Peep into the outside world The Peranakan Museum guide for educators. Prepared by CAI Zejun March 30 th

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1 1 Peep into the outside world The Peranakan Museum guide for educators. Prepared by CAI Zejun March 30 th Objective During 19th to 20th century, the meaning of being a Peranakan was shaping by the fast-changing society. Peranakan men embraced a highly hybrid identity when they were venturing into a world with local, Chinese and Western fusion. However, intriguing questions concerning Peranakan women s identity may raise. As they were physically confined in their house and mentally constrained by the societal role as domestic wife, will they be immune to the outside influences? This educational guide examines the interesting patterns appeared in Peranakan women s beadwork, a textile art commonly practised by Peranakan women. By analysing the subtle changes in beadwork patterns and functions, this guide also aims to utilize beadwork as a starting point to exploring their female makers evolving identity from 19 th century to the contemporary world. Background Back to 19 th century, most Peranakan women known as Nonyas was confined in home with limited connections with the outside world. They were lived in a patriarchy society where men were in charge of conducting business and were the source of income of the family. Women were expected to fulfil domestic roles and behave like dutiful wives (Kandiyoti, 1988). The pervasive beadwork during late 19 th century to 20 th century was used more than an ornament, it also served as an indicator of women s marriageability (Tan, 2003). The well-executed beadwork objectified its maker s virtues of diligence, patience and gentility. And the matchmaker was not the only one who judged the beadwork. During the wedding day, the beaded accessories will be worn by the bride in front of all the guests. It showcased the intensive training the maker received as well as the feminine virtues she possessed. In order to prepare for the big day, Nonyas have devoted countless hours to practice their beading skills since young. They learnt the beading techniques and patterns from their elder female family members, and they continually passed on what they learnt to their daughters. Beadwork then became a unique Peranakan tradition practised by several generations of Nonyas. Living in the time where society has been constantly shaped by economic and societal environment, Peranakans have equipped with a highly hybrid identity which absorbed diverse influences. For instance, these Straits Chinese men or Baba acquire English education and adopt Malay influences on food, dressing and language, and at the same time also persistently practice Chinese traditions in ceremonies and religions (Chee, 1989). But on the other side, unlike their well-educated brothers or husbands who were exposed to the fast-changing world, most of the Nonyas remained illiterate and lived in a rather isolated conditions where their physical movement only limited to their house. Day after day, Nonyas immersed themselves into the labour-intensive and time-consuming beadwork. The exquisite handwork About the beads The most common material used in Nonya beadwork were glass beads or manek kacha imported from Europe (Panel 1). Because of their tiny shape resembles plant seed, they were also been called seed beads. With an average 1 mm in diameter, glass beads required extremely skilful hands for both producing and manipulating.

2 2 Image and text by courtesy of The Peranakan Museum Panel 1 Pair of beaded slippers 2 nd half of 19 th century, Indonesia Dimension: unspecified The Peranakan Museum Beadwork exemplified Peranakan women s characteristics as dutiful wives. Peranakan women in Penang, Malacca, Singapore, Indonesia, and southern Thailand and Myanmar carefully decorated the slipper faces with colourful glass beads before sending out to shoemakers to make into slippers. The end product, kasut manek (beaded slippers) were worn by bride during wedding days. Glass beads were not only favoured by Nonyas. Record has showed in the early 17 th century, glass beads produced in Java were exported regionally (Chee, 1989). That means the beadwork tradition was widely practiced by other Southeast Asian cultures as well. For instance, the Dayak community in Borneo were using glass beads to decorate their ceremonial objects. In many Southeast Asian communities such as Dayak, the hard material and ritual function of the glass beads always associate with male ideology and responsibility (Cheah, 2007). Although beadwork in Peranakan shared certain similarities as they were also played an essential role in ceremonies, beadwork practiced by generations of Nonyas minimized the ritual protocol and masculine implications embedded in the beadwork. Thus Nonya beadwork was able to gradually evolving into a unique art form specifically related to nonyas themselves. Furthermore, the de-ritual format didn t require beadwork to follow specific patterns or rules, which allowed Nonyas to freely explore new techniques and designs in their beadwork. Since then Nonyas have developed 3 main beading techniques, naming stringing, threading and stitching. They strung beads to cloth edgings or personal accessories according to personal preferences as a finishing touch. As those faceted glass beads were especially favoured by Nonyas, dexterity threading skills were required in order to nicely arrange the beads in desired orientation. Nonyas were aware of the different lighting reflections on different materials. They selectively incorporated some metallic beads or manek pirigu into their design to achieve a more complex and fine-looking effect in their works. Interestingly, Nonyas also demonstrated a very different aesthetic trend. They were using different shades of colour beads to render a more lifelike image. And they also created a 3-D effect by stitching beads onto separate cardboard designs and later on paste upon the fabric base (Chee, 1989). These attempts were rarely appeared neither in traditional Chinese nor other Southeast Asian patterns. The anonymous artists Nonyas innovations were not limited to the technique and material. They were boldly drawing inspirations upon their own imaginations and describing their fantasy world in the beadwork (Gwee, 1985). Besides the commonly employed Chinese animal patterns such as deer and butterfly, some marvellous creatures have been discovered in Nonyas work. For instance, a creature with wings and leaves has been identified as an imaginary animal-plant (Chee, 1989). Similar to the ubiquitous Chinese myth creature qilin or unicorn, a symbol of longevity and grandeur, combines body parts of deer, wolf, ox and horse, and has 5 colours in skin

