Kites in Jenjarom

Colourful kites dancing in the breeze, decorating the blue skies on a leisurely weekend afternoon. A group of kite enthusiasts gathered on a field in Jenjarom’s residential area, enjoying this traditional pastime regardless of age, ethnicity or nationality. Some of them would bring handcrafted kites, showcasing attractive appearances and excellent flying abilities.

Two middle-aged kite hobbyists turned kite maker, Ang Lian Seng and Ang Teong, have been actively flying kites at the Jenjarom field for over thirty years. In their youth, they bought handcrafted kites by others to dismantle and study the dynamics, gradually mastering the skills by imitation and improvement. They are able to produce kites of various shapes and sizes, for instance bird, butterfly, and Malaysia’s iconic Wau. Previously they barely knew each other, however they got along capitally in recent years of semi-retirement, often spending time together making kites while exchanging ideas.

The history of kites date back over 3000 years, an established traditional handcraft. Bamboo strips, twine, paper, glue; merely four materials involved, seemingly simple yet the actual procedure put a kite maker’s skills to the test. Matured bamboo is preferred due to better resilience, split open and leave to dry for three months. The dried bamboo is then peeled and cut into strips, and sawn into required lengths conforming to the target kite size. Next up is the most important step —— whittling bamboo strips, which is using a knife to trim the bamboo strip into a consistent thickness. The resulting thickness determines how far could the bamboo strip be bent. To maintain the bamboo strip’s bendability and resilience, during the whittling process one must make adjustments through close observation and sense of touch, gaining experience along the way, hence it is most time-consuming, requiring much patience and attention to detail.

Having prepared satisfactory bamboo strips, the kite frame may be constructed in any desired shape, however it must achieve left-right balance as well as head-tail weight balance. After tying the kite frame with twine, brush some glue to attach the paper (nowadays water-resistant plastic sheet is used instead), ensuring uniform tightness. Excesses are trimmed after the glue dried, then the kite is ready for a test flight outdoors. As long as the aerodynamic surfaces are balanced, the kite may fly steadily. Different kites may yield different curved surfaces due to wind pressure, determining which wind conditions will be ideal for the kite’s flight. 

Kite flying does not require fancy skills, just pick a kite suitable to fly in the current wind condition and pull along with the prevailing wind direction. Larger kites may require two persons cooperating to launch, one holding the kite in a stationary position while the other holding the spool runs against the wind for a short distance, the kite can be released once the twine is taut. As the kite rises to a certain height, the airflow becomes relatively stable, therefore the kite maintains a steady position. To recover the kite, walk towards the kite while reeling in to bring it down slowly, preventing damages from a sheer drop.

Dragon kites are seldom seen in Malaysia, Jenjarom’s kite enthusiasts happened to pick up such skills by chance, enabling an impressive dragon kite soaring and wagging its tail to be seen. The dragon kite is made up of a three-dimensional head, eighty body parts, and a tail. Its overall length beyond a hundred feet, and requires at least three persons to launch it into flight. The making of the dragon head is tedious, it has to be as lightweight as possible due to being incapable of flight, so that it may be lifted into the air by the body parts. Besides, the production of eighty identical round pieces for the dragon body requires careful examination and much patience.

“Dance joyfully like a butterfly, height adjusted by a string.” The skyward kite and the people on the ground are connected by a single strand of twine. Brought together by common interest, pursued crafting due to passion; as their handcrafted kites rise to the skies, their faces are lit with proud smiles. Though times changed, people nowadays prefer playing mobile games over traditional pastimes, Ang Lian Seng and Ang Teong are happy to share their experience with rookies, in the hopes of passing down kite-making skills. 

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Amelia Lim
Copywriter : Pua Hui Wen

COPYRIGHTS 2022 ECHINOIDEA SDN BHD

Tricycle Bao Stall in Kajang

In the evening, a tricycle appears beside the main road of Sungai Chua heading towards Kajang town, and disappears as the skies darken, passer-bys may not notice it without paying close attention.  A grey canvas is propped up to protect the stallowner and the stack of bamboo steamers from unpleasant weather. Upon lifting the lid, the mouthwatering aroma of various handmade bao wafts through the vapour. 

