ycgallery – Page 9

Traditional Photo Studio

A photograph may be thin and fragile, yet it involves a strong and solid process consisting of genuine dedication. Entering a traditional photo studio, the entire family dress neatly for their family portrait. Let the family relationship be framed by lights and shadows, and let life moments be captured by the camera. Compared with the convenience of digital technology, stepping into a photography studio feels more formal. Dressing up for the shooting, minutely adjusting facial expressions and angles, just for a satisfying photograph to commemorate the moment.

Before technology and digital products became widespread, photography is commonly viewed as a luxury. People would look forward to have their photos taken at a photography studio on special occasions such as marriage, as it was a grand affair. The photo studio and the photographer shoulder the responsibility of testifying memorable moments. In the past, traditional photography studios are set up in high density downtown areas. Besides generating a steady income, the studios also convenience ancestors of the Chinese community who worked overseas, as they could have their photos taken, and sent together with their hard-earned money back to their hometown.

Port Dickson is home to the only seaport in Negeri Sembilan. During the British colonisation, a railroad connecting with Seremban was built, linking to the railways of Peninsular Malaysia. The integrated transport system brought on the economic development of Port Dickson, transforming the small seaside town into a commercial hub for transportation, businesses, fisheries, and all sorts of fuel manufacturing plants. Tucked in the old streets of Port Dickson, Beautiful Star Studio is eyewitness to the transition and historical track of the town.

Registered in 1936, Beautiful Star Studio is among the earliest established photo studios in Port Dickson, and is one of the minority traditional photo studios that is still in operation. The current owner, Mr Loh Lian Peh, aged 62, is the third generation owner of the photography studio, and also the photographer. Following in his father and brother’s footsteps at the age of 18, he is involved in many fields of photography, undertaking the role of professional photographer for various energy factories for events, celebration, and site construction launches. Mr Loh and his elder brother, Loh Lian Wah (transliteration) have been assigned as photographer for a few major fuel manufacturing plants, working together as trusted partners for decades.

Various photographs are arranged neatly on the walls surrounding the studio, for instance family photos from all races, individual and celebrities’ portraits, as well as fuel manufacturing plants. One of the walls is dedicated to extremely valuable photos of Port Dickson’s old streets and fishing port from past times. The third generation of the family business falls on Mr Loh’s shoulders, crossing over three eras of photography advancement. From black and white to full colour photos, then digitalisation; from developing films in a dark room, to instant printing, then digital conversion. The Loh family went through the blossoming and declining of the traditional photo studio and photo printing industries. In today’s fast-changing world, only printed photos are of a substantial existence, holding on to past times.

The 31st of August this year marks Malaysia’s independence day, as well as Beautiful Star Studio’s last day of operations. Coincidentally, Mr Loh was born in the year 1957.

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 : Wedding Day from Youtube

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Glutinous Rice Cakes

Glutinous rice, sugar, bamboo tubes, banana leaves, firewood, rack stove, big pot, and a small knife to be hung on the pot’s lid, combined with a marathon-like 24-hour non-stop steaming and stirring. The glutinous rice liquid caramelise from white to to golden in colour, and thicken into a paste; the craft passed on from elders to youngsters, cultural customs and traditions being inherited from one generation to another, all of that happens at the conventional Hakka Chinese New Year rice cake making project in the village of Kuala Kubu Bharu.

The project is actively joined by villagers of all ages, cooperating with each other, following the traditional ways of making rice cake, and also sustaining the cultural rituals. The elders teach devotedly, and the youngsters learn modestly. In the process, the two generations get to interact with each other, which is a seldom occasion. The round (cylindrical) shape of the rice cake symbolises reunion, whereas the sweet and sticky mouthfeel of the rice cake is likened to expectations of the upcoming year: living a sweet life for the entire year, and a firm relationship between the family members.

Even though the process of making the traditional steamed rice cake is complicated, the younger generation never cease to explore and learn under the guidance of the elders, until they master the skills to make rice cakes independently. It is indeed an excellent opportunity, especially for those who regularly work outstation, to gather with their family and friends, and make rice cakes together.

