Category: Humanity Interviews

The drum’s origins can be traced back thousands of years to ancient civilizations across the globe, in a wide variety of shapes and sizes. Drums were used in military communications and warfare, religious rituals, as well as dance and music performances. A drum produces simple sounds: “dum dum” by hitting the drumhead and “da da” by hitting the rim. Even with varying tempos, rhythms, and force, it does not suffice to express emotional changes. Orang Orang Drum Theatre takes drumming to another level by combining drums with vocals, movement, theatrical aspects and ethnic musical instruments, as well as traditional folk songs, into their works. The integration of theatrical expression and music’s ability to convey emotions nonverbally turns drummers from percussion accompaniment into performers enacting stories onstage.

Splitting the Chinese character “众” (crowd) into three “人” (people) side by side symbolizes everyone is equal, and it can also be interpreted as “There is always someone that one can learn from among a trio”. Orang Orang Drum Theatre was founded in 2013 by Boyz Chew and Zyee Liew, with the core belief that performing arts is people-oriented, thus striving to break down barriers between performing arts and the audience. The essence of performing arts lies in fostering connections, expressing and eliciting thoughts and feelings at the same time, and cannot exist without involving people. Their ultimate goal is to make performing arts accessible to all, to create resonance between people, and to create shared memories.

Boyz and Zyee realised that performing arts encompass a wide range of forms and styles, despite their started out from 24 Festive Drums instead of receiving formal performing arts education. By keeping their minds open, apart from being proficient in drumming, they explore different possibilities of narratives and expression methods, and collaborate with artists from various fields. Whenever they perform abroad, they sought out local folklores, musical instruments, and folk songs, collecting inspiration to fuel creativity. They are also deeply observant, finding creative themes in the mundane everyday life, then they tell stories, portray characters, and convey ideas by the symbolic use of props, costumes, and gestures.

The productions of Orang Orang Drum Theatre appeal to a broad audience, be it an international stage performance or casually engage with residents of rural villages. The major difference between the two is that in a relatively enclosed space, one can be distraction-free and focus on the performance; on the streets, one needs to cope with all sorts of situations in order to perform. They also organise community percussion workshops using plastic buckets and sticks, leading everyone into a world of non-verbal communication with only beats and rhythms, where they can sway instinctively and relax their bodies and minds.

24 Festive Drums, which is derived from traditional drums, combined with various theatrical elements, led to the creation of “Drum Theatre”, where multiple dimensions of creativity come together with an overarching theme and multi-sensory expression. Performing arts and culture are vital sources of nourishment for our souls, enriching the quality of our lives. Orang Orang Drum Theatre dedicate their hard work to pass on the multi-cultural performing arts of Malaysia.

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

COPYRIGHTS 2024 ECHINOIDEA SDN BHD

A touch of red at the end of the golden-green spiral sparked curiosity in the sparrow and it hopped over to take a closer look. Mr Yap Hong Ngee’s Chinese ink paintings are bright and funny, reflecting his inner child. In conjunction with his 80th birthday, “Ripples: Yap Hong Ngee at 80 – Looking Ahead” was held at the Oriental Art & Cultural Center in Kuala Lumpur from 4th to 12th November 2023, where 138 paintings were put on exhibition, both old friends and new ones were welcomed to meet and exchange views.

Three years ago, the epidemic hit and disrupted our peaceful lives. Mr Yap likened it to a huge stone thrown into the lake of the heart, causing ripples in the form of concentric circles. When he stayed at home in compliance with the movement control order and was bored, he expressed his feelings through his paintbrush, which resulted in a series of works. Later, when he planned this exhibition, he used ripples as the theme to connect three recurring elements in the paintings: stones, sparrows, and flowers.

Mr Yap draws inspiration from trivial things in life, blends personal experience into the paper, and imbues them with deep meaning. Stones symbolize solidity and permanence; sparrows are lively and chirping; flowers and plants symbolize the changing seasons, fragile and fleeting life. The painting that seems to be completed in three or two strokes within moments showcases the artist’s skills accumulated after years of experience. The subjects of the paintings are easy to understand, and the inscriptions are made up of straightforward or inherently funny words, which not only attract the attention of the audience, but also trigger them to think and explore.