Each morning, the preparation of ingredients, mixing fillings, dough fermenting, bao wrapping and steaming are all done by Uncle Wong Seng Kit’s own hands, with the assistance of his wife. Despite the toilsome procedures, they persisted in making and selling fresh bao every day, without leaving anything overnight. As Uncle Wong is now in his seventies, to avoid negative impact on their health, the scale of daily bao production is adjusted according to their capabilities. The quantity of handmade bao is very limited, it is up to luck whether or not one get to taste it. 

Nicknamed “the Bao uncle”, Wong Seng Kit is the second generation operator of the tricycle bao stall. His father used to cook in a Hainanese coffee shop, afterwards in 1962 he started his own business as a mobile hawker selling bao. In daytime, the entire family cooperated in making bao, then in the evening they would push two tricycle stalls onto the hill of Sungai Chua and beside the main road respectively. Later at night, they would operate in Kajang town outside the two big cinemas. Due to changes impacted by township urbanization, it became impossible for tricycles to pass through elevated highways, therefore they settled to operate at a fixed location near home.

During his youth, Uncle Wong worked in Sabah. After his marriage, he set up his own machinery factory which unfortunately went bankrupt in the global financial crisis of the 1980s. Upon returning home, he got back into the production of handmade bao, whereby he decided to follow in his father’s footsteps, with his wife willingly supporting him. Uncle Wong not only inherited his father’s skills, but also the recipes and tricycle stalls (now the third one in use), now an icon on the streets of Kajang.

For decades, Uncle Wong and family are accustomed to the lifestyle of making bao in the daytime and selling in the evening. The stall is usually open around 6PM, and the handmade bao are sold out between 45 minutes to two and a half hours. In the past two years, due to Covid-19 related restrictions, opening hours are rescheduled to 4.30PM. Technology advancement contribute to changes in business model, where customers may opt to drive through or place phone orders to their convenience.

Uncle Wong, pushing his tricycle bao stall, leads a simple and stable life. Instead of chasing after wealth, he wishes for family happiness and health. The skin of his hands are rough due to constant exposure to high heat, to which he has build up a certain level of tolerance. His passion and adherence to food quality did not evaporate over time. Take a bite of steaming hot handmade bao, sample the fresh taste of simplicity, fill the heart with endless warmth.

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Michael Lerk
Copywriter : Pua Hui Wen

COPYRIGHTS 2022 ECHINOIDEA SDN BHD

Flag Maker: Khoo Koh Leong

Nested within a sky-blue wooden house in Tampin New Village in Negeri Sembilan, with festive couplets adorning the doors and windows, and a wooden plaque hanging above the entrance, is Koh Leong Handicraft Workshop. Upon entry, most of the hall is taken up by a massive workbench with various tools scattered around. The room on the left holds a rectangular table over ten feet in length, hanging near the wall are all sorts of colorful cloth; the room on the right acts as a sewing room, semi-completed pieces hang aside. Uncle Khoo Koh Leong measures cloth with a wooden ruler, draws an outline with chalk, and then trims the edges. He single-handedly produced elegiac banners, appreciation pennants, and prayer flags for almost half a century.

Elegiac banners, appreciation pennants, and prayer flags all belong to the same branch of craft, however each serves a different purpose. Elegiac banners are hung in memorial halls and hearse carriages, as well as representing hometown guilds or schools to offer condolences to the bereaved family. Appreciation pennants acknowledge individual contribution towards society, commonly featuring yellow text on a red background fringed with tassel. Prayer flags are used for adornment during deity birthdays, an offering from worshippers as gratitude for blessings bestowed, showcasing divine powers, the colors vary with each deity. 

In the 1950’s, elegiac banners were handwritten on white paper, with an elegy dedicated to the deceased person and the name of the sender or association written in black ink, usually burned after the funeral service. Back then, infrastructure in Tampin were not quite developed, Uncle Khoo who was a taxi driver used to help fellow villagers in handling elegiac banner purchases from cities such as Seremban or Melaka. In the long run, Uncle Khoo began to take an interest, therefore he started his side job as a self-taught craft maker.

