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

The sole remaining traditional Cantonese restaurant in Kuala Lumpur situated on the bustling Jalan Pudu for over 70 years, Sek Yuen, means a suitable gathering place. Both the exterior and interior of the restaurant retain its olden charm, the very same fans, tables, and chairs being in use since commence of business, where the marble tabletops became faded due to frequent scrubbing. In the kitchen stood two woodfire stoves and a wood-fired steamer which is seldom seen, the key in producing traditional flavours. Dishes cooked using woodfire stoves have a special taste, without necessity to be complemented by elaborate plating. Apart from making the mouth water, the rich authentic aromas that fill the restaurant transport people back to the past, glimpsing the way of life since 50 years ago. 

Pudu is situated in the outskirts of Kuala Lumpur City Centre, being one of the early Chinese communal settlements, it was called “half jungle” during the end of the 19th century before being fully developed. The British colonial government built a railway station beside the Pudu fire brigade station, transforming the area into a transport hub connecting Jalan Petaling and Jalan Cheras, causing both population and economic boom within Jalan Pudu. The Pudu Wet Market was the main wholesale market, every day crowds flock in since dawn. Back then when entertainment was scarce, there were three cinemas in Pudu, crowds did not disperse until late night. 

Founders of Sek Yuen Restaurant——the three Phang siblings discovered an excellent business opportunity, starting by selling wanton noodles in a roadside food cart, they slowly saved up to purchase a shop lot. In 1948, a simple hut was built at the current site. The whole family worked together, selling dim sum from 5.30A.M. onwards, then noodles and hot food from 11.30A.M. till late night. At the same time, they hosted banquets and feasts, flourishing with guests each night, thus gaining fame and recognition as one of the four major restaurants in Kuala Lumpur. With increasing numbers of banquets, Sek Yuen once imported containers of alcohol, an impressive feat in former times. Even British colonial government officers frequented Sek Yuen, attracting other renowned guests as well. 

In the mid-1950s, having developed rapidly together with Kuala Lumpur city, Sek Yuen was granted approval for building premises. The occupied spot stood out from the row of shops as an individual building, with pyramidal steps at the entrance, “Sek Yuen Restaurant” painted in red against white walls. Another interesting fact is due to the restaurant being located on an odd-numbered row between lots 313 and 315, its lot number is ingeniously assigned as 313/1. As the restaurant prospered, in 1971 Sek Yuen acquired a double-storey air-conditioned building at the neighbouring lot 315, improving its standards so that customers could enjoy delicious dishes in a comfortable environment. During the new site opening, they introduced their in-house research-and-developed Pipa Duck as a signature dish, a must-have to date. 

Since the founding of Sek Yuen, members of the Phang family have devoted themselves to operating the restaurant, upholding the family business established by their patriarchs. Helping out at the restaurant is a collective memory of the younger generations. Some of them work in the restaurant after completing their studies, Pang Yong Sui and Phang Siew Lake from the second generation lead the kitchen and barbecue stations respectively, dedicating their youth to Sek Yuen. Third-generation person-in-charge Phang Kwai Choong respects the elders’ commitment, as a token of gratitude, he returns to help in managing and handling the family business after some years of venturing out. Sek Yuen is now reined by the fourth generation, apart from about a dozen of family members working full-time in the restaurant, the remaining 60-70 family members lend a helping hand every now and then. During Chinese New Year, even the fifth generation comes to help, the entire family busy in the bustling restaurant. 

Modern dietary trends demand for fast service, sophisticated traditional dishes consumption declines, yet loyal gastronomes are still willing to indulge in authentic Cantonese fare at Sek Yuen. The sustenance of Sek Yuen lies in not only cooperative behaviour among family members, but also the involvement of younger generations who bring upon business model innovation to boost revenue. For instance, due to Covid-19, they launched delivery packages through online platforms, delivering tantalizing food to customers in person. Working hand-in-hand, the Phang family strives to maintain Sek Yuen Restaurant.

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 : Wonderland

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Walking downstream of the Melaka River, passing by Jambatan Kampung Jawa with 130 years of history linking Jalan Kampung Pantai and Kampung Jawa, a wooden bridge rebuilt with metal by Chinese businessmen Tan Oon Guan and his two brothers in the late 19th century, who also restructured Kampung Jawa into a “New Street” with well-planned brick houses and developed lanes. Ever since, business activities on both shores got along closely, during daytime the “New Street” is a bustling trade zone, whereas turning into a pleasure-seeking and extravagant entertainment spot upon night-time, an area combining both work and amusement.

