Wander in Singapore: Peranakan Museum

To fully explore the rich heritage of the Peranakan communities in Singapore and the Malay-Indonesian archipelago, visit the Peranakan Museum, where you’ll discover their unique cultural expressions.

Sense of Wander: ★★★★☆

These hand-painted lanterns, suspended in the atrium, add a touch of Chinese flair to the Peranakan Museum.

SINGAPORE — Born at the crossroads of a region shaped by centuries of trade, migration, and colonial networks, Singapore is indeed a multicultural nation.

The term “Peranakan,” which comes from the Malay word anak (meaning “child”), translates to “local-born” (as opposed to native). It has come to describe the descendants of migrants and traders who married indigenous women of the Malay-Indonesian archipelago, resulting in a distinctive culture that blends Chinese, Indian, Arab, European, and others.

Within this melting pot, the Peranakan Chinese — descendants of southern Chinese traders in Southeast Asia — form the majority. Their culture, often referred to as “Baba-Nyonya,” meaning men and women respectively, is widely known but is sometimes mistakenly used interchangeably with the term Peranakan.

While scholars continue to define what constitutes “Peranakan,” their hybrid heritage is undeniably synonymous with fusion, encompassing language, clothes, cuisine, customs, beliefs, and artistic expressions.

This unique culture comes to life on the ground floor of the Peranakan Museum, where the origins of these unique communities are explored. The displays reveal how objects from across Southeast Asia set the stage for this distinctive blend of traditions and artistry that define the cultural identity of this remarkable community.

A variety of metalwares from the Malay-Indonesian region highlights the blend of regional and foreign influences in their forms, designs, and techniques.

This photograph from the 1860s captures a Chinese bride in Batavia, now known as Jakarta.

I’m particularly intrigued by “Portraying Peranakans,” a section that presents the many faces of Peranakans using a mosaic of old photographs. These snapshots of Peranakan life not only reflect the diversity of this community but also celebrate how a distinct identity has emerged from this melting pot.

There’s also a series of videos on loop, featuring interviewees answering the question: “What does Peranakan mean to you?” In the end, it’s clear that each person has his or her unique perspective, with no singular or definitive answer. Any attempt to define this cultural concept in rigid terms seems to fall short of conveying its essence.

The museum’s first and second floors focus on the material culture of Peranakan communities, particularly that of the Baba-Nyonya, or Peranakan Chinese.

Through thoughtfully curated displays, we’re invited to step inside Peranakan homes and experience their settings — encompassing everyday life, special occasions, and gatherings both private and public. This not only gives us an idea of the tastes of its owners, but the traditions and heritage that these objects once belonged.

I particularly like the Sheltered Dreams series by Lavender Chang, a Singaporean artist who captures portraits of living rooms through his conceptual photographs. Her use of long exposure gives these spaces an ethereal, and somewhat surreal, qualities, where the passage of time is encapsulated in one single image.

Among them is Sheltered Dreams, a conceptual photograph series by Singaporean artist Lavender Chang, who captures portraits of Peranakan living rooms. Her use of long exposure lends an ethereal — almost surreal quality — to these spaces, encapsulating the passage of time within a single frame.

While the objects offer a glimpse into the lives of Peranakan families, the people themselves — introduced earlier on the museum’s ground floor — are absent.

Lavender Chang’s photography series is displayed alongside the portrait of Tan Kim Tian (1832–1882), a prominent businessman in Singapore in the late 19th century.

Altars, plaques, and decorative objects from the homes of distinguished Peranakan individuals offer a glimpse into their everyday lives.

An impressive set of pink famille rose porcelain wares would have been elegantly arranged on the dining table for special occasions.

Continue your visit to the top floor, you step into a world of fashion and adornments that help shaping the cultural identity of Peranakan women.

In the Textile gallery, an array of exquisite batik — a term referring both to the wax-resist dyeing technique and the intricate textiles created through it — takes centre stage. These highly decorative fabrics showcase not only Javanese influences, but also Indian, Chinese, and European elements, highlighting the versatility of this artistic tradition.

The Peranakan communities of Malacca, Penang, and Singapore were known for their fondness for wearing Javanese batik.

