong Kertair Merah – a traditional paper-cutting craft often done
by Peranakan families (Chanelle, 2019).

d) Colours
The phoenix and text are illustrated in gold, with the important areas in the design depicted
in a brighter shade (the main phoenix body, the heart shape and the organisation‘s name),
and the less important areas in a darker shade (the upper wings and tail feathers). Gold is an
auspicious Peranakan colour and it is typically paired with red in Peranakan weddings.

e) Line
Organic, fine lines are used to capture the delicate details of the phoenix. The lines taper at
the tips and are curved, capturing a naturalistic depiction of the phoenix in motion.

f) Text
Serif and sans-serif typefaces are combined in this design. A glyphic serif is used for the
word ‗Peranakan.‘ Glyphic serif typefaces have triangular serif shapes and were inspired
by stone inscriptions. These typefaces portray tradition, stability and permanence. A sans-
serif display typeface is used for the word ‗Sayang.‘ The typeface is very angular and
geometric, producing a modern, futuristic aesthetic.

Virtually Peranakan Fest Logomark

The Peranakan Sayang consistently uses the phoenix in the branding for its various events,
such as in the Virtually Peranakan Fest logo. The ‗Virtually Peranakan Fest‘ was a virtual
live stream, where speakers volunteered to discuss various aspects of Peranakan culture.
The aim of the virtual fest was to connect Peranakans during the isolating lockdown period
of the Coronavirus pandemic (COVID-19) where numerous live Peranakan events by The
Peranakan Association had been postponed, such as the Peranakan Ball 2020.

106
 Figure 38: Peranakan Sayang’s Virtually Peranakan Fest logo, 2021.

Visual Analysis

a) Subject Matter
Both the official Peranakan Sayang phoenix logo and the Virtually Peranakan Fest logo use
the same ‗phoenix in flight‘ design. However, the heart symbol has been removed from the
– likely because the word ‗Sayang‘ (meaning love) is not part of the fest‘s name. The text
beneath the logo contains the event‘s name and year.

b) Style
The style of the phoenix is very intricate and details, with all the individual feathers of the
phoenix clearly depicted. The phoenix is flattened and depicted entirely in a single block of
red, greatly resembling a Potong Kertair Merah – a traditional Peranakan paper-cutting
craft which was typically created using red paper.

c) Colours
A single shade of red is used in the entire logo, with no shading or colour variations. Red is
one of the most auspicious colours for the Peranakans.

d) Text
Four different typefaces are used for the text in the logo. A glyphic serif typeface is used
for the word ‗Peranakan‘ – glyphic typefaces were inspired by chiselled stone engravings
and portray permanence and tradition. A sans serif display typeface is used for the word
‗Virtually.‘ This typeface is angular and geometric, providing a futuristic aesthetic. The
combination of a futuristic typeface with a more traditional one perfectly captures the
essence of having a virtual e-conference about traditional Peranakan culture over electronic

107
media. Meanwhile, the word ‗Fest‘ is depicted using a formal script typeface with flowing
loops and flourishes. Script typefaces produce an elegant aesthetic, reminiscent of
handwriting. The year ‗2021‘ is written using Calibri in italics, a simple sans-serif font for
readability.

Content Analysis

An interview with Alvin Oon, the founder of Peranakan Sayang was conducted to examine
his thoughts on Peranakan culture, the phoenix and why Peranakan Sayang uses the
phoenix as an emblem. Analysis of the interview is conducted below, and the full transcript
of the interview is provided in the appendix.

Condensation Codes Categories

What is a Peranakan? I don‘t know. Am I
Malay? No, not really. Am I Eurasian? No, am Struggles to establish a
Challenges
I Chinese? Not really. So it‘s quite lost. As Peranakan identity
with most Peranakan, I believe.

Our objective was to keep the culture alive, Cultural preservation

Aims / Goals
promote the culture in ways that we can Cultural revitalisation

We had our agenda to push the Peranakan card Acceptance by the

Aims / Goals
in national view Singapore community

I have not watched a single episode of The Opinions on a

The Little Nonya
Little Nonya because I refuse to. In the first Peranakan TV
criticism
place, we Peranakans don‘t speak Mandarin. soap opera

And some of the things were not very well

The Little Nonya
portrayed, like how they made the matriarch
criticism
so fierce.

108
The show has also brought about a lot of
The Little Nonya praise
attention to the culture

A lot of people, you know, were very

interested in all the places that the show was
being filmed. So there‘s a lot of business there
for my fellow friends, you know, because they The Little Nonya praise
visited, they went to the shops. So I mean, in a Commercialisation
way, it was good, because it supported all the
local Peranakan shops, Baba Nonya shops,
which is good.

So I‘m basically self-employed. And I‘m Status of

running this culture full time. So culture Commercialisation today‘s
becomes my business. Peranakans

Going into multimedia, I think, in the whole

Baba Nyonya community around the world,
I‘m the most prominent person doing media, Technological
especially virtual, you know, streaming, and advancements
it‘s all things and videos and animation. So
and I mean, that‘s my strength.

I believe in what I do, and my idea is to keep

the culture relevant to today‘s society, because
we are not living in the times of our great Cultural evolution Aims / Goals
grandfather or great grandmother you know,
the world has changed.

I think the power of the culture is our culture

is one that has always been having an Cultural evolution Aims / Goals
evolution, we‘re always evolving

109
We cannot live in the past, we have to live
today, and for the future, but always remember
Cultural evolution Aims / Goals
and be guided by the past. I think that‘s
important.

Actually Peranakans are a very creative

people, you know, from our crafts, to our
Creativity Peranakan
colours, to our music to our theatre. We are
Leadership characteristics
very, very, very creative people. And we‘re
also leaders in our community.

We still maintain the true values and what you

call the character, the character of the culture.
Cultural preservation
So yes, we are still alive and thriving, but in Aims / Goals
Cultural evolution
new ways, not in the old ways. And our new
ways will be the old ways in the future.

Last time, they were so isolated, in their own

ways, community is a community and that‘s it.
Now, you just pick up your phone, you can Technological Status of
talk to anybody around the world. So it‘s advancements today‘s
different. Life is different, right? Our society Cultural evolution Peranakans
is different. Technologies are different. So we
evolve with the times and we move ahead.

And I would say, in my opinion, the culture is

much more alive today than we were; let‘s say Peranakan revival
40, 50 years ago.

And even for our Singapore government, I

Acceptance by the
must say, they‘ve also identified that the
Singapore government
Peranakan culture is one that is very neutral
and community
and very acceptable for most Singaporeans.

110
I think from the time that we found our
independence in Singapore, to today, the
‗Museumisation‘ of
culture has grown substantially and for us to
Peranakan culture
have even a museum right that is dedicated to
our culture

Women were not allowed to perform, because

it was unbecoming for women to spread, you
Traditional
know, to perform on stage last time, because
gender
they were supposed to be very demure, kept at No female singers
divisions
home, you know. The only things that they do
are know how to cook, you know, to clean the
house, you know, to be a good wife.

Women were not allowed to perform or

entertain anybody unless they were women of
the night. So, because of this, men took on No female singers
roles of the women. So you have a cross-
dressing kind of thing.

After the war, women started, you know,

getting more educated. They could stand on
Changing
their own. And then they start to say, ―No, I
Female singers gender roles
want to sing, you know, I want to perform, I
want to.‖ So they came on stage.

But today, of course the role, the standard and

the status of women has changed drastically
over the decades and centuries, that women
Female singers
are now you know, full time actresses or
performers or singers or whatever. So that‘s
progression for you.

111
In fact, if you talk about it, there‘s no such
thing as original Peranakan music because we
Peranakan
don‘t have anything that is original. All that Hybrid culture
characteristics
we have is all mashed up from different
cultures or races, you know.

But I did it as a rap. So, yeah, so I rap the

pantun, and then my friend will rap the pantun,
and in the beat is, you know, it‘s really
Cultural evolution Aims / Goals
modern, it‘s not the old fashioned thing, it‘s a
very modern beat. So it‘s about bringing the
culture up to date.

It‘s about bringing it to be relevant to today‘s

society, because we cannot be living in the
Cultural evolution
past, we have to live for now. And for the
future.

The phoenix quite often represents the Phoenix as a Reasons for

Peranakan culture. However, this is not a well- representation of using the
accepted fact. Peranakan culture phoenix

Some people say that ―Oh because the phoenix

is auspicious you know so Peranakans like the
auspicious, because being Chinese you know Chinese mythology
we adopt the phoenix as our emblem. But then Phoenix as an
you say you‘re Chinese then why are China‘s auspicious symbol
Chinese not using the phoenix as much?
Because we still Chinese one right?‖

112
So then there‘s other arguments ―Oh because
the dragon, you know, because there‘s always
the yin [阴] and yang [阳] there‘s a dragon and
there‘s always a phoenix. The dragon is Phoenix and Dragon as
always used by the emperor of China. So we a yin yang [阴阳] symbol
cannot use dragon. So we use the phoenix as
an alternative because we have left the
motherland and we‘re starting on our own.‖

And then some will say ―Oh, because the

Phoenix is about rebirth. You know, because
we have spread our wings and we have gone Phoenix as a symbol of
away far away from our motherland. So we rebirth
are rebuilding our own Chinese community,
you know, so rebirth.‖

Then of course there are auspicious, good luck

Phoenix as an
reasons. But there‘s no one reason why they‘re
auspicious symbol
using the Phoenix.

But it is generally accepted that the phoenix Phoenix as a symbol of

symbolizes the Peranakan culture. Peranakan culture

However, we cannot say that this is a 100%

fact. It is just a matter of tastes and
Phoenix as a popular
preferences. But I must say that if you look
Peranakan symbol
back, there are a lot of things that the
Peranakans use with the phoenix.

For example, the porcelain ware you know,

when you see all the kamcheng [traditional
ceramic jar] and the plates and all that you
Phoenix is common in
always see the phoenix being drawn, you
material culture
know, it‘s always featured there. And then
sometimes you see the, the wood carvings,
you know, some of the cupboards and all that

113
all the decorations, you always see a phoenix
somewhere.

It‘s a very symbolic icon of the Peranakans.

So for me, since it is a symbolic thing, and Phoenix as a symbol of
people identify the Phoenix with the culture, Peranakan culture
why not use it right?

And quite a few of the associations around the

Phoenix as a symbol of
region have also used Phoenix as their logo.
Peranakan culture
So it‘s just a matter of an identity.

Sayang is all about love, love for our culture,

love for our people. So that‘s why we came up
with this name of the company ―Peranakan Cultural appreciation Aims / Goals
Sayang‖ because we love the culture and we
love the Peranakan people

Help to keep the culture going. Keep the

Cultural preservation
culture alive. To keep the culture to evolve to
Cultural evolution
the new ways.

It seems I‘m the only one who is doing all this

multimedia stuff virtual, because I‘m a host, Status of
Technological
I‘m a professional host. And because of the today‘s
advancements
pandemic, I became an online virtual host as Peranakans
well

As long as you keep something positive going,

Serving the community Aims / Goals
it might help people, change people.

114
This is my effort, as I say I do this for as a
business. But because I generate income from Commercialisation
my work, I push it back to all this community Serving the community
work, by organizing this whole virtual festival, Technological
to make it accessible to Babas and Nonyas advancements
around the world.

Usually for my Peranakan virtual shows

there‘s a flying Phoenix that flies together
with a dragon. So it makes its appearance
every now and then because, you see, when
Phoenix appearing in Phoenix usage
you think about it the Phoenix is actually a
only special moments
mythical creature. It does not appear all the
time. It only appears some times because if
you use too much of it, you lose that magic
you know.

For the Malay Kebaya, you will never ever see

a creature being embroidered into the Kebaya.
Phoenix as a popular
Most of the 100% of the time is always
Peranakan symbol
flowers or leaves. Right? But for Peranakan
ones, you can see birds. You can see Phoenix.

I have supported them in some of the events in

efforts, and often they also support me when Relationships
Mutual support with
I do something. So you know, this event is with the
associations
supported by the Gunong Sayang associations
Association or the Peranakan Association.

And there is a new breed of a new generation,

a new generation of Babas and Nonyas. Oh,
my close friends. We are all of the same mind: Aims / Goals
Cultural evolution
that the culture is not dead. The culture has
evolved. And we are the generation to push
the evolution ahead.

115
And we will continue and push it so that the
next generation will see that route, how the
culture has evolved. And because if you can
Cultural evolution
accept evolution, you have a future, if you
cannot accept evolution, then it‘s gone
because of this.

These young girls were educated in the late

1800s, the early 1900s. And that made a huge
difference to the community because they are
educated. Their children also get educated I‘m
Women becoming Changing
assuming because their way of thinking is
educated gender roles
different. So how the children were brought up
is different. And because the children were
brought up in a different way by educated
mothers, this makes them successful.

It‘s actually both, although many of us see it

as a matriarchal society, based on the home.
But you know that the men actually Matriarch in the home Traditional
contributed to the family, and the politics and Partial matriarchy gender roles
stability and all that. So it‘s actually a mix of
both.

Findings

This interview reveals that the phoenix‘s presence in material culture is yet again a key
reason why Peranakan organisations such as the Peranakan Sayang selected it as its
emblem. Oon cites the sheer prevalence of the phoenix in traditional items of material
culture, such as in the kamcheng (traditional porcelain jar), plates and the wooden carvings
in traditional cabinets as having contributed to the phoenix to becoming associated with the
Peranakan identity.

