UNINESS

The Ferryman. Sailing on rivers, cruising across two shores, ferrying people across the Sepang river, handling a small ferry, closing the gap between two states, and ease countless passengers who cross the river. The Tang family has been operating at this jetty for three generations, never ceasing in maintaining this travel passage for inhabitants from these two shores.

The Sepang river flows between the states of Negeri Sembilan and Selangor, a work of nature separating two states. Not only is Sepang river the source of living for neighbouring villagers, it also bridges economical activity for residents from both ends. Transportation via water plays an important role, especially between Sungai Pelek located in the southeast part of Selangor and Bukit Pelanduk located at the northwest of Negeri Sembilan.

In the earlier days where land transportation were not developed, the inhabitants in the proximity are dependent on the boat service, where students go to school, housewives go shopping, farmers go to work, and more on. The scene back then was extremely busy, with plenty of boats crossing to and fro the river. In the golden era, there were plenty of boat and ferry services along the riverside, with some running their own independent business by building a simple jetty in their own territory. Since the traffic system connecting with the city were developed and roads were built, for now there is only one remaining ferry service.

The 63-year-old ferryman, who goes by Tang Kah Chai, navigates the small ferry skilfully over the shores of Negeri Sembilan (Bukit Pelanduk) and Selangor (Sungai Pelek) on a daily basis, fetching batches of passengers across the river. The family business is now in the third generation. During the Japanese occupation, Tang’s grandfather initiated the business with a small sampan rowed manually. It was hard work. In the recent decades, evolution of technology made life easier for boatmen and ferrymen, as the boats and ferries are powered by engine. This also boosted the safety of passengers, as well as increases the number of passengers each trip.

The river surface is about 150 metres wide, the trip across the shores only takes a couple of minutes, yet it employs the services of three generations of ferrymen for almost 80 years. They even earned the regard of the local community. A short encounter on the ferry daily makes passengers familiar with the ferryman, chit-chatting while on the ferry makes them more close knit, and illustrates a warm affection for each other.

Even though nowadays the traffic system is completed, the communion between Bukit Pelanduk and Sungai Pelek on the opposite side since settling in for half a century, where their living and economy has long been inseparable, however there is still no news about a bridge construction plan that the local residents were looking forward to for ages. The main communication and transport channels are travelling 20 minutes by land or two minutes by water.

Since ferries powered by engines replaced manual rowing, the tickets inflated from just a few cents to 50 cents. As the last ferryman in three generations of the Tang family, Tang Kah Chai remains committed steadfastly, crossing the river daily from early morning to the evening all year long.

For now, the two families of Tang and Chong taking turns weekly to be in charge of the jetty.

Text: Daniel Lim

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 : Touching from Ashamaluev Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Wearing a protective eye mask, then simply wrapping the nose and mouth with a rag to block fumes and metal dust. These are the standard procedures practised daily by octogenarian Master Lim Chang Wan (transliteration). The blazing charcoal fire burns through the steel, turning it bright red. Striking while the iron is hot, husband and wife joined forces to pinch and hammer, cutting the steel bar into small pieces. After that, the steel is beaten into shape with the use of an air forging hammer and an iron hammer. The shaped steel is then returned to the fireplace to be burned until red. With the above steps repeated over and over again, only could the raw steel be shaped. The final step is quenching, which is air-hardening. Putting the red-hot steel into a liquid for immediate cooling can enhance the hardness and strength, this process puts the ironsmith’s skills to test.

Having almost 100 years of history, the blue single-storey antique wooden shop lot is covered beneath tree shades, nestled in the old streets of Pasir Penambang, is the iron shop Chuan Lee Chan. More than half of a century ago, Master Lim Chang Wan (transliteration) who was born in Klang relocated to Pasir Penambang with his family in 1952. His father who was also an ironsmith bought the shop, negotiated with the ex-shop owner to continue using his signboard, and started running his own iron shop. Lim Chang Wan (transliteration) and his elder brother followed in their father’s footsteps to manufacture knives since they were teenagers.

At the beginning stage, competition was intense, as knives are durable unlike daily supplies. The Lim siblings learned the forte from others in the industry to enhance their skills. Not only so, they also personally sell the knives they made to other areas, such as Sasaran, Kapar, Banting, and Tanjung Sepat. After decades of diligence and contribution, Chuan Lee Chan gained recognition around 1982, as word of mouth spread and customers came to purchase and place customised orders. As their business stabilised, they stopped selling knives in other areas.

As times moved on, the elderly Master Lim is still energetic and enthusiastic. Although he is downcast that traditional household ironsmith could not compete with industrialised manufacturers in terms of high production numbers and low costs, Master Lim enjoys forging knives as usual, and immerses himself in it, especially when receiving praise from the customers. Customers are willing to purchase a better quality knife at a higher price, especially plantation owners in the neighbouring areas. As the saying goes, “To work efficiently, your tools must be sharp”. The sharp and durable knives Master Lim manufactured not only helped increase productivity at the plantations, his ironsmith store earned a good reputation as well, in a win-win situation.

Master Lim has been working with knives for 65 years, and experienced the ups and downs in the ironsmith industry. Half-retiring, he no longer accepts large numbers of orders or large projects. He still operates on a daily basis, providing walk-in customers from all backgrounds knife sharpening and air-hardening services. He also sells a variety of knives sourced elsewhere. None of his three children were interested in taking up the labouring trade. The metal tools produced by hard labour of ironsmiths, the sounds of the hammer striking, and one by one the household iron shops may become obsolete, vanishing from sight.

The blue wooden shop lot underneath the trees’ shades, and the ’22’ mark on the knives, Lim Chang Wan (transliteration) has been hammering most of his 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 : Amelia Lim
Production Assistant : Michael Lerk
Music : Lightly Upon The Surface from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

Walking along the narrow road across the grove, you may spot a few irregular-shaped big stones between the grass and trees, some of them with traces of cutting. At the end of the winding path, you may hear loud hammering. Looking over to the source of the noise, there is a small wooden shed hidden within lush green bushes and branches. The shed is made up of rustic wood and a few pieces of zinc, scattered around are some iron chisels and hammers, as well as nearly a hundred of granite pieces. These are long-time friends of Master Kuah Leong Chuan, who has been keeping up the ancestral business for over forty years.

The crude and unremarkable tiny shed is located in Kuala Selangor, beside the main road of Kuala Selangor bridge. In the past few decades, it has witnessed the birth of countless tomb stones, mostly those of muslims called ‘Batu Nisan’. All these are the works of Master Kuah, who himself pick the stone, cut, and then carefully carve into shape. He even writes and carves the Jawi words on the grave stone too.

Mr Kuah, who is 64 years old, and his elder brother have been helping his father running the family business since young. Their family has been stone smiths for four generations. Since Mr Kuah’s great-grandfather migrated overseas from China to Malaysia, the family made a living by carving holy figures and stone lions for temples, whereas Mr Kuah’s father worked on stone tools like mortar and pestle, stone mills etc. When Mr Kuah graduated from high school, he went into business together with his elder brother until now. They are the fifth generation of the trade, now they mainly craft and sell grave stones, instead of stone tools.

Material sourcing, material selection, and carving are all done locally. For the past forty over years, Master Kuah has been using granite from the hills nearby, which used to be a famous stone quarry during the British colonisation era. Due to the granite stones being of high quality, in the heyday of stone craft, there were five or six families of stone smiths who set up workshop in the same hill area. Having been through decades of stone mining, the number of stones in the quarry were not exhausted, on the contrary the stones surprisingly grew into an infinity number. Master Kuah named those as ‘living stones’, as these unique granite did not corrode but expand over time. Such a trait is greatly popular among the Malay community.

The process of transforming a huge solid stone to a piece of tomb stone exhibits Master Kuah’s skills and expertise. From deducing the stone’s age by its pattern, determining the quality by the stone’s surface, the artful skills of cutting open the stone, to self taught Jawi, not many stone smiths can achieve such a feat on their own.

As times progress, some of the traditional trades and skills might be drowned in the swift development. Fellow stone smiths in Kuala Selangor either retire or concluded business, and Master Kuah’s brother with whom he has been working hand in hand over the years became unable to shoulder such tedious work due to illness. As he has no children, and no apprentice, now there is just Master Kuah carving away all alone in the little wooden shed beneath the trees shade.

Text: Daniel Lim & Pua Hui Wen

有你 UNI Production
Producer : Mok Yii Chek
Coordinator : Daniel Lim
Cinematographer : Amelia Lim / Evon Pang
Production Assistant : Michael Lerk
Video Editor : Michael Lerk
Music : Dyathon – Hope from YouTube

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

A photograph may be thin and fragile, yet it involves a strong and solid process consisting of genuine dedication. Entering a traditional photo studio, the entire family dress neatly for their family portrait. Let the family relationship be framed by lights and shadows, and let life moments be captured by the camera. Compared with the convenience of digital technology, stepping into a photography studio feels more formal. Dressing up for the shooting, minutely adjusting facial expressions and angles, just for a satisfying photograph to commemorate the moment.

Before technology and digital products became widespread, photography is commonly viewed as a luxury. People would look forward to have their photos taken at a photography studio on special occasions such as marriage, as it was a grand affair. The photo studio and the photographer shoulder the responsibility of testifying memorable moments. In the past, traditional photography studios are set up in high density downtown areas. Besides generating a steady income, the studios also convenience ancestors of the Chinese community who worked overseas, as they could have their photos taken, and sent together with their hard-earned money back to their hometown.

Port Dickson is home to the only seaport in Negeri Sembilan. During the British colonisation, a railroad connecting with Seremban was built, linking to the railways of Peninsular Malaysia. The integrated transport system brought on the economic development of Port Dickson, transforming the small seaside town into a commercial hub for transportation, businesses, fisheries, and all sorts of fuel manufacturing plants. Tucked in the old streets of Port Dickson, Beautiful Star Studio is eyewitness to the transition and historical track of the town.

Registered in 1936, Beautiful Star Studio is among the earliest established photo studios in Port Dickson, and is one of the minority traditional photo studios that is still in operation. The current owner, Mr Loh Lian Peh, aged 62, is the third generation owner of the photography studio, and also the photographer. Following in his father and brother’s footsteps at the age of 18, he is involved in many fields of photography, undertaking the role of professional photographer for various energy factories for events, celebration, and site construction launches. Mr Loh and his elder brother, Loh Lian Wah (transliteration) have been assigned as photographer for a few major fuel manufacturing plants, working together as trusted partners for decades.

Various photographs are arranged neatly on the walls surrounding the studio, for instance family photos from all races, individual and celebrities’ portraits, as well as fuel manufacturing plants. One of the walls is dedicated to extremely valuable photos of Port Dickson’s old streets and fishing port from past times. The third generation of the family business falls on Mr Loh’s shoulders, crossing over three eras of photography advancement. From black and white to full colour photos, then digitalisation; from developing films in a dark room, to instant printing, then digital conversion. The Loh family went through the blossoming and declining of the traditional photo studio and photo printing industries. In today’s fast-changing world, only printed photos are of a substantial existence, holding on to past times.

The 31st of August this year marks Malaysia’s independence day, as well as Beautiful Star Studio’s last day of operations. Coincidentally, Mr Loh was born in the year 1957.

Text: Daniel Lim & Pua Hui Wen

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

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

A plethora of milky white granules in the shape of a teardrop, put a few into the palms, dip some water, and spread it on the face or skin for a cool and refreshing effect. This is what older generations have been using to battle the scorching sun and its heat, also acting as sunblock. Besides, this is the traditional skincare product of grandmothers and grandaunts, having the functions of oil cleansing, getting rid of acne, reduce swelling and stop itchiness. This is the most natural form of skincare products, simply made from rice and water. This handicraft is rarely seen now, and there are only a few who mastered it. This is moisturising powder.

Back in the days when skincare products and makeup were not popular, almost every family uses moisturising powder, or even make it themselves, as the ingredients are simple, and have no side effects, suitable for all ages. As times change, there are a wide variety of skincare products on the market, therefore the time-consuming and laborious craft of moisturising powder fell out of favour, especially the stringent smell during the crushed rice fermentation process, which drives people away for miles.

Located at a riverside village in Balik Pulau, Penang, in Kampung Jalan Baru, stands the only remaining traditional handmade moisturising powder manufacturer, Lean Seng Cooling Powder, also known as Wei’s. Yeoh Siong Huat, the second generation owner of the manufacturing site, took over the business that his dad Yeoh Keng Beng started. The senior Mr Yeoh worked humbly for the whole of his life, picking up multiple trades and experienced in various fields. He started manufacturing moisturising powder part-time when he was 31 years old and established the moisturising powder factory, which was about 40 years ago. Over the years, Mr Yeoh senior worked tirelessly with the two ingredients (rice and water), as well as dealing with the weather, and was content with his work. He gained precious experience in estimating the consistency and quality of the rice liquid, moreover he designed a new machine to ease the process of having to press the powder granules one by one using a conical bag.

Although the procedures of making moisturising powder are time-consuming and laborious, having to bear the odour from the fermentation process, and also need to keep an eye on the weather changes, but moisturising powder gradually gained recognition and popularity under Mr Yeoh senior’s perseverance. His wife and him seldom travel, their three children helped to supply the moisturising powders outstation to wholesalers. They also welcome visitors and students to take a tour if the manufacturing site. The general public play an important role in spreading word-of-mouth for traditional crafts to gain more acknowledgement and support, just like the powers of a fountain, pushing the cultural tradition further.

The second generation owner, Mr Yeoh Siong Huat, quitted his job as a goldsmith in 2016, and went back to his hometown to assist his father in the moisturising powder business, in order that the craft continues its legacy, repaying his father’s lifelong efforts to promote the business. For traditional skills and crafts to flourish, willpower and dedication are two key factors that could never be missed. In that same year, the senior Mr Yeoh passed away.

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 : Touching Moment

COPYRIGHTS 2019 ECHINOIDEA SDN BHD

These three words ‘Khen Thye Hin’ have been a family legacy for three generations, hanging eye-catchingly over the doorway. The decrepit iron shutters are full of fingerprints. After pushing hard to open them, a variety of goods are hanging somewhat orderly amidst chaos near the entrance. Upon walking into the shop, steel racks divide the space into the left and the right sections, and more merchandise is hanging above the head, where wooden sticks were tied to the ceiling, hooks extending downwards to display the products like grapes on vines. The seemingly jumbled arrangements each have their own sort of order under the control of the third generation shop owner, Mr Yap Chee Cheong.

77-year-old Mr Yap is born and bred in Kuala Kubu Bharu, growing up together throughout the years with the Khen Thye Hin shop run by his father and uncle, which now is the last remaining traditional imported goods store. In the beginning, the shop only offered tailoring services and sold cloth. After saving up some funds, they progressively bring in imported goods for sale. There are an all-inclusive range of products, from cotton textiles, bedding merchandises, electrical devices, to metal spare parts. Khen Thye Hin is also the only newspaper distributor in Kuala Kubu Bharu, circulating publications such as Kin Kwok Daily News, Shin Min Daily News, Malayan Thung Pau Daily News, Sin Chew Daily, Nan Yang Siang Pau, China Press and more. 

The traditional imported goods stores and grocery stores are differentiated by what they stock: daily necessities versus foodstuff. Due to the imported goods being sourced from European countries and the United States, they were known as overseas goods stores. Back in when departmental stores and supermarkets were not as prevalent, imported goods stores were the people’s first choice in shopping, and could be immensely busy and overcrowded during the festive seasons. In the 21st century, consumer habits and models have changed, malls and hypermarkets are everywhere, the convenience of online shopping, as well as cheap made-in-China goods caused traditional imported goods stores to be unable to withstand the heavy blow from larger environmental waves and therefore die out eventually. The formulated shopping mall experience lacked humane touch, leading to traditional consumer experiences such as negotiation, greeting each other, aggregated pricing, and even crediting purchases, to no longer exist. 

Starting from 2018, Khen Thye Hin terminated their newspaper distributorship, the local villagers have to buy newspapers from the neighbouring Indian mart. Mr Yap intends to retire in a few months time, to move to Kuala Lumpur to stay with his son and family, enjoying the latter part of his life. His younger brother will be following up on disposal of the remaining goods and renting out the property, never to sell. After the Khen Thye Hin signboard is taken down, it will go into the possession of his son, to be bequeathed to the following generations in mind of not forgetting their ancestry.

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 : Sun in Your Eyes from Felt Music

COPYRIGHTS 2019 ECHINOIDEA SDN BHD