UNINESS – Page 6 – Together we unfold Malaysian local cultures.

Steamed Rice Cake in Cheras

Bái Táng Gāo (Steamed rice cake), is named for its glittering white appearance, with a moist and smooth surface, and honeycomb-like air tunnels. Its historical roots can be traced from the Ming dynasty in Lunjiao sub district of Shunde city in Guangdong province, also known as Lunjiao cake, a traditional folk snack made from common ingredients. Firstly, rice is pressed into milk, added in flour and sugar, then steamed to be consumed. Steamed rice cake is popular for its velvety texture and sweet fragrance. Due to mass migration to Southeast Asia, steamed rice cake became widespread, and is sold in both morning markets and night markets across Malaysia.

In a home baking workshop at Cheras, 71-year-old Uncle Tan Ah Yew, 43-year-old Tan Lee Yong (Lennon) and family work together busily to produce various cakes for wholesale, including sponge cake, steamed buns, steamed cupcakes, the most renowned being white and brown steamed rice cakes. At 1.30A.M., Uncle Tan delivers cakes produced during the day to the Pudu wholesale market for customers to collect. He then returns home at 5A.M. to prepare ingredients together with his wife, his son takes over the fermentation process while they catch some sleep. As the fermentation completes around noon, father and son dash back and forth the custom-made long steam table, producing trays of cakes despite the lingering heat and vapour. The freshly made cakes require cooling down before slicing and packaging, only then the workday routine ends at 4P.M.

Initially a construction contractor, Uncle Tan’s company went out of business in the mid-80s due to the economic crisis. Despairing, he went to pray at a temple in Ulu Yam, and chanced to encounter an old master whose family business is producing steamed rice cakes, hence he requested to learn the trade. By luck, the old master granted an exception to teach Uncle Tan unreservedly. Steamed rice cakes seem ordinary, yet the procedures involved are complicated, a slight mistake may cause souring, hardening, or turning into a sticky mess. From a layman to mastering the skills of making steamed rice cakes, Uncle Tan devoted an entire year in learning and researching daily, to produce a soft and fluffy end product untainted by sourness. Being the fourth generation successor in the trade, he recovered from financial loss to establish a home baking workshop and paid off debts. Uncle Tan is grateful towards the old master for the favour conferred, always paying him a visit during festivals and giving him tokens of appreciation, until the old master passed away.

Even though under enormous pressure, Uncle Tan flourished in his second career, his journey over the past few decades has been challenging. Despite slow business during the early stages of his start up, he traveled around to sell his products and expand market reach. Uncle Tan’s cakes are vegetarian-friendly, made without eggs or lard, the soft texture neither hardens nor leaks moisture even after keeping overnight. Therefore he gained reputation and connections, building a stable customer base and order quantity. Most of his customers are school canteen operators, restaurants, and hawkers. During the first day and the 15th day of the lunar month, as well as traditional festivals such as the Hungry Ghosts festival, cakes demand soar due to offering usage. The consumer group of Tan Ah Yew steamed rice cakes range far and wide, from Batu 11 Cheras, Mahkota Cheras, Sungai Long, Kajang, Sungai Chua, Jinjang, to Klang Valley.

Uncle Tan’s workshop is firmly established, his sons will help out during their free time. His youngest son Lennon used to be a photographer, giving up his ambition due to family sustenance, taking over his father’s business full-time. Although the income from producing cakes would not make him a millionaire, it is enough to make ends meet. Lennon was worried that traditional delicacies may vanish in time, but became assured in carrying on his father’s legacy after meeting other young people in the industry. He aspires to try online marketing and delivery service, so that authentic flavours may still be enjoyed instead of dying out.

Steamed rice cakes produced with love, wrapped in transparent plastic sheets and old newspapers, deliver traditional flavours. They also contain the Tan family’s hard work and persistent spirit. Even though he has a successor, Uncle Tan has no plans to retire soon, and is still actively involved in cake production. He is still anxious about his inexperienced son whom he deemed unable to work independently, however he praised Lennon’s patience and cherished hopes for business improvement.

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 : The Romantic

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Sek Yuen Restaurant

The sole remaining traditional Cantonese restaurant in Kuala Lumpur situated on the bustling Jalan Pudu for over 70 years, Sek Yuen, means a suitable gathering place. Both the exterior and interior of the restaurant retain its olden charm, the very same fans, tables, and chairs being in use since commence of business, where the marble tabletops became faded due to frequent scrubbing. In the kitchen stood two woodfire stoves and a wood-fired steamer which is seldom seen, the key in producing traditional flavours. Dishes cooked using woodfire stoves have a special taste, without necessity to be complemented by elaborate plating. Apart from making the mouth water, the rich authentic aromas that fill the restaurant transport people back to the past, glimpsing the way of life since 50 years ago.

Pudu is situated in the outskirts of Kuala Lumpur City Centre, being one of the early Chinese communal settlements, it was called “half jungle” during the end of the 19th century before being fully developed. The British colonial government built a railway station beside the Pudu fire brigade station, transforming the area into a transport hub connecting Jalan Petaling and Jalan Cheras, causing both population and economic boom within Jalan Pudu. The Pudu Wet Market was the main wholesale market, every day crowds flock in since dawn. Back then when entertainment was scarce, there were three cinemas in Pudu, crowds did not disperse until late night.

Founders of Sek Yuen Restaurant——the three Phang siblings discovered an excellent business opportunity, starting by selling wanton noodles in a roadside food cart, they slowly saved up to purchase a shop lot. In 1948, a simple hut was built at the current site. The whole family worked together, selling dim sum from 5.30A.M. onwards, then noodles and hot food from 11.30A.M. till late night. At the same time, they hosted banquets and feasts, flourishing with guests each night, thus gaining fame and recognition as one of the four major restaurants in Kuala Lumpur. With increasing numbers of banquets, Sek Yuen once imported containers of alcohol, an impressive feat in former times. Even British colonial government officers frequented Sek Yuen, attracting other renowned guests as well.

In the mid-1950s, having developed rapidly together with Kuala Lumpur city, Sek Yuen was granted approval for building premises. The occupied spot stood out from the row of shops as an individual building, with pyramidal steps at the entrance, “Sek Yuen Restaurant” painted in red against white walls. Another interesting fact is due to the restaurant being located on an odd-numbered row between lots 313 and 315, its lot number is ingeniously assigned as 313/1. As the restaurant prospered, in 1971 Sek Yuen acquired a double-storey air-conditioned building at the neighbouring lot 315, improving its standards so that customers could enjoy delicious dishes in a comfortable environment. During the new site opening, they introduced their in-house research-and-developed Pipa Duck as a signature dish, a must-have to date.

Since the founding of Sek Yuen, members of the Phang family have devoted themselves to operating the restaurant, upholding the family business established by their patriarchs. Helping out at the restaurant is a collective memory of the younger generations. Some of them work in the restaurant after completing their studies, Pang Yong Sui and Phang Siew Lake from the second generation lead the kitchen and barbecue stations respectively, dedicating their youth to Sek Yuen. Third-generation person-in-charge Phang Kwai Choong respects the elders’ commitment, as a token of gratitude, he returns to help in managing and handling the family business after some years of venturing out. Sek Yuen is now reined by the fourth generation, apart from about a dozen of family members working full-time in the restaurant, the remaining 60-70 family members lend a helping hand every now and then. During Chinese New Year, even the fifth generation comes to help, the entire family busy in the bustling restaurant.

Modern dietary trends demand for fast service, sophisticated traditional dishes consumption declines, yet loyal gastronomes are still willing to indulge in authentic Cantonese fare at Sek Yuen. The sustenance of Sek Yuen lies in not only cooperative behaviour among family members, but also the involvement of younger generations who bring upon business model innovation to boost revenue. For instance, due to Covid-19, they launched delivery packages through online platforms, delivering tantalizing food to customers in person. Working hand-in-hand, the Phang family strives to maintain Sek Yuen Restaurant.

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 : Wonderland

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

While on-camera and their optimism

“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

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Folk Foods

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

Work until unable to

“Work until I’m unable to.”

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

Mother Nature’s blessings

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

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Sounds of Livelihoods

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

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Ginger in Banting

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

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Malaysian Ngo Chor Fitness & Sports Society

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

Classic Bar

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

COPYRIGHTS 2020 ECHINOIDEA SDN BHD