UNINESS

Floral Lanterns

As the Cantonese saying goes, “Light up the lanterns when you walk on the streets, don’t be scared of police arresting you,” Granny Thong Aw Loy reminiscing about the mid-autumn festival celebrations in her childhood, where everyone gathers together playing with lanterns and wandering around the streets in the village while humming this playful little tune.

Despite her octogenarian age, Granny Thong is bright and optimistic, paying full attention to the lantern in making, not slacking for even a moment. The small space between the parlour and her room is Granny Thong’s personal workshop, the materials and tools she needed tidily kept in boxes of all sizes arranged around her, the handy distance easing her production. Rows and rows of various traditional lanterns are hanging above her, from her handmade floral lantern and hexagonal lanterns, to the cellophane lanterns her family crafted and sell.

Born and bred in Teluk Intan, Granny Thong comes from a family of lantern makers. Since a tender age, she and her siblings help their parents to assemble lanterns, almost 70 years ago. Her signature floral lantern is now rarely seen in the market, and there are only a handful of gurus who mastered the craft. Besides deft hands, the process of making a floral lantern requires the utmost attention, patience, and effort. The thickness of bamboo sticks used attest her skills and experience, while the six types of colourful paper flowers, such as rose and chrysanthemum, are made carefully, lining layer by layer using featherweight wrinkled paper. The creation of a traditional lantern is meticulous and time consuming, like an artwork masterpiece, seldom seen. It is especially painful to see this craft gradually dying out in this era due to the mismatch in profit and time costs.

Under the same roof, Mr Yim Sai Peng and wife Chek Hiu Lan (transliteration) are the third generation in the traditional family business, focusing on producing cellophane lanterns of all shapes and sizes. More than 30 varieties of the cellophane lanterns are sold and distributed across Malaysia, as well as overseas. Since entering the 21st century, the rapid development of information and technology emphasizes efficiency, digital communication overpower socializing and interactions between human beings. In this day of reunion, maybe you should take a break, light a lantern, feel the warmth of the candlelight awakening the meaning of this traditional festival, and may the culture be handed down endlessly.

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 : Blue Butterfly from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

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Traditional Photo Studio

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

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Glutinous Rice Cakes

Glutinous rice, sugar, bamboo tubes, banana leaves, firewood, rack stove, big pot, and a small knife to be hung on the pot’s lid, combined with a marathon-like 24-hour non-stop steaming and stirring. The glutinous rice liquid caramelise from white to to golden in colour, and thicken into a paste; the craft passed on from elders to youngsters, cultural customs and traditions being inherited from one generation to another, all of that happens at the conventional Hakka Chinese New Year rice cake making project in the village of Kuala Kubu Bharu.

The project is actively joined by villagers of all ages, cooperating with each other, following the traditional ways of making rice cake, and also sustaining the cultural rituals. The elders teach devotedly, and the youngsters learn modestly. In the process, the two generations get to interact with each other, which is a seldom occasion. The round (cylindrical) shape of the rice cake symbolises reunion, whereas the sweet and sticky mouthfeel of the rice cake is likened to expectations of the upcoming year: living a sweet life for the entire year, and a firm relationship between the family members.

Even though the process of making the traditional steamed rice cake is complicated, the younger generation never cease to explore and learn under the guidance of the elders, until they master the skills to make rice cakes independently. It is indeed an excellent opportunity, especially for those who regularly work outstation, to gather with their family and friends, and make rice cakes together.

The procedures of making rice cakes require 24 hours of continual commitment, from lifting the pot lid to stir to ensure even heating of the glutinous rice liquid, the youngsters also need to stay up throughout the night to take care of the stove, battling high heat and fatigue, until the next day when the mass is transferred to their bamboo tube containers lined with banana leaves. Preparation of the equipment and ingredients started a week beforehand. From washing, soaking, press dry, and compressing the glutinous rice, to collecting and processing bamboo tubes and banana leaves. Interestingly, the firewood used in making rice cakes were either blown down by wind or abandoned. After collecting, the wood is stored in a shed to ensure dryness.

The rice caking making project of Kuala Kubu Bharu is not practised for decades, but rather an accidental success in 2014 that engaged villagers of all ages to participate in the event. The scene where both old and young generations join forces to make rice cakes illustrates the fine culture legacy, embracing their heritage.

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 : Lovely Candies from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

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