UNINESS

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

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

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

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Opposite the mini stadium in Renggam, Johor, there is a row of antique single-storey wooden shops, New Kwong Weng watch shop inconspicuously situated among them for almost nine decades. As its light blue metal shutters slowly open, various grandfather clocks, mantel clocks, and wall clocks come into sight, the regular rhythm of ticking clocks bringing peace to the mind. This historic watch shop is the only place for traditional watch and clock repairs in Renggam, the 2nd generation successor master Chong Lin Kiam is hailed as “Clock and watch doctor” who rescues timepieces. Countless clocks and watches came back to life under his able hands, and there often are clients from Kuala Lumpur or even Singapore who send their collection of luxury watches for repair.

About 40 years ago, master Chong succeeded the shop established by his father in 1932, adding a “New” to the original shop name “Kwong Weng”. The senior Mr Chong used to be a farmer in China who lost his hard-earned savings during a locust disaster in the 1920’s, therefore he moved overseas to make a living in Johor Bahru. He learned the trade of repairing clocks and watches from his fellow hometowner who conducted him to Malaya, and moved to the rapidly developing Renggam by coincidence, setting up his own shop on the busy main street, in a row of the earliest buildings in Renggam town. The narrow space behind the shop which used to be a storeroom was turned into lodgings after being rented by the senior Mr Chong, who brought up several children with this mere trade.

In the earlier days, numerous estate managers and foreign business owners gathered at Renggam, having great demand for clocks and watches repair services, back then there were 2-3 watch shops in town including Kwong Weng. Despite the Japanese occupation of Malaya, the business of watch shops was not affected. The Japanese soldiers were honest and paid up promptly when they sent their watches for repair, only threatening the watch repairers with their weapons upon receiving poor service. Having cautiously operating for over two decades, the senior Mr Chong finally received a trade license from the British colonial government in 1955, as well as another zinc license plate from the Malaysia government in 1975, both well-maintained to date, as master Chong hung them in the shop in honour of his father’s hard work and toil in entrepreneuring.

Master Chong has been helping his father in the shop since teenage, gradually fathoming the mechanical principles of clocks and watches, subsequently inspiring an enthusiasm in repairing them. According to master Chong, beginners should start learning to repair alarm clocks which have larger parts, only switching to repairing watches after grasping the basics and becoming adept. Various tools available in the shop are heirlooms from his father, whereas the array of old spare parts were procured from outstation associates, as some of the watch shops conformed to the changing times to sell electronic watches therefore selling off obsolete mechanical parts. Even though electronic watches are trending, the unique charm of mechanical watches expand their value for collection, watch repairers who are savvy in mechanical principles and have exquisite craftsmanship are particularly sought after. Master Chong’s son also became a watch repairer under his influence, and is now working in the repair department of a luxury watch shop at Kuala Lumpur.

The process of disassembling, cleaning, repairing, and reassembling a luxury watch puts patience to test as well as time-consuming. Fortunately master Chong who has over 50 years of experience in watch repairing still has sharp eyesight and agile hands even though he is nearly 70 years old. Sitting in front of his workbench wearing a loupe, he steadily grips the tweezers, carefully arranging the petite parts on a small white tray, closely inspecting every single detail, striving to find out the exact problem to restore the watch’s functionality and accuracy. Among the luxury watches master Chong often repair are Rolex, Panerai, Omega, Longines etc. Their structures are complex and delicate, the original mechanisms might be accidentally fragmented. Therefore he often purchased European watch magazines to study their technical innovations as well as polish his own skills.

Helmed by two generations, its craftsmanship passing down to the third, New Kwong Weng watch shop stood witness to the changes in watchmaking technology over the years. Quality is upheld by dedication in reviving the heartbeat of mechanical clocks and watches. Watch repair skill is a timeless legacy, allowing mechanical devices to continue measuring time step by step.

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 : Just Stay

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

Originating from Kuala Kubu Bharu dam, the 110-kilometres-long and winding Selangor River flows through Kuala Selangor into the sea. Under the blazing sun, on the riverpath along Kampung Kuantan in Kuala Selangor, Uncle Jamaluddin bin Zakaria could be seen paddling a small sampan against the tides, slowly approaching the stifling mangrove forests, starting his day’s gathering job.

Two types of palm tree leaves are usually gathered by Uncle Jamal: Daun Nipah and Daun Sagu/Rumbia. Nipah leaves, also known as Attap leaves, are gathered from Nipah trees which grow in humid swamps, measuring 2-3 inches in width and a few feet in length. Also from the palm family, Sagu trees grow on the shores, with tall tree trunks and narrower but thicker leaves. These two types of leaves are local roofing materials gathered by Malay forefathers. Having good air permeability as well as dispelling heat, attap roofs are suitable for the equatorial climate, commonly used within Malaysian communities.

Upon arriving at his destination, Uncle Jamal ties his boat onto the wooden stump, taking out his parang knife for mandatory sharpening. Having been induced by his parents to this traditional trade since a tender age, Uncle Jamal has decades of experience in gathering, obvious from his adept actions in cutting down sheaths of leaves. Firstly, he stands two pieces of stem vertically to mark the collection point (Celung in Malay). Then, he separates the leaves piece by piece from both sides of the sheath. As the leaves pile up, he peels a fine strand of fibre from the sheath to make a natural rope, to tie up the heap. These skills are mastered and inherited by Uncle Jamal’s family for several generations, demonstrating ancient wisdom in utilizing natural resources.

Uncle Jamal then carries the pile of leaves to unload onto his sampan, and makes his way back with the receding river tides. On the other hand, 65-year-old Aunty Zainab binti Daud sits underneath the tree shades in front of her house, surrounded by Attap leaves and ropes, her nimble finger movements showcasing decades of weaving skills. Aunty Nab arranges and folds Attap leaves neatly onto a thin and long bamboo stick with her left hand, while threading a rope through the two layers of leaves with her right hand. Moments later, a piece of shelterable Attap roof is born under her deft hands.

Since childhood, Aunty Nab followed in her parents’ footsteps, being in charge of both gathering and weaving Attap leaves during her youth, hence she is proficient in the whole process of this traditional folk skill. In the olden days, forefathers ripped Bemban trees sheaths into fine strands to be used as ropes in weaving Attap roofs. As more forest grounds were developed, at present Bemban trees are almost extinct, being replaced by bamboo ropes or plastic ropes. Now that Aunty Nab is getting old in retirement, she still weaves Attap roofs in her free time as a side income. The majority of her life is interwoven with Attap leaves into a brilliant tapestry.

Similar to a giant-sized comb, the woven Attap roof requires one to two weeks of sun-drying. Neatly layered onto the roof beam, a canopy combining both natural and artistic elements is built. Although Attap roofs are durable and appealing, they require regular maintenance, as well as major replacement every few years. Therefore, sturdy and practical materials such as zinc and tiles gradually replaced Attap roofs. However, the lack of air permeability led to a stuffy interior. In this light, Attap roofs still have their unique attractivity, being constantly in demand. Recently trending homestays and themed restaurants employ Attap roof designs to create a sense of rural nostalgia, enabling tourists and customers to experience rustic culture, as well as embrace Mother Nature. Attap roofs are once again in the limelight.

Attap and Sago leaves used to be commonly found in the forests, alas they are increasingly hard to find in recent years, Uncle Jamal needs to travel far away to collect sufficient leaves to cater for orders placed. The development of forest grounds directly impacted the natural growth of plants, and he is forced to enter even more secluded areas to gather. Back to the shores of Kampung Kuantan, there still are 3 to 4 Aunties skilled in weaving Attap roofs who are all over 60 years old, yet persist in weaving 50 to 60 pieces of Attap roofs daily. Perhaps some years later, this centuries-old skill will fade away.

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 : Dreamland

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

In the row of shops on the main street of Simpang Renggam, two ancient wooden shophouses stood out among numerous cement shophouses. Within the wooden shophouse on the left, charcoal ash could be seen floating in the air, alongside with the raucous ringing of hammering iron and sparks flying. Sometimes the ironsmith Mr Lee Sek Seng could be heard playing the erhu or singing folk songs. This is Sang Lee Ironsmith, ran by master Lee with about 60 years of experience, forging sharp and durable knives for the townspeople, as well as playing melodious music on the erhu. His shop name implies prosperity from making iron knives with unrivalled sharpness therefore being the king of shops, such is his expectations when setting up shop. The rustic original interior and furnishings are well maintained over the decades, the mottled plank walls bearing witness to master Lee’s toil in life.

The smithing process is tedious, involving hammering the iron into shape in front of a forge blazing at high temperatures, therefore the prerequisite of being an ironsmith is good physical strength. 75-year-old master Lee is as fit as a fiddle, conversing in a lively manner, playing the erhu or singing during his free time to relieve stress. Master Lee is born in China, following in his father’s footsteps to make a living at Malaysia in 1958, picking up the trade of ironsmithing together with his elder brother. After serving eight years of apprenticeship, he set up his own shop when he was 25 years old, having market foresight to settle down in Simpang Renggam where the fast-growing local agricultural sector brought upon demands for iron tools.

Common tools which master Lee forged include palm harvesting sickles and curved rubber tapping knives. Coincidental with the advance of pineapple plantation in Simpang Renggam, he tailor-made three types of special tools to suit workers’ requirements —— long knives for slashing the tapered pineapple tree leaves, short knives for harvesting pineapples, and bullet-shaped digging tools for planting pineapple shoots. According to the workers’ description and requirements, master Lee manufactured lightweight and suitable tools so that they could perform their duties with ease. These special tools attracted workers from neighbouring regions such as Pekan Nanas who purposely came to purchase.

Music is an inseparable part of master Lee’s life, be it erhu or singing, he never gave up pursuing his interests. He learnt the basics of erhu from his father, and actively joined the Chinese orchestra organized by Simpang Renggam Welfare and Sports Association. Even though the orchestra inevitably disbanded due to constant loss of members, master Lee keep on practicing. Concurrently he is one of the founders of the Simpang Renggam Song Club. Passionate about singing, he sings Hakka folk songs inspired by those sang by hometown neighbours during his childhood. Being without opportunity to receive professional guidance, he attempts his own adaptations, showing his passion.

Mastery in ironsmithing and music is not gained overnight, but through experience acquired over the years. Master Lee’s attitude towards life is full of enthusiasm and patience, consistently learning and improving himself. The clang of hammer striking iron, sentimental erhu melodies, and canorous folk songs harmonize together in the symphony of master Lee’s life.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Video Editor : Evon Pang
Production Assistant : Michael Lerk
Music : Moondrops

COPYRIGHTS 2020 ECHINOIDEA SDN BHD

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

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

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

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

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

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

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

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Drone : Daniel Lim
Video Editor : Amelia Lim
Production Assistant : Michael Lerk
Music : Angels Dream

COPYRIGHTS 2020 ECHINOIDEA SDN BHD