Category: Traditional Trades

Along with the snipping sounds of scissors, cascades of hair fall onto the ground, the barber deftly maneuvers a pair of small scissors, cleanly clipping from beside the ears, in front of the forehead, and the back of the head. In a row of half-century old shops situated near Simpang Renggam Wet Market, spot Kedai Gunting Liong Yu with clear glass panes on its wooden walls and door. The interior of the shop is simple and inelaborate, consisting of two barber chairs which are over 50 years old and all sorts of barber tools, among these a wooden plank used for elevating children on the seat, unchanged since the opening of the shop. However the traditional manual hand cutting method using scissors is replaced by electrical shears.

Traditional barber shops are commonly found in small towns, with an economical modest price, offering honest service ranging from half an hour to one whole hour. It is entirely different from 15-minute speed haircut shops found in shopping malls which offer convenient and fast service for city folk leading a hectic lifestyle. In recent years, branded hair salon chains blossomed, with ornate interior furnishing and advanced equipment, hair stylists on duty all graduated from vocational colleges. Besides hair wash, cut and blow dry, they also offer services such as dyeing, perm, hairstyle design, and even hair treatment and nail decoration, at a startling exorbitant price. In comparison, customers of traditional barber shops enjoy a more substantial service, not only obtaining a neat and clean hairstyle, there are also additional options such as facial hair removing, beard trimming, as well as earwax removal, an exceptional service rarely seen in barber shops.

83-year-old Master Yu Yee Kong still has eyes like a hawk, carefully performing earwax removal by the dim lighting of a yellow light bulb, with antiseptic liquid and a set of tools made of silver consisting of an ear pick, extraction forceps, and ear rake. In the case of accidental injuries, silver tools would not cause infection. Mr Yu has been performing haircuts on up to four generations of local residents, he is especially eloquent when talking about the barbering industry and the treasurable tools used. Among his regular customers, there are some whose father brought them for a haircut since childhood, till now they work overseas and still visit his barber shop whenever back in their hometown. At present, the main customers of Mr Yu are local Malays and Chinese, mostly of the older generation, just a handful of children.

Reminiscing his life as an apprentice at Singapore in his teenage years, Mr Yu endured financial hardships with his constant persistence, working hard throughout his 18-month apprenticeship. In the earlier days where there was a lack of job openings, by picking up a skill Mr Yu mastered a trade which enabled him to work independently and support himself financially. Back then barbering was one of those rare jobs which does not require hard labour, no exposure to extreme weather conditions, able to generate a stable income and address essential needs. Often moving around since he started working, Mr Yu came across an opportunity to establish his own shop in his hometown. The original price list during setting up shop in 1968, a piece of calligraphy by Mr Yu’s friend, is well kept until the present, memorabilia of his challenging journey of being a barber, as well as a witness to the changes in the barbering industry.

With the passage of time, humane touch and warm memories fill the old shop front. From the ever-competitive past of traditional barber shops, to the decline in market demand causing barbers to relocate or switch careers, till now barbers within the same generation as Mr Yu eventually retire or pass away. Although the operating days are getting shorter, the relationship with customers become longer.

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 : Ivory Dreams from SerenityStudio

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

At 6A.M. before dawn, Aunty Liew Chiew Moy is well prepared, carefully riding her motorcycle from her house towards the pineapple plantation in Simpang Renggam. Rows of pineapple trees forming a vast, boundless sea of pineapples welcome her. Aunty Liew proceeded slowly but steadily on the yellow mud road until the center of the plantation, gathering with her colleagues. Before starting the day’s work, they prepare their tools and protective equipment, for instance sharpening knives, wearing gloves and sunhat, get ready before starting to harvest pineapples. Not only is Aunty Liew the most senior worker in the plantation, she is also the only remaining Chinese lady worker.

Simpang Renggam is located in the mid section of Johor, close to the North-South Expressway, where the largest pineapple plantation in Malaysia is. The soil in the region is peat, formed from decomposed organic mass, having the advantages of being loose and good air circulation. Moreover, plentiful rainfall makes it an ideal place for planting pineapples. Pineapple plantation industry in Simpang Renggam started from the 50’s, achieving its peak in the 60’s to 70’s, becoming the main economic activity of the local population. Among them, Peninsula Plantation Sdn Bhd where Aunty Liew is attached, is the largest plantation in the vicinity, its surface area over 6,000 acres, with up to 400,000 pineapple trees.

