Category: Cultural Customs

The sounds of cymbals, drums and suona accompanied Taoist prayer chanting, around 100 members of the Hau family gathered together at their ancestral house in red mourning attire, burning incense and kneeling to pray under the guidance of five Taoist priests. Through joint effort over several months, the entire family organized a commemoration ceremony in conjunction with the third death anniversary of the late old Mrs Hau. The 30ft joss paper house is dedicated to eight deceased relatives.

In traditional Chinese beliefs, a deceased person’s soul would depart to the Underworld, where they would pass through the Ten Courts of Judgement. Even if a person always did good deeds while alive, there might be unintentional mistakes for which they were punished. Descendants will engage Buddhist monks or Taoist priests to facilitate merit dedication rituals to help their ancestors atone for past misdeeds thus achieving enlightenment.

The head of the household is 69-year-old Hau Kim Heng, whose grandfather hailed from Nan’an, China yet eventually settled in Sungai Rambai, Melaka, where the family prospered and spread across different regions in Singapore and Malaysia. Hau Kim Heng used to work at Singapore in the construction industry, then he returned to the ancestral home to take care of his ageing parents until they breathed their last. His mother passed away peacefully at the ripe old age of 93, with five living generations, therefore a ‘Joyful Funeral’ was held where all the family members wear red mourning clothes.

The dedication of merits is very important in the Hokkien community, the late old Mrs Hau also commended the practice, therefore Hau Kim Heng and siblings decided to throw a grand ceremony in honour of their beloved mother. The dedication of merits usually spans three days, smaller occasions merely 24 hours, yet the Hau family decided on a large scale event spanning five days. The full itinerary comprises ‘soul summoning’, four sessions of prayer chanting held in the morning and at night, request for pardon, destroy city walls, morning assembly, repayment of treasury debts, appease roaming spirits, and dismantle the joss paper house. Last but not least is burning the joss paper house and give thanks to the Jade Emperor.

The leading Taoist priest for the Hau family’s dedication of merits, Haw Eng Thian, is a Zhengyi Taoist affiliated with Mount Longhu in Jiangxi, China. After ordination, he goes by the monastic name Hóu LuóZhǎn. Although just in his forties, he spent almost 30 years in the profession. Both Haw’s father and maternal great-grandfather are Taoist priests, he sparked a keen interest since the tender age of 10, following his father to attend various ceremonies on weekends and holidays, lending a helping hand while learning basics such as drumming, rhyme and rhythm in prayer chanting. Haw started out upon leaving school after Form Two, by the age of 20 he is capable of handling small to medium-scale ceremonies, therefore his father handed over the reins to him. 

At the beginning of his career, Haw handled mostly small to medium-scale ceremonies, where neighbours would assist the host family in preparing offerings and meals. However, community bonds weakened with the passing of the older generations, such tasks had to be outsourced to service providers and food caterers. As a Taoist priest, Haw tries his best to accommodate various requests by different host families. Sometimes he has to travel to two or three venues in a day, his passion alleviating the fatigue as he does his best to fulfill his duty at each ceremony.

The dedication of merits not only commemorates deceased ancestors, it also strengthens family bonds, as well as continuing the legacy of cultural customs. By properly performing each ritual, paying respects to ancestors while inducing younger generations to uphold moral obligations, complete virtue is achieved.

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[Soul Summoning]

The Taoist priest paves the way to the Underworld, using a soul-summoning banner to invite the souls of deceased ancestors to their respective memorial tablets. Each soul-summoning banner bears the name of a deceased, attached to the tip of a long thin bamboo stick, carried by the eldest son or eldest grandson. If the deceased had no offspring, a nephew would do.

[Five Elders Lead the Way]

Inviting the Five Celestial Elders and Five Immortal Boys to serve as guides for the deceased.

Five Celestial Elders: Green Emperor of East, Red Emperor of South, Yellow Emperor of Center, White Emperor of West, Black Emperor of North

Five Immortal Boys: QīngLíng Boy of East holds a green lotus, JīnHuī Boy of South holds a red lotus, ZhēnJué Boy of West holds a white lotus, KaīMíng Boy of North holds a blue lotus, MiàoGuāng Boy of Center holds a yellow lotus. They greet the deceased soul and serve as heavenly guides.

