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IN homes across Malaysia, the gleaming copper and brass ‘vilakku’ — traditional oil lamps central to Deepavali — are being lovingly polished in preparation for the Festival of Lights.
But in recent years, these artefacts have come to symbolise much more than festivity.
For K. Letchumi Devi, director of Cleanstant Metal Polishing, the vilakku is not merely decorative.
“Deepavali celebration is like celebrating prosperity, your health, making your life bright — from darkness to brightness… that is the main thing. It (Deepavali) is about life, health, prosperity, happiness… everything,” Bernama cited the 69-year-old saying on Tuesday from her workshop.
Crafted traditionally in copper or brass, the lamp is believed to absorb and radiate positive energy during religious ceremonies. Its polished state reflects not just aesthetic care, but spiritual preparedness.
“The condition of the lamp says a lot about its owner’s discipline and values. The brighter it shines, the more it signifies one’s readiness to receive abundance,” she said, adding that the Kamachi vilakku and Man vilakku are among the more common types in Malaysian households.
Her son, B. Kanishen, 40, who also serves as company director, noted that while ritual regulations do not demand a shiny finish, cultural instincts lean towards cleanliness.
“Our instinct is that when the lamp is shiny, it means we are maintaining cleanliness. So, we can say that the shinier the lamp, the better,” said Kanishen, who grew up in Ipoh.
Founded in 2015, Cleanstant has evolved from a traditional polishing service into an enterprise offering industrial-grade restoration and gold-plating — techniques that preserve a lamp’s shine for up to five years, especially for ceremonial items not used daily.
“This way, it (the gold-plated lamp) will shine even brighter. Apart from the shine, in terms of energy vibrations, we believe it absorbs energy faster,” he explained. Prices range from RM60 to several thousand ringgit, depnding on size and intricacy.
Among the Indian community, these lamps are rarely discarded due to deep sentimental and spiritual associations. “People would rather restore a broken lamp than replace it,” said Kanishen.
To meet this demand, Cleanstant has introduced patented products such as the Thiri (wick) holder — which elevates the wick to prevent soot damage — and the Thiri adjuster, a tool that allows users to reposition the wick without extinguishing the flame.
Over 40,000 Thiri holders have been sold since August last year. Demand for polishing services spikes by up to 50 per cent ahead of Deepavali and Ponggal, while product sales remain steady year-round, with orders coming in from Singapore, the United States and Australia.
Yet, the glow of Deepavali extends far beyond the flicker of the vilakku.
Malay teacher and a kolam
In a quiet corner of Wangsa Maju, secondary school teacher Mohd Bakri Talib is helping reshape Malaysia’s cultural landscape — one kolam at a time.
A Malay Muslim by background and self-taught in the South Indian tradition of kolam (decorative floor art made from coloured rice or petals), Mohd Bakri is perhaps the most unlikely figure in Malaysia’s kolam art scene.
“That’s when I began learning more about Indian culture and was drawn to the beauty and intricacy of kolam designs,” he said, recalling his time studying Tamil at Universiti Putra Malaysia in 2005.
Since then, his symmetrical, brightly coloured creations have gained national attention, especially on social media, where he promotes kolam as a celebration of unity.
“My first commissioned kolam was for 1 Shamelin in Kuala Lumpur. Since then, more people have come to recognise my small talent. What means most to me is that I treat every kolam I create as a special gift to my Indian friends across Malaysia,” he said.
Despite having no formal training, he sketches designs either on paper or digitally before executing them — some taking up to six hours to complete.
Rather than drawing criticism, his participation has been warmly received by Indian and non-Indian Malaysians alike.
“My friends and the community have been very encouraging,” he said. “I always ensure that my designs are appropriate — featuring flowers, geometric shapes and patterns without religious elements.”
One of his proudest achievements was winning kolam competitions against experienced participants — moments that, for him, affirm Malaysia’s capacity for intercultural respect and creativity.
“Kolam is not just decorative art… it reflects the harmony of Malaysian society. As long as we respect boundaries and sensitivities, this art will continue to unite us,” he said.
As Deepavali lights begin to glow across the country, Malaysia’s take on the Festival of Lights shines ever brighter — not only through tradition, but through shared innovation, unity, and cultural exchange. - October 14, 2025