Category: Traditional Trades

More than fifty huge glass jars with red lids, and metal tins neatly arranged on metal shelves, from low to high, layer by layer, containing a wide variety of traditional biscuits and snacks, in a dazzling array of nearly a hundred flavours. Kwong Sang Woh, located in Kajang’s old town, has been in business since 1907, staying in the same address for over a century, retaining the brick arcade architecture. 87-year-old Siew Pak Chong is the second generation owner, still quick-witted and alert despite his old age. He is a fixture at the shop counter, where he collects payments or chit-chat with his friends. 

Originally a grocery store, Kwong Sang Woh mainly sells daily supplies, and also a few biscuits. Since his son Siew Zi Kin (transliteration) and daughter-in-law Tan Bee Kien took over the reins, the shop gradually underwent a series of changes to specialize in selling traditional biscuits, their means of surviving business hardships faced by traditional grocery stores. Their customer base has also expanded outside ethnic Chinese to include other races such as Malays and Indians, and they are always busy. 

The golden era of grocery stores dated back in the 1950’s and 60’s, where you could find one almost everywhere, be it hustling streets or remote villages. Besides providing day-to-day goods, grocery stores also function as a uniting spot for the community to exchange information and build relationships.

With the rapid economic growth and changes in the consumer market, dawns the elimination of traditional grocery stores. Chain hypermarkets, supermarkets, and mini marts spring up in residential neighbourhoods like mushrooms after the rain, dealing a heavy blow to traditional grocery stores. How would traditional grocery stores stand against pressure from the market segment, internet, monopolization, and operation difficulties, would be a topic worth exploring.

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 : Aardvark Sunrise from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Be it in red or original clay colour, charcoal stoves were once a must-have kitchen equipment in every household, lending a unique charcoal aroma to foods cooked on it. Besides, charcoal stoves could be sighted on the traditional ceremonies of moving into a new house or ancestor worshipping, in order to pray for good luck or get rid of bad luck by stepping over a stove with burning charcoals. As times change, the convenience of gas stoves, as well as the increase of environmental friendliness lead to a steep decline in the demand of charcoal stoves, causing a slump in the local manufacturing of traditional charcoal stoves.

At the riverside area of Jalan Kuala Kangsar in Ipoh, there is still one family working in the industry of charcoal stove manufacturing who persists in using a traditional kiln. Mr Foong Cheah Thong is the second generation successor of Ban Li Stove Factory, a simple erection under an old zinc roof which houses two small workshops, a kiln, and an empty space. Over five decades, the factory is family-run under a small capital.

The manufacturing process of a traditional charcoal stove is time-consuming and strenuous, the work environment stifling hot, even foreign labourers are unable to endure the harshness of this industry. Market demand for charcoal stoves is lacklustre, with the increase in production costs, the profit margin is quite faint. Moreover, from time to time people complain about the environmental issue of heavy smoke erupting from the kiln to the authorities, which prompted inspection visits from the ministry of environmental health. Apart from receiving complaints, compounds were issued due to their inability in getting a legal operating license.

Despite the various challenges and blows, Mr Foong and his family are tenacious in keeping the family trade alive. The hard work involved in a seemingly simple charcoal stove is difficult to perceive by onlookers.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Music : The Back Porch from Felt Music

COPYRIGHTS 2018 ECHINOIDEA SDN BHD

As early as 5000 years ago, the ancient people are already equipped with the knowledge of putting shaped piles of mud into holes for firing. Whereas the dragon kiln is the traditional way of firing ceramics in China, with its history tracing over 2000 years back to the Warring States Period. The dragon kiln is a long tunnel-shaped kiln, usually built on hillslopes, from the bottom to the top, utilizing the feature of height differences in the slope and the theory of rising flames, the design showcasing the wisdom of the ancient people.