[Prayer Chanting]

The Taoist priest leads the family in prayer chanting: 10 scrolls of 《Precious Litanies of Nine Realms of Darkness》, three scrolls of 《Precious Repentances to the Three Primes》, and 《Scripture on Salvation》. At the conclusion of each scroll, the soul-summoning banner is raised and respects paid to deceased ancestors.

[Request for Pardon]

Apart from prayer chanting and delivering speeches, Taoist priests would act out various scenes, including meeting with the pardon attorney to implore his service in requesting for a pardon letter, feeding the joss paper horse on which the pardon attorney would ride as fast as he could to the Underworld, and pleading with the ruler of the Underworld to grant pardon.

[Destroy City Walls]

Also known as “Rescue from Hell”, based on the Classic of Filial Piety where Mulian rescues his mother from the Underworld. The Taoist priest leads descendants to travel around an octagonal city constructed of joss paper, explaining each checkpoint along the way, then the city walls are destroyed in order to free the deceased ancestors from suffering in the Underworld.

[Morning Assembly]

Offering tea and liquor as a token of gratitude to the presiding deities.

[Repayment of Treasury Debts]

Repaying the loans obtained for reincarnation according to the deceased’s Chinese zodiac. During the burning of treasury banknotes, descendants should keep banging metal objects to scare away roaming spirits from committing robbery. 

[Appease Roaming Spirits]

The host family prepares food and paper offerings to appease roaming spirits.

[Dismantle Joss Paper House]

On the final night of the ceremony, the joss paper house is dismantled and burned, marking the end of the mourning period.

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Evon Pang
Copywriter : Pua Hui Wen

COPYRIGHTS 2023 ECHINOIDEA SDN BHD

36 pieces of 16-inch joss paper folded in half, tied in the middle by a red string, fold the tip of each sheet in alternating directions to shape into a lotus base. Pull a string through three stacked lotus bases and fasten them together, then make a belt out of red paper, thus completing a joss paper lotus (“liân-hue kim” in Hokkien). During Chinese New Year, when celebrating the Jade Emperor’s birthday on the ninth day of the first lunar month, a pair of those are required.

The ninth day of the first lunar month marks the Jade Emperor’s birthday, also dubbed “thiⁿ-kong senn”, “thiⁿ-kong tàn” or “thiⁿ-kong ji̍t”, the most important occasion of the Hokkien clan. Legend has it that during an invasion, Hokkien villagers hid in sugarcane fields in order to flee from massacre, only returning home after the troops have completely retreated, on the ninth day of the first lunar month. To show gratitude for the Jade Emperor’s blessing, the survivors held an elaborate ceremony with sumptuous offerings, among which sugarcane is a must-have. Other clans also celebrate the Jade Emperor’s birthday, to pray for safety, however customs vary across regions.

Joss paper dedicated to the Jade Emperor is called “thiⁿ-kong kim”, the area covered in gold foil is larger in comparison with other joss papers, therefore the most expensive deity currency. “Thiⁿ-kong kim” is folded into distinctive shapes such as ingot or lotus using traditional techniques, then burnt during the praying ceremony as a token of respect and appreciation. During mass emigration to Southeast Asia, joss paper folding techniques from various localities were brought over, the most common being tribute gold ingot, however the age-old method of shaping a large gold ingot by combining two pieces of “thiⁿ-kong kim” is scarcely seen.

70-year-old Madam Tan Siew Hong learnt traditional joss paper folding techniques from her mother since a young age. Later on, when her younger brother set up a praying supplies business, she is able to provide valuable help. Their house at Taman Sin Tat, Raja Uda, Butterworth, also serves as a warehouse, the roof beams are full of hanging joss paper lotuses handmade by Madam Tan. Tribute gold ingots and large gold ingots are folded into semi-completed products and packed, customers will then need to pry open each piece into shape during the praying ceremony.

Ethnic Chinese constitute the plurality of Penang’s state population, among which Hokkien clan is the majority, the ritual of celebrating the Jade Emperor’s birthday is well upheld, presumably the most important occasion of Chinese New Year celebration in Penang. After preparing food offerings and paying respect by burning incense sticks, “thiⁿ-kong kim” is piled mountain-high, symbolising moving onwards and upwards, after burning the paper offerings, firecrackers and fireworks are set off to mark the conclusion of the ceremony. Madam Tan needs to start folding “thiⁿ-kong kim” at least a month ahead of Chinese New Year, to be sold at her brother’s shop. Nevertheless, they almost always sell out, last-minute shopper will even sit by her and wait for her to finish folding “thiⁿ-kong kim”.