Furthermore, it is worth noting that the adoption of the phoenix emblem by both The
Peranakan Association and the Gunong Sayang Association as discussed earlier, might

116
have unconsciously influenced subsequent Peranakan cultural entities to incorporate the
phoenix as their emblem. In the interview, Oon highlights the prevalence of the phoenix as
a logo among prominent Peranakan associations, contributing to its solidification of its
status as a Peranakan emblem. Oon states that the main reason for Peranakan Sayang‘s
phoenix emblems is his belief that the phoenix is now an ―icon of the Peranakans‖ that
encapsulates Peranakan identity. This phenomenon can be seen as an instance of reciprocal
influence, where multiple entities utilise similar branding logos and designs to establish a
stronger collective identity.

In addition, Oon agrees with the argument that the phoenix has been chosen as an emblem
by other Peranakan entities due in part to the phoenix‘s symbolic properties. In the
interview, he suggests that symbolic associations of the phoenix, such as the phoenix being
a homage to the Peranakan‘s Chinese heritage, a symbol of rebirth (following Western
mythology), and an auspicious symbol of harmony as possible reasons for others to select
the phoenix to represent Peranakan culture. Oon believes there are multiple reasons why a
person or organisation may choose to use the phoenix to represent Peranakan culture, and
this could be different to each individual.

The interview provides valuable insights into the connection between the
commercialisation of Peranakan culture and the adoption of phoenix emblems and
branding. This process has been rapidly occurring during the Peranakan Revival – a period
where Peranakan culture has somewhat revived in part due to the culture‘s transition into a
marketable commodity. As the culture became increasingly commercialised, the necessity
for branding and logos arose, ultimately contributing to the emergence of the phoenix as an
emblem. In the interview, Oon discusses the operational aspects of Peranakan Sayang,
acknowledging its function as a business that generates income. He describes the
Peranakan-themed merchandise sold in the company‘s gift shop, including phoenix
magnets, phoenix brooches, and phoenix red packets. However, commercialisation is a
necessary compromise for modern Peranakans to sustainably promote and preserve the
culture. Oon emphasises that profits derived from commercial sales in Peranakan Sayang
are reinvested into community initiatives and cultural endeavours. In addition, Oon also
conducts educational talks in schools and free educational Peranakan live streams: cultural
preservation efforts which are only possible with the profits generated from the business.

An interesting point learned from this interview pertains to the cultural evolution of
modern Peranakans. While much of the discourse surrounding Peranakan culture tends to
centre on the traditions and practices of the Golden Age era, often regarded as the pinnacle

117
where Peranakan culture was its most ―authentic,‖ it is important to acknowledge that
modern-day Peranakans are actively engaged in reshaping and redefining the culture.
Culture, as a societal construct, is inherently dynamic and subject to change over time. Oon
highlights the adaptive nature of Peranakan Sayang, exemplified by their experimentation
with blending traditional dondang sayang (Peranakan ballads) with contemporary rap, a
conscious effort to evolve traditional practices and appeal to a modern audience.
Additionally, Peranakan Sayang harnesses technology, particularly through live streams as
a powerful tool to disseminate awareness and knowledge about the culture. It is plausible
that in the future, the focus of Peranakan discourse will shift beyond the Golden Age –
giving more recognition to the myriad of innovations and lifestyles embraced by
contemporary Peranakans.

118
Chapter Findings
Visual Analysis Findings

Throughout Chapter 3: Phoenix Branding by Other Peranakan Groups and Works, visual
analysis has been conducted consistently for each of the phoenix emblems and branding
materials used by other key Peranakan groups and works. This section collates and
provides a summary of extracted findings obtained from the analysis of these various
phoenix representations. In addition, it will also do cross comparisons between the different
phoenix designs and discuss findings and trends that have been collated through the online
database, Airtable.14

The findings derived from the visual analysis of various phoenix branding materials
provide support for the argument that Peranakan organisations and works that were
branded with phoenix emblems after the 2000s were influenced the two official Peranakan
associations. As depicted in Figure 39, the ―phoenix in flight‖ motif was the most popular
phoenix design used in branding materials produced by other Peranakan groups.
Interestingly enough, the ―phoenix in flight‖ is the same phoenix design that is also

Figure 39: Various phoenix representations in emblems and branding

materials used by other Peranakan groups and works, Toh Ying Li 2023.

14
The Airtable database can be accessed via this link: https://airtable.com/shrtOkgFwdDqUXQkQ

119
prevalently used by The Peranakan Association‘s phoenix emblems and branding materials.
In addition, while the intended design of the Gunong Sayang Association‘s phoenix
emblem is a ―perched phoenix‖ motif, it is worth noting that its emblem portrays only the
head and outstretched wing of a phoenix, with the perched body and feet omitted.
Consequently, the Gunong Sayang Association‘s phoenix emblem bears a closer visual
resemblance to a ―phoenix in flight‖ design (rather than a ―perched phoenix‖), explaining
why later logos and emblems inspired by the association‘s emblems would likewise be
inspired to use ―phoenix in flight‖ designs instead.

Another significant finding that emerges from the visual analysis is that while unofficial
Peranakan entities and groups had more leeway to use experimental designs for their
phoenix emblems as compared to the official Peranakan associations, they remained driven
by a similar strong inclination to evoke a sense of tradition and history in their adoption of
these emblems. Figure 39 above demonstrates a wider variety in the phoenix designs used
by other Peranakan entities in contrast to the more traditional representations used by the
official Peranakan Associations. Furthermore, new, innovative phoenix pairings were
created, such as the ―phoenix and heart‖ motif, which deviates from traditional phoenix
designs found in material culture. Similarly, Figure 40 below reveals a wider range of
typefaces used by these other Peranakan entities, with sans serif typefaces appearing as
frequently as serif typefaces in their phoenix branding materials. This variation can be
attributed to the inclusion of both commercial and non-commercial entities in this section,

Figure 40: Typefaces used in Phoenix emblems and branding materials

from other Peranakan groups and works, Toh Ying Li 2023.

120
leading to more entities adding a modern and contemporary aesthetic to the phoenix
representations.

However, it is crucial to acknowledge that despite the increased variety and

experimentation observed in the phoenix branding materials of these entities, their
underlying objective still possessed the desire to evoke a sense of tradition and history
through their emblems and branding. The phoenix representations used consistently
displayed intricate detailing, and was designed to bear resemblance to the ornamental
phoenix depictions from the Golden Age. This provides further evidence that the phoenix‘s
emergence as an emblem is intricately linked to the Peranakan groups‘ aspiration to evoke
the historical significance of the Golden Age, which has garnered heightened attention in
recent years.

Content Analysis Findings

Throughout the course of Chapter 3: Phoenix Branding by Other Peranakan Groups and
Works, content analysis has been conducted regularly and with in-depth observations
presented in the ―findings‖ portion at the end of each case study. As a result, this section
will provide only a brief overview and summary of the textual content analysis findings
that have been discussed in detail throughout the chapter.

Ultimately, analysis of the statements and interviews conducted with the various Peranakan
entities has revealed that there are three main reasons why they selected the phoenix for
their emblems and branding purposes. The first reason is the favourable symbolic
properties of the phoenix, embodying qualities such as ―good fortune,‖ ―harmony,‖ and the
Western interpretation of ―rebirth.‖ The second reason is the newfound importance placed
on Peranakan material culture from the Golden Age era by academics and museums in
recent decades. Material culture has increasingly been painted as an authentic and defining
part of Peranakan culture, resulting in Peranakan entities selecting a traditional symbol
from material culture when they required a visual emblem to brand themselves. The third
reason is influence from the official Peranakan associations, as well as Edmond Chin‘s
―Gilding the Phoenix‖ exhibition. The use of phoenix branding by The Peranakan
Association, the Gunong Sayang Association and through the museum exhibition solidified
the phoenix‘s status as a cultural emblem, leading other entities to follow suit in selecting
phoenix emblems for their own organisations or works.

121
VI. Chapter 4:
Conclusion

From the 2000s to the present day, the phoenix has become an iconic emblem of Peranakan
Chinese culture in Singapore. Used in the logomarks of the official Peranakan associations,
heritage houses, research hubs, and in book and magazine titles, the phoenix has become a
representation of the Peranakan identity. Through undertaking a historical approach and a
study of the various historical events and players (museums, authors, associations, and
private organisations), the research shows that the process that led to the selection of the
phoenix as an emblem is multifaceted and was caused by a variety of reasons such as the
increased focus on material culture in the Peranakan discourse, symbolic connotations of
‗revival‘ that matches the interests of Peranakans, mutual influence between Peranakan
groups, commercialisation driving a need for branding, and a greater acceptance from the
Singapore government which allowed the Peranakan groups to freely express themselves.

The increased focus on material culture as well as the Golden Age era is a significant
reason that contributed to this phenomenon. With the opening of new museum exhibitions
and books on Peranakan artefacts, material culture has increasingly become a focal point of
Peranakan identity. Peranakans often look back on the Golden Age with nostalgia and
reverence, and consider material culture to be one of the few tangible reminders of this
period. The phoenix is a common recurring motif on artefacts from this time period, and
the heightened focus on material culture has put the phoenix in the spotlight. In press
releases, interviews and comments made during the release of their phoenix emblems, The
Peranakan Association, the Gunong Sayang Association, Peranakan Sayang, Hall of the
Phoenix and Peony and Baba House have all cited the phoenix‘s prominence in traditional
Peranakan material culture as a factor when explaining their decision to select the phoenix
as an emblem for their organisation.

The selection of the phoenix as a prominent emblem in Peranakan culture can also be
attributed to its favourable symbolic properties. Within traditional Peranakan beliefs, the
phoenix holds auspicious connotations associated with peace and harmony. This symbolic
significance influenced the Gunong Sayang Association‘s decision to adopt the phoenix
emblem, as the perched phoenix represents stability – a desirable quality to be associated
with the organisation. Similarly, the Peranakan Association cited the phoenix‘s role as a
protector of the South as a reason for its choice as an emblem. Given the Peranakan‘s
origins as descendants from Chinese Southern migrants, the Southern cardinal direction

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 Peranakan Phoenix Symbolic Meanings (Golden Age Era)

Empress ―The ruler of all birds‖ Protector of the South

Imperial symbol

Yin [阴] Energy Bride Romance Stability, Peace

and Harmony
(When paired (When paired with
with the dragon) the peony)
Auspicious symbol

Matriarch Marital Harmony

(When there are

Feminine symbol twin phoenixes)

Western Phoenix Symbolic Meanings

Rebirth / Rejuvenation Phoenix as a Peranakan Emblem

Figure 41: Symbolic meanings of the phoenix in

Peranakan and western culture, Toh Ying Li, 2023

holds particular importance in Peranakan culture, making the phoenix an apt symbol to
represent the community. Figure 41 above illustrates an overview of the various favourable
symbolic attributes of the phoenix that contributed to it becoming an ideal choice to
represent Peranakan culture.

In addition, new symbolic associations of the phoenix with ‗revival‘ and ‗rebirth‘ are an
important factor that led to the emergence of phoenix emblems. Although the phoenix was
adopted by the Peranakans from Chinese mythology, contemporary Peranakans have

123
interpreted the phoenix with new symbolic meanings based on their own contextual
knowledge. In modern Singapore, the phoenix is a familiar mythical creature in pop-culture
and is known as an immortal bird that can be reborn and revived from the ashes. These
symbolic meanings of ‗revival‘ and ‗rejuvenation‘ are associated with the Western phoenix
– and not the traditional Peranakan phoenix. Nevertheless, many prominent contemporary
Peranakan organisations, such as The Peranakan Association, the Gunong Sayang
Association, the Baba House and authors such as Hwei Fe‘n Chaeh cited the symbolic
associations of the phoenix with revival and rebirth as reasons why they ultimately selected
the phoenix as their emblem or in the title of their book. The decision to associate the
Peranakan phoenix with these new symbolic connotations could be because the notion of a
phoenix in flight ‗reviving from ashes‘ perfectly aligns with their desire to see the culture
rejuvenate from the aftermath of the Peranakan Decline. The phoenix is essentially the
perfect emblem to represent the current phase of the ‗Peranakan Revival‘ and its period of
cultural rebirth. In addition, the recognisability of the phoenix makes it more appealing
than more obscure motifs like the peony or the qilin [麒麟].15 Emblems by themselves do
not contain innate meanings and rely on the viewer‘s prior knowledge to form
interpretations: it is beneficial for an organisation to select an emblem that already has a
known and favourable meaning with the majority of the Singapore population.

Another factor that contributed to the phoenix phenomenon is mutual influence. Once
Edmond Chin launched his landmark ‗Gilding the Phoenix‘ exhibition and The Peranakan
Association of Singapore made the phoenix its official emblem, many organisations and
groups became similarly inspired to use the phoenix as an emblem for their Peranakan
organisations. Hwei Fe‘n Cheah reveals in the interview that she named her book ‗Phoenix
Rising‘ because she was inspired by Edmond Chin‘s book and exhibition ‗Gilding the
Phoenix.‘ Similarly, the founder of Peranakan Sayang revealed in the interview that he
began incorporating the phoenix in his branding materials due to the perception that the
phoenix has become an ―icon of the Peranakans.‖ He noticed that other prominent
Peranakan associations have used the phoenix as their logo and the phoenix has become a
symbol associated with the culture, and decided to include the phoenix in his branding
materials and merchandise as well. An overview of the various relationships between the
government, the Peranakan associations and other Peranakan organisations that led to the

15
The qilin [麒麟] is mythical creature that is typically depicted with horns and a scaled body. It is an auspicious creature and
its arrival is typically associated with the birth of a new ruler. Qilins are also associated with bringing new babies into the
family (similar to the stories of the stork from Western mythologies). The qilin is one of the many popular motifs that can be
found in Peranakan material culture.