The procedures of making rice cakes require 24 hours of continual commitment, from lifting the pot lid to stir to ensure even heating of the glutinous rice liquid, the youngsters also need to stay up throughout the night to take care of the stove, battling high heat and fatigue, until the next day when the mass is transferred to their bamboo tube containers lined with banana leaves. Preparation of the equipment and ingredients started a week beforehand. From washing, soaking, press dry, and compressing the glutinous rice, to collecting and processing bamboo tubes and banana leaves. Interestingly, the firewood used in making rice cakes were either blown down by wind or abandoned. After collecting, the wood is stored in a shed to ensure dryness.

The rice caking making project of Kuala Kubu Bharu is not practised for decades, but rather an accidental success in 2014 that engaged villagers of all ages to participate in the event. The scene where both old and young generations join forces to make rice cakes illustrates the fine culture legacy, embracing their heritage.

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 : Lovely Candies from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Moisturising Powder

A plethora of milky white granules in the shape of a teardrop, put a few into the palms, dip some water, and spread it on the face or skin for a cool and refreshing effect. This is what older generations have been using to battle the scorching sun and its heat, also acting as sunblock. Besides, this is the traditional skincare product of grandmothers and grandaunts, having the functions of oil cleansing, getting rid of acne, reduce swelling and stop itchiness. This is the most natural form of skincare products, simply made from rice and water. This handicraft is rarely seen now, and there are only a few who mastered it. This is moisturising powder.

Back in the days when skincare products and makeup were not popular, almost every family uses moisturising powder, or even make it themselves, as the ingredients are simple, and have no side effects, suitable for all ages. As times change, there are a wide variety of skincare products on the market, therefore the time-consuming and laborious craft of moisturising powder fell out of favour, especially the stringent smell during the crushed rice fermentation process, which drives people away for miles.

Located at a riverside village in Balik Pulau, Penang, in Kampung Jalan Baru, stands the only remaining traditional handmade moisturising powder manufacturer, Lean Seng Cooling Powder, also known as Wei’s. Yeoh Siong Huat, the second generation owner of the manufacturing site, took over the business that his dad Yeoh Keng Beng started. The senior Mr Yeoh worked humbly for the whole of his life, picking up multiple trades and experienced in various fields. He started manufacturing moisturising powder part-time when he was 31 years old and established the moisturising powder factory, which was about 40 years ago. Over the years, Mr Yeoh senior worked tirelessly with the two ingredients (rice and water), as well as dealing with the weather, and was content with his work. He gained precious experience in estimating the consistency and quality of the rice liquid, moreover he designed a new machine to ease the process of having to press the powder granules one by one using a conical bag.

Although the procedures of making moisturising powder are time-consuming and laborious, having to bear the odour from the fermentation process, and also need to keep an eye on the weather changes, but moisturising powder gradually gained recognition and popularity under Mr Yeoh senior’s perseverance. His wife and him seldom travel, their three children helped to supply the moisturising powders outstation to wholesalers. They also welcome visitors and students to take a tour if the manufacturing site. The general public play an important role in spreading word-of-mouth for traditional crafts to gain more acknowledgement and support, just like the powers of a fountain, pushing the cultural tradition further.

The second generation owner, Mr Yeoh Siong Huat, quitted his job as a goldsmith in 2016, and went back to his hometown to assist his father in the moisturising powder business, in order that the craft continues its legacy, repaying his father’s lifelong efforts to promote the business. For traditional skills and crafts to flourish, willpower and dedication are two key factors that could never be missed. In that same year, the senior Mr Yeoh passed away.

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 : Touching Moment

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Puppetry Master – Dr. Loy Chee Luen

In the northwest of Kuala Kubu Bharu, driving along the federal route No. 1 for about 30 minutes, you will arrive at Tanjung Malim, where Puppetku House Malaysia nests. The black exterior stands out but maintains a low key profile in the row of shophouses, home to a wide range of puppets that Dr Loy Chee Luen sourced locally and also from countries all around the world, more than 300 types, and is a puppet museum rarely seen in Malaysia.

Although the single lot double-storey Puppetku House may seem small, it gives a complete overall experience. Near the entrance is a showroom displaying Malaysians in all sorts of traditional costumes; the middle section is a resource centre housing puppets from all over the world and their related reading materials, which is also the main place of activity; at the back is a workshop and storeroom; and a mini theatre upstairs, to stage plays and convene.

