As a child, I never quite realised the cultural heritage I was so fortunate to be immersed in, surrounded by family traditions and stories from a bygone era. It wasn't until I grew up and ventured into academia as an educator that I began to relearn many things, including cultural heritage.

Cultural heritage is a living legacy and tapestry of traditions, weaving together history, practices, expressions, values, and places to objects of a community or society passed down through generations. It is our collective inheritance, connecting us across time and space.  

UNESCO identifies two types of cultural heritage: tangible and intangible. Tangible cultural heritage encompasses artefacts, objects, historical or archaeological sites, built structures, monuments, graves, and cultural landscapes; whereas intangible cultural heritage includes language, oral histories, beliefs and practices, rituals and ceremonies, customs and traditions, music and dance, art and crafts, among others.  

My journey into cultural heritage began with the guidance and tutelage of the late Redza Piyadasa, an eminent local conceptual artist, historian, writer and scholar when I pursued my Masters at the University of Malaya. It was through him that I was reintroduced to the richness of our past and cultural meanings in various forms of our Malaysian and Southeast Asian landscapes, structures and artefacts.  

The Malayan Chinese shophouse of the late 19th and early 20th centuries, in particular, is one of the research areas which I had learnt to appreciate and eventually discovered the beauty within these structures, intricate designs and symbolic elements that reflected a blend of cultures and histories. Yet, many have succumbed to modern development and vanished with time, erasing part of our collective memory, our past, stories and values.

This, therefore, calls for the need for historic preservation—a form of residential development that maintains its value and appeal on already developed land—not only conserving the architectural treasures but also community identity and environmental sustainability.  

My interest and passion for cultural heritage grew even more when I met my mentor, the late Professor Dato’ Dr Ghulam-Sarwar Yousof when I began my PhD journey, pursuing the highest academic degree. Professor Ghulam was an internationally and locally renowned scholar and acknowledged expert in the Southeast Asian and Malaysian traditional theatre and performing arts. He was a great teacher to many students during his lifetime; his works brought about deep insights and realisation about our cultural arts.

Ever since knowing Professor Ghulam, his research and writings opened my eyes to a world of knowledge and cultural wealth by looking from within ourselves. His self-less teachings and enlightening writings not only inspired me but also gave me the courage to delve into the research study on the Wayang Kulit Kelantan (or Kelantan shadow play), focusing on the shadow puppets’ characterization, visual stylisation and design.  

Wayang Kulit Kelantan, a unique form of local traditional performing arts, is a heritage of the Malay culture particularly in Kelantan. The performance,  traditional music, as well as the craft of puppet-making, are collectively regarded as a unique and authentic intangible cultural heritage of our country as this type of traditional art is inherited by the apprentice from the teacher aurally, an oral tradition passed down from one generation to another.  

However, Wayang Kulit Kelantan, along with other traditional arts such as Mak Yong, and traditional crafts such as weaving and woodcarving, are diminishing with time as they are no longer deemed relevant or appealing to the present-day younger generation. With the 21st century digital and technological advancement, coupled with fast-changing trends and lifestyles, such traditional arts and crafts are undoubtedly faced with the threat of extinction and challenges of survival.

As we navigate a rapidly changing world, the value of cultural heritage becomes even more pronounced. Embracing our roots equips us with timeless skills necessary for future challenges. Education plays a crucial role in preserving our cultural heritage, ensuring its transmission to future generations.  

Therefore, as I ventured into further research on other peripheral subjects exploring diverse cultural traditions but focusing on the traditional and native arts and crafts in both East and West Malaysia, my horizons were broadened and perspectives expanded, eventually developing essential cognitive skills such as critical thinking and creativity. These soft skills are in turn incorporated into my teachings in art and design courses, as well as in my knowledge-transfer activities consisting of talks and workshops to students at various educational levels as well as the community at large, besides producing research and academic writings for conferences and publications. In my view, sharing the knowledge and findings I gained from my research with the younger generations is a means to ensure the preservation of our cultural heritage.

However, preserving cultural heritage requires a collective effort from individuals and communities, who must innovatively collaborate with the government and relevant stakeholders. If my student asks, “Why bother?” my answer would be, “It is who I am, it is what made me, it is something that I inherited from our ancestors. If we do not take the time to learn about our own stories, we—you included—will soon cease to exist.” Together, let us learn more about our cultural heritage and safeguard it—not just individually, but as a people and a nation.

Dr Fiona Wong E Chiong
School of Arts
Email: [email protected]