Looking at a painting from different perspectives will give you different views. Although Mr Yap has been famous for many years, he has always remained humble and believes that his works do not need to be perfect, just as his conduct in life should be moderate. He does not seek to fill up the picture when he paints, as he believes that there is the possibility of development if there is space, leaving blank spaces for the audience to fill in. In Mr Yap’s opinion, if a painting can attract people to stop and take a second look, reflect on it and make their own assumptions, it is a great piece of work that touches people’s hearts and resonates.

Despite being elderly, Mr Yap still looks forward to the future with a positive attitude. In conjunction with his 80th birthday, this exhibition serves to invite people from all walks of life to celebrate his continuous efforts in art and painting. He set a personal goal to hold at least one art exhibition every year to motivate himself to stay active Having been painting for more than sixty years, Mr Yap has never intended to retire. Even if he can no longer hold a paintbrush, he will find another way to express and present his artwork. Perhaps this is why his paintings always reveal a tenacious vitality and contain strong emotions.

Ripples encircle stones, sparrows and flowers. One after another, color and ink paintings gather the ordinary bits and pieces of life to create meaning. Paintings notwithstanding, Mr Yap Hong Ngee’s excellent advice is “be yourself”. Experience and cherish every moment in order to lead a fulfilling and happy life.

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

COPYRIGHTS 2023 ECHINOIDEA SDN BHD

Ascend the escalator onto the 4th floor of GMBB creative community mall, a vast array of rose oil paintings adorn the long exhibition hall. Taking centre stage is a small artwork which consists of roses in the three primary colours and adequate blank-leaving within a gold leaf frame, entitled “Eternal Love” as written on a card placed at the bottom-right. Renowned local artist Yap Hong Ngee adopted it as the theme of his solo exhibition, spreading the power of love.

About 150 pieces of rose oil paintings bedeck contiguous exhibition spaces within the entire floor. Laid out in the style of an art gallery, the artworks are arranged in surprising ways, including forming polyptychs. A myriad of roses bloom in every corner, symbolizing all sorts of love, with white standing for purity, pink for affection, red for passion, yellow for warmth, blue for mystery. Walking around the gallery while holding a loved one’s hand is as if taking a walk in a romantic rose garden. Upon stopping to admire artworks, lean in to gently whisper “I love you.”

About 30 years ago, Master Yap started painting roses for Valentine’s day event at a Japanese department store. Even though the partnership ended years ago, he keep on producing rose oil paintings. Despite being known for Chinese ink painting of sparrows, Master Yap chose Western oil painting as the medium to paint roses which are prominent in Western countries for better interpretation. His rose paintings are by no means realistic, but rather an impression painted in the style of Chinese ink painting after close observation and fully understanding the nature of roses.

Master Yap’s painting process is quite straightforward, squeezing oil paint directly onto the canvas without sketching or using a palette, creating a vivid blooming rose in one stroke. The patterns range from swirls to ripples, unconstrained yet retaining the nuances of a rose, recognizable by the beholder. Apart from that, the artwork titles prompt viewers to contemplate their meanings, relating to their own past experience and resonate with the artist’s ideas.

As the proverb goes: “The rose’s in her hand, the flavor in mine.” A seemingly ordinary action leaves a warm impression on both parties. Perhaps due to Master Yap strongly valuing interpersonal relationships, he incorporates his life experience into his paintings, the sincerity touches the hearts of viewers, bringing people closer together. During art exhibitions, Master Yap would meet complete strangers who were brought to tears by his paintings and shared their life stories with him, thus becoming fast friends.

Master Yap is turning 80 years old, yet he is full of enthusiasm, obtaining great enjoyment in painting. In future, he intends to continue holding exhibitions, hopefully getting the chance to tour different cities and states. For one thing, he wish to let friends know that he is still actively painting. For another thing, he wish to make new friends via artworks and exchange ideas. Master Yap does not place emphasis on selling his paintings or receiving praise, and does not mind whether his artworks are being liked or disliked. To him, true happiness is the feelings of love and support, which enabled him to persist in painting.