Puppetku House Malaysia is the brainchild of Dr Loy, who puts hard work and efforts in its creation. He is currently employed as a lecturer at UPSI, where he is senior lecturer of early childhood educational arts and creativity, as well as associate professor in preschool education. He has expertise in the fields of puppetry drama, theatre studies, and childhood theatre. Dr Loy is extremely enthusiastic about puppetry, he pursues his passion in puppetry after writing his masters thesis on the subject. He delves into research and practise on the educational skills and usage of puppets, for instance in class teaching, psychiatric counselling, and oral care, for both professionals and hobbyists to use in combination.

Dr Loy established Puppetku’s Theatre Malaysia in 2003. He is actively participating in showcases and conferences both nationwide and worldwide, such as the World Puppetry Festival, Malaysia International Puppetry Festival, Rainforest World Puppet Carnival et cetera. Dr Loy is committed to the development and advocacy of puppetry, and is dedicated to related studies and shows. Besides, he founded UNIMA Malaysia and MPA – Malaysian Puppetry Association, putting in all his efforts to popularise puppetry.

The term ‘Puppetku’ is derived from the english word puppet and malay word ‘aku’, meaning my puppet. From falling in love with puppetry to engaging in the publicising of puppetry, he endures numerous hardships to achieve his hard-earned success. To date, he upholds his mission, adheres to his vision, oversees and contributes to his cause.

For tour reservations, please drop an enquiry at Puppetku House Malaysia official Facebook page:
https://www.facebook.com/PuppetKu-House-Malaysia-酷偶屋-2036494066660988/

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 : A Day To Remember from BenSound

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Khen Thye Hin

These three words ‘Khen Thye Hin’ have been a family legacy for three generations, hanging eye-catchingly over the doorway. The decrepit iron shutters are full of fingerprints. After pushing hard to open them, a variety of goods are hanging somewhat orderly amidst chaos near the entrance. Upon walking into the shop, steel racks divide the space into the left and the right sections, and more merchandise is hanging above the head, where wooden sticks were tied to the ceiling, hooks extending downwards to display the products like grapes on vines. The seemingly jumbled arrangements each have their own sort of order under the control of the third generation shop owner, Mr Yap Chee Cheong.

77-year-old Mr Yap is born and bred in Kuala Kubu Bharu, growing up together throughout the years with the Khen Thye Hin shop run by his father and uncle, which now is the last remaining traditional imported goods store. In the beginning, the shop only offered tailoring services and sold cloth. After saving up some funds, they progressively bring in imported goods for sale. There are an all-inclusive range of products, from cotton textiles, bedding merchandises, electrical devices, to metal spare parts. Khen Thye Hin is also the only newspaper distributor in Kuala Kubu Bharu, circulating publications such as Kin Kwok Daily News, Shin Min Daily News, Malayan Thung Pau Daily News, Sin Chew Daily, Nan Yang Siang Pau, China Press and more.

The traditional imported goods stores and grocery stores are differentiated by what they stock: daily necessities versus foodstuff. Due to the imported goods being sourced from European countries and the United States, they were known as overseas goods stores. Back in when departmental stores and supermarkets were not as prevalent, imported goods stores were the people’s first choice in shopping, and could be immensely busy and overcrowded during the festive seasons. In the 21st century, consumer habits and models have changed, malls and hypermarkets are everywhere, the convenience of online shopping, as well as cheap made-in-China goods caused traditional imported goods stores to be unable to withstand the heavy blow from larger environmental waves and therefore die out eventually. The formulated shopping mall experience lacked humane touch, leading to traditional consumer experiences such as negotiation, greeting each other, aggregated pricing, and even crediting purchases, to no longer exist.

Starting from 2018, Khen Thye Hin terminated their newspaper distributorship, the local villagers have to buy newspapers from the neighbouring Indian mart. Mr Yap intends to retire in a few months time, to move to Kuala Lumpur to stay with his son and family, enjoying the latter part of his life. His younger brother will be following up on disposal of the remaining goods and renting out the property, never to sell. After the Khen Thye Hin signboard is taken down, it will go into the possession of his son, to be bequeathed to the following generations in mind of not forgetting their ancestry.

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 : Sun in Your Eyes from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

The Story of Kuala Kubu Bharu Village

“Gu Mao” is the direct translation into the Hakka dialect from the Malay language “Kuala Kubu”, meaning “fortress upon the river”. Located between the rivers Sungai Kubu and Sungai Rening, after the Selangor civil war ended in the mid 19th century (1867-1874), the fortress used to defend against attack from the opposing forces (Tengku Kudin and Yap Ah Loy) remain standing, thus the namesake.