3 3 (Williams, 1988), the animal-plant may also invented by its creator as an personal interpretation for ideal values. Although most of the Nonya beadwork were anonymous, and their own descendants were unable to identify the original makers after decades, the creativity continuously sparking in Nonyas work. As Vaughan (1971) was amazed by the great skill and originality displayed by ordinary Peranakan women. He argues these beadwork were already exceeding their beauty and domestic roles. Nonyas invented the new elements as a way of self-entertaining. Their emerging self-awareness motivated them to implicitly or explicitly embed selfreflexivity into their creations. When Nonyas started to sign off their works (Panel 2) and even sold them out for extra income (Cheah, 2010), they were no longer confined themselves in those passive or subordinate roles. Instead they became empowered individuals, and regard themselves not as proficient artisans but as artists who depict what they want. Image and text by courtesy of The Peranakan Museum Panel 2 Beaded daun nipah (nipah leaf) case Late 19 th early 20 th century, Indonesia Dimension: unspecified The Peranakan Museum This daun nipah case was used to contain hand-rolled cigarettes leaves. It was skilfully decorated with metallic beads. The maker depicts a whimsical scene of a woman in traditional dress dancing with qilin the mysterious creature. Peranakan women mixed both physical and imaginary worlds in their works as selfinterpretations. And sometimes bears their names inside with great self-awareness. The peephole of outside world One interesting open secret about the Baba house where nonyas used to live in, is the peephole subtly embedded in some of the floorboards (Yap, 2013). As Peranakan wives and daughters were not allowed to venture into the wild world, the peephole was not merely served as a safety guard. It was also used as a mysterious passage where nonyas were actively and curiously seeking ways of exploring the world outside their house. Similar to the mysterious peephole, beadwork has implications which also go beyond its functional purposes. Even though with a limited exposure to the changing environment, the European influenced patterns such as rose, swan have appeared in their works since late 19 th century. As back to that time, Western fashion magazines which introduce beading techniques and motifs were not been widely circulated, Nonyas learnt new fashion trends mainly from relatives and peers (Cheah, 2010). Hence, beadwork as an activity played an essential role in Nonyas social connections. They were no longer limit themselves by the physical boundaries. Beadwork as an activity enabled Nonyas to disseminate and exchange new ideas on the changing fashion. Some young pioneers even pushed the boundary further by attending beadwork courses conducted by European Christian missionaries (Cheah, 2007). Nonyas were once again consciously using beadwork as medium of embracing new knowledge.

