Relevant bibliographies by topics / Chinese peranakan

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Chinese peranakan'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Chinese peranakan"

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Poomduang, Thippiroon, Jantima Kheokao, and Pairote Wilainuch. "Stories of Peranakan Culture in Thailand's Andaman Cluster Provinces." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 2 (June 30, 2021): 226–42. http://dx.doi.org/10.17576/jkmjc-2021-3702-14.

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This is a study of how the stories of Peranakan culture in Thailand's Andaman cluster provinces are told. Utilising Berlo’s communication model as the primary research framework, this research elaborates on how the Peranakan culture’s stories are told and how these stories help define the Thai Peranakan cultural identity. The findings indicated that there is a lack of storytellers in the new Peranakan culture to continue and drive culture preservation (sender), stories presented did not contain subject matter that points to the real identity of Peranakan culture (message), the channels of storytelling are not continuous and diverse enough (channel) and the awareness of Peranakan culture is limited (receiver). The Peranakan cultural identity, meanwhile, was elaborated in two ways; the history of the Peranakans and the Peranakans' way of life. It was also discovered that the Andaman cluster province was not where the Peranakan’s culture was originally constructed. Instead it was brought to Andaman by Chinese who were trading, living or studying in Malacca or Penang at that time. These Peranakan’s cultural identity is an assimilation of Chinese, Malay, European, and Thai cultures, as evident in Peranakan food, clothes, architecture, and beliefs and traditions. Keywords: Peranakan, Baba, Andaman cluster, storytelling, cultural identity.
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Shahrul Imran, Mohd, Lim Abdullah, and Reevany Bustami. "Evolution and Identity of the Kelantan Peranakan Chinese: Issues and Challenges." International Journal of Multicultural and Multireligious Understanding 2, no. 1 (February 1, 2015): 1. http://dx.doi.org/10.18415/ijmmu.v2i1.8.

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The Kelantan Peranakan Chinese (KPC) has become the earliest evidence of China relationship with the Malay World. The fifty or so Peranakan settlements in Kelantan were believed to have been founded sometime before the 1800s starting from Tumpat to Gua Musang and along Sungai Kelantan. The descendants of those early Chinese settlers married local women and had close contacts with the Malays and Thais who formed the majority of the populace. This eventually led to the acculturation of the Chinese and gave rise to the formation of the Peranakan community. He is ethnically Chinese but his Kelantanese dialect is so homey that he could easily pass off as Malay. The Chinese perceived the local Malays as legitimately dominant and themselves as legitimately subordinate. This understanding and acceptance of the legitimacy of their relative positions is very crucial in the promotion of a successful inter-ethnic interaction. Today, the days of the Peranakan are numbered and the size of their community is rapidly declining. Modernisation, migration and marriage with non-Peranakans are among the main reasons for the decline. But perhaps the most significant factor is the need to re-orient their identities to suit the post-colonial racial landscape with its ethnic demarcations of Malay, Chinese, Indian and others categories. Peranakan children no longer mix with their Malay or Thai neighbours, preferring instead the society of their schoolmates or those of similar ethnicity. It is just a matter of time before the community disappears. The objectives of the research is to indicate present and future transformations of the Kelantan Peranakan Chinese in the rapidly changing and the future of a small group of Kelantanese Chinese, whose forefathers landed in this country more than 250 years ago - much longer than many current crop of so-called Malaysians. Through the process of assimilation, they have lost their identity. They are not Malays; and naturally would not be accepted as bumiputras. Since they don't speak Mandarin, Hakka or Cantonese, they feel out of place among the "real" or more "genuine" Chinese. Compounded by their tanned skin, they look every inch like the Malays. Though their Chinese surnames are maintained, many have taken the Malay names or are being called by the Malay names. But this unfortunate group of people will perish in history in 30 - 40 years to come. They may be a minority in Kelantan but the Peranakan are as colourful as they come. However, this community is in danger of losing its unique identity. After they are, the Kelantan Peranakan Chinese will go down in history. The whole wide gone world would not even know of their existence}.
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Wolff, John U. "Peranakan Chinese Speech and Identity." Indonesia 64 (October 1997): 29. http://dx.doi.org/10.2307/3351434.