Since a teenager, Aunty Liew has been working with pineapples for over half a century. Under the influence of her parents, she started working at 15 years old, having experience in grass-cutting, sowing pineapple seedlings, until focusing on harvesting pineapples as of now. At the age of 68 years old, she is still as fit as a fiddle, carrying a 50 kilograms basket on her back without any problem. Aunty Liew gets along well with her colleagues, always greeting each other warmly and showing concern for each other’s well being. They work diligently together as a team for three to four hours a day. Back then during peak seasons, they sometimes work for 8 to 9 hours per day. Even though the weather is extremely hot, they could still be seen harvesting pineapples from the low pineapple trees.

Pineapples grow in different positions on the tree, therefore the job of harvesting is difficult to replace by machinery, having to rely on traditional manpower. Aunty Liew grabs hold of the golden yellow fruit, with a swing of the knife, the fruit is separated from its stem, she then throws the harvested pineapple into the rattan basket on her back, developing deft “back air shot” skills over the years. Although the job itself is not difficult, there are several risks, including stumbling upon low leaves, which may have to be pared off on the way into the plantation to ensure a smooth journey. In the earlier days the plantation is adjacent to forests, bumping into pythons and wild hogs from time to time is a scary experience. Aunty Liew still trembles when reminiscing that she once accidentally cut a beehive, luckily her colleagues alerted each other to run for their lives, no harm was done.

Aunty Liew has been through the rise and fall of the pineapple plantation industry, witnessing on her own the plantation staff changed from a majority of Chinese to now mostly Malays and foreign labourers. As her friends eventually retired, she became the last Chinese lady worker in the plantation. Defending her duty for the most of her life, yet still passionate about her job, Aunty Liew’s dedication is much admirable.

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 : Dancing Star

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Early in the morning, when moist fogs still permeate the air, the old house surrounded by tall and straight palm trees, 64-year-old Seah Tiam Chai sorts out his tools in front of the doorstep, packing them onto his motorcycle and rides to the small jetty nearby in preparation to go out to the sea for prawning. Dozens of small fishing boats are parked in the intertidal zone of the estuary, with mangrove forests all over, the rivershore is not deep, Mr Seah races against time to steer his boat out of the estuary before the tide ebbs. As a layer of golden rays pop up from the horizon, and the sky gradually brightens, the motor of the boat is already ignited, sailing towards the unpredictable sea.

Since his childhood years, Mr Seah has a close relationship with the sea, accompanying his elder brother in deep sea fishing at the age of 10, picking up fishing skills and knowledge from his two elder brothers. When he was 13, he went out to sea alone in a sampan, without an engine in the olden days, rowing manually and cast a net to catch fish and prawns. Mr Seah is much experienced in sailing at sea, in his 50 years of fishing he used fishing nets of various sizes, catching different fishes according the different mesh sizes. In his youth he used to steer a fishing boat with medium horsepower, often witnessing and experiencing pirate attacks, being robbed off the fish that he worked hard to catch, the industry having a high degree of risk. Among all risks, natural hazards especially storms are beyond control.

The opposite shores invisible across the boundless blue sea, the five-metre long fishing boat seems extremely meagre, unable to withstand slightly stronger waves, even more at a loss against the sudden occurence of natural hazards. Any storms or strong waves cause direct harm to a fisherman’s production, and even life. Mr Seah’s fishing boat is not big, with sufficient room for three persons, with the addition of fishing tools and operation, the narrow boat has barely room for one to two persons to move about. Hence usually Mr Seah works alone, fishing at sea on his own.

After deciding on a suitable spot, he starts to cast prawning nets piece by piece into the sea. Twenty pieces of prawning nets forming into a fishing net, laying horizontal in the sea, the half-kilometre long shaped net drifting along with the tides, when fish and prawns pass through they will be caught in the mesh, this traditional and widely used fishing method is named: Gillnetting. Due to the fishing net being set up on the migration pathway of the schools of fish, catching them all regardless of size. An hour afterwards, Mr Seah draws up the net, keeping the prawns that are entangled on the mesh fresh by freezing them with ice, the rest of the fish will be further processed upon returning to the jetty.

Besides the unpredictable natural factors, industrial development in recent years brought upon environmental damage, endangering the fishing industry in Chuah area, especially with the construction of two power stations at the seaside. The lessening of mangrove forests and the changes in water quality caused reduction or damage to the natural habitat of prawns, directly impacting Mr Seah and his livelihood, the amount of his catch declined more than a half from usual. The fishing industry which faced higher risks than the general industries on the ground is dealt with a heavier blow.

The open-minded and optimistic Mr Seah does not wish for riches, nor did he encourage his children to work in the fishing industry. He leads a rustic life in the 50-year-old cottage which houses three generations, enjoying delightful family times with his wife and granddaughter.