As living standards improved in the 60’s and 70’s, fabric elegiac banners with common obituary phrases such as “Rest in Eternal Peace” or “In Loving Memory” flourished due to convenience and reusability, as they can be retrieved by the represented association after the funeral service. A casket store owner who was friends with Uncle Khoo once enlisted his help to produce elegiac banners and couplets for memorial hall decoration, thus establishing Uncle Khoo’s reputation as well as opening up opportunities. Uncle Khoo also took on new challenges such as producing appreciation pennants and prayer flags, his highly satisfactory handiwork was sought after by customers near and far, from Tampin to the states of Negri Sembilan, Melaka, Selangor, Pahang, and even overseas from Singapore and Indonesia.

For custom flag orders, the purpose, color, and size must be confirmed as Uncle Khoo needs to source materials and cut according to the approximate outline. Upon agreeing on the appropriate text, he measures their respective sizes and copies the words onto paper. The declining traditional practice of embroidery is not feasible for Uncle Khoo, therefore he imprints the words onto the fabric, cuts and pastes them onto the flag, then waits for the glue to dry before sewing. Due to the complicated structure of Chinese words, the sewing process requires attention to details, hence each flag takes two to three days instead of overnight to complete.

Lately, Uncle Khoo switched from using calligraphy to printed words on flags, yet he persists in handcrafting. Each stitch conveys the close relationship between association members or the fervour of worshippers towards deities, sustaining traditional Chinese culture. At the same time, Uncle Khoo still practises Hundred Fortune calligraphy, as well as writing Chinese New Year couplets to gift to friends and family during festivals.

Recent technological innovations brought about computerized flag designs which can be printed onto fabric, with the option of installing LED lights. As times change, Uncle Khoo enjoys flag-making as a hobby, without worrying about the lack of a successor. In his free time, he shoots short funny clips together with family and friends, gaining almost 30K followers on TikTok. Live in the moment, and keep calm in the face of uncertainty.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Amelia Lim
Copywriter : Pua Hui Wen
Music : 《Summer》

COPYRIGHTS 2022 ECHINOIDEA SDN BHD

Teck Joo Textiles

At eight o’clock in the morning, trees and leaves are swaying in the gentle breeze. Hale and hearty nonagenarian Mr Ho Teck Yin steps out from his wooden cottage and walks to have breakfast at a traditional coffee shop on the main street. After his meal, he reads the newspaper which he bought along the way. When the clock strikes nine, he gets to his feet again, walking towards Teck Joo textile shop located on the ground floor of Tampin Hokkien Association building to start his day’s work.

Tampin is a uniquely positioned small town, with its main street cutting across the states of Negri Sembilan and Melaka, the borderline being a lane decorated with colorful murals. Mere steps away, business and social activities are governed by different municipalities, local residents are used to making multiple cross-state trips on a daily basis. Among them is Mr Ho, who resides in Pulau Sebang of Melaka yet his shop is in Tampin.

Teck Joo textile shop is managed by Mr Ho and his wife Madam Liew Ah Chan @ Liew Kok Moi, comprising half a shoplot filled with various textiles. The shop appearance is somewhat bleak, with the peeling paint on the signboard making it unclear. Arriving on foot, Mr Ho opens the metal shutters and lets down the wooden blinds to prevent direct sunlight exposure fading textile colors. Madam Liew, who suffers from reduced mobility thus requiring a lift from a friend, comes in later accompanied by her daughter. The old couple takes care of the shop together, chatting and joking happily, until five o’clock when they go home to rest. Such is their daily routine, enjoying old age in peace.

Mr Ho is born in Seremban, but moved to Tampin with his parents at five years old. During his youth, he worked in Singapore, where he met his wife, and decided to settle down in Tampin after getting married. Mr Ho co-founded a textile shop with a few friends, however they parted ways soon after, and he set up his own shop since 1958. Mr Ho’s father named the shop “Teck Joo”, implying ethical and fortune respectively. The early days of their start up were difficult, Mr Ho and wife had to tighten their belts to bring up eight children. During the great inflation in the 70’s, they toiled hard from dawn till night, thus managing to save up some money and lead a better life.

Teck Joo offers a range of common fabrics: plain cloth in red, white, and yellow for traditional rituals; batik for traditional Malay clothing such as baju kurung and sarung; premium suit fabrics are sought after by tailor shops. As large chain stores which offer more options at cheaper prices are established, and ready-made garments take over the clothing market, traditional textile shops in Tampin all closed down, except for Teck Joo.