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 Ho Wing Meng‘s Book Series

Singapore Government
Increased interest in Peranakan artefacts
1989 ACCA report; 2000, 2005, Focus on Material Culture
2008 Renaissance City Report Phoenix as a Peranakan emblem

Government support

New wave of Peranakan

Government support exhibitions opened in museums
(With a focus on material culture)

The Asian Civilisations Museum, the

National Museum of Singapore, the
Peranakan Museum
Focus on Material Culture
Focus on Feminine Aspects
Phoenix as a Peranakan emblem

Focus on Material Culture

Mutual Influence
Peranakan Associations
launch new phoenix logos

The Peranakan Association,

Mutual Influence
The Gunong Sayang Association

Other Peranakan Organisations launch

new phoenix logos / branding

The Hall of the Phoenix & Peony, phoenix

logos of Peranakan Sayang, Phoenix Rising

Figure 42: Relationships between the Singapore government, museums,

Peranakan Associations and other Peranakan organisations, Toh Ying Li, 2023

emergence of the phoenix emblems can be observed in Figure 42 above. This mutual
influence can be understood through Pamela Henderson, Joseph Cote, Siew Meng Leong
and Bernd Schmitt‘s journal observations on the visual components required for building

125
brands. In it, they note that ―logos that are similar to other logos create a sense of knowing,
which results in false recognition,‖ a process that is beneficial to newer organisations.
These newer organisations benefit as the usage of a known emblem creates a sense of
familiarity to the viewer. In addition, the phoenix currently has connotations attached to the
official Peranakan Association of Singapore. By similarly using a phoenix emblem, an
organisation can tap into the existing codes of the phoenix being a representation of
Peranakan culture, essentially creating a more effective logo. The phoenix trend is
essentially a self-perpetuating phenomenon: the more Peranakan organisations (especially
the established ones) begin using the phoenix, the more likely newer Peranakan
organisations will also start using the phoenix to establish their own brands. In addition, the
Peranakan community in Singapore is small and tight knit – Peranakan organisations are
constantly collaborating with each other, making this mutual influence all the more
prevalent.

The rise of the phoenix emblem can also be attributed to the Peranakan‘s current need for
branding and to develop a recognisable identity. The period of the Peranakan Revival
marks a phase where Peranakans have embraced commercialisation as a necessary means
for survival. With the older generation of Peranakans slowly disappearing and the younger
generation reluctant to continue many of the old traditions, avenues such as ‗cultural
tourism‘ and reinvesting profits from selling Peranakan merchandise or services into
education are increasingly becoming crucial to the survival of the culture. In addition, the
Peranakans have historically always been anxious regarding their identity and legitimacy as
a hybrid culture. Having a unified phoenix emblem for the two main Peranakan Chinese
associations in Singapore (as well as a variety of other Peranakan organisations)
strengthens their brand cohesion and identity. The Peranakans‘ quest to brand themselves
and find their identity parallels Singapore‘s need for branding. After Singapore gained
independence, the country similarly went through a period where it created new emblems
and tapped into its heritage as ways to find its identity. Singapore‘s arts and information
minister Lui Tuck Yew declared Peranakan culture to be ―the multiracial emblems of
[Singapore‘s] social mix‖ during the opening of a new Peranakan exhibition. Just like how
the phoenix has become an emblem of the Peranakans, Peranakan culture is increasingly
being adapted by the government to become an emblem of Singapore.

All of this branding activity by Peranakan organisations was made possible by the
Singapore government‘s changed stance regarding the Peranakans in the 1980s. When the
Singapore government and the rest of the population were largely distrustful and wary of

126
the Peranakans during the 1960s, they kept a low profile and deliberately chose emblems
that presented a conformist and neutral message. The old 1966 emblem of the Peranakan
Association in particular is a motif of four linked arms – which has nothing to do with
Peranakan culture and instead is a representation of Singapore‘s four ‗official‘ races. The
linked arms logo has a muted black and white colour palette, in stark contrast with the
exuberance of the colourful phoenix emblems today. The changed opinions of the
Singapore government towards Peranakan culture as being valuable to Singapore‘s growth
is a crucial factor that allowed for the selection of the phoenix logos. If the Singapore
government did not begin to look favourably on the Peranakan community, it is unlikely
that the Peranakan Associations would change their logos to the phoenix – an emblem
which is a vibrant, eye-catching expression of the Peranakan identity.

Another point to note is the heightened focus on the feminine aspects of Peranakan culture.
Traditionally feminine aspects of the culture, such as food, crafts, the domestic Peranakan
house, and the Nonya herself have been increasingly placed in the spotlight, mirroring the
rising popularity of the phoenix: a traditionally feminine symbol. Based on statements
made by The Peranakan Association, the Gunong Sayang Association, Peranakan Sayang,
Hall of the Phoenix and Peony and the Baba House, these groups were aware of the usage
of the phoenix as a feminine symbol, but did not choose the phoenix as their emblems
directly due to this reason. Instead, the same thought processes that resulted in the recent
‗feminisation‘ of Peranakan culture also resulted in a preference for the phoenix.
Academics such as Karen Teoh have dissected the feminisation of Peranakan culture as
being caused by a desire to focus on the ―uncontroversial realm of the woman‘s world‖ to
keep the focus away from the Peranakan men‘s controversial political history. By using the
phoenix as an emblem, it continues to keep the focus of the Peranakan discourse on ―safe‖
and ―unproblematic‖ topics, steering the focus away from references to their controversial
political past.

Yet at the same time, gender dynamics have changed in Peranakan society today, and the
gender divide is no longer as pronounced as it was during the Golden Age. Both Peranakan
men and women are now involved in traditionally feminine roles, such as cooking,
embroidery and crafts, with Peranakan men such as Raymond Wong doing embroidery and
making his own Kebayas (Peranakan clothing). Similarly, contemporary Peranakan women
are now educated and working, with Genevieve Peggy Jeffs becoming the first female
president of the Peranakan Association in 122 years. While cooking, fashion, crafts and the
phoenix were considered feminine in the past, cultural meanings can shift and change over

127
time. The Peranakan phoenix is now used as an emblem that represents all Peranakans:
men and women. With repeated usage in this context, the phoenix is likely to develop more
gender-neutral meanings over time.

Ultimately Peranakan culture, like most cultures in the world, is ever-changing and
constantly in flux. Continuous evolution is necessary for a culture‘s endurance and
Peranakans must adapt in order to survive. Historically, the Peranakans have rebranded
themselves with emblems to suit their new goals in every phase of their cultural growth or
decline. The phoenix is currently the perfect emblem of the Peranakan Revival, but once
this phase is over the phoenix emblem may yet again be set aside to make way for the
Peranakan community‘s next phase of rebranding. Only time will tell what the Peranakan‘s
next emblem will be, in their next era of change.

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VII. Appendix
Meanings of Phoenix Motifs in Material Culture
<

Phoenix and Peony

The phoenix and peony motif typically symbolises prosperity and righteousness. The peony
flower is associated with spring and the phoenix is associated with summer (Kee M.-Y. ,
2009, pp. 53-54). The phoenix is typically paired with the peony as they are considered the
most important bird and flower respectively (Sim & Liu, 2012, pp. 265–290). This motif
draws influence from the classic Chinese ―bird and flower paintings [花鸟画],‖ where birds
are commonly depicted with flower motifs (Kee M.-Y. D., 2004, p. 141). Birds and flowers
were also motifs featured in Malay and Indonesian batik designs, which may have made
this design more familiar and appealing to the Peranakans (Supana, 2018, pp. 537-541).
The pairing of the phoenix and peony also symbolises romantic love (The Peranakan
Association , 2000).

Phoenix and Dragon

When paired together, the phoenix and dragon is a symbol of the union between female
(yin) and male (yang) energy, where the phoenix represents the feminine and the dragon
represents the masculine. This motif is used to symbolise the emperor and empress (in
imperial settings) or husband and wife (at weddings) (Kee M.-Y. , 2009, p. 141) (Knapp,
2012, p. 57).

Twin Phoenixes

When the phoenix is presented by itself, it is typically considered to be female. When two
phoenixes are depicted in a pair, one of the phoenixes is considered to be male (named feng
凤) and the other phoenix considered female (named huang 凰). These twin phoenixes are a
symbol of marriage, love and fidelity (Ho, 2008, p. 43).

Phoenix in Flight

The flying phoenix motif depicts the phoenix with its wings outstretched and in flight. The
phoenix only appears during a period of peace and harmony (Kee M.-Y. D., 2004, p. 141).
This motif draws influences from the Chinese proverb ―as the phoenixes fly [凤凰于飞]‖
which came from the Book of Songs [诗经], a collection of Chinese poetry from the Zhou

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Dynasty (1046 BC–256 BC). The proverb refers to a pair of twin phoenixes flying together,
and it is a metaphor for a happy marriage (Chen S. Z., 1992, p. 9).

Phoenix Resting on Rockery

The phoenix is often depicted perched on a moss-covered rockery. When the phoenix
stands on a rockery, it symbolises stability and permanence (Kee M.-Y. , 2009, pp. 53-54).

Phoenix and Qilin [麒麟]

The qilin [麒麟] is a benign chimera creature from Chinese mythology typically depicted
with horns, hooves and a body covered in scales. The qilin [麒麟] is known for its ability to
deliver a baby into a family (similar to the Western fable of the stork delivering a baby).
When the phoenix and qilin [麒麟] are paired, it is a symbol of fertility and children. This
motif is particularly common in Peranakan weddings (Pan & Tang, 2004, p. 39) (Lukman,
Setyoningrum, & Rismantojo, 2018, pp. 89-90).

A Hundred Birds in Homage to the Phoenix

This is one of the more complex motifs surrounding the phoenix. It typically depicts the
phoenix in the centre, perched beneath a parasol tree [梧桐] and surrounded by numerous
pairs of different birds (e.g. cranes, magpies, swallows). This motif is an imperial symbol
and it represents the phoenix‘s elevated status as the ruler of all birds – surrounded by other
lesser birds coming to pay their respects. The parasol tree symbolises royalty and highlights
the phoenix‘s regal status. This motif is sometimes used to highlight imperial power and
the relationship between royalty and their subjects. It originates from classic Chinese
paintings, where it is known as Bai Niao Chao Feng [百鸟朝凤] (Kee M.-Y. , 2009, pp. 53-
54).

The Sparring Phoenix

This motif depicts a phoenix with raised wings, an open beak and outstretched claws – in a
striking position. Normally, the sparring phoenix is never portrayed alone and is always
depicted in a pair or in a series of phoenixes with similar fighting stances. It is most
commonly found on batik prints and this motif is heavily influenced by the ‗sabung ayam’
cock-fighting motif that is popular in the Indonesian community (Damais & Knight-
Achjadi, 2005, pp. 13-17). This aggressive motif deviates from the typically tranquil and
serene depiction of the phoenix.

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The Emblem

Emblems are symbolic images or objects that represent a nation, individual or entity 16
(Oxford University Press, 2021). Such symbols were named ‗emblem‘ from the Greek
word ‗embállein‘ which means ‗to insert‘ (Merriam-Webster, 2021). Their earliest forms
can be traced to 2600 B.C., where emblematic symbols for Egyptian deities were used in
hieroglyphics (Allen, 2010) (Manning, 2002).

Emblems by themselves do not contain innate meanings: they rely on the viewer‘s prior
knowledge and cultural perceptions to form interpretations. The context and cultural norms
surrounding an emblem is therefore crucial towards understanding its meaning and purpose
(Bryan & Gillespie, 2005, pp. 8-16). These meanings can also change drastically with time,
depending on its manner of use (Quinn, 2005).17 Emblems are expressions of identity that
have the power to evoke a sense of belonging or controversy, depending on the group or
idea it is representing (Bryan & Gillespie, 2005, pp. 8-16).

Figure 43: Differences between emblems and symbols, Toh Ying Li, 2023.

Differences between Emblems and Symbols

Although emblems are symbols, not every symbol is an emblem (see Figure 43 and Figure
44). Symbols typically consist of an image and its derived meaning. However, emblems
take this one step further: they consist of not only image and meaning, but also encompass
the identity of an entity or community. An example of this can be observed in the
difference between an image of a dove carrying an olive branch (a symbol), and the
Olympics logomark (an emblem). The dove symbol conveys ‗peace,‘ but on its own has no
attributed identity. In contrast, the Olympics emblem represents not only ‗union‘ but also
the identity of a specific global sports competition. Emblems are hence symbols (as they
consist of image and meaning), but a symbol only becomes an emblem when it is also able
to represent the identity of a person, group or ideal (Hall, 1970, pp. 261-265).