Due to the strategic geographical location and rich tin cassiterite resources, Kuala Kubu Lama was the pearl in Selangor river. Water transportation along Sungai Selangor and Sungai Kubu played a vital role in the local economy development, as it was the main channel of transporting goods, especially mined tin. The abundance of tin in Kuala Kubu Lama attracted the interests of various mining tycoons to initiate mining activity, e.g. Yap Ah Loy, Loke Yew etc. and the vast majority of Chinese mine workers were Hakkanese who came over from Huizhou, still making up 70 percent of the present village inhabitants.

The small town of Kuala Kubu Lama leaped into prosperity as Selangor’s second largest town, rivalling Kuala Lumpur in its golden era of tin mining, and was the British colonial administration centre in Ulu Langat. However, the wealthy land faced flood hazards over the years. The ancient dam upstream of Kubu collapsed in 1883, where the flood water destroyed the whole town of Kuala Kubu Lama, generally referred to as “White Crocodile” legend, which is still talked about nowadays. The former town of Kubu (Kuala Kubu Lama) eradicated by the flood is now named Ampang Pecah, meaning broken dam.

On a side note, the unauthorised changing of Sungai Kubu’s watercourse owing to mass mining and lawless excavation activity damaged the river structure and the riverbed became increasingly shallow, thus causing Kuala Kubu Lama to suffer from flash floods. In 1926, a heavy downpour once again submerged the streets of Kubu, victims of the great misfortune had to emigrate. Hence, the British colonial government relocated the town to a highland three kilometres away north of Kubu – Kuala Kubu Bharu.

After the new village of Kuala Kubu Bharu was built during the national emergency in 1948, the local residents refer to the two separate areas as ‘the town’ and ‘the village’. In the 1990’s, the new village was renamed to Kampung Assam Kumbang, attributing it to the roselle flowers.

The historical trace of a town consists of advancement and regression, old and new, destruction and establishment, diminishment and rebirth, not to mention progressing a new history. There is no harm to pay a visit, to listen to the evolution and transformation of the town as time lapses, to experience the depth of history, as well as humanity tales.

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 : 37.2度雜貨店 Three Seven Two Shop

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Wong Ng Kee Restaurant

Upon stepping foot in the restaurant, it is as if time stood still in the past, having accompanied Kuala Kubu residents for decades, the familiar taste of generations. Moreover, it used to be the sole restaurant in Kuala Kubu Bharu which provides banquet catering services – Restoran Wong Ng Kee. Founded for nearly 80 years, from a tiny stall selling wonton mee and porridge, to banquets bearing memorable moments of the neighbourhood’s inhabitants, although it may seem decrepit, it is a long-established name and a well-acquainted place for countless local residents.

77-year-old eldest brother Wong Siew Kei (transliteration) is the second generation heir, operating the restaurant alongside his wife and his three younger sisters. For half a century, they personally handled all matters in their restaurant instead of hiring manpower. From the preparation of ingredients, cooking and serving dishes, all are done by the five of them. In spite of their rising age, as all of them are now senior citizens, they still work hard in the restaurant by themselves. Made fresh daily by eldest brother Wong Siew Kei (transliteration) are their noodles, including marinating and roasting their signature traditional barbecued pork.

The senior Mr Wong migrated to Malaysia from China with his elder brother when he was nine years old. Initially he was in the grocery trade, after that he runs his own stall selling homemade wonton noodles. Due to the senior Mr Wong being the fifth in his family, and people from his hometown call him “fifth brother”, he named his restaurant ‘Wong Ng Kee’ (by fifth brother of Wong family). Self-taught chef Mr Wong Siew Kei (transliteration) helped his father at the stall since he was in primary school. Besides mastering noodle-making skills, after taking over the restaurant from his father, he suggested increasing the number of dishes, taking the initiative to research and develop recipes. Thus, he improved his culinary skills from books and reading materials, and even from customers’ feedback.

During the 1980’s when catering for banquets, Wong Ng Kee was quite famous. From catering to the banquets of usually six tables or more, to setting up a temporary canopy in front of the shop, they were as busy as bees. As time passed, although they no longer offer catering services, within the unpretentious interior, you may find the warm touches of the Wong family, and the silent trail of years gone by.