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 : Michael Lerk
Production Assistant : Michael Lerk
Music : Peder B. Helland – Our Journey from YouTube

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

The Ferryman. Sailing on rivers, cruising across two shores, ferrying people across the Sepang river, handling a small ferry, closing the gap between two states, and ease countless passengers who cross the river. The Tang family has been operating at this jetty for three generations, never ceasing in maintaining this travel passage for inhabitants from these two shores.

The Sepang river flows between the states of Negeri Sembilan and Selangor, a work of nature separating two states. Not only is Sepang river the source of living for neighbouring villagers, it also bridges economical activity for residents from both ends. Transportation via water plays an important role, especially between Sungai Pelek located in the southeast part of Selangor and Bukit Pelanduk located at the northwest of Negeri Sembilan.

In the earlier days where land transportation were not developed, the inhabitants in the proximity are dependent on the boat service, where students go to school, housewives go shopping, farmers go to work, and more on. The scene back then was extremely busy, with plenty of boats crossing to and fro the river. In the golden era, there were plenty of boat and ferry services along the riverside, with some running their own independent business by building a simple jetty in their own territory. Since the traffic system connecting with the city were developed and roads were built, for now there is only one remaining ferry service.

The 63-year-old ferryman, who goes by Tang Kah Chai, navigates the small ferry skilfully over the shores of Negeri Sembilan (Bukit Pelanduk) and Selangor (Sungai Pelek) on a daily basis, fetching batches of passengers across the river. The family business is now in the third generation. During the Japanese occupation, Tang’s grandfather initiated the business with a small sampan rowed manually. It was hard work. In the recent decades, evolution of technology made life easier for boatmen and ferrymen, as the boats and ferries are powered by engine. This also boosted the safety of passengers, as well as increases the number of passengers each trip.

The river surface is about 150 metres wide, the trip across the shores only takes a couple of minutes, yet it employs the services of three generations of ferrymen for almost 80 years. They even earned the regard of the local community. A short encounter on the ferry daily makes passengers familiar with the ferryman, chit-chatting while on the ferry makes them more close knit, and illustrates a warm affection for each other.

Even though nowadays the traffic system is completed, the communion between Bukit Pelanduk and Sungai Pelek on the opposite side since settling in for half a century, where their living and economy has long been inseparable, however there is still no news about a bridge construction plan that the local residents were looking forward to for ages. The main communication and transport channels are travelling 20 minutes by land or two minutes by water.

Since ferries powered by engines replaced manual rowing, the tickets inflated from just a few cents to 50 cents. As the last ferryman in three generations of the Tang family, Tang Kah Chai remains committed steadfastly, crossing the river daily from early morning to the evening all year long.

For now, the two families of Tang and Chong taking turns weekly to be in charge of the jetty.

Text: Daniel Lim

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 : Touching from Ashamaluev Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Wearing a protective eye mask, then simply wrapping the nose and mouth with a rag to block fumes and metal dust. These are the standard procedures practised daily by octogenarian Master Lim Chang Wan (transliteration). The blazing charcoal fire burns through the steel, turning it bright red. Striking while the iron is hot, husband and wife joined forces to pinch and hammer, cutting the steel bar into small pieces. After that, the steel is beaten into shape with the use of an air forging hammer and an iron hammer. The shaped steel is then returned to the fireplace to be burned until red. With the above steps repeated over and over again, only could the raw steel be shaped. The final step is quenching, which is air-hardening. Putting the red-hot steel into a liquid for immediate cooling can enhance the hardness and strength, this process puts the ironsmith’s skills to test.

Having almost 100 years of history, the blue single-storey antique wooden shop lot is covered beneath tree shades, nestled in the old streets of Pasir Penambang, is the iron shop Chuan Lee Chan. More than half of a century ago, Master Lim Chang Wan (transliteration) who was born in Klang relocated to Pasir Penambang with his family in 1952. His father who was also an ironsmith bought the shop, negotiated with the ex-shop owner to continue using his signboard, and started running his own iron shop. Lim Chang Wan (transliteration) and his elder brother followed in their father’s footsteps to manufacture knives since they were teenagers.

At the beginning stage, competition was intense, as knives are durable unlike daily supplies. The Lim siblings learned the forte from others in the industry to enhance their skills. Not only so, they also personally sell the knives they made to other areas, such as Sasaran, Kapar, Banting, and Tanjung Sepat. After decades of diligence and contribution, Chuan Lee Chan gained recognition around 1982, as word of mouth spread and customers came to purchase and place customised orders. As their business stabilised, they stopped selling knives in other areas.