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Sari, Helvi Mei, Feby Dehmi Sudirman, and Sofyan Sofyan. "AKULTURASI SENI PERANAKAN TIONGHOA-MAKASSAR." Nuansa Journal of Arts and Design 4, no. 2 (February 3, 2021): 1. http://dx.doi.org/10.26858/njad.v4i2.9415.

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This study is a qualitative study using objective approach. Research objectives of this study are describing the historical background of Chinese in Makassar and acculturation of Makassarese Chinese in the field of art. The data is collected through interview, observations, and review of literature. In processing the data, there are three techniques used: (1) Data Reduction; (2) Display Data; and (3) Conclusion Drawing and Verification. The results of the study reveal that Chinese came to Indonesia since centuries ago during dynastic war in Cina. They came in Makssar during Dinasti Tang on 15th. They came gradually and began to settle in Makassar during the reign of Kerajaan Gowa. This was the beginning of acculturation. At the time, they mingle with indigenous people and began to pursue various fields, including in art and culture. In music, one of Chinese named Ho Eng Djie was famous for his songs such as Amma Ciang or Atti Raja. In addition, a Chinese writer was famous with his work, Pantoen Melajoe Makassar.
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Neo, David HJ, Sheau-Shi Ngo, and Jenny Gek Koon Heng. "Popular imaginary and cultural constructions of the Nonya in Peranakan Chinese culture of the Straits Settlements." Ethnicities 20, no. 1 (August 7, 2019): 24–48. http://dx.doi.org/10.1177/1468796819867399.

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The Peranakan Chinese is a Chinese diasporic community with a unique hybrid culture of Chinese, Malay, and European influences concentrated in the Straits Settlements (Malacca, Penang, and Singapore) of Malaya (before the independence of Singapore). It has inherited the Chinese patrilineal system but Nonyas within the Peranakan Chinese (also known as Baba-Nonya) culture fill an interesting space in Chinese patriarchy. This article explores the world of the Nonyas and identifies three cultural constructions of the Nonya: garang/li hai (feisty/crafty and manipulative), poonsu (resourceful), and toh tiap (victimized), specifically drawn out from the television serial, The Little Nonya; but these constructions have also been widely represented and documented in the arts and cultural expressions, particularly through the existing literature and portrayal of Nonyas in popular culture. We explore the cultural meanings of the Nonya through gendered patterns and identities which come out of a specific historical context of the Straits Settlements at the turn of the 20th century—the Peranakan Golden Age, where colonialism, wealth, and education shaped its matrifocal Peranakan culture. We employ Sylvia Walby’s theoretical framework of private and public patriarchy, specifically through the structures of household production and culture to analyze the situation of the Nonyas, arguing that Nonyas were not so much oppressed by men but by women; and yet, they were also privileged and valued in the Peranakan culture. Their privileged position allowed them to negotiate and challenge Chinese patriarchy.
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Sari, Risa Junita, Wannofri Samry, and Yudhi Andoni. "Peranakan Chinese’s Literature in Doenia Baroe Magazine (1930)." Andalas International Journal of Socio-Humanities 2, no. 1 (July 25, 2020): 1–7. http://dx.doi.org/10.25077/aijosh.2.1.1-7.2020.

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Doenia Baroe Magazine (1930) is a press media of Peranakan Chinese that contains a lot of literature from various genre. The purpose of this study is to explain themes, forms and orientation of Peranakan Chinese’s literature, so that might explain author’s idea of literary works.Literature from Doenia Baroe Magazine has become the overview of history of literature that written by Peranakan Chinese that use historical methodology. Chinese literature in Doenia Baroe Magazine are influenced by the identity tendency as Chinese people which brings out rendering literary works. Literature from Doenia Baroe Magazine are adaptive to the modernity of colonial environment without needed to remove their ancestral heritage. Literary works in Doenia Baru Magazine has various genres such as short story, feuilleton and poem that implicitly show the author’s new world. Peranakan Chinese’s literature has not just become the social reflection but also implies political identity of the era.The result of this study, the beginning of chinese’s literature is relevant with mentality of the era that affects the author’s idea.
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Sari, Sulhizah Wulan, and Sukmono Bayu Adhi. "The Taste of Peranakan Tionghoa in Listening to Indonesian and Chinese Music and Their Relation to Cultural Identity." Lingua Cultura 13, no. 4 (November 26, 2019): 247. http://dx.doi.org/10.21512/lc.v13i4.5859.