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 : Beneath The Moonlight

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Kuala Kubu Bharu – Garden City

Upon first stepping foot in the streets of Kuala Kubu Bharu, looking around, sighting the two rows of shophouses sitting in the town’s main street, directly observing and feeling this rustic yet adorable place likened to a colour palette. Most of the beige cement walls were peeling off, intertwined between them are vibrant doors, window frames, and pillars. As an outsider passing through, the stories acquired here could act as a filler for past historical textbooks.

The town of Kuala Kubu Lama, which went through the ordeals of collapsed dam, disastrous floods, to currently wholly submerged, is the precedence of Kuala Kubu Bharu. She used to occupy the most strategic geographic edge, being the traffic hub of three states — besides easy access to Kuala Lumpur, northwards to Perak, and eastwards to Pahang, a compulsory passage to the renowned summer resort, Fraser’s Hill. Between the years 1923 to 1926, when the town of Kuala Kubu Lama faced flood torrents, the British colonial government intended to build the first “Garden City” in Malaysia, which will be properly planned and surrounded by greenery — Kuala Kubu Bharu.

The complete infrastructure of Kuala Kubu Bharu includes a police station, a cinema, a post office, a fire station, there is even an administration centre on the slope. Perhaps due to the frequent flood hazards earlier on, the city planner Charles Reade arranged major buildings such as the hospital, schools, clubs, and churches to be constructed on a zone higher than the river, as a precaution against the unexpected. In 1931, as heavy floods struck once again, Kuala Kubu Lama became permanently wiped out from the map. Hence Kuala Kubu Bharu, the castle upon the river, bears substantial history since its birth It symbolises rebirth and hopes of the Kuala Kubu Lama inhabitants who moved over. Originally located at Kuala Kubu Lama and subjected to the calamity, Khing Ming primary school shifted to Kuala Kubu Bharu as well.

At the present, the small town of Kuala Kubu Bharu dwells 60 kilometres away from the city, at the foot of Fraser’s Hill, an undisturbed safe haven. Adjacent to both hills and waterway, apart from Bukit Kutu and Sungai Chiling waterfalls visited by hiking hobbyists, there is also the magnificent Sungai Selangor river dam, with motorcyclists appreciating the much longed-for scenic views along the way. Returning to the town center, you may find widespread streets, orderly architecture constructions, and converged infrastructure.

Kuala Kubu Bharu, with its serene environment, well maintained colonial buildings stood the test of time and proved their historical trails, composing a tale about diminishment and rebirth since the moment of renaissance.

Text: Shu Yi & Pua Hui Wen

Ancient Guanyin Temple in Kuala Kubu Bharu

Viewing from over the top, lush green grass and hills stretch and arch, a narrow riverside passage links from the main road to a tranquil place, which is the Ancient Guanyin Temple. Situated just a few kilometres outside of Kuala Kubu Bharu, the Ancient Guanyin Temple has been based here for over a century, went through transitions, and even once left to erode by weather. Presently, the temple is surrounded by lavish trees, on its right side is a pond and a footpath, a peaceful environment with antique buildings.

Ancient Guanyin Temple of Kuala Kubu Bharu (formerly known as Yueshan Guanyin Temple) was built in the autumn of 1904. As the founder of Kek Lok Si Temple in Penang, when the venerable benevolence Beow Lean and his follower benevolence Sian Kheng, were making preparations to build the Kek Lok Si temple, Kuala Kubu Lama became a resting point during their frequent travels between Penang and Kuala Lumpur. As the opportunity arises, benevolence Sian Kheng decided to obtain a spot here to build a branch of Kek Lok Si. Due to the temple’s location in higher terrain surrounded by hills, it was named Yueshan Guanyin Temple, derived from the two words making up the word of Yue: Qiu, and Shan, meaning tall mountains. On a side note, Penang’s Kek Lok Si is located on a hill shaped like a flying crane, hence after building the temple it was named “Huock San”, both correlating to each other.

Since the Ancient Guanyin Temple opened its doors a century ago, it has undergone various changes and suffered several alterations. In 1926 when Kuala Kubu Lama was flooded, almost the entire town was engulfed. Luckily the ancient temple was built on a high slope, and remained safe alongside another mosque. They were not affected by the calamity, thus the villagers sought shelter in the temple. Afterwards, the Japanese occupation brought upon bloodshed, the villagers temporarily lived at the temple to avoid the massacre. Post-war, political turmoil caused the British colonial government to declare a national state of emergency, the ancient temple and its surrounding areas were marked as restricted areas to prevent local inhabitants from reaching out to Malayan communists. Therefore, the villagers moved the Guanyin and Buddha statues into the new village, where they constructed another temple for worshipment. The ancient temple was left to ruin, and slowly forgotten.

