THE character and identity of a nation is moulded and represented by its cultural heritage, which encompasses the whole gamut and style of living.
Our heritage is the DNA of our cultural make-up and expression. From time to time, mutation occurs as a result of external stimuli, environmental changes, influences of other cultures and, of course, technological development. The genotype mutation causes changes in the phenotype behaviour and cultural expression.
In cultural terms, this is referred to as the acculturative and assimilative process, which occurs through the process of evolution in all cultures that affects changes in the core cultural DNA. Despite these mutations, the pristine DNA imprint remains in our cultural unconsciousness and subconscious.
However, over a long period of exposure to a different cultural environment, it would initiate and enforce the process of acculturation and assimilation, which
over time may obliterate the original cultural DNA. This is the inter-cultural interaction which causes the minority to submit to the behaviour pattern of the majority.
Intra-cultural engagement occurs within a cultural entity usually brought about by changes in lifestyle, the result of technological development.
In this case, facets of our cultural expressions that are not consonant with the changing physical and cerebral life landscapes will eventually disappear into oblivion and may be lost forever.
History is replete with such demise due to the changing life landscape, wars, genocide, diseases, natural disasters and even mysterious occurrences.
As a result, the fascinating Aztec culture and the Egyptian Hieroglyphic and the Mohenjo-daro corpus of knowledge are lost forever, leaving only vestiges of their past glory in the form of physical and archaeological relics. Among them are the Greek Parthenon and Delphi monuments, and Aztec and Egyptian pyramids.
The vibrancy of these ancient cultures and their corpus of knowledge have receded into anonymity leaving only the visual images for us to ponder in awe of these ancient civilisations.
Thus, to salvage and preserve existing cultural heritage, the United Nations Educational, Scientific and Cultural Organisation (Unesco) has initiated a programme of preservation and conservation by designating both the tangible and intangible endangered cultural and artistic expressions as Unesco Cultural Heritage preserve.
This is done because the fast phase of modern developments, the inexorable population increase and the ever-changing life styles, as well as human greed and weakness, are taking a toll on our tangible and intangible cultural heritage.
Except for the designated tangible archeological sites, architectural relics and monuments as well ornate building structures and the famous terra cotta soldiers in China, vast heritage physical and natural landscapes are being demolished and replaced by concrete jungles.
Even natural heritage sites, such as forest reserves, caves, flora and fauna, are directly or indirectly threatened by human developmental activities in the name of economic progress.
Likewise, the tangible and intangible heritage, such as the performing arts, crafts, traditional norms and values and anthropological healing practices, have succumbed to the onslaught of modern technological development that have affected the behavioural expressions and lifestyles of individuals and the community.
Traditional intangible heritage is being threatened because of the lack of awareness of its value and its significance to national identity and pride.
This is happening in Malaysia despite having a Tourism and Culture Ministry to oversee
and promote the continued existence of both the tangible and intangible cultural heritage. In fact, a specific department — the Department of National Heritage — was established for this purpose.
And, together with the National Department for Culture and Arts, Istana Budaya and Museum Negara, they are entrusted with preserving and conserving our national heritage.
The Department of National Heritage has a blueprint for preservation and conservation by identifying heritage sites and the endangered forms of performing arts and according them state or national heritage status.
This is augmented by the National Department for Culture and Arts, which promotes and attempts to rejuvenate endangered forms of performing art by sponsoring performances of Bangsawan, Mak Yong, Main Puteri and traditional dance performances in Kuala Lumpur, which are poorly attended compared with Western-style performances at Istana Budaya.
The writer is an honorary fellow at the Centre for Policy Research and International Studies Universiti Sains Malaysia, Penang.