After a hectic Chinese New Year, the next busy periods for Madam Tan are tomb-sweeping festival and ghost festival, where she needs to fold joss paper relevant to the occasion as well as pack appropriate paper offerings into sets. Paper offering sets are an effective way to avoid mistakes in praying rituals, as the types of joss paper and paper offerings vary according to the occasion.

Decline in religious affiliation occur due to the pressure of leading fast-paced lives, however maintaining a heart full of gratitude opens up the door for continued blessings, therefore the ritual of celebrating the Jade Emperor’s birthday is still being upheld. The techniques of folding joss paper dedicated to the Jade Emperor have become simplified, not many have the time or patience to continue practising the complicated, old-fashioned way. It is truly wonderful of Madam Tan who is always willing to share traditional “thiⁿ-kong kim” folding skills and provide guidance.

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Amelia Lim
Copywriter : Pua Hui Wen

COPYRIGHTS 2023 ECHINOIDEA SDN BHD

Standing at 21ft tall and 24ft wide, the joss paper house is built on a grand scale according to traditional Mǐnnán architecture layout, featuring ornate decorations. The frame is made of bamboo slivers tied together using paper strings, layers of vivid coloured paper are pasted as walls, balconies, and pavilions. Illuminated by colourful LED light strips, the entire joss paper house sparkles. In traditional Chinese beliefs, a deceased person’s soul would depart to the Underworld, therefore the Hokkien clan would dedicate comfortable joss paper houses to their dead relatives. 

Hokkien ancestor veneration revolves around filial piety. As a tribute to deceased parents, to mark the end of the three-year mourning period, the bereaved family would engage Buddhist monks or Taoist priests to facilitate merit dedication rituals to help their ancestors achieve enlightenment. Legend has it Emperor Taizong of Tang dynasty visited the Underworld in a dream, upon returning to the mortal world he organised merit dedication rituals for departed souls to atone for past misdeeds thus achieving enlightenment. Apart from joss paper houses, there are also gold and silver mountains, servants, sedan and carriages etc. are burned as offerings.

Toh Chooi Heng from Jenjarom has almost four decades of experience in crafting joss paper offerings, expertising in joss paper houses and Jade Emperor thrones (for use in Jade Emperor birthday celebration on the ninth day of the first lunar month). He has been helping his uncle crafting joss paper offerings since he was 11 years old, mastering the skills along the way. Having attempted various unsuccessful ventures during his youth, he returned to crafting joss paper offerings. As Toh settled his mind and paid full attention to his work, he patiently crafted elaborate and intricate joss paper houses. Even though the entire process is time-consuming and production capability is limited, he insist that the deceased should reside comfortably in an extravagant Underworld residence.

Toh’s joss paper houses are constructed in accordance with classic Mǐnnán folk dwellings, extending from the main hall in the center to symmetrical left and right wings, connecting to each other via corridors. The central courtyard is surrounded by rooms on all four sides: the South hall, the North hall, the East chamber, and the West chamber. The South hall is annexed to the gate, then comes the courtyard, where the East and West chambers sit on either wing. The North hall consists of major bedrooms and living space.

The topmost point of the joss paper house is the balcony, which offers moonlight view. Each storey is adorned with paper effigies symbolizing good fortune, such as Top Scholar Street Parade, Nezha rampages across the East Sea, the Eight Immortals etc. Furthermore, the 24 instances of filial piety are depicted, in the hopes of descendants continue to uphold virtues. The main entrance occupies the middle spot, winged by gardens and ponds, with arched bridges and ten pavilions.

The fundamental skill of crafting joss paper houses is to tie bamboo slivers using paper strings, which is harder than it looks, requiring ambidextrous coordination to build a solid frame thus preventing structure failure. Upon mastering this skill, one may move on to learn to construct paper columns proportionate to the building’s dimensions. Next up is the basic layer of white paper, on which coloured paper is pasted, then seal the corners. Sections of the joss paper house are completed separately, piled onto a lorry for delivery to the ritual altar to be assembled on the spot and to add on the paper effigies.