16
An alternate usage of the word ‗emblem‘ sometimes refers to an art tradition where images were accompanied by verses of
mottos or moral lessons, and assembled in the form of emblem books. The thesis will not focus on this definition of the
emblem, but rather the more common definition of an emblem being a symbolic mark of identity.
17
An example is the Swastika: which evolved from a spiritual Buddhist emblem into an emblem of the Fascist Nazi party.

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 Figure 44: Emblems are a subset of symbols, Toh Ying Li, 2023.

Historical Overview of Emblems in Singapore

The earliest presence of emblems in Singapore can be traced to the 13 th–14th century where
they were used for religious purposes to represent gods and deities. Artefacts found on Fort
Canning Hill include gold jewellery from the 14 th century inscribed with emblems
representing the Hindi god, Vishnu (a conch and discus) (National Museum of Singapore,
2017).

Emblems were also used as symbols of power by the series of sultanates that controlled
Singapore during its early history. In the 14 th century, the Majapahit Empire controlled
Singapore and used The Sun of Majapahit as its emblem (National Heritage Board, 2021).
This emblem consisted of nine Hindu gods overlaid with a sun in an intricate design. From
the 15th–18th century, the State Sword was an important part of the royal regalia and
functioned as an emblem of the Sultan. This sword was passed from one generation of
Sultans to the next: whoever wielded the sword also wielded power. (Lanang, 1615) (The
Straits Times, 1939).

In the 19th century, emblems were used in Malay seals for treaty signing. The historic treaty
signed on 6th February 1819 between Temenggung Abdul Rahman, Sultan Husain Syah
and Stamford Raffles featured three different seals: all emblems of their respective signees.
This treaty granted the British authorisation to set up their trading post in Singapore
(National Library Singapore, 2020).

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New emblems in Singapore were created each time the island acquired new governance.
When the British controlled Singapore as part of the Straits Settlements, the emblem of the
Straits Settlements was used throughout Singapore. This emblem was printed and
circulated on paper money from 1898–1942 (National Heritage Board, 2021). The British
also gave Singapore a variety of other emblems, including the emblem for the Singapore
Municipal Commission and Singapore‘s first coat of arms, in 9 th April 1948 (Wong, 2018).

When Singapore moved towards gaining independence, a new series of emblems were
commissioned to represent Singapore as a self-governing state. Among these include the
National Flag and State Crest which were unveiled in 1959, as well as the Lion Head
Symbol which was launched in 1986 (National Heritage Board, 2021).

During this period, emblems were also used in the form of logos by companies and
communities in Singapore to establish their identities. Some major companies that
commissioned logos from 1900–1938 include Eu Yan Sang, Leung Kai Fook Medical,
Yeo‘s and Haw Par Corporation Ltd (Chin Y. C., 2017). Some notable examples of ethnic
communities that branded themselves with emblems from the 1900–1986 include the
Singapore Indian Association, Singapore Federation of Chinese Clan Associations, The
Singapore Malay Chamber of Commerce and Industry and the Peranakan Chinese
Association.

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Interview Transcripts

Transcript – Interview with Dr Lye Wai Choong, 7th December 2022

Founder of the Hall of the Phoenix and Peony

W: Dr Lye Wai Choong

Y: Toh Ying Li

Tell me a bit about yourself and the Hall of the Phoenix and Peony. When did you
Y
create it and what does it do?

W Documentation, conservation and preservation of Peranakan material culture.

Y When did you start doing this?

W Started in 1993.

Y 1993? That is a really long time ago…

The building [for the Hall of the Phoenix and Peony] was completed in 2010 after
four years. The building was adapted from 1927. In 1927 the building was there. The
original building was owned by Lim Yan Peng, he is not exactly a Baba but his wife

W was a Nonya. The building is still in existence in Penang. The building is what John
Lim would call a castle mansion. Because of the dome, so the description of that
building was a castle mansion. The building was built to hold Peranakan material
culture around the turn of the 1920s.

Y I see – so right now where are you based? Are you based in Penang or Singapore?

W I‘m based in Singapore.

Y When you founded the Hall of the Phoenix and Peony in 1993 as you said -

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 Well I started collecting in 1993. The Hall of the Phoenix, the name was created in
the year 2010. The collection is referred to as 堂鳳丹 (Tang Feng Dan): The Hall of

W the Phoenix and Peony. You know a lot of Chinese collections have a name: the hall,
collection. So I decided to call it the Hall of the Phoenix and Peony because a lot of
the Peranakan material cultures, the main motifs are phoenix and peonies.

Ah I see, so what does the motifs of the phoenix and peonies represent to you? To
Y
you what does it symbolise?

Well, it is just one of the most common popular motifs of the Peranakans of the
Babas and Nonyas. We don‘t know exactly why they chose phoenix and peonies, but
W
they have a taste for the phoenix and peonies. So a lot of the material culture depicts
phoenix and peonies.

Y So that is the main reason why you chose it?

Yes, so this is the main motif. So I decided to name the hall the Hall of the Phoenix
W
and Peonies because the hall is about Peranakan material culture.

Ah, I see that‘s very interesting. So do you feel the phoenix is a very important
Y
emblem to Peranakans?

Well the Peranakans I guess just like the phoenix rather than the dragon and adopted
it into their material culture. You must remember that the Peranakans basically are
very Chinese. Their rituals, their religious beliefs, their practises are all derived from

W Southern Chinese culture. The phoenix is part of material culture for the Chinese. So
it‘s not that the Peranakans created the phoenix, they just incorporated the phoenix
into their material culture because they have a preference for the phoenix. Whether
that symbolises femininity, matriarchal culture, that‘s up to speculation.

Very, very interesting! So does the Hall of the Phoenix and Peony have an official
Y
logo? I visited the website but I was not too sure if it had an official logo.

W The Hall doesn‘t have a logo.

Y So it just goes by the name, The Hall of the Phoenix and Peony?

W Yeah, that‘s right.

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 Ok, so another I noticed was the Peranakan Association, the Gunong Sayang
Association, the NUS Baba House and many other Peranakan groups all used the

Y phoenix as their main logo, their main emblem. And you also named your hall, the
Hall of the Phoenix and Peony. So do you feel that there is this trend where lots of
Peranakan groups are using the phoenix and how do you feel about this?

Well I think it‘s just that there is a preference and they see it in their material culture,

W therefore there are emblems and you don‘t see dragons. There are hardly any
dragons.

Y Yes, there are very few dragons.

So what we see is the phoenix. So I guess there are lots of Peranakan groups, whether
there are dondang sayang or Gunong Sayang or the Baba House or the Peranakan
W
Association, I would imagine they would pick the phoenix and the peony. Because
that is what is most commonly seen.

Y That is very true…

So I guess if they want to pick a logo, if they want to pick an emblem, if they would

W pick something to represent the Peranakan Association or society, they would pick
the phoenix and peony. Because it‘s just all over, it‘s all over the Peranakan culture.

Makes sense! So another thing you mentioned just now was about matriarchy. So I‘m
quite curious about matriarchy and patriarchy in Peranakan culture. The phoenix is
Y
often a feminine symbol that represents the bride and the matriarch, so do you feel
that this could have influenced –

That is open to speculation. I wouldn‘t like to say that, ―Oh, because the Peranakans

W are a matriarchal society, they place great emphasis on their mothers and their
grandmothers; therefore they choose a feminine symbol.‖

Y So you don‘t think that -

W I‘m not sure, I‘m not sure. I‘m not sure; I think that is sheer speculation.

Y But you think that is possible, it‘s just not confirmed?

Oh it‘s possible, but it is hardly confirmed. And then if it is perpetuated, then of

W
course it becomes a fact! And that is perpetuated all the time: ―Oh it is a matriarchal

136
 society, the daughters are very important to the Peranakans.‖ No, no, of course they
care more for their daughters more than the Chinese would. But they are still not an
open society where gender equality is the norm. It‘s not! Peranakan daughters are not
sent to schools. Peranakan daughters are still made to do domestic chores. They have
to learn embroidery, cooking and all that. And this is all gender biased isn‘t it? Even
though they are not like the Chinese where daughters are taken with less regard, it‘s
not that the Peranakan think their daughters are equal status as that their sons. But of
course, the Peranakans allowed their daughters to go to school and go for an
education earlier than the Chinese. But I do not think – I would hesitate to say that
the Peranakans think of their daughters equally in status as their sons.
Ah, so you feel that Peranakan culture was never really a matriarchy. It was like a
Y
partial matriarchy, but not a full matriarchy.
Yeah, a partial matriarchy. The women play an important role, but I wouldn‘t – they
are not a matriarchy. A matriarchal society, I don‘t think so. The women have a lot of
W
say in their homes, but if you look at the history of the Baba, it‘s still the man that
has the say.

Y It‘s true - the men have a lot of power.

Yeah, the men have the power, it‘s not the women. If it were a totally matriarchal

W society where the women have all the power, they would not be having multiple
wives.

Yeah! Ok, another question I have is do you feel that there has been greater focus on
the domestic lives of Peranakans in recent years? I noticed that many museums and
cultural groups focus on the Peranakan house. For instance the Intan and the NUS

Y Baba House. And many museum exhibitions also display Peranakan material culture,
which are often items from the household. So do you feel that in recent years that
more attention has been placed on the Peranakan household, rather than the politics
or things like that?

Well, it mainly focuses on the material culture. There is not much that has been said
about the politics and the other aspects of the Peranakan culture. The decorative arts,
let‘s put it this way. The decorative arts. So if you had the money during those times
W
and you want to have beautiful things to use and beautiful things for display in your
home, what would you do? It‘s the same today as in the past! I do not think there was
any intention of creating a material culture. It was an ―Oh well, we have the money

137
 and so we want things for the house. We want to use beautiful porcelain, expensive
porcelain.‖ And where would the porcelain come from in the past? It would either
come from China or it would come from Europe, from UK. Early years, in the end of
the 19th century, then it would be bought from China. Later on, then it would come
from the UK. So there was no real intention, to them it was not a material culture. It
was using nice porcelain, like what you would do now. They would decorate their
house with arts, that‘s was how it was. So when we label it as Peranakans material
culture, we are looking with today‘s eyes, with hindsight. In the past, they would not
look at it as material culture. Their porcelain would be looked at as nice, expensive
porcelain from China that they use during weddings and ceremonies. Basically that
was it.
That makes sense. So another question I have is that some people are worried that

Y Peranakan culture has become a commodity, or a commercial tourism gimmick. So

do you think that this is true?
Oh obviously it has been commodified. Definitely, definitely. In every sense of the
word. Food, food is one thing. Food, of course, food of course is fine when you go to
restaurants, Peranakan restaurants. But commodifying Peranakan material culture is
all over the place. When you see the new reproductions of the porcelain. When you
see people using the material culture. I mean look, look at some of the small

W Peranakan, I don‘t even dare to use the word ―museum,‖ small Peranakan houses,
Peranakan homes. Some small little houses, small little museums have been turned
into ―Peranakan museums‖ and they charge a fee to go in. They charge for tea and
coffee and charge for tea and cake. And they give you a little blurb on Peranakan
culture. Isn‘t that commodification of the Peranakan culture? So it‘s all over the
place, it‘s all over the place.
So how do you feel about this? Do you think it is a good thing or a bad thing or do
Y
you think that it is fine?

Well if it is presented in the correct way, if the information is presented correctly, I

have no problems with it. I have no problems with anyone using the Peranakan

W culture to generate income, as long as it is presented correctly. I mean we don‘t

expect people to do anything for free. But we do not want it to be sensationalised and
create something, and tell a partial story.

138
 Very true. And how do you feel about the status of Peranakan culture in Singapore.

Y Do you feel like it‘s getting more attention, is it staying the same or is it declining
and slowly fading away? How do you feel about the survival of Peranakan culture?

I think that is a long answer. That would be a difficult and a long conversation.
Because I‘m very uncomfortable with the word ―culture.‖ When I have spoken to
Peter Lee, Peter Lee and I are two people who are very uncomfortable with calling
something ―Peranakan culture.‖ Because what is a culture? Chinese culture, alright
for example. If you‘re Chinese, no matter where you are in the world, whether the
north or the south, when the spring festival comes, basically Chinese New Year, it is
celebrated in the spring, you celebrate Chinese New Year. So for centuries, even if
you‘re in the south during the spring you celebrate Chinese New Year. Even if you
become a Christian you still celebrate Chinese New Year. So that is cultural, and
cultures don‘t change. But if you look at the so called Peranakan culture, what is
there that is persistent? There is nothing. Can you identify something? Chinese New
Year? Cheng Beng? Those are aspects of the Chinese culture, they don‘t go away.
What is there in Peranakan culture that hasn‘t gone away? Basically there isn‘t!

W Peranakan culture is basically Chinese culture. People do not see that the main, the
core of Peranakan culture is Taoism Chinese culture. When people talk about the 12
day Peranakan wedding, that is basically a 12 day Taoist Chinese wedding. What is
there basically in Peranakan culture that is persistent, that we can identify as a
culture? Food? Is food good enough to be labelled as a culture? I don‘t know, maybe.
Is a costume a culture? That‘s the problem, a lot of Peranakans who commodify the
culture use Sarong Kebaya as Peranakan, as tiffin carriers as Peranakan, have stolen a
lot of things that were generic in the past as Peranakan. Peter Lee and I, honestly we
are very frightened of calling something Peranakan culture. Sarong Kebaya was worn
by all women folk at that period. It is a period women costume. The Malays wear it,
the Indians wear it, everyone wears it! People try to make something out, that they
are, that this is Peranakan culture. We always joke what is Peranakan culture. And
then from then you lead on, who is a Peranakan? How do you define someone as
Peranakan? All of this is extremely complicated.

