Abstract
The aim of this paper is to point out the vividness of Penang nyonyas and the contemporary Penang baba nyonya community. Through anthropological view and gender aspect to see different aspects of Penang baba nyonya community, for instance, organizations, festivals like "Chap Goh Meh" (十五暝) and George Town festival and museums in Penang, to discover how the Penang nyonyas present themselves infront of public to making and being a ‘traditionsl nyonya’, and how they practice their daily culture in 21th century. Not like the previous baba studies, this paper also indicates that contemporary Penang baba nyonya community is built by vivid nyonyas’ images, whose ethnic characteristics are strongly emphasized. By representing the ethnic characteristics, we can found the traditional imagination of baba nyonya and the hierarchy metaphor behind. Comparing to baba studies which so-called ‘dying culture’ is historical narrated, nowadays, the lively Penang nyonya as a ethnic subject acquiring status and recognition, and is an important idenitification of Penang baba nyonya community. The Penang nyonya culture is not only material elaborations but accompanied with a living culture.