Category: Traditional Trades

At the left of the sewing head on the wooden tabletop, the needle shaft moves up and down in accordance with the pulley wheel and foot pedal. The loop-taker cooperates with the needle to sew or bind fabric using slender thread, leaving a neat row of stitches.

Sewing is a practical life skill even before the invention of sewing machines, as per the poem “thread held by a loving mother, made clothes for her wandering son”. Due to the virtuous practice of frugality, almost all housewives sew or alter clothes for their family. When the sewing machine was first launched, it was a luxurious item only the wealthy could afford. Around the mid-20th century, sewing machines indicated a well-to-do family’s wedding gift or dowry, in combination with bicycle, watch, and radio.

Sewing machines eased the tedious task of sewing by improving efficiency. During Malaysia’s economic boost in the 70s-80s, sewing machines became a household item. However the emergence of fast fashion deemed homemade clothing unstylish, sewing machines became eradicated, being used by only a few families and hobbyists. In the event of malfunctioning, it is difficult to send the sewing machine for repair due to its bulk and weight, hence the demand for on-site repair and service.

A call away, Uncle J.S. Lim departs from Port Dickson in his red minivan to the customer’s site. Carrying a blue toolbox, along with over 40 years of experience in machinery repairs, he proficiently fixes faulty sewing machines. He generally services and adjusts the loop timing, the latter being most crucial. The loop-taker seizes thread from the ascending needle, performing a retrograde movement to ensure stitch formation. Difference by a hair’s breadth may cause the shuttle hook and needle to be out of sync, resulting in skipping stitches, therefore the timing should be precise. From old-fashioned hand crank sewing machines, foot pedalled sewing machines, to modern motorized sewing machines, all restored by Uncle Lim’s skillful hands.

In his teens, Uncle Lim was apprenticed to a shop selling bicycles and sewing machines, learning to repair sewing machines from the shopowner’s daughter who was a tailor. His quick wits enabled him to apply the fundamental principles he mastered to other devices such as chainsaws, lawnmowers, electric generators etc. At 32-33 years old, he set up his own shop, only going into semi-retirement two years ago due to lack of customers. During CMCO this May, Uncle Lim’s daughters suggested him to create a Facebook page offering on-site sewing machine maintenance and repair.

“Uncle Lim Repair Shop” was thus created on Facebook, receiving countless enquiries. Starting from small neighbourhoods within Negeri Sembilan, Uncle Lim carries out on-site repairs, catering to mostly ladies and elderly persons from any racial background. His honest conduct and diligence won praises, his customer base grew. Mrs Lim tags along wherever he goes, chatting with customers while taking videos or photos of the service process and the customers’ satisfaction. These files are then uploaded onto Facebook with touching remarks, attracting more likes and followers.

The Facebook page has created far more job opportunities for Uncle Lim, his services expanded across districts and even across states since RMCO in June. Provided the accumulation of a few malfunctioning sewing machines within the same vicinity is enough to offset his travel expenses, he will proceed to schedule appointments. Uncle Lim and wife both have a happy-go-lucky attitude, treating outstation jobs as domestic travels to destinations such as Bidor, Ipoh, and Kampar. Warm reception from customers relieves them of fatigue, local delicacies delightful to savour. The furthest they went was 400km away to Gerik, where they stayed a few days and repaired over 30 sewing machines.

Besides maintenance and repair services, Uncle Lim promotes the practical usage of sewing machines in daily living, sharing beginner tips and tutorials on his Facebook page. He hopes to encourage more people to use sewing machines, or to regain this skill. Moreover, sewing machines are durable, old-fashioned ones still in use throughout several rural areas. Uncle Lim once serviced a hand crank sewing machine more than 150 years old, a precious family inheritance over three generations.

Though sewing machine repair is a declining industry, the skill is still valuable. Repair smiths like Uncle Lim who are willing to provide on-site services extend the usability of sewing machines, issues faced by perplexed customers resolved, thus escaping the sad fate of being sold as scrap metal. Utilizing modern technology such as social media not only unlocked a new chapter in Uncle Lim’s career, but also the rebirth of sewing machines.

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 : Valentines Day Romantic Piano

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Situated 5km northwest of Ipoh, Kampung Baru Jelapang is a serene rural village of about 2000 households, the majority being Chinese of Hakka and Cantonese descent, leading simple and contented lives. Despite having settled overseas for more than a century, they still practise ancient cultural customs, including traditional paper offerings at funerals.