Until the 1980’s, the villagers found what remained of the ancient temple amidst rubble, hence a committee was set up to rebuild and develop the temple together with Kek Lok Si in Penang. Repairs were twice carried out, in 1988 and 1994 respectively. In 1994, chief abbot of Kek Lok Si, the Venerable Da Neng took over as second abbot of the rebuilt Yueshan Guanyin temple, and renamed it to Ancient Guanyin Temple.

As the saying goes, things will get better over time, to date the Ancient Guanyin Temple still maintains its original ancient appearance and valuable relics such as an ancient mortar, a copper bell, the entrance etc. The lush greenery and rippling river surrounding the ancient temple generates a heavenly vibe. Crisp bell ringing pierce the hollow mortality, bringing people back to nature, to cleanse each heart from weariness and misadventure.

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
Production Assistant : Michael Lerk
Video Editor : Michael Lerk
Music : Reflective Waters from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Funeral Volunteer – Mr Tan Sew Sewan

Hainanese chicken chop, Hainanese stir-fried mee, Hainanese bread are served in turn, munching slowly to feel the new scene brought on by a clash of food and beverage cultures, as well as the inconspicuous efforts of the second generation owner in contributing to the local community, all at this well-known shop of ninety odd years in Kuala Kubu Bharu – Kedai Makanan Hailam Sun Sun Nam Cheong.

Substituting grilling chicken chop with deep frying, replacing salad with peas and onion, the idea of starch sauce stemming from mushroom gravy, drenching the chicken chop, adding in a clump of familiar french fries, and ta-da! An exclusive western-Hainanese dish sure to win over taste buds is ready. This family recipe was improvised by the current owner (the second generation) Mr Tan’s father, who in the past had migrated overseas to Malaya with his fellow Hainanese friends. He used to be a chef for the British, and utilised his culinary talents to concoct the dish to suit the palate of locals, thus creating this Asian fusion chicken chop.

During that era, the veteran Chinese immigrants led a hard life in Malaya, struggling in every stage. The senior Mr Tan, who was from Wenchang Province in Hainan Island, never neglect to show brotherly affection and care towards his fellow hometowners, by receiving them in Kedai Makanan Hailam Nam Cheong (the predecessor of Sun Sun Nam Cheong), his shop in Kuala Kubu Lama. He even taught them the skills of making coffee and cooking, so that they have sufficient skills to make a living. After almost a century, Mr Tan still lives up to his father’s benevolent spirit, as he has close rapport with the local jurisdiction, he employs ex-convicts from time to time, shredding their stereotypical impressions, thus allowing them an opportunity to rehabilitate and integrate into society.

The walls of Sun Sun Nam Cheong are full with both commendation and appreciation certificates, issued by units of authority such as the police, the fire and rescue department, old folks home, and shelter homes etc. These are a token of gratefulness towards Mr Tan Sew Sewan on his good Samaritan acts, including volunteering to bury the dead. During thirty odd years, Mr Tan and a few other volunteers buried hundreds of the deceased, mostly lonely old folk, disabled persons, and the mentally ill from shelter homes.

Within the period Mr Tan worked as a volunteer, he noticed some difficulties in handling the corpses from shelter homes and old folks homes, as they were neglected by the society. They had no family or relatives to claim their remains, and it is inadvisable to store them long-term in the mortuary. In the end, these dead bodies were not properly dealt with, causing mass burial incidents and soil erosion in the graveyard after raining, which attracted wild animals, an extremely shocking situation to behold.

From the initial dread upon entering the autopsy ward, to striving for land to construct a burial ground, within the past thirty years, Mr Tan discreetly persisted to lay the departed to rest, amidst the vicissitudes as well as sentiments of life. In his possession are numerous logbooks bearing explicit records of funerals held for dead bodies, such as name, death date, location of the grave, and some photos. Sometimes he also receives enquiries from families trying to trace their long-lost relatives. Between heaven and earth, perhaps there were invisible dots subconsciously connecting yearning minds.

Text: Daniel Lim & Pua Hui Wen