A century since, the flourishing “New Street” is long gone, its lanes (Jalan Jawa and Kampung Jawa) receded into serenity, leaving behind double-storey shophouses built in a fusion of Asian and Western styles which was popular back then, housing several traditional shops with over 100 years in existence, taking a sneak peek at former local cultural scenes. Among them, Sin Hiap Hin, a bar established in the 1920’s, maintaining its original British-influenced appearance, the solid wooden bar countertop with a rounded arc is still in use to date.

Pushing apart the red iron shutters, a variety of liquor bottles are arranged on layers of wall racks, the wooden bar countertop is full of marks where liquor glasses were set down over the hundred years. The antique furnishing and interior is never renovated, in the bar sits Aunty Lee Lian Suan, also known as Doris, wife of the 4th generation successor of Sin Hiap Hin. She pours out the customer’s choice of liquor with a smiling face, be it traditional Chinese herbal liquor such as Notoginseng liquor, Acanthopanax bark liquor, Perfect Tonic; beers popular with Caucasians, novelty rice wines, or rose liqueur. The most special type of liquor served being rice wine manufactured in Malacca by Tay Miang Guan Priquor Distillery established in 1908, with a range of innovative flavours such as pandan, lychee, coffee etc.

Sin Hiap Hin holds a liquor retail license granted by the British colonial government, legally selling liquor by the British colonial measurement unit peg, where half peg is equivalent to 30ml and one peg 60ml. Pure liquor is being sold, not mixed with other alcohol, water or soda, only a few ice cubes may be added. In the olden days, this type of bars were popular with fishermen and labourers making a living near Malacca River due to low prices. These customers often got drunk, wreaking havoc and owing credit which they never repaid. Moreover, the upper storey of the shophouse was an opium den where people used to gather to smoke. Sin Hiap Hin survived tenaciously throughout the years despite the turbulent environment, having experienced the British colonisation, the Japanese Occupation, the Federation of Malaya, to finally independence and the forming of Malaysia, still operating in its original site.

Since Aunty Doris married into the family in 1973, besides doing household chores, she also helps her husband and father-in-law to manage the bar. A few years after her father-in-law passed away, her husband’s legs became incapacitated, therefore she has to shoulder all responsibilities on her own. Turning 69 years old, Aunty Doris is probably the oldest bartender. Although selling an array of liquors, she barely drinks, merely looking upon as others enjoy. With a liquor bottle in one hand and steel measurement cup in the other, Aunty Doris pours either amber-coloured or clear liquor into glasses while chatting brightly with customers, making them feel at ease.

Over the forty-odd years, Aunty Doris handles her husband’s family business while taking care of her ill spouse, enduring various hardships to raise four children, as well as purchasing the shophouse they once rented. Eventually elderly regular customers passed away, changes in lifestyle and spending habits caused business to drop. Fortunately in recent years, the bar gained popularity and internet exposure, introducing slight improvements. Aunty Doris witnessed the flourish and decline of “New Street”, former neighbouring hardware shops, gold shops, wooden clog shops, vegetable shops, and barber shops are mostly closed for good. As her children grew up and moved out, the business that she once relied on now helps her to kill time.

In the century-old bar, each cup of liquor sold contains precious memories, accumulated into the ups and downs of a city. Be it tourists with a fleeting visit or regular customers with frequent visits, Aunty Doris does not hesitate in sharing life stories in the historical city.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Michael Lerk
Production Assistant : Michael Lerk
Music : Oakwoord Station – Kind of a Miracle from YouTube

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Charcoal is the first among seven daily necessities, the rest being rice, oil, salt, sauce, vinegar, and tea. Since ancient times, charcoal has been important as fuel in daily life. Cooking food using traditional charcoal-fueled stoves is tricky and laborious, requiring constant attention to the heat and doneness of the food. As the dishes are heated evenly, charcoal fumes lent a special aroma to the food. Besides, charcoal has absorbability properties, therefore water boiled with charcoal is velvety and odorless. Once a must-have in every single household, with the advent of gas and electrical appliances, charcoal has now fallen out of favour, charcoal stores are barely seen nowadays.