Mr Ho and wife are happy-go-lucky, content to be running a small shop instead of building a business empire. Now that their children are self-sufficient, their means of making ends meet has turned into a pastime. All inventory payments are cleared, hence they are not too worried about the declining sales. The old couple even planned to donate the fabrics to the needy after their retirement, as suggested by their son.

Over time, sweet and bitter moments in life are brewed into a cozy cup of tea. Apart from good health, Mr Ho and Madam Liew have nothing to ask for in their advanced age.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Michael Lerk
Copywriter : Pua Hui Wen
Music : 《The Home》 《Just A Little Hope》

COPYRIGHTS 2021 ECHINOIDEA SDN BHD

Gunny Sack in Klang

The pre-war shophouses along Jalan Raya Timur, a stone’s throw from Klang KTM Komuter Station, used to be a glorious business district on the south bank of Klang River. Several decades later, most businesses either moved out or closed down, among the few surviving is gunny sack dealer Yeo Hup Kee. The natural scent of jute permeates the immediate vicinity of the shop.

Yeo Hup Kee was founded during the golden era of Jalan Raya Timur in the 1940-50’s, during which the shophouses were fully occupied and businesses were flourishing, in stark contrast to recent years. Cracks and splinters are visible on the wooden plaque, the faded walls are laid bare by the wide-open collapsible gates, the high ceiling makes the interior appear spacious, the iron ventilation grille allows light and air to flow through. Glancing in through the unobstructed facade, orderly stacks of gunny sacks, jute rope, and jute cloth take up almost half the shop.

Gunny sacks are made from natural plant fibres, the intertwined strands give out a warm golden glow, and has a slightly coarse texture. They are reusable, recyclable, and biodegradable, which renders them eco-friendly. Gunny sacks absorb moisture, have good ventilation, and are durable, therefore widely used in agriculture and construction industries. Crops stored in gunny sacks stay fresh longer; wrapping plant roots in gunny sacks during transplanting helps conserve soil moisture, and the sacks will decompose into fertilizer; in construction, the base of column are wrapped with gunny sacks in the process of concrete curing.

Yeo Hup Kee deals with bulk purchase of used gunny sacks, which they clean, sort, and then export. The gunny sacks are mostly sourced from local cocoa processing facilities. The acquired sacks are shaken upside down to remove dust and debris. Holes need to be sewn up with jute rope. Sorting is carried out according to thickness, density, and size. The sacks are then tied up into bundles and stored away neatly.

The company’s late founder, Mr Yeo Cheng Swee, started from scratch upon emigrating to Malaya. At the beginning of his career as a second-hand goods dealer, he always travelled around on a bicycle. As the business grows, he acquired a shophouse on Jalan Raya Timur and registered a company named “Yeo Hup Kee”. Out of the 10 children brought up in the shophouse, Mr Yeo Kim Chong is the only one who succeeded his father in the business. Five decades have since passed, and with it he witnessed the ups and downs of gunny sack trading.

In the past, gunny sacks were highly sought after by grocery stores, rice wholesalers, rice millers, and the National Rice Corporation (BERNAS). Through experience, Mr Yeo Kim Chong could easily ascertain a gunny sack’s quality with just a touch. Since the 80’s, polypropylene (PP) woven bags and plastic bags gradually replaced the costlier and heftier gunny sacks as common packaging materials, currently only a handful of merchants remain in the trade. Due to the change in demands, Mr Yeo brought in PP woven bags and ton bags, adopting new strategies to build resilience.

With a flexible mindset, Mr Yeo developed his family enterprise towards a global scale by exporting gunny sacks to various countries, for instance India, Indonesia, and Thailand. Seeing that Mr Yeo has his hands full, his second daughter and son quitted their own jobs several years ago in order to help him manage the family business. Miss Yeo Yee Sim propels Yeo Hup Kee onto online platforms, broadening market reach. Cafes acquire used empty coffee bags as decoration, florists wrap bouquets in jute cloth for a rustic feel, while craftspersons weave jute ropes into baskets, rugs, and even chairs.