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This research discussed the taste of Peranakans Tionghoa in listening to Indonesian and Chinese music and its relation to cultural identity. The history of the settlements in Chinatown at Glodok, Jakarta, Indonesia, brought ethnic and cultural issues. Then, the assimilation was inadequate that caused the elimination of the original culture and finally form a new culture. This research questioned how the Peranakans Chinese cultural identity was formed and related to the taste of listening to Chinese and Indonesian music using Hall’s perspective of cultural identity. A qualitative method was used to describe, explain, and analyze data. Data in the research consisted of observation and interview of the 30 Peranakans Tionghoa at Glodok, covering the area of mall, café, and restaurant. The collected data were classified into similarities and differences from each aspect. The classification was linked to the three groups who preferred to listen to music and find their cultural identity. The result shows that the taste of Peranakan Tionghoa in listening to Indonesian and Chinese music depends on the elements and the function of music. Those aspects emphasize the language to understand what the song tells about. Further, the music could be an intermediary for cultural unification from both origins of (Chinese and Indonesia) who are fused to the relation of the cultural identity. Related to identity, Peranakans Tionghoa is becoming an identity.
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Gumulya, Devanny. "Pencampuran Budaya Cina, Jawa, dan Belanda pada Budaya Makan Cina Peranakan." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 3, no. 02 (August 30, 2017): 130–43. http://dx.doi.org/10.33633/andharupa.v3i02.1353.

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AbstrakBudaya Cina peranakan merupakan hasil dari proses akulturasi beberapa budaya. Oleh karena itu, budaya ini sangat menarik untuk dikaji. Paper ini mencoba mengkaji dengan metode studi literatur latar belakang sejarah dan keunikan budaya cina peranakan pada budaya makan mulai dari etiket, menu dan peralatan makan. Dari hasil studi ditemukan bahwa walaupun Cina Peranakan terbentuk dari proses akulturasi budaya Jawa, Cina dan Belanda tetapi dalam hal budaya makan, budaya Cina masih mendominasi terutama dalam etiket dan peralatan makan, karena bagi orang Cina makan dipandang sebagai pemersatu keluarga. Akulturasi terjadi pada menu makanan ada unsur bercampur dengan bahan yang tersedia di Indonesia, hal ini terjadi pada lumpia Semarang yang terkenal dengan lumpia berisi rebung sesuai dengan bahan yang tersedia di Semarang. Kata kunci : Akulturasi Budaya, Cina Peranakan, Budaya makan AbstractCina Peranakan culture is a result of acculturation from different cultures. Therefore, this culture is so interesting to be researched. With literature study method, this paper tries to elaborate the historic point of view to gain closer understanding and synthesize the culture uniqueness with eating culture as object study case. From the study founded that although Cina Peranakan is the melting pot between Java, Dutch and Chinese Cultures, but in food culture the Chinese culture still dominates specially in eating etiquette and tableware. This because for Chinese food is believed as means for family gathering. Meanwhile, the acculturation can be seen in the food menu, because the ingredients needs to be adapted with resources available in Indonesia, this can be seen in Semarang Lumpia that is reknown for rebung, the vegetable available there. Keywords : Culture assimilation, Cina Peranakan culture, Eating culture
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Siregar, Feby Yoana. "Struktur Upacara Adat Perkawinan Peranakan Tionghoa di Teluknaga Tangerang." JURNAL RUPA 2, no. 2 (December 25, 2017): 76. http://dx.doi.org/10.25124/rupa.v2i2.898.