On Jalan Trus in Johor Bahru, among the row of shophouses opposite the ancient temple, the large signboard of Yong Heng Charcoal Shop could be seen clearly, the sole remaining charcoal shop in the region. The daughters of the late founder, octogenarian Madam Chong Shen Chen (transliteration) and sexagenarian Madam Chong Lian Chen (transliteration) persisted to work, currently helping their nephew, who is the third generation owner to run this seven-decade old family business.

When Chinese forefathers migrated to Malaysia, they sustained this ancient wisdom of utilising natural resources, for instance mangrove wood, to produce fuel thus solving the most crucial daily needs. In earlier days, street peddlers sold charcoal door-to-door on bicycles or tricycles, some merchants also distributed charcoal from local kilns so that customers may purchase in-store. Upon stepping into the corridor of Yong Heng Charcoal Shop, the mottled wooden plaque hanging on top of the entrance brings you back in time.

Towards the end of the 1940’s, when this plaque was newly hung, charcoal was the mainstream fuel used in cooking. Except for the table in front, the entire shop was filled with bundles of charcoal, the floor and walls stained with charcoal dust. Before plastic packaging became popular, charcoal is delivered in loose piles on lorries from the kiln, requiring scooping manually to transfer the stock into the shop. The charcoal is then sorted according to sizes and tied tightly into paper-wrapped bundles to prevent humidity absorption. Working ceaselessly, the family’s clothes and fingers are smothered in black dust.

Hanging on the wall at the rear of the shop are uniquely-shaped charcoal, a collection by the two Chong sisters, full of fond childhood memories where they work happily together as a family. Since a young age, they have been helping their father in packaging charcoal, therefore whenever they came across charcoal pieces with special shapes, they would keep these natural artwork. At present, charcoal stock comes with complete plastic packaging, without any need to sort, just unload and arrange. As gas stoves and electrical appliances gained popularity due to being more convenient, demand for charcoal declined steeply, only hawkers and customers who persist in using charcoal will make regular purchases. During festival celebrations, sales increase due to preparing customary cuisine. Their usual pastime is looking after the shop as well as chatting with customers and old neighbours, leading a simple and joyful life.

A daily necessity, a traditional industry, a specialty store. Improvement in living conditions meant elimination of certain elements, the kitchen evolved from a dusty environment into a clean and convenient place. There is still demand for charcoal despite its being outdated.

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 : Invisible Beauty

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Cities developed around waterways, people settled along canals. Sungai Segget, the “Mother River” of Johor Bahru, has been an important marine transportation connection since the city’s cultivation in 1855, the basis of the city’s economic growth. In the earlier days, Chinese forefathers who migrated to Johor Bahru settled along the shores of the 4-kilometre long Sungai Segget which naturally split the city into East and West shores. Spurred by famous entrepreneur Mr Wong Ah Fook, the East shore is full of commercial buildings where consumer and entertainment services prevailed, while the West shore is pioneered by the most powerful Kangchu in Peninsular Malaysia Mr Tan Hiok Nee, its longest avenue Jalan Trus is where the local Chinese community mainly convene.

Johor Bahru underwent drastic changes over the past century. Under the Sungai Segget Rejuvenation Project carried out by the city council, merely 300 metres of the river course remain. An ancient temple and most double-storey shophouses were retained on Jalan Trus, however as Chinese guild halls and enterprises gradually moved out, the area transformed into “Little India” with Indian clothing shops, gold shops, and a few old stores which stood for decades, such as Sin Keng Wah Mattress Shop.

Established in 1964, Sin Keng Wah is known for handmade pure cotton pillows, bolsters, baby cots, and other bedding items, as well as customization services. Formerly, the shop was operated by a Singaporean, whom the father of the current proprietor Mr Yeow used to work for. During the economic malaise leading to Singapore’s separation from Malaysia, he decided to sell out, thus Mr Yeow’s father and elder brother bought over and renamed it to Keng Wah. Now the second generation owner, Mr Yeow Sien Soon prefixed a “New” to the shop name since his succession. All the while, they rented the same shoplot from an old landlord who knows them thoroughly, maintaining a fond relationship as he lives upstairs. The ancient plaque bearing “Eng Seng” which hung on the upper left corner of the shop entrance was the signboard of a grocery store the landlord used to operate.

