Ah Beng (阿明) and its feminine counterpart, Ah Lian (阿蓮), are Chinese-language pejorative terms used in Singapore and Malaysia to describe an anti-social, lower-class youth stereotype and subculture . The term Ah Beng literally references a common Chinese male name, alluding to the perceived commonness and lack of sophistication of the archetype. This stereotype emerged prominently in the 1990s and is explicitly linked to anti-intellectualism, flamboyant fashion, and activities associated with working-class tribulations.

The cultural image of the Ah Beng is that of a loud, unsophisticated male who is not highly educated and is often associated with street gangs or secret societies. The Ah Lian stereotype, conversely, is typically regarded as materialistic, superficial, and shallow, often referred to as a "bimbo." This cultural phenomenon represents a complex social stereotype rooted in class, education, and language divides within the Chinese-speaking populations of both countries.

The aesthetic and sociological function of the Ah Beng stereotype bear strong comparisons to other class-based subcultures that exist on the social periphery in other English-speaking and Asian countries, including the Chav (United Kingdom), Bogan (Australia/New Zealand), and the Mat Rempit (Malaysia).

The emergence of the Ah Beng stereotype is related to the social and cultural changes of the postcolonial era in Singapore.

The stereotype highlights a persistent socioeconomic and linguistic divide. The term is often used by the English-speaking, modernized middle and upper classes to disassociate themselves from their Chinese-speaking counterparts. In this context, the local Hokkien dialect, from which the term is derived, became associated with the perceived vulgarity and unsophistication of the uneducated working classes. This division positioned the Ah Beng as a figure resistant to the state's modernization project, which often marginalized vernacular Chinese cultures.

A key element of the Ah Beng subculture is the formation of identity through conspicuous consumption. Displaying overt Western brand names in their clothing and accessories became a way for the subculture to create a distinct identity. This phenomenon is often seen as a reaction against the feeling of being unmodernized or marginalized, using readily available goods to define a unique, brand-name-based subculture.

The Ah Beng and Ah Lian aesthetic is defined by loudness, visibility, and a heavy influence from global trends that are aggressively localized, often making the style instantly recognizable.

The quintessential Ah Beng look emphasizes easily identifiable fashion and grooming markers:

The Ah Lian aesthetic focuses on a mix of overt sex appeal and highly maintained grooming:

The stereotype has often been utilized for comedic effect and social commentary in Singaporean media. The popular Singaporean sitcom, Phua Chu Kang Pte Ltd , features the titular general contractor who embodies the unsophisticated, loud, Hokkien-speaking Ah Beng, contrasting him with his educated, articulate architect brother, who is ironically nicknamed Ah Beng. The stereotype has also been featured in films such as S11 and Army Daze .