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

COPYRIGHTS 2023 ECHINOIDEA SDN BHD

As the greenhouse door slides open, orchids of varying hues sway gently in the cool air-conditioned breeze. The founder of Seremban Orkid Nursery in Mambau, Mr Richard Ng, strolls among the neat rows of flowers. “Its leaves uphold righteousness, its flowers bloom unpretentiously.” Drawn in by the refinement of “the gentleman of flowers”, Richard dedicated 27 industrious years to orchids, starting from growing orchids as a hobby to undertaking research in breeding techniques.
Orchids belong to the plant family Orchidaceae, home to over 20,000 species which can be crudely classified into native and hybrid. Native orchids grow naturally in the wild, taking on diverse forms due to different climate types; hybrid orchids are created by crossing genus or species, usually cultivated in vitro. Orchids look attractive, Phalaenopsis being a popular choice for home decoration due to its flowers resembling a butterfly in flight. Certain orchids have medicinal properties, for instance Dendrobium Officinale is known to regulate metabolism, one of the ten most valuable traditional chinese medicine herbs.
In Richard’s nursery, thousands of orchid species are being mass propagated within five greenhouses dedicated to germination and two evaporative cooling greenhouses, catering to orchid enthusiasts. Through his daily toil, Richard gained much experience and knowledge, building a strong foundation for breeding improved species. It is very difficult for orchid seeds to germinate naturally, whereas they proliferate under sterile conditions in a culture medium. However, breeding to produce exotic colours or interspecific hybridization may have up to 90% chance of inviability.
Orchid breeding involves selection of parents for cross-pollination, with the pollen donor as the father and the seed bearer as the mother. The pollen is extracted from the stamen and transferred into the stigma, then the mother plant is labelled with the pollination date and accurate genetic information. After fertilization, a seed pod will form and mature in five to six months. Orchid seed germination takes place in a sterile environment where the tiny, dust-like seeds are obtained from the pod and dispersed into flasks containing a culture medium. As the seedlings reach a certain size, they are deflasked and potted, yet requiring at least another year’s care until the first bloom.
Ater the first flowering, new hybrid orchids can be registered to an international registration authority such as the Royal Horticultural Society (RHS) or American Orchid Society (AOS). To date, Richard has successfully breeded over 3,800 new orchid species, including one named after himself, Dendrobium Richard Ng, Seremban O.N. He is also active in orchid conservation, efficiently propagating native and endangered species.
Growing orchids is both relaxing and satisfying. Every day, Richard Ng observes the growth status of orchids in the nursery, and water, fertilize, or trim flower spikes according to their needs. His son assists him in sales affairs, expanding the business globally through online marketplace. Richard, who is in his seventies, smiles like a blooming flower as he watches over his beloved orchids.

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

COPYRIGHTS 2022 ECHINOIDEA SDN BHD

Nested within a sky-blue wooden house in Tampin New Village in Negeri Sembilan, with festive couplets adorning the doors and windows, and a wooden plaque hanging above the entrance, is Koh Leong Handicraft Workshop. Upon entry, most of the hall is taken up by a massive workbench with various tools scattered around. The room on the left holds a rectangular table over ten feet in length, hanging near the wall are all sorts of colorful cloth; the room on the right acts as a sewing room, semi-completed pieces hang aside. Uncle Khoo Koh Leong measures cloth with a wooden ruler, draws an outline with chalk, and then trims the edges. He single-handedly produced elegiac banners, appreciation pennants, and prayer flags for almost half a century.

Elegiac banners, appreciation pennants, and prayer flags all belong to the same branch of craft, however each serves a different purpose. Elegiac banners are hung in memorial halls and hearse carriages, as well as representing hometown guilds or schools to offer condolences to the bereaved family. Appreciation pennants acknowledge individual contribution towards society, commonly featuring yellow text on a red background fringed with tassel. Prayer flags are used for adornment during deity birthdays, an offering from worshippers as gratitude for blessings bestowed, showcasing divine powers, the colors vary with each deity. 