Founded over half a century, Sin Keng Wah earned a good reputation for quality bedding that are fluffy, well ventilated, has thermoregulation effects, as well as absorbs moisture. Mr Yeow uses natural kapok cotton imported from Thailand, without mixing any impurities. Lately there has been a raised awareness of health benefits using pure cotton bedding, especially people with backaches or night sweats, and even newborn babies. Thus they accumulated regular customers including the Johor royal sultanate. By chance, Mr Yeow accepted plenty of customized orders from the royal family, and often visits the palace to measure the respective furnitures, as well as seeking audience with the Johor sultan. He said in jest that despite facing pressure from the stern guards and His Majesty’s grandeur, he is touched by the sultan’s friendly attitude, greeting him with “Ah Pek” in a sonorous voice.

In this era of mechanization, traditional handmade items are getting increasingly rare. Mr Yeow persisted to manually sew bedding, ensuring that kapok fibres are distributed evenly without bulky bits, so that users could fall asleep comfortably. Moreover, the ability to customize different shapes and angles could not be replaced by machinery. The skills involved in manufacturing bedding could not be mastered within a short timeframe. From picking cotton, pinning threads into place, cutting fabric, measuring inlet, to using a sewing machine, the procedures are very challenging. The flexibility of the fabric needs to be taken into account in order to ensure the finished product meets the correct size. Besides, delicate kapok fluff may cause respiratory irritation. To avoid absorbing moisture during storage, kapok is kept in a stifling storeroom. Poor work conditions increased difficulty to hire employees.

63-year-old Mr Yeow inherited the family business for 46 years, recollecting how other two fellow tradesmen in Johor Bahru closed down due to no successors, he is glad that his eldest son Boon Teck takes over this traditional mattress shop. From being an uninterested layman to getting guidance from his strict father, and taking the initiative to explore this trade, Boon Teck is able to work independently after about ten years. Since graduating in 2000, he gave up his ambition of being a painter to stay and help his father in the family business. Moving on, he recognises the cultural value of this trade and sparked interest in designing new products, as well as utilising social media to expand customer base.

The Yeow family passes on the skills of crafting bedding from father to son, the dented sides of the century-old workbench in Sin Keng Wah is where three generations of tradesmen sharpened needles, witnessing that mastery is achieved from experience. The bedding is not only stuffed with pure kapok, but also cultural heritage and warm feelings.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Michael Lerk
Production Assistant : Michael Lerk
Music : Tido Kang from YouTube

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Opposite the mini stadium in Renggam, Johor, there is a row of antique single-storey wooden shops, New Kwong Weng watch shop inconspicuously situated among them for almost nine decades. As its light blue metal shutters slowly open, various grandfather clocks, mantel clocks, and wall clocks come into sight, the regular rhythm of ticking clocks bringing peace to the mind. This historic watch shop is the only place for traditional watch and clock repairs in Renggam, the 2nd generation successor master Chong Lin Kiam is hailed as “Clock and watch doctor” who rescues timepieces. Countless clocks and watches came back to life under his able hands, and there often are clients from Kuala Lumpur or even Singapore who send their collection of luxury watches for repair.

About 40 years ago, master Chong succeeded the shop established by his father in 1932, adding a “New” to the original shop name “Kwong Weng”. The senior Mr Chong used to be a farmer in China who lost his hard-earned savings during a locust disaster in the 1920’s, therefore he moved overseas to make a living in Johor Bahru. He learned the trade of repairing clocks and watches from his fellow hometowner who conducted him to Malaya, and moved to the rapidly developing Renggam by coincidence, setting up his own shop on the busy main street, in a row of the earliest buildings in Renggam town. The narrow space behind the shop which used to be a storeroom was turned into lodgings after being rented by the senior Mr Chong, who brought up several children with this mere trade.

In the earlier days, numerous estate managers and foreign business owners gathered at Renggam, having great demand for clocks and watches repair services, back then there were 2-3 watch shops in town including Kwong Weng. Despite the Japanese occupation of Malaya, the business of watch shops was not affected. The Japanese soldiers were honest and paid up promptly when they sent their watches for repair, only threatening the watch repairers with their weapons upon receiving poor service. Having cautiously operating for over two decades, the senior Mr Chong finally received a trade license from the British colonial government in 1955, as well as another zinc license plate from the Malaysia government in 1975, both well-maintained to date, as master Chong hung them in the shop in honour of his father’s hard work and toil in entrepreneuring.