Y It sounds very interesting and also very complicated…

139
 So it is an evolving lifestyle of that period. Evolving lifestyle of over a hundred
years, a hundred and fifty years. The early 18 th century to the mid-20th century, that is
an evolving thing. From a lifestyle that was very Chinese, to a lifestyle that is very
Anglicised. And which time point in that period, can you put a pin and say ―Hah, this
is Peranakan‖? Very difficult, very difficult. So what do we have now that you can
say that these are representations of a group of people during a certain period of time
that have incorporated local customs, local cuisines, some local costumes and

W developed features that you can identify that are different from other immigrant
Chinese. Because we are talking about Peranakan Chinese and we are not talking
about Peranakan Indians. They have incorporated certain characteristics and certain
features that we can identify them as separate from immigrant Chinese. And that‘s
about all I think that we can say about this group that are different from the Chinese,
that this group have been labelled by the English too, by people who have observed
them that they are different from the immigrant Chinese and they are called the Baba,
the Nonya.

Ah, but then how do you feel about the status of the Peranakan community? Do you
Y
feel that they are surviving, that they are thriving?

Well they are trying, they are trying of course. The Peranakan Association, the
Gunong Sayang, they are trying. But if they do not, if they cannot keep the
Peranakan patois alive, that would be a great lost to the Peranakan so called culture.
These spoken languages, generally without a written version. If they do not have the

W patois still around, they would have lost a very important part of the Peranakan
culture. And then you‘re just left with food. And the material culture is just a
representation of the past! And most Peranakans don‘t own any significant material
culture anymore. And a lot of them do not practise the old Chinese practises
anymore.

So that‘s all the questions I wanted to ask you, but if you have anything else that you
Y
want to add, you can let me know.

I think you should not be dogmatic. Because I see so many people, so many
Peranakans especially, try to crystallise, try to create an entity and to create
W
something and say that is Peranakan culture. I think you have to look at it as a
scientific point.

140
 So you think it is important to not categorise Peranakan culture, to try and see it as it
Y
is and to try not to put it in a box?

Yeah, don‘t put it in a box. That‘s what Peter Lee and I strongly believe. If you read

W an article that he wrote some time ago, he thinks that Peranakans glorify themselves.
That‘s another thing that the Peranakans do. Yes, they glorify themselves [laughs].

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Transcript – Interview with Alvin Oon, 8th December 2022

Founder of Peranakan Sayang

A: Alvin Oon
Y: Toh Ying Li

Maybe you could tell me a bit about yourself. What does the Peranakan Sayang do?
Y
And also how did it start and evolve from the Main Wayang Company?

Okay, so I‘m probably a fourth or fifth generation Peranakan. Well, Baba, actually,
and I say fourth or fifth because my history is not very clear to me. It‘s not easy to
trace. And I‘ve never been in evolved in culture. I‘ve always known that I was
different, I also knew that I was called Peranakan. But what does it mean to be a
Peranakan? I never knew, especially in the days when I was young, and we were
talking about, you know, in the 70s and 80s, where culture was not really celebrated,
especially minorities. You know, the standard one was always Chinese, Indian,
Malays, you know, that kind of thing. So going to school, I never knew my identity. I
knew I was a Peranakan. But what is a Peranakan? I don‘t know. Am I Malay? No,
not really, am I Eurasian? No, am I Chinese? Not really. So it‘s quite lost. As with
most Peranakan, I believe. But I only realized a little bit more, when I was going to
get married and that was quite some time ago. And then I had to sit and think like,
when I have children, what kind of values do I share with them? Right? What do I
A
tell them? Who they are, where they come from? Then it only dawned on me that this
is important to find out your own family tree and who you are. So I started, you
know, doing research on my own. Finding out from family relatives, talking to
people, working with other people who are like-minded and slowly finding myself in
a community that is pretty similar with me, all the OCBC people, the Orang-Cina
[Peranakan] people. And then I realized, oh, okay, this is something that I‘m
discovering of myself. And as I went along, I had a few other like-minded people so
we started off the Main Wayang Company. And this was back in 2004. Were you
born yet? Not yet? Small? Okay. So, so yeah, so we started then. And our objective
was to keep the culture alive, promote the culture in ways that we can. And because
we were all from events and entertainment backgrounds, we did a lot of shows and
music, and I‘m a musician. At least a self-taught one. So I write a lot of songs, you
know, I do a lot of shows, I host shows and that kind of thing. So I‘ve started going,

142
doing all these things. So as the years went by, we found ourselves finding the
momentum doing all these things. So even national events, we had our agenda to
push the Peranakan card in national view, you know, like, for example, things like
The Little Nonya [a Peranakan television soap opera], you know, they came they
came to us for advice, ―how to do this, what to do,‖ you know, so we were actually
consultants behind that project. Although we were consultants we were very purely
Peranakan culture, or Baba Nonya culture consultants, but as to how the movie, how
the whole series turned out, it‘s not our cup of tea, honestly speaking. Because it was
basically a Chinese drama that was dressed up as a Peranakan show, which didn‘t -
well, I have not watched a single single episode of The Little Nonya because I refuse
to. In the first place we Peranakans don‘t speak Mandarin. I know, I know, it‘s for a
wider audience of people to watch the show. But then it kind of like bastardizes the
whole thing. It‘s like watching a Japanese series, but dubbed in Chinese. Not quite
right. You know, and I mean, you lose the authenticity of the whole thing. So as a
Baba, I felt very uncomfortable with the whole thing. And some of the things were
not very well portrayed, like how they they made the matriarch so fierce, you know,
like, ―Wow you know she will scold everybody.‖ Of course, there are elements of
times when our real bibiks [older women] were actually like that. But not to that
extent, of course, it‘s dramatized I can understand that but it doesn‘t reflect too well
on our culture and our people. So I didn‘t particularly enjoy that. But having said
that, the show has also brought about a lot of attention to the culture. And there was
one particular year where Chinese New Year was really a Peranakan New Year New
Year because all the ladies were wearing Sarong Kebaya during Chinese New Year.
Although they were not actually Nonyas they all - and you want to buy any kueh
[traditional desserts], they are all sold out already. So there was one particular year
when Little Nonya was on, that was a very hot thing. And there‘s also a lot of spill
over effects, especially for our neighbouring Malacca and Penang and a lot of people,
you know, were very interested in all the places that the show was being filmed. So
there‘s a lot of business there for my fellow friends, you know, because they visited,
they went to the shops. So I mean, in a way, it was good, because it supported all the
local Peranakan shops, Baba Nonya shops, which is good. Yeah, so that‘s, that‘s the
Main Wayang Company. However, as in all businesses, you may find out later on in
your life, it‘s not easy to maintain company with fellow partners for a long term,
because you may all start off with the same ideas and values. But as long as there is a
one degree of difference when you started, when you multiply that down the years,

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that one degree becomes very big, or very obvious. So that is normal. I mean, in most
businesses, you will find that it‘s not easy to maintain a good business relationship.
So in 2016, we decided to call it quits after wow, quite a long run, I would say from
2004, 2005 to 2016, was quite a few years, like 12 years or so. We called it a day. So
Main Wayang officially wrapped up. But I felt that, you know, just because Main
Wayang wrapped up doesn‘t mean that we should end our efforts, because we‘ve
been doing so much over the decade, right? So I started Peranakan Sayang, which
effectively started from 2017. So Peranakan Sayang took off, continued, where Main
Wayang ended. And this is my own thing. So I‘m basically self-employed. And I‘m
running this culture full time. So culture becomes my business. Right? Of course,
you know, as a business, you need to earn a profit, but the profit quite often is
ploughed back into doing things for the community, doing things for the culture,
creating new grounds and new ideas. You know, like going into multimedia, I think,
in the whole Baba Nyonya community around the world, I‘m the most prominent
person doing media, especially virtual, you know, streaming, and it‘s all things and
videos and animation. So and I mean, that‘s my strength. That‘s the things I can do.
Right, I write songs, I put it out on YouTube. So it‘s very visible. I‘m very easily
reachable. When you send out the email I respond. I‘m helpful. Because I feel that is
my role. And you‘re not the first person to ask. There have been quite a few people,
down the years undergraduates and older who have been doing the thesis about
culture and stuff. And I‘ll spend the time and it‘s not just in Singapore, there are
people from overseas, I just helped one guy who lives in one of the small islands in
the Pacific. He‘s doing cultural research for his - but I mean that the island is part of
the French government. And there was also another guy a few months back, he came
from Paris itself, and he came here and said ―Can I talk to you, I need to find out
about the culture.‖ So I‘ll spend time talking to them and explaining to them about
the culture because it‘s important. If we don‘t do such things, or we just keep within
our community, the culture will die, you know, because you‘re just, you‘re not,
you‘re looking inwards, you‘re not looking outwards. So by doing what I do, of
course, I believe in what I do, and my idea is to keep the culture relevant to today‘s
society, because we are not living in the times of our great grandfather or great
grandmother or you know, the world has changed. We cannot be you know, looking
back Yeah, last time, you know, my grandmother, she only do this way you know,
we cannot change you know, you can‘t our world is so different. When my
grandmother got married, her wedding was 12 days long. I got married. I‘m not

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 going to get married for 12 days because the world is so different and their beliefs
and you know, the things that they do the rituals that they do, like you know, finding
a rooster and a chicken to put under the bed to find out whether it‘s a male or female
child for the firstborn. I can‘t even find a live chicken now you know, so how can I?
How can I even do that? Right? So we have to evolve. And I think the power of the
culture is our culture is one that has always been having an evolution, we‘re always
evolving. From day one we‘re the first Chinese men that came to this part of the
world and started to settle down. And then when he got married, had children, their
lives have always been evolving from their generation to the next generation to the
next. And if you compare the pros and cons of this, let‘s say, the 15th century, right,
and then you compare that the Peranakans of the 18th century, which to us is quite
long ago. But there‘s a big difference between the 15th and the 18th. I wouldn‘t say
that, you know, that they lived the culture exactly the same, no, they would have
evolved over time, over 300 years, of course, they would evolve. And from the 18th
century to the 21st century, another 300 years, of course, we have evolved. So we
cannot live in the past, we have to live today, and for the future, but always
remember and be guided by the past. I think that‘s important. We must never forget
about our past, but we cannot be living in the past. Because if we do, the culture died
a few generations ago, and that‘s very sad.
This is very good answer! So do you feel that Peranakan culture right now is
Y surviving? Is it declining? Is it going down or staying the same? How do you feel
about the health of Peranakan culture now?
Your question is quite relevant to what I was just saying - if you are a person who is
a purist and say that ―Oh, the Golden Age of the Peranakans was in the 19th
century,‖ for example. Then, for this person, the person will say the culture is dead.
Right for the purist. Yeah. Because he or she only believes that the culture only
existed at that time. And now since we don‘t even talk the language, we don‘t even
live the way they do, it is dead. Right? I mean to the purist. But for me, I‘m more
A optimistic and more forward looking. I‘m living for today. I say yes, the culture is
not from the 19th century, the culture is now today, we‘re talking about the 21st
century Babas and Nonyas and we are different, we can speak many languages. We
can speak English now, some of us still can speak the language like I do, you may
not. There are a few, but there are a few who still can. And on top of that, we can
even speak Mandarin today. You know, we are diverse. But remember when the first
Peranakans came, or the first generations of Peranakans they probably spoke

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Hokkien and Malay. That‘s it. They don‘t even speak English. Until the British came
along in the 1800s then they said ―Oh, we must learn English. It is important now to
find work.‖ Yeah, so they started learning English. Because of survival, you know,
and they‘ve been here longer than the new Chinese who just came to this part of the
world. And because there‘s opportunity, ―Hey we must learn English‖ so they tried
then they became good at English, right? And they spoke Malay, they spoke Baba
Malay and they spoke Hokkien. So now our generation we are different, but that does
not make us wrong. Right. So I think, what is most important about any culture is the
values, do we still have the values of the culture? Do we still have that pioneering
spirit? Do we still have that creativity that we are so well known for? Actually
Peranakans are a very creative people, you know, from our crafts, to our colours, to
our music to our theatre. We are very, very, very creative people. And we‘re also
leaders in our community. Do we have leaders today who are Peranakan? Of course
we do. Do we have people who are theatre people or musicians in our community?
Who are Babas and Nonyas? Yes, yes, of course we do. We still maintain the true
values and what you call the character, the character of the culture. So yes, we are
still alive and thriving, but in new ways, not in the old ways. And our new ways will
be the old ways in the future. Let‘s say 50 years down the road. 100 years down the
road. Somebody, maybe a student like you would say ―Hey, last time there was this
guy who used to write songs. You know what? That was classic, man.‖ Then I‘m the
old ways. The Golden Age. Right? So it‘s all relative, you want to see it as an old
culture or a dying culture you can. Or you want to see it as a culture that has evolved.
So it‘s all up to the individual, how do you see your culture? How do you take your
culture? Of course, there‘s pride in it or there‘s certain things Peranakans don‘t do,
you know, that we still try to maintain, but it‘s not easy. And you know; well, now
we are so interconnected with everything. Last time, they were so isolated, in their
own ways, community is a community and that‘s it. Now, you just pick up your
phone, you can talk to anybody around the world. So it‘s different. Life is different,
right? Our society is different. Technologies are different. So we evolve with the
times and we move ahead. And I would say, in my opinion, the culture is much more
alive today than we were, let‘s say 40, 50 years ago. That is correct. As there‘s a lot
of people who are very aware of their culture now who are trying to find their
heritage, you can see a lot of even architecture, you know, a lot of people trying to
maintain the buildings, as they were before. Clothing, I mean, there‘s so many
Kebaya shops that you can find today. And you‘re talking about other material

