Cockles in Pasir Penambang

Cockles are indispensable in mouthwatering dishes like sour and spicy assam laksa, rich and redolent curry mee, as well as aromatic and delicious char kuey teow. Its tender flesh has the glowing scarlet of blood, tasty to eat whether simply being boiled or stir-fried in spicy sauce. However, cockle farming is an industry with high risk levels and dependent on ecological environment. Pasir Penambang, a century-old Chinese fishing village located at the western part of Selangor, was famous for cockle farming in the 1990’s, also renowned for its abundance of fresh seafood and marine products.

Pasir Penambang has natural advantages in soil characteristics, with muddy seabanks along the coast, brackish water which is a mixture of freshwater and seawater, as well as plentiful planktonic organisms for cockles to feed on, therefore an ideal breeding ground for juvenile cockles. In addition, diligent care by breeders helped ensure high survival rates as well as plumpness, the breeding scale and output is preceded only by “the capital of cockles” Kuala Sepetang in Perak. In contrast to Kuala Sepetang which mainly exports outstation and overseas, the cockles of Pasir Penambang only cater for local wet markets. 

Having started out as a fisherman since 9 years old, then turned to cockle farming in 1989, Mr Kok Chong Beng (transliteration) is an authority figure in blood cockle farming techniques around Pasir Penambang and even within West Malaysia. Ten years after his retirement, Mr Kok still talks excitedly about blood cockles while sharing his experience in managing breeding sites throughout the years. From juvenile to adult, it takes 14 to 18 months for cockles to mature, in the meantime periodical checks are performed on their growth status, as well as dispersing clustered cockles. 

The insightful Mr Kok acknowledged that in order to be profitable, the survival rates of cockles should be at a minimum of 30%. A fruitful harvest combining quantity and quality ensures impressive profitability. The pinnacle of Pasir Penambang cockle yield was 1995 with an annual supply of 40,000 tonnes, yet steeply declined to around 3,000 tonnes in 2015. Back in the glorious 90’s there were dozens of family-run cockle farms in Pasir Penambang, now only a handful remain.

In recent years, marine pollution such as plastic waste and chemical contamination caused severe harm to the survival of cockles, huge amounts of mud and debris from sea-based construction are washed into breeding sites causing cockles to die from suffocation. Climate changes also raise risks faced in cockle farming, for instance the tsunami which occurred towards the end of 2004 not only brought upon stormy waves but also seabed displacement and erosion, inducing mortality rates of cockles. Moreover, natural cockle spawn are getting increasingly difficult to come across, breeders are forced to import cockle spawn from neighbouring countries, resulting in mortality events due to inability to acclimatize hence unfortunate loss of capital.

As  rising breeding costs induced soaring market price of blood cockles, profiteering occurred through illegal fishing and smuggling, dealing yet another heavy blow to cockle breeders. Suffering from dwindling supplies and severe losses, several cockle breeders across Malaysia chose to switch career paths or close down. Mr Low Kock Seong who continued to strive despite facing various challenges, had to do everything on his own in order to reduce operation costs. Being 42 years old, he is already the youngest cockle breeder in Pasir Penambang.

Once illustrious, cockle farming in Pasir Penambang met with inescapable complications, how would cockle breeders cope with unpredictable possibilities and threats? Dubious whether they could or not prevail, as cockles become increasingly rare, the future of the cockle farming industry is like a candle flickering in the wind, glimmering with uncertainty.

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 : For A Moment from YouTube

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

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Sang Lee Ironsmith

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

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Aw Pottery

Driving along Federal Route 1, the oldest highway in Peninsular Malaysia, while passing by Machap, an eye-catching colourful castle-like building stands at the roadside. Both its interior and exterior are ornamented with vibrant ceramic pieces arranged in floral designs, a gorgeous restroom offering convenience to travellers passing by on their long journeys. Established 70 years ago, Aw Pottery Studio occupies about an acre, ceramic products are sighted everywhere, in the garden, restroom, workshop, till the showroom, the entire site is full of artsy feel.

Mr Albert Aw is one of Aw Pottery Studio’s current proprietors, his father the late Mr Aw Eng Kwang being the founder. Born in a family of potters, the late Mr Aw mastered the family trade as well as the architecture of wood-fired kilns from a young age. As he migrated southwards from TeoChew to Malaya during World War II in search of a living wage, he chose to settle down in Machap which has rich clay soil. Utilizing the abundant natural resources and his own skills, he built a pottery kingdom alongside the spectacular restroom with brightly-hued ceramics.

The range of colours projected on ceramic pieces are not from the clay itself, but a vitreous substance applied on the surface of unburnt earthenware. The glaze is made up of various minerals mixed together at a certain ratio, and then brushed onto the semi-completed ceramic ware. After the kiln firing process, the glaze will be fused onto the ceramic. Glazing is crucial in adding colour as well as increasing density in order for the ceramic to be more durable and attractive. On the other hand, unglazed ceramics such as flowerpots are porous, allowing water and air movement through the sides of the pot. Initially, the glaze was made from wood or rice bran ashes, nowadays powdered feldspar, limestone or granite are used with the addition of chemicals to lower their melting point. The mixture of different minerals result in different colours after chemical reactions during kiln firing.

In coincidence with the rubber industry spurt in Peninsular Malaya back in 1949-50, Aw Pottery Studio started out manufacturing ceramic latex cups. Ever since, the pottery studio developed into supplying multi-coloured ceramic ware to restaurants and hotels. At its prime between 1960-70, Aw Pottery Studio employed up to 200 employees, working together in an orderly manner. Having the upper hand, the late Mr Aw exported ceramic ware overseas, at the same time gradually shifting the main production line into China due to considerations in environment and other factors. Furthermore, the entire family emigrated to the United States in the 80’s.

Apart from his commitment in advancing the pottery industry, the late Mr Aw was also a talented sculptor, having joined and organized exhibitions in Singapore and Kuala Lumpur. His artworks are being exhibited in museums, among them his masterpiece, the bust of Tunku Abdul Rahman. In remembrance of the late Mr Aw, his daughter Miss Aw Lee Lang set up a museum in the studio grounds to showcase his remaining sculpture works, including a replica of his masterpiece.

At present the Machap studio is still in operation, however business is not as good as before, and even facing staff shortage, only a handful of senior staff remain on duty. A few years ago, Mr Albert’s youngest sister Miss Aw Lee Lang returned to Malaysia to restore and rebrand Aw Pottery Studio, promoting ceramic works as well as offering opportunities for the general public to experience hands-on pottery lessons where they may bring their handicraft home.

From utensils to artworks, Aw Pottery Studio’s journey of transformation depicts the innovative spirit across two generations in their pursuit of living culture and beauty. Through making pottery, one may slow down their hectic lifestyle to relax, finding pleasure in creating pretty and functional ceramic ware using their own hands. Succeeding their late father’s passion in pottery, the second generation of the Aw family revived Aw Pottery Studio to restore its former glory.

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 : Angels Dream

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

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