Master Chong has been helping his father in the shop since teenage, gradually fathoming the mechanical principles of clocks and watches, subsequently inspiring an enthusiasm in repairing them. According to master Chong, beginners should start learning to repair alarm clocks which have larger parts, only switching to repairing watches after grasping the basics and becoming adept. Various tools available in the shop are heirlooms from his father, whereas the array of old spare parts were procured from outstation associates, as some of the watch shops conformed to the changing times to sell electronic watches therefore selling off obsolete mechanical parts. Even though electronic watches are trending, the unique charm of mechanical watches expand their value for collection, watch repairers who are savvy in mechanical principles and have exquisite craftsmanship are particularly sought after. Master Chong’s son also became a watch repairer under his influence, and is now working in the repair department of a luxury watch shop at Kuala Lumpur.

The process of disassembling, cleaning, repairing, and reassembling a luxury watch puts patience to test as well as time-consuming. Fortunately master Chong who has over 50 years of experience in watch repairing still has sharp eyesight and agile hands even though he is nearly 70 years old. Sitting in front of his workbench wearing a loupe, he steadily grips the tweezers, carefully arranging the petite parts on a small white tray, closely inspecting every single detail, striving to find out the exact problem to restore the watch’s functionality and accuracy. Among the luxury watches master Chong often repair are Rolex, Panerai, Omega, Longines etc. Their structures are complex and delicate, the original mechanisms might be accidentally fragmented. Therefore he often purchased European watch magazines to study their technical innovations as well as polish his own skills.

Helmed by two generations, its craftsmanship passing down to the third, New Kwong Weng watch shop stood witness to the changes in watchmaking technology over the years. Quality is upheld by dedication in reviving the heartbeat of mechanical clocks and watches. Watch repair skill is a timeless legacy, allowing mechanical devices to continue measuring time step by step.

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 : Just Stay

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Originating from Kuala Kubu Bharu dam, the 110-kilometres-long and winding Selangor River flows through Kuala Selangor into the sea. Under the blazing sun, on the riverpath along Kampung Kuantan in Kuala Selangor, Uncle Jamaluddin bin Zakaria could be seen paddling a small sampan against the tides, slowly approaching the stifling mangrove forests, starting his day’s gathering job.

Two types of palm tree leaves are usually gathered by Uncle Jamal: Daun Nipah and Daun Sagu/Rumbia. Nipah leaves, also known as Attap leaves, are gathered from Nipah trees which grow in humid swamps, measuring 2-3 inches in width and a few feet in length. Also from the palm family, Sagu trees grow on the shores, with tall tree trunks and narrower but thicker leaves. These two types of leaves are local roofing materials gathered by Malay forefathers. Having good air permeability as well as dispelling heat, attap roofs are suitable for the equatorial climate, commonly used within Malaysian communities.

Upon arriving at his destination, Uncle Jamal ties his boat onto the wooden stump, taking out his parang knife for mandatory sharpening. Having been induced by his parents to this traditional trade since a tender age, Uncle Jamal has decades of experience in gathering, obvious from his adept actions in cutting down sheaths of leaves. Firstly, he stands two pieces of stem vertically to mark the collection point (Celung in Malay). Then, he separates the leaves piece by piece from both sides of the sheath. As the leaves pile up, he peels a fine strand of fibre from the sheath to make a natural rope, to tie up the heap. These skills are mastered and inherited by Uncle Jamal’s family for several generations, demonstrating ancient wisdom in utilizing natural resources.

Uncle Jamal then carries the pile of leaves to unload onto his sampan, and makes his way back with the receding river tides. On the other hand, 65-year-old Aunty Zainab binti Daud sits underneath the tree shades in front of her house, surrounded by Attap leaves and ropes, her nimble finger movements showcasing decades of weaving skills. Aunty Nab arranges and folds Attap leaves neatly onto a thin and long bamboo stick with her left hand, while threading a rope through the two layers of leaves with her right hand. Moments later, a piece of shelterable Attap roof is born under her deft hands.

Since childhood, Aunty Nab followed in her parents’ footsteps, being in charge of both gathering and weaving Attap leaves during her youth, hence she is proficient in the whole process of this traditional folk skill. In the olden days, forefathers ripped Bemban trees sheaths into fine strands to be used as ropes in weaving Attap roofs. As more forest grounds were developed, at present Bemban trees are almost extinct, being replaced by bamboo ropes or plastic ropes. Now that Aunty Nab is getting old in retirement, she still weaves Attap roofs in her free time as a side income. The majority of her life is interwoven with Attap leaves into a brilliant tapestry.