The name ‘dragon kiln’ is attributable to the shape and sloping build similar to that of a crouching dragon, the interior is built by laying bricks, and the exterior is welded using clay. The structure of the dragon kiln is divided into three sections: kiln inlet, kiln floor, and kiln outlet. The kiln inlet is built downhill, mainly functioning as the fuel chamber, and is also known as dragon head. The kiln floor is a dome-like vault, and is made up of hoppers for firing ceramics. The chimney where the furnace spread backwards to discharge is the kiln outlet, namely dragon tail. As the operational cost for running a dragon kiln is high, labour-consuming, and has high requirements for pottery firing skills and exquisite control over the temperature used, dragon kilns are gradually replaced by modernized electrical kilns.

At present, two ancient dragon kilns remain at Sin Cheak Seng in Ipoh. According to the person-in-charge Mr Chin Kam Peng, clay mud of high quality could be found along Ipoh’s Jalan Kuala Kangsar in the earlier days. In the golden age of the pottery industry, there were over 60 dragon kilns, globally famous for their excellent pottery. Due to the riverside topography is unable to house the traditional sloping dragon kilns, the potters make changes to suit the circumstances by building flat dragon kilns, which is a feat in itself.

With the diminishing of the pottery industry, abandoned dragon kilns were dismantled one by one, Mr Chin heaved a heavy sigh. Nevertheless in recent years, a few local pottery artists spurred the spirit of crafting wood-fired ceramics. As if awakening the unextinguished dragon kiln fire inside Mr Chin’s heart, employing his amazing skills in kiln-building, he rebuilt two mini dragon kilns using the red bricks from dismantled ancient dragon kilns for the usage of pottery hobbyists, with the hope of promoting the craft of wood-fired pottery.

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
Music : Laki from Felt Music

COPYRIGHTS 2018 ECHINOIDEA SDN BHD

Unity between brothers, having a strong sibling bond. 

The traditional trade of manufacturing stainless steel goods is gradually going downhill, but in an old shop lot at Jinjang, four brothers work under the same roof, each sticking to their own duties. The Yong (transliteration) brothers inherited the family business, and are the third generation managers. Since the establishment of Jinjang village till now, they never relocated, providing their services to this neighbourhood. 

A wide array of stainless steel products are showcased in the shop, from household utensils such as buckets, plates, bottles and cans, to large appliances which are in demand from hawkers and food and beverages operators, as well as offering customization options. The manufacturing process requires particular skills and craft of the smiths, from drawing a blueprint, to cutting a large piece of galvanized iron and hammering it to shape, then converging and soldering each part together to build. Besides, the shop also offers repair services for customers who wish to prolong the usability of their utensils, to achieve reuse and reduce. 

Handmade metal utensils are doubtlessly durable. However, in the 21st century where speed and efficiency comes first, durability is no longer of importance. Moreover, with the prevalence of plastic and its cheap cost, people are getting used to disposable products. The Yong brothers are facing a succession crisis, while their eldest brother retired, the rest of the brothers continue with their busy knocking and striking in the stainless steel store, persevering.

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
Music : Reynisfjall from Felt Music

COPYRIGHTS 2018 ECHINOIDEA SDN BHD

A kind of salty ocean scent waft through the air, mingled with all sorts of dried seafood. Upon setting foot in Kwang Yeow Heng, the classical 60’s/70’s seafood shop design and furnishing, the wide range of dried seafood neatly arranged from the inside to the outside of the shop, reminding people of old times.

This dried marine goods store located near the Central Market has been operating for over half a century, a well-established brand familiar to the neighbourhood, and is the only marine products specialty store in the area. The founder of Kwang Yeow Heng, Mr Hiah Siak Kee, is a nonagenarian. He recollects the hardships back in the early days while setting up the business, leaving his hometown in Teochew, China to migrate southwards to Malaysia, struggling to survive, being more hardworking than the others, did not dare slack off in the slightest. At present, Kwang Yeow Heng is among the top marine goods stores in Kuala Lumpur, systematic to an extent be it retail or wholesale. They also have their own brand of canned abalone, which is largely popular.