Advancing technology gave Toh the idea of illuminating joss paper houses with LED light strips. He does not stick firmly to tradition, but is open to creativity challenges. If customers decided on a joss paper bungalow, he is able to create a replica based on photos provided by customers. The scale dimension of a joss paper house is subject to spatial constraints, i.e. adequate space for open burning. Due to the time-consuming process of crafting joss paper houses and thereafter assembling at the ritual altar, Toh needs to estimate delivery time carefully in order to prevent double-booking himself, since he is unable to be in two places at the same time.

Even though their forebearers emigrated overseas a century ago, traditional cultural values such as ancestor veneration are still embedded within the Malaysian Chinese community, and traditional mortuary rituals are still being practised. Toh Chooi Heng observed that as times change, traditional rituals are getting simplified, traditional trades such as crafting joss paper offerings might slowly die out. However he feels optimistic as current market competition positively influence fellow craftsmen to produce higher quality handiworks, instead of the other way round.

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Amelia Lim
Copywriter : Pua Hui Wen

COPYRIGHTS 2023 ECHINOIDEA SDN BHD

Colourful kites dancing in the breeze, decorating the blue skies on a leisurely weekend afternoon. A group of kite enthusiasts gathered on a field in Jenjarom’s residential area, enjoying this traditional pastime regardless of age, ethnicity or nationality. Some of them would bring handcrafted kites, showcasing attractive appearances and excellent flying abilities.

Two middle-aged kite hobbyists turned kite maker, Ang Lian Seng and Ang Teong, have been actively flying kites at the Jenjarom field for over thirty years. In their youth, they bought handcrafted kites by others to dismantle and study the dynamics, gradually mastering the skills by imitation and improvement. They are able to produce kites of various shapes and sizes, for instance bird, butterfly, and Malaysia’s iconic Wau. Previously they barely knew each other, however they got along capitally in recent years of semi-retirement, often spending time together making kites while exchanging ideas.

The history of kites date back over 3000 years, an established traditional handcraft. Bamboo strips, twine, paper, glue; merely four materials involved, seemingly simple yet the actual procedure put a kite maker’s skills to the test. Matured bamboo is preferred due to better resilience, split open and leave to dry for three months. The dried bamboo is then peeled and cut into strips, and sawn into required lengths conforming to the target kite size. Next up is the most important step —— whittling bamboo strips, which is using a knife to trim the bamboo strip into a consistent thickness. The resulting thickness determines how far could the bamboo strip be bent. To maintain the bamboo strip’s bendability and resilience, during the whittling process one must make adjustments through close observation and sense of touch, gaining experience along the way, hence it is most time-consuming, requiring much patience and attention to detail.

Having prepared satisfactory bamboo strips, the kite frame may be constructed in any desired shape, however it must achieve left-right balance as well as head-tail weight balance. After tying the kite frame with twine, brush some glue to attach the paper (nowadays water-resistant plastic sheet is used instead), ensuring uniform tightness. Excesses are trimmed after the glue dried, then the kite is ready for a test flight outdoors. As long as the aerodynamic surfaces are balanced, the kite may fly steadily. Different kites may yield different curved surfaces due to wind pressure, determining which wind conditions will be ideal for the kite’s flight. 

Kite flying does not require fancy skills, just pick a kite suitable to fly in the current wind condition and pull along with the prevailing wind direction. Larger kites may require two persons cooperating to launch, one holding the kite in a stationary position while the other holding the spool runs against the wind for a short distance, the kite can be released once the twine is taut. As the kite rises to a certain height, the airflow becomes relatively stable, therefore the kite maintains a steady position. To recover the kite, walk towards the kite while reeling in to bring it down slowly, preventing damages from a sheer drop.

Dragon kites are seldom seen in Malaysia, Jenjarom’s kite enthusiasts happened to pick up such skills by chance, enabling an impressive dragon kite soaring and wagging its tail to be seen. The dragon kite is made up of a three-dimensional head, eighty body parts, and a tail. Its overall length beyond a hundred feet, and requires at least three persons to launch it into flight. The making of the dragon head is tedious, it has to be as lightweight as possible due to being incapable of flight, so that it may be lifted into the air by the body parts. Besides, the production of eighty identical round pieces for the dragon body requires careful examination and much patience.