This sarong, depicting scenes from Snow White, is a notable example of how European fairy tales became a popular theme among for batik makers in Pekalongan in the late 19th century.

This sarong kebaya costume, commissioned for the film Emily of Emerald Hill, is beautifully embroidered with phoenixes and peonies to complement the blue sarong.

In the Fashion gallery, visitors are invited to explore the wardrobe of Peranakan women, which includes sarong kebayas (a tubular skirt paired with an open blouse), kain panjang (a rectangular skirt cloth), kasut manik (beaded slippers), and beaded bags.

What strikes me is the use of contrasting colours. It’s not uncommon to see a pastel pink blouse paired with a turquoise sarong, yielding a quintessential Peranakan colour palette that perfectly embodies the vibrant identity of this culture.

My favourite spot in the Peranakan Museum is undoubtedly the Jewellery Gallery. Here, an impressive collection of jewellery is on display, ranging from everyday pieces to treasured family heirlooms and exquisite set of wedding jewellery. These pieces reflect both stylistic and regional differences, showcasing the various influences on Peranakan jewellery.

Among the pieces is a small, easily overlooked scrap of gold sheet, stamped with Chinese, English, and Jawi scripts. Dated to the early 20th century, this precious artefact not only reveals how jewellery making was a multi-ethnic trade in Singapore at the time, but also illustrates the fusion of artistic styles that defined the jewellery of this period.

This early 20th-century gold sheet is stamped with Chinese, English, and Jawi scripts, highlighting how jewellery making was a multi-ethnic trade in Singapore at the time.

The Jewellery Gallery at the Peranakan Museum showcases a wide array of pieces, ranging from intimate jewellery worn by women to valuable family heirlooms.

This unique cotton camisole from 1930s Indonesia features intricate straps crafted from gold.

For Peranakan women, as with women across much of Asia, jewellery was not just a symbol of status, but a practical means of wealth. In many cases, it served as family heirlooms, passed down through generations in the form of a trousseau. In other cases, women would invest their savings in jewellery, ensuring its lasting value.

The variety in a woman’s jewellery collection also serves as a mirror, reflecting both the changing fashions of the time and the evolving circumstances of her life.

A wonderful array of objects showcases the diverse regional styles of Peranakan communities, spanning from Singapore to Malacca, Penang, Java, and Sumatra.

This table cloth, made with over one million glass beads, depicts flora and fauna on a turquoise background.

As you exit the Jewellery Gallery, you are immediately transported into a world where one of the Peranakan’s most iconic artistic traditions, beadwork, takes centre stage.

Crafted from manek kacha — tiny, colourful glass beads imported from Europe — Peranakan beadwork is believed to have been influenced by interactions with indigenous communities in Southeast Asia.

The centerpiece of this gallery is a giant table cloth, painstakingly created with brilliant manek kacha. Measuring 126 by 118 centimeters, this is the largest known example of Peranakan beadwork, incorporating over a million glass beads.

The intricate beadwork depicts South American birds, including parrots and macaws, perched gracefully on branches. Nearby, butterflies and dragonflies flutter around bouquet of hibiscus and pineapples. The predominant use of pink and yellow against a turquoise backdrop evokes the signature colour palette seen in Peranakan ceramics.

Singapore’s Peranakan Museum is a must-visit for anyone interested in exploring the culture and heritage of this unique community.

Peranakan culture had long been underappreciated until the early 2000s, when an exhibition at the Straits Chinese Gallery in the National Museum sparked a renewed public interest.

The Peranakan Museum had always been on my list, and I’m incredibly grateful for the opportunity to finally visit this gem in person.

If you’re fascinated by Peranakan cultures like I am, I would highly recommend paying a visit to the Peranakan Museum. It offers an immersive exploration of these communities in Singapore and across Southeast Asia, while shedding light on how these cultural forces continue to shape Singapore’s multi-ethnic identity as a nation.

Reference:
Tahir, I., & Ho, V. (Eds.). (2008). Peranakan Museum Guide (2017th ed.). Asian Civilisations Museum for the Peranakan Museum.