The Little Nyonya and Singapore’s national self: reflections on aesthetics, ethnicity and postcolonial state formation

Abstract

ABSTRACTSingapore’s postcolonial state formation process has combined the appeal/distress of a multiracial society with the nationalistic pride of economic development. In recent years, the city-state has witnessed a revival of Peranakan culture and history, referring to the descendants of early Chinese immigrants who integrated into Indigenous societies before becoming prized mediators for British colonisers in the nineteenth and twentieth centuries. We question how these references are strategically deployed as part of the process of postcolonial state formation and how their aesthetic representations support public discussions and debates about what defines contemporary (Chinese) Singaporean identity. By examining Peranakan representations in the television series The Little Nyonya from a Deleuzian perspective, it will be argued that Peranakan history and culture are mobilised to de-territorialise previous meanings of national ethnic markers, specifically Chineseness, and to re-territorialise a local sense of Indigeneity. In reaction to concerns over Mainlander identity, representations of Peranakan culture and history in The Little Nyonya support the indigenisation of a specific Chinese identity that is accessible to all Singaporeans, offering an aesthetic framework in which the ongoing process of negotiating between Singapore’s national self and other unfolds.