Due to space limitations, Mr Yeo set up a warehouse nearby for processing and storing large quantities of gunny sacks. Even so, he insisted on operating the old shophouse. Although it is tiring having to cover both sites, the shophouse is the legacy of his father, and full of fond childhood memories. Most importantly, old customers may be reassured that this store will always be around, at the same spot.

Gunny sacks pile on top of one another, Yeo Hup Kee transfers from one generation to the next, remaining at the dilapidated Jalan Raya Timur, waiting patiently for old and new friends to visit.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Evon Pang
Copywriter : Pua Hui Wen
Music : 《Beautiful & Inspiring Piano with Strings》

COPYRIGHTS 2021 ECHINOIDEA SDN BHD

Yat Hang Trading

“Red, yellow, and green longevity bowls. In the past, they are commonly seen in every household.” Mr Wong Gia Loke gives a run through as he walks among tall shelving units laden with ceramic ware. One must be extremely careful when navigating the narrow aisles, to prevent shattering piles of ceramic ware.” There are plenty of designs, that is a noir mille fleur, as well as landscape.” Famille rose ceramic ware have elaborate decorative patterns, which may look identical, yet each stroke is hand-painted by skilled craftsmen. What once was ordinary tableware back in the 1940’s-60’s, has now become highly sought-after collectibles, only available in century-old stores.

Yat Hang Trading, occupying a three-storey building on Jalan Tun H.S. Lee at Kuala Lumpur, has been in operation for more than 100 years. The building recessed beyond the five-foot walkway, giving it an unusual appearance compared with neighbouring double-storey shophouses. The extended space is utilised by employing mobile shelving units to display goods during business hours, while the vibrant graffiti walls on both sides add funky vibes. Fusion of old and new not only occurs on the shop exterior, but also the merchandise they stock: apart from traditional ceramic ware of all shapes and sizes, there are modern kitchen utensils, crockery, and cutlery.

Produced since the Eastern Han Dynasty, ceramic ware became widespread over the globe, generally used as food vessels, or appreciated as an art piece. The most in-demand being white ceramic bowls adorned with red rooster, banana leaves, and a pink peony, symbolizing diligence, success, and prosperity respectively. Rooster bowls gained popularity in Southeast Asia due to mass migration, where Singapore, Malaysia, and Thailand soon started local productions. Common sizes range from five inches to eight inches in diameter. 

The founders of Yat Hang Trading were three brothers hailing from Xinhui, Guangdong in China. In the early 20th century, they arrived in Kuala Lumpur carrying bamboo baskets full of ceramic ware. Pooling resources together with relatives and friends, Yat Hang was initially established in a small shoplot near today’s Kotaraya Complex. Having operated for over 80 years, as the partners gradually retired, the company was voluntarily wound up. The next generation, Mr Wong’s father decided to reinstate the family business, thus acquiring the current premises about 30 years ago. Mr Wong and his elder sisters would help out at the shop after school, hence developing a fervent interest in ceramic ware and the underlying cultural significance.

Taking over the reins upon completing studies till now, the three Wong siblings dedicated their youth to Yat Hang, working together in handling various duties from cleaning, customer service, to accounting. The sweet fruit of their success is the expansion from merely a retail shop to include a warehouse on the second storey and a showroom on the third storey of the same building. Apart from wholesaling, Yat Hang also caters for housewarming, weddings, and elderly birthday celebrations. A complete set of traditional Chinese diningware comprises 96 pieces decorated with the same motif, including bowls, plates, chopsticks, spoons, toothpick holder, and stew pot. Whereas a Chinese tea set is made up of teapot, teacups, and a tray.

Decal transfers gradually replaced hand-painted ceramic ware since the 80’s, reducing costs while enabling mass production, however the essence of handicraft is lost. The famille rose making technique in Guangdong, with a rich history of over 300 years, was listed as an intangible cultural heritage in 2008. Formerly exported in large quantities, famille rose ceramic ware is now highly sought-after by collectors. Each piece is one of its kind, nevertheless imitation pieces are manufactured in the retro style.

The key highlight of Yat Hang is not limited to trading, but also in spreading knowledge. The eldest, Miss Wong Pooi Man, learned on the job about how customers from different cultural backgrounds have varying requirements regarding diningware, as well as playing an active part in promoting Malaysia’s multiculturalism to foreigners. She shares recipes with customers while recommending cookware, and gives them tips on proper usage and maintenance of the products. Customers are happy to gain such information, some even bring their successful dishes to share with Miss Wong, which makes her feel glad.