At Mr Hiah’s advanced age, the duty of succeeding Kwang Yeow Heng lies on his son-in-law, Mr Tee Xu Kai (transliteration), bearing witness to the great changes through time. At the moment, people would consider to sell the shop in this expensive city and to enjoy retirement. There are but few traditional stores still remaining to date, which is comforting. By progressing together with the times, only we can remain standing firmly.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Music : John Snow from Felt Music

COPYRIGHTS 2018 ECHINOIDEA SDN BHD

“Lotuses are good!” (Cantonese direct translation: Every year is good), describing this pair of sisters in the Yap family: Good Sister and Lotus Sister.

Beneath the carpark of an ancient building located in an alley behind Jalan Sultan, a big sunshade umbrella, two wooden benches, two pails, several pieces of sharpening stones, one sitting in front and the other at the back, the two sisters work in the space between the carpark and a pillar for half a century, sharpening knives for the neighbourhood and customers, regardless of the weather.

The Yap sisters inherited their skills in the trade of sharpening knives from their father who is also a master in knife sharpening. The elder sister Yap Juin Hou (transliteration) (Good Sister, 81 years old) has been following in their father’s footsteps since the tender age of 12, learning to sharpen knives and scissors; the younger sister Yap Yoke Lin (transliteration) (Lotus Sister, 71 years old) is also influenced into the mastery of this trade. The two sisters mentioned that in earlier times, they set up their stall in the corridors in front of the shops nearby, however after the 513 incident they shifted to their current address.

The era of high mass-consumption directly impacted traditional trades, the two sisters inevitably feels sentimental. Even though they reached the age where they could live in ease and comfort, the sisters each have their own families, Lotus Sister still does business every single day, enjoying herself immensely; recently Good Sister needs the aid of clutches to walk, however whenever her children are free they will send her to and fro the stall.

Nobody knows how mmuch longer Good Sister and Lotus Sister will be operating here, the ancient building above the carpark is also due to be renovated. The future of knife sharpening in the back alley of Jalan Sultan is uncertain.

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
Music : Buch from Felt Music

COPYRIGHTS 2018 ECHINOIDEA SDN BHD

Upon walking into the backstreet of Klang railway station, the pre-war shophouses standing on both sides of the street have been in existence for almost a hundred years. This area has once been the most bustling area in Klang. The distinctive characteristic of these shophouses located in the old street is that businesses are operated downstairs, meanwhile setting up living quarters upstairs. As times change, even though business is not as flourishing as it used to be, a few traditional trades stand fast to date, among them Wah Sang Brothers watch and clock shop.

Having been in operation for almost ninety years, Wah Sang Brothers watch and clock shop was founded from scratch by the father of Mr Lee Lai Choy who migrated southwards from China to Malaysia. The main business of the shop is repair of clocks and watches, supplemented by sales. After their father passed away, the Lee brothers took over the business, Mr Lee who was only seventeen years old then followed in his elder brother’s footsteps learning how to repair clocks and watches. In a blink of an eye, currently 87-year-old Mr Lee witnessed the rise and downfall of this traditional trade, yet he feels optimistic about the future of the watch and clock repairing trade. In Mr Lee’s opinion, although fewer watch and clock repairing tradesmen remain, there are still many who walked in to ask for repairs, especially some timepieces with sentimental and historical value, or even expensive timepieces, the shop accidentally benefitting from being one of the less popular tradesmen.

Due to declining health and sight in his advancing age, Mr Lee has retired, currently his nephew Robert Lee takes over as the third generation successor. Out of the three working tables in the shop, now there is only one with its lamp alit.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Music : Star Gazing from Felt Music

COPYRIGHTS 2018 ECHINOIDEA SDN BHD

The rattan rocking chair in the old house, the rattan basket which elders carry, and the cane which is much feared by all children. In the 70’s to 80’s, it could be said that rattan products are a must-have in each household, due to their being remarkably durable and practical. The longer they are being used, their colour and lustre becomes prettier. 