Similar to a giant-sized comb, the woven Attap roof requires one to two weeks of sun-drying. Neatly layered onto the roof beam, a canopy combining both natural and artistic elements is built. Although Attap roofs are durable and appealing, they require regular maintenance, as well as major replacement every few years. Therefore, sturdy and practical materials such as zinc and tiles gradually replaced Attap roofs. However, the lack of air permeability led to a stuffy interior. In this light, Attap roofs still have their unique attractivity, being constantly in demand. Recently trending homestays and themed restaurants employ Attap roof designs to create a sense of rural nostalgia, enabling tourists and customers to experience rustic culture, as well as embrace Mother Nature. Attap roofs are once again in the limelight.

Attap and Sago leaves used to be commonly found in the forests, alas they are increasingly hard to find in recent years, Uncle Jamal needs to travel far away to collect sufficient leaves to cater for orders placed. The development of forest grounds directly impacted the natural growth of plants, and he is forced to enter even more secluded areas to gather. Back to the shores of Kampung Kuantan, there still are 3 to 4 Aunties skilled in weaving Attap roofs who are all over 60 years old, yet persist in weaving 50 to 60 pieces of Attap roofs daily. Perhaps some years later, this centuries-old skill will fade away.

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 : Dreamland

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

In the row of shops on the main street of Simpang Renggam, two ancient wooden shophouses stood out among numerous cement shophouses. Within the wooden shophouse on the left, charcoal ash could be seen floating in the air, alongside with the raucous ringing of hammering iron and sparks flying. Sometimes the ironsmith Mr Lee Sek Seng could be heard playing the erhu or singing folk songs. This is Sang Lee Ironsmith, ran by master Lee with about 60 years of experience, forging sharp and durable knives for the townspeople, as well as playing melodious music on the erhu. His shop name implies prosperity from making iron knives with unrivalled sharpness therefore being the king of shops, such is his expectations when setting up shop. The rustic original interior and furnishings are well maintained over the decades, the mottled plank walls bearing witness to master Lee’s toil in life.

The smithing process is tedious, involving hammering the iron into shape in front of a forge blazing at high temperatures, therefore the prerequisite of being an ironsmith is good physical strength. 75-year-old master Lee is as fit as a fiddle, conversing in a lively manner, playing the erhu or singing during his free time to relieve stress. Master Lee is born in China, following in his father’s footsteps to make a living at Malaysia in 1958, picking up the trade of ironsmithing together with his elder brother. After serving eight years of apprenticeship, he set up his own shop when he was 25 years old, having market foresight to settle down in Simpang Renggam where the fast-growing local agricultural sector brought upon demands for iron tools.

Common tools which master Lee forged include palm harvesting sickles and curved rubber tapping knives. Coincidental with the advance of pineapple plantation in Simpang Renggam, he tailor-made three types of special tools to suit workers’ requirements —— long knives for slashing the tapered pineapple tree leaves, short knives for harvesting pineapples, and bullet-shaped digging tools for planting pineapple shoots. According to the workers’ description and requirements, master Lee manufactured lightweight and suitable tools so that they could perform their duties with ease. These special tools attracted workers from neighbouring regions such as Pekan Nanas who purposely came to purchase.

Music is an inseparable part of master Lee’s life, be it erhu or singing, he never gave up pursuing his interests. He learnt the basics of erhu from his father, and actively joined the Chinese orchestra organized by Simpang Renggam Welfare and Sports Association. Even though the orchestra inevitably disbanded due to constant loss of members, master Lee keep on practicing. Concurrently he is one of the founders of the Simpang Renggam Song Club. Passionate about singing, he sings Hakka folk songs inspired by those sang by hometown neighbours during his childhood. Being without opportunity to receive professional guidance, he attempts his own adaptations, showing his passion.

Mastery in ironsmithing and music is not gained overnight, but through experience acquired over the years. Master Lee’s attitude towards life is full of enthusiasm and patience, consistently learning and improving himself. The clang of hammer striking iron, sentimental erhu melodies, and canorous folk songs harmonize together in the symphony of master Lee’s life.

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 : Moondrops

COPYRIGHTS 2020 ECHINOIDEA SDN BHD