Dining habits change with the times, traditional ceramic ware may cease in everyday use, the underlying cultural significance may gradually be forgotten. However, at a corner of Petaling Street, the three Wong siblings keep up the family legacy, continuing to pass on traditional Chinese dining culture through Yat Hang. 

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Video Editor : Amelia Lim
Copywriter : Pua Hui Wen
Music : 《Romantic Piano Inspiration》

COPYRIGHTS 2021 ECHINOIDEA SDN BHD

Dexon Button Shop

Dexon Button Shop is located on the ground floor of an old shophouse in Jalan Petaling, Kuala Lumpur. Numerous stalls in front of the five-foot way formed a barrier in which the shop is tucked away. Going through the narrow passageway leading to Dexon Button Shop, the sunlight rays which fall on the front of the shop radiates a special charm. Another captivating sight is the neat and compact wooden cabinets and the dazzling array of buttons on display inside the shop. A myriad of metallic buttons, shell buttons, wooden buttons, plastic and increasingly rare fabric buttons are procured both locally and internationally.

Apart from offering a multitude of buttons, Dexon is also a haberdashery, selling zippers, needles and thread, scissors etc. At the same time, Dexon is one of the few shops in Petaling Street which is family-run by Chinese owners to date, a 40-year-old establishment still in business today. The signboard hanging above the shop entrance became faded over the years, contrasting with the semi-circular column aside which retains bright scarlet letters. The two antique machines——a manual riveting machine and a fabric button machine, are not commonly found among haberdasheries.

The founder of Dexon Button Shop, Mr Chai Chang Nam, hails from Kuala Kangsar, Perak. During his youth, he worked at a tailor shop in Kuala Lumpur. When the shop ceased operations, he started his own haberdashery business at a corner on Jalan Tun H.S. Lee. After a fire incident, Mr Chai shifted to a half shop at No.37 Petaling Street. Later on, the property owner sold the shoplot to a hotel operator, he had no choice but to relocate. Fortunately another shop is available a stone’s throw away, thus he occupied the current premises at No.45 Petaling Street in 1992. The grand reopening was a major event, congratulatory flower stands from his peers almost filled the entire five-foot way. Mr Chai’s second daughter Villy vividly recalls the shop was as if a florist, a fun and exciting childhood memory.

Now that Mr Chai is growing old, he considered retirement during the Movement Control Order (MCO). As Villy took over the reins, he assumed an advisory role. Villy has often helped out since a young age, and is familiar with the shop’s operation. With the help of staff who have up to twenty years’ experience, she has no trouble with the transition. Everybody perform their own duties, covering basic tailor services besides selling sewing supplies, such as stitching buttons, alterations, seaming and zipper repairs.

Chinese knotted buttons are staple goods of the shop, all handmade by Villy and her mother. Colourful fabric strips are weaved into floral patterns, holding the collar in place by a knot and a loop. Usually found on traditional garments such as cheongsam, knotted buttons date back many centuries, with rich cultural heritage. The skills are passed down from Villy’s grandmother to her mother, and then her as the third generation. As knotted buttons fell out of style, this traditional skill may soon be forgotten.

Petaling Street and its surrounding areas, including Jalan Tun H.S. Lee and Jalan Sultan, is the main Chinese settlement during the early days of Kuala Lumpur, with 140 years of history. During her childhood, Villy would be at the shop after school, waiting for her parents to go home together. The staff would let her play around, and witnessed her growing up. Petaling Street is a bustling and friendly neighbourhood to Villy. Almost all shops in the area were previously run by Chinese merchants, there were many textile and clothing shops, as well as traditional herbal shops, hardware shops and food stalls. Some shops ceased operations due to lack of successors, while others rented their premises to foreigners, hence the Chinese cultural features in Petaling Street dwindled. Last year, Villy returned to this intimate shop and community, embarking on a new journey after being laid off.