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This study aims to determine the structure of traditional Chinese crossbreed in Indonesia wedding ceremonies. The research data is the result of informant interview. The method used in this research is descriptive qualitative method by using ceremonial theory and acculturation theory.The author chose this title because it is one of the unique traditions in Indonesia. This tradition is a blend of Chinese culture, Betawi and Sunda. Cio Tou is one of the traditional wedding tradition procession in Teluknaga Tangerang. The tradition of Cio Tou exists only in the tradition of the Chinese crossbreed customs in Teluknaga Tangerang. The results obtained in this research are 7 stages of traditional ceremony in Chinese crossbreed marriage that is the selection of soul mate, applying, dowry, youth evening, Cio Tou tradition, wedding reception, and custom after marriage.
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Susanto, Dwi. "Tio Ie Soei Dan Nona Tjoe Joe (Pertjinta'an Jang Membawa Tjilaka): Tegangan Antara Konservatif dan Modern." ATAVISME 12, no. 2 (December 31, 2009): 137–55. http://dx.doi.org/10.24257/atavisme.v12i2.165.137-155.

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Nona Tjoe (Pertjinta'an Jang membawa Tjilaka) adalah sebuah cerita yang berbeda dari pcngarang ccrita peranakan China pada era 1920. Cerita ini juga memberikan karakteristik yang berbeda dari cerita-cerita Tio le Soci. Tulisan ini bertujuan untuk mengeksplorasi dan mcnjclaskan keadaan kehidupan sosial masyarakat/komunitas China yang ter-refleksi dalam Nona Tjoe Joe. Dengan memfokuskan pada representasi kehidupan komunitas China, tulisan ini berusaha mcnjawab beberapa pertanyaan "dimanakah kita sekarang dan apa yang terjadi dengan kehidupan kita sekarang dan akan datang" (2) bagaimana masyarakat China merespon pengaruh Barat (3) dengan analogi posisi wanita, seperti apa pilihan identitas peranakan China. Untuk menjawab pertanyaan itu, artikel ini memfokusukan pada teks sebagai refleksi fakta sosial. Kemudian, refleksi itu dianggap sebagai fakta kemanusian seperti perasaan, identitas, strategi untuk. bertahan hidup masyarakat China Abstract: Nona Tjoe Joe (Pertjinta 'an Jang membawa Tjilaka) is a different story compared to other peranakan Chinese stories in 1920 era. This story also gives the characteristic different from the other Tio le Soe.i stories, The study aims to explore and explain the condition of social life of Chinese community as reflected in Nona Tjoe Joe story. Giving the focus on the representation of the Chinese life, this article attempts to give answers of t.hc following questions: (1) how did Chinese community give answer "where is now and what happen with our present time and future", (2) how did Chinese community responds to the West influence, (3) with analogy of women position, what was the choices of identity peranakan Chinese. To answer those questions, this article gives the focus on the text as a reflection of social facts. The reflection is considered as human fact of feeling. identity, strategy to defending life of Chinese community. Keywords: reflection Chinese community, conservatism, modem
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Dissertations / Theses on the topic "Chinese peranakan"

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Song, Ge. "Indes néerlandaises et culture chinoise. Deux traductions malaises du Roman des Trois Royaumes (1910-1913)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF036/document.

