“Mankind needs a mediator. Apart from these two middle eastern guys with differing lifestyles who preaches contradictory teachings about salvation that got the world tied up in knots. You’re proud of that? I’m not proud of that. I only belief in the omnipresence of goodness and kind hearted souls who doesn’t scheme as they talk, all for the goodness of they themselves. Maybe it’s the curly hair prince in saffron robes from Asia that has the panacea. Maybe it’s the Garuda or some elephant god people revere to. Just maybe. No wonder the Jewish keeps knocking their heads on the walls.
“Chiak Thor tau,
Chiak Lau Lau.”
Is a Hokkien Rhyme frequently uttered during Chinese New Year. Translated to mean “Eating groundnuts, ensures longevity.”, it became customary to serve groundnuts during Chinese New Year because of this belief in the rhyme but Groundnuts, as according to old wives tales, is the primary culprit towards the dwindling of our Chinese population because it suppresses the male libido. Perhaps. Since peanut butter is very much paired to Elvis, and his underperformance as stated in Pricilla’s memoir. Anyway it’s just a tale. Nothing serious.
“Mai Khiam Kuay Ni” is a Hokkien saying uttered before Chinese New Year. Translated, it means “don’t defer your debts till the next year”. Though this has no real life connotation as most big companies does owe, it grew into a widespread belief somehow rooted into the community. But no doubt it has its goodness. It’s good practice not to be a lousy paymaster because everyone during the festive season needs cash to prepare for the yearly ritual and celebration hence the practice of giving bonuses a week before Chinese New Year. Just like problems that doesn’t get solved, it will slowly pile up into one big unsolvable package. Below is the image of God of Wealth a deity if placed in your home will ensure prosperity in your household.
“The commercial side of art is not a mystery. Rather it is a full scale promotional system devised to promulgate art to the interest of the masses necessary for the survival and sustainability of both art as well as the artist. Thus, those who taboo the money side of art are generally those who are ignorant but eager, thirsty yet proud, and have variegated unsuccessfully through its maze partly because they do not understand the ropes of commercialism and in disappointment, ended up falling back in denial into their own mini urban circle called desk then tries to condemn the entire goodness of commercialism in writing. In short, they are jealous to the extent of desiring to harm their successful comrades with their own idea of taboo.”
“The Peranakans weren’t Chinese immigrants who adopted the culture of the Malay archipelago. The word “adopted” as opposed to “adapt” is similar but not the same. It was more of an intercultural amalgamation at a time which saw different communities living together happily which resulted in the assimilation of local lingua into their colloquial and vice versa but of course there are amongst them, intermarriages, which saw Malay maidens being welcomed into the Chinese household. The Peranakans were and is truly Chinese whom at that time are pseudo-Buddhist hence their Confucian and Taoist values, rites, beliefs and practices. Cuisine is purely Chinese but a little experimentation with local spices and adaptation of cooking styles of other inhabitants led to newer recipes considered distinctive to the Peranakans. The comparison of taste from different curries will tell you. However, the many claims by die hard peranakans with regards to recipes such as Jew hu char, bali juak, kiam chye ark and curry kapitan has no basis simply because they were truly Hokkien and Hainanese dishes and not as claimed by these pseudo Peranakans. Most of these recipes were and is still found on the altar and offering tables of the Hokkien community during cultural and divine festivities which were by and large the single largest grouping ever to span the Straits Settlements thence comprising Penang, Malacca, Singapore, Cocos Keeling Islands and Dindings in Perak. Marital, birth and funerary rites were strictly pseudo-Buddhism celebrated in compliance to the Chinese calendar. The Peranakan’s ostentatious taste of finery, garnitures, crockery, embroidery, clothing and furniture are mostly commissioned from countries within and beyond the Malay archipelago, the most obvious being namwood furnitures from China and Czechoslovakian designed coffee shop chairs and enameled tiffin carriers. However it must be noted that highly skilled local craftsmen of Shanghainese origin were also producing pseudo-Victorian era furnitures and architectural motifs to cater to the taste of their English-speaking ponytailed clienteles. These often comprises sideboards, roofing gables and umbrella stands and they usually spot marble tops, claw feet and barley twist balustrades. The habit of chewing tobacco and betel nut is not Malay but archipelagic as observed from the designs of the sireh cutter which were folkloric to the Hindus. Peranakans has their own perkakas. The habit of wearing Baju panjangs and kebayas were a fashion statement of that time. However it should be noted that the keronsang that adorns the blouse differ in taste and make and so are the appliqués .