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culture, like all the jewellery, lots of it, a lot of people who are collecting jewellery,
creating new jewellery. In the entertainment site, you know, there‘s a lot of
performers, including what Peranakan Sayang is doing. And even for our Singapore
government, I must say, they‘ve also identified that the Peranakan culture is one that
is very neutral and very acceptable for most Singaporeans. So sometimes when you
see like a national event going on, and the guest of honour is one of the female
ministers or MPs in order, more often than not, they will wear the Kebaya because
that is very Singapore, right? It‘s very neutral. The Chinese are okay with that. The
Malays, okay, the Indians, okay, everybody‘s okay with it. So when they wear it, it
represents a Singaporean identity, for want of a better one, we don‘t have a typical
Singaporean costume per se. But the one that comes to closest would be the Sarong
Kebaya. Or even for our gentlemen. Ministers and all that, you have more often than
not, you‘ll see them wearing a Batik shirt. Right? And that‘s how we are. Quite
unlikely you see them that let‘s say wearing a Chinese jacket, for example, unless it‘s
Chinese New Year, of course, Chinese New Year they wear that. But other than that,
you will never see them in a Chinese jacket, no way. They will never, they will wear
a Batik shirt. So that‘s a visual identity of who we are, the region that we represent.
And of course, you know that the Peranakan culture is not just Singapore, it‘s the
whole region, you know, from Singapore, to Malacca to Penang to Phuket, to places
in Indonesia, like places in like Jakarta, for example. So there are many, many
communities, many of these Chinese communities who settled down and made the
local place their home, they may or may not have intermarried the locals so that the
life changed, they change the ways of how they were before to fit the situation of
where they live today. And that made them Peranakans. That made their life change,
the diet change, or diet, you know, there‘s so much Peranakan food, still, food is
everywhere, where you go, of course, in varying qualities and taste, there‘s no -
there‘s no one taste to it. There‘s always varying styles on taste, or recipes, but it is
abundant everywhere. So culture is doing very well, I would say. It‘s just that we
need to somehow accept it. Not everybody has accepted it, because they‘re still living
in the past perhaps. But I think from the time that we found our independence in
Singapore, to today, the culture has grown substantially and for us to have even a
museum right that is dedicated to our culture, which is not an official culture. By the
way. There is no such thing as a Peranakan culture, you know, to our Singapore
government. Yeah, we are not an official race or official culture. But we have a huge
museum dedicated to the culture. You think about it? We have our Indian culture, we

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 have a museum. We have our Malay culture, we have the heritage centre and we
have the Chinese culture. Is there even a museum for the Chinese culture? No, I‘m
not sure. But for the Peranakan ones we have it. So I think it‘s doing well. And this
spill over effect to our neighbouring countries is also happening. Because of our
enthusiasm and all that. Our partners in Malacca and Penang they say, Wow, you
guys are doing so much, we are also going to do more. So there‘s more activity,
there‘s more excitement, you know, they create, not only from us, of course, they
also are very enthusiastic people. But there‘s this synergy and all these things that we
do when they do something it spreads to us when we do something spreads to them.
And we‘re all interconnected. So I think it‘s doing good now. Of course, we can hope
to do better.
Another question I have is that I was quite interested in the history of performing arts
and traditional singing in Peranakan culture. So I noticed that right now, both men
Y
and women are performing. So was this the case in the past? Was it always both men
and women?
So we must bring ourselves back to the 18th, 19th century, where the world was very
different. Similar to kabuki theatre, women were not allowed to perform, because it
was unbecoming for women to spread, you know, to perform on stage last time,
because they were supposed to be very demure, kept at home, you know. The only
things that they do is know to cook, you know, to clean the house, you know, to be a
good wife. They were not allowed to go on stage, I mean that was the world last
time. So because of that, women were not allowed to perform or entertain anybody
unless they were women of the night. So, because of this, men took on roles of the
women. So you have a cross-dressing kind of thing. So way before all this gender
bender things and all that the Peranakans used to do it. Yeah, so this is called
A
Wayang Peranakan. So that‘s why when you see some of the shows, or Peranakan
shows, Wayang and all that, the bibik [an older woman] that is performing, which is
the older lady is usually men who are dressed up. Because they can be more campy,
they can be louder, you know, they can be more naughty, but it‘s quite funny, you
know, so that the effect is very funny. And people know, that guy ―Kenneth‖ now
he‘s bibik, you know, he changed his persona to be that. So it‘s quite entertaining. So
because of that the men took on all the roles of the women, but not that they were
effeminate in any way. I mean, some are, are but not necessarily so. Some were just
actors, and they were just acting as women for the show, because there were no
women taking on the roles. So that was what went on until perhaps after war, perhaps

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yeah. After the war, women started, you know, getting more educated. They could
stand on their own. And then they start to say, ―No, I want to sing, you know, I want
to perform, I want to.‖ So they came on stage. So eventually, you saw the women or
the Nonyas coming on stage to sing. But because of the tradition of the men taking
on these roles, it still exists today. So sometimes when you see current shows, you
see, bibik is actually a man. But today, of course the role, the standard and the status
of women has changed drastically over the decades and centuries, that women are
now you know, full time actresses or performers or singers or whatever. So that‘s
progression for you. Yeah. So for current performances like for what Peranakan
Sayang does. We, at least for me, because I‘m a songwriter, I can create anything that
I imagine. So it‘s important for me to come up with the essence of the culture for
everything that I do. So for example, when I first started writing songs for Peranakan
culture, I wasn‘t so fluent in my Baba Malay. It‘s hard to write a whole song in Baba
Malay, I can write part of the song in Baba Malay, no problem, certain words that
you can use, but to write a song well in Baba Malay for a full song, it‘s tough,
especially in this day and age because we don‘t use the language often enough.
Right? For any language you learn, if you don‘t use it often enough, you just lose it.
So that‘s normal. Yeah. So I used to write songs that had some touch or some tastes
of the culture. So when somebody listens, they can say ―Hey, this is a Peranakan
song,‖ yeah, but the problem is also if I write the song that is too Peranakan or too
Baba Malay, the listener might not understand because of the lack of listening to the
language, right? So, so there‘s a bit of a dilemma, you know, but whatever it is, it‘s
always a visual treat the person would be, you know, either a Nonya singing the
song, a Baba singing the song, the instrument that is used are typical instruments that
were used for the dondang sayang. Basically, the dondang sayang is a repartee a kind
of music, where I will say a pantun [traditional Malay poem]. A pantun is like a
poem, right? Four lines kind of thing. So I will say a pantun, and then I will talk
about, you know, somebody or somewhere or whatever situation, and then there‘ll be
another singer who would respond. You know, as the music goes on, he will he or
she will respond to the first singer‘s pantun, and it goes on, sometimes for hours in a
day. They will just continue sitting down enjoying their coffee. They were smokers,
you know, what have you on a Sunday afternoon in somebody‘s house. And there
will be instruments like the Rabana, you know, the Malayan drum, and then there‘ll
be somebody playing the violin. And then another person playing the accordion.
Things that was very accessible in those days. So but this dondang sayang actually,

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 originated in Malacca, which is Malay style of singing or Malay form. But because
the Peranakans were very good in their language, they respond to something that the
first singer said immediately without even thinking and the fluency of the language
was so good. Like you can slap me once and okay I‘ll slap you twice, it‘s like a
response kind of thing you know.
Y So it is like an improvisation?
Yes, improvisation. It‘s like today‘s rap. Rappers, you know, they have the rap and
then they have this fight. You know, rappers‘ fight. And then you say something and
I‘ll say something, you know, that is what dondang sayang was. And because the
Peranakans were so good at responding and the use of the language, people say
dondang sayang is a Peranakan form of music, which is not true. It is actually a
Malay form of music, which we adapted. In fact, if you talk about it, there‘s no such
thing as a original Peranakan music because we don‘t have anything that is original.
All that we have is all mashed up from different cultures or races, you know, yeah, so
when the Peranakan food came, Peranakan food is basically a mix of Chinese styles
and Malay spices and whatever is available locally. Mix it together; you get
Peranakan food, right? Our costumes that we wear the sarong kebaya that is basically
from Indonesia, you know the style they do but because we like it we wear it. So
there‘s nothing original in what we do. But having said that, I believe now, especially
with a few of us maybe here in Singapore, maybe a couple in Malaysia, we are
A creating our own Peranakan music. Like for me I can now slowly try to be a resource
of Peranakan music. Original Peranakan music because one, the music is the style of
music that we all love but the language used is Peranakan, Baba Malay is not Malay.
Its Baba Malay so that you can call it Baba music or Peranakan music. The
instruments used in the music that I do has semblances of styles of the dondang
sayang. So you have the violin, you have the accordion, you have the sound of the
rabana, but mixed with the modern sound like strings, drums, bass guitar, you know.
So because, as I say, it‘s about evolution. If you do everything the old way, the
younger generation would not want to listen because it doesn‘t sound good to the
ears. You know, it‘s not their taste. But if you mix something that is more modern,
there is a wider possibility that the younger generation can appreciate it. So I‘ve
written things like doing the pantun that I mentioned about the Malay poetry, right?
But I did one song called Ho Mia Lah Lu, which means ―wow you‘re very
fortunate,‖ you know, ―ho mia, very ho mia.‖ But I did it as a rap. So, yeah, so I rap
the pantun, and then my friend will rap the pantun, and in the beat is, you know, it‘s

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 really modern, it‘s not the old fashioned thing, it‘s a very modern beat. So it‘s about
bringing the culture up to date. It‘s about bringing it to be relevant to today‘s society,
because we cannot be living in the past, we have to live for now. And for the future.
So also, it‘s still consistent in what we do for the culture.
That is a very good answer! So the next question I have is, I noticed that the
Peranakan Sayang often uses the phoenix in their cover pictures. And even the heart
Y
icon has two phoenixes inside. So I was curious to know what the phoenix represents
or symbolises to you? And what do you use the phoenix so much?
To put it in context, the phoenix quite often represents the Peranakan culture.
However, this is not a well-accepted fact. Or it‘s not a general thing where you know,
everybody says yes, it is true because the nature of our culture in the first place,
there‘s nothing perfect or there‘s nothing concrete about our culture. For example,
when you say about food let‘s say the Ayam Buah Keluak [traditional Peranakan dish
with chicken and nuts], for example. The black nut, okay. Anyway, it‘s one of the
dishes, one of the more so called popular dishes of the culture, there is no one
family‘s Ayam Buah Keluak that is perfect. Or the correct one, because every family
will have their own variation of the recipe. So when you have different families, even
let‘s say a family had three daughters in the family and the mother taught them how
to cook the Ayam Buah Keluak, the three daughters will have their own preferences
and cook slightly different a slight variation of the dish, maybe one of them don‘t
like this ingredient, so she takes it out, never puts it in, she adds in something else.
A Of course, the taste is going to be different. But then you see, there‘s no one fixed
way how it is cooked. For example, for other culture for something simple like sushi.
Everybody knows what is standard for sushi. Everybody says okay, this is standard,
you know, but there‘s no such thing in our culture. Because our culture is one that is
mixed. It is very open to different cultural experiences, you know, or influences that
comes by the way, even the Peranakans of Malacca and the Peranakans of Singapore,
we are similar but we are not the same. There are differences between us. So if you
look at the whole landscape of the Peranakan culture you cannot put your finger
down to it and say this is 100% Peranakan because we are all different in our way so
coming to the Phoenix some people say that ―Oh because the Phoenix is auspicious
you know so Peranakans like the auspicious, because being Chinese you know we
adopt the Phoenix as our emblem.‖ But then you say you‘re Chinese then why are
China‘s Chinese not using the Phoenix as much? Because we still Chinese one right?
So so then there‘s other arguments ―Oh because the dragon, you know, because

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 there‘s always the yin [阴] and yang [阳] there‘s a Dragon and there‘s always a
Phoenix. The dragon is always used by the emperor of China. So we cannot use
Dragon. So we use the Phoenix as an alternative because we have left the motherland
and we‘re starting on our own.‖ And then some will say ―Oh, because the Phoenix is
about rebirth. You know, because we have spread our wings and we have gone away
far away from our motherland. So we are rebuilding our own Chinese community,
you know, so rebirth.‖ Phoenix sounds like it. Then of course there are auspicious,
good luck reasons. But there‘s no one reason why they‘re using the Phoenix. But it is
generally accepted that the Phoenix symbolizes the Peranakan culture. However, we
cannot say that this is a 100% fact. It is just a matter of tastes and preferences. But I
must say that if you look back, there are a lot of things that the Peranakans use with
the Phoenix. For example, the porcelain ware you know, when you see all the
kamcheng [traditional ceramic jar] and the plates and all that you always see the
Phoenix being drawn, you know, it‘s always featured there. And then sometimes you
see the, the wood carvings, you know, some of the cupboards and all that all the
decorations, you always see a Phoenix somewhere, you know, so it‘s a very symbolic
icon of the Peranakans. So for me, since it is a symbolic thing, and people identify
the Phoenix with the culture, why not use it right? And quite a few of the associations
around the region have also used Phoenix as their logo. So it‘s just a matter of an
identity. However, we cannot put our finger to it and say 100%.