“Dance joyfully like a butterfly, height adjusted by a string.” The skyward kite and the people on the ground are connected by a single strand of twine. Brought together by common interest, pursued crafting due to passion; as their handcrafted kites rise to the skies, their faces are lit with proud smiles. Though times changed, people nowadays prefer playing mobile games over traditional pastimes, Ang Lian Seng and Ang Teong are happy to share their experience with rookies, in the hopes of passing down kite-making skills. 

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Amelia Lim
Copywriter : Pua Hui Wen

COPYRIGHTS 2022 ECHINOIDEA SDN BHD

Performing powerful martial arts moves while emanating forceful shouts, disciples and committee members of the Malaysian Ngo Chor Fitness and Sports Society (Jenjarom Branch) gather on the training ground despite a blazing sun, practicing Ngo Chor drills under the guidance of Master Yap Loo Peng (transliteration). 81-year-old master Yap goes around at a steady pace, fixing his sharp eyesight on disciples, instructing and correcting their postures. Over the past 40-odd years, master Yap has been travelling between his home in Jinjang and the academy in Jenjarom to teach Ngo Chor martial arts. Even though semi-retired due to his advancing age, with older disciples in charge of the academy’s daily routine, master Yap often drops by to maintain his efforts in promoting this cultural sports activity. 

Founded in the late Qing dynasty, Ngo Chor martial arts originated from Quanzhou in Hokkien, China. The initiator being master Chua Giok Beng, who created a system after decades of research, by merging principles and techniques from five martial art styles, namely Taizu, White Crane, Bodhidharma, Arhat, and Monkey. Ngo Chor is renowned in southern China for its precision, forcefulness, and practical characteristics, therefore master Chua acquired numerous disciples. As there were some disciples among swarms of southern Chinese who migrated to Malaya, they continued the tradition of Ngo Chor upon settling down.

In Jenjarom where most villagers are of Hokkien ancestry, there was no martial arts academy during its early days. Master Yap’s instructor, the late grandmaster Poh Tie (transliteration), rented a vacant space to teach Ngo Chor, founding an academy together with a bunch of seniors. However various problems such as disciples being busy with their work and the implementation of a curfew caused the classes to be held sporadically. Following master Poh’s death some years later, senior Lim Teng Kiat (transliteration) took over as instructor, both disciples and martial art skills spread rapidly. Eventually as senior Lim was preoccupied with his work, master Yap was sought out to lead in the systematic practice on Aik Kuan kindergarten premises. ‘Poh Tie Ngo Chor Martial Arts Lion Dance Club’ was officially formed in 1977. Parents sent their children to learn Ngo Chor, participate in lion dance, and ride unicycles. Back when entertainment was scarce, it was the best gathering place, even compatriots from other races joined in the expanding martial arts club.

Immense support from local villagers, and the efforts of club members, the authorities approved of the martial arts club in 1982, hence renamed to Jenjarom branch of the Malaysian Ngo Chor Fitness & Sports Society. Apart from Ngo Chor, there are also lion dance, stilts, and unicycling derived from martial art basics. These are fun to learn, and able to perform during events. The society is recognised and gained support from local villagers who donated generously to build an academy. The Ngo Chor academy building, which stood amid Jenjarom village, was inaugurated in 2006. A small temple was built in honor of the three antecessors, namely Bodhidharma, the initiator Chua Giok Beng, and grand master Poh Tie. 

Ngo Chor is suitable for learners across all ages and genders, enhancing physical fitness and willpower, as well as achieving unity in a community. Despite training hard, disciples love and respect each other like a family. Senior disciples also carry on this legacy by helping master Yap to teach, such as the current team manager Soon Chin Tat (transliteration). He has been practicing Ngo Chor for 38 years, progressing from a young novice to being a senior who coordinates performances and takes care of team members. In recent years, due to young adults moving to the city for better opportunities, there is an age gap among disciples who are school children and middle-aged adults, their numbers dwindling from hundreds to merely 35. 

Inscribed on the pillars of the academy is the saying: “Training for self-defense and fitness, great skills inherited from ShàoLín”, highlighting the main purpose of practicing martial arts, not for fighting with others. A century-long inheritance, not only does Ngo Chor represent Chinese culture, it also incorporates lion dance to become a folk culture, a healthy sports activity.

