“Uncle, aunty, please do a brief introduction.” The usual warm-up question starts the conversation, bringing us closer, ready for a narrative. There are also a series of impromptu incidents which caught us off-guard.
The personae worked hard for the better part of their lives, adept in their daily job routines. They hardly appear on camera, therefore inevitably become anxious or shy. Some of them may usually be talkative but suddenly tongue-tied, some of them may be inarticulate but dauntless, some of them are eloquent whether on or off camera, some of them are impatient and always hasten, some of them simply take it easy and nonchalant.
In the process of filming, unexpected interventions often occur, however these are the most genuine aspects in life. Some blunders may be hilarious, some interruptions may be humorous. The way of life itself is most probably the only script. They are amiable and welcome us with smiles. Seeing a group of youths busying themselves with all sorts of equipment, they even became curious. These fresh encounters may be new for them, nevertheless their valuable life experiences are worth learning from.
With consent, they gladly share their stories while we listen attentively. Take a walk in their shoes, documenting events and things around them. Conversing with the personae in narrow shoplots, squatting along streetside business to carry out interviews, persisting to film despite heavy smoke which brought tears to the eyes, following them into forests or sailing out to sea, entering a community to build friendships.
A short self introduction accommodates different local customs. The personae acquire skills throughout their journey in life, leading a stable and modest lifestyle, facing challenges with optimism, generously sharing their stories with us.
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 : Whistle & Clap from YouTube
Food does not only satisfy biological needs by curbing hunger, but also brings along social connection, forging bonds between people through having meals together. Food habits reflect regional cultures, where diverse living environments nurture particular tastes and cooking methods. From simple daily meals, to seasonal fine dishes, or commonplace delicacies, each type of food plays a crucial role within a family or society.
Food is a necessity, yet food acquisition depends on the locality of its origin. Regional food culture is formed around food availability, for instance seaside inhabitants fish in the ocean, make belacan, or involve in clam aquaculture; whereas inland folks cultivate land or gather edible food in the wilderness. Food and beverages entrepreneuring is the most ordinary practice, from operating home-based workshops to hawker stalls, or managing retail outlets, they insist on using genuine ingredients, focusing on food quality, and working hard to make ends meet.
The food we grow up eating is associated with warm personal feelings, each bite we taste contains fond memories. Chinese forefathers who emigrated overseas in the early days preserved their native food culture and its context. For instance when Hainanese rice dumplings are consumed during fortunate times, it locks in good luck; when consumed in misfortune, it wards away bad luck. Chinese New Year rice cakes symbolize good prospects; FuZhou Peace Eggs bear hopes for the safety of the entire family; traditional Hokkien bridal cookies——Mua Lao and Lao Huei, all being familiar relishes and collective memories, passing on the legacy of food culture.
As lifestyles change over time, prevailing tastes also alter, moreover some ingredients were hard to source or barely tolerated by the general public, with onerous and complex procedures, these factors caused several authentic traditional dishes to become eliminated. Manchuria Lard Cake is one of them. Being health-conscious and tend to consume low-sugar and low-fat food, the younger generation could not accept its rich and velvety authentic taste, only the older generation FuZhou folks appreciate it. Due to having left their native land or being separated with their beloved family, upon tasting the familiar delicacies, they are filled with nostalgia.
On the other hand, there are people who stood firmly by traditional food, utilizing ancient wisdom, retaining basic procedures to preserve the authentic taste. They improve from performing the same tasks repeatedly, striving for perfection from the tedious procedures. For instance the kiln roasted pork and charcoal roasted coffee, working with flames and fumes, years of experience is crucial in quality control; soft and smooth tofu is strenuously produced under high temperature and humidity.
Food and society, the dishes laid on the table are full of flavours, yet indescribable.
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 : Calm Wind from AShamaluevMusic – YouTube
Often uttered by many, this is one of the most common answers. It may sound carefree, yet containing traces of desolation. Our heroes worked hard for the better part of their lives, their lifelong careers integrated with their everyday doings, blurring the lines between. From taking their own initiatives to being under another’s influence, from reluctance to inheritance, each tells their own stories about the vicissitudes of an era, and of transitioning into a new era. Before being phased out, they stayed to their duties steadfastly, working until they no longer could.
Their spirit and attitude towards life makes it no longer clear whether work is a way to sustain life, or life is just an extension of work. Leaving behind marks in ordinary life, mastering a trade for their entire lives, the warmth and coldness of humanity a testimony to their wisdom. Always keeping in mind the merits of forefathers, without expectations for the younger generations to inherit, they understand that times change. Rather than being dejected, it would be better to say that they have undergone an era trudging in mud. They are passionate about their work and expertise at it, yet discreetly blending in with the surroundings of a simple life.
“Work until I’m unable to.” A seemingly casual statement, however with far deeper meanings attached. It sustains life by promoting motivation, providing an outlet for yearnings, and affirming capabilities. They chose resilience over “work” and “inability”, regardless of tough times and advancing age. They are happy to be working, whenever they receive commendations, their faces are lit with satisfaction. Although traditional industries may face elimination and become a thing of the past, they remain in the same old place, working with professional familiarity, until the day they no longer could.
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 : Documentary
We are born unto the embrace of Mother Nature, accepting her gracious blessings. We thrive upon her benevolence, hydrating the earth, providing us with food; boundless oceans, rich with resources. Meanwhile, a group of people live close with Nature, they form intimate bonds with the earth and the sea. Mother Nature blessed them with harvests and revenue. They plant crops in agricultural lands, gather edible plants in the wilderness, involve in coastal aquaculture, fishing in the deep sea, adhering to natural life patterns.
They worked tirelessly, pursuing a single career path, sticking to their duties for the better part of their lives, bustling around farms and forests, taking a plunge among tides and oceans. They rely upon Mother Nature to make a living, yet at times grapple with Mother Nature. They are skilled in steering, coping with unpredictable weather and environmental changes. They bend with respect, accepting daily challenges to coexist with Nature.
Despite exhaustion and setbacks, they do not hesitate to make the best out of it. With environmental virtue and reverence for the ocean, they look upon each harvest as a blessing. They humbly describe themselves as insignificant, often overlooking their great contributions. At times they take risks regardless of their own safety, grasping each opportunity no matter at what expense. They led simple and contented lives, caring tenderly for seeds sown to plant vigorous crops albeit shortchanging themselves.
Mother Nature is the source of all lives and nutrients, in each land and plantation, each valley and forest, each river and ocean, there are farmers and fishermen who toiled ceaselessly to supply us with fruits and vegetables, fish and meat, and food for our tables. They may appear inconspicuous, or drowned in commotion, disregarding their age spots and dark marks, they discreetly compose a story of co-existence with Mother Nature
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 : Evon Pang Production Assistant : Michael Lerk Copywriter : Daniel Lim Voice Over : Andrew Kee Music : Romantic Piano & Strings from AShamaluevMusic – YouTube
Touching the hearts of listeners without melodious tunes, reticent amid chaos, living a peaceful life. Be it in forests and fields, on rivers and oceans, or in the streets and lanes, they could be found addressing various needs of the people with their expertise; selflessly contributing to the living environment, family, and society. These diligent tradespeople, through quality products or exceptional service full of human touch, pass on the legacy of cultural heritage.
Forefathers who emigrated to Malaysia in the early days experienced a long period of scarce resources and poor standards of living, most of them making a living by land cultivation or handicraft. Despite harsh conditions, they trudged on without slacking instead of retreating in fear. Some of them developed a passion for the industry under constant influence, and continue to carry forward the spirit; some of them inherited expertise from the previous generation, preserving the quality and passing on the skills; some of them adapt to times transformation, thinking out of the box to pursue innovative ways.
In the ever-changing present lifestyle, most people value speed and convenience, subsequently some industries are facing a dilemma, especially tedious work performed under difficult situations. Younger generations are less interested in traditional handiwork, unwilling to take on dull work or skills that are less profitable, causing some traditions and culture to be nearly extinct after centuries of inheritance. Tradespeople who dedicated the better part of their lives to their work inevitably feel worried about the probable loss of heritage.
Trickling streams merge into rivers and oceans, each drop of laborious sweat may seem insignificant, yet full of vigour. Relentlessly abiding by their duties, they undertake the responsibility of cultural transmission. Together we listen and stand witness to these arduous trails.
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 Copywriter : Daniel Lim Music : Jamesvmusic
Banting, being the largest collective ginger plantation in Kuala Langat district, has porous black peat soil which is suitable for planting fruits and vegetables. Most villages in the district rely on agriculture as their main economic activity, about 1400 acres of land has been cultivated into ginger plantations by around 50 farmers. Among them, Jenjarom village listed ginger as one of the four local treasures. Due to soil degradation and pollution, there is less favourable farmland in Jenjarom; only a few farmers persist in planting ginger due to poor yields.
There are two categories of ginger: young ginger, which is harvested around 5½ months; and mature ginger, which is harvested around 8-10 months. As ginger cultivation involves high risks, especially the weather, mature ginger is priced higher, though young ginger is more in demand. The prices per kilogram for mature ginger is between RM15-RM20, while RM4-RM5 for young ginger. Unlike other areas famous for mature ginger (Bentong, Raub), Banting focuses on young ginger cultivation, with high yields and market penetration up to 70% in Malaysia, as well as exports. Apart from young ginger, Banting also produces galangal and turmeric, each with their own flavour and usage. Young ginger is used in cooking chicken and fish, or shred into crispy strips. Galangal has far wider usage, to cook beef, pork, mutton, duck, making satay sauce, and even extracted to make perfume. Besides enhancing flavour, turmeric also imparts colour, mostly used in cooking rice and curry.
77-year-old Tan Ngoo is a senior ginger farmer in Banting, who enjoys starting his daily work at the farm before dawn, taking an hour’s break for lunch, then continuing to work until sunset. Uncle Tan has been helping his father farming vegetables since he was 12 years old, upon adulthood he ventured in cultivating ginger, which has a higher yield compared to other vegetables. One tonne of ginger seed pieces may yield 7-8 tonnes, in a bad crop 3-4 tonnes, which was enough to make ends meet. With decades of experience, Uncle Tan is very knowledgeable in ginger cultivation. He gradually expanded his land from 2 acres to dozens of acres, hiring workers to help in farming, and producing plenty of ginger seed pieces. There are four types of ginger originating from Indonesia, Sabah, Laos, and Vietnam. Sabahan ginger is most popular in Banting, as it is more flavourful and disease-resistant.
Weather plays an important role in ginger cultivation, too little or too much rainfall impacts ginger yields, whereas drought causes maldevelopment or withering. Crop rotation is also critical to preserve the productive capacity of the soil. After harvesting ginger, crops such as corn, bananas, and sweet potatoes are then planted in succession before another batch of ginger. The only exception is galangal which can be continually planted for 3-4 years before crop rotation. Aerial view of the Banting farms shows rectangular plots with a variety of crops.
As the plots of Banting belong to different landowners or farmers, with limited types of crops which can be planted, the Selangor Coastal Vegetable Farmers’ Association is formed to protect their rights and interests. Whenever farmland becomes flooded, or farmers face land allocation problems, the association helps in dealing with government authorities to work out solutions. Over 200 members of the association cooperate and assist each other, exchanging information and insights in experimental agriculture projects. During harvest, they also unite to negotiate a fair price with distributors.
On the stretches of agricultural land in Banting, Uncle Tan and his four siblings, as well as his son, toil hard in their plots. Together with over 200 members of the Selangor Coastal Vegetable Farmers’ Association, who are like brothers without blood relationship, they make profit through ginger cultivation.
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 : Evon Pang Production Assistant : Michael Lerk Music : Wedding Film from AShamaluevMusic – YouTube
Performing powerful martial arts moves while emanating forceful shouts, disciples and committee members of the Malaysian Ngo Chor Fitness and Sports Society (Jenjarom Branch) gather on the training ground despite a blazing sun, practicing Ngo Chor drills under the guidance of Master Yap Loo Peng (transliteration). 81-year-old master Yap goes around at a steady pace, fixing his sharp eyesight on disciples, instructing and correcting their postures. Over the past 40-odd years, master Yap has been travelling between his home in Jinjang and the academy in Jenjarom to teach Ngo Chor martial arts. Even though semi-retired due to his advancing age, with older disciples in charge of the academy’s daily routine, master Yap often drops by to maintain his efforts in promoting this cultural sports activity.
Founded in the late Qing dynasty, Ngo Chor martial arts originated from Quanzhou in Hokkien, China. The initiator being master Chua Giok Beng, who created a system after decades of research, by merging principles and techniques from five martial art styles, namely Taizu, White Crane, Bodhidharma, Arhat, and Monkey. Ngo Chor is renowned in southern China for its precision, forcefulness, and practical characteristics, therefore master Chua acquired numerous disciples. As there were some disciples among swarms of southern Chinese who migrated to Malaya, they continued the tradition of Ngo Chor upon settling down.
In Jenjarom where most villagers are of Hokkien ancestry, there was no martial arts academy during its early days. Master Yap’s instructor, the late grandmaster Poh Tie (transliteration), rented a vacant space to teach Ngo Chor, founding an academy together with a bunch of seniors. However various problems such as disciples being busy with their work and the implementation of a curfew caused the classes to be held sporadically. Following master Poh’s death some years later, senior Lim Teng Kiat (transliteration) took over as instructor, both disciples and martial art skills spread rapidly. Eventually as senior Lim was preoccupied with his work, master Yap was sought out to lead in the systematic practice on Aik Kuan kindergarten premises. ‘Poh Tie Ngo Chor Martial Arts Lion Dance Club’ was officially formed in 1977. Parents sent their children to learn Ngo Chor, participate in lion dance, and ride unicycles. Back when entertainment was scarce, it was the best gathering place, even compatriots from other races joined in the expanding martial arts club.
Immense support from local villagers, and the efforts of club members, the authorities approved of the martial arts club in 1982, hence renamed to Jenjarom branch of the Malaysian Ngo Chor Fitness & Sports Society. Apart from Ngo Chor, there are also lion dance, stilts, and unicycling derived from martial art basics. These are fun to learn, and able to perform during events. The society is recognised and gained support from local villagers who donated generously to build an academy. The Ngo Chor academy building, which stood amid Jenjarom village, was inaugurated in 2006. A small temple was built in honor of the three antecessors, namely Bodhidharma, the initiator Chua Giok Beng, and grand master Poh Tie.
Ngo Chor is suitable for learners across all ages and genders, enhancing physical fitness and willpower, as well as achieving unity in a community. Despite training hard, disciples love and respect each other like a family. Senior disciples also carry on this legacy by helping master Yap to teach, such as the current team manager Soon Chin Tat (transliteration). He has been practicing Ngo Chor for 38 years, progressing from a young novice to being a senior who coordinates performances and takes care of team members. In recent years, due to young adults moving to the city for better opportunities, there is an age gap among disciples who are school children and middle-aged adults, their numbers dwindling from hundreds to merely 35.
Inscribed on the pillars of the academy is the saying: “Training for self-defense and fitness, great skills inherited from ShàoLín”, highlighting the main purpose of practicing martial arts, not for fighting with others. A century-long inheritance, not only does Ngo Chor represent Chinese culture, it also incorporates lion dance to become a folk culture, a healthy sports activity.
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 : Dawn of Man & Frozen In Love
Walking downstream of the Melaka River, passing by Jambatan Kampung Jawa with 130 years of history linking Jalan Kampung Pantai and Kampung Jawa, a wooden bridge rebuilt with metal by Chinese businessmen Tan Oon Guan and his two brothers in the late 19th century, who also restructured Kampung Jawa into a “New Street” with well-planned brick houses and developed lanes. Ever since, business activities on both shores got along closely, during daytime the “New Street” is a bustling trade zone, whereas turning into a pleasure-seeking and extravagant entertainment spot upon night-time, an area combining both work and amusement.
A century since, the flourishing “New Street” is long gone, its lanes (Jalan Jawa and Kampung Jawa) receded into serenity, leaving behind double-storey shophouses built in a fusion of Asian and Western styles which was popular back then, housing several traditional shops with over 100 years in existence, taking a sneak peek at former local cultural scenes. Among them, Sin Hiap Hin, a bar established in the 1920’s, maintaining its original British-influenced appearance, the solid wooden bar countertop with a rounded arc is still in use to date.
Pushing apart the red iron shutters, a variety of liquor bottles are arranged on layers of wall racks, the wooden bar countertop is full of marks where liquor glasses were set down over the hundred years. The antique furnishing and interior is never renovated, in the bar sits Aunty Lee Lian Suan, also known as Doris, wife of the 4th generation successor of Sin Hiap Hin. She pours out the customer’s choice of liquor with a smiling face, be it traditional Chinese herbal liquor such as Notoginseng liquor, Acanthopanax bark liquor, Perfect Tonic; beers popular with Caucasians, novelty rice wines, or rose liqueur. The most special type of liquor served being rice wine manufactured in Malacca by Tay Miang Guan Priquor Distillery established in 1908, with a range of innovative flavours such as pandan, lychee, coffee etc.
Sin Hiap Hin holds a liquor retail license granted by the British colonial government, legally selling liquor by the British colonial measurement unit peg, where half peg is equivalent to 30ml and one peg 60ml. Pure liquor is being sold, not mixed with other alcohol, water or soda, only a few ice cubes may be added. In the olden days, this type of bars were popular with fishermen and labourers making a living near Malacca River due to low prices. These customers often got drunk, wreaking havoc and owing credit which they never repaid. Moreover, the upper storey of the shophouse was an opium den where people used to gather to smoke. Sin Hiap Hin survived tenaciously throughout the years despite the turbulent environment, having experienced the British colonisation, the Japanese Occupation, the Federation of Malaya, to finally independence and the forming of Malaysia, still operating in its original site.
Since Aunty Doris married into the family in 1973, besides doing household chores, she also helps her husband and father-in-law to manage the bar. A few years after her father-in-law passed away, her husband’s legs became incapacitated, therefore she has to shoulder all responsibilities on her own. Turning 69 years old, Aunty Doris is probably the oldest bartender. Although selling an array of liquors, she barely drinks, merely looking upon as others enjoy. With a liquor bottle in one hand and steel measurement cup in the other, Aunty Doris pours either amber-coloured or clear liquor into glasses while chatting brightly with customers, making them feel at ease.
Over the forty-odd years, Aunty Doris handles her husband’s family business while taking care of her ill spouse, enduring various hardships to raise four children, as well as purchasing the shophouse they once rented. Eventually elderly regular customers passed away, changes in lifestyle and spending habits caused business to drop. Fortunately in recent years, the bar gained popularity and internet exposure, introducing slight improvements. Aunty Doris witnessed the flourish and decline of “New Street”, former neighbouring hardware shops, gold shops, wooden clog shops, vegetable shops, and barber shops are mostly closed for good. As her children grew up and moved out, the business that she once relied on now helps her to kill time.
In the century-old bar, each cup of liquor sold contains precious memories, accumulated into the ups and downs of a city. Be it tourists with a fleeting visit or regular customers with frequent visits, Aunty Doris does not hesitate in sharing life stories in the historical city.
Text: Daniel Lim & Pua Hui Wen
有你 UNI Production Producer : Mok Yii Chek Coordinator : Daniel Lim Cinematographer : Amelia Lim / Evon Pang Video Editor : Michael Lerk Production Assistant : Michael Lerk Music : Oakwoord Station – Kind of a Miracle from YouTube
Charcoal is the first among seven daily necessities, the rest being rice, oil, salt, sauce, vinegar, and tea. Since ancient times, charcoal has been important as fuel in daily life. Cooking food using traditional charcoal-fueled stoves is tricky and laborious, requiring constant attention to the heat and doneness of the food. As the dishes are heated evenly, charcoal fumes lent a special aroma to the food. Besides, charcoal has absorbability properties, therefore water boiled with charcoal is velvety and odorless. Once a must-have in every single household, with the advent of gas and electrical appliances, charcoal has now fallen out of favour, charcoal stores are barely seen nowadays.
On Jalan Trus in Johor Bahru, among the row of shophouses opposite the ancient temple, the large signboard of Yong Heng Charcoal Shop could be seen clearly, the sole remaining charcoal shop in the region. The daughters of the late founder, octogenarian Madam Chong Shen Chen (transliteration) and sexagenarian Madam Chong Lian Chen (transliteration) persisted to work, currently helping their nephew, who is the third generation owner to run this seven-decade old family business.
When Chinese forefathers migrated to Malaysia, they sustained this ancient wisdom of utilising natural resources, for instance mangrove wood, to produce fuel thus solving the most crucial daily needs. In earlier days, street peddlers sold charcoal door-to-door on bicycles or tricycles, some merchants also distributed charcoal from local kilns so that customers may purchase in-store. Upon stepping into the corridor of Yong Heng Charcoal Shop, the mottled wooden plaque hanging on top of the entrance brings you back in time.
Towards the end of the 1940’s, when this plaque was newly hung, charcoal was the mainstream fuel used in cooking. Except for the table in front, the entire shop was filled with bundles of charcoal, the floor and walls stained with charcoal dust. Before plastic packaging became popular, charcoal is delivered in loose piles on lorries from the kiln, requiring scooping manually to transfer the stock into the shop. The charcoal is then sorted according to sizes and tied tightly into paper-wrapped bundles to prevent humidity absorption. Working ceaselessly, the family’s clothes and fingers are smothered in black dust.
Hanging on the wall at the rear of the shop are uniquely-shaped charcoal, a collection by the two Chong sisters, full of fond childhood memories where they work happily together as a family. Since a young age, they have been helping their father in packaging charcoal, therefore whenever they came across charcoal pieces with special shapes, they would keep these natural artwork. At present, charcoal stock comes with complete plastic packaging, without any need to sort, just unload and arrange. As gas stoves and electrical appliances gained popularity due to being more convenient, demand for charcoal declined steeply, only hawkers and customers who persist in using charcoal will make regular purchases. During festival celebrations, sales increase due to preparing customary cuisine. Their usual pastime is looking after the shop as well as chatting with customers and old neighbours, leading a simple and joyful life.
A daily necessity, a traditional industry, a specialty store. Improvement in living conditions meant elimination of certain elements, the kitchen evolved from a dusty environment into a clean and convenient place. There is still demand for charcoal despite its being outdated.
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 : Invisible Beauty
Cities developed around waterways, people settled along canals. Sungai Segget, the “Mother River” of Johor Bahru, has been an important marine transportation connection since the city’s cultivation in 1855, the basis of the city’s economic growth. In the earlier days, Chinese forefathers who migrated to Johor Bahru settled along the shores of the 4-kilometre long Sungai Segget which naturally split the city into East and West shores. Spurred by famous entrepreneur Mr Wong Ah Fook, the East shore is full of commercial buildings where consumer and entertainment services prevailed, while the West shore is pioneered by the most powerful Kangchu in Peninsular Malaysia Mr Tan Hiok Nee, its longest avenue Jalan Trus is where the local Chinese community mainly convene.
Johor Bahru underwent drastic changes over the past century. Under the Sungai Segget Rejuvenation Project carried out by the city council, merely 300 metres of the river course remain. An ancient temple and most double-storey shophouses were retained on Jalan Trus, however as Chinese guild halls and enterprises gradually moved out, the area transformed into “Little India” with Indian clothing shops, gold shops, and a few old stores which stood for decades, such as Sin Keng Wah Mattress Shop.
Established in 1964, Sin Keng Wah is known for handmade pure cotton pillows, bolsters, baby cots, and other bedding items, as well as customization services. Formerly, the shop was operated by a Singaporean, whom the father of the current proprietor Mr Yeow used to work for. During the economic malaise leading to Singapore’s separation from Malaysia, he decided to sell out, thus Mr Yeow’s father and elder brother bought over and renamed it to Keng Wah. Now the second generation owner, Mr Yeow Sien Soon prefixed a “New” to the shop name since his succession. All the while, they rented the same shoplot from an old landlord who knows them thoroughly, maintaining a fond relationship as he lives upstairs. The ancient plaque bearing “Eng Seng” which hung on the upper left corner of the shop entrance was the signboard of a grocery store the landlord used to operate.
Founded over half a century, Sin Keng Wah earned a good reputation for quality bedding that are fluffy, well ventilated, has thermoregulation effects, as well as absorbs moisture. Mr Yeow uses natural kapok cotton imported from Thailand, without mixing any impurities. Lately there has been a raised awareness of health benefits using pure cotton bedding, especially people with backaches or night sweats, and even newborn babies. Thus they accumulated regular customers including the Johor royal sultanate. By chance, Mr Yeow accepted plenty of customized orders from the royal family, and often visits the palace to measure the respective furnitures, as well as seeking audience with the Johor sultan. He said in jest that despite facing pressure from the stern guards and His Majesty’s grandeur, he is touched by the sultan’s friendly attitude, greeting him with “Ah Pek” in a sonorous voice.
In this era of mechanization, traditional handmade items are getting increasingly rare. Mr Yeow persisted to manually sew bedding, ensuring that kapok fibres are distributed evenly without bulky bits, so that users could fall asleep comfortably. Moreover, the ability to customize different shapes and angles could not be replaced by machinery. The skills involved in manufacturing bedding could not be mastered within a short timeframe. From picking cotton, pinning threads into place, cutting fabric, measuring inlet, to using a sewing machine, the procedures are very challenging. The flexibility of the fabric needs to be taken into account in order to ensure the finished product meets the correct size. Besides, delicate kapok fluff may cause respiratory irritation. To avoid absorbing moisture during storage, kapok is kept in a stifling storeroom. Poor work conditions increased difficulty to hire employees.
63-year-old Mr Yeow inherited the family business for 46 years, recollecting how other two fellow tradesmen in Johor Bahru closed down due to no successors, he is glad that his eldest son Boon Teck takes over this traditional mattress shop. From being an uninterested layman to getting guidance from his strict father, and taking the initiative to explore this trade, Boon Teck is able to work independently after about ten years. Since graduating in 2000, he gave up his ambition of being a painter to stay and help his father in the family business. Moving on, he recognises the cultural value of this trade and sparked interest in designing new products, as well as utilising social media to expand customer base.
The Yeow family passes on the skills of crafting bedding from father to son, the dented sides of the century-old workbench in Sin Keng Wah is where three generations of tradesmen sharpened needles, witnessing that mastery is achieved from experience. The bedding is not only stuffed with pure kapok, but also cultural heritage and warm feelings.
Text: Daniel Lim & Pua Hui Wen
有你 UNI Production Producer : Mok Yii Chek Coordinator : Daniel Lim Cinematographer : Amelia Lim / Evon Pang Video Editor : Michael Lerk Production Assistant : Michael Lerk Music : Tido Kang from YouTube