I noticed that in your website and in your Facebook, you often have the phoenix logo.
Y So is the phoenix your logo or is it the other one with the flowers? You have many
logos, so I'm not sure which one‘s the right one?

There's no, no particular icon that really represents the culture or the company, but
A we tend to use the one that has the flowers and the Phoenix. It's actually a
combination of both

Y The Phoenix and the flowers? Yeah, there‘s a combination.

Yeah, it‘s a combination of both. But then again, there‘s, there‘s no one official one,
but I would say that quite often we use the heart because sayang is all about love,
love for our culture, love for our people. So that‘s why we came up with this name of
A the company ―Peranakan Sayang‖ because we love the culture and we love the
Peranakan people and you know everything happy [laughs] and you know, so yeah,
so that was the inspiration behind it. So there‘s no one particular logo, because it‘s
more of an identity than anything else.

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Y Also, did you hire a designer or do you do it yourself?
I hire myself. So everything that you see here, it‘s all designed by me. Even this
gallery behind is done by me. This is my personal life gallery. So this this, this
couple here is my grandparents. And then this is my singing group. You know, some
of the things that I have. Yeah, so things like visuals? All done by me. Things that
are videos? 100% done by me. Music of course done by me. So yeah, so I‘m
basically a one stop production centre that‘s why I can do what I do, you see. So I
can influence or provide a direction where people can appreciate and enjoy things
like you know, I recently have done a lot of merchandising, doing the Ang Bao
[Chinese New Year red packets] doing things like you know, key chains, things that
people appreciate and say ―Hey, I‘ve never seen this before, the design is so nice.‖
For example, when you buy Ang Baos right? It‘s always a Chinese Ang Bao, you
know, for many, many years, but I created a whole line of Peranakan Ang Baos. So
the symbols includes the Phoenix, right? And then there was another one or the
current one, for this is coming new year is the pintu pagar, which is the door, the
Peranakan house door. So it‘s very unique on its own. And then there‘s another one
that is batik, you know, so where got Ang Bao with batik? You don‘t have batik, but
you know, I create one with flowers and batik, which is very Peranakan and the very
A
first one that I did was more fun, where the cover or the print of the Ang Bao is all
greetings, you know, Gum Sia [translates as ―thank you‖], all the words that we use.
So, as a person uses the Ang Bao, as he or she presents the Ang Bao, you can
actually use the greetings that‘s found on the Ang Bao. So, in this way, it generates
interest in the culture and the language. People start talking about it, like ―Yeah, my
grandmother used to say this and yeah we better learn.‖ So when you give the Ang
Bao then yeah we must say this word, though it helps them as they present the power
to the let‘s say to the nephew or their children, whoever right. So, all these things are
all calculated, how all these things produced can help. Help to keep the culture going.
Keep the culture alive. To keep the culture to evolve to the new ways. So when I do
music videos, you don‘t see many Peranakan music videos out there. Like I‘m
probably one of the few people who do this but because it is a music video is very
accessible to anybody around the world. Anybody with the link or anybody who has
a YouTube you just search you can find it. It is easily found, which also inspired me
to do the Virtually Peranakan Fest. I don‘t know whether you know about that. This
one basically started because every year since the 1980s, I believe there will always
was a convention, a Baba Nonya convention that goes around the different states,

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sometimes in Singapore, sometimes in Malacca, Penang, it just goes around and it
rotates every year. You know, it‘s an annual thing. So it has grown to include places
like Phuket, Jakarta, Kuala Lumpur, whenever there are communities around, they
create this annual festival or annual convention. But because of the pandemic, it was
all washed up, nothing happened. So the last one happened in 2019. Then the
pandemic kicked in 2020, and there wasn‘t any. So I was thinking, ―Oh, this is sad,
right you know, all of the sudden, people don‘t have something to look forward to.
Everybody‘s stuck at home. And it seems I‘m the only one who is like, you know,
doing all this multimedia stuff virtual, because I‘m a host, I‘m a professional host.
And because of the pandemic, I became an online virtual host as well. So I do all
these things professionally with proper lighting and whatever not and sound system.
That‘s why I sound like how I sound now. So I say, why not do a virtual version of
this, you know, convention. So I started in 2020. And then I did two days of non-stop
programs. Every hour, from one o‘clock to six o‘clock, every hour, something‘s
going on. And all these presenters are all from around the region around the world,
you know, some will be in Malacca, Penang, Australia, wherever, you know, and
then they will all contribute an item or whether it‘s a performance or talk about
Kebaya, talk about food, whatever, you know, so it goes on. And so the beauty of this
is anybody can watch it. It‘s for free. It is for community, there‘s no fee, there‘s no
signups nothing, it‘s not news, you got YouTube, or you go on Facebook, okay, you
can you can watch it already it‘s for free. And this is my effort, as I say I do this for
as a business. But because I generate income from my work, I push it back to all this
community work, by organizing this whole virtual festival, to make it accessible to
Babas and Nonyas around the world. And this year, we had one as far as Alaska,
watching the show. So you think about it, the implication is, it is far reaching, there
are Peranakans all over the world, you know, they may have migrated and all that.
But as long as you do not connect with them, the culture is lost on them. Because
there‘s nothing for them to continue. But because we had this thing, it connected to
that lady who‘s living in Alaska right now. And it touched her so much that she said
to me, ―Hey, I‘m listening to the people who are talking like how I used to talk when
I was back home in Malaysia, or Singapore or whatever, and I reconnect with the
culture all over again.‖ And I said ―Oh, you know, they get excited, they get so
happy that you know somebody is doing this.‖ And it perpetuates the whole culture,
you know, it keeps everybody afloat. And those who are not involved in the culture.
But because if there‘s this link, you can just click in and hear somebody talking about

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the culture, all of a sudden, you‘re enlightened, and be like ―Oh, that is why my
grandmother did that, or you know, something like that,‖ then then they understand
more about the culture. And by doing so, it helps the whole community not just in
Singapore, but all around the world, to keep their culture going. It‘s not the same as
how I practice it is not perfectly the same, but it‘s similar. Right? So because of that,
it helps everybody and it‘s not just national or just Singapore. No, no, no, because we
also need the Malaysian Peranakans to survive. They need to thrive as well. Because
they thrive we thrive, and when we thrive they thrive. You know, so we‘re all hand in
hand in this together. That‘s why this year I‘m very happy that quite a lot of
Malaysian friends all came and saw it. No matter how we will come and support you.
We will spend those two afternoons with you. We‘ll do it together. Virtually. So I
mean, I‘m very thankful to have friends but of course this has been built up over the
years of friendships and understanding each other. Because you cannot do this alone.
You need people to back you up, you know people to support you? And I tell you
one of the most beautiful things because it‘s not just culture alone. It‘s about mental
health. Because when we were all locked up, you know, the pandemic, everybody‘s
in their home, we had no access to anything. You know, social life and all, the thing
is the older folks are not IT savvy. They cannot talk to anybody. Right? Besides their
own family or watching TV, that‘s about it. But when it comes to culture, nothing.
Zero. Then here comes this fellow, come up with this virtual show. And then one of
the daughters, a mum says, ―There‘s this guy who‘s doing this - do you want to see?‖
And they click it and it comes out, wow all her language comes to life again. Imagine
what it does to that person‘s mental health. It really perks the person up, you know,
she looks forward to something, keeps the culture going. And I‘ll tell you another
beautiful thing. There was this show that we did. One of the tea time funny Sunday
shows we did is called Mari Hua Hee. Mari Hua Hee means ―Come, let‘s have fun.‖
So my friends came online all over the world. We sing songs, we joke, we talk
nonsense. It‘s like how Chinese New Year is like in a Peranakan home. All the
aunties and uncles come. Everybody talks nonsense, like, that kind of environment.
And then it was a one hour show. When it was finished, one lady messaged and said,
―Oh, thank you very much for the one hour show.‖ I say ―Oh, you‘re most welcome.‖
―You don‘t, you don‘t understand how important that one hour show is to my
family.‖ I was thinking, ―What are you talking about? I mean, we were just having
fun singing and talking, right? Just having fun.‖ ―So you know, you don‘t
understand. My father. He has dementia for many years. But that one hour, my father

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 came back to life. He could sing the songs that you sang, he could reply to your
questions in the language that we used to talk. He was laughing. He was so happy.
And when we asked him questions, he responded. But when your show finished, he
went back.‖ Can you imagine how amazing the power is to make somebody live?
Come back again. Because we touched something about the past. And probably for
this particular gentleman, his long term memory is still around. His short term
memory perhaps is affected but his long term memory is still there, the days when he
was a young boy. So when we sang all the songs, he could connect straight away and
he just came to life. And the family was so happy for that one hour. I was, I was so
touched by something that I did unwittingly. I wasn‘t thinking. I‘m just doing this for
the sake of doing it right? But it happened and it made a difference to that family. So
you never know. You know, as long as you keep something positive going, it might
help people, change people.
Y This is an incredible story! So let's see -
A What else do you have? Or your own personal questions?
I was quite interested in the phoenix but I was also interested to know if the phoenix
Y ever appears in performances? Do you have songs about the phoenix or does the
phoenix appear in costumes?
We don‘t sing about the phoenix. I have not ever heard of any Phoenix songs. I‘m
even thinking - what do we call the phoenix in Baba Malay? I have to go and find
out. Yeah, but the only things that it appears visually is in animation that I use,
usually for my Peranakan virtual shows where there‘s a flying Phoenix that flies
together with a dragon. So it makes its appearance every now and then because, you
see, when you think about it the Phoenix is actually a mythical creature. It does not
appear all the time. It only appears some times because if you use too much of it, you
lose that magic you know. You know so, so yeah sparingly. Even for Kebayas. You
A hardly see Kebayas that has Phoenix; very few people have a Phoenix Kebaya
because you‘ve got to specially make it. You order somebody to go and do the sulam
embroidery to create that Phoenix, but most of the time when you see any Kebaya, it
is all flowers, leaves and flowers and that is the standard one. But having said that, do
you know that there is a difference between the Malay Kebaya and the Peranakan
Nonya Kebaya? For the Malay Kebaya, you will never ever see a creature being
embroidered into the Kebaya. Most of the 100% of the time is always flowers or
leaves. Right? But for Peranakan ones, you can see birds. You can see Phoenix.
There are dragons, pigs. There are rabbits, this Chinese New Year you‘ll see rabbits.

156
 So, Peranakan ones will often include creatures, but not 100% of the time. Of course,
we also love flowers. No, but you can see creatures. Once you see creatures it‘s
100% a Nonya Kebaya. So bats, you know, even bats are auspicious, you know, so
we have bats. And yeah, so even people, dancers, you know, people carrying
umbrellas, very creative. So when it comes to the embroidery, again, you know,
Nonyas and Babas, even Babas are very good embroiders. It‘s a dying skill, but there
are classes going on. And I know a few people who still do it today. Excellent work,
you know, it‘s so, so intricate, you know strings if you do it wrongly you have to do
it again.
Another question I have is does the Peranakan Sayang often collaborate with like
Y maybe the Gunong Sayang Association or the Peranakan Association. Is there any
collaboration?
Okay, so there lies a little - I wouldn‘t say no, we are actually all friends, we all know
each other. I mean, our community is so small. I wouldn‘t say collaborated, I have
supported them in some of the events in efforts, and often they also support me when
I do something. So you know, this event is supported by the Gunong Sayang
Association or the Peranakan Association, because our roles are quite different, you
see, for the longest time, talking about maybe decades or a century, when
associations were created last time, you know, if you think about it, when foreigners
or especially Chinese come to this part of the world, clans are very important, you
know, all the Hokkien clans the Teo Chew clans, you know all those Hakka clans. So
clans are basically associations, because you need to connect yourself, associate
yourself with like-minded fellow people from wherever you are. So associations had
A a role, then to connect the community together as one. So similarly, when we started
the Singapore Chinese Peranakan Association, which is the predecessor of the
Peranakan Association, their main reason for starting off the association was business
driven, or us Babas must come together to form associations so that we can continue
driving our business in Singapore and Malaysia. So there was a reason but
eventually, it became more cultural, you know, as we all assimilated, so it can be
more cultural. And, and then TPAS came about, but you see, in any association, it‘s
all about making your members happy, your association members happy so they‘re
always focused on the members to do things like whether to organize a dinner or
organize a talk. It‘s all for the members, which is good, I think, but you see the
problem is, people then left culture to associations. You know, people tend to say,
―Oh, you want to talk about culture, talk to the Peranakan association of Singapore,

157
because they are they are the ones.‖ But you see, they are not the only gatekeepers
you see. Actually culture to me, belongs to everybody. It‘s not the responsibility of
the association to keep the culture alive; it‘s everybody‘s responsibility because this
is who we are. We cannot lose our heritage and our colour because then we become
nobody. We just become black and white. But with culture and heritage, we are very
colourful, you know, look at our kueh kueh [traditional desserts], red, green orange
or whatever kinds of colour you have. So we‘re very colourful like all our buildings
in all the Peranakan homes. You can find pink, blue, red, all kinds of colours you
never seen. Even our Kebayas, the women will wear green tops, pink bottoms. I
mean, the colours are clashing but beautiful, right? So so it‘s the culture is all it‘s us.
So for me as Peranakan sayang, when I do this, I preach or I promote that culture
belongs to everybody, I am making culture accessible to everyone. If you think you
are Baba Nyonya, if you appreciate the culture, you want to learn more about culture,
―Come, let us work together.‖ If your association one will come, I‘m very happy. In
fact, I‘ve done quite a few projects with the Malaysian associations I‘ve performed at
the events and all that and also for the Australian associations, because the Australian
associations are basically offshoots of Singaporeans and Malaysians who have left
and migrated there. But they are Peranakans themselves. So they set up their own
associations there. But you see, for me, it does not need to be an association, you can
call it a club, it‘s the same thing. Association is, you know, to me it‘s a bit old,
because of this clan-clan thing. So my effort is to make it available and accessible to
any Peranakan whether it be in Singapore, Malaysia, or Alaska, you‘re all part of the
family, you‘re all part of this diaspora of Chinese who have migrated long time ago
and change their lives in a totally different way. That we are all in this together. We
are all interconnected. It‘s all our responsibility. So it is my effort to make it
available. Whether it be in videos, or music, or creative stuff, or visuals, or people
like you who want to ask questions. I‘m here because I, I‘ve met a lot of information
and research, you know, through the decades that that I know more than I can share
more. So I go to schools, for example. They say, ―Oh, can you share about culture?‖
Yeah, so I‘ll talk half an hour about this culture. Do you know this? Do you know
that? Then suddenly, ―Oh, I think I‘m a Peranakan? Because my grandmother -,‖ I
say yeah. But if I didn‘t talk to them, he or she will not know, we won‘t even realize.
To them it‘s nothing you know, it‘s not there. But when you talk to them, and you
give them the information, then it sparks that knowledge, you know, and that thirst to
go and find out more. And if you do that, it can only help the culture, it will grow.