In the 1950’s, elegiac banners were handwritten on white paper, with an elegy dedicated to the deceased person and the name of the sender or association written in black ink, usually burned after the funeral service. Back then, infrastructure in Tampin were not quite developed, Uncle Khoo who was a taxi driver used to help fellow villagers in handling elegiac banner purchases from cities such as Seremban or Melaka. In the long run, Uncle Khoo began to take an interest, therefore he started his side job as a self-taught craft maker.

As living standards improved in the 60’s and 70’s, fabric elegiac banners with common obituary phrases such as “Rest in Eternal Peace” or “In Loving Memory” flourished due to convenience and reusability, as they can be retrieved by the represented association after the funeral service. A casket store owner who was friends with Uncle Khoo once enlisted his help to produce elegiac banners and couplets for memorial hall decoration, thus establishing Uncle Khoo’s reputation as well as opening up opportunities. Uncle Khoo also took on new challenges such as producing appreciation pennants and prayer flags, his highly satisfactory handiwork was sought after by customers near and far, from Tampin to the states of Negri Sembilan, Melaka, Selangor, Pahang, and even overseas from Singapore and Indonesia.

For custom flag orders, the purpose, color, and size must be confirmed as Uncle Khoo needs to source materials and cut according to the approximate outline. Upon agreeing on the appropriate text, he measures their respective sizes and copies the words onto paper. The declining traditional practice of embroidery is not feasible for Uncle Khoo, therefore he imprints the words onto the fabric, cuts and pastes them onto the flag, then waits for the glue to dry before sewing. Due to the complicated structure of Chinese words, the sewing process requires attention to details, hence each flag takes two to three days instead of overnight to complete.

Lately, Uncle Khoo switched from using calligraphy to printed words on flags, yet he persists in handcrafting. Each stitch conveys the close relationship between association members or the fervour of worshippers towards deities, sustaining traditional Chinese culture. At the same time, Uncle Khoo still practises Hundred Fortune calligraphy, as well as writing Chinese New Year couplets to gift to friends and family during festivals.

Recent technological innovations brought about computerized flag designs which can be printed onto fabric, with the option of installing LED lights. As times change, Uncle Khoo enjoys flag-making as a hobby, without worrying about the lack of a successor. In his free time, he shoots short funny clips together with family and friends, gaining almost 30K followers on TikTok. Live in the moment, and keep calm in the face of uncertainty.

Text: Daniel Lim & Pua Hui Wen

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
Music : 《Summer》

COPYRIGHTS 2022 ECHINOIDEA SDN BHD

“I do not mind having to forego or give up anything, I just want the best for the children. That is the only thing I can do for them.”

Hundreds of colourful photographs lined the entire staircase, from the ground floor towards the first floor, exhibiting precious moments Lisa spent with her children over the past two decades. Now in her forties, Lisa has fostered and legally adopted 20 children, bringing them up alongside three of her own. She shouldered the huge responsibility of accompanying and supervising them, providing them with a beloved home and legal identity. 

Cheerful and outgoing Lisa gets along favourably with people of all ages, always regarded as a sister. Being born into a poor family, Lisa is more mature than her peers. Her father passed away when she was 13 years old, then she earned a living by tutoring kids in her neighbourhood. After graduating from high school, she worked while completing secretarial training. However, the dull work did not suit her lively personality, therefore she went to teach kindergarten, and obtained a childcare centre license through furthering her studies. In 2000, together with her 6-month-old son, Lisa rented a house to start her first childcare centre.

