邁入21世紀，馬來西亞華裔的文化活動出現一種前所未有的新型面貌，從大都市老街裡的記憶尋覓和重構，到遠離都市的小村小鎮文化節，淡化了過去以舞獅舞龍、月餅粽子為主的文化符號，迎接另一系列既熟悉又新穎的文化信息。這股趨勢的領導以華裔移民的第三代為主，他們生於斯、長於斯，在政經文教各個方面皆接受了馬來西亞本土的薰陶。因此，本文以活躍於馬來西亞首都吉隆坡舊社區的兩個本土藝術與文化團體——「走街」與「Lostgens」為研究對象，分析他們的藝術作品與項目呈現，以探討馬來西亞華裔青年的「原鄉」想像與實踐。上述團體以展覽、敘事、導覽的方式，追憶一個即將失落的文化空間和意義。他們在重構吉隆坡華裔老社區歷史與精神的同時，也企圖建構本土色彩與當代精神。這種重構的精神志向，已經產生了純粹懷舊原鄉以外的發展，為傳統文化符號注入對話聲音。

New cultural phenomena have emerged in Malaysian Chinese society in the past decade. In the metropolitan cities, efforts are made by arts and cultural groups to discover and reconstruct the memories of old streets. The small towns and villages, on the other hand, are busy with the organization of arts or cultural festivals. A new set of cultural symbols which convey new meanings or messages are being used, in contrast to older symbols such as lion and dragon dances, moon cakes, dumplings, etc. These cultural trends have mostly been initiated by third generation Chinese immigrants born and raised to adulthood in Malaysia. They are highly localized in terms of their understanding of politics, economics, cultural orientation and educational training. This paper examines the art and cultural works of two Kuala Lumpur-based local arts and cultural groups, namely “Kaki Jelajah Warisan” and “Lostgens’ Contemporary Arts Centre” by analyzing their imagination and cultural expression of homeland. In an effort to seek the meanings of a lost cultural space, the youth use various forms of expression including exhibitions, narratives and tour routes. With these, they reconstruct Chinese community history in Kuala Lumpur, and the elements that constituted the postmodernist locality.