Just opposite the gates of Kwang Hwa Private High School in Klang, there is an old shop situated at the roadside secluded by trees and bamboo groves, which is among the few long-established rattan products specialty stores in Klang. Beside selling ready-made rattan goods, they also provide custom made and repair services, especially rattan chairs which is the most sought-after, as well as the majority of items sent for repair.  

At just 30 years old, Mr Loh Poh Pin (transliteration) not only is the second generation owner, he also succeeded his father’s trade in order for the craft to be sustained. Each piece of rattan product put the smith’s skills to the ultimate test, as the manufacturing procedures are strenuous, requiring careful attention and patience. Varying degrees of thickness, as well as different parts, each have their own function, from supporting stand, wrapping and curling, to weaving a seat, taking into consideration the endurance and groundwork of the overall structure, it all depends on skill.

Youths such as Mr Loh who are willing to inherit the valuable art of rattan making and weaving skills, are truly inspiring.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Music : A Familiar Touch from Felt Music

COPYRIGHTS 2018 ECHINOIDEA SDN BHD

“It has been seventy years!”, Mr Mah Jun Chew (transliteration), the second generation owner of Sang Cheong Tailor, exclaims while using one hand to signal five and the other signalling two. Since young, he helps his father as well as picking up the trade of tailoring, seventy years passed in the blink of an eye.

Sang Cheong Tailor is located in a pre-war building with over a hundred years in history, situated in the old streets of “Pahang Well” (Jalan Raya East) on the south bank of Klang river. The 1940’s to 50’s was the golden era of Pahang Well, people live on the upper storey while operating businesses on the lower storey of the shophouses located on either side of the road. As of now, most of the shophouses are weather-beaten and vacant, only a handful of businesses and elderly people continue to stay at the decrepit place.

Mr Mah, who inherits the family business from his father, still lives on the upper storey of the shop, each day he opens the shop after having breakfast with his wife. Since the early days when his father established the business till now, never once relocated over the decades. At the same place, same building, doing the same thing, persevering this industry.

As times change, traditional tailoring inevitably became a struggling sunset industry, 83-year-old Mr Mah jokingly said that he is elderly and thinking of retirement. This old street which is gradually being forgotten has stood witness to an age of prosperity and deterioration. 

Text: Daniel Lim & Pua Hui Wen

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

COPYRIGHTS 2018 ECHINOIDEA SDN BHD

Creating each etch with a chisel and each stroke with a scalpel, making sequential progress in imprinting the character onto the signboard, feeling the unique charm out of applying different carving methods, it requires substantial prowess, passion, and persistence. Founded in 1936, Fwu Chang wood carving enables people to approach its exquisite carving skills and perpetual artistic values. Moreover, traditional signboards, which the shop mainly produces, is a trade combining carving, calligraphy, and the principles of Feng Shui.

Mr Ting Wee Chia (53 years old) is the third generation successor of Fwu Chang wood carving. Since a tender age, he and his siblings are influenced by their father to learn carving. He mastered the skill throughout the years, his adept carving skills fully exhibited on wooden calligraphy. 

To illustrate the profile and grace of calligraphy strokes in carving is extremely difficult, especially hollow strokes, however it empowers the characters on the signboard to appear more vivacious. Carving is similar to calligraphy, by mastering the characters’ depth, spatial level, and force, is like implanting a heart into wooden calligraphy, making it come alive right away. The follow-up process after carving is also very particular, for instance the gold foil used in gilding golden characters on the plaque is carefully gilded piece by piece.

Interlaced in each plaque is the smith’s perception of visual aesthetics and memorable legacy of traditional cultures, the exceptional carving skills a living proof of conscientious heritage in generations of smiths.

In order for more people to approach and study the cultural art of carving signboards, alongside with providing a platform for carving enthusiasts all over the world to share the profile and grace of wood carving, Mr Ting purchased the shop next to his workshop a few years ago to construct Fwu Chang Carving Arts Studio, so that this industry could be popularized and have a long run in history.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Amelia Lim
Music : Lau Tzu Ehru

COPYRIGHTS 2018 ECHINOIDEA SDN BHD