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Au début des années 1880, un grand nombre de traductions malaises de romans chinois émanant de descendants de Chinois (appelés en malais peranakan) parurent aux Indes néerlandaises sous la forme d’ouvrages imprimés. Nous avons choisi d’en étudier deux, parues simultanément pendant les années 1910-1913, à un moment où la communauté chinoise d’Insulinde essayait de repenser son identité culturelle et politique, sous les angles littéraire, philologique, historique et sociologique. Il s’agit de deux traductions complètes du Sanguo yanyi 三国演义, le plus remarquable des romans historiques chinois traitant de la période des Trois Royaumes. Une analyse textuelle, nous a permis de constater que les traducteurs des deux Sam Kok (titre abrégé couramment utilisé en Indonésie pour désigner le « Roman des Trois Royaumes »), qui n’avaient pourtant qu’une éducation chinoise du premier degré et une connaissance du malais en usage dans les milieux urbains de Java, mais une grande volonté, ont réussi à exprimer toutes les valeurs littéraires et culturelles du Sanguo yanyi. Afin d’examiner l’impact des Sam Kok sur communauté chinoise, nous les avons replacés dans leur contexte historique et dans l’ensemble des traductions parues pendant les années 1880-1910. Nous sommes parvenue ainsi à montrer que grâce à ces traductions, et particulièrement celles du « Roman des Trois Royaumes », les peranakan ont pu obtenir une certaine compréhension de l’histoire et de la culture du pays de leurs ancêtres, lesquelles constituaient aussi une partie de leur passé
In the early 1880s, the descendants of Chinese immigrants (called Peranakan in Malay) achieved and printed a large number of Malay translations of Chinese novel in the Dutch Indies. We chose to study two translations published simultaneously during the years 1910-1913 when the Chinese community of Insular Southeast Asia was trying to rethink its cultural and political identity from the literary, philological, historical and sociological angles. The research is about two complete translations of the Sanguo yanyi 三国演义, the most remarkable Chinese historical novels that depict the period of Three Kingdoms. Through textual analysis, we found that although the translators of two Sam Kok (abbreviated title commonly used in Indonesia to refer to the “Romance of the Three Kingdoms”) had some rudimentary Chinese education and knowledge of the language Malay used in the urban areas of Java, they exhibited a great willingness to express all the literary and cultural values of the novel Sanguo yanyi. In order to examine the impact of Sam Kok on the Chinese community, we have put them in their historical context and compare them with other Malay translations published during 1880-1910. Consequently, we are able to assert that, through those translations, especially those of Romance of the Three Kingdoms, the peranakan have acquired some understanding of the history and culture of their ancestral country, which also constituted their past
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Books on the topic "Chinese peranakan"

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PT, Intisari Mediatama. Indonesian Chinese peranakan: A cultural journey. 2nd ed. Kebon Jeruk, Jakarta: Indonesian Cross-Cultural Society and PT Intisari Mediatama, 2012.

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(Singapore), Chinese Heritage Center, ed. Peranakan Chinese in a globalizing Southeast Asia. Singapore: Chinese Heritage Centre and Baba House, 2010.

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Tan, Chee Beng. Chinese peranakan heritage in Malaysia and Singapore. Kuala Lumpur: Fajar Bakti, 1993.

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Peranakan Chinese politics in Java, 1917-1942. Singapore: Marshall Cavendish Academic, 2005.

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(Singapore), National Museum, ed. Gilding the Phoenix: The Straits Chinese and their jewellery. Singapore: National Museum, Singapore, 1991.

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Tan, Yao Sua. Cina peranakan Tirok Terengganu: Pengekalan dan peralihan identiti. Petaling Jaya, Selangor, Malaysia: Strategic Information and Research Development Centre, 2012.

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Mastuti, Dwi Woro Retno. Wayang potehi gudo: Seni pertunjukan peranakan Tionghoa di Indonesia = Chinese peranakan performing arts in Indonesia. Jakarta: Sinar Harapan, 2014.

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Meng, Ho Wing. Straits Chinese beadwork & embroidery: A collector's guide. Singapore: Times Books International, 1987.

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Cuisine, Marshall Cavendish. Classic Peranakan cooking: Recipes from the Straits Chinese kitchen. Singapore: Marshall Cavendish Cuisine, 2010.

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Wee, Peter. A peranakan legacy: The heritage of the Straits Chinese. Singapore: Marshall Cavendish Editions, 2010.

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Book chapters on the topic "Chinese peranakan"

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Izaura, Razis, Zalina Mohamad, and Alina Abdullah. "Acculturation of Peranakan Chinese into Malay Culture in Terengganu: Influence on the Development of Malaysian Modern Art." In International Colloquium of Art and Design Education Research (i-CADER 2014), 447–55. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-332-3_47.