As times moved on, the elderly Master Lim is still energetic and enthusiastic. Although he is downcast that traditional household ironsmith could not compete with industrialised manufacturers in terms of high production numbers and low costs, Master Lim enjoys forging knives as usual, and immerses himself in it, especially when receiving praise from the customers. Customers are willing to purchase a better quality knife at a higher price, especially plantation owners in the neighbouring areas. As the saying goes, “To work efficiently, your tools must be sharp”. The sharp and durable knives Master Lim manufactured not only helped increase productivity at the plantations, his ironsmith store earned a good reputation as well, in a win-win situation.

Master Lim has been working with knives for 65 years, and experienced the ups and downs in the ironsmith industry. Half-retiring, he no longer accepts large numbers of orders or large projects. He still operates on a daily basis, providing walk-in customers from all backgrounds knife sharpening and air-hardening services. He also sells a variety of knives sourced elsewhere. None of his three children were interested in taking up the labouring trade. The metal tools produced by hard labour of ironsmiths, the sounds of the hammer striking, and one by one the household iron shops may become obsolete, vanishing from sight.

The blue wooden shop lot underneath the trees’ shades, and the ’22’ mark on the knives, Lim Chang Wan (transliteration) has been hammering most of his 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 : Amelia Lim
Production Assistant : Michael Lerk
Music : Lightly Upon The Surface from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Walking along the narrow road across the grove, you may spot a few irregular-shaped big stones between the grass and trees, some of them with traces of cutting. At the end of the winding path, you may hear loud hammering. Looking over to the source of the noise, there is a small wooden shed hidden within lush green bushes and branches. The shed is made up of rustic wood and a few pieces of zinc, scattered around are some iron chisels and hammers, as well as nearly a hundred of granite pieces. These are long-time friends of Master Kuah Leong Chuan, who has been keeping up the ancestral business for over forty years.

The crude and unremarkable tiny shed is located in Kuala Selangor, beside the main road of Kuala Selangor bridge. In the past few decades, it has witnessed the birth of countless tomb stones, mostly those of muslims called ‘Batu Nisan’. All these are the works of Master Kuah, who himself pick the stone, cut, and then carefully carve into shape. He even writes and carves the Jawi words on the grave stone too.

Mr Kuah, who is 64 years old, and his elder brother have been helping his father running the family business since young. Their family has been stone smiths for four generations. Since Mr Kuah’s great-grandfather migrated overseas from China to Malaysia, the family made a living by carving holy figures and stone lions for temples, whereas Mr Kuah’s father worked on stone tools like mortar and pestle, stone mills etc. When Mr Kuah graduated from high school, he went into business together with his elder brother until now. They are the fifth generation of the trade, now they mainly craft and sell grave stones, instead of stone tools.

Material sourcing, material selection, and carving are all done locally. For the past forty over years, Master Kuah has been using granite from the hills nearby, which used to be a famous stone quarry during the British colonisation era. Due to the granite stones being of high quality, in the heyday of stone craft, there were five or six families of stone smiths who set up workshop in the same hill area. Having been through decades of stone mining, the number of stones in the quarry were not exhausted, on the contrary the stones surprisingly grew into an infinity number. Master Kuah named those as ‘living stones’, as these unique granite did not corrode but expand over time. Such a trait is greatly popular among the Malay community.

The process of transforming a huge solid stone to a piece of tomb stone exhibits Master Kuah’s skills and expertise. From deducing the stone’s age by its pattern, determining the quality by the stone’s surface, the artful skills of cutting open the stone, to self taught Jawi, not many stone smiths can achieve such a feat on their own.

As times progress, some of the traditional trades and skills might be drowned in the swift development. Fellow stone smiths in Kuala Selangor either retire or concluded business, and Master Kuah’s brother with whom he has been working hand in hand over the years became unable to shoulder such tedious work due to illness. As he has no children, and no apprentice, now there is just Master Kuah carving away all alone in the little wooden shed beneath the trees shade.

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 : Dyathon – Hope from YouTube

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

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

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

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

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

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

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

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Evon Pang
Production Assistant : Michael Lerk
Music : Wedding Day from Youtube

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

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

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

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

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

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

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Production Assistant : Michael Lerk
Music : Touching Moment

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

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

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

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

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

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Evon Pang
Production Assistant : Michael Lerk
Music : Sun in Your Eyes from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

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

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

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

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

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Production Assistant : Michael Lerk
Music : Beneath The Moonlight

COPYRIGHTS 2019 ECHINOIDEA SDN BHD