4 4 Since the beginning of 20 th century, Western companies started seeking for larger market size by leveraging their own countries colonial powers. They quickly expanded to Southeast Asian market where their countries have established colonial presence (Beng, 2013). The marketing driven efforts were indirectly instilling a new way of thinking and stirring waves of changing identities in the targeted markets. For instance, gramophone company His Master s Voice (HMV) made dedicated efforts on localizing its publicity materials. It published music catalogues in diverse languages and made those information been widely circulated among Peranakan communities. Due to the concurrent forces of Cosmopolitan and emerging self-awareness, Nonyas cautiously incorporated Modernity motifs into traditional design (Panel 3). The personal choice in the symbolic beadwork mirrored a desire of individual emancipation. Some Peranakan journals also pointed out that Cosmopolitan is an inevitable trend. Parents should adopt a more encouraging attitude towards young girls development (Chan, 1995). Consequently, some young Nonyas regarded the empowered Western women as role models and re-defined their own identities accordingly (Cheah, 2010). Image and text by courtesy of The Peranakan Museum Panel 3 Practice sampler with European-influenced motifs Probably early-mid 20 th century, Straits Settlements Dimension: H7.2 X W18.3 cm The Peranakan Museum Started from 1930s, European beadwork instructional books were introduced to Nonyas. This iconic image of gramophone company 'His Master's Voice' (HMV) was been used either as a personal practice sample or a fashionable pattern circulated amongst peers. The popularised Cosmopolitan presence in Nonyas beadwork reflects a changing context both in societal condition and individual identity. The collective memoir After the Second World War, the harsh societal and economic conditions posed dramatic changes in women s roles. Women in workplace become widely accepted. Increasing numbers of Nonyas started stepping out of their houses and seeking job opportunities to support families (Cheah, 2010). Subsequently the timeconsuming beadwork turned to be less favoured practices. During the procedure of Modernization, the Baba Malay, a distinct language spoken by Peranakans was slowly vanishing. The essence of being a Peranakan is harder to be identified ever than before. The beadwork is now being considered as a dying art (Hulsbosch, 2009) and even the Peranakan community is becoming a vanishing existence. However the endangered situation triggered series of movement of Peranakan revival in recent decades. The longing of preserving precious tradition and retrieving family history urge modern Peranakans to re-construe their culture. Additionally, popular media productions which featured Peranakan culture such as Emily of Emerald Hill, The Little Nyonya and recent The House of Bernarda Alba have reached out to a larger public and contributed to the cultural promotion as well (Cheah, 2010). Moreover, the increasing exposure on Peranakan dressing and Nonya beadwork also draws collectors and educators attentions. Today, the aesthetic

5 5 values and historical narratives embedded in these exquisite handworks have been recognized and well preserved in intuitions. When appreciating the beadwork displayed in the museum, people may question how relevant they are in today s context. Does the Peranakan essence has been further diluted when we are trying to interpret them through contemporary lens? As mentioned by beadwork artist Ms Bebe Seet, beadwork is an intimate activity which emphasizes on individual maker s identity (Cheah, 2010). Both past time Nonyas and contemporary female practitioners devoted reflexive narratives into their works. Moreover, as an art form been practiced by generations, beadwork is also a visual reminder of many Peranakan families memories. Although there is no absolute answers for above questions, what Ms Bebe Seet explained may shed some light on our future analysing. The intriguing meanings behind a beadwork motivate us to move our appreciation beyond the artefact itself. Beadwork can also serves as a peephole for people in today s society to peep inside the world nonyas used to live. When the beadwork has been put into the museum for display, the evolving identity and self-awareness it used to spark didn t disappear. It continuously reminds people about the efforts Nonyas put into self-exploration, and encourages modern women to reflect upon their own quest for identity.

6 6 Bibliography Cheah, H. (2010). Phoenix rising: narratives in Nyonya beadwork from the Straits Settlements. Singapore: NUS Press, c2010. Tan, H. (2003). Peranakan Legacy at the Asian Civilisations Museum, Singapore. IIAS Newsletter, (31), 50. Kandiyoti, D. (1988). Bargaining with patriarchy. Gender & society, 2(3), Chee, E. (1989). Festive expressions: nonya beadwork and embroidery. Singapore: National Museum, Cheah, H. (2007). 'Made in China'? A Case Study of Nonya Beadwork. Textile History, 38(1), doi: / x Williams, C. S., & Williams, C. S. (1988). Chinese symbolism and art motifs: an alphabetical compendium of antique legends and beliefs, as reflected in the manners and customs of the Chinese. Rutland, Vt.: C.E. Tuttle, 1988, c1974. Vaughan, J. D. (1971). The manners and customs of the Chinese of the Straits Settlements (Vol. 2). Singapore: Oxford University Press, Gwee, T. (1985). A nonya mosaic: my mother's childhood. Singapore: Times Books International, c1985. Yap, C.L. (2013). New Beginnings. Singapore: Marshall Cavendish, c2013. Beng, T. (2013). Negotiating 'His Master's Voice': Gramophone Music and Cosmopolitan Modernity in British Malaya in the 1930s and Early 1940s. Journal Of The Humanities & Social Sciences Of Southeast Asia & Oceania / Bijdragen Tot De Taal-, Land- En Volkenkunde, 169(4), doi: / Hulsbosch, M., Bedford, E., & Chaiklin, M. (2009). Asian material culture. Amsterdam: Amsterdam University Press, c2009. Chan, F.Y. (1995). Chinese women's emancipation as reflected in two Peranakan journals (c ). Archipel, 49(1),