On Jalan Pasar which cuts across Kampung Baru Jelapang, stands a row of rustic wooden shops with over 60 years of history, the sole paper offerings store selling handmade white lanterns for funerals nestled within. Although no signboard hangs above the mottled plank doors, it is familiar to all village folks as the “papercraft man” is a household name.

Currently handled by the octogenarian “papercraft lady” Kwan Lean Tay, for decades the shop opens from 6A.M. until noon. The shop has a range of offering items, joss paper and candles supplied by traders, while paper offerings such as deity statues, clothing, and horses, are handmade by her husband Mr Lee Look Sang and her second son Lee Wan Wah.

Madam Kwan devoted the better part of her life to her family and the shop. At 18 years old, she married Mr Lee who used to work at a paper offering shop in Paloh (Ipoh’s former name). They then started their own venture, struggling to make ends meet as the village was under curfew. Facing difficulty in securing premises, they finally managed to purchase the current site. Ever since, husband and wife work together in selling paper offerings, fulfilling filial duty to their parents, and bringing up four children. After her husband’s death last year, Madam Kwan remained in the shop alone, sustaining the small business with help from her son.

Mr Lee Look Sang, nicknamed the “papercraft man”, was renowned for his proficiency in producing fine paper offering items such as clothing, horses, and bicycles. He was also a fortune-teller who could decipher the Chinese Almanac to pick auspicious dates, as well as decipher the Book of Three Lifetimes to help customers pray that things go well. Singaporean customers would purposely telephone overseas to consult Mr Lee. The easygoing Mr Lee did not charge customers a specific fee, a red packet of any amount would do instead. Madam Kwan always gave discounts to regular customers, as she did not engage any worker, and cherish close relationships. Therefore local villagers who moved elsewhere always return to make purchases at this rustic hut.

The second generation heir, nicknamed the “papercraft lad”, Lee Wan Wah mastered his father’s skills, and could single-handedly produce a dozen types of paper offerings including houses, golden and silver bridges, golden and silver hills, boys and girls, coin trees, lazy chairs, and cars. During his childhood, his mother often brought him along to the shop. Stirred by curiosity, he started helping his father to make paper offerings when he was 16 years old. He then took his father’s advice to pick up another skill, thus becoming apprenticed to a tailor in Paloh. Upon completing his apprenticeship, he returned to work in Kampung Baru Jelapang while also helping his father to produce paper offerings. As Uncle Lee realised that the tailor industry is declining, he thought of a brilliant idea: to make life-sized paper clothing. He surveyed departmental stores for designs. “Actual Faking” was popular for a time, even Singaporean traders discovered its market potential.

Due to advancing age, currently Uncle Lee only accepts orders for small scale common funeral offerings, instead of the wide variety produced by his counterparts. His workshop is set up beside his house, starting from the basic procedure of making the frame, shredding attap into appropriate thickness and bend according to size and height, finishing by pasting paper. Uncle Lee also finds pleasure in his work. Due to his passion for calligraphy, he did not progress to computerized printing, but sticking to the tradition. Each lantern he made bears his tidy calligraphy. Some of his paper offerings are on display at his mother’s old shop, others are kept in the workshop or delivered to customers.

As lifestyles change, people are less superstitious, younger generations no longer worship deities at home. Yet Uncle Lee is confident that paper offerings would not be wiped out since the religious goods business is still thriving. However offerings are gradually simplified, customers generally ask traders for set packs, or buy substandard set packs online from China. Handiwork that used to be a livelihood has been commercialized into a different business model. Youth nowadays being uninterested in this industry, none of Uncle Lee’s children are willing to inherit, the skills of making paper offerings may be lost after having sustained two generations.

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 : Is A Solo Piano

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Rice wine making is a novelty of the CháoShàn population. Blessed with bountiful mountain streams and paddy fields, CháoShàn was famous for sweet rice wine since the Northern Song dynasty. At the beginning of the 20th century, Tay Chek Soo founded ‘Tay Miang Huat’ wine distribution company and ‘Miang Miang’ distillery in ShànTóu city of China. Together with his four younger brothers, they became established in the industry. Three years later, their operations expanded to Singapore and across Malaysia. In Melaka, a store at Jalan Pantai and a distillery at Bukit Cina were set up under ‘Tay Miang Guan’. In Kuala Lumpur, a shop at Kuchai Lama and a distillery at Petaling Jaya were set up under ‘Tong Ah’. Though a distillery was set up in Penang, it was later destroyed during the Japanese Occupation.

