PLANNING MALAYSIA:

Journal of the Malaysian Institute of Planners

VOLUME 19 ISSUE 1 (2021), Page 127 – 137

CULTURAL MAPPING AND HERITAGE TRAIL IN KUALA

KANGSAR

Nor Mazlan Mohd Yunus1, Esmawee Endut2, Shahrul Yani Said3

1,2,3
Faculty of Architecture, Planning and Surveying,
UNIVERSITI TEKNOLOGI MARA, SHAH ALAM

Abstract

Kuala Kangsar is the Royal Town of Negeri Perak. It was established in the
1720s. The name Kuala Kangsar is believed to be derived from the kangsar plant
(Hibiscus flocussus) that grows in abundance along the banks of the Sungai
Kangsar. Another strong suggestion claims that the name was handed down by
explorers and settlers who had established a settlement at the mouth of the river.
They called their new home Kuala Kurang Sa, a short form for Kuala Kurang
Seratus because there were 99 tributaries that flowed into the Sungai Perak
around the area. Kuala Kangsar became famous and remarkable not only because
of its title as a royal town but also for its heritage and historical factors. There are
a lot of heritage assets in this area. Because of these reasons, Kuala Kangsar has
become popular and appealing to attract more tourists. This paper will identify
and classify the heritage assets in Kuala Kangsar. The identifications and
classifications will be based on some methods which consist of site
familiarisation, unstructured interviews, visual observation and literature
reviews. After heritage assets identification is done, this paper will develop the
Cultural Mapping for Kuala Kangsar where Cultural Mapping is a tool to
illustrate all the heritage assets’ location and position in mapping and graphics.
Finally, this paper will introduce the Heritage Trail to link all these heritage assets
in Kuala Kangsar.

Keywords: Heritage Assets Identification, Cultural Mapping and Heritage Trail

1
Corresponding Author. Email: normazlan@kpkt.gov.my
Nor Mazlan Mohd Yunus, Esmawee Endut, Shahrul Yani Said
Cultural Mapping and Heritage Trail in Kuala Kangsar

INTRODUCTION
When Sultan Idris Murshidul’adzam Shah (1877-1916) ascended the throne, he
selected a site on Bukit Chandan to build his palace, thus becoming the first in a
line of sultans to live at Bukit Chandan and be buried on the west side of the
Sungai Perak. His palace, completed in 1895, was named Istana Negara. The
royal ambience that characterises Kuala Kangsar started to take shape with the
high ground at Bukit Chandan as its focal point. A townhouse for the Sultan,
Istana Kota, was completed in 1903. It was also known as Istana Hulu, as it was
upstream from Istana Negara. Today, this palace houses the Sultan Azlan Shah
Gallery. The wooden Istana Kenangan, built in 1926, was used as the royal palace
while Istana Iskandariah was being constructed to replace Istana Negara. A
number of other palaces occupied by various members of the royal family dot
Kuala Kangsar, including the Istana Chinta Berahi and Istana Kasar Ma’amor,
which were built by Sultan Idris for his two wives. Istana Bendahara was the
residence of the last Raja Bendahara of Perak, a son of Sultan Idris. In 1906, two
newly completed houses of the Sultan at Bukit Chandan became the first houses
in Kuala Kangsar to be lit with electricity, which was powered by a power station
located at Bukit Chandan itself (Dr. Neil Khor, 2017). Kuala Kangsar has a lot
of heritage assets to be recognised and appreciated. This paper will identify the
heritage assets in Kuala Kangsar before developing the Cultural Mapping and
Heritage Trail in order to ensure that all these assets are connected with each
other.

Kuala
IKangsar

Figure 1: Location Plan of Kuala Kangsar, Negeri Perak

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Journal of the Malaysia Institute of Planners (2021)

Heritage Assets Identification, Cultural Mapping and Heritage Trail

Heritage assets is defined as assets of historical, or scientific importance that are
held to advance preservation, and educational objectives of charities, and through
public access contribute to the national culture and education either at national or
local level. Such assets are central to the achievement of the purposes of such
charities and include the land, buildings, structures, collections, exhibits or
artefacts that are preserved or conserved and are central to the educational
objectives of such charities (Russell, 2006).
The identicafion of heritage assets in Kuala Kangsar is an exercise
which will involve several steps such as site visit, visual observation, the
collection of secondary data from literature reviews, and a few unstructured
interviews if needed. Based on this approach, heritage assets in Kuala Kangsar
can be identified effectively.
As for Cultural Mapping, it is a process of collecting, recording,
analysing and synthesizing information in order to describe the cultural resources,
networks, links and patterns of usage of a given community or group (Stewart,
2010). In this paper, the Cultural Mapping will be developed after identification
of heritage assets in Kuala Kangsar is completed. The purpose of a Cultural
Mapping is to ensure that all heritage assets are being connected with each other
and presented in infographic. Based on this approach, the heritage assets full of
cultural resources and characters will be compiled together and well-connected
with each other.
Then finally, creating the Heritage Trail which is a designated journey
that brings the trail explorer to learn more about a country’s history, culture,
architecture, flora and fauna by visiting historical sites and buildings (National
Heritage Board Singapore, 2004) is part of the output of this paper. A Heritage
Trail is being created in order to construct a journey through a series of historical
and heritage sites with the aim of observing and discovering the area. Exploration
of a Heritage Trail can be done on foot or by vehicles. For Kuala Kangsar, a
Heritage Trail is quite important and significant in order to connect all the
heritage assets in this area. Furthermore, the heritage assets are dispersed and
located separately.

Heritage Assets Identification in Kuala Kangsar

Based on visual observation, site familiarisation, secondary data collection
from literature reviews and unstructured interviews, 22 heritage assets in
Kuala Kangsar have been identified as listed in the table below:

Table 1: Heritage Assets Identification in Kuala Kangsar

No. Heritage Assets Remarks
1. Masjid Ubudiah Mosque
2. Istana Kenangan Palace

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Nor Mazlan Mohd Yunus, Esmawee Endut, Shahrul Yani Said
Cultural Mapping and Heritage Trail in Kuala Kangsar

3. Istana Iskandariah Palace

4. Local handicraft Gold Embroidery
5. Local handicraft Malay Traditional
Weapon
6. Baitul Annur Mansion
7. Baitul Rahmah Mansion
8. King’s Pavilion School
9. Perak War Memorial Cemetery
10. Sultan Azlan Shah Gallery Gallery
11. The Oldest Rubber Tree in Malaysia Tree
12. Malay College Kuala Kangsar School
13. Pavilion Tower Monument
14. Labu Sayong Local Handicraft
15. Makam Sultan Ali Al-Mukammal Inayat Shah Mausoleum
16. Makam Sultan Yusuf Sharifuddin Mudzaffar Shah Mausoleum
17. Rumah Kutai in Kg. Sayong Lembah Malay Traditional House
18. Tomb Stone of Sultan Mansur Shah 1 @ Tomb Stone
Masjid Kota Lama Kanan
19. Iskandar Bridge Bridge
20. Victoria Bridge Bridge
21. Air Raid Shelter Fort
22. Tok Setia’s Mansion Mansion

This paper managed to identify the heritage assets in Kuala Kangsar.

There are 22 heritage assets consisting of buildings, palaces, rubber tree,
institutions, mausoleums, monuments and handicrafts. These heritage assets can
be promoted and can boost Kuala Kangsar as a heritage site and tourism
destination. These heritage assets have their own potential and strength to
promote Kuala Kangsar to become a good destination for heritage and
conservation enthusiasts and lovers. The location of each heritage asset in Kuala
Kangsar is presented in Figure 2 below:

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Journal of the Malaysia Institute of Planners (2021)

Figure 2: Location of Heritage Assets in Kuala Kangsar, Negeri Perak

Development of Cultural Mapping for Kuala Kangsar

Cultural mapping is a process of collecting, recording, analysing and synthesizing
information in order to describe the cultural resources, networks, links and
patterns of usage of a given community or group (Stewart, 2010).
Cultural mapping is widely recognized as an effective tool for
development and planning. Mapping makes culture more visible so that it can be
utilised in new ways such as exchanged, linked and further developed (Young,
2003).
Cultural mapping has been recognized by United Nations Educational,
Scientific and Cultural Organisation (UNESCO) as a crucial tool and technique
in preserving the world’s intangible and tangible cultural assets. It encompasses
a wide range of techniques and activities from community-based participatory
data collection and management to sophisticated mapping using Geography
Information System (GIS) (UNESCO).
Cultural mapping is a methodology that can also support an
interpretation of space. At both individual and collective levels, it is a means to
locate yourself in the world “physically, culturally, and psychologically” as well
as politically. It provides a means to consider day-to-day realities, and provides a
possibility to question this reality and generate an improved understanding of the
cultural context. Mapping processes provide ways to interact creatively with
urban reality, to uncover and articulate diverse perspectives, and to generate
unique meanings and value that can be shared (Duxbury N. G.-P., 2015).

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Nor Mazlan Mohd Yunus, Esmawee Endut, Shahrul Yani Said
Cultural Mapping and Heritage Trail in Kuala Kangsar

The purpose and usage of Cultural Mapping is mentioned in the

table as below:

Table 2: The Purpose and Usage of Cultural Mapping

No. Uses Explanation
1. Increasing knowledge Helping to define the local culture. Demonstrating
and appreciation the breadth and variety of cultural activity in the
municipality.
2. Identifying previously Providing concise information to elected officials,
unknown resources tourist groups, branches of municipal government, the
and activities general public and other stakeholders. Advocating for
and drawing attention to the cultural area.
3. Getting a fresh Looking at data from different points of view, cross-
perspective cultural, public access, concentration and networking.
4. Gaining objectivity Going from intuitive or anecdotal information from the
and overview “worm’s-eye view” on the ground, to a broader, more
concrete view. Seeing around discipline-based and siloed
viewpoints.
5. Identifying networks Where do groups obtain their resources, how do they
and hubs communicate with one another, and who are the
liaisons?
6. Locating gaps, needs How much duplication or scarcity is there in a
and overlaps given sector or area of the city.
7. Is the distribution of How far does a population group have to travel to
resources effective? borrow a book or hold a meeting? Where can a
Chinese dance troupe find a qualified instructor?
8. Evaluating Projects How large is the population served? How does the
community view an initiative? Does a solution respond
adequately to the problem?
9. Seeing the present, How many informal community hubs will that new
looking to the future expressway disrupt? What will be the impact of an
influx of mmigration from Southeast Asia on the
existing community and its resources?
10. Cultural planning Mapping is often the first stage of preparing a
cultural plan.
Source: (Stewart, 2010)

This paper also will explore the practices of establishing the Cultural Mapping
in Canada, Portugal and Asia (Nepal and Thailand). The main purpose is to
identify the similarities and divergences of practices among three different
localities. Based on this exploration, the similarities and differences will be
translated in detail in the table below:

Table 3: Stages of Cultural Mapping Preparation Practices in Canada,

Portugal and Asia
Asian (Nepal and
Canada Portugal
Thailand)

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Journal of the Malaysia Institute of Planners (2021)

1. Planning 1. Identification of 1. Identify the Heritage

a. Determine Tangible Assets Assets, Intangible and
Objectives 2. Engaging Community Tangible
b. State Objectives Members 2. Establish A Broad
c. Set Parameters 3. Cultural Information Framework of Ideas
d. Estimate Data Collection, and Practices
Readiness Analyse and Synthesis 3. Community
e. Assemble 4. Produce A Multi- involvements and
Resources layered Picture Empowerments
2. Project Design 5. Involvement of 4. Protection of
a. Frame the Activists, Residents, Human Rights and
Fundamental Researches and Respecting the
Question Political Dimensions Traditional
b. The Inventory 6. Establishment of Knowledge
c. Design Survey Framework for
and Interview Cultural Mapping
Questions
3. Implementation
Explore
a. Contacting the
Community
b. Tallying Entering
Results
4. Synthesis Make
Sense
a. Roughing Out
the Maps
b. Converting an
Inventory to
Map
c. Analysis and
Interpretation
5. Finalising the Map
a. Speaking to
Different
Audiences
6. Going Public
a. Getting the
World Out

Source: (Stewart, 2010) (Duxbury N. , 2015) (Taylor, 2013)

This paper has investigated three practices in preparation of Cultural Mapping

which are from Canada, Portugal and Asia. The Canada practices are very
detailed and particular when designing the Cultural Mapping stages and steps.
They have six stages in preparing the Cultural Mapping and every stage have
their own steps. Among the three practices, Canada’s is better and more effective
in terms of preparing Cultural Mapping. They determine the objectives, design

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Nor Mazlan Mohd Yunus, Esmawee Endut, Shahrul Yani Said
Cultural Mapping and Heritage Trail in Kuala Kangsar

the project, explore the implementation, conduct synthesis, finalise the map and
promote the map to the public.
From the Portugal perspective, they are also concerned about the
community’s involvement but they prefer to identify the assets first, especially
tangible assets. Then they proceed to data collection, and next they produce a
multi-layered picture and establish the framework of Cultural Mapping. Based on
the Portugal practices, they are very particular with public participation and also
activists, researches and political influence. These situations have proved the
importance of Cultural Mapping to be in line with public needs and to garner a
bit of political will. Finally, the Cultural Mapping projects are able to fulfil the
people’s needs from the heritage sites.
When this research looked into the Asian practices specifically in Nepal
and Thailand, it was found that they are also concerned with the identification of
heritage assets for both types of assets which are tangible and intangible. Then
they proceed to establish the framework of ideas and practices, and allow the
public to participate in this exercise for them to share and exchange their views
and opinions. For Asian practices, they also consider the protection of human
rights and respecting the traditional knowledge. This aspect is very significant
and outstanding compare to the other two practices. Maybe for the Asian society,
there is a stronger need to protect and more concern on human rights and
traditional knowledge which are in line with Asian customs and cultures. For the
Asian practice, the number of stages is less than Portugal and Canada, which is
four stages only. Portugal and Canada have six stages in practice of preparing for
Cultural Mapping in their country, and among the two, Canada is more detailed
and comprehensive.
Cultural Mapping is the method and platform to identify the heritage
assets on the site, inventorise all assets, connect them, produce the profiles,
highlight their strength, potential and also weakness, and finally approach the
community to get their feedbacks and responses. These principles and keywords
can be used for designing and producing the Cultural Mapping for Kuala
Kangsar. The elements, contents and items of the stages and steps can be
duplicated in the Kuala Kangsar context and practise. Perhaps these stages and
steps can help develop the best Cultural Mapping of Kuala Kangsar in line with
complimenteng the public needs with the appreciation of heritage assets in Kuala
Kangsar.

Establishment of Cultural Mapping for Kuala Kangsar

This paper will develop a Cultural Mapping of Kuala Kangsar. In order to ensure
that heritage assets will be managed properly, besides identifying them, this paper
also included them in the Cultural Mapping. Based on this mapping, all the assets
are connected each other and a Heritage Trail will be used as a mechanism to

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achieve the purpose and approach. This paper will illustrate how the Heritage
Trail will be implemented and constructed. This paper managed to generate the
table of stages in preparing the Cultural Mapping, propose the Cultural Mapping
illustrations and lastly propose a Heritage Trail for Kuala Kangsar as shown in
the table and maps below:

Table 4: The Proposed of Stages in Preparing a Cultural Mapping for Kuala Kangsar
No. The Stages in Preparing a Cultural Justification
Mapping for Kuala Kangsar

1. Planning and Designing the Objectives To ensure that the Cultural Mapping is
and Framework totally useful and practicable.

2. Identification of the Heritage Assets, Both To produce the inventory and profile
Tangible and Intangible for all heritage assets in all heritage
sites.

3. Establishment of Heritage Assets This inventory and profile will

Database become a database and reference for
any parties in relation to the
conservation of the heritage assets.

4. Communities Involvement and To create a sense of belonging and

Participation ownership amongst the local residents
and to reduce the burden on the
government side.

5. Protection of Human Rights and Some heritage assets especially intangible

Respecting the Traditional Knowledge heritage will have values to our culture,
custom and civilisation.

6. Producing the Cultural Mapping into To create and produce the most interesting,
Pictures, Infographics and User-Friendly attractive and practical Cultural Mapping
Mapping in the future.

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Cultural Mapping and Heritage Trail in Kuala Kangsar

Figure 3: Proposed Cultural Mapping for Kuala Kangsar

Figure 4: Proposed Heritage Trail for Kuala Kangsar

CONCLUSION
In this paper, there are three major aspects that have been acknowledged and
explored which are the identification of heritage assets in Kuala Kangsar, the
development of a Cultural Mapping for Kuala Kangsar and finally the proposed

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heritage trail for Kuala Kangsar. This paper managed to identify 22 heritage
assets in Kuala Kangsar based on visual observation, site visits, secondary data
collections and unstructured interviews. These heritage assets are consisting of
buildings, palaces, the oldest rubber tree, institutions, mausoleums, monuments
and handicrafts. These heritage assets can be promoted to boost yje attraction of
Kuala Kangsar as a heritage site and tourism destination. Besides identifying the
heritage assets in Kuala Kangsar, this paper has also managed to develop the
Cultural Mapping for Kuala Kangsar. This paper has analysed three Cultural
Mapping practices which are in Canada, Portugal and Asia (Nepal and Thailand).
Based on this analysis, this paper found that there are six stages that need to be
implemented in preparing the Cultural Mapping for Kuala Kangsar. These are the
best practices to be carried out for the development of the Cultural Mapping for
Kuala Kangsar. At the same time, in order to ensure that all heritage assets will
be manageable and connected properly, a Heritage Trail has been introduced as
a mechanism to achieve the purpose.

REFERENCES
Dr. Neil Khor, M. I. (2017). The Towns of Malaysia : An Illustrated Urban History of the
Peninsula up to 1957. Kuala Lumpur: Editions Didier Millet Sdn. Bhd.
Duxbury, N. G.-P. (2015). Cultural Mapping as Cultural Inquiry. New York: Routledge
Advances in Research Methods Series.
National Heritage Board Singapore. (2004). Guidelines on Designing Heritage Trail.
Singapore: National Heritage Board Singapore.
Russell, D. (2006). Heritage Assets : Can Accounting Do Better? London: Accounting
Standard Boards.
Stewart, S. (2010). Cultural Mapping Tool Kit : A Partnership between 2010 Legacies
Now and Creative City Network of Canada. Canada: Creative City Network of
Canada.
Taylor, K. (2013). Cultural Mapping : Intangible Values and Engaging with Communities
with Some Reference to Asia.
UNESCO. (n.d.). Cultural Mapping. Paris.
Young, G. (2003). Cultural Mapping in The Global World. ASEAN Committee on Culture
and Information. Australia.

Received: 15th February 2021. Accepted: 10th May 2021

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