Apart from enterprise operations, Lisa is active in charity work. She volunteers for a number of charity homes, as well as the Social Welfare Department, where she assists children and the elderly in applications for aid. Lisa is also proactive in charity bazaars, managing and arranging donated materials for the needy, not to mention casket donation. Mocking herself as inquisitive and hyperactive, whenever Lisa comes across begging elderly or abandoned babies, she brings them to the police station to lodge reports. Then she brings them to the hospital for a health check, and gets the Social Welfare Department to make necessary follow-up arrangements. She firmly believes and hopes that children will grow up in a loving environment, with good upbringing and education, to be their own masters.

The first incidence of Lisa’s adopted children was 20 years ago, involving an in-home daycare child among others in her childcare centre, whose parents vanished months after entrusting their 1-month-old baby to the centre. Lisa lodged a police report, and decided to continue taking care of the child after lack of follow-up. She thought: since I run a childcare centre, it is only another mouth to feed, no big deal. She ended up legally adopting the child.

As children are continually being abandoned at her doorstep, some suffered domestic abuse while others have parents who could not provide for them, Lisa took them in with open arms. Gradually realizing that cruel reality results in such social issues, she opened a bank account dedicated to charity works, depositing her earnings and donations from her friends to help vulnerable children and elderly. She also helps stateless people and penniless families, so that they have means of surviving.

After toiling for 20 years, and most of her kids being grown up, Lisa decided to close all three of her childcare centres towards the end of 2019, retaining the site in Serdang as a warehouse to store donated materials pending transfer to wherever needed. Following several months of semi-retirement, with her son’s encouragement, her charity work over the years materialized into the founding of Suriaku Children’s Protection Society in April 2020. The concept being a temporary shelter for the needy in their period of transition, where they reintegrate into society after solving problems which they faced. Suriaku is an asylum, a donated goods hub, the outcome of Lisa’s 20 years of volunteering.

Lisa aspires to expand Suriaku across all Malaysian states, in order to benefit more needful folk. She shared her vision with the Social Welfare Department, hoping to attract more good Samaritans to join in the effort. Apart from that, Lisa intends to undertake law studies, after which she could provide direct assistance to the disadvantaged community, especially female victims of intimidation and domestic violence. Instead of superficial support which dissolved after a while, their concerns could be thoroughly addressed.

Even though no longer having to rush around her childcare centres, her children, and various government offices, Lisa retains her passion towards life and its surroundings. Her kind acts and attentions lessened the burdens of the disadvantaged community. Lisa shines like a blazing flame, lighting the path for the needful, providing them a shelter full of love and warmth.

Suriaku Children’s Protection Society
Persatuan Perlindungan Kanak-Kanak Suriaku Selangor
No. 1633, Jalan SK 11/3,
43300, Seri Kembangan,
Selangor

Suriaku Children’s Protection Society Facebook:
https://www.facebook.com/lisahewcharitywork

Lisa Hew Facebook:
https://www.facebook.com/TaskaSuriaku

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 : 《Romantic Piano》

COPYRIGHTS 2021 ECHINOIDEA SDN BHD

20 years ago, a virus outbreak destroyed the hard work of several generations in Bukit Pelanduk, reaping the lives of over 100 swine farmers and their families within three short months. The government then declared curfews and evacuated villagers from the stricken region, taking swift actions to contain the epidemic. Professor Dato’ Dr Tan Chong Tin led an investigating team from University Malaya Medical Centre (UMMC) to scrutinize and analyze the afflicted. Later on, the virus was proven to be a new type of mutating virus which mainly infects the lungs and brain of patients, previously misdiagnosed as Japanese Encephalitis (JE), therefore it was named Nipah Virus after the place where the first case originated.

In early 1999 during the rapid spread of Nipah virus, more than 100 patients from Bukit Pelanduk and Kampung Baru Sungai Nipah who seemed to suffer from acute encephalitis were hospitalized at UMMC. During clinical treatment, as a neurologist Dr Tan found out that the disease transmission was different from JE, hence he directed the medical team to perform an in-depth study. There is no overnight success in the research field, after 2-3 weeks of observation, the medical team finally shed some light on the new virus. Working under tremendous pressure, the medical team carried out various tests during the intense virus outbreak, attempting to find out effective treatment and prevention methods. Frontline medical personnel also had to bear the risks and fears of being in contact with patients, in the face of unprecedented and unknown virus, it was immensely stressful to be doing extensive first-hand research.