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 Because culture is only alive, if we take it. If we just leave it on the table and walk
away, it‘s dead. Any culture, right? But if we go to the table and take it that‘s when
there is a future because I‘m not looking at only today, I‘m also looking at the future.
30 years‘ time, 20 years‘ time, where is the culture going to be at that point in time?
And that‘s the beauty of running my own thing. I do what I want to do, I don‘t have
members to appease, you know that, oh, you know, I must organize this or else my
members not happy. They don‘t vote me in again next year. You know, again, no, I
don‘t have that. I don‘t have the burden of all these things. Unfortunately, you know,
my fellow friends have it because they have to appease. I mean, that‘s how
associations are. You have to vote them in. So I have the freedom to move. So
whether it be in Singapore or Malaysia, wherever I am, I just do what I think is right.
And if I am in doubt, I always ask the elders or my friends who are also in this age,
what do you think this is? And there is a new breed of a new generation, a new
generation of Babas and Nonyas. Oh, my close friends. We are all of the same mind,
that the culture is not dead. The culture has evolved. And we are the generation to
push the evolution ahead. Yes, we respect our older Baba Nonyas who are maybe in
the 80s or 90s, You know, they will say, ―Oh, no, it‘s all dead.‖ I mean, we respect
them, but we feel that is still alive. It lives with us. And we will continue and push it
so that the next generation will see that route, how the culture has evolved. And
because if you can accept evolution, you have a future, if you cannot accept
evolution, then it‘s gone because of this.
Y Very interesting and well said!
A So what about your family?
I only found out recently that my grandma was a Peranakan. When I was growing up,
she always wore batik clothing. Every single clothing item she has was handmade
and she makes it herself. It‘s actually quite incredible, the sewing. She tried to teach
me and my sister, but we were very bad at it. She taught us sewing lessons every
week to try and teach us. She tried to teach us poetry as well. But she passed away
when I was quite small. She didn‘t manage to tell us too much about the culture.
Y
Mostly, she tried to pass us little bits and pieces, like how to sew maybe and how to
write poetry. But she didn‘t really - we didn‘t have her long enough to really
understand much. And it‘s only recently that we found out she was Peranakan and
suddenly lots of things started making sense. I didn‘t realise she was a Peranakan
because as a kid she never said anything like that. So I‘ve been discovering the main
things right now and I‘m really going down a rabbit hole.

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A Do you have any relatives on your grandmother‘s side who are still around?
Y I have a great-aunt but she lives in Malaysia. So we don‘t see her very often.
A It‘s harder, right? So do you know whether she was educated?
Yes, I think she was in a Catholic school. She was very good at English, English was
Y
her main language. She also speaks Malay.
Most Malaysians do that‘s why the culture is easier to thrive in Malaysia than in
Singapore because of the language used. We don‘t speak Baba Malay anymore. The
Malays don‘t even speak Baba Malay anymore. So it‘s hard for the language to
continue. But that doesn‘t mean we stop, we have to continue trying. So like I asked
about whether she was educated because that is a key thing that the women
Peranakans are actually educated earlier than the Chinese counterparts. So like my
grandmother in this photo, in this particular photo, the original one, that‘s actually
her handwriting and this was in the 1930s when she got married. This is pre-war.
And she wrote, I was married on I think, ninth of September in 1935. I got married at
this place. And in very classic handwriting style - last time, there‘s this classic
handwriting style. And it was in good English. So the implication was that when she
was a little girl, perhaps in the 20s 1920s or so she attended school. Now, this was
100 years ago, and she was educated in school. And that‘s a big deal. Because
education, of course, it‘s so important. And for a woman of that time to be educated.
Very important. So that reflects on how the Peranakan community knew that
A
education was important. Yeah, you know, there‘s some people stuck in their old
ways. Oh, no, no, no girls must stay at home, learn how to cook and go and pound
the chilli, you know ―stay at home you don‘t do.‖ Of course, those was probably,
let‘s say maybe the 17th - 18th century when women or girls were only there to take
care of the family or find a good husband, that kind of thing. But if you read through
the history, when Singapore Chinese Girls School was started, it was started by the
Peranakan men. And the Peranakan men said ―No, our girls must be educated.‖ So
they started SDGS. And that‘s why today SDGS still thrives and they have a
Peranakan history. So all these young girls were educated in the late 1800s, the early
1900s. And that made a huge difference to the community because they are educated.
Their children also get educated I‘m assuming because their way of thinking is
different. So how the children were brought up is different. And because the children
were brought up in a different way by educated mothers, this makes them successful.
They became doctors. They became Prime Ministers like Lee Kuan Yew, they
became you know, prominent people who made a difference to the community. So

160
 you see, there‘s the whole butterfly effect, you know, the Butterfly Effect. Let‘s say
it affected the whole community it brought about prosperity, you know, riches, good,
successful businessmen, people who will make a difference to the community
because they have the means to do so. They contributed money to the community and
it all adds up to where we are today. So it makes a big difference. And for me as a
parent, I‘m very proud that my predecessor a century ago, they saw the vision. They
contributed, they made the difference. They led, you know, it‘s from the Peranakan
people. Because the Peranakan people were accepted by all the communities. If you
were a Malay man for example, you try to be a leader then the Chinese of the past are
not happy. It didn‘t mean all of the Indian men or the typical Chinese men, you tried
to lead. I mean, as much as we talked about racial harmony and all that back then it
wasn‘t so easy. But the Peranakans, they were like, not here, not there. I‘m friends
with everybody. It doesn‘t matter, you know, everybody can accept me. So in a way,
it was easier and we could speak to the British in English. You know, we spoke
English to the British and they respected us. You know they said ―We need the
Peranakans to be around, we cannot talk to the rest, you know.‖ So all these things
added up now, you know, to how we are today. So I‘m proud of that fact that we
contributed a lot to the community.
So the final questions I have are: do you feel that Peranakan society now or in the
Y
past, is a matriarchy or patriarchy? Or both?
We had this talk on YouTube. Patriarchy and matriarchy is presented by Dr. David
Neo. His eventual conclusion is it‘s actually both, although many of us see it as a
matriarchal society, based on the home. But you know that the men actually
A
contributed to the family, and the politics and stability and all that. So it‘s actually a
mix of both, but I urge you to see that video. You just go to Peranakan Sayang‘s
YouTube.
Y I will watch that! Thank you so much for speaking to me today.

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Transcript – Interview with Josephine Chia, 8th December 2022

Established Peranakan author who writes about her culture and heritage

J: Josephine Chia
Y: Toh Ying Li

Y What was it like growing up as a Peranakan in Singapore?

Special. My mum always stressed on us being Peranakan that I‘ve never thought of
J
myself as just Chinese.

What are your thoughts on the phoenix in Peranakan culture? What does the phoenix
Y
mean to you personally?

J The Phoenix is a symbol of regeneration for me.

Have you noticed that many Peranakan organisations in Singapore started using the
phoenix as their emblems / logos: such as the Peranakan Association, the Gunong
Y Sayang Association, the NUS Baba House and many more? Do you feel the phoenix
has become an emblem of the Peranakans and why do you think the phoenix is so
prevalent / popular?

I guess this reflects part of our roots, i.e. the Chinese roots. Also I feel it might
J suggest that as a minority race and culture we have to regenerate ourselves to keep it
alive.

In your opinion, do you feel that the Peranakans are a matriarchy, a patriarchy or a
Y
mix of both? And has this changed in modern times?

J It used to be a matriarchy but in modern days it‘s neither.

Do you feel that in recent decades, there has been greater interest in the domestic /
Y feminine aspects of Peranakan culture? For instance, there is a greater interest in
Peranakan cooking and crafts (which were traditionally feminine spheres).

Absolutely. I think Singaporeans are also searching for their identity. So being
J
Peranakan is a very clear identity.

162
 Do you feel that Peranakan culture has become more commercialised / become a
Y
tourist commodity in recent decades? And how do you feel about this?

Yes but I don‘t think it‘s a bad thing as it means more people know about us and our
J
unquestionable culture.

163
Transcript – Interview with Hwei Fen Cheah, 15th December 2022

Author of Phoenix Rising

H: Hwei Fen Cheah

Y: Toh Ying Li

In Phoenix Rising pg. 327, you mentioned that the phoenix has been used very often
by the contemporary Peranakan community in logos, event names, film names and it
the phoenix has evolved to become this symbolic representation of Peranakan
culture.
Y

Why do you think the phoenix is popular / prevalent as an emblem in the modern
Peranakan community? There are many other traditional motifs besides the phoenix -
do you have any insights on why the phoenix is so popular?

The phoenix isn‘t the only ―traditional‖ motif they have picked up on - e.g. the peony
recurs often too, qilin [麒麟], paired dragons etc. But perhaps its visibility and
prominence on items like the kamcheng and wedding garments which continued to
be strongly associated with Peranakan culture have contributed to its popularity. I
think the literature on Peranakan art and culture (see for example illustrations in
H Khoo Joo Ee‘s book; the batik book titled Butterflies and Phoenixes, and Edmond
Chin‘s 1991 book Gilding the Phoenix) also helped to cement its place in the
collective Peranakan imagination at a time when Peranakan society was trying to
articulate its identity and sense of culture. In that sense, maybe it has become a part
of a discursive Peranakan identity. It‘s also an easily recognisable image, (and maybe
more easily identified with than a peony?).

What does the phoenix represent and symbolise to you and why did you name your
Y
book Phoenix Rising?

Partly as a sort of homage to Edmond Chin‘s Gilding the Phoenix this was, for me, a
significant work in laying out the ideas and nuances of Peranakan art. The allusion to
H
the (Arabian, not Chinese) phoenix rising from the ashes relates to the rejuvenation
of beadwork in a contemporary context, i.e. the potential for craft to be revived.

Y Could you tell me more about the use of the phoenix in Peranakan needlework?

164
 Hmm, this is difficult. Mostly they seem to have followed fairly stock standard
H representations similar to those from Chinese embroideries, but sometimes they are
simplified or modified. If I can locate any ―odd‖ ones, I‘ll email you separately.

In your opinion, would the Peranakans be considered a matriarchy, a patriarchy or

Y
both?

H I‘m not sure...depends on the family...

Do you feel that in recent decades, there has been greater interest in the domestic /
Y feminine aspects of Peranakan culture? For instance, there is a greater interest in
Peranakan cooking and crafts (which were traditionally feminine spheres).

Definitely.

I think the Associations have been pivotal in creating conditions that energise the
culture and for the coherence of a Peranakan community today. And they are a good
reference point for anyone interested.

Institutions like TPM and businesses like those along East Coast Road like the late
Peter Wee‘s Katong Antiques House, have also played an important role in bringing
public attention to Peranakan culture, and the feminine aspects are quite tangible and
can be displayed or, better still, deliciously consumed.
H
Perhaps it has helped that such aspects of the ―culture‖ are very photogenic and
―instagrammable.‖ With (his/her) stories to go along. Today, the traditionally
feminine aspects of the culture have become less ―gendered‖ as both men and women
are involved. Especially with cooking. In terms of craft - men are practising experts
eg Raymond Wong in Singapore and Michael Cheah in Penang.

(A reminder - although we tend to frame needlework as domestic and feminine,

historically it may not have been so rigidly defined. Male embroiderers may have
been involved in the past, and a part of it was commercial i.e. made for sale although
I don‘t have firm evidence of the former so please don‘t quote me).

165
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