Among the handful of liquor manufacturing licenses approved by the Malaysian government, the Tay family acquired two, one of them for Tong Ah Distillery. Inaugurated in 1954, it was the first industrial warehouse in Section 51, Petaling Jaya. Over half a century, Tong Ah keeps up the traditional way of producing samsu and liqueur, the equipment and tools in the distillery being in use since its commencement of business. The white European-style building stood the test of time since colonial rule, and bore witness to three generations of inheritance. The marketing manager, Jason Tay, is the grandson of the founder. Jason’s father was also committed to the distillery for the better part of his life as a microbiologist.

Since the tender age of three, Jason tagged along as his father went to work, enjoying the attention of many uncles and aunties who helped him to build castles out of empty cartons. He even had a photo of himself posing on a forklift. Eventually as he grew up, he started sharing menial tasks in the distillery, such as brushing logos onto cartons and moving cartons, until he went abroad in the 80’s. While studying engineering in the United Kingdom, Jason remain firmly attached to his family, therefore he also enrolled in courses at a prestigious brewery institute. Later on, instead of settling down in the UK, Jason chose to return to Malaysia to be with his family.

Jason recollected childhood memories when the distillery business was thriving, up to 50 staff members hailing from varying racial backgrounds work together in harmony. About 20 of them were involved in fermentation and distillation procedures, then a blend master blends the alcohol. There were also Malay staff who mainly clean and dry glass bottles. Another dozen staff were in charge of bottling, putting on product stickers, and packing into cartons. Dwindling demand for rice wine, as well as reluctance to work in 3D industries, led to reduced workforce in the distillery now.

A couple of senior employees remain in Tong Ah, including Eddie, who has been a distiller for 30-odd years, and Manjit, who is a second-generation staff. Manjit operates the industrial steam boiler, which generates hot water and steam for distillation. Manjit’s father was the first-generation boiler operator, familiar with its structure, parts, standard operating procedures, and daily maintenance. The boiler has many potential hazards which may result in explosion, therefore the operator must be very attentive as to prevent unfortunate incidents. Hence, Manjit was apprenticed to his father and later on succeeded his position in the distillery.

A distiller also plays a key role in the distillery, overseeing the fermentation and distillation processes. Also a third-generation descendant of the Tay family, Eddie and Jason are cousins. Eddie joined the distillery to fulfill his father’s wish, starting off with the basics and mastered the work routine. First of all, the rice is steamed in a huge pot, let cool, and mixed with yeast for pre-fermentation. He adds sugar and water to enhance the conversion of starch into alcohol, the mixture is then transferred to an underground tank for 1-2 weeks of anaerobic fermentation. After that, the alcohol is pumped to the distillation column through roof pipes, where steam is injected from the boiler for vaporization.

At present, Tong Ah uses a post-World War II French fractionating column. Liquid alcohol flows through the column, impeded by a series of plates which continuously allow alcohol to evaporate and rise, and water to condense. Hence, each segment towards the top of the column yields a higher alcohol content. Eddie needs to control the operating temperature below 100°C, so that water does not evaporate and dilute the alcohol. He observes the distilled alcohol through a viewing glass, employing a hydrometer to test the density, which ideally achieve 70%.

The distilled alcohol flows into a tank in the bonded warehouse, and transferred into standard 270L drums for batch quantity calculation and storage. To ease customs inspection and audit, Eddie marks the product code, batch and manufacture date on a wooden post. The distilled alcohol then undergoes mixing by the blendmaster, and infused for a few days in blending tanks before bottling. Prior to distribution and sale, excise duty must be paid and excise stamps affixed to the bottles. A number of Hakka restaurants in Kuala Lumpur use ‘Tong Ah Sam Ching’, ‘Wu Chia Pi’ and ‘Mei Kwai Lau’ in their cooking, whereas ‘Good Luck Hiong Ng’ and ‘White Stag’ are popular with bak kut teh restaurants. Meanwhile ‘Wu Chia Pi’ is also used as ritual offerings, ‘White Stag’ for confinement food, and the elderly consume medicinal liquors.

In the event of Jason’s father death two years ago, Jason resolved to invigorate the distillery’s former glory, so that this century-old craftsmanship gains better exposure. Complying with current trends, Tong Ah produces glutinous rice wine with a variety of innovative flavours, as well as adopting social media marketing. On the other hand, the distillery is open for tours, Jason is happy to share his knowledge.

Online Shop：https://farmersbar.com.my/collections/vendors?q=Malacca%20Rice%20Wine

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 : Valentine

COPYRIGHTS 2020 ECHINOIDEA SDN BHD