A button may be tiny, but it is practical in fastening garments or as an accessory. Even though Petaling Street may have altered from the past, Dexon Button Shop remains low-key, holding on thanks to regular customers and craft hobbyists, forming intricate bonds in the same way buttons hold clothes together.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Video Editor : Amelia Lim
Copywriter : Pua Hui Wen
Music : 《Soft Piano》

COPYRIGHTS 2021 ECHINOIDEA SDN BHD

Winson Burger

Around 7A.M., a figure could be seen riding an old motorcycle which bore a metal case, slowly heading towards the junction between Pudu Integrated Commercial Complex (ICC Pudu) and Pudu Plaza, the vehicle is then propped beside a lamppost. Uncle Chai Tsim Luk opens the metal case and starts prepping the fresh ingredients purchased daily from the market: cutting sheets of meat jerky into strips, and topping up the empty container with meat floss. The charcoal inside the portable stove is already ignited, all the necessary preparations have been made. At 8A.M., Uncle Chai starts selling charcoal-grilled meat jerky and floss buns, till noon or sold out. 

Meat jerky and floss bun was a creative approach by meat jerky stores to promote consumption of meat jerky besides being a festive food during Chinese New Year. Affordable and tasty, substantial and convenient, meat jerky and floss bun was the hype of the 1960s and 70s. Hawkers seized the business opportunity and sprung up everywhere, popularizing the meat jerky and floss bun which then became a classic breakfast fare. 

Firstly, slice the bun horizontally, spread with butter, and grill until crispy and aromatic. Uncle Chai carefully trims the burnt bits away, and spreads more butter before adding fillings. He piles up the meat floss and a few cucumber slices, add a strip of jerky, and then squeeze some chilli sauce or ketchup based on customer preference. 

Uncle Chai hailed from Sentul, a born-and-bred KL-ite. During his youth, he worked as a movie projectionist, a deliveryman and various other jobs. In his hectic lifestyle, he fell in love with the common and affordable meat jerky and floss bun. He happened to make an acquaintance with a hawker whom he frequented, and started selling meat jerky and floss buns in the morning, after he finished his night shift at the cinema. When the cinema ceased operations, he became an itinerant hawker, with flexible work hours and locations. He works if the weather permits, and rests when it rains. 

The eye-catching yellow signboard is handwritten by Uncle Chai himself, who acquired a bold calligraphy style from decades of writing movie flyers at the cinema. Since the British colonization era, Malaysians have started to adopt English names. Uncle Chai took a liking to the name ‘Winson’, transliterating it into ‘everlasting victory’ in Chinese, also containing good hopes for his enterprise. In his younger days, he went around crowded places, such as housing areas in Cheras, Bukit Bintang, and Chow Kit road. As he grew frailer with age, he chose to set up a stall in a fixed spot at Imbi wet market, now relocated to ICC Pudu. 

Uncle Chai believes that good grooming is courtesy to others, therefore he always keeps up a neat and clean appearance. Sporting a short-sleeved shirt, trousers, and black leather shoes, he appears to be full of spirit despite being over 80 years old. Uncle Chai thoroughly enjoys his job, as working hours are short, and no abusive scolding by superiors involved. Over the past 40 years, most of his fellow hawkers either changed jobs or switched to using gas stoves, yet he sticks to using a cumbersome charcoal stove to maintain the authentic flavour. Even though ingredient costs continue to hike, he only implemented slight price increases. Now that fellow hawkers are selling at RM4 to RM5 per piece, Uncle Chai sells at RM3.30, the portions remain generous. A single man, he only needs to generate sufficient income to sustain himself, without having to worry about feeding a family.

Pursuing his passion for a career, Uncle Chai retains an upbeat attitude and enjoys an ordinary life. An old motorcycle and a custom-made metal case keeps him company in making ends meet. He is satisfied with what he has, and is honest and kind, reaping a comfortable lifestyle. 

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Michael Lerk
Copywriter : Pua Hui Wen
音乐 Music : 《Nature》

COPYRIGHTS 2021 ECHINOIDEA SDN BHD

Resilience During the Covid-19 Pandemic

More than a year passed since the outbreak of Covid-19 and implementation of Movement Control Order (MCO), a life-changing roller coaster ride for everyone. From worrying about getting infected, lack of income, to gradually returning to work, and getting used to the new normal standard operating procedures (SOP), our dear 10 uncles and aunties remain optimistic. Regardless of the situation, life goes on, they put on a brave face and take strong strides forward.