Newly discovered worldwide, there was no prior reference for Nipah virus. Its etiology, symptoms, transmission, hazards, and treatment were inconceivable. Under Dr Tan’s guidance, the UMMC investigating team made a ground-breaking revelation that the Nipah virus derived from livestock —— SARS coronavirus in bats. Due to cross-species mutation, the virus easily defeats the human body’s immune system, infections occur with rapid onset, finally spreading among humans.

The UMMC investigating team did a comprehensive study on Nipah virus, the results of their research benefited countries such as Bangladesh and India where Nipah virus outbreaks happened. As a tool to assist in diagnosis, they could then accurately administer medicine and take precautionary measures. This investigating team led by Dr Tan won the Mahathir Science Award in 2006, as well as the Merdeka Award for Health, Science, and Technology in 2008, accomplishing prestigious honours. Since the outbreak till having gained recognition, Dr Tan and team did not cease their efforts in research. Apart from returning to the village to check on villagers who recovered from the epidemic, they also contributed and joined in research in other afflicted countries.

A few months ago, Dr Tan and doctors from his medical team attended <Nipah Virus 20th Anniversary Review and Sharing Session with Experts> held last year, recounting past incidents and disclosing follow-up research to increase public awareness and understanding of the virus. In the same year, Dr Tan received the title of Emeritus Professor from University Malaya and the 6th Tan Kah Kee Award, also the Lifetime Achievement Award by the Malaysian Society of Neurosciences in 2017. Dr Tan’s contributions in medical and cultural fields are acknowledged, concurrently he is active in promoting the rich culture and history of the local Chinese community.

At present, the Covid-19 pandemic accelerates and spreads widely, with confirmed cases across all continents globally, severely affecting our daily lives and even the world’s economy. In today’s globalization and high population mobility, not only does it escalate the infection rate of the virus, it also largely increases the difficulty of prevention.

Only with enhanced personal alertness and hygiene practice, ruling out unverified news among the flood of information, ensuring accurate intelligence is obtained from official or authoritative channels. Besides, gain basic understanding of the virus to avoid believing in alarmist talk and eliminate unnecessary worries. Dr Tan also reminds that apart from getting treatment, attention and aid must be given to both physical and psychological health of the patients’ family members. Together we weather the storm through mutual support and encouragement.

【Official and Authoritative Information Channels】
Ministry of Health of Malaysia
Kementerian Kesihatan Malaysia
官网：http://www.moh.gov.my/
Twitter：https://twitter.com/KKMPutrajaya
Facebook：https://www.facebook.com/kementeriankesihatanmalaysia/

World Health Organization（WHO）
English：https://www.who.int/emergencies/diseases/novel-coronavirus-2019
Chinese：https://www.who.int/zh/emergencies/diseases/novel-coronavirus-2019

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 : Sean Beeson

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

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

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

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 : Arms of Heaven

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Angeline Lok, a 70’s baby born and bred in Port Dickson, currently working as a specialist doctor in Shanghai.

One day in 2015, as she went out for a walk despite heavy rains, her pet dog carried to her in its mouth a dying black kitten. After several weeks of recovery and treatment procedures, despite losing one eye, the black kitten survived tenaciously with its strong survival instinct. Since then, Angeline has formed a close bond with the black cat. Upon picking up drawing skills, she sketches cat figures, depicting the various brutal and challenging surroundings in which they face during growth, with the hopes of arousing people to allocate relative space, respect, and aid.

Dr Angeline founded BICAST amateur drawing studies class together with a bunch of like-minded friends, organizing drawing exhibitions and art therapy trial classes from time to time. This group of people, coming from various industry backgrounds and equipped with different drawing styles, gain mutual benefits from creativity brainstorms and idea-generation exchanges.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Music : A Quiet Thought

COPYRIGHTS 2018 ECHINOIDEA SDN BHD