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"5. Before Nation: Chinese Peranakan." In Nanyang, 73–96. ISEAS Publishing, 2018. http://dx.doi.org/10.1355/9789814786522-005.

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"9 Peranakan Chinese and Wayang in Java." In Chinese Indonesians, 185–208. ISEAS Publishing, 2005. http://dx.doi.org/10.1355/9789812305442-014.

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Ng, Fooi Beng. "Peranakan Community and Culture." In A General History of the Chinese in Singapore, 257–77. WORLD SCIENTIFIC, 2019. http://dx.doi.org/10.1142/9789813277649_0013.

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"The Agony of Love: A Study of Peranakan Chinese Courtship and Marriage." In Chinese Indonesians, 165–84. ISEAS Publishing, 2005. http://dx.doi.org/10.1355/9789812305442-013.

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"Diaspora and hybridity: Peranakan Chinese culture in Indonesia." In Routledge Handbook of the Chinese Diaspora, 361–74. Routledge, 2013. http://dx.doi.org/10.4324/9780203100387-33.

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Kwa, Chong Guan. "The Colonial State in the Making of a Peranakan Community." In A General History of the Chinese in Singapore, 233–44. WORLD SCIENTIFIC, 2019. http://dx.doi.org/10.1142/9789813277649_0011.

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"The Mingling of Chinese and Javanese Blood — The Peranakan (土生华人)." In Golden Dragon and Purple Phoenix, 137–208. WORLD SCIENTIFIC, 2013. http://dx.doi.org/10.1142/9789814383448_0003.

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"From Huaqiao to Minzu: Constructing New Identities in Indonesia's Peranakan-Chinese Literature Thomas Rieger." In Identity In Asian Literature, 159–80. Routledge, 2013. http://dx.doi.org/10.4324/9780203036624-12.

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Hee, Wai-Siam. "New Friend." In Remapping the Sinophone, 30–57. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528035.003.0002.

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The first chapter searches for evidence of the production of the first Singaporean and Malayan film New Friend in old periodicals from the 1920s held in the British Library. This corrects the common misconception that this film was never screened and confirms the historical significance and standing of New Friend as the first Singaporean and Malayan film. This chapter also describes the origins of, and public response to, the Nanyang Low Poey Kim Independent Motion Picture Company. It also gives an overview of Liu’s tragic life, from film company owner to his return to China to fight against the Japanese as a ‘Nanyang Volunteer Driver and Mechanic’. In addition, this chapter describes the New Friend production team and the debates the film sparked among audiences. It then further investigates the problems that the film confronted at the time of its production, including censorship imposed by the British colonial government during the 1920s, the oscillation found in New Friend’s screenplay between the Nanyang and Chinese styles of literature and art, and the way it handles entanglements between ‘new immigrants’ and Chinese Peranakan. This chapter also observes that New Friend features a Sinophone ‘linguistic creolisation’, inverting the hierarchical relationship between Chinese people and foreigners found in S.E. Asian reality. This reflects Liu’s optimistic hope that S.E. Asian Chinese society would unite under the banner of ‘Chineseness’ and resist colonial power. Liu Beijin and the case of New Friend represent pre–Cold War S.E. Asian Chinese cultural productions of Chinese historical identity, in which Chineseness and hybridity coexisted without a binary choice. This provides a historical dimension to reflections on Sinophone topics related to Chineseness and hybridity.
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Conference papers on the topic "Chinese peranakan"

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Budianto, Erica Rachel, and Yan Yan Sunarya. "The Influence of Peranakan Chinese Visual Culture in Pekalongan." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008545700700077.

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Hassan, Hanisa, Nasirin Abdillah, Mohd Zaimmudin Mohd Zain, Siti Nur Anis Apandi, and Nik Maheran Nik Muhammad. "The identity of Kelantan peranakan Chinese through clothing: An aesthetic morphology approach." In PROCEEDINGS OF 8TH INTERNATIONAL CONFERENCE ON ADVANCED MATERIALS ENGINEERING & TECHNOLOGY (ICAMET 2020). AIP Publishing, 2021. http://dx.doi.org/10.1063/5.0052092.

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