During the first phase of MCO, most economic sectors ceased operations temporarily. Uncles and aunties took this opportunity to have a good rest, bonding with family members while staying at home. Leisure time can also be spent in a productive way, such as trying out new things and learning new skills. They work on keeping the mind active in order to avoid laziness and procrastination.

As the numbers of confirmed Covid-19 cases are reined in, and MCO rules eased, certain economic sectors are allowed to reopen with SOP compliance. Despite footfall decline due to various travel restrictions, as well as difficulty in forecasting consumer spending habits, this decision sparked hopes as they could escape from boredom and income dilemma. Even as uncles and aunties return to work with anticipation and anxiety, suffering from revenue losses, they intend to work as long as they could, and to improve gradually.

The spike in cases nearing Chinese New Year resulted in tightened MCO restrictions, wanderers were unable to return home for family reunion. Fighting the Covid-19 pandemic remains the top priority, therefore uncles and aunties had to suppress their familial longings. Each celebrate Chinese New Year at their current place of residence, gathering via videocalls. Even though they were unable to visit each other, social distancing does not cut off family relationships. An occasional phone call, a greeting, brings along warm wishes.

The Covid-19 pandemic brought upon changes in our daily lives, a constant battle is still being waged. Our ten dear uncles and aunties shift their life perspectives, accept responsibility in preventing the spread of Covid-19, and carry on with their various labours. Their perseverance in uncertain times is much admirable, patiently march towards the future with unwavering steps.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Video Editor : Evon Pang
Copywriter : Pua Hui Wen
Music : 《Romantic Piano》 / 《Beautiful Inspiring Piano With Strings》

COPYRIGHTS 2021 ECHINOIDEA SDN BHD

People’s Perspectives on Covid-19 and MCO

“I’m grateful for the continual support, otherwise my 40-year family legacy will end.”

Before successfully halting the spread of Covid-19 infections, Malaysia’s Movement Control Order (MCO) is continually being extended, albeit at different levels. It is unlikely the MCO will be fully lifted anytime soon, having a negative socioeconomic impact on the population. Over the past year, people struggled to make a living. Being involved in traditional trades, our 10 interviewees are disproportionately affected by the pandemic.

Be it decades-old family trades or entrepreneurship, our dear uncles and aunties formed strong social connections within their community. Some of them set up shop on the main street of their respective towns, their regular customers being familiar faces; some of them became time-honoured shops, attracting both local and foreign tourists. During MCO, formerly bustling streets emptied, footfall and traffic decreased. As restrictions eased, reopened businesses suffered huge decline in revenue; those still under extended temporary closure had no income at all.

The previously implemented vehicle passenger limit and interdistrict travel ban, alongside with roadblocks on major roads and highways, causing local residents to spend extra resources and time in commuting to work. Though effective in containing virus transmission across regions, the current interstate travel ban exerts substantial harm to various livelihoods of the populace. The lack of outstation tourists weakened economic activities of attraction towns, particularly local specialty foods and traditional handcrafts. In conjunction with festivals, those who work or study in other regions could not return to their hometown for family gatherings. Senior citizens who still dwell in rural places could only express their longing for family through phone calls.

The prevalence of smartphone use, as well as social media networks, has changed the way of human interaction and businesses. Products could be sold online without the necessity of a physical store. However, technological advancement has its shortcomings. There are a number of people who are technologically illiterate, online commerce is beyond their capabilities. Struggling to meet the dispatch time set by online selling platforms, and worrying about potential customers making enquiries in foreign languages, are challenges faced by one-person businesses. Moreover, most of the elderly are in semi-retirement, only working to pass time. They intend to work as long as they could, without expecting to make great profit.

Each community has a shared future, only by mutual help and care can we get rid of the dilemma caused by the pandemic. Dear uncles and aunties face setbacks with optimism, steadily march ahead while keeping hopes alive for a better tomorrow.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang / Michael Lerk
Drone : Daniel Lim
Video Editor : Amelia Lim
Copywriter : Pua Hui Wen
Music : 《Emotional Epic Movie 2》 / 《Simple Inspiring Piano》 / 《Piano》

COPYRIGHTS 2021 ECHINOIDEA SDN BHD