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 : Dawn of Man & Frozen In Love

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

As the Cantonese saying goes, “Light up the lanterns when you walk on the streets, don’t be scared of police arresting you,” Granny Thong Aw Loy reminiscing about the mid-autumn festival celebrations in her childhood, where everyone gathers together playing with lanterns and wandering around the streets in the village while humming this playful little tune.

Despite her octogenarian age, Granny Thong is bright and optimistic, paying full attention to the lantern in making, not slacking for even a moment. The small space between the parlour and her room is Granny Thong’s personal workshop, the materials and tools she needed tidily kept in boxes of all sizes arranged around her, the handy distance easing her production. Rows and rows of various traditional lanterns are hanging above her, from her handmade floral lantern and hexagonal lanterns, to the cellophane lanterns her family crafted and sell.

Born and bred in Teluk Intan, Granny Thong comes from a family of lantern makers. Since a tender age, she and her siblings help their parents to assemble lanterns, almost 70 years ago. Her signature floral lantern is now rarely seen in the market, and there are only a handful of gurus who mastered the craft. Besides deft hands, the process of making a floral lantern requires the utmost attention, patience, and effort. The thickness of bamboo sticks used attest her skills and experience, while the six types of colourful paper flowers, such as rose and chrysanthemum, are made carefully, lining layer by layer using featherweight wrinkled paper. The creation of a traditional lantern is meticulous and time consuming, like an artwork masterpiece, seldom seen. It is especially painful to see this craft gradually dying out in this era due to the mismatch in profit and time costs.

Under the same roof, Mr Yim Sai Peng and wife Chek Hiu Lan (transliteration) are the third generation in the traditional family business, focusing on producing cellophane lanterns of all shapes and sizes. More than 30 varieties of the cellophane lanterns are sold and distributed across Malaysia, as well as overseas. Since entering the 21st century, the rapid development of information and technology emphasizes efficiency, digital communication overpower socializing and interactions between human beings. In this day of reunion, maybe you should take a break, light a lantern, feel the warmth of the candlelight awakening the meaning of this traditional festival, and may the culture be handed down endlessly.

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 : Blue Butterfly from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

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

A riddle goes like this: “Four eyes staring at each other, four legs clashing with each other. One bites hard, another’s face hurts”, describing this traditional beautifying skill —— facial threading, also known as shaving fine hairs. Facial threading could be said as a wisdom and technique passed on from ancient times, using one simple tool to get rid of fine facial hair, dead skin and even acne. At the same time, it enhances blood circulation of the face, as well as keeping the skin smooth and shiny.

A scorching sun shines bright in the sky, beneath luscious tree shades, with two low stools, a spool of cotton thread, polishing powder, hairpin and a comb, Grandma Teo Yoke Kim bites on one end of the thread, her right hand holding the other end, the cotton thread curled around her left hand like scissors, forming three points coordinating with each other to exert force. Grandma Teo uses the intertwined knot to move back and forth on the skin and pores, quickly and effectively clean fine hairs and dead skin off the face. This unique technique attracts full attention of bystanders, and is much admired.

Since a tender age, Grandma Teo observe the way her elders in the village do facial threading, thus acquiring the skill. As the elders pass away one by one, Grandma Teo also gradually age. Now that she is 86, she seldom does facial threading for others, the younger generation has no way to pick up the technique. The people who mastered this traditional skill are getting fewer in numbers, which is regrettable.

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
Music : Mellowlands from Felt Music

COPYRIGHTS 2018 ECHINOIDEA SDN BHD

Hainan Village in Port Dickson has been in existence for more than a century. With the outflow of youth, only 35 households remain residing.

The Then Hou Temple built in the village is a hundred years old, and organises an annual festival occasion during 23rd March of the lunar calendar to celebrate The Empress of Heaven (Mazu)’s birthday. The village population who reside in dispersed outstation areas would return to their hometown, and work collectively to cook traditional Hainanese delicacies such as mutton soup for the consumption of villagers and guests alike, joining in celebration and making merry together. Meanwhile, there is hope that the Hainanese culture could be inherited from one generation to another, the legacy of traditional Hainanese dishes and customs continues.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Evon Pang
Music : Troutdale from Felt Music

COPYRIGHTS 2018 ECHINOIDEA SDN BHD