Adrian Cheah loves Penang. He brings you interesting insights into the UNESCO heritage city of George Town where he calls home.
Malaysia's Independence Day, observed on the 31 August, is far more than a mere historical commemoration; it embodies the very soul of a nation. Known as Merdeka Day, this significant occasion marks not only the moment the country gained its freedom but also the genesis of a nation that, despite its rich diversity, strides forward as one unified people.
"The melting pot or mixing bowl images do not provide an adequate picture of Penang. The kaleidoscope, with its shifting patterns of colourful pieces, overlapping sometimes to make new shapes, some larger in one frame and smaller in others, offers a better metaphor for Penang's multi-ethnic population and its changes over time." – Sarnia Hayes Hoyt Old Penang 1991
On the historic midnight of 16 September 1963, a profound and unforgettable chapter in our nation's story began. The birth of Malaysia was more than just a political achievement; it was the realisation of the hopes, dreams, and determination of millions across the land. From the joyful streets of Penang and the colourful festivities in Sabah and Sarawak, to the symbolic ceremonies in Singapore, we stood united in the spirit of brotherhood, ready to embrace a shared destiny.
In the words of our beloved Bapa Malaysia, Tengku Abdul Rahman Al-Haj, "we have come together through our own free will and desire in the true spirit of brotherhood and love of freedom." Let us take a step back in time and read about this historic moment published in The Straits Times on Monday, 16 September 1963.
On 16 September 1963, Malaysia was born as a new federation, bringing together the Federation of Malaya, Sabah, Sarawak and Singapore. According to Arkib Negara Malaysia, the Malaysia proclamation ceremony was held at Stadium Merdeka, Kuala Lumpur, on 16 September 1963, where Tunku Abdul Rahman Putra read the proclamation before more than 30,000 people.
Growing up in Ayer Itam in the 1970s was like being part of a celebration that never truly ended. The wet market was the heart of our lives, a place where food was abundant, varied and, to my young palate, simply sedaplicious. We carried our own tiffin carriers, sometimes even our own eggs, to hand over to the char koay kak lady or to Pak Dollah, the mee goreng man. They accepted them without fuss. That was how we Penangites are—prudent, practical and never wasteful.
I have always stayed away from horror stories, particularly those that announce their intentions with blood and gore splashed across the cover. We are told never to judge a book by its cover. However, after more than three decades as an art director, I have always believed that a cover has a responsibility. It must set the tone, stir curiosity and, ultimately, invite the reader in.
Behind the simple and slightly derivative design, the Malaysian flag has, since its creation, served as a silent testament to the country's heritage and cultural mix, and upholding cherished values like freedom and justice.
English influence
The British presence in the three Straits Settlement states had a profound influence on Peranakan culture. Suddenly, the hitherto unknown suits and skirts became à la mode for men and women respectively.
Western techniques also influenced the art and craft of fashioning Peranakan footwear. The style of embroidery, for example, once influenced by the Malays was in turn influenced by Western culture. The fine beadwork for shoes with which the Nyonya is identified is a comparatively recent invention from 19th century Britain and Continental Europe.
The Buddhist flag is a common sight in Buddhist communities today, often seen hanging from temple ceilings or columns indoors, or flying high from flagpoles.
Lillian Tong and Jewel Tan
Preface
This book is an anthology of Penang Straits Chinese Baba Nyonya memoirs, biographies, and collected stories. The compilation was inspired by life growing up in a Baba Nyonya home and the stories told to me by my mother, Tan Chooi Bee, and my friends. Beyond the nostalgia of resplendent gold and gilded lattice screens and gracious living are behind the scenes expose bothering on the ridiculous to the tragic, where antics, escapes, indulgences and misadventure reign.
Lillian Tong
Sadhguru (Jaggi Vasudev), an influential yogi cautioned that the more we identify with something – religion, gender, race, ideology, money, et cetera – the more we will defend it, some even with our lives. Having said that, most of us feel the need to identify with things we hold dear, be it our family, heritage or even our social media status.
The art of temporarily staining the skin with henna can create stunning, intricate designs that hold cultural significance. In Penang, this tradition is embraced by the Indian, Sikh and Malay communities, where it represents a rich, intangible cultural heritage, evoking cherished memories of festive celebrations and weddings. Visitors to Penang also join in the tradition, often adorning their hands with henna as part of the festivities. With henna artists readily available year-round in Little India, anyone can enjoy these beautiful designs, even for casual occasions.
At dusk, when women with white sceptre-like masks ventured out of their homes to purchase a snack or visit neighbours, children would gawk while adults would shrug their shoulders in indifference.
Board games have a long and fascinating history, dating back thousands of years to ancient civilisations such as Mesopotamia and Egypt. According to the British Museum (britishmuseum.org), the Royal Game of Ur is the oldest playable board game in the world, originating around 4,600 years ago in ancient Mesopotamia. Although they were once reserved for the elite, over time, board games evolved and spread across different cultures, becoming more accessible and popular among people from all walks of life.
On 23 July 2003, I attended the documentary screening of "Inspirations from the Southeast – Penang, Malaysia" at GSC Cinema in Gurney Drive. This was the last of three screenings, part of George Town Festival and admission was free!
On Sunday, 21 December 2025, the State Chinese (Penang) Association marked its 105th Anniversary with a gala dinner, held on Tung Chik, the Winter Solstice. In Chinese tradition, this is a day of reunion, renewal and reflection, lending the occasion a deeper resonance. It was one of those rare evenings where a significant milestone, a deep love for culture, and the warmth of community came together to honour continuity, belonging, and memory carried across generations.
More than just a monetary gift, the ang pow (or ang bao) is a cultural symbol wrapped in a red envelope, a gesture of goodwill and blessings. Traditionally given during Chinese New Year, birthdays, weddings and other festive occasions, the red packet carries deep meaning and continues to hold significance today.
"When in Rome, do as the Romans do." This oft-quoted adage champions the virtues of adaptation. Whether or not the early Chinese immigrants to Malay Archipelago were familiar with this nugget of wisdom, their actions mirrored its essence. These enterprising settlers, who journeyed to these lands in search of opportunity, not only carved out new lives but also intertwined their heritage with local traditions. Some married Malays and embraced elements of their customs while steadfastly preserving their Chinese beliefs and philosophies. From this union arose the Chinese Peranakan community – also known as Babas and Nyonyas – a vibrant cultural fusion renowned for its distinctive charm and ingenuity.
The amazingly versatile sari (or saree) transcends mere fabric – it embodies the rich heritage of traditional South Asia women (and a few men) in countries such as India, Pakistan, Bangladesh, Sri Lanka and Nepal. It is also a garment that covers all, yet is revealing, enchanting yet unassuming, serene yet sensuous. The sari, with its six yards or more of artistry, is a masterpiece of contradictions, seamlessly transitioning from workwear to leisure attire to a symbol of opulence, all within its elegant drapes.
This meticulously regimented network was among the earliest parts of George Town planned under the administration of Sir Francis Light, the English founder of Penang. The area is hence now referred to as the "Francis Light Grid" – a rectangular network bordered by Leith Street, Beach Street, Chulia Street and Pitt Street (now Jalan Masjid Kapitan Keling).
The Russian musician Igor Stravinsky might have composed Le Sacre du Printemps (The Rites of Spring) as an exploration of nature and the rituals of renewal and sacrifice, but one could safely conjecture that the ritual and ceremony of the Malaysian floral bath was created for more personal (and less lofty) reasons. The two may be worlds apart, but both Stravinsky and the local bomoh share one thing – invoking the power and the mystery of nature and the elements in their work.