ycgallery – Page 11

The Story of Kampung Baru Sungai Nipah

Cease to struggle and you cease to live.

20 years ago, a merciless virus brought upon a disaster to Chuah area, reaping over a hundred lives, crumpling the swine farming industry in Bukit Pelandok, which used to be the largest swine farm in Southeast Asia, and the neighbouring Kampung Baru Sungai Nipah. The Nipah virus outbreak caused a massive shock, and the whole nation was thrown into panic. The government then declared curfews, evacuated villagers from the stricken region, as well as began the greatest pigs culling movement in order to contain the disease. This rewrote the future plans of almost 80% of Kampung Baru Sungai Nipah villagers who relied on swine farming to make a living, as they lost their source of income, dealing with a heavy blow.

20 years later, the virus outbreak may have changed the appearance of Kampung Baru Sungai Nipah, however it did not break the tenacious wrestling spirits of the villagers, who are unyielding, eventually transforming the village to develop in other industries such as plantation and tourism. Under the cooperation from the village committee and villagers, sprouting new vitality into the rustic village of Kampung Baru Sungai Nipah, for instance winning runner-up in the national most beautifully decorated new village contest, and the first village in Malaysia to name its roads in Chinese characters after local fruits, and the establishment of Sungai Nipah Time Tunnel Museum, recording the building history of Kampung Baru Sungai Nipah as well as the Nipah virus outbreak.

A calamity which destroyed a peaceful and prosperous village, and caused the villagers to suffer both physically and mentally where bystanders would not be able to comprehend. Even so, being optimistic, and having faith that the sun will shine after the rain, the skies remain blue, and a rainbow will appear across the sky, a multicoloured arc.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Drone : Daniel Lim
Video Editor : Evon Pang
Production Assistant : Michael Lerk
Music : Piano Ambient – Ashmaluev from Youtube

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Bǎi Jí Joss Stick Maker

During deity birthday celebrations or when praying for blessings, brightly coloured joss sticks could be seen, sizes range from 4 ft up to 20 ft or even 30 ft. Besides being an offering to deities, joss sticks are also a form of traditional folk art. Especially pure handiwork joss sticks made by craftsmen, the intricate skills involved and the strenuous procedures, are admirable.

Not far away from the main street of Bukit Pelandok, following the expanse of a side road named “100 Acres” along the Sepang river, there is a handcrafted joss stick factory. The person-in-charge Mr Ong Sze Hong (transliteration) named the factory as Bǎi Jí Joss Stick Maker. Mr Ong mocks himself as being inexperienced, as joss stick manufacturing is not his career, he has been helping in his elder brother’s joss stick manufacturing factory when he was young, alas the factory closed down after a few years. At present, he inherited this skill under fortunate circumstances.

The procedures of manufacturing handcrafted joss sticks put patience to the test, and is not to be rushed. From the materials, style, size, coating, dragon head, moulding, dragon body, pinching and pressing, painting, to packaging, it takes at least two months, even up to a year, depending on the size of the joss stick. The most time-consuming procedure is the layer by layer coating of wood bran, once a layer is thoroughly dried, only can the next layer be coated. Meanwhile in the drying process, the joss stick should not be exposed to sunlight to prevent cracking, and weather changes affect the progress rate of natural drying.

Even though there is a steady market demand for joss sticks, a chasm has appeared in the manufacturing of traditional handcrafted joss sticks, rarely any of the younger generations inherit the legacy. Under the challenges imposed by limited manpower and mechanization, despite bearing cultural essence, the traditional joss stick manufacturing industry faces difficulties in operations and inheritance.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Production Assistant : Michael Lerk
Video Editor : Michael Lerk
Music : Another Day To Remember from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Belacan in Bagan Parit Baru

Wafts of salty prawn odour are sent along with the ocean breeze. On the wooden platform just in front of the house, plain brown belacan are spread out neatly to be sun dried, some already pressed into bricks, some minced and unprocessed. This family-run belacan factory is operated by the second generation successor, Mr Kee Bok Wah (transliteration) and his family, being one out of the two belacan factories in Bagan Parit Baru which is sparsely populated by only 300 people.

Similar to other fishing villages, Mr Kee’s house is built along the estuary, the river flowing towards the sea, easing the passage of small fishing boats. Building a wooden platform as well as a small harbour in front of the house is convenient for their own fishing boat to unload fresh fish and prawns, also enabling immediate sorting and handling. At the same time, Mr Kee built a small scale factory opposite his house with a larger surface area, mainly for marinating and fermenting procedures.

Belacan is made up of small prawns (Acete Chinensis) and salt, after mixing, marination, and sun drying, belacan is loaded into casks for a month-long fermentation to absorb flavours. Afterwards, processing is carried out according to different demands, and frequent sun drying, then only packaged. The entire process takes months, having complicated procedures, the quality and quantity easily affected by factors such as weather, season, saltiness of the water etc.

Even though manufacturing belacan may be a tough task, the Kee family continue to use the traditional way of manufacturing. Under the cooperation of the whole family, Mr Kee’s children also adhere to their duties, inheriting the family business, maintaining the legacy.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Drone : Daniel Lim
Video Editor : Amelia Lim
Production Assistant : Michael Lerk
Music : Cliffsides

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

The Story of Bagan Parit Baru

Bagan Parit Baru is a small fishing village with only 60 households, with a population of around 300 people. The fishing village is located at the northmost point of Selangor at the northwest border, separated by Sungai Bernam from Hutan Melintang fishing village in Perak. The majority of villagers make a living by fishing, therefore the houses are mostly built along the seashore. Most of the village inhabitants originated from TeoChew, 90% of them having the surname Kee, hence also known as the Kee village.

According to dictation from elders, if calculating since the establishment of SJK (C) Poay Chneh, the opening of Bagan Parit Baru port has been almost 90 years. At the beginning there was only one house in the village, gradually the numbers increased. Therefore the villagers used to refer to the village as “single cottages” (in TeoChew dialect), instead of “Parit Baru”. There is not much infrastructure and facilities in the fishing village, only two temples and one grocery store, nevertheless the authentic seafood restaurant attracts a multitude of tourists who come all the way just for the food.

At times when the tidal waves are especially strong, the front of the houses will be flooded, thus being the best entertainment for kids, jumping fearlessly into the water to play. The simple and quiet fishing village offers a comfortable lifestyle, however it faces the same problem of population outflow as other rural villages. The booming scene of about a hundred households in the olden days were no longer, now that people left and their houses dismantled, leaving behind wooden stakes, as the ocean breeze swept over the remains of the boom.

Text: Daniel Lim & Pua Hui Wen

Hong Sun Sek Temple in Port Dickson

Hong Sun Sek Temple in Port Dickson has been established for around 120 years, and is one of the oldest temples in Port Dickson. In olden days the temple was built on a small scale, its former spot (now dismantled) not far from the current address, eventually shifting due to the increase in devotees. The shift happened more than 60 years ago, and the temple is still attended by many devotees. The principal deity worshipped in the temple is Lord GuǎngZé, on the main altar sits a statue of Lord GuǎngZé worshipped since the establishment of the temple, an important relic of the temple, extremely valuable.

Lord GuǎngZé is one of the deities worshipped by China folk, he was a shepherd who is smart and filial, hence being known as the world’s most filial son in folklore. His unique appearance of having his right leg curled up but his left leg hanging down is said to be caused by his reluctant mother holding onto his left leg trying to stop him from ascending to heaven when he was 16 years old.

Hong Sun Sek Temple in Port Dickson organises a celebration every twelve years to show gratitude for heavenly blessings, lighting candles and offering sacrifices. This year marks the 10th time of the celebration, in conjunction with the 120th birthday of Lord GuǎngZé at Hong Sun Sek Temple in Port Dickson, the celebration is held on a large scale over three days. The ceremony where all deities go on a parade for freshwater invitation attracts crowds of devotees joining together. Under the accompaniment of dragon dances and lion dances troupes, all deities and devotees walk several kilometres away to a well. The clean and fresh water drawn up from the well will be used on the next day, which is Lord GuǎngZé’s birthday (22nd day on the second month of the lunar calendar), at a fortunate timing as a token of appreciation to the heavenly lord.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Drone : Daniel Lim
Video Editor : Evon Pang
Production Assistant : Michael Lerk
Music : Inspirational Piano – Ashamaluev from Youtube

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Xin Yan Hwa Hokkien Opera Troupe

Go A Hee, also known as ‘Min opera’ or ‘Hokkien opera’ within Southeast Asia. Long ago, due to their topography proximity to the sea, the distinctive feature of Southern Min people migrating overseas was shaped. Towards the end of the 19th century, the peak season of Southern Min people migrating overseas, large crowds of them migrated to Southeast Asia. Concurrent with the shaping of local Min overseas Chinese communities one after the other, conditions for the spread of Hokkien opera are furnished, thus Southeast Asia became an important region for overseas spreading of Hokkien opera.

Due to the language and tunes of Hokkien opera bearing regional characteristics and life-like, easy to understand, as well as having three-dimensional backgrounds and flamboyant costumes, in the 1920’s it was enthusiastically sought after by the Southern Min community, becoming a spiritual bond between Southern Min people who migrated overseas and their hometown. It also serves as a thanks offering ceremony in temple worshipping.

In the multiracial grounds of Malaysia, Hokkien opera experienced development transplant and climax, from the heyday in the 30’s prompting the forming of Hokkien opera troupes in several regions, at the same time attending international exchanges abroad; to gradually declining in the 60’s, only appearing as entertainment on religious ceremonies and festive celebrations. Hokkien opera faces various severe challenges: lessening of the older generation audience, lack of interest from the younger generations, no inheritance of the performance art, lack of support from the government, competition from overseas troupes etc.

There are now less than 20 Hokkien opera troupes who are still actively performing in Malaysia, however it comes as a comfort that there are still a group of passionate old opera artists who persist.
For instance this troupe from Batu Pahat, Sin Yan Hwa Hokkien Opera Troupe, 74-year-old head Tee Siew Foong (transliteration) learnt opera skills since a tender age, performing in several Singaporean troupes in her youth, and established Sin Yan Hwa Hokkien Opera Troupe using her two daughters’ names over 30 years ago. Madam Tee frankly states that when her stamina used to be good, she travelled long-term all around Malaysia in honour of invitations to perform, and she is grateful and fortunate to continue to maintain the opera troupe, pursuing a career in her passion.

Worth mentioning is another folk opera performance of Sin Yan Hwa Hokkien Opera Troupe: Bo Te Hee, also known as Puppetry. During grand events such as funerals, weddings, carnivals, and festive celebrations, Puppetry must be performed as a token of respect.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Production Assistant : Michael Lerk
Music : April Rain from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Kim Yuen Shoemaker

Jalan Sultan is one of the two earliest streets built when Yap Ah Loy pioneered the development of Kuala Lumpur, equally famous as Jalan Petaling. These two streets are the cradle of Chinese predecessors who migrated southwards to Malaya to cultivate wildland, as well as being the initial life blood of Kuala Lumpur’s economy and central business district. Sustaining through centuries, these two streets bear witness to the bustling changes in Kuala Lumpur, especially in 2011 the government announced requisition involving 34 old buildings located within the area of these two streets for the MRT project, leading to strong objections and defending tempests from civil societies, finally succeeding in retaining most of the heritage sites from being knocked down.

Kim Yuen Shoe Maker is one of the shops which was almost affected. Established in 1967, it is the only remaining dance shoes specialty store offering custom-made dance shoes within the vicinity. The area of the shop is quite small, sharing a shopfront partitioned into two with its neighbour Ah Wah Tailor for decades; upstairs is a simple yet fully-equipped shoemaking workshop.

Born into a family of shoemakers, Mr C.K. Lew, at the age of 18, took over operations of the shoemaking shop from his father Mr Lew Kim Yuen. His superb skills in specially tailored dance shoes and stage shoes gained popularity over the years from stage performers and touring artists since the early days. After inheriting the business, C.K. shifted his focus onto two types of dance shoes, namely Latin and ballroom dance shoes. He also devotes his passion in designing, researching, and manufacturing these dance shoes.

As times changes, Kim Yuen Shoe Maker which has been operating for over half a century may be safe from the fate of being dismantled, however it could not escape from the misery of facing closure. In recent years due to Mr Lew’s health decline and management difficulties, the shoemaking workshop upstairs ceased to run at the beginning of this year. At the same time, being without an heir, Mr Lew states that he will retire and close down the business in a few months, Kim Yuen Shoe Maker will be leaving just an impression on Jalan Sultan.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Production Assistant : Michael Lerk
Music : Simple Tune from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

The Story of Kampung Baru Sungai Chua

Chinese New Villages (Kampung Baru) are centralized settlements set up by the British colonial government during the 12 years of national emergency. In order to effectively stop peasants from providing food, medicine, and news to the Malayan communists, Brigg’s Plan was carried out in 1950 to forcibly centralize dispersed inhabitants from living in the forest and the borders of tin mines into a settlement under a strict supervision where each movement of the villagers were closely monitored by the army and police. Moreover, food supplies were distributed in rations. These concentration points eventually became new villages in which mainly Chinese dwell. Kampung Baru Sungai Chua is one of the 480 new villages established under this scheme.

Kampung Baru Sungai Chua is located within 2 kilometres from Kajang town, rich tin mines were discovered prior to the village establishment, causing large crowds of Chinese miners to flock in around 1870 for mining activities, thus shaping the earliest community in the vicinity. Apart from mining, rubber plantation is also an important economic commodity of Sungai Chua, its output surpassing tin due to rapid development in the early 20th century.

From the early stage of prosperous tin mines, to succeeding in planting the first rubber plantation in Malaya, meanwhile encountering the perfect timing of skyrocketing rubber demand in the global market. Transforming from tin mining to rubber estates, such acceptance and continuation of economy facilitate the crucial factor in the steady development of Sungai Chua and Kajang city. Now that the construction of Kajang Silk highway splits Kampung Baru Sungai Chua into two halves, in addition to the MRT terminal being built in Kajang, there is hope for new spirits to be injected into this century-old town.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Evon Pang
Production Assistant : Michael Lerk
Music : Old Souls from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Biscuit Shop in Kajang

More than fifty huge glass jars with red lids, and metal tins neatly arranged on metal shelves, from low to high, layer by layer, containing a wide variety of traditional biscuits and snacks, in a dazzling array of nearly a hundred flavours. Kwong Sang Woh, located in Kajang’s old town, has been in business since 1907, staying in the same address for over a century, retaining the brick arcade architecture. 87-year-old Siew Pak Chong is the second generation owner, still quick-witted and alert despite his old age. He is a fixture at the shop counter, where he collects payments or chit-chat with his friends.

Originally a grocery store, Kwong Sang Woh mainly sells daily supplies, and also a few biscuits. Since his son Siew Zi Kin (transliteration) and daughter-in-law Tan Bee Kien took over the reins, the shop gradually underwent a series of changes to specialize in selling traditional biscuits, their means of surviving business hardships faced by traditional grocery stores. Their customer base has also expanded outside ethnic Chinese to include other races such as Malays and Indians, and they are always busy.

The golden era of grocery stores dated back in the 1950’s and 60’s, where you could find one almost everywhere, be it hustling streets or remote villages. Besides providing day-to-day goods, grocery stores also function as a uniting spot for the community to exchange information and build relationships.

With the rapid economic growth and changes in the consumer market, dawns the elimination of traditional grocery stores. Chain hypermarkets, supermarkets, and mini marts spring up in residential neighbourhoods like mushrooms after the rain, dealing a heavy blow to traditional grocery stores. How would traditional grocery stores stand against pressure from the market segment, internet, monopolization, and operation difficulties, would be a topic worth exploring.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Production Assistant : Michael Lerk
Music : Aardvark Sunrise from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

The Story of Kampung Baru Kalumpang

Walking upon the streets of Kampung Baru Kalumpang, it is absolutely empty of cars, just a crowd of children riding their bicycles, elders meet up for chit-chat at the teahouse, the atmosphere is filled with a sense of simplicity and ease. Currently housing a population of around 3000 people, the small town of Kampung Baru Kalumpang has the longest historical standing within Hulu Selangor district, its cultivation tracing back to more than a hundred years ago. In the past, during the late 19th century, the rich tin mine deposits of Kalumpang attracted the influx of large crowds of Chinese immigrant workers. Later on, with the rubber boom, rubber plantations expanded rapidly into another important economic activity in Kalumpang.

Federal Route 1 separated the old streets of Kalumpang from the village, therefore after the construction of the highway, the old town of Kalumpang became diminished and gradually fell into a slump. Nowadays, the historical old streets have become a ghost town, with a handful of shophouses remaining in operation and occupied. Among them is Kedai Kopi Cheong Fong, which is famous for their handmade pau, currently operated by the third generation, persisting in producing handmade delicacies fresh daily, practising the valuable skills inherited from his father.

Apart from that, the only temple in the vicinity, the ancient Kalumpang temple which is located near the old town, was completed in 1905. The temple is still flourishing with devotees, and holds a divine procession festival once in every three years. A legend circulates around the ancient temple, of which to date people still take delight in talking about, that Dr Sun Yat Sen once spent a night at the academy behind the ancient temple.

With picturesque scenery and a laid back lifestyle, the small border town of Kalumpang is unable to escape from the scenario of youth outflow and population ageing. It is comforting that during recent years, more activities regarding humanities, culture, and creativity are organized, and receiving positive feedback from the public, injecting fresh vitality and development into the town. Not long ago, SJK (C) Kalumpang welcomed the ranks of Orang Orang Drum Theatre and their presentation “The Myth of The Sunrise” with enthusiastic response. Thus, a professional theatrical performance is brought into a rural village, broadening the villagers’ horizons and enhancing the “soft power” of the village.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Evon Pang
Production Assistant : Michael Lerk
Music : Battersea Bridge from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD