Bee Tai Bak in Lunas

Everything is still and quiet in the wee hours, except for a slight drizzle and gushes of cold breeze gently swaying the coconut trees. Upon driving into the narrow path among the coconut trees in the heart of Lunas, a few wooden houses are scattered around, of which only one is brightly lit. The kitchen is filled with steam, a world apart from the cold outside. A large pot of boiling water sits on top of the wood stove. A stainless steel perforated metal mesh encased in a wooden frame is placed across the pot, a pair of seemingly heat-resistant hands work deftly; the right hand kneads the half-cooked, thick rice batter through the sieve, while the left hand retrieves the cooked, snow-white rice noodles – Bee Tai Bak.

Bee Tai Bak is a term transliterated from the Hokkien dialect. It is a type of noodle that is round and slender, tapering to a fine point at the end. In the Minnan region, Bee Tai Bak is typically served as a sweet cold dish, while in Singapore and Malaysia, it is more commonly found as a savory hot dish, prepared either dry or in soup. The chewy and bouncy Bee Tai Bak is often tossed in a fragrant sauce or submerged in a delicious broth, accompanied by fish balls, dark sauce minced pork, barbecued pork in slices as well as chunks, with chili sauce adding an extra kick.

As the first rays of dawn illuminate the sky, customers begin to arrive, conscientiously parking their vehicles under the coconut trees to avoid obstructing others. Uncle Teh Guan Cheng and his wife Aunty Koh move from the kitchen inside the house to the stall in the back, busily serving bowl after bowl of Bee Tai Bak. Customers enjoy a hearty meal of steaming Rice Taimu in the soft morning light, plenishing energy to kick start the day. By 9:30 AM, the sunlight grows stronger, and those going to school or work have left, prompting Uncle Teh and his wife to close up.

Closing after merely three and a half hours of operation does not mean they can return to bed for extra sleep; instead, they seize the time to head out to purchase fresh groceries, preparing ingredients for the next day. Fresh pork needs to be marinated for several hours before being processed into dark sauce minced pork and barbecued pork. Barbecued pork is made from pork loin, which is the tenderest, best, and most expensive part of the pig. The chili sauce, which is free for customers to consume, is entirely handmade—from chopping the chili to simmering two large pots of aromatic sauce, each step is handled with delicate care.

This home-based Bee Tai Bak stall has stood in the same location for over 60 years without relocating. The previous owner, Mr Tan, ran it for 23 years, sourcing fish balls from Uncle Teh’s mother-in-law. Upon learning that Mr Tan planned to retire and sell the business, she suggested her son-in-law, who was a vegetable farmer, try his hand at it. After about six months of observation and research, Uncle Teh officially took over at the end of 1986, moving his family from Tasek Gelugor to operate this food stall in Lunas. Day in and day out, he and his wife work diligently, paying meticulous attention to each step from selecting and preparing ingredients to cutting and cooking, embodying the spirit of craftsmanship.

In this unassuming township, Uncle Teh and his wife embrace a leisurely lifestyle, living in simplicity while making each day busy and fulfilling. Before long, their young children are grown up and helping them out. The humble noodles from this village home under the coconut trees may one day succumb to the tide of development and eventually disappear, and now they seem closer to vanishing than ever.

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Michael Lerk
Drone : Daniel Lim
Video Editor : Amelia Lim
Copywriter : Pua Hui Wen

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Rattan in Gurun: Ban Lee

Raw rattan vines grow in the tropical rainforests, and require meticulous processing to be made into furniture. Rattan furniture maker Chiau Tai Huat, born and bred in Gurun, has been working in the industry for decades. Throughout his career, he worked in several different places before returning to his hometown and set up his own shop – Ban Lee. At 78 years old, he is still using his strong physique and skillful hands to craft all sorts of rattan furniture and household goods, at the same time accepting custom order requests.

Gurun is the second largest Chinese new village in Kedah, with around 300 households, the majority of them being TeoChew. Agriculture used to be the main local economy, later on there came manufacturing and industrialisation. In the early days, there were limited furniture options, almost every household used rattan furniture, which was inexpensive and of good quality. The rattan furniture industry in Gurun was most prosperous from the 1960s to the 1980s. Compared with wooden sofas or leather sofas, rattan sofas are light, cool and not easily damaged, therefore especially popular.

The first rattan furniture shop in Gurun, Eng Thye Lee, used to be an ironsmith shop ran by Chiau Tai Huat’s father. Chiau’s elder brother, who was unwilling to learn the trade, went outstation and learned to make rattan furniture instead, thus transforming the business but still operating under the same trade name. Back then he employed a dozen or so apprentices, providing livelihood for young dropouts. After mastering the craft, they would start their own rattan workshops at home in the new village. During peak seasons, Eng Thye Lee would even outsource some projects to them.

Chiau Tai Huat learnt to make rattan furniture from his elder brother, and became his aide in Eng Thye Lee. After a while, he went around Sungai Petani, Kulim, Yan, Alor Setar, and Kota Bharu, Kelantan, working in various rattan shops and gained much experience. He then returned to his hometown to set up his own shop, and took great pains to reclaim a shoplot that his father rented to an Indian barber. Ban Lee officially opened in 12th May 1986, with beautiful hopes of “prosperous” and “everything goes well”.

A rattan stick with a diameter of an inch or so does not change colour when burned, but gradually soften under the high temperature. Bend it while it is hot, and it will retain the shape when it cools down. To achieve a specific curvature, it may be necessary to repeat heating and apply force several times. Over time, the surface of the rattan furniture will appear shiny due to being moisturised by sebum, no maintenance is required. Even if the rattan strips wear out, Uncle Chiau provides repair services.

With the rapid rise of industrialisation around the 1990s, there were more furniture choices at affordable prices, demand for handmade rattan furniture decreased. Moreover, the government enacted strict laws to control forest harvesting, resulting in skyrocketing raw material prices. As things went from bad to worse, most rattan furniture makers had no choice but to switch careers, only a handful remain in Gurun new village. Till this day, Ban Lee and Eng Thye Lee are still standing on the old street. 

Rattan furniture provides excellent ventilation and is durable, suitable for both indoor and outdoor use, its natural colour exudes a simple and tranquil atmosphere. Furniture made from raw materials in local tropical rainforests has evolved from crude products in the early days to fashionable artisanal crafts, albeit less in demand. Uncle Chiau is optimistic about the future of rattan furniture, and he is glad to see his son taking interest in inheriting the trade. With passion, perseverance, and patience, one will manage to make a living.

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Michael Lerk
Drone : Daniel Lim
Video Editor : Amelia Lim
Copywriter : Pua Hui Wen

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Orang Orang Drum Theatre

The drum’s origins can be traced back thousands of years to ancient civilizations across the globe, in a wide variety of shapes and sizes. Drums were used in military communications and warfare, religious rituals, as well as dance and music performances. A drum produces simple sounds: “dum dum” by hitting the drumhead and “da da” by hitting the rim. Even with varying tempos, rhythms, and force, it does not suffice to express emotional changes. Orang Orang Drum Theatre takes drumming to another level by combining drums with vocals, movement, theatrical aspects and ethnic musical instruments, as well as traditional folk songs, into their works. The integration of theatrical expression and music’s ability to convey emotions nonverbally turns drummers from percussion accompaniment into performers enacting stories onstage.

Splitting the Chinese character “众” (crowd) into three “人” (people) side by side symbolizes everyone is equal, and it can also be interpreted as “There is always someone that one can learn from among a trio”. Orang Orang Drum Theatre was founded in 2013 by Boyz Chew and Zyee Liew, with the core belief that performing arts is people-oriented, thus striving to break down barriers between performing arts and the audience. The essence of performing arts lies in fostering connections, expressing and eliciting thoughts and feelings at the same time, and cannot exist without involving people. Their ultimate goal is to make performing arts accessible to all, to create resonance between people, and to create shared memories.

Boyz and Zyee realised that performing arts encompass a wide range of forms and styles, despite their started out from 24 Festive Drums instead of receiving formal performing arts education. By keeping their minds open, apart from being proficient in drumming, they explore different possibilities of narratives and expression methods, and collaborate with artists from various fields. Whenever they perform abroad, they sought out local folklores, musical instruments, and folk songs, collecting inspiration to fuel creativity. They are also deeply observant, finding creative themes in the mundane everyday life, then they tell stories, portray characters, and convey ideas by the symbolic use of props, costumes, and gestures.

The productions of Orang Orang Drum Theatre appeal to a broad audience, be it an international stage performance or casually engage with residents of rural villages. The major difference between the two is that in a relatively enclosed space, one can be distraction-free and focus on the performance; on the streets, one needs to cope with all sorts of situations in order to perform. They also organise community percussion workshops using plastic buckets and sticks, leading everyone into a world of non-verbal communication with only beats and rhythms, where they can sway instinctively and relax their bodies and minds.

24 Festive Drums, which is derived from traditional drums, combined with various theatrical elements, led to the creation of “Drum Theatre”, where multiple dimensions of creativity come together with an overarching theme and multi-sensory expression. Performing arts and culture are vital sources of nourishment for our souls, enriching the quality of our lives. Orang Orang Drum Theatre dedicate their hard work to pass on the multi-cultural performing arts of Malaysia.

有你 UNI Production
Producer : Daniel Lim
Cinematographer : Amelia Lim / Michael Lerk
Drone : Daniel Lim
Video Editor : Amelia Lim
文案 Copywriter : Pua Hui Wen

COPYRIGHTS 2